WEBVTT - Warren Haynes

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Lefts Podcast. My

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<v Speaker 1>guest today is a musician, Warren Age. Warren, how are you?

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<v Speaker 1>I'm good? Okay, So where are you right now? In

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<v Speaker 1>this corunap partners? I am in Westchester County, New York.

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<v Speaker 1>And how many people are in the house with you? Myself,

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<v Speaker 1>my wife, my eight year old son, and uh we

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<v Speaker 1>have he has a nanny that has been with us

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<v Speaker 1>the entire time, so we're all kind of quarantined together.

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<v Speaker 1>How do you feel about being this age and having

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<v Speaker 1>an eight year old kid? You know, that's a good,

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<v Speaker 1>uh good point. I I became a dad at fifty,

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<v Speaker 1>which was I don't know if it's recommended or not.

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<v Speaker 1>In my case, it worked out really good because I

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<v Speaker 1>was on the road so much, uh for most of

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<v Speaker 1>my life that I never really wanted to be a

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<v Speaker 1>m I a dad, And so now I'm able to

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<v Speaker 1>spend a lot more time with him, starting when he

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<v Speaker 1>was born, and especially now than I ever have. I'm

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<v Speaker 1>I'm at home more than I've been in the past

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<v Speaker 1>thirty years. And other than the coronavirus situation, why you

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<v Speaker 1>go at a home more? Well, once he was born,

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<v Speaker 1>I started kind of tailoring my schedule a little bit

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<v Speaker 1>to spend more time at home and to make it

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<v Speaker 1>where I could come back and forth more often and

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<v Speaker 1>that sort of thing. But uh, you know, it's it's

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<v Speaker 1>a challenge just getting connecting the dots. But I love

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<v Speaker 1>being a dad. In my I was gonna say fifties,

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<v Speaker 1>but I just turned sixty. So how did you pull

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<v Speaker 1>the trigger? What was what was the thought process after

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<v Speaker 1>fifty years? Uh, look, I guess you know so, Uh

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<v Speaker 1>you turned sixty. I turned sixty at this point seven

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<v Speaker 1>years ago really fucked me up. I found fifty fifty

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<v Speaker 1>was no big deal. House sixty, Well, sixty was a

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<v Speaker 1>little intimidating, and still is. But the fact that I

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<v Speaker 1>spent my sixtieth birthday uh quarantined and with just the

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<v Speaker 1>four of us was a little surreal in a in

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<v Speaker 1>a bizarre way. We my wife and I had talked

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<v Speaker 1>six months earlier or something about Okay, we're gonna make

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<v Speaker 1>a big deal out of it, We're gonna bring in

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<v Speaker 1>friends and family and have a big blowout. And by

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<v Speaker 1>the time it all came around, that wasn't really meant

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<v Speaker 1>to be. And then when my birthday actually happened, it's like, oh,

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<v Speaker 1>happy birthday, We're the three of us are having a

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<v Speaker 1>great time. And now I just remember, literally starting around

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<v Speaker 1>the time of my birthday, and I didn't anticipate it,

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<v Speaker 1>turning sixty. A lot of ship that was meaningful before

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<v Speaker 1>suddenly wasn't meaningful anymore. I guess I realized at some

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<v Speaker 1>point I would die. Have there been any emotional changes

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<v Speaker 1>turning sixty. Well, yeah, And I don't know how much

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<v Speaker 1>is attributed to turning sixty, and how much is attributed

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<v Speaker 1>to the coronavirus, because the same thing for me, uh,

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<v Speaker 1>which I don't recommend. Okay. So going back to your son,

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<v Speaker 1>you're talking about your road work. How many forgetting coronavirus?

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<v Speaker 1>How many days a year you on the road now?

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<v Speaker 1>Prior to this, probably a hundred, two hundred and fifty, okay.

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<v Speaker 1>And once your kids started to go to school, your

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<v Speaker 1>kids stays home, your kid comes with you. How do

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<v Speaker 1>you work that he stays home except when it is

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<v Speaker 1>convenient for him to come for a few days. And

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<v Speaker 1>then I just find myself coming back and forth a

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<v Speaker 1>lot more often, which is fine, but it's a lot

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<v Speaker 1>of If we have two days off, I'll go home

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<v Speaker 1>for two days and go back on the road for

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<v Speaker 1>four or five days and then come back home for

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<v Speaker 1>two more days, which is a lot of wear and tear,

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<v Speaker 1>but definitely worth it. Now you're really seen as a

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<v Speaker 1>road dog. So how are you filling this time? Well,

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<v Speaker 1>it's been a bit of adapting. Uh, I'm writing a lot,

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<v Speaker 1>which is great. That's the one of the down one

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<v Speaker 1>of the one of the few upsides. But um, in

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<v Speaker 1>the beginning, just a lot of kind of thinking about

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<v Speaker 1>how to reinvent and how to kind of reinterpret the

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<v Speaker 1>whole situation. Um. Gradually, I'm getting my setup more and

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<v Speaker 1>more together where I can uh do more playing and

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<v Speaker 1>recording and stuff. But in the beginning I was mostly

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<v Speaker 1>just writing on acoustic guitar and writing a lot of

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<v Speaker 1>lyrics and uh taking advantage of that. I don't think

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<v Speaker 1>I've written this much since. Okay, So, prior to the

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<v Speaker 1>COVID situation, did you have a home studio only a

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<v Speaker 1>small one. There's a studio close by that I work

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<v Speaker 1>in a lot, and I've been for the past three

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<v Speaker 1>years trying to either build by a studio of my own,

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<v Speaker 1>which has been like an ever changing process. It's a

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<v Speaker 1>work in progress. Uh. My ability to record here is limited,

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<v Speaker 1>but getting less limited. Um, but it's really making me

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<v Speaker 1>think of things differently, Like I haven't been to the

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<v Speaker 1>studio that I normally record, and I haven't been there

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<v Speaker 1>since the coronavirus. Are you pretty tech savvy now that

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<v Speaker 1>you're alone without an engineer? Are you familiar with pro

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<v Speaker 1>tools or logic or any of that other stuff. No,

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<v Speaker 1>you know, I've been telling myself that I needed to

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<v Speaker 1>learn pro tools for the for years now, and of

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<v Speaker 1>course this is gonna be a great opportunity. I'm gonna

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<v Speaker 1>have to force myself to do it. Okay, talk about

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<v Speaker 1>the writing process. Do you normally write songs or do

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<v Speaker 1>you say, put pick out a window, this is what

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<v Speaker 1>I'm gonna write a song? Or you wait for inspiration? Sure,

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<v Speaker 1>a normal routine. I usually wait for inspiration. I'm not

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<v Speaker 1>one of those people that rights every day or can

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<v Speaker 1>force myself to write. I know some people have good

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<v Speaker 1>luck with that, but I might go two or three

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<v Speaker 1>months without writing at all, and every time that happens,

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<v Speaker 1>I start getting this feeling of anxiety of have I

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<v Speaker 1>written my last song? And then eventually I'll write something,

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<v Speaker 1>and then another one will come pretty quickly. And another

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<v Speaker 1>one will come pretty quickly and I'm realized that I'm

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<v Speaker 1>back on the wave. But more often than not, it

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<v Speaker 1>starts with a lyrical idea. I find it easier to

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<v Speaker 1>write music based on a lyric that that already exists,

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<v Speaker 1>then vice versa. Now, having said that, in the past

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<v Speaker 1>six or eight years, I've been trying to do the opposite,

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<v Speaker 1>just to not fall into the pattern and to shake

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<v Speaker 1>things up a little bit. But I really enjoy working

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<v Speaker 1>that way. What I what I tend to notice is

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<v Speaker 1>that the up the up timpo songs start with the music,

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<v Speaker 1>and the mid tempo and down timpo songs usually start

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<v Speaker 1>with the lyric. Okay, so give me an example of

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<v Speaker 1>how you would latch onto a lyric. U Usually just

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<v Speaker 1>some sort of thought happens randomly, and I decide if

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<v Speaker 1>I like it or not. And these days I'm mostly

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<v Speaker 1>writing on the computer as opposed to by hand. Uh.

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<v Speaker 1>I do a lot of stream of consciousness writing. And

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<v Speaker 1>if the thought, if the initial thought appears to me

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<v Speaker 1>in a way that I feel like it's a hook

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<v Speaker 1>or a title, then maybe that gives me some sort

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<v Speaker 1>of incentive or direction. If it's just a clever idea,

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<v Speaker 1>or something that taps into me emotionally that I just

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<v Speaker 1>start writing until either until it starts feeling forced, or

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<v Speaker 1>until something appears that sounds like a chorus, or you know,

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<v Speaker 1>every situation is different. Um, I know. Greg Alman used

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<v Speaker 1>to say there's as many ways to write a song

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<v Speaker 1>as there are songs. Okay, what is your motivation for

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<v Speaker 1>writing songs? Is it something you say, I'm an artist,

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<v Speaker 1>I have to do it, or is it something you

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<v Speaker 1>would do even if you weren't releasing music, or it's

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<v Speaker 1>about having something to say? What makes you write songs?

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<v Speaker 1>I'm more grateful for being able to write songs than

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<v Speaker 1>just about anything else in the world. It's therapy for me.

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<v Speaker 1>It's a creative outlet. It's uh something, it's a learning challenge. Uh.

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<v Speaker 1>I feel like the majority of the stuff that I

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<v Speaker 1>write most people will never hear, and that's kind of bizarre.

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<v Speaker 1>But there have been a lot of songs that I

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<v Speaker 1>wound up releasing at some point that started out as

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<v Speaker 1>just a personal song that I've I feel like I

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<v Speaker 1>wrote for myself. Um, I'd never think of it like

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<v Speaker 1>I need to write or what can I do to

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<v Speaker 1>write a song that more people will tap into or

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<v Speaker 1>that will make money, or I don't. I never think

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<v Speaker 1>like that. I write the song first and then think

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<v Speaker 1>about later, Hey, is it any good be Is it

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<v Speaker 1>something I could do? Is it something someone else can do?

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<v Speaker 1>You know it. I don't even think about the categorization

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<v Speaker 1>of the tune until it's finished normally. So let's go

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<v Speaker 1>back to the beginning. You're from North Carolina, right, Yes,

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<v Speaker 1>we're in North Carolina, Asheville. Now Asheville, they you know,

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<v Speaker 1>it's kind of in the mountains. They got a ski area.

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<v Speaker 1>They have a rich person in a house there. You know,

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<v Speaker 1>what was it like growing up in Asheville. Well, when

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<v Speaker 1>I was growing up there, it wasn't the bohemian capital

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<v Speaker 1>of the South that it is now. Uh that's been

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<v Speaker 1>the past fifteen or twenty years that that transition had happened.

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<v Speaker 1>When I was growing up, a lot of great musicians, uh,

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<v Speaker 1>mostly guitar players, UM, a lot of bluegrass, a lot

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<v Speaker 1>of folk music, UM, and a lot of art and

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<v Speaker 1>a cool art scene. But it was much more underground,

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<v Speaker 1>unlike now where it's it's everywhere. It was always a

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<v Speaker 1>cool place. You know, being in the mountains is beautiful,

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<v Speaker 1>it's it's geographically beautiful, really great people. Uh, but I've

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<v Speaker 1>watched it kind of turned into what Austin is to

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<v Speaker 1>Texas Asheville is to North Carolina. Now, okay, so you

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<v Speaker 1>grew up what your parents do for a living? Um,

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<v Speaker 1>My parents divorced when I was eight, and I was

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<v Speaker 1>mostly raised by my dad, who worked in a grocery store.

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<v Speaker 1>They were both Uh they both grew up on farms

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<v Speaker 1>in Polk County, North Carolina, and then moved to the

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<v Speaker 1>big city of Ashville. Okay, just starting to Asheville. If

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<v Speaker 1>you want to leave Ashland, go to the big city.

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<v Speaker 1>What big city would you go to? Well, initially Nashville

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<v Speaker 1>was the closest one. And that's how far away? Five

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<v Speaker 1>hours by car? Not close, yeah, not close, but much

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<v Speaker 1>closer than New Yorker l a. Uh. So I went

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<v Speaker 1>to Nashville late eighty three, lived there. But before we

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<v Speaker 1>get there, let's say, Okay, your parents get divorced. Before

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<v Speaker 1>they got divorced, there were you Were you the only kid?

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<v Speaker 1>Or are the other kids? I have two older brothers,

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<v Speaker 1>two older brothers, how much older? Three years and five years? Okay,

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<v Speaker 1>your parents divorce, Uh, it's relatively uncommon for the kids

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<v Speaker 1>to go with the father. What was the thought process there?

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<v Speaker 1>You know? Uh, I was so young that I wasn't

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<v Speaker 1>such a big part of it. But it was unheard

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<v Speaker 1>of in the South at that time or anywhere, but

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<v Speaker 1>especially in the South at that time. Divorce was on

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<v Speaker 1>her of much less the dad getting the kids. UM.

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<v Speaker 1>I guess there was enough justification at that time for

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<v Speaker 1>my dad insisted that it that it be that way,

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<v Speaker 1>which for him meant working all day long and raising

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<v Speaker 1>three boys, which is uh, just an unbelievable task. Okay.

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<v Speaker 1>Was there ever a stepmother or stepfather my mom remarried.

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<v Speaker 1>I had a stepfather who passed away a little over

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<v Speaker 1>a year ago. Okay. And did you continue to have

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<v Speaker 1>contact with your mother growing up? Uh? We lost touch

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<v Speaker 1>for a short period of time, not much, um, and

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<v Speaker 1>it was a hard thing to get used to, uh,

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<v Speaker 1>but we eventually became closer and closer. It was a

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<v Speaker 1>bizarre situation for myself because my dad was When I

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<v Speaker 1>was really young, my dad was working all the time,

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<v Speaker 1>so it was me and my mom at home, and

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<v Speaker 1>then when she was gone, that changed completely. So it

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<v Speaker 1>was it was hard for me to adjust to My

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<v Speaker 1>older brothers did a little better job adjusting, I think, Um,

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<v Speaker 1>but she moved about an hour away, so we would

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<v Speaker 1>visit a lot. But you know, it was it was

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<v Speaker 1>uh not your normal as in Harriet type of situation.

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<v Speaker 1>Looking back at this age, deep into your life, do

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<v Speaker 1>you think your mother uh leaving to a great degree

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<v Speaker 1>affected you in certain ways that have sustained affected your adulthood. Yeah,

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<v Speaker 1>I'm sure, I'm sure it did. Uh. I'm sure it

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<v Speaker 1>had a lot to do with my gravitating towards uh

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<v Speaker 1>music and poetry and songwriting and and traveling and all

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<v Speaker 1>the things that I chose, you know, but um, at

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<v Speaker 1>the time, I don't think you can never really know

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<v Speaker 1>what motivates that. But yeah, I think So. Do you

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<v Speaker 1>ever go to therapy? No, I think, Uh, I've thought

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<v Speaker 1>about it a lot in recent years, but never done it.

0:14:17.160 --> 0:14:23.080
<v Speaker 1>And um, I think songwriting has kind of been my therapy,

0:14:23.120 --> 0:14:27.360
<v Speaker 1>and I've always felt like without it or music in general,

0:14:27.560 --> 0:14:31.840
<v Speaker 1>but songwriting, especially music, has has been so therapeutic for

0:14:31.880 --> 0:14:34.280
<v Speaker 1>me that I think without it, I don't I have

0:14:34.320 --> 0:14:39.200
<v Speaker 1>no idea how adjusted I would be. Okay, So you're

0:14:39.200 --> 0:14:41.440
<v Speaker 1>going to school, or you're a popular kid, or you're

0:14:41.480 --> 0:14:46.760
<v Speaker 1>good in school, what's that experience, like I was semi popular,

0:14:47.240 --> 0:14:53.800
<v Speaker 1>you know, not not mainstream, but the musician circle that

0:14:53.840 --> 0:14:56.160
<v Speaker 1>I ran in, there were there were several of us

0:14:56.240 --> 0:15:00.120
<v Speaker 1>that had some sort of popularity. I've surprisingly was a

0:15:00.160 --> 0:15:03.000
<v Speaker 1>good student. I graduated in the top five percent of

0:15:03.040 --> 0:15:07.760
<v Speaker 1>my class and was in the National Honor Society. Um

0:15:08.000 --> 0:15:13.000
<v Speaker 1>had scholarship offers that I turned down, which I think,

0:15:13.280 --> 0:15:18.400
<v Speaker 1>uh shocked my dad, but he was supportive. Okay, So

0:15:18.800 --> 0:15:22.440
<v Speaker 1>was there music in the house growing up. Yeah, my

0:15:22.560 --> 0:15:28.200
<v Speaker 1>dad listened to Hank Williams and Bill Monroe and uh

0:15:28.560 --> 0:15:33.360
<v Speaker 1>Merle Haggard and George Jones, Ralph Stanley, stuff like that.

0:15:34.040 --> 0:15:39.840
<v Speaker 1>Um My two older brothers have amazing taste in music

0:15:39.880 --> 0:15:44.760
<v Speaker 1>and had tons of records, eventually thousands of records. And eventually,

0:15:45.160 --> 0:15:49.160
<v Speaker 1>uh my middle brother collected to the point that he

0:15:49.240 --> 0:15:53.160
<v Speaker 1>started a record store of used in new records and

0:15:53.280 --> 0:15:56.520
<v Speaker 1>uh did that for about twenty five years and to

0:15:56.600 --> 0:15:59.960
<v Speaker 1>this day, I think he's got thousands of records, although

0:16:00.120 --> 0:16:02.720
<v Speaker 1>he closed the store a while back. Okay, how old

0:16:02.720 --> 0:16:06.720
<v Speaker 1>were you when he opened the store? Uh, I guess

0:16:06.720 --> 0:16:09.760
<v Speaker 1>I was in my twenties. Okay, so you were already

0:16:09.760 --> 0:16:13.840
<v Speaker 1>out of the house. Yeah, Okay, So when do you

0:16:13.920 --> 0:16:20.320
<v Speaker 1>first play a musical instrument. I started singing probably around

0:16:20.360 --> 0:16:25.960
<v Speaker 1>seven or eight, And thanks to my older brothers, they

0:16:25.960 --> 0:16:28.880
<v Speaker 1>had all this great soul music, the Temptations and the

0:16:28.920 --> 0:16:32.120
<v Speaker 1>Four Tops and Sam and Dave and Wilson Pickett. I

0:16:32.160 --> 0:16:37.160
<v Speaker 1>think James Brown was my first hero. Um we had

0:16:37.840 --> 0:16:40.280
<v Speaker 1>at a time when we only had a handful of records.

0:16:40.840 --> 0:16:43.240
<v Speaker 1>It was the best of Aretha Franklin, the best of

0:16:43.240 --> 0:16:46.160
<v Speaker 1>Stevie Wonder, the best of the Four Tops, you know,

0:16:46.720 --> 0:16:50.840
<v Speaker 1>all that stuff. And they also had the Beatles and

0:16:50.880 --> 0:16:58.680
<v Speaker 1>the Stones. Um and the fact that they had so

0:16:58.720 --> 0:17:01.400
<v Speaker 1>many records just kind of gave me this library to

0:17:01.560 --> 0:17:04.439
<v Speaker 1>dig through. My oldest brother got a guitar when I

0:17:04.520 --> 0:17:09.040
<v Speaker 1>was eleven, and uh, I played it more than he did.

0:17:09.080 --> 0:17:12.760
<v Speaker 1>So I got my own guitar when I was twelve. Okay, See,

0:17:12.800 --> 0:17:16.520
<v Speaker 1>were singing like singing in school, saying in the in

0:17:16.560 --> 0:17:19.520
<v Speaker 1>the school chorus and in church in the beginning when

0:17:19.520 --> 0:17:23.400
<v Speaker 1>I actually went to church, um, but mostly in my bedroom,

0:17:23.600 --> 0:17:26.320
<v Speaker 1>you know, uh, trying to sound like Wilson Pickett, but

0:17:26.359 --> 0:17:30.040
<v Speaker 1>sounded more like Smokey Robinson. Okay, so you pick up

0:17:30.280 --> 0:17:32.960
<v Speaker 1>the guitar. Your brothers guitar were levant you ever have lessons.

0:17:34.119 --> 0:17:36.560
<v Speaker 1>I took a handful of lessons from this guy named

0:17:36.560 --> 0:17:40.680
<v Speaker 1>Andy Hunter, who was a local UH blues guitar player

0:17:40.680 --> 0:17:43.880
<v Speaker 1>who was really great, but he was self taught, and

0:17:43.960 --> 0:17:46.840
<v Speaker 1>so after a few lessons, he kind of pulled me

0:17:46.880 --> 0:17:50.640
<v Speaker 1>aside and said, hey, you know, most of my students

0:17:50.960 --> 0:17:55.199
<v Speaker 1>don't even practice in the six days between lessons. I

0:17:55.240 --> 0:17:57.840
<v Speaker 1>can tell you're really serious about this. You should probably

0:17:57.880 --> 0:18:00.800
<v Speaker 1>just stay on the path of teaching yourself, which is

0:18:00.880 --> 0:18:05.560
<v Speaker 1>kind of the weirdest, most honest thing for someone to say, uh,

0:18:05.680 --> 0:18:08.520
<v Speaker 1>putting him out of work, But I think the fact

0:18:08.520 --> 0:18:11.399
<v Speaker 1>that he was self taught made him look at it

0:18:11.440 --> 0:18:15.480
<v Speaker 1>that way. I learned a lot from him, um, And

0:18:15.600 --> 0:18:19.040
<v Speaker 1>one of the things that stuck with me was his

0:18:19.119 --> 0:18:22.680
<v Speaker 1>fascination for what he considered the three Kings Freddie, B,

0:18:22.800 --> 0:18:25.040
<v Speaker 1>B and Albert. He said, if you listen to those

0:18:25.080 --> 0:18:29.320
<v Speaker 1>three guys your whole life, you still can't learn at all. Uh.

0:18:29.480 --> 0:18:34.400
<v Speaker 1>So that stayed with me. So how did you teach yourself? Uh?

0:18:34.680 --> 0:18:40.560
<v Speaker 1>Just records, skipping the needle back and play into records. Uh.

0:18:40.720 --> 0:18:43.040
<v Speaker 1>At some point I bought a music theory book and

0:18:43.119 --> 0:18:46.159
<v Speaker 1>just started studying that on my own and and in

0:18:46.240 --> 0:18:50.520
<v Speaker 1>high school I took a one semester course of music theory.

0:18:50.600 --> 0:18:54.200
<v Speaker 1>But mostly there were a circle of musicians that were

0:18:54.240 --> 0:18:56.959
<v Speaker 1>teaching each other how to play and playing together, and

0:18:57.640 --> 0:19:01.399
<v Speaker 1>we were all starting bands before we could even play,

0:19:02.040 --> 0:19:04.600
<v Speaker 1>which I think, looking back was probably a good thing

0:19:04.640 --> 0:19:07.280
<v Speaker 1>because we learned how to play music together, which is

0:19:07.400 --> 0:19:12.119
<v Speaker 1>very important. Okay, did you immediately? I knew from the

0:19:12.119 --> 0:19:14.520
<v Speaker 1>era we all and everybody in my generation a little

0:19:14.520 --> 0:19:17.119
<v Speaker 1>bit older than you played guitars, but it was clear.

0:19:17.160 --> 0:19:19.720
<v Speaker 1>I remember pretty much giving up when a friend of

0:19:19.720 --> 0:19:22.080
<v Speaker 1>mine said, Hey, we're gonna change keys, and I said,

0:19:22.119 --> 0:19:23.800
<v Speaker 1>We'll wait a second. It is a little too much

0:19:23.840 --> 0:19:26.320
<v Speaker 1>for me. So did you. It's always hard work to

0:19:26.320 --> 0:19:28.119
<v Speaker 1>be great, But did you feel you had a natural

0:19:28.119 --> 0:19:31.720
<v Speaker 1>affinity for it? I did. I felt like I had

0:19:31.760 --> 0:19:35.080
<v Speaker 1>an affinity for it. You know. I think everybody when

0:19:35.119 --> 0:19:37.400
<v Speaker 1>they first start, they think this is what I want

0:19:37.400 --> 0:19:39.400
<v Speaker 1>to do for the rest of my life. But then

0:19:39.440 --> 0:19:42.960
<v Speaker 1>that feeling dissipates at some point in a year or two,

0:19:43.440 --> 0:19:46.800
<v Speaker 1>and you start kind of losing interest. I just never

0:19:47.040 --> 0:19:52.160
<v Speaker 1>started losing interest. The interest uh increased, and I as

0:19:52.200 --> 0:19:55.639
<v Speaker 1>I got better, I kind of face the fact that

0:19:57.480 --> 0:19:59.719
<v Speaker 1>the more I learned, the more I wanted to do it.

0:19:59.800 --> 0:20:03.119
<v Speaker 1>And and when I was fourteen, there was a little

0:20:03.160 --> 0:20:06.199
<v Speaker 1>folk club down the street and I would sneak in

0:20:06.240 --> 0:20:09.040
<v Speaker 1>there when the drinking age was eighteen at that time,

0:20:09.440 --> 0:20:11.760
<v Speaker 1>and I would sneak in and hear these folk musicians

0:20:12.640 --> 0:20:16.800
<v Speaker 1>and it was just amazing here in live music like

0:20:16.880 --> 0:20:20.560
<v Speaker 1>that in a in a small environment. And then eventually

0:20:20.960 --> 0:20:23.240
<v Speaker 1>the word got out that I played guitar, so somebody

0:20:23.280 --> 0:20:25.080
<v Speaker 1>asked me to get up and play, and I did,

0:20:25.160 --> 0:20:27.840
<v Speaker 1>and then I was hooked. That's what I wanted to

0:20:27.840 --> 0:20:30.360
<v Speaker 1>do all the time. So you got up and play?

0:20:30.400 --> 0:20:35.240
<v Speaker 1>Would you play some blues or something? It was? It

0:20:35.359 --> 0:20:39.600
<v Speaker 1>was actually at that time the the stage in that club,

0:20:40.200 --> 0:20:42.240
<v Speaker 1>you couldn't put a drum kid on there. You could

0:20:42.240 --> 0:20:44.679
<v Speaker 1>only have two or three stringed instruments or something. But

0:20:44.720 --> 0:20:47.399
<v Speaker 1>there were a couple of people playing electric guitar, and

0:20:47.440 --> 0:20:50.000
<v Speaker 1>one of them gave me their electric guitar and and

0:20:50.119 --> 0:20:54.359
<v Speaker 1>I just played along and just remember I have a

0:20:54.480 --> 0:20:58.120
<v Speaker 1>visual recollection of that now and and and how it

0:20:58.160 --> 0:21:03.959
<v Speaker 1>felt as well. Uh, And it was just an amazing feeling,

0:21:04.080 --> 0:21:06.600
<v Speaker 1>something to tap into, something to be part of that

0:21:08.160 --> 0:21:11.080
<v Speaker 1>I had never experienced before. And what was the reaction

0:21:11.119 --> 0:21:14.720
<v Speaker 1>to anybody say, hey, kid, you're good to stay at it. Yeah,

0:21:14.800 --> 0:21:19.240
<v Speaker 1>there was a lot of encouragement, you know. Uh, the

0:21:19.400 --> 0:21:23.959
<v Speaker 1>um the local musician scene was very encouraging to me,

0:21:24.000 --> 0:21:26.800
<v Speaker 1>and so I would go there all the time, and

0:21:26.840 --> 0:21:30.000
<v Speaker 1>I met more and more of the local musicians and

0:21:30.000 --> 0:21:32.840
<v Speaker 1>they would all get me up to play. And that's

0:21:32.840 --> 0:21:39.720
<v Speaker 1>where I really developed this appreciation for folk music and

0:21:39.800 --> 0:21:43.080
<v Speaker 1>for songwriting in general, because a lot of those local

0:21:43.119 --> 0:21:48.119
<v Speaker 1>guys were fantastic songwriters and they were doing their own material.

0:21:48.280 --> 0:21:51.320
<v Speaker 1>And that was a revelation as well that these guys

0:21:51.320 --> 0:21:54.120
<v Speaker 1>are writing their own songs and they're really good. Then

0:21:54.160 --> 0:21:57.399
<v Speaker 1>they would also be playing Dylan songs and John Pryan

0:21:57.560 --> 0:22:03.000
<v Speaker 1>songs and uh, stuff like that. But it was turning

0:22:03.000 --> 0:22:06.320
<v Speaker 1>me onto this world of music that I was ready for.

0:22:07.640 --> 0:22:11.960
<v Speaker 1>So what was your first guitar? The first guitar I

0:22:12.040 --> 0:22:15.960
<v Speaker 1>had was called a Norma uh, and it was There

0:22:16.000 --> 0:22:19.360
<v Speaker 1>was a Norma Amp forty nine dollars and fifty nine

0:22:19.400 --> 0:22:22.760
<v Speaker 1>dollars respectively, and my dad got home at the local

0:22:22.800 --> 0:22:26.200
<v Speaker 1>hardware store. And how how long did it take to

0:22:26.240 --> 0:22:29.920
<v Speaker 1>graduate from that? I think probably a year or so.

0:22:30.760 --> 0:22:34.080
<v Speaker 1>I got a copy of a Gibson s G. There

0:22:34.160 --> 0:22:37.080
<v Speaker 1>was a hundred dollars about a year later, and then

0:22:37.119 --> 0:22:40.000
<v Speaker 1>about a year after that, I got a real Gibson

0:22:40.480 --> 0:22:43.480
<v Speaker 1>s G Jr. And my dad was really good about,

0:22:44.440 --> 0:22:49.359
<v Speaker 1>uh upgrading and just as long as I didn't lose interest,

0:22:49.440 --> 0:22:53.040
<v Speaker 1>he would continue to make sure I had a little

0:22:53.040 --> 0:22:56.400
<v Speaker 1>bit better guitar, a little bit better I amp. You know. Well,

0:22:56.440 --> 0:22:58.600
<v Speaker 1>I grew up in Connecticut. We would go into New

0:22:58.680 --> 0:23:03.600
<v Speaker 1>York Street whatever it was, and by where did you

0:23:03.640 --> 0:23:07.160
<v Speaker 1>actually buy the stuff you're in color? In North Carolina, Well,

0:23:07.200 --> 0:23:11.199
<v Speaker 1>there was a music store, oddly enough a few blocks

0:23:11.200 --> 0:23:14.040
<v Speaker 1>from my house. And when I would ride the bus

0:23:14.040 --> 0:23:16.919
<v Speaker 1>to and from school, that's where we would get on

0:23:17.000 --> 0:23:19.200
<v Speaker 1>and off. The bus was on that corner where the

0:23:19.280 --> 0:23:22.320
<v Speaker 1>music store was. And so at the at the end

0:23:22.320 --> 0:23:25.040
<v Speaker 1>of the day, Uh, the two or three people that

0:23:25.119 --> 0:23:28.760
<v Speaker 1>were in my circle of musician friends, we would get

0:23:28.800 --> 0:23:31.000
<v Speaker 1>off the bus and immediately go into the music store

0:23:31.000 --> 0:23:33.800
<v Speaker 1>and just geek out and look at everything and annoy

0:23:33.880 --> 0:23:37.320
<v Speaker 1>the people that ran it, you know, and let's try this,

0:23:37.440 --> 0:23:40.760
<v Speaker 1>let's try that, and spend hours in there, uh, which

0:23:40.840 --> 0:23:43.720
<v Speaker 1>in hindsight must have been really annoying, but they were

0:23:43.760 --> 0:23:47.040
<v Speaker 1>so supportive and nice and and then of course we're

0:23:47.160 --> 0:23:51.320
<v Speaker 1>friends now. But uh, we literally spent hours of our

0:23:51.400 --> 0:23:54.600
<v Speaker 1>day in the music store just playing instruments. You know.

0:23:55.440 --> 0:24:02.120
<v Speaker 1>And when did you start forming bands? I think almost

0:24:02.200 --> 0:24:06.400
<v Speaker 1>at the very beginning, you know, we were designing album

0:24:06.480 --> 0:24:10.960
<v Speaker 1>covers and you know every crazy thing that that kids do.

0:24:11.160 --> 0:24:16.600
<v Speaker 1>That uh the first time I think we played in public.

0:24:17.880 --> 0:24:20.000
<v Speaker 1>There were a few things, like we played a walkathon

0:24:20.600 --> 0:24:23.360
<v Speaker 1>where these poor people that had just walked twenty miles

0:24:23.920 --> 0:24:27.399
<v Speaker 1>when they when they were done, they got like free

0:24:27.440 --> 0:24:30.159
<v Speaker 1>punch and to sit and listen to us play. And

0:24:30.200 --> 0:24:33.000
<v Speaker 1>it must have been very painful. But they were a

0:24:33.080 --> 0:24:35.199
<v Speaker 1>captive audience. You know. We played a few things. They

0:24:35.200 --> 0:24:37.359
<v Speaker 1>were all free gigs. In the beginning. We would just

0:24:37.400 --> 0:24:40.600
<v Speaker 1>play anywhere anybody would have us know, and what material

0:24:40.680 --> 0:24:45.919
<v Speaker 1>were playing? Oh my goodness, back then, Uh whatever was

0:24:46.000 --> 0:24:51.399
<v Speaker 1>going on at the time. Uh where it be Grand

0:24:51.400 --> 0:24:57.160
<v Speaker 1>Funk railroad, Uh could be uh well, you know, oddly enough,

0:24:57.640 --> 0:25:01.879
<v Speaker 1>when I was fourt in their fifteen, we had a

0:25:01.880 --> 0:25:05.399
<v Speaker 1>band called Blue Sky that was named after the Allman

0:25:05.440 --> 0:25:09.760
<v Speaker 1>Brothers song and we had two drummers. And so how

0:25:10.359 --> 0:25:14.800
<v Speaker 1>foreshadowing is that? I mean, you know, we played a

0:25:14.800 --> 0:25:17.320
<v Speaker 1>handful of of all my brothers songs, but we played

0:25:17.520 --> 0:25:19.880
<v Speaker 1>a lot of other stuff as well, but we were

0:25:19.920 --> 0:25:23.960
<v Speaker 1>big enough fans to call our band that. So you

0:25:24.119 --> 0:25:27.639
<v Speaker 1>graduate from high school and you tell your father, what

0:25:27.640 --> 0:25:31.679
<v Speaker 1>what's the path? Then I want to go on the

0:25:31.800 --> 0:25:36.120
<v Speaker 1>road and play music and uh not go to college.

0:25:36.240 --> 0:25:41.240
<v Speaker 1>And he was, I'm sure extremely disappointed because I would

0:25:41.240 --> 0:25:43.359
<v Speaker 1>have been the first person in our family to go

0:25:43.400 --> 0:25:48.960
<v Speaker 1>to college. Um. But he said, if that's what you

0:25:49.000 --> 0:25:51.840
<v Speaker 1>want to do and you're gonna give it everything you got,

0:25:51.880 --> 0:25:55.400
<v Speaker 1>then you have my blessing. And he was always supportive

0:25:55.480 --> 0:26:00.240
<v Speaker 1>that way. Um, I'm not sure that I would the

0:26:00.280 --> 0:26:04.520
<v Speaker 1>same decision given that decision to make now, you know,

0:26:04.920 --> 0:26:08.320
<v Speaker 1>for his decision, I mean, uh, you know, if it

0:26:08.359 --> 0:26:11.560
<v Speaker 1>were my son, I'm not sure I would be so understanding. Well,

0:26:11.640 --> 0:26:14.800
<v Speaker 1>let's just say, hypothetically, if you would gone to college,

0:26:14.840 --> 0:26:18.400
<v Speaker 1>what would be it would have been different for you? Um?

0:26:18.800 --> 0:26:22.000
<v Speaker 1>Good question, you know, because a lot of bands starting college,

0:26:22.119 --> 0:26:25.719
<v Speaker 1>you know, especially uh the New York scene when I

0:26:25.760 --> 0:26:32.080
<v Speaker 1>came to New York and uh bands like Blues Traveler

0:26:32.160 --> 0:26:35.480
<v Speaker 1>and Spin Doctors and of course the Dave Matthews band

0:26:35.520 --> 0:26:39.240
<v Speaker 1>in Virginia. All those bands, Uh, started out playing together

0:26:39.280 --> 0:26:42.199
<v Speaker 1>in college and started a scene at their college. So

0:26:42.280 --> 0:26:45.240
<v Speaker 1>maybe I would have done that. But had I gone

0:26:45.240 --> 0:26:49.720
<v Speaker 1>to college, I would have probably going into some sort

0:26:49.760 --> 0:26:53.040
<v Speaker 1>of creative writing journalism type situation, because that's what all

0:26:53.119 --> 0:26:56.200
<v Speaker 1>my teachers were pushing me toward. None of them were

0:26:56.240 --> 0:27:02.000
<v Speaker 1>pushing me towards music. Okay, you started writing songs relatively

0:27:02.040 --> 0:27:06.479
<v Speaker 1>immediately after you went to the folk club, even prior,

0:27:06.520 --> 0:27:12.560
<v Speaker 1>I would say, but really terrible, like horrible songs. But uh,

0:27:12.760 --> 0:27:16.119
<v Speaker 1>from the very beginning, I was writing songs, if you

0:27:16.119 --> 0:27:20.159
<v Speaker 1>could call it that. I started writing poetry before I

0:27:20.160 --> 0:27:24.639
<v Speaker 1>picked up guitar, So as soon as uh, I started

0:27:24.640 --> 0:27:30.919
<v Speaker 1>playing guitar, that just changed to song lyrics. Um, and

0:27:31.080 --> 0:27:34.040
<v Speaker 1>I would hate to go back and have to face

0:27:34.119 --> 0:27:37.680
<v Speaker 1>up to whatever those songs were now. But but unlike

0:27:37.680 --> 0:27:40.000
<v Speaker 1>a lot of musicians, it wasn't the case even with

0:27:40.080 --> 0:27:42.440
<v Speaker 1>the Stones. But we're gonna make a record. You should

0:27:42.440 --> 0:27:45.320
<v Speaker 1>write your own material. You were writing your own material

0:27:45.480 --> 0:27:51.520
<v Speaker 1>at the beginning, even before the dream. Yeah, and uh,

0:27:51.800 --> 0:27:56.320
<v Speaker 1>you know, I guess uh bands from an earlier era

0:27:57.400 --> 0:28:04.160
<v Speaker 1>started out doing covers, but the era I was influenced

0:28:04.160 --> 0:28:06.840
<v Speaker 1>by at that time, I guess everybody was mostly writing

0:28:06.840 --> 0:28:09.840
<v Speaker 1>their own music, and I, in my head, that's what

0:28:09.880 --> 0:28:15.000
<v Speaker 1>you did. Okay. So you say you went to Nashville

0:28:15.000 --> 0:28:17.640
<v Speaker 1>when you were twenty three, what happened from eighteen when

0:28:17.640 --> 0:28:21.359
<v Speaker 1>you graduated from high school to tree. I was in

0:28:21.400 --> 0:28:25.840
<v Speaker 1>a band Locally. There was a band called Ricochet that

0:28:26.560 --> 0:28:29.720
<v Speaker 1>was kind of a Southern rock type band. I was

0:28:29.760 --> 0:28:33.240
<v Speaker 1>the youngest member of that band, and we were trying

0:28:33.320 --> 0:28:37.280
<v Speaker 1>to get a record deal with no clue as to

0:28:37.320 --> 0:28:42.040
<v Speaker 1>how to go about that. UM and that band went

0:28:42.080 --> 0:28:47.560
<v Speaker 1>through a few incarnations and broke up several times, and

0:28:47.600 --> 0:28:52.680
<v Speaker 1>then at the end, when the last incarnation reformed, we

0:28:52.760 --> 0:28:56.880
<v Speaker 1>did our very first gig. And the same day that

0:28:56.920 --> 0:28:59.320
<v Speaker 1>we played our first gig, I had gotten a phone

0:28:59.320 --> 0:29:05.640
<v Speaker 1>call UH from this guy that was playing UH in

0:29:05.760 --> 0:29:08.600
<v Speaker 1>David allen Coe's band, and he said, we're looking for

0:29:08.640 --> 0:29:11.800
<v Speaker 1>a guitar player. Are you interested? And I didn't really

0:29:11.840 --> 0:29:17.960
<v Speaker 1>know much about CO I didn't know his music, but

0:29:18.560 --> 0:29:22.760
<v Speaker 1>it seemed like a step up. And so after our

0:29:22.800 --> 0:29:25.760
<v Speaker 1>first reformed gig, I went to the guys and said, Hey,

0:29:26.000 --> 0:29:29.400
<v Speaker 1>I think I'm gonna take this gig and got on

0:29:29.440 --> 0:29:34.480
<v Speaker 1>a plane and UH flew to Baton Rouge Louisiana Christmas Eve,

0:29:35.760 --> 0:29:40.360
<v Speaker 1>and uh joined a situation that was I was totally

0:29:40.440 --> 0:29:49.600
<v Speaker 1>unprepared for okay, just to do a little backfilm. How

0:29:49.640 --> 0:29:54.280
<v Speaker 1>old were you when you first took the co gig? Uh?

0:29:54.440 --> 0:29:57.000
<v Speaker 1>I think I just turned twenty. Okay, so for the

0:29:57.040 --> 0:29:59.920
<v Speaker 1>two years since high school you were still living at home?

0:30:00.000 --> 0:30:05.840
<v Speaker 1>Were you making any money playing music? Uh? You know,

0:30:05.920 --> 0:30:10.120
<v Speaker 1>we were making enough money to be content. We we

0:30:10.120 --> 0:30:13.320
<v Speaker 1>weren't making very much money and it was not sustainable,

0:30:14.040 --> 0:30:18.120
<v Speaker 1>but it was at that time it was it felt

0:30:18.160 --> 0:30:24.480
<v Speaker 1>like a pretty good life. Um. I lived a friend

0:30:24.480 --> 0:30:26.320
<v Speaker 1>of mine named Matt Sluter. He and I had a

0:30:26.360 --> 0:30:30.680
<v Speaker 1>house together of our own that we rented for like

0:30:30.720 --> 0:30:35.960
<v Speaker 1>two hundred bucks a month or something. Um. But I

0:30:36.000 --> 0:30:40.600
<v Speaker 1>was only there about six months, and then that's when

0:30:40.640 --> 0:30:42.320
<v Speaker 1>I got the offer to go on the road and

0:30:43.240 --> 0:30:48.120
<v Speaker 1>wound up leaving. Uh. You know, like I said, at

0:30:48.120 --> 0:30:50.920
<v Speaker 1>the time, it just seemed like a step up, and

0:30:50.960 --> 0:30:53.960
<v Speaker 1>so I had to try and see what happened. Okay,

0:30:54.000 --> 0:31:07.120
<v Speaker 1>you say you were totally unprepared. Amplify that? Well? Is uh? Music, lifestyle, entourage, Uh, persona,

0:31:08.000 --> 0:31:13.040
<v Speaker 1>everything was the whole other world. You know. I was

0:31:13.080 --> 0:31:16.680
<v Speaker 1>this little genteel hippie kid from Asheville, and I was

0:31:16.720 --> 0:31:22.480
<v Speaker 1>thrust into this world of of bikers and and uh

0:31:22.800 --> 0:31:30.560
<v Speaker 1>rowdy craziness, which you know. I guess education comes in

0:31:30.600 --> 0:31:35.760
<v Speaker 1>all forms, right. Well the first musically, do you have

0:31:35.800 --> 0:31:38.160
<v Speaker 1>any because obviously you have to be anxious, did you

0:31:38.200 --> 0:31:41.720
<v Speaker 1>have any problem fitting in with the band? Well, we

0:31:41.880 --> 0:31:45.880
<v Speaker 1>had a phone conversation, and I don't really, I don't.

0:31:46.040 --> 0:31:49.360
<v Speaker 1>I didn't consider myself cocky, so to speak. I was

0:31:49.400 --> 0:31:51.880
<v Speaker 1>pretty shy, but I guess I was somewhat cocky on

0:31:51.920 --> 0:31:55.880
<v Speaker 1>the phone. Uh. He said, I'm looking for a guitar player,

0:31:56.520 --> 0:32:00.800
<v Speaker 1>and I said, well, I don't really consider myself a

0:32:00.800 --> 0:32:04.160
<v Speaker 1>country guitar player and I'm not really looking to be

0:32:04.280 --> 0:32:08.120
<v Speaker 1>a country guitar player. Uh. And he said, well, I'm

0:32:08.120 --> 0:32:10.840
<v Speaker 1>looking for a blues rock guitar player to add an

0:32:10.920 --> 0:32:14.680
<v Speaker 1>edge to my music. And I said, well, if you're

0:32:14.680 --> 0:32:17.520
<v Speaker 1>saying that I can play like myself, then I might

0:32:17.560 --> 0:32:19.280
<v Speaker 1>be interested. But if you want me to play like

0:32:19.360 --> 0:32:23.040
<v Speaker 1>somebody else, I'm not interested. And he he liked that,

0:32:23.120 --> 0:32:25.760
<v Speaker 1>and he said, I think you're gonna be just fine.

0:32:26.440 --> 0:32:28.800
<v Speaker 1>This is this is co himself for your being. It

0:32:28.840 --> 0:32:30.920
<v Speaker 1>was it was him himself who I had never met,

0:32:31.080 --> 0:32:37.880
<v Speaker 1>knew nothing about and uh, so I flew to Baton Rouge.

0:32:38.320 --> 0:32:41.440
<v Speaker 1>I took one guitar with me. The Airlines lost my guitar,

0:32:43.000 --> 0:32:46.520
<v Speaker 1>and on the phone he had said, you know, I said,

0:32:46.520 --> 0:32:48.480
<v Speaker 1>I don't know any your songs, and he said, well,

0:32:48.520 --> 0:32:51.120
<v Speaker 1>come sit in the audience for two or three nights,

0:32:51.160 --> 0:32:53.720
<v Speaker 1>or stand backstage and and listen to the show, and

0:32:53.800 --> 0:32:57.320
<v Speaker 1>after a few nights you should be ready to play.

0:32:57.840 --> 0:33:01.280
<v Speaker 1>And I didn't realize that he was completely lying to me.

0:33:01.440 --> 0:33:04.560
<v Speaker 1>He uh, I got there, they lost my guitar. I

0:33:04.600 --> 0:33:09.200
<v Speaker 1>went to sound check and I was bitching and cussing,

0:33:09.240 --> 0:33:11.680
<v Speaker 1>and he said, what's wrong? And I said, the Airlines

0:33:11.720 --> 0:33:14.480
<v Speaker 1>lost my guitar. And he said, well that's okay. When

0:33:14.520 --> 0:33:17.920
<v Speaker 1>we play tonight, you can play one of mine. And

0:33:17.960 --> 0:33:19.960
<v Speaker 1>I said, well, what do you mean. I'm gonna sit

0:33:20.000 --> 0:33:21.720
<v Speaker 1>and listen to the show for a few days. And

0:33:21.720 --> 0:33:23.880
<v Speaker 1>he's like, oh no, not, I changed my mind. You're

0:33:23.880 --> 0:33:28.360
<v Speaker 1>on tonight. And so I went on stage and played

0:33:28.360 --> 0:33:30.880
<v Speaker 1>a bunch of songs I've never heard before. Uh and

0:33:30.960 --> 0:33:34.760
<v Speaker 1>that was my audition. And were you replacing someone or

0:33:34.840 --> 0:33:39.320
<v Speaker 1>adding flavor? I was unbeknownst to me, I was the

0:33:39.360 --> 0:33:42.480
<v Speaker 1>only guitar player, the only guitar player. The other guitar

0:33:42.520 --> 0:33:46.800
<v Speaker 1>player had quit and it was me or nobody. So

0:33:47.160 --> 0:33:50.000
<v Speaker 1>that was the situation. But he didn't tell me that, Okay,

0:33:50.040 --> 0:33:54.680
<v Speaker 1>you're on the road, uh, the sex, the drugs. Are

0:33:54.680 --> 0:33:58.480
<v Speaker 1>you relatively innocent and all of a sudden there's craziness?

0:33:58.520 --> 0:34:02.720
<v Speaker 1>What's going on there? Yeah? I mean you know, I

0:34:03.160 --> 0:34:08.120
<v Speaker 1>knew some of that world from always being the youngest

0:34:08.239 --> 0:34:12.560
<v Speaker 1>musician in every band I was ever in, uh. And

0:34:12.640 --> 0:34:16.959
<v Speaker 1>that was the case throughout my life up up through

0:34:17.040 --> 0:34:21.479
<v Speaker 1>joining the Allman Brothers, up until Mark and Jonas and

0:34:21.719 --> 0:34:25.759
<v Speaker 1>o'teel and uh Derek Truck's joined the Allen Brothers. Up

0:34:25.840 --> 0:34:28.520
<v Speaker 1>until that point, I was the youngest person in every

0:34:28.560 --> 0:34:30.480
<v Speaker 1>band I was ever in. So I saw a lot

0:34:30.520 --> 0:34:36.360
<v Speaker 1>of debauchery that I wasn't connected to because in a

0:34:36.440 --> 0:34:40.040
<v Speaker 1>lot of cases it was a bit overwhelming, but it

0:34:40.160 --> 0:34:42.200
<v Speaker 1>kind of went with the territory. But I've never seen

0:34:42.280 --> 0:34:51.400
<v Speaker 1>anything like this. This was total mania, and I I

0:34:51.480 --> 0:34:54.560
<v Speaker 1>probably wanted to bail from the very beginning, probably from

0:34:54.560 --> 0:34:58.840
<v Speaker 1>the first week, if not the first day, but I

0:34:58.880 --> 0:35:01.080
<v Speaker 1>didn't want to give up. I didn't wanna be like, no,

0:35:01.200 --> 0:35:04.920
<v Speaker 1>I'm I'm I'm quitting, you know, I had to give

0:35:04.920 --> 0:35:07.919
<v Speaker 1>it a shot. And of course there were a lot

0:35:07.960 --> 0:35:10.120
<v Speaker 1>of upsides to it, you know. It was it was

0:35:11.440 --> 0:35:15.879
<v Speaker 1>uh being thrust into a world where I could make

0:35:15.920 --> 0:35:19.880
<v Speaker 1>records for the first time, travel all over the country,

0:35:20.000 --> 0:35:23.720
<v Speaker 1>go to Europe, all these things that I wanted to do. Um,

0:35:25.160 --> 0:35:29.319
<v Speaker 1>So it was a complete change for me, you know.

0:35:29.880 --> 0:35:32.560
<v Speaker 1>And are you a relative straight arrow or you the

0:35:32.640 --> 0:35:35.120
<v Speaker 1>type who likes to drink and drug at least some

0:35:35.160 --> 0:35:40.520
<v Speaker 1>point in your life. I think I'm pretty uh pretty

0:35:40.520 --> 0:35:45.560
<v Speaker 1>straight arrow as as relatively speaking. You know, I've been

0:35:45.600 --> 0:35:50.399
<v Speaker 1>alcohol free for thirty seven years or something like that.

0:35:50.440 --> 0:35:54.520
<v Speaker 1>And it's not because it was ever a problem with me. Uh,

0:35:54.600 --> 0:35:58.279
<v Speaker 1>it just wasn't my choice and it wasn't something I

0:35:58.360 --> 0:36:03.320
<v Speaker 1>was really that interested in. And how about drugs? Dabbled

0:36:04.320 --> 0:36:07.799
<v Speaker 1>but very little, you know, uh a lot of a

0:36:07.840 --> 0:36:10.560
<v Speaker 1>lot of smoking pot, okay. And then you have to

0:36:10.600 --> 0:36:15.200
<v Speaker 1>hit the last part of the trifecta. What about sex? Uh,

0:36:15.239 --> 0:36:19.359
<v Speaker 1>you know, less than average, I would say, you know,

0:36:19.400 --> 0:36:25.719
<v Speaker 1>it was there was some enticement early on when you

0:36:25.760 --> 0:36:31.880
<v Speaker 1>have no ties and connections to anything, but it just

0:36:32.040 --> 0:36:35.239
<v Speaker 1>never was my thing. So how long do you played

0:36:35.280 --> 0:36:38.880
<v Speaker 1>with Cole three years, three and a half years. And

0:36:38.920 --> 0:36:45.480
<v Speaker 1>how did that end? Um? I left his band in

0:36:45.640 --> 0:36:55.160
<v Speaker 1>January of eighty four, and about six months later he

0:36:55.320 --> 0:36:58.200
<v Speaker 1>called called me. He we had not spoken for a

0:36:58.200 --> 0:37:02.360
<v Speaker 1>long time or I quit and and he called me

0:37:02.400 --> 0:37:03.840
<v Speaker 1>and said, hey, I'm making a new record. Do you

0:37:03.880 --> 0:37:06.600
<v Speaker 1>want to come play on it? And I said yeah, sure,

0:37:06.800 --> 0:37:08.520
<v Speaker 1>And he said he won't come back on the road,

0:37:08.520 --> 0:37:13.840
<v Speaker 1>and I said no. And so then for the next

0:37:13.840 --> 0:37:15.760
<v Speaker 1>two or three records he would call me and asked

0:37:15.760 --> 0:37:17.600
<v Speaker 1>me to come in, but not for the whole record.

0:37:17.640 --> 0:37:18.920
<v Speaker 1>He was just asked me to play on two or

0:37:18.920 --> 0:37:22.120
<v Speaker 1>three songs, as opposed to in prior when I played

0:37:22.160 --> 0:37:27.200
<v Speaker 1>on the entire thing. So you quit? What was the plan? Uh? Two?

0:37:27.680 --> 0:37:35.520
<v Speaker 1>Go to Nashville pursue a career as a studio musician. Um.

0:37:35.560 --> 0:37:39.840
<v Speaker 1>It was the closest town to Asheville that had a

0:37:39.920 --> 0:37:44.240
<v Speaker 1>music scene and in five hours I could be home

0:37:44.719 --> 0:37:46.960
<v Speaker 1>in a car, So that part of it was was

0:37:47.040 --> 0:37:51.799
<v Speaker 1>kind of cool. Uh. I didn't know much about the

0:37:51.840 --> 0:37:59.320
<v Speaker 1>whole studio world, and when I started trying to thrust

0:37:59.360 --> 0:38:02.440
<v Speaker 1>myself in to it, there was a lot of learning.

0:38:03.200 --> 0:38:06.759
<v Speaker 1>But luckily I had learned a lot from being able

0:38:06.800 --> 0:38:10.520
<v Speaker 1>to play on on COEs records because he used all

0:38:11.040 --> 0:38:16.080
<v Speaker 1>studio musicians other than myself, and and for a while

0:38:16.360 --> 0:38:19.480
<v Speaker 1>UH Pedal Steel Player also played on the records, but

0:38:19.520 --> 0:38:23.319
<v Speaker 1>then he quit the situation as well. So I was

0:38:23.400 --> 0:38:26.560
<v Speaker 1>learning from all these A team studio pros that were

0:38:26.600 --> 0:38:29.239
<v Speaker 1>the best in the business, a lot of which had

0:38:29.320 --> 0:38:32.759
<v Speaker 1>moved there from Memphis and had played on you know,

0:38:32.800 --> 0:38:36.600
<v Speaker 1>all these great Memphis records and UH and some that

0:38:36.640 --> 0:38:38.880
<v Speaker 1>had moved from l A, but a lot of local

0:38:38.960 --> 0:38:42.120
<v Speaker 1>Nashville guys, and they were all just amazing at what

0:38:42.200 --> 0:38:45.560
<v Speaker 1>they did. But it was another world from what I did,

0:38:46.000 --> 0:38:48.880
<v Speaker 1>and so it was it was a lot to digest

0:38:48.960 --> 0:38:52.200
<v Speaker 1>and a lot to learn. As I started getting better

0:38:52.280 --> 0:38:54.600
<v Speaker 1>at it, and as I started getting more and more

0:38:55.360 --> 0:38:59.640
<v Speaker 1>UH demand or or more and more work offers, I

0:38:59.680 --> 0:39:02.359
<v Speaker 1>started realizing it's not really what I want to do.

0:39:03.160 --> 0:39:08.400
<v Speaker 1>I thought it was, but there wasn't enough being yourself,

0:39:08.719 --> 0:39:13.160
<v Speaker 1>you know. It was too much of a chameleon type experience.

0:39:13.239 --> 0:39:15.880
<v Speaker 1>You had to be what they wanted you to be

0:39:15.920 --> 0:39:19.359
<v Speaker 1>at pretty much every moment, and I couldn't really deal

0:39:19.400 --> 0:39:23.359
<v Speaker 1>with that. So what was the next step? UH? I

0:39:23.440 --> 0:39:27.680
<v Speaker 1>started thanks to this girl named Kim Morrison, who was

0:39:27.719 --> 0:39:31.080
<v Speaker 1>one of the people in Nashville that put together background

0:39:31.200 --> 0:39:34.640
<v Speaker 1>vocal groups. She called me one day and said, what

0:39:34.719 --> 0:39:39.760
<v Speaker 1>do you think about being part of some background vocal sessions?

0:39:40.560 --> 0:39:45.200
<v Speaker 1>And I said, well, you'd have to show me the ropes,

0:39:45.280 --> 0:39:48.120
<v Speaker 1>but yeah, sure, and so she did, and the next thing,

0:39:48.200 --> 0:39:52.600
<v Speaker 1>you know, I was spending more time in the studio singing,

0:39:52.760 --> 0:39:56.240
<v Speaker 1>singing background on other people's records and not playing guitar.

0:39:57.440 --> 0:40:00.360
<v Speaker 1>And uh. I did that for a couple of years,

0:40:00.400 --> 0:40:03.719
<v Speaker 1>and I would talk to the producers and about, hey,

0:40:03.760 --> 0:40:07.280
<v Speaker 1>had you know I also played guitar, And the Nashville

0:40:07.320 --> 0:40:09.840
<v Speaker 1>mentality is, oh no, we got plenty of guitar players.

0:40:09.840 --> 0:40:12.399
<v Speaker 1>You know, you're a singer. And so it was good

0:40:12.440 --> 0:40:15.360
<v Speaker 1>for me in the way that I really learned a

0:40:15.400 --> 0:40:21.040
<v Speaker 1>lot about singing, harmony and adapting to any situation like that.

0:40:21.440 --> 0:40:25.279
<v Speaker 1>And it was great vocal stamina training because some days

0:40:25.280 --> 0:40:30.680
<v Speaker 1>we'd sing for like ten hours. Um. And so I

0:40:30.719 --> 0:40:35.120
<v Speaker 1>had met Dicky Betts along the way. I had met him,

0:40:35.280 --> 0:40:38.640
<v Speaker 1>I think when I was twenty one, and had sat

0:40:38.680 --> 0:40:41.239
<v Speaker 1>in with him when I was in Ko's band, and

0:40:41.280 --> 0:40:44.560
<v Speaker 1>he had sat in with us, and we kind of

0:40:44.560 --> 0:40:47.400
<v Speaker 1>had become friends, but we didn't see each other that often.

0:40:48.000 --> 0:40:51.000
<v Speaker 1>And so one day Kim called me and said, I'm

0:40:51.040 --> 0:40:54.080
<v Speaker 1>putting together a vocal group to sing background on Dicky

0:40:54.160 --> 0:40:56.160
<v Speaker 1>Bets's record. Do you want to do it? And I'm

0:40:56.200 --> 0:41:00.560
<v Speaker 1>like absolutely. So I walked in the studio and Dicky

0:41:00.680 --> 0:41:02.880
<v Speaker 1>looked at me and and he was like, what are

0:41:02.880 --> 0:41:05.320
<v Speaker 1>you doing here? And I was like, oh, here to

0:41:05.360 --> 0:41:09.680
<v Speaker 1>sing harmony. He's like, oh, you got a guitar and

0:41:09.800 --> 0:41:11.719
<v Speaker 1>I was like, no, I didn't bring a guitar, and

0:41:11.800 --> 0:41:13.560
<v Speaker 1>he just kind of laughed and said, well good, I

0:41:13.600 --> 0:41:15.600
<v Speaker 1>don't want to hear you play anyway. And you know,

0:41:15.719 --> 0:41:19.080
<v Speaker 1>so we're just like joking around, but it planted this

0:41:19.160 --> 0:41:21.520
<v Speaker 1>seat in his head because one of the guys in

0:41:21.560 --> 0:41:24.560
<v Speaker 1>his band, Marty Prevent, the bass player, had been kind

0:41:24.560 --> 0:41:28.120
<v Speaker 1>of pushing Dicky to get me in his band. And

0:41:28.200 --> 0:41:32.120
<v Speaker 1>so what I realized was they were making this kind

0:41:32.160 --> 0:41:36.239
<v Speaker 1>of Nashville country record and it wasn't it wasn't very good.

0:41:36.280 --> 0:41:40.319
<v Speaker 1>It was it was pretty stale and and like an

0:41:40.360 --> 0:41:45.040
<v Speaker 1>attempt at being commercial but very generic. And I was

0:41:45.080 --> 0:41:49.680
<v Speaker 1>happy to sing on it and reconnect with him. Uh.

0:41:49.760 --> 0:41:52.120
<v Speaker 1>And then he called me out of the blue and said, hey, man,

0:41:52.280 --> 0:41:55.600
<v Speaker 1>Uh I scrapped that record. Uh, he said it just

0:41:55.640 --> 0:41:59.040
<v Speaker 1>wouldn't me. He said, uh, let's get together and write

0:41:59.080 --> 0:42:02.080
<v Speaker 1>some songs and make a can roll record. And so

0:42:02.520 --> 0:42:06.880
<v Speaker 1>we started writing and turned into his record pattern disruptive,

0:42:07.800 --> 0:42:12.080
<v Speaker 1>and that turned into me joining the all my brothers. Okay.

0:42:12.880 --> 0:42:18.560
<v Speaker 1>I know a lot of musicians, and it's frequently about relationships.

0:42:18.560 --> 0:42:21.319
<v Speaker 1>They say, oh, so and so called, but they were

0:42:21.360 --> 0:42:24.239
<v Speaker 1>big friends. Or as you say to the producer, hey,

0:42:24.360 --> 0:42:27.640
<v Speaker 1>I also play the guitar. To what degree were you

0:42:27.719 --> 0:42:33.320
<v Speaker 1>working at as far as selling yourself in greeting yourself

0:42:33.320 --> 0:42:35.000
<v Speaker 1>in the scene in order or are you sitting at

0:42:35.040 --> 0:42:38.279
<v Speaker 1>home waiting for the phone to ring. Well, I've never

0:42:38.360 --> 0:42:42.439
<v Speaker 1>been a super aggressive person. But someone told me when

0:42:42.440 --> 0:42:46.520
<v Speaker 1>I first came to Nashville that you have to take

0:42:47.680 --> 0:42:50.200
<v Speaker 1>every gig that's offered to you, and you have to

0:42:50.200 --> 0:42:54.040
<v Speaker 1>take every session that's offered to you, because the worst

0:42:54.080 --> 0:42:56.879
<v Speaker 1>one is going to lead you to something better. And

0:42:56.960 --> 0:42:59.360
<v Speaker 1>so I found that to be true. I would go

0:42:59.440 --> 0:43:03.800
<v Speaker 1>do these terrible gigs, uh, and these horrible recording sessions,

0:43:04.120 --> 0:43:06.960
<v Speaker 1>but I would meet somebody that called me three months

0:43:07.040 --> 0:43:09.719
<v Speaker 1>later and said, hey, I got this session or this gig,

0:43:09.760 --> 0:43:13.399
<v Speaker 1>do you want to do it. Um. So in that way,

0:43:13.800 --> 0:43:18.680
<v Speaker 1>I was open to whatever would happen. Uh. The the

0:43:18.719 --> 0:43:22.840
<v Speaker 1>final straw for doing those uh terrible gigs came for

0:43:22.960 --> 0:43:26.400
<v Speaker 1>me when I got a call to do this, uh

0:43:26.560 --> 0:43:33.520
<v Speaker 1>this gig in a club five sets a night dollars,

0:43:33.560 --> 0:43:37.920
<v Speaker 1>so it's five dollars a set. And we were in

0:43:37.960 --> 0:43:40.120
<v Speaker 1>the parking lot during one of the breaks and the

0:43:40.239 --> 0:43:43.200
<v Speaker 1>club owner came up tapping his watch, like, you boys

0:43:43.239 --> 0:43:46.680
<v Speaker 1>been on break too long? And I thought, no, I

0:43:46.719 --> 0:43:48.319
<v Speaker 1>think I'm done with this. I don't care if this

0:43:48.440 --> 0:43:51.120
<v Speaker 1>leads me to something else. I'm not doing this anymore.

0:43:51.800 --> 0:43:55.759
<v Speaker 1>And so, uh, my roommate went down and played the

0:43:55.800 --> 0:43:59.440
<v Speaker 1>gig the next night, and somebody fired a gun and

0:44:00.000 --> 0:44:02.319
<v Speaker 1>in the club, and I was like, well, it looks

0:44:02.360 --> 0:44:04.799
<v Speaker 1>like I got out just in time. But you know

0:44:05.160 --> 0:44:08.240
<v Speaker 1>it was. I met a lot of great people through these,

0:44:08.320 --> 0:44:13.040
<v Speaker 1>uh these situations that were far from my ideal. But

0:44:13.280 --> 0:44:15.640
<v Speaker 1>I think that's that's the way it works. If you're

0:44:15.640 --> 0:44:18.760
<v Speaker 1>gonna do that, you have to kind of open yourself

0:44:18.840 --> 0:44:22.120
<v Speaker 1>up to everything. Eventually you meet more and more people

0:44:22.239 --> 0:44:25.520
<v Speaker 1>that that can help. And and uh, you know, there's

0:44:25.520 --> 0:44:28.239
<v Speaker 1>a guitar player in Nashville named Kenny Greenberg, and he

0:44:29.440 --> 0:44:32.600
<v Speaker 1>you're gonna mention, Okay, Well, Kenny, Kenny and I became

0:44:32.680 --> 0:44:35.880
<v Speaker 1>friends and he was kind of the own. He was

0:44:35.920 --> 0:44:41.000
<v Speaker 1>the first call guitar player for uh blues and rock

0:44:41.320 --> 0:44:44.000
<v Speaker 1>sessions and stuff in Nashville, which at that time there

0:44:44.000 --> 0:44:49.200
<v Speaker 1>were not many Uh it was much more country dominated

0:44:49.239 --> 0:44:52.640
<v Speaker 1>than even it is now. Um. But he and I

0:44:52.680 --> 0:44:55.040
<v Speaker 1>became friends, and we did some gigs together and some

0:44:55.120 --> 0:44:57.919
<v Speaker 1>sessions together. And he called me one day and said, hey,

0:44:58.440 --> 0:45:01.839
<v Speaker 1>I get some overflows sometime times sessions that I can't do.

0:45:02.239 --> 0:45:04.479
<v Speaker 1>Can I give them to you if if I can't

0:45:04.520 --> 0:45:06.160
<v Speaker 1>do them? And I was like absolutely. I thought it

0:45:06.200 --> 0:45:09.040
<v Speaker 1>was a really cool thing for him to do. Uh.

0:45:09.080 --> 0:45:14.080
<v Speaker 1>He also recommended this gig that he couldn't do two

0:45:14.160 --> 0:45:17.680
<v Speaker 1>weeks with the Nighthawks, the Blues Ban the Nighthawks, And

0:45:17.760 --> 0:45:19.720
<v Speaker 1>I did that and it was a blast, and Jimmy

0:45:19.760 --> 0:45:24.000
<v Speaker 1>Hall was singing and playing harmonica and saxophone, and Jimmy

0:45:24.040 --> 0:45:25.640
<v Speaker 1>and I knew each other prior to that, but that's

0:45:25.680 --> 0:45:29.920
<v Speaker 1>where we really became close. Uh. But those kind of

0:45:29.920 --> 0:45:35.600
<v Speaker 1>relationships me and everything. Okay, you go to work with Dickey,

0:45:36.160 --> 0:45:38.920
<v Speaker 1>what's the what are the details to being part of

0:45:38.960 --> 0:45:43.959
<v Speaker 1>the reconstituted Almond Brothers. Well, first we wrote a bunch

0:45:43.960 --> 0:45:47.920
<v Speaker 1>of songs and made his solo record. And during that

0:45:48.000 --> 0:45:52.080
<v Speaker 1>whole time process, I had no clue that they were

0:45:52.280 --> 0:45:55.759
<v Speaker 1>thinking of reforming the Alma Brothers. Every time it was

0:45:55.800 --> 0:46:00.279
<v Speaker 1>ever brought up, it was met with a resound no,

0:46:00.880 --> 0:46:04.520
<v Speaker 1>that's never gonna happen. They had vowed to never never reform,

0:46:04.600 --> 0:46:07.080
<v Speaker 1>and as far as I knew, that was going to

0:46:07.200 --> 0:46:12.560
<v Speaker 1>remain the case. So we did Dickie's record. I was

0:46:13.200 --> 0:46:15.120
<v Speaker 1>in his band for about two and a half years,

0:46:15.920 --> 0:46:18.040
<v Speaker 1>and then after his record, we we did a tour

0:46:18.160 --> 0:46:22.640
<v Speaker 1>promoting the record, and then there was a break and

0:46:22.760 --> 0:46:26.240
<v Speaker 1>I at that time I had gotten my first offered

0:46:26.239 --> 0:46:28.239
<v Speaker 1>to sign a record deal with my own as a

0:46:28.239 --> 0:46:31.400
<v Speaker 1>solo artist. So in my mind, that's what I was

0:46:31.400 --> 0:46:34.680
<v Speaker 1>gonna do. Okay, well it's slow down. How did that

0:46:34.719 --> 0:46:37.960
<v Speaker 1>come about? Well, uh, it actually had been brewing for

0:46:38.000 --> 0:46:40.879
<v Speaker 1>a while. I had made up my mind I don't

0:46:40.920 --> 0:46:43.319
<v Speaker 1>want to be a session musician. I either want to

0:46:43.320 --> 0:46:46.640
<v Speaker 1>be in a band where I'm the singer or one

0:46:46.680 --> 0:46:49.880
<v Speaker 1>of the singers, or I want to be a solo artist.

0:46:50.239 --> 0:46:56.360
<v Speaker 1>But I can't do this anymore. And so I I

0:46:56.480 --> 0:46:59.400
<v Speaker 1>hired a manager, this guy named Doc Fields who was

0:47:00.480 --> 0:47:03.840
<v Speaker 1>passed away years ago. He was my first manager, and

0:47:03.960 --> 0:47:09.440
<v Speaker 1>he started sending recordings out and getting interest from some

0:47:09.520 --> 0:47:12.759
<v Speaker 1>record companies and me as an artist. I think I

0:47:12.840 --> 0:47:20.160
<v Speaker 1>was seven or twenty seven, and when Dickie called me,

0:47:20.440 --> 0:47:23.160
<v Speaker 1>there was already some things in the works and I

0:47:23.200 --> 0:47:26.320
<v Speaker 1>wasn't even sure I was gonna be able to juggle

0:47:26.680 --> 0:47:29.760
<v Speaker 1>all of it, and the being a solo artist was

0:47:29.760 --> 0:47:31.520
<v Speaker 1>was very important to me, and I was up front

0:47:31.560 --> 0:47:34.239
<v Speaker 1>with him and said, hey, I'm a huge fan and

0:47:34.280 --> 0:47:37.520
<v Speaker 1>I really really want to do this, but I'm also

0:47:37.680 --> 0:47:41.560
<v Speaker 1>getting this other offer that's very important and I'm not

0:47:41.640 --> 0:47:45.719
<v Speaker 1>sure I can make it all happen. Uh. We did

0:47:46.280 --> 0:47:49.040
<v Speaker 1>make it work out, and I kind of put my

0:47:49.400 --> 0:47:52.360
<v Speaker 1>record on hold for a long time to do his

0:47:52.480 --> 0:47:55.480
<v Speaker 1>record and then do the tour, and then when when

0:47:55.480 --> 0:47:57.600
<v Speaker 1>that was over, I thought, Okay, now I'm gonna start

0:47:57.640 --> 0:48:00.560
<v Speaker 1>focusing on making a solo record. And then they called

0:48:00.600 --> 0:48:02.600
<v Speaker 1>me and said we're putting the all my brothers back

0:48:02.640 --> 0:48:05.239
<v Speaker 1>together and we want you to join, which was a

0:48:05.239 --> 0:48:08.840
<v Speaker 1>complete shock to me. I absolutely had no idea that

0:48:08.880 --> 0:48:12.000
<v Speaker 1>it was coming, and I was like, ship, Okay, I

0:48:12.040 --> 0:48:15.520
<v Speaker 1>guess I'm gonna have to have to postpone my record

0:48:15.520 --> 0:48:17.799
<v Speaker 1>again because there's no way I could turn that down.

0:48:18.160 --> 0:48:22.839
<v Speaker 1>And what year is up? Nine? So eighty nine at

0:48:22.840 --> 0:48:25.480
<v Speaker 1>the time they put together the Only Brothers. How many

0:48:25.560 --> 0:48:28.040
<v Speaker 1>dates a year were they working then? Obviously we're just

0:48:28.080 --> 0:48:32.360
<v Speaker 1>getting back together. Well, they they had released this Dreams

0:48:32.520 --> 0:48:38.920
<v Speaker 1>box set for the twentieth anniversary, and uh, they wanted

0:48:38.960 --> 0:48:42.040
<v Speaker 1>to do a tour in support of that. So it

0:48:42.160 --> 0:48:45.759
<v Speaker 1>was a twentieth anniversary tour promoting the box set, and

0:48:45.760 --> 0:48:51.520
<v Speaker 1>it was only intended to be a one time thing. Uh. Gullibly,

0:48:51.800 --> 0:48:55.640
<v Speaker 1>maybe I believed that I was gonna go do this

0:48:55.680 --> 0:48:57.560
<v Speaker 1>tour and go back to to my life. I had

0:48:57.560 --> 0:49:01.880
<v Speaker 1>no idea that they would, based on the success and

0:49:01.960 --> 0:49:04.600
<v Speaker 1>the chemistry and the fact that everybody was getting along,

0:49:04.680 --> 0:49:06.839
<v Speaker 1>that they would say, oh, let's do it again next year,

0:49:06.880 --> 0:49:08.840
<v Speaker 1>and the next year and the next year. It was

0:49:08.880 --> 0:49:13.320
<v Speaker 1>a year by year thing, um, And I think it

0:49:13.440 --> 0:49:17.839
<v Speaker 1>probably surprised everybody. From the beginning. The chemistry of that band,

0:49:18.120 --> 0:49:21.839
<v Speaker 1>that incarnation of the band was was pretty uncanny. Right

0:49:21.880 --> 0:49:25.640
<v Speaker 1>from the beginning, the original members were getting along again,

0:49:25.719 --> 0:49:30.160
<v Speaker 1>everybody was playing great, The new members were fitting in well,

0:49:30.480 --> 0:49:34.279
<v Speaker 1>and it was just coming together in a way that

0:49:34.320 --> 0:49:39.279
<v Speaker 1>exceeded everybody's expectations. And I think the smartest thing that

0:49:39.480 --> 0:49:45.400
<v Speaker 1>the band did was go back to the early stuff,

0:49:45.480 --> 0:49:51.040
<v Speaker 1>the Duyne, Almond, Barry Oakley era stuff, and pattern everything

0:49:51.600 --> 0:49:55.880
<v Speaker 1>around that. Not worried so much about having to touch

0:49:55.920 --> 0:49:59.120
<v Speaker 1>on every era of the band. They weren't so happy

0:49:59.200 --> 0:50:02.040
<v Speaker 1>with the last few records they had made, so there

0:50:02.120 --> 0:50:05.239
<v Speaker 1>was an instant decision to divorce themselves from that part

0:50:05.239 --> 0:50:07.600
<v Speaker 1>of their career and try to get back to the

0:50:07.600 --> 0:50:11.920
<v Speaker 1>original sound. I think they realized because Dicky and I

0:50:12.000 --> 0:50:17.279
<v Speaker 1>had several conversations that even though they felt like they

0:50:17.320 --> 0:50:21.720
<v Speaker 1>had backed out of the music business because they weren't welcome, uh,

0:50:21.719 --> 0:50:27.400
<v Speaker 1>they weren't really fitting into the current eighties situation about

0:50:27.440 --> 0:50:30.560
<v Speaker 1>by the late eighties, Stevie Ray Vaughan was doing great,

0:50:30.640 --> 0:50:35.560
<v Speaker 1>The Grateful Dead were still doing great, Robert Cray and

0:50:35.600 --> 0:50:39.240
<v Speaker 1>I remember Dickie saying somewhere in between all that stuff

0:50:39.239 --> 0:50:41.480
<v Speaker 1>as us, so maybe maybe it is time for us

0:50:41.560 --> 0:50:45.960
<v Speaker 1>to come back. And so that's what happened. Okay, how

0:50:46.040 --> 0:50:49.040
<v Speaker 1>much of your year was working on the Almond Brothers

0:50:49.320 --> 0:50:50.520
<v Speaker 1>and what do you do with the rest of the

0:50:50.560 --> 0:50:54.399
<v Speaker 1>time less than half we uh, we had more than

0:50:54.440 --> 0:50:58.480
<v Speaker 1>six months to ourselves. So I was, you know, recording demos,

0:50:58.560 --> 0:51:04.280
<v Speaker 1>writing songs, playing gigs, uh, playing my music, and pursuing

0:51:04.320 --> 0:51:08.319
<v Speaker 1>all sorts of stuff. And and it was nice that

0:51:08.440 --> 0:51:12.080
<v Speaker 1>I had that much free time around the all my

0:51:12.200 --> 0:51:18.719
<v Speaker 1>Brothers schedule. Um, but the whole time thinking well, I

0:51:18.760 --> 0:51:23.080
<v Speaker 1>need to get in the studio because years were going

0:51:23.120 --> 0:51:25.960
<v Speaker 1>by without me making my first record. You know. I

0:51:26.000 --> 0:51:30.120
<v Speaker 1>recorded my first record in two that I had been

0:51:30.120 --> 0:51:34.319
<v Speaker 1>working on in my head since seven. Okay, you joined

0:51:34.360 --> 0:51:37.000
<v Speaker 1>the Allman Brothers. Do they treat you right? Are you

0:51:37.000 --> 0:51:41.480
<v Speaker 1>a member of the band? Uh? Not a member from

0:51:41.520 --> 0:51:47.160
<v Speaker 1>a business standpoint, you know. Um, but I think a

0:51:47.239 --> 0:51:51.160
<v Speaker 1>really smart decision on their part, which I would assume

0:51:51.200 --> 0:51:54.319
<v Speaker 1>that they really had to look at it this way

0:51:54.360 --> 0:51:58.000
<v Speaker 1>because of the music and the the legacy of that band.

0:51:59.239 --> 0:52:03.560
<v Speaker 1>It wasn't debt on stage as like the original members

0:52:03.640 --> 0:52:05.719
<v Speaker 1>and the new guys or the sidemen. It was it

0:52:05.800 --> 0:52:13.480
<v Speaker 1>was a band. Everybody was meant to contribute and and uh,

0:52:13.719 --> 0:52:16.040
<v Speaker 1>you know a lot of bands that reformed, you would

0:52:16.080 --> 0:52:19.480
<v Speaker 1>have the original members visually would be the band and

0:52:19.520 --> 0:52:24.160
<v Speaker 1>everybody else would be like the hired guns, but that

0:52:24.160 --> 0:52:26.799
<v Speaker 1>that was never meant to be what the Allman Brothers was.

0:52:26.880 --> 0:52:29.359
<v Speaker 1>So from the very very beginning, the latitude that they

0:52:29.400 --> 0:52:34.600
<v Speaker 1>gave us all was tremendous, you know, input, plenty of

0:52:34.640 --> 0:52:40.279
<v Speaker 1>space to play and that way, I felt extremely included.

0:52:41.120 --> 0:52:45.600
<v Speaker 1>And and and I was writing songs, co writing with Dickie.

0:52:45.680 --> 0:52:49.600
<v Speaker 1>They were, Uh. I sang a song on the first record.

0:52:49.640 --> 0:52:51.920
<v Speaker 1>I sang a song on the second record. Uh, you know,

0:52:52.000 --> 0:52:56.480
<v Speaker 1>there was like the third record, and I felt like

0:52:56.560 --> 0:52:59.960
<v Speaker 1>in the situation I was in, they were they were

0:53:00.680 --> 0:53:04.959
<v Speaker 1>really respectful of of my situation. So then Dicky gets

0:53:05.040 --> 0:53:07.719
<v Speaker 1>kicked out of the band. Give us your take on that.

0:53:08.120 --> 0:53:12.160
<v Speaker 1>I know it's dicey, but yeah, that was Uh, there

0:53:12.239 --> 0:53:15.360
<v Speaker 1>was a lot of water under the bridge. But between

0:53:15.440 --> 0:53:20.280
<v Speaker 1>eighty nine and that, when uh, when we when Government

0:53:20.360 --> 0:53:26.399
<v Speaker 1>Mule formed in late nine, Woody and I had no

0:53:28.480 --> 0:53:32.600
<v Speaker 1>um thoughts of leaving the Allman Brothers so to speak.

0:53:32.640 --> 0:53:36.560
<v Speaker 1>We were just doing a side project. But at that

0:53:36.640 --> 0:53:39.640
<v Speaker 1>time the Allman Brothers, the the original members, were not

0:53:39.719 --> 0:53:44.520
<v Speaker 1>getting along so well, and there was there was no writing,

0:53:44.600 --> 0:53:50.960
<v Speaker 1>no rehearsing, no recording, no communicating for that matter. And

0:53:51.040 --> 0:53:54.319
<v Speaker 1>so in Government Mule, all those things were flourishing, and

0:53:54.400 --> 0:54:01.800
<v Speaker 1>so it was the balance was shifting. So eventually, uh,

0:54:01.840 --> 0:54:07.000
<v Speaker 1>we felt like we needed to leave the Allman Brothers

0:54:07.239 --> 0:54:11.399
<v Speaker 1>in order to be taken seriously as government mule, because

0:54:11.440 --> 0:54:14.600
<v Speaker 1>it was turning into something more than a side project.

0:54:15.120 --> 0:54:19.520
<v Speaker 1>So in seven, Woody and I left the Alma Brothers

0:54:20.480 --> 0:54:25.319
<v Speaker 1>and it wasn't until I guess ninety nine that they

0:54:25.680 --> 0:54:31.600
<v Speaker 1>kicked Dickie out, which so I wasn't around for that. Um.

0:54:31.640 --> 0:54:35.560
<v Speaker 1>And that's that's a really touchy subject for for everybody,

0:54:35.600 --> 0:54:38.920
<v Speaker 1>but for myself, Dicky is the one that gave me

0:54:38.960 --> 0:54:41.560
<v Speaker 1>the opportunity. He's the one that brought me into the band.

0:54:41.600 --> 0:54:43.480
<v Speaker 1>He brought me into his band. He brought me into

0:54:43.480 --> 0:54:48.719
<v Speaker 1>the Alma Brothers. He insisted that I be a big

0:54:48.800 --> 0:54:52.240
<v Speaker 1>part of the writing process and the creative process and

0:54:52.239 --> 0:54:58.360
<v Speaker 1>and and you know, I feel like I owe him

0:54:58.400 --> 0:55:01.200
<v Speaker 1>a huge part of my career. And when was the

0:55:01.280 --> 0:55:05.759
<v Speaker 1>last time you talked to him? Uh? Last time I

0:55:05.800 --> 0:55:13.239
<v Speaker 1>talked to him was when he played peach Fest um

0:55:13.280 --> 0:55:17.920
<v Speaker 1>and we spoke briefly, but I listened to his his set,

0:55:18.040 --> 0:55:23.480
<v Speaker 1>and I guess that's been about a year ago. Okay,

0:55:23.880 --> 0:55:27.239
<v Speaker 1>you know, forgetting all the things that were said. One

0:55:27.280 --> 0:55:31.160
<v Speaker 1>of the discussions is that he was bipolar and would

0:55:31.200 --> 0:55:33.239
<v Speaker 1>sort of leave the boat for a while. Did you

0:55:33.320 --> 0:55:39.279
<v Speaker 1>experience that in your time with him? Well, suffice to

0:55:39.360 --> 0:55:45.600
<v Speaker 1>say the Allman Brothers was plagued with plenty of issues

0:55:46.320 --> 0:55:50.560
<v Speaker 1>along those lines. It's not really my place to examine

0:55:50.600 --> 0:55:53.640
<v Speaker 1>or report on on that. I knew the history of

0:55:53.680 --> 0:55:57.920
<v Speaker 1>the band before I joined, and you know, it extended

0:55:57.960 --> 0:56:04.400
<v Speaker 1>far beyond uh in any problems Dickie might have you know, um.

0:56:04.440 --> 0:56:09.200
<v Speaker 1>But there was a lot of drama for sure. I mean,

0:56:09.440 --> 0:56:15.480
<v Speaker 1>you know, there was a time period when Greg and

0:56:15.560 --> 0:56:21.480
<v Speaker 1>Dicky couldn't or wouldn't communicate, and so Dicky would come

0:56:21.520 --> 0:56:24.160
<v Speaker 1>to me and say, hey, warn't I can't talk to Greg.

0:56:24.160 --> 0:56:28.120
<v Speaker 1>Will you talk to him about this? And then Greg

0:56:28.160 --> 0:56:29.719
<v Speaker 1>would come to me and say, man, I can't talk

0:56:29.760 --> 0:56:31.319
<v Speaker 1>to Dicky, will you talk to him about this? And

0:56:31.360 --> 0:56:34.520
<v Speaker 1>I was literally pushed me pull you in the middle

0:56:34.680 --> 0:56:38.120
<v Speaker 1>and trying to to kind of be Switzerland and and

0:56:38.360 --> 0:56:41.880
<v Speaker 1>not take sides, but and trying to just speak my mind,

0:56:42.719 --> 0:56:46.880
<v Speaker 1>but also to stay out of age old family feuds

0:56:46.920 --> 0:56:50.640
<v Speaker 1>that have been there for a long long time. So Yes,

0:56:50.760 --> 0:56:56.200
<v Speaker 1>Government Mule started as a side project two questions, why

0:56:56.320 --> 0:56:58.920
<v Speaker 1>is a government mule and why is government spelled g

0:56:59.080 --> 0:57:04.640
<v Speaker 1>O v apostrophe t all right, So this story is

0:57:05.120 --> 0:57:11.000
<v Speaker 1>a little less politically correct as time goes on. But Uh,

0:57:11.120 --> 0:57:15.080
<v Speaker 1>we were looking for a name for our band and

0:57:17.560 --> 0:57:22.200
<v Speaker 1>the only thing we had thought of was drag Strip Courage,

0:57:22.200 --> 0:57:25.560
<v Speaker 1>which was from a Tom Waite song, and we didn't

0:57:25.560 --> 0:57:26.960
<v Speaker 1>like it, but it was the best thing we had

0:57:26.960 --> 0:57:30.280
<v Speaker 1>thought of, and we're all big Tom Waits fans. So

0:57:30.760 --> 0:57:34.040
<v Speaker 1>the All My Brothers were headlining one night of Memphis

0:57:34.040 --> 0:57:37.480
<v Speaker 1>and May, which is the Bell Street Festival in Memphis,

0:57:38.560 --> 0:57:40.680
<v Speaker 1>and we were headlining one night and James Brown was

0:57:40.720 --> 0:57:46.480
<v Speaker 1>headlining the next night. So the All Brothers entouries left

0:57:46.520 --> 0:57:50.720
<v Speaker 1>after the show and traveled from Memphis to Atlanta. Woody

0:57:51.040 --> 0:57:53.720
<v Speaker 1>Allen Woody, the bass player who was in Government Bullen

0:57:53.960 --> 0:57:57.480
<v Speaker 1>and in Uh, the All My Brothers and Jamo, one

0:57:57.480 --> 0:58:00.280
<v Speaker 1>of the two original drummers, and the Allma Brothers stayed

0:58:00.280 --> 0:58:03.200
<v Speaker 1>behind to see James Brown. And there was a part

0:58:03.200 --> 0:58:07.480
<v Speaker 1>of the show where James was waltzing with his what

0:58:08.080 --> 0:58:13.280
<v Speaker 1>they determined later to be his wife, and Uh, Jamo

0:58:13.480 --> 0:58:20.160
<v Speaker 1>was referring to her anatomy and he pointed and said

0:58:20.200 --> 0:58:23.640
<v Speaker 1>to Woody, is that James his wife? And what he said, Yeah,

0:58:23.640 --> 0:58:28.280
<v Speaker 1>I think so, and he said ship, government, mule and

0:58:28.360 --> 0:58:32.120
<v Speaker 1>he was referring to the size of her ass. Unbeknownst

0:58:32.120 --> 0:58:34.760
<v Speaker 1>to either of us in Gulfport, Mississippi, which is where

0:58:34.800 --> 0:58:38.880
<v Speaker 1>Jamo was from, that was a term. And so what

0:58:39.080 --> 0:58:41.080
<v Speaker 1>he called me and said, I think I have the

0:58:41.240 --> 0:58:48.760
<v Speaker 1>name for her. So we're named after James Brown's wife's

0:58:49.080 --> 0:58:55.680
<v Speaker 1>big ass. And why the apostrophe? Why not the full stop? Um?

0:58:55.720 --> 0:58:59.760
<v Speaker 1>It was like, you know, when you rubber stamp government

0:58:59.760 --> 0:59:04.520
<v Speaker 1>owned some crate somewhere. You know, I'm not sure why

0:59:04.600 --> 0:59:09.400
<v Speaker 1>we chose that. You know, names are are funny, you know.

0:59:09.440 --> 0:59:13.320
<v Speaker 1>I don't know any band name that would would be

0:59:13.360 --> 0:59:18.600
<v Speaker 1>good if the band wasn't good. But uh, it haunted

0:59:18.680 --> 0:59:21.480
<v Speaker 1>us in some ways because when we would go overseas,

0:59:22.400 --> 0:59:25.120
<v Speaker 1>they would say, so, what does it mean, goof to move?

0:59:28.240 --> 0:59:30.960
<v Speaker 1>What gov to move? What does it mean? Oh well,

0:59:31.760 --> 0:59:36.240
<v Speaker 1>g O V apostrophe team means government and mule. We

0:59:36.320 --> 0:59:39.320
<v Speaker 1>were referring referring to the forty acres in the mule

0:59:39.440 --> 0:59:42.080
<v Speaker 1>and that whole thing, you know. And there was a

0:59:42.120 --> 0:59:44.840
<v Speaker 1>song on the first record that talked about that. But

0:59:45.440 --> 0:59:50.680
<v Speaker 1>in a lot of places. It went completely over people's heads. Uh.

0:59:50.840 --> 0:59:53.280
<v Speaker 1>And we didn't talk about where the name came from

0:59:53.320 --> 0:59:56.640
<v Speaker 1>for a long time because James's wife passed away and

0:59:56.720 --> 1:00:02.600
<v Speaker 1>it it seemed inappropriate to talk about even under any circumstances.

1:00:02.680 --> 1:00:06.920
<v Speaker 1>Probably um. But then a few years ago Matt App's

1:00:07.280 --> 1:00:10.120
<v Speaker 1>our drummer uh spilled the being. So we used to

1:00:10.120 --> 1:00:12.360
<v Speaker 1>always just say, oh, whatever, whatever you think it means,

1:00:12.440 --> 1:00:20.160
<v Speaker 1>that's what it means. You. Okay, So you start this

1:00:20.240 --> 1:00:24.520
<v Speaker 1>side project, you're done with the Allman Brothers discovernment mule?

1:00:25.360 --> 1:00:28.800
<v Speaker 1>Are you essentially starting over? Enough people know you that

1:00:29.000 --> 1:00:33.400
<v Speaker 1>it's happening. To what degree is the success? Is there

1:00:33.440 --> 1:00:37.040
<v Speaker 1>a success in your eyes at the beginning? Well, I

1:00:37.120 --> 1:00:42.200
<v Speaker 1>think more so than we expected, more recognition than we

1:00:42.280 --> 1:00:46.520
<v Speaker 1>expected to happen so soon, because our first record was

1:00:46.600 --> 1:00:49.400
<v Speaker 1>meant to be a side project. It was meant to

1:00:49.440 --> 1:00:55.920
<v Speaker 1>be a really low budget, experimental, improvisation oriented type record

1:00:56.280 --> 1:00:59.360
<v Speaker 1>in the beginning, even more so than it wound up being.

1:01:00.120 --> 1:01:02.360
<v Speaker 1>By the time we actually got a record deal and

1:01:02.400 --> 1:01:05.160
<v Speaker 1>a producer in a studio and all that stuff, I'd

1:01:05.160 --> 1:01:07.280
<v Speaker 1>written more and more songs, so it became more of

1:01:07.320 --> 1:01:12.200
<v Speaker 1>a song oriented record. But in the beginning, I wanted

1:01:12.240 --> 1:01:16.840
<v Speaker 1>it to be very uh, the psychedelic and and and

1:01:17.440 --> 1:01:20.640
<v Speaker 1>low pressure, you know. Uh. I've been listening a lot

1:01:20.720 --> 1:01:23.360
<v Speaker 1>to this record by Pat Matheny and Roy Haines and

1:01:23.440 --> 1:01:26.840
<v Speaker 1>Dave Holland called Question Answer, and I read in the

1:01:26.880 --> 1:01:31.200
<v Speaker 1>liner notes that they went into the studio, played a

1:01:31.240 --> 1:01:34.240
<v Speaker 1>bunch of songs one time, never played a second take,

1:01:34.400 --> 1:01:37.080
<v Speaker 1>never listened back to anything, and then he went back

1:01:37.120 --> 1:01:39.880
<v Speaker 1>into the studio a couple of weeks later and with yes, yes, no,

1:01:40.160 --> 1:01:43.640
<v Speaker 1>yes no. And that's the way that they made that record.

1:01:44.080 --> 1:01:46.000
<v Speaker 1>And so that was kind of what I thought we

1:01:46.040 --> 1:01:50.160
<v Speaker 1>should do for the first Government Mule record. Uh. By

1:01:50.160 --> 1:01:53.200
<v Speaker 1>the time all the red tape had been dealt with,

1:01:54.080 --> 1:01:56.480
<v Speaker 1>it was turning into something more than that. And I'm

1:01:56.480 --> 1:02:00.080
<v Speaker 1>glad because uh I liked the more song orient to

1:02:00.440 --> 1:02:05.360
<v Speaker 1>uh uh aspect of it. You know. But in the beginning,

1:02:05.360 --> 1:02:08.280
<v Speaker 1>we're just doing something for fun. We had no aspirations

1:02:08.320 --> 1:02:10.960
<v Speaker 1>on leaving the Alma Brothers, are doing a second record

1:02:11.040 --> 1:02:14.160
<v Speaker 1>or doing a second tour. We're just doing something for

1:02:14.160 --> 1:02:17.080
<v Speaker 1>the fun of it. The way it came about was

1:02:17.960 --> 1:02:20.520
<v Speaker 1>myself and Alan Woodie and Greg Alman used to share

1:02:20.560 --> 1:02:23.720
<v Speaker 1>a tour bus, and we listened to a lot of

1:02:23.800 --> 1:02:26.320
<v Speaker 1>music on the bus, as opposed to the other band

1:02:26.360 --> 1:02:30.880
<v Speaker 1>bus where nobody listened to music. And we Uh, one

1:02:30.920 --> 1:02:34.200
<v Speaker 1>day we were listening to Cream or Hendrix or something

1:02:35.080 --> 1:02:39.240
<v Speaker 1>and what he commented, you know, nobody does this anymore,

1:02:39.280 --> 1:02:44.440
<v Speaker 1>the whole power trio improvisational trio, rock trio thing. Nobody's

1:02:44.640 --> 1:02:47.520
<v Speaker 1>done that. And I was like, yeah, you're right, and

1:02:47.560 --> 1:02:49.840
<v Speaker 1>he said, you know, with the right drummer, you and

1:02:49.880 --> 1:02:52.600
<v Speaker 1>I could do that, and I thought of Matt Apps

1:02:52.640 --> 1:02:56.480
<v Speaker 1>and so that's where the idea was born. Um, but

1:02:56.560 --> 1:03:01.960
<v Speaker 1>again just something for fun with very little ambition. As

1:03:01.960 --> 1:03:06.560
<v Speaker 1>it changed into something else, then our priorities changed. Okay,

1:03:06.600 --> 1:03:09.640
<v Speaker 1>but if that you ultimately say, we're not working with

1:03:09.680 --> 1:03:14.320
<v Speaker 1>the Allman Brothers were working with Government Mule, correct, Yeah, yeah,

1:03:14.520 --> 1:03:20.000
<v Speaker 1>So how did they pull you back in? Everything was

1:03:20.200 --> 1:03:27.080
<v Speaker 1>for Government Mule was was really going great and uh

1:03:27.240 --> 1:03:31.280
<v Speaker 1>from a creative standpoint, From a business standpoint, we had

1:03:31.320 --> 1:03:36.040
<v Speaker 1>made three records, the band was progressing musically all the time,

1:03:37.400 --> 1:03:42.680
<v Speaker 1>and then Alan Woody uh passed away unexpectedly in two thousand.

1:03:44.240 --> 1:03:49.200
<v Speaker 1>So at that point I felt like Government Mule was finished,

1:03:49.200 --> 1:03:52.760
<v Speaker 1>that we were done, and it took me a long

1:03:52.840 --> 1:03:56.280
<v Speaker 1>time to wrap my head around even the concept of

1:03:56.280 --> 1:04:00.160
<v Speaker 1>trying to replace him and trying to continue on. Uh.

1:04:00.560 --> 1:04:04.560
<v Speaker 1>It's hard enough to replace any founding member, but in

1:04:04.600 --> 1:04:07.480
<v Speaker 1>a trio, I think it's even harder because in a trio,

1:04:08.000 --> 1:04:14.280
<v Speaker 1>each person as kind of depending on their personality to

1:04:14.400 --> 1:04:16.160
<v Speaker 1>be a third of the music. You know, when you

1:04:16.200 --> 1:04:19.880
<v Speaker 1>look at Cream and and the Hendrix experience, and even

1:04:20.000 --> 1:04:23.000
<v Speaker 1>bands like led Zeppelin and Free that we're a trio

1:04:23.080 --> 1:04:28.640
<v Speaker 1>plus a singer or The Who or Mountain Uh. You know,

1:04:28.720 --> 1:04:31.959
<v Speaker 1>all these bands the bass player and the drummer were

1:04:32.000 --> 1:04:35.960
<v Speaker 1>having just by the nature of it to uh have

1:04:36.080 --> 1:04:40.320
<v Speaker 1>a much more aggressive role, which implied the need for

1:04:40.360 --> 1:04:43.920
<v Speaker 1>a lot of personality to come from those characters, you know,

1:04:44.560 --> 1:04:48.000
<v Speaker 1>and Alan Woodie was absolutely the perfect character for that.

1:04:48.000 --> 1:04:50.600
<v Speaker 1>That's why we we started the band in the first place.

1:04:51.400 --> 1:04:57.160
<v Speaker 1>So I was ready to two in Government Mule. The

1:04:57.240 --> 1:05:01.320
<v Speaker 1>first two phone calls I got were from Phil Lesh

1:05:01.400 --> 1:05:05.520
<v Speaker 1>who said, Man, I feel so bad. I I know

1:05:05.560 --> 1:05:08.000
<v Speaker 1>what it's like to lose someone that you have a

1:05:08.040 --> 1:05:12.439
<v Speaker 1>profound musical relationship with and and that was a very

1:05:12.480 --> 1:05:16.120
<v Speaker 1>heartfelt call. And the second call was from Greg who

1:05:16.280 --> 1:05:18.800
<v Speaker 1>uh he and Woody were very close and they were

1:05:18.920 --> 1:05:24.120
<v Speaker 1>they were they would ride motorcycles together. They uh, you know,

1:05:24.240 --> 1:05:26.800
<v Speaker 1>our bus was there was a lot of camaraderie on

1:05:26.880 --> 1:05:32.680
<v Speaker 1>our bus. And he was feeling the loss in a

1:05:32.800 --> 1:05:38.120
<v Speaker 1>very similar way to mind. But he understood, uh, my loss,

1:05:38.160 --> 1:05:43.600
<v Speaker 1>and and he said, how are you doing? And I said, well,

1:05:43.640 --> 1:05:49.800
<v Speaker 1>you know, I'm still having these dreams like where he's

1:05:49.840 --> 1:05:53.840
<v Speaker 1>in the dream. And just before he even thought about it,

1:05:53.920 --> 1:05:57.920
<v Speaker 1>he said, oh, You're always gonna have those, and I

1:05:58.000 --> 1:06:03.920
<v Speaker 1>was like wow. Until that moment, I didn't understand that

1:06:05.800 --> 1:06:09.920
<v Speaker 1>he had those all the time, you know, But not

1:06:10.120 --> 1:06:12.120
<v Speaker 1>during that phone call. But in one of the later

1:06:12.160 --> 1:06:15.120
<v Speaker 1>phone calls, he said, sure, love be have you back

1:06:15.120 --> 1:06:20.400
<v Speaker 1>in the Albam Brothers And so I thought, well, maybe

1:06:20.400 --> 1:06:22.240
<v Speaker 1>I should give it a try, you know. So we

1:06:24.280 --> 1:06:27.320
<v Speaker 1>we agreed to book the Beacon Theater for a ran

1:06:28.360 --> 1:06:32.280
<v Speaker 1>and they we're gonna call it the alban Brothers with

1:06:32.320 --> 1:06:35.760
<v Speaker 1>special guest Warren Haynes. So if it didn't work out,

1:06:36.680 --> 1:06:39.040
<v Speaker 1>it wouldn't look like I had rejoined and then quit.

1:06:40.160 --> 1:06:44.240
<v Speaker 1>So we did that, and the chemistry from the beginning,

1:06:44.280 --> 1:06:48.040
<v Speaker 1>everybody sounded great. Everybody was in great spirits and at

1:06:48.040 --> 1:06:50.760
<v Speaker 1>that time, I was thinking I can't really continue with

1:06:50.840 --> 1:06:54.600
<v Speaker 1>Government Mule, and so I found myself back in the

1:06:54.600 --> 1:07:01.040
<v Speaker 1>Albam Brothers. Uh and and I'm really glad that that happened. Uh.

1:07:01.200 --> 1:07:05.040
<v Speaker 1>Keeping Government Mule together was a whole another thing. We

1:07:05.560 --> 1:07:09.080
<v Speaker 1>came up with this idea which was born out of

1:07:09.080 --> 1:07:12.440
<v Speaker 1>this dinner that we had. We had dinner with myself,

1:07:12.600 --> 1:07:16.960
<v Speaker 1>my wife, Matt Apps, Alan Woody's wife, and Michael Barbierro

1:07:17.320 --> 1:07:22.120
<v Speaker 1>are producer, and somebody said, well, if you were going

1:07:22.160 --> 1:07:25.800
<v Speaker 1>to make a record, who would you want to play bass?

1:07:28.320 --> 1:07:39.600
<v Speaker 1>And I said Jack Bruce, no, seriously, John Entwistle, no, seriously,

1:07:40.800 --> 1:07:46.040
<v Speaker 1>Chris Squire no. And then we thought, well, why don't

1:07:46.080 --> 1:07:48.480
<v Speaker 1>we ask each of these guys to play one song?

1:07:49.320 --> 1:07:53.560
<v Speaker 1>And so that's how the whole deep End concept came about.

1:07:53.640 --> 1:07:56.280
<v Speaker 1>We thought, let's go to all Alan wood He's favorite

1:07:56.280 --> 1:07:59.440
<v Speaker 1>bass players and which are mostly our favorite bass players too,

1:08:00.080 --> 1:08:02.800
<v Speaker 1>and ask them all if they'll be involved in this record,

1:08:02.840 --> 1:08:06.200
<v Speaker 1>you know. So we spent this therapeutic time in the

1:08:06.240 --> 1:08:12.280
<v Speaker 1>studio every day, a new favorite legendary bass player standing

1:08:12.320 --> 1:08:14.480
<v Speaker 1>where Alan would he used to stand. And that's the

1:08:14.520 --> 1:08:17.160
<v Speaker 1>way that we forced ourselves to kind of get back

1:08:17.200 --> 1:08:21.400
<v Speaker 1>in the game. It was. It was cathartic, It was

1:08:22.960 --> 1:08:27.080
<v Speaker 1>bitter sweet because there were these moments of absolute joy

1:08:27.120 --> 1:08:33.040
<v Speaker 1>mixed in with all the pain and and more than anything, uh,

1:08:33.400 --> 1:08:38.240
<v Speaker 1>it was an opportunity to reinvent ourselves because I started thinking, Okay,

1:08:38.240 --> 1:08:41.360
<v Speaker 1>I've got to write a song for for Bootsty Collins.

1:08:41.439 --> 1:08:45.360
<v Speaker 1>I've got to write a song, uh, for for Jack Bruce,

1:08:45.400 --> 1:08:49.559
<v Speaker 1>I gotta write a song for for Larry Graham. You

1:08:49.560 --> 1:08:53.760
<v Speaker 1>know all these things that I didn't just want to

1:08:53.760 --> 1:08:57.479
<v Speaker 1>have people come in and play on any government Mule song.

1:08:57.479 --> 1:08:59.280
<v Speaker 1>I wanted them to play on a song that they

1:08:59.280 --> 1:09:06.160
<v Speaker 1>could insert their personalities into. And so by doing that,

1:09:06.240 --> 1:09:12.200
<v Speaker 1>we were able to kind of expand the the sound

1:09:12.200 --> 1:09:14.559
<v Speaker 1>of government Mule and the concept of government Mule to

1:09:14.600 --> 1:09:18.160
<v Speaker 1>include all these other influences that we all had anyway,

1:09:18.240 --> 1:09:22.360
<v Speaker 1>but had never been part of our band before. Okay,

1:09:22.360 --> 1:09:25.120
<v Speaker 1>so you have that track, that train running down the track,

1:09:25.160 --> 1:09:27.800
<v Speaker 1>you have the Allman Brothers. The Allman Brothers turned the

1:09:27.840 --> 1:09:32.040
<v Speaker 1>Beacon into quite a month there in March in New

1:09:32.120 --> 1:09:35.000
<v Speaker 1>York City. At what point do you say just staying

1:09:35.000 --> 1:09:37.280
<v Speaker 1>on the Allman Brothers tip at one point to say

1:09:37.479 --> 1:09:39.479
<v Speaker 1>I can't do this I have to do my own thing.

1:09:41.560 --> 1:09:44.559
<v Speaker 1>Um you mean at the at the very end, at

1:09:44.560 --> 1:09:48.200
<v Speaker 1>the very end. Well, I'm glad you you asked me that,

1:09:48.280 --> 1:09:53.639
<v Speaker 1>because that's not really what happened that. Um. That story

1:09:53.880 --> 1:09:59.600
<v Speaker 1>was so misconstrued in the in the press. Um. The

1:10:00.840 --> 1:10:03.320
<v Speaker 1>I've told the story and before, and Derek's told it before,

1:10:03.400 --> 1:10:07.920
<v Speaker 1>but it seems to be Uh. I guess it's hard

1:10:07.960 --> 1:10:09.839
<v Speaker 1>to get it to cut through all all the noise.

1:10:09.920 --> 1:10:15.640
<v Speaker 1>But the entire band had been talking about picking an

1:10:15.720 --> 1:10:20.800
<v Speaker 1>end date when we were not gonna do this forever. Uh.

1:10:20.880 --> 1:10:24.880
<v Speaker 1>A lot of the original members felt like at some point,

1:10:25.840 --> 1:10:28.240
<v Speaker 1>and and the new members as well, we all felt

1:10:28.240 --> 1:10:32.280
<v Speaker 1>like the All My Brothers isn't a band that can

1:10:32.320 --> 1:10:35.720
<v Speaker 1>just go play the hits and go through the motions. Uh,

1:10:35.880 --> 1:10:39.200
<v Speaker 1>play the same songs every night the same way. The

1:10:39.240 --> 1:10:42.360
<v Speaker 1>band has never been about that. It's always been an

1:10:42.360 --> 1:10:46.120
<v Speaker 1>improvisational band that gives a ten percent and leaves everything

1:10:46.160 --> 1:10:49.559
<v Speaker 1>on the stage every night and in in the event

1:10:49.640 --> 1:10:54.080
<v Speaker 1>that we can't do that anymore, rather than go out

1:10:54.080 --> 1:10:56.840
<v Speaker 1>there and watch it deteriorate and get worse and worse

1:10:56.920 --> 1:11:00.840
<v Speaker 1>year after year, then let's let's be aware of it

1:11:00.880 --> 1:11:03.000
<v Speaker 1>and pick out pick a time when we're gonna do

1:11:03.800 --> 1:11:09.960
<v Speaker 1>the last tour, the last show, uh, and everybody was

1:11:10.000 --> 1:11:14.559
<v Speaker 1>on board with that. With that concept, we were gonna

1:11:14.640 --> 1:11:16.960
<v Speaker 1>do the final show at Madison Square Garden, and I

1:11:17.000 --> 1:11:20.800
<v Speaker 1>think initially it was gonna be on Dwayne Alman's birthday.

1:11:21.000 --> 1:11:24.240
<v Speaker 1>And and you know, we had made all these plans together,

1:11:24.640 --> 1:11:29.479
<v Speaker 1>the entire band. Um As the end date got closer

1:11:29.520 --> 1:11:32.800
<v Speaker 1>and closer, some people started getting cold feet and saying,

1:11:32.840 --> 1:11:35.320
<v Speaker 1>I don't want to I don't think I want to

1:11:35.360 --> 1:11:37.680
<v Speaker 1>go through with this. I'm you know, I think we

1:11:37.720 --> 1:11:39.519
<v Speaker 1>would like to keep it going. And it was only

1:11:40.520 --> 1:11:43.759
<v Speaker 1>you know, one or two people that felt that way.

1:11:43.800 --> 1:11:48.280
<v Speaker 1>Everybody else was pretty uh committed to stay in with

1:11:48.320 --> 1:11:54.120
<v Speaker 1>the original concept. But when we would get together and

1:11:54.160 --> 1:11:57.839
<v Speaker 1>have these meetings about what about keeping it going longer

1:11:57.920 --> 1:12:01.960
<v Speaker 1>with Derek Trucks and myself had made plans we had

1:12:02.120 --> 1:12:07.680
<v Speaker 1>we had booked ourselves far beyond that concept, and it

1:12:07.720 --> 1:12:12.800
<v Speaker 1>would mean completely disrupting everything that that that we had

1:12:12.840 --> 1:12:15.720
<v Speaker 1>on the books and and going against everything that we

1:12:15.720 --> 1:12:19.479
<v Speaker 1>were doing. And and we all for the most part

1:12:19.560 --> 1:12:21.559
<v Speaker 1>still agreed that it was the right thing to do.

1:12:22.400 --> 1:12:27.400
<v Speaker 1>Um So, Butch had gone on this cruise and said

1:12:27.439 --> 1:12:32.559
<v Speaker 1>to a panel that, uh, the Allman Brothers was going

1:12:32.600 --> 1:12:36.040
<v Speaker 1>to continue and but that that Derek was no longer

1:12:36.080 --> 1:12:38.439
<v Speaker 1>going to be part of it, or something to that effect.

1:12:39.080 --> 1:12:41.439
<v Speaker 1>And he didn't realize that there was a rowing Stone

1:12:41.439 --> 1:12:44.800
<v Speaker 1>writer on the cruise that was was part of that.

1:12:45.800 --> 1:12:48.840
<v Speaker 1>And so as soon as they docked, the guy called

1:12:49.120 --> 1:12:51.880
<v Speaker 1>Burt Holme and the Allman Brothers manager and said, what's

1:12:51.920 --> 1:12:57.679
<v Speaker 1>going on? Bert called Derek. Derek called me, and uh,

1:12:57.920 --> 1:13:00.840
<v Speaker 1>We're like, well, you know we're on the same page,

1:13:00.840 --> 1:13:05.400
<v Speaker 1>aren't we. Aren't we continuing with this plan? And so uh,

1:13:05.680 --> 1:13:08.040
<v Speaker 1>Derek said, well, I think I think I should just

1:13:08.080 --> 1:13:10.120
<v Speaker 1>put out a press release saying that I'm leaving the

1:13:10.400 --> 1:13:13.519
<v Speaker 1>band because I can't do this. I have all this

1:13:13.640 --> 1:13:16.960
<v Speaker 1>other stuff committed to that I'm not willing to to change.

1:13:16.960 --> 1:13:20.080
<v Speaker 1>And I'm not speaking for Derek, but this is this

1:13:20.160 --> 1:13:22.519
<v Speaker 1>is the way it went down. And he and I

1:13:22.600 --> 1:13:27.760
<v Speaker 1>had kind of always made a pact um if you go,

1:13:27.840 --> 1:13:31.280
<v Speaker 1>I go. We had always felt that way that I

1:13:31.280 --> 1:13:32.760
<v Speaker 1>didn't want to be in the band without him, he

1:13:32.800 --> 1:13:35.360
<v Speaker 1>didn't want to be in the band without me, and

1:13:35.479 --> 1:13:39.000
<v Speaker 1>I think most of us kind of felt like this

1:13:39.080 --> 1:13:41.439
<v Speaker 1>is the last version of the Alma brothers, we should

1:13:41.680 --> 1:13:44.280
<v Speaker 1>we shouldn't water it down and take a chance on

1:13:44.400 --> 1:13:48.840
<v Speaker 1>deteriorating it by creating yet another incarnation this far down

1:13:49.040 --> 1:13:51.639
<v Speaker 1>the line. And so he said, well, I think that's

1:13:51.680 --> 1:13:53.680
<v Speaker 1>that's what we should do it. I said, well, if

1:13:53.680 --> 1:13:55.719
<v Speaker 1>you're gonna do that, then let's do it together. Let's

1:13:55.720 --> 1:14:00.559
<v Speaker 1>just put out a dual press release saying that this

1:14:00.640 --> 1:14:03.680
<v Speaker 1>is what's happening. And it was. It was really unfortunate

1:14:03.720 --> 1:14:08.720
<v Speaker 1>because we tried to take an advantage of the opportunity

1:14:08.880 --> 1:14:12.280
<v Speaker 1>to tell people in the media that that's what was happening.

1:14:12.280 --> 1:14:17.519
<v Speaker 1>But it was very awkward and uncomfortable. Uh So I

1:14:17.640 --> 1:14:21.200
<v Speaker 1>never did feel like uh I was leaving the band,

1:14:21.320 --> 1:14:23.640
<v Speaker 1>and and I and Derek never did either. It was

1:14:23.880 --> 1:14:25.680
<v Speaker 1>we were just going through with the plan that we

1:14:25.720 --> 1:14:29.720
<v Speaker 1>had had for several years. Okay, how did you end

1:14:29.800 --> 1:14:34.360
<v Speaker 1>up playing with the Dead Dead? And Phil Lesh? Uh?

1:14:34.400 --> 1:14:39.080
<v Speaker 1>Phil Lesh called me in the late nineties and said

1:14:39.120 --> 1:14:44.080
<v Speaker 1>that he had put together a list of musicians that

1:14:44.160 --> 1:14:46.599
<v Speaker 1>he wanted to work with and that I was on

1:14:46.640 --> 1:14:50.360
<v Speaker 1>that list, and was I interested in coming to California

1:14:50.439 --> 1:14:52.519
<v Speaker 1>for a few days rehearsal and do a couple of

1:14:52.560 --> 1:14:56.439
<v Speaker 1>shows and see what happened, and I said, absolutely, so

1:14:56.680 --> 1:14:59.280
<v Speaker 1>I flew to to California. We rehearsed for a couple

1:14:59.320 --> 1:15:02.880
<v Speaker 1>of days, we did, uh did two shows, and it

1:15:03.000 --> 1:15:05.200
<v Speaker 1>was a blast. I really enjoyed it, and that was

1:15:05.280 --> 1:15:14.120
<v Speaker 1>the beginning of very uh long running, beautiful relationship. Um.

1:15:14.160 --> 1:15:18.160
<v Speaker 1>It turned into me eventually being asked to tour with

1:15:18.200 --> 1:15:21.240
<v Speaker 1>the Dead in two thousand three and in two thousand nine,

1:15:22.200 --> 1:15:25.479
<v Speaker 1>and I really loved that experience. You know, I love

1:15:25.520 --> 1:15:31.680
<v Speaker 1>all those guys. I'm really honored to be part of that,

1:15:31.680 --> 1:15:34.960
<v Speaker 1>that family and that and part of that, uh, that

1:15:35.080 --> 1:15:39.960
<v Speaker 1>musical family. I guess it's unfortunate that, uh, there was

1:15:40.000 --> 1:15:44.280
<v Speaker 1>a lot of tension among the original members during the tours,

1:15:44.360 --> 1:15:46.920
<v Speaker 1>that there was a chance it was gonna go longer,

1:15:46.960 --> 1:15:50.160
<v Speaker 1>and probably could have and maybe should have, but it

1:15:50.280 --> 1:15:53.240
<v Speaker 1>wasn't meant to be. And having dealt with the Allman

1:15:53.280 --> 1:15:57.040
<v Speaker 1>brothers in a similar fashion, I respect that. You know,

1:15:57.720 --> 1:16:02.080
<v Speaker 1>when things are not jail ling on the road, these

1:16:02.080 --> 1:16:07.640
<v Speaker 1>bands have histories that predate everything, and so you know,

1:16:07.680 --> 1:16:11.920
<v Speaker 1>whenever there's tension and drama, it usually has something to

1:16:12.000 --> 1:16:17.240
<v Speaker 1>do with something that happened a long long time ago. Okay, Well,

1:16:17.240 --> 1:16:21.639
<v Speaker 1>needless to see the Allman Brothers are history, and phil

1:16:21.720 --> 1:16:24.960
<v Speaker 1>Lesh does not go on tour. Where does this leave

1:16:25.080 --> 1:16:32.439
<v Speaker 1>Warren Haines? Um. You know those years that I did that,

1:16:32.520 --> 1:16:36.360
<v Speaker 1>I juggled so much, so many balls, Like there was

1:16:36.400 --> 1:16:39.200
<v Speaker 1>one year I did the Allman Brothers and Mule and

1:16:39.280 --> 1:16:44.280
<v Speaker 1>the Dad and I didn't think it was possible. I

1:16:44.320 --> 1:16:46.960
<v Speaker 1>went to my wife and said, you know, I have

1:16:47.120 --> 1:16:52.240
<v Speaker 1>this this situation and it's being offered to me. I

1:16:52.240 --> 1:16:55.240
<v Speaker 1>don't see any way of making it work. And she

1:16:55.439 --> 1:16:59.439
<v Speaker 1>was like, slow down, do you want to look back

1:17:00.240 --> 1:17:04.040
<v Speaker 1>and think I had this opportunity? But I said no,

1:17:05.760 --> 1:17:11.200
<v Speaker 1>and I was like, yeah, maybe not. So we did

1:17:11.240 --> 1:17:14.960
<v Speaker 1>a lot of a lot of communicating, a lot of

1:17:16.400 --> 1:17:20.080
<v Speaker 1>you know, a lot of behind the scenes with all

1:17:20.120 --> 1:17:24.439
<v Speaker 1>the camps working together to make things work out in

1:17:24.479 --> 1:17:27.600
<v Speaker 1>a way that wasn't ideal for any of the situations

1:17:27.640 --> 1:17:32.800
<v Speaker 1>but worked for everybody. Um. So when that load was

1:17:33.520 --> 1:17:37.160
<v Speaker 1>removed and it made things a bit more normal for me,

1:17:37.400 --> 1:17:41.679
<v Speaker 1>you know, I really embraced and enjoyed at the time

1:17:42.840 --> 1:17:45.080
<v Speaker 1>working to the extent that I was. I love that.

1:17:45.160 --> 1:17:48.040
<v Speaker 1>You know, there's nothing I love more than playing music,

1:17:48.800 --> 1:17:51.200
<v Speaker 1>and I look at it like an athlete, you know,

1:17:52.160 --> 1:17:56.080
<v Speaker 1>when you're on top of your game and and there's

1:17:56.120 --> 1:17:59.280
<v Speaker 1>a demand, and you've got a great team or two

1:17:59.280 --> 1:18:01.679
<v Speaker 1>great teams or three great teams that you're lucky enough

1:18:01.720 --> 1:18:05.920
<v Speaker 1>to be part of, then yeah, let's make hay when

1:18:05.960 --> 1:18:08.759
<v Speaker 1>the sun shine and uh. You know, I really felt

1:18:08.800 --> 1:18:11.800
<v Speaker 1>wonderful about all that stuff. But then when it was

1:18:11.880 --> 1:18:14.120
<v Speaker 1>finally over, I'm like, oh, it is kind of nice

1:18:14.120 --> 1:18:17.880
<v Speaker 1>to be home for a minute. You know. Um these days,

1:18:18.160 --> 1:18:20.800
<v Speaker 1>you know, prior to the coronavirus, which leads us back

1:18:20.840 --> 1:18:24.479
<v Speaker 1>to where we were, I worked pretty much the amount

1:18:24.520 --> 1:18:30.240
<v Speaker 1>of time that I feel comfortable with and and you

1:18:30.240 --> 1:18:32.280
<v Speaker 1>know if I if I work less, I start to

1:18:32.280 --> 1:18:35.920
<v Speaker 1>get a little antsy uh, And I don't need to

1:18:35.920 --> 1:18:38.160
<v Speaker 1>to work more than I have been. It's it's been

1:18:38.920 --> 1:18:43.240
<v Speaker 1>a pretty rigorous schedule, which which I enjoy. But you know,

1:18:43.880 --> 1:18:46.639
<v Speaker 1>another another way I would compare it to being an

1:18:46.680 --> 1:18:50.599
<v Speaker 1>athlete is like, you know, I'm I'm sixty years old.

1:18:50.680 --> 1:18:53.439
<v Speaker 1>I'm very happy that I've had the career that I've

1:18:53.479 --> 1:18:56.559
<v Speaker 1>had and had the opportunities that I've had, and I

1:18:56.600 --> 1:18:58.920
<v Speaker 1>want to be like John Lee Hooker playing when I'm eighty.

1:18:59.720 --> 1:19:04.160
<v Speaker 1>But at the same time, there are windows that we're

1:19:04.360 --> 1:19:07.720
<v Speaker 1>confronted with you know, there, you're not going to be

1:19:07.760 --> 1:19:12.640
<v Speaker 1>able to do what you do in the prime of

1:19:12.680 --> 1:19:16.920
<v Speaker 1>your life for every year of your life. And so

1:19:18.400 --> 1:19:21.880
<v Speaker 1>I've always felt like things kind of dwin to let

1:19:21.960 --> 1:19:29.080
<v Speaker 1>their own pace, and um, whatever slowing down occurs, it

1:19:29.080 --> 1:19:32.200
<v Speaker 1>occurs because it needs to and it's the right thing.

1:19:32.320 --> 1:19:36.680
<v Speaker 1>And uh, I feel it's very organic, you know. So

1:19:36.760 --> 1:19:39.200
<v Speaker 1>do the hundred hundred twenty dates a year, you do? Now,

1:19:39.360 --> 1:19:41.360
<v Speaker 1>how many of those are Government Mule and one are

1:19:41.400 --> 1:19:44.800
<v Speaker 1>the other ones mostly mule? You know. I do a

1:19:44.800 --> 1:19:49.280
<v Speaker 1>handful of solo acoustic shows. Uh, do a handful of

1:19:49.680 --> 1:19:53.559
<v Speaker 1>shows with Phil lash and and uh a handful of

1:19:53.720 --> 1:19:57.160
<v Speaker 1>other things where something really interesting will come along. You know.

1:19:57.200 --> 1:19:59.800
<v Speaker 1>I did the last Waltz tour, which was a bl

1:20:00.000 --> 1:20:05.200
<v Speaker 1>asked um. But Government Mule is the main priority, and

1:20:05.200 --> 1:20:09.679
<v Speaker 1>and any work as a solo artist beyond that, you know. Uh,

1:20:09.760 --> 1:20:12.439
<v Speaker 1>I'm really looking forward to making another solo record, but

1:20:12.479 --> 1:20:18.720
<v Speaker 1>I'm also looking forward to making another Mule record. Um.

1:20:18.760 --> 1:20:23.000
<v Speaker 1>You know, I feel like I'm so lucky as a songwriter.

1:20:24.040 --> 1:20:26.160
<v Speaker 1>I'm lucky in every aspect of my career. I'm just

1:20:26.200 --> 1:20:30.400
<v Speaker 1>really grateful for the opportunities that I've had. Uh, it

1:20:30.520 --> 1:20:34.080
<v Speaker 1>really kind of played out exactly like I hoped, in

1:20:34.120 --> 1:20:36.720
<v Speaker 1>a way that one could never predict or expect. But

1:20:37.720 --> 1:20:40.559
<v Speaker 1>I'm lucky in the way that I write all these songs.

1:20:41.240 --> 1:20:43.800
<v Speaker 1>Some of them are not meant to be government mule songs.

1:20:43.880 --> 1:20:45.200
<v Speaker 1>Some of them were not meant to be all them

1:20:45.200 --> 1:20:48.720
<v Speaker 1>brothers songs. Some of them maybe we're not intended for

1:20:48.720 --> 1:20:51.360
<v Speaker 1>for me. But the fact that I have all these

1:20:51.360 --> 1:20:54.760
<v Speaker 1>different outlets and that you know, maybe somebody else will

1:20:54.760 --> 1:20:56.920
<v Speaker 1>wind up recording it, or maybe I just wrote it

1:20:57.280 --> 1:21:02.200
<v Speaker 1>for the gratification of of writing the song. Um, you know,

1:21:03.120 --> 1:21:06.360
<v Speaker 1>when all those situations were happening, I would find myself

1:21:07.160 --> 1:21:09.680
<v Speaker 1>writing for the sake of the song. And when the

1:21:09.720 --> 1:21:12.680
<v Speaker 1>song was written, as we talked about earlier, then I

1:21:12.680 --> 1:21:14.680
<v Speaker 1>would think, oh, is this a mule song? Could this

1:21:14.720 --> 1:21:16.720
<v Speaker 1>be an Allam brother song? Is this something I would

1:21:16.760 --> 1:21:20.400
<v Speaker 1>do on one of my solo records. But I never

1:21:20.439 --> 1:21:23.720
<v Speaker 1>wanted to think about that during the writing process. I

1:21:23.720 --> 1:21:26.760
<v Speaker 1>wanted to wait and back up away from it and

1:21:27.200 --> 1:21:30.040
<v Speaker 1>figure it out after the fact. So at this point,

1:21:30.320 --> 1:21:33.800
<v Speaker 1>and don't be humble, what is the dream? What is

1:21:33.840 --> 1:21:36.920
<v Speaker 1>it that you want to achieve? Certainly you can play,

1:21:36.960 --> 1:21:39.400
<v Speaker 1>But what is the goal now, whether you achieve it

1:21:39.520 --> 1:21:45.080
<v Speaker 1>or not. Well, it probably sounds stupid to say, but

1:21:45.240 --> 1:21:47.920
<v Speaker 1>I don't think I've made my best record, and I

1:21:47.920 --> 1:21:51.280
<v Speaker 1>don't think I've written my best song. Think the goal

1:21:51.360 --> 1:21:55.840
<v Speaker 1>for me is to keep going in a way that

1:21:56.479 --> 1:22:00.599
<v Speaker 1>I feel like I'm breaking new ground because I've been

1:22:00.640 --> 1:22:07.760
<v Speaker 1>really lucky to have that opportunity to keep not repeating myself.

1:22:07.800 --> 1:22:13.200
<v Speaker 1>You know. Uh, somebody asked me, like role models, not

1:22:13.280 --> 1:22:17.680
<v Speaker 1>so much role models in a humanitarian way, but he

1:22:18.040 --> 1:22:20.560
<v Speaker 1>role models in a in a career way, or a

1:22:21.280 --> 1:22:25.640
<v Speaker 1>history way, or a music way. Miles Davis to me,

1:22:26.360 --> 1:22:29.760
<v Speaker 1>the fact that he was constantly reinventing himself and by

1:22:29.800 --> 1:22:32.599
<v Speaker 1>the time people got used to his new music, he

1:22:32.640 --> 1:22:34.680
<v Speaker 1>was already thinking about something else that they weren't going

1:22:34.720 --> 1:22:37.400
<v Speaker 1>to get used to for another couple of years. That's

1:22:37.560 --> 1:22:42.160
<v Speaker 1>been such a wonderful example for all of us that

1:22:42.360 --> 1:22:44.200
<v Speaker 1>I tend you know, I can only take a small

1:22:44.240 --> 1:22:47.640
<v Speaker 1>amount of that advice for in the parameters that that

1:22:47.720 --> 1:22:51.120
<v Speaker 1>I'm given, But I think of it like that. I think,

1:22:51.240 --> 1:22:55.040
<v Speaker 1>you know, I don't want to redo what I've already done,

1:22:55.520 --> 1:22:58.760
<v Speaker 1>you know. And and as musicians, we don't really have

1:22:58.840 --> 1:23:02.919
<v Speaker 1>a lot of choice in that matter, and I somehow

1:23:03.000 --> 1:23:06.439
<v Speaker 1>have managed to have a little more choice than the

1:23:06.479 --> 1:23:09.559
<v Speaker 1>average person, you know, to to make those decisions that

1:23:10.040 --> 1:23:12.439
<v Speaker 1>I'm not gonna remake my first record and my second

1:23:12.439 --> 1:23:15.120
<v Speaker 1>record and my third record. I'm gonna make something that's

1:23:15.120 --> 1:23:18.280
<v Speaker 1>completely different and if people get it, great, you know,

1:23:18.880 --> 1:23:21.320
<v Speaker 1>but it's something I need to do. Well. Just staying

1:23:21.360 --> 1:23:27.200
<v Speaker 1>on that point, how lucrative is your career been? Uh,

1:23:27.400 --> 1:23:32.520
<v Speaker 1>I have no complaints whatsoever, you know. I've been successful

1:23:34.120 --> 1:23:39.240
<v Speaker 1>as a musician, as an artist, as a songwriter, you know,

1:23:39.400 --> 1:23:45.640
<v Speaker 1>and and and lucky enough to have written songs for

1:23:45.640 --> 1:23:50.160
<v Speaker 1>for people that uh, you know, like when I wrote

1:23:50.200 --> 1:23:51.880
<v Speaker 1>Two of a Kind working on a Full House for

1:23:51.920 --> 1:23:57.400
<v Speaker 1>Garth Brooks. Uh. When I co wrote that song, I

1:23:57.400 --> 1:23:59.320
<v Speaker 1>had no idea that it was going to become such

1:23:59.360 --> 1:24:03.280
<v Speaker 1>a huge number one song that would keep generating income

1:24:03.320 --> 1:24:07.559
<v Speaker 1>for years to come. Um, and I'm I'm very thankful

1:24:07.600 --> 1:24:11.200
<v Speaker 1>for that, you know, George Jones recording one of my songs,

1:24:11.200 --> 1:24:13.719
<v Speaker 1>and he's one of my heroes, so that, even aside

1:24:13.720 --> 1:24:16.000
<v Speaker 1>from the money part of it, I was just so

1:24:16.120 --> 1:24:19.880
<v Speaker 1>honored to have people like George Jones and John may

1:24:19.880 --> 1:24:23.639
<v Speaker 1>All that I grew up listening to recording my tunes.

1:24:23.720 --> 1:24:27.679
<v Speaker 1>You know. It's uh, that's there's some gratification from that.

1:24:27.680 --> 1:24:33.120
<v Speaker 1>That's that's beyond the business part of it. Okay, needless

1:24:33.160 --> 1:24:36.120
<v Speaker 1>to say, well, you've been on this path. The whole

1:24:36.160 --> 1:24:40.720
<v Speaker 1>business has changed, certainly the business element, but also the

1:24:40.840 --> 1:24:44.559
<v Speaker 1>music element. Certainly you were there at the right time

1:24:44.600 --> 1:24:49.440
<v Speaker 1>when jam band scene was very big early to mid nineties.

1:24:49.800 --> 1:24:52.800
<v Speaker 1>There's certainly a scene at this point in time, but

1:24:52.880 --> 1:24:57.120
<v Speaker 1>it is not the dominant popular music. You're essentially a

1:24:57.240 --> 1:25:00.839
<v Speaker 1>rock artist. How do you feel about being rock artist

1:25:01.160 --> 1:25:04.120
<v Speaker 1>in a world where all the hype and a great

1:25:04.640 --> 1:25:07.280
<v Speaker 1>certainly percentage of the recording revenue goes to pop and

1:25:07.360 --> 1:25:13.320
<v Speaker 1>hip hop. Well, you know, I have to look at

1:25:13.320 --> 1:25:16.479
<v Speaker 1>it in a similar way to the way jazz artists

1:25:16.520 --> 1:25:19.720
<v Speaker 1>have looked at their entire lives. You do what you

1:25:19.760 --> 1:25:22.719
<v Speaker 1>do because you love it, and if there are times

1:25:22.800 --> 1:25:25.559
<v Speaker 1>when it's in vogue, then that's great. And I've had

1:25:25.760 --> 1:25:31.040
<v Speaker 1>more of those times than I could hope for. Um,

1:25:31.080 --> 1:25:36.559
<v Speaker 1>But I've never felt like I could change what it

1:25:36.640 --> 1:25:40.439
<v Speaker 1>is that I love because I feel like it's not

1:25:40.560 --> 1:25:45.680
<v Speaker 1>mainstream or not enough people would support it, you know. Um,

1:25:45.760 --> 1:25:50.120
<v Speaker 1>I remember maybe it was went and Marsava. Somebody said

1:25:50.439 --> 1:25:54.559
<v Speaker 1>about Jazz that they asked him a similar question and

1:25:54.600 --> 1:25:58.559
<v Speaker 1>he said, well, you have to realize that what we're

1:25:58.560 --> 1:26:02.360
<v Speaker 1>doing is filet mean on a lot of people would

1:26:02.360 --> 1:26:08.720
<v Speaker 1>prefer to eat to McDonald's. That's pretty definitive. Uh. The

1:26:08.760 --> 1:26:11.720
<v Speaker 1>other thing, of course it's been changed, is that you say,

1:26:11.760 --> 1:26:14.080
<v Speaker 1>you know the al the tour used to be the

1:26:14.160 --> 1:26:17.280
<v Speaker 1>advertisement for the album. Now the albums the advertisement for

1:26:17.320 --> 1:26:21.000
<v Speaker 1>the tour. How is the shift to touring? Let me

1:26:21.000 --> 1:26:24.000
<v Speaker 1>put it in a different way. If you had to choose,

1:26:24.400 --> 1:26:26.880
<v Speaker 1>or maybe with percentage, are you more about the live

1:26:26.920 --> 1:26:30.960
<v Speaker 1>experience or more about the studio writing experience? Well, I

1:26:30.960 --> 1:26:34.280
<v Speaker 1>can answer both of those. Um, if I had to choose,

1:26:34.840 --> 1:26:42.840
<v Speaker 1>the live experience is more gratifying, you know because for me, uh, improvisation,

1:26:42.920 --> 1:26:48.040
<v Speaker 1>which is just momentary composition, that's my most favorite thing

1:26:48.200 --> 1:26:51.479
<v Speaker 1>as a musician. As a songwriter, it's a little different.

1:26:51.720 --> 1:26:54.200
<v Speaker 1>As a singer, it's a little different, but performing is

1:26:54.240 --> 1:26:58.919
<v Speaker 1>still always gonna win out for me. Um. The business

1:26:58.960 --> 1:27:02.200
<v Speaker 1>part of it, you know, we were always one of

1:27:02.240 --> 1:27:05.400
<v Speaker 1>those bands and the Allman Brothers, Government Mule, all the

1:27:05.439 --> 1:27:08.360
<v Speaker 1>bands in that sort of scene. We're always one of

1:27:08.400 --> 1:27:14.720
<v Speaker 1>those bands that touring generated the better income. So when

1:27:14.760 --> 1:27:19.120
<v Speaker 1>that changed, it wasn't a huge change for us like

1:27:19.160 --> 1:27:22.120
<v Speaker 1>it was for bands that were selling millions and millions

1:27:22.160 --> 1:27:27.439
<v Speaker 1>of records. Um, so we were maybe ahead of it

1:27:27.760 --> 1:27:30.200
<v Speaker 1>a little bit because that's what we had always done.

1:27:30.600 --> 1:27:33.360
<v Speaker 1>It is a little tough when they start taking a

1:27:33.439 --> 1:27:36.840
<v Speaker 1>zero away from all the budgets. And you know, it

1:27:36.920 --> 1:27:39.879
<v Speaker 1>used to be if a band sold a million records,

1:27:40.080 --> 1:27:42.200
<v Speaker 1>well now they're selling a hundred thousand. If they sold

1:27:42.360 --> 1:27:44.559
<v Speaker 1>that a hundred thousand, and now they're selling ten thousand,

1:27:45.120 --> 1:27:49.879
<v Speaker 1>so you know, and budgets are corresponding with that. You know. Uh.

1:27:50.080 --> 1:27:55.360
<v Speaker 1>In the in the seventies, bands were making records, spending

1:27:55.400 --> 1:27:57.960
<v Speaker 1>like half a million dollars on a record, and then

1:27:58.000 --> 1:28:00.640
<v Speaker 1>you fast forward to now and you gotta make a

1:28:00.680 --> 1:28:05.080
<v Speaker 1>record for twenty grand. Uh. It's it's challenging, and it

1:28:05.160 --> 1:28:08.320
<v Speaker 1>means we're never gonna get Dark Side of the Moon

1:28:08.479 --> 1:28:11.920
<v Speaker 1>or Stillly dan Asia or Fleetwood Mac rumors. We're never

1:28:11.920 --> 1:28:15.920
<v Speaker 1>gonna get those records ever again unless something changes in

1:28:15.960 --> 1:28:19.000
<v Speaker 1>a way that would allow that to present itself, you know,

1:28:19.080 --> 1:28:23.240
<v Speaker 1>because bands don't have the opportunity, artists don't have the opportunity.

1:28:23.240 --> 1:28:26.280
<v Speaker 1>Even if you have a home studio. A, it's not

1:28:26.320 --> 1:28:29.120
<v Speaker 1>gonna be as good as the studios those records were

1:28:29.120 --> 1:28:31.760
<v Speaker 1>made in. And B. You don't have a year and

1:28:31.800 --> 1:28:34.599
<v Speaker 1>a half to make a record uh or six months

1:28:34.680 --> 1:28:38.840
<v Speaker 1>or whatever. You know, some of those records took um.

1:28:38.880 --> 1:28:44.200
<v Speaker 1>I love making records, but playing live is is definitely Uh, well,

1:28:44.200 --> 1:28:47.839
<v Speaker 1>it's more fun because making records is tedious. Making records

1:28:47.880 --> 1:28:51.880
<v Speaker 1>you is not. It's not so much the creative side

1:28:51.880 --> 1:28:54.080
<v Speaker 1>of your brain at work all the time you're you're

1:28:54.920 --> 1:28:57.720
<v Speaker 1>it's more work and less play. You know, when you're performing,

1:28:57.800 --> 1:29:00.800
<v Speaker 1>the ultimate thing you can do is to shut your

1:29:00.800 --> 1:29:04.519
<v Speaker 1>brain off and go on autopilot where you're not thinking

1:29:04.560 --> 1:29:09.360
<v Speaker 1>at all. And that's something that you try to do

1:29:09.400 --> 1:29:13.240
<v Speaker 1>in the studio, but it's not as achievable. So what

1:29:13.400 --> 1:29:20.040
<v Speaker 1>is your favorite Allman Brothers song to play? Uh? Maybe Dreams.

1:29:20.080 --> 1:29:24.000
<v Speaker 1>I really loved playing Dreams. Uh. A whip and post

1:29:24.120 --> 1:29:27.080
<v Speaker 1>is great because you can take it anywhere you want

1:29:27.080 --> 1:29:29.280
<v Speaker 1>to go. You know, sometimes we would stop in the

1:29:29.280 --> 1:29:33.160
<v Speaker 1>middle and go off to a unchartered territory and nobody

1:29:33.160 --> 1:29:35.559
<v Speaker 1>would even know how it was going to come back.

1:29:36.120 --> 1:29:38.559
<v Speaker 1>And the same with songs like in Memory of Elizabeth Reid.

1:29:39.240 --> 1:29:42.320
<v Speaker 1>But there's so many great songs in the catalog. Just

1:29:42.479 --> 1:29:47.160
<v Speaker 1>playing the song itself sometimes is a joyous feeling as well,

1:29:47.200 --> 1:29:50.840
<v Speaker 1>you know. Um, But I love the ones that we

1:29:50.920 --> 1:29:54.840
<v Speaker 1>can reinterpret on a given nine. So you know, you

1:29:54.920 --> 1:29:59.080
<v Speaker 1>do a great version of Don Henley's Wasted Time. Are

1:29:59.160 --> 1:30:03.240
<v Speaker 1>you someone who's very broad in your musical knowledge and

1:30:03.360 --> 1:30:08.240
<v Speaker 1>musical taste? Uh? Because many people would pooh pooh that

1:30:08.400 --> 1:30:13.599
<v Speaker 1>music relative to the Almond Brothers music. Uh. Yeah, My

1:30:13.680 --> 1:30:18.759
<v Speaker 1>taste runs extremely wide. I love so many types of music,

1:30:18.960 --> 1:30:24.360
<v Speaker 1>and I try not to be um, try not to

1:30:24.400 --> 1:30:28.240
<v Speaker 1>be a snob about the actual music that I like

1:30:28.479 --> 1:30:30.600
<v Speaker 1>on a song by song basis I can be a

1:30:30.640 --> 1:30:35.640
<v Speaker 1>snob about Uh. Let's say it differently. I want to

1:30:35.760 --> 1:30:39.439
<v Speaker 1>open myself to every genre and whatever the best is

1:30:39.479 --> 1:30:43.720
<v Speaker 1>in that genre, I'm open to. Um. And for the

1:30:43.720 --> 1:30:46.320
<v Speaker 1>most parts, I think that's that's true. You have to

1:30:47.200 --> 1:30:52.040
<v Speaker 1>take it. Uh. If I hear music, either I get

1:30:52.160 --> 1:30:55.439
<v Speaker 1>or you don't like it, you know. And I'm definitely

1:30:55.760 --> 1:30:59.960
<v Speaker 1>not the dude from Big Lebowski that I hate the

1:31:00.080 --> 1:31:04.760
<v Speaker 1>fucking Eagles Man that I'm not that, although I love

1:31:04.800 --> 1:31:11.880
<v Speaker 1>the dude. Uh. And I know it's it's not uh,

1:31:11.920 --> 1:31:16.240
<v Speaker 1>maybe it's not hip to say this, but nobody can

1:31:16.240 --> 1:31:18.400
<v Speaker 1>deny a lot of the great songs that those guys

1:31:18.560 --> 1:31:21.960
<v Speaker 1>are unbelievable. I'm a huge fan and I and and

1:31:24.040 --> 1:31:27.559
<v Speaker 1>the poppy stuff is is incredible on its own merit.

1:31:28.160 --> 1:31:30.559
<v Speaker 1>But then when you talk about songs like Wasted Time

1:31:31.320 --> 1:31:33.519
<v Speaker 1>that wasn't written to be a pop song, it's just

1:31:33.600 --> 1:31:36.960
<v Speaker 1>a great, well crafted song you can go on with

1:31:37.000 --> 1:31:39.439
<v Speaker 1>your life, baby that I can go on with mine.

1:31:39.520 --> 1:31:41.320
<v Speaker 1>Just for the first time, I heard that lyric whole

1:31:41.920 --> 1:31:44.599
<v Speaker 1>and the other day I've thought about which I think

1:31:44.600 --> 1:31:48.439
<v Speaker 1>I did solo acoustic once or twice? Uh, the song uh,

1:31:48.600 --> 1:31:52.400
<v Speaker 1>the Last Resort, that's not meant to be a pop song.

1:31:52.479 --> 1:31:57.080
<v Speaker 1>It's just a beautiful song, and nobody can deny that.

1:31:57.520 --> 1:31:59.960
<v Speaker 1>To what to greedy to keep up on new music?

1:32:01.400 --> 1:32:03.840
<v Speaker 1>I wish it was more And I'm sure some of

1:32:03.880 --> 1:32:05.640
<v Speaker 1>it's my fault, but I blame a lot of it

1:32:05.720 --> 1:32:09.320
<v Speaker 1>on the new music itself because it's really hard for

1:32:09.360 --> 1:32:11.320
<v Speaker 1>me to connect to most of it. When I hear

1:32:11.400 --> 1:32:14.720
<v Speaker 1>something that I like, I'm really grateful and and and

1:32:14.840 --> 1:32:16.960
<v Speaker 1>uh and and I'll open to it, but a lot

1:32:17.000 --> 1:32:21.639
<v Speaker 1>of it I think is just aspiring to the lowest

1:32:21.640 --> 1:32:26.559
<v Speaker 1>common denominator, lowering the bar. Uh. People are selling out

1:32:26.600 --> 1:32:29.799
<v Speaker 1>at every turn. The thought process from the very beginning

1:32:29.920 --> 1:32:32.559
<v Speaker 1>is what can I do to get more likes or

1:32:32.640 --> 1:32:35.040
<v Speaker 1>make more money, or get more attention, or sell more

1:32:35.080 --> 1:32:39.040
<v Speaker 1>records or more streaming or more downloading or whatever. It

1:32:39.080 --> 1:32:42.000
<v Speaker 1>should start with the music and all that should be secondary,

1:32:42.240 --> 1:32:45.920
<v Speaker 1>you know. And and Uh, when you start compromising your

1:32:46.000 --> 1:32:49.160
<v Speaker 1>music before you even make it, I think you're looking

1:32:49.200 --> 1:32:53.479
<v Speaker 1>at it backwards. There are things. How did the fifty

1:32:53.520 --> 1:32:56.960
<v Speaker 1>at the anniversary Almond Brothers gig come together got a

1:32:57.120 --> 1:33:00.400
<v Speaker 1>rousing reception? Is that a one off? Do you think

1:33:00.400 --> 1:33:03.439
<v Speaker 1>there'll be anything like that in the future. It came

1:33:03.479 --> 1:33:10.320
<v Speaker 1>together because Jmo called all of us and said, we

1:33:10.360 --> 1:33:14.920
<v Speaker 1>need to do a fiftieth anniversary show, and it it

1:33:15.040 --> 1:33:18.160
<v Speaker 1>was the opportunity to do that show at Madison's Corpy

1:33:18.240 --> 1:33:20.479
<v Speaker 1>Garden that we never did that We had talked about

1:33:20.479 --> 1:33:25.280
<v Speaker 1>being the final show before. Uh. It's always been our

1:33:25.280 --> 1:33:27.040
<v Speaker 1>intent for it to be a one off and and

1:33:27.160 --> 1:33:34.479
<v Speaker 1>not not do it again. The odd thing is, after

1:33:34.560 --> 1:33:40.320
<v Speaker 1>all this coronavirus and the new norm, I don't know

1:33:40.600 --> 1:33:43.400
<v Speaker 1>a if it would even be possible to do it

1:33:43.439 --> 1:33:46.639
<v Speaker 1>on the other side and be would we look at

1:33:46.640 --> 1:33:51.439
<v Speaker 1>it differently, more favorably, less favorably. I don't. I don't

1:33:51.479 --> 1:33:54.920
<v Speaker 1>really know, but our intent was always too for that

1:33:54.960 --> 1:34:00.160
<v Speaker 1>to be the finality and be done with it. Well,

1:34:00.240 --> 1:34:03.160
<v Speaker 1>this has been wonderful Warren. We look forward to you

1:34:03.240 --> 1:34:05.720
<v Speaker 1>being back on the boards and certainly your new recordings.

1:34:06.040 --> 1:34:09.280
<v Speaker 1>Thanks so much for doing this my pleasure. Nice talking

1:34:09.320 --> 1:34:11.559
<v Speaker 1>to you until next time. This is Bob left sus