1 00:00:00,400 --> 00:00:01,120 Speaker 1: Taking a Walk. 2 00:00:01,240 --> 00:00:02,520 Speaker 2: I think it's pretty timeless. 3 00:00:02,560 --> 00:00:06,640 Speaker 3: So some of those songs are have that already, you know, 4 00:00:06,920 --> 00:00:12,239 Speaker 3: withstood the test of generations. Great songs endure. I'm very 5 00:00:12,280 --> 00:00:15,640 Speaker 3: proud and happy to know that I was part of 6 00:00:15,680 --> 00:00:20,200 Speaker 3: something that will endure. And you know, which is fabulous, 7 00:00:20,239 --> 00:00:22,600 Speaker 3: and you know it's a it's a blessing. It's something 8 00:00:22,640 --> 00:00:25,479 Speaker 3: that most musicians and songwriters would hope that they would 9 00:00:25,480 --> 00:00:28,800 Speaker 3: have one much less than you know, multiple songs that 10 00:00:29,040 --> 00:00:30,280 Speaker 3: fit that description. 11 00:00:30,400 --> 00:00:32,639 Speaker 4: I'm Buzznight, the host of the Taking a Walk Podcast. 12 00:00:32,680 --> 00:00:32,839 Speaker 1: Now. 13 00:00:32,840 --> 00:00:35,720 Speaker 4: You could reach me at buzz at buzznightmedia dot com. 14 00:00:35,760 --> 00:00:38,479 Speaker 4: If you have questions or comments on Taking a Walk. 15 00:00:38,760 --> 00:00:41,440 Speaker 4: You could also find me on x formerly known as 16 00:00:41,479 --> 00:00:45,800 Speaker 4: Twitter at the Buzz Night and on Instagram at Taking 17 00:00:45,880 --> 00:00:50,159 Speaker 4: a Walk Podcast Now. Today a classic replay based on 18 00:00:50,320 --> 00:00:53,440 Speaker 4: many of your suggestions, because last week we put out 19 00:00:53,479 --> 00:00:56,080 Speaker 4: a new episode with Daryl Hall of Hall and Odes 20 00:00:56,120 --> 00:00:59,360 Speaker 4: Fame Love talking with Daryl Hall, and many of you 21 00:00:59,480 --> 00:01:02,440 Speaker 4: contact means said why not replay that one you did 22 00:01:02,440 --> 00:01:05,800 Speaker 4: with John Oates from some time ago because they enjoyed 23 00:01:05,800 --> 00:01:09,399 Speaker 4: that wanted to hear that one again. So, without further ado, 24 00:01:09,920 --> 00:01:13,720 Speaker 4: a classic replay with John Oates on the Taking a 25 00:01:13,760 --> 00:01:14,679 Speaker 4: Walk podcast. 26 00:01:16,000 --> 00:01:18,880 Speaker 5: Well, John Oates, it is a terrific honor to have 27 00:01:18,959 --> 00:01:21,440 Speaker 5: you on this virtual edition of Taking a Walk. We're 28 00:01:21,440 --> 00:01:23,280 Speaker 5: going to take a walk down memory lane a bit. 29 00:01:23,319 --> 00:01:25,840 Speaker 5: We're going to talk about your new project, Reunion. But 30 00:01:26,000 --> 00:01:29,440 Speaker 5: I'm grateful to have you on. Thanks, Thanks, nice to 31 00:01:29,480 --> 00:01:34,880 Speaker 5: be here. So Reunion is the new project the singles out. 32 00:01:36,000 --> 00:01:38,720 Speaker 5: We want to get into a lot about that project, 33 00:01:38,760 --> 00:01:42,200 Speaker 5: but can you just talk about how the creative process 34 00:01:42,880 --> 00:01:47,039 Speaker 5: worked for you for this new Reunion project and any 35 00:01:47,080 --> 00:01:50,800 Speaker 5: differences in the creative project to the way you've done 36 00:01:50,800 --> 00:01:51,480 Speaker 5: it in the past. 37 00:01:52,400 --> 00:01:55,640 Speaker 3: Well, this particular project, I think is in a sense 38 00:01:55,680 --> 00:02:01,520 Speaker 3: a culmination of my Nashville experience moving here, being embraced 39 00:02:01,560 --> 00:02:06,920 Speaker 3: and participating in a lot of the Americana music you 40 00:02:06,960 --> 00:02:11,239 Speaker 3: know communities, not only in terms of musical relationship or 41 00:02:11,280 --> 00:02:14,080 Speaker 3: friendships and all sorts of things like that. So in 42 00:02:14,120 --> 00:02:17,680 Speaker 3: a way, I think this record really kind of crystallizes 43 00:02:18,320 --> 00:02:24,279 Speaker 3: all those things. There's many many of my amazing musicians 44 00:02:24,320 --> 00:02:26,840 Speaker 3: who have become my good friends over the years, who 45 00:02:26,880 --> 00:02:30,800 Speaker 3: we've recorded and toured together with, you know, people like 46 00:02:30,960 --> 00:02:35,120 Speaker 3: Sam Bush, Jerry Douglas, Babi Fleck, Jim Lauderdale, you know, 47 00:02:35,200 --> 00:02:39,720 Speaker 3: some great amazing also players like Guthrie Trapped, Tom Bukavac. 48 00:02:40,760 --> 00:02:43,520 Speaker 3: So it's really chock full of this kind of all 49 00:02:43,560 --> 00:02:48,960 Speaker 3: star cast, Sierra Hall on mandolin, just more recently, Russ Paul, 50 00:02:49,200 --> 00:02:51,480 Speaker 3: you know, people like that. I could go on and on, 51 00:02:51,600 --> 00:02:54,800 Speaker 3: but it's really and a lot of I think what 52 00:02:54,880 --> 00:02:57,640 Speaker 3: makes this record unique too, is there's songs on this 53 00:02:57,720 --> 00:03:00,000 Speaker 3: record that are that we're written a long long time, 54 00:03:00,120 --> 00:03:04,200 Speaker 3: go some some as early as the early nineties and 55 00:03:04,400 --> 00:03:07,320 Speaker 3: on up to songs that I knew that someday would 56 00:03:07,320 --> 00:03:10,000 Speaker 3: see the light of day, but I didn't have a 57 00:03:10,320 --> 00:03:13,359 Speaker 3: project that they seemed to fit. And finally I had 58 00:03:13,400 --> 00:03:17,120 Speaker 3: this body of work that seemed to embrace some of 59 00:03:17,160 --> 00:03:20,240 Speaker 3: these other songs that have just been sitting around in 60 00:03:20,280 --> 00:03:23,560 Speaker 3: the in the archives. So really it's it's I think 61 00:03:23,600 --> 00:03:25,600 Speaker 3: in a way, it's a little bit of a retrospective 62 00:03:25,800 --> 00:03:30,160 Speaker 3: on my on my singer songwriter side, on my folk 63 00:03:30,280 --> 00:03:34,840 Speaker 3: acoustic side, all of which are very important in my 64 00:03:35,440 --> 00:03:38,520 Speaker 3: in my background, in my musical DNA. 65 00:03:39,320 --> 00:03:42,440 Speaker 5: And back here you can't quite see it, but there's 66 00:03:42,520 --> 00:03:46,320 Speaker 5: a photo of the great John Prime back there from 67 00:03:46,360 --> 00:03:51,600 Speaker 5: an album cover, and you do an absolutely beautiful, beautiful 68 00:03:51,680 --> 00:03:56,680 Speaker 5: rendition of the song long Monday. Congratulations on that. Tell 69 00:03:56,720 --> 00:04:00,440 Speaker 5: me about what John Prime that song and his music 70 00:04:00,800 --> 00:04:01,400 Speaker 5: means to you. 71 00:04:02,040 --> 00:04:04,360 Speaker 3: Well, I think there's a you know, probably you know, 72 00:04:05,000 --> 00:04:09,520 Speaker 3: a fact, a hidden unknown fact that John was doing, 73 00:04:10,360 --> 00:04:12,600 Speaker 3: if not his first album, one of his first albums 74 00:04:12,960 --> 00:04:17,240 Speaker 3: at Atlantic Records Atlantic Recording Studios in New York City 75 00:04:17,760 --> 00:04:22,120 Speaker 3: in the early seventies with the producer Aarif Martin, at 76 00:04:22,120 --> 00:04:24,440 Speaker 3: the exact same time that Darryl and I were doing 77 00:04:24,480 --> 00:04:27,800 Speaker 3: our first albums in the same studio with the same producer. 78 00:04:28,279 --> 00:04:31,679 Speaker 3: So there's a lot of a lot of synergy there 79 00:04:31,720 --> 00:04:33,760 Speaker 3: in terms of, you know, we'd be passing each other 80 00:04:33,760 --> 00:04:36,640 Speaker 3: in the hallways as you know, him going to his 81 00:04:36,680 --> 00:04:39,080 Speaker 3: session or coming out and vice versa. 82 00:04:39,680 --> 00:04:42,440 Speaker 2: So you know, even though I wasn't super. 83 00:04:42,120 --> 00:04:44,760 Speaker 3: Close with John in the later years, we did play 84 00:04:44,800 --> 00:04:49,840 Speaker 3: together once or twice, just casually. And I've just been 85 00:04:49,880 --> 00:04:52,640 Speaker 3: a huge fan, you know, one of the great American songwriters. 86 00:04:52,920 --> 00:04:55,760 Speaker 3: And when I was asked to celebrate to his birthday 87 00:04:55,800 --> 00:04:58,560 Speaker 3: at the Ryman Auditorium in Nashville a few months ago, 88 00:04:59,320 --> 00:05:01,400 Speaker 3: they asked me if I would participate, and I said, 89 00:05:01,440 --> 00:05:02,640 Speaker 3: of course, and you know. 90 00:05:02,680 --> 00:05:04,440 Speaker 2: I picked long Monday, and. 91 00:05:04,400 --> 00:05:06,160 Speaker 3: Then I thought about it, you know, and I thought, well, 92 00:05:06,200 --> 00:05:09,000 Speaker 3: here's a challenge, you know, because I have a great 93 00:05:09,040 --> 00:05:12,120 Speaker 3: respect for songwriters, so I wouldn't want to mess with 94 00:05:12,240 --> 00:05:15,200 Speaker 3: the beauty of his lyrics and his melody for that matter. 95 00:05:15,680 --> 00:05:17,480 Speaker 3: So I thought, well, the only way I can make 96 00:05:17,520 --> 00:05:20,000 Speaker 3: this my own is by in terms of the arrangement. 97 00:05:20,320 --> 00:05:22,320 Speaker 3: So I dug into the arrangement and I tried to 98 00:05:22,320 --> 00:05:24,480 Speaker 3: make the arrangement a little bit more personal and a 99 00:05:24,480 --> 00:05:27,520 Speaker 3: little bit more comfortable for me. And then when I 100 00:05:27,560 --> 00:05:30,320 Speaker 3: played it live on stage, everyone seemed to really like it. 101 00:05:30,600 --> 00:05:32,360 Speaker 3: Then I said, well, I guess I should record it, 102 00:05:32,400 --> 00:05:34,320 Speaker 3: so I did, and of course I included it. 103 00:05:34,279 --> 00:05:34,960 Speaker 1: On the album. 104 00:05:35,320 --> 00:05:36,599 Speaker 6: It really is beautiful. 105 00:05:37,360 --> 00:05:37,680 Speaker 2: Thanks. 106 00:05:38,120 --> 00:05:41,920 Speaker 5: Yeah, tell me about collaborating with Aj Crochy. 107 00:05:42,720 --> 00:05:47,240 Speaker 3: Well, it's a perfect segue because I met Aj Crochey 108 00:05:47,360 --> 00:05:51,240 Speaker 3: at that exact John Prime event at the Ryman Auditorium. 109 00:05:51,640 --> 00:05:53,440 Speaker 3: We were put into the same we were assigned the 110 00:05:53,440 --> 00:05:56,280 Speaker 3: same dressing room, and of course I knew I knew 111 00:05:56,320 --> 00:05:59,000 Speaker 3: of him, but we had never met, and we hit 112 00:05:59,080 --> 00:06:02,080 Speaker 3: it off immediately. He's just got a very very He's 113 00:06:02,080 --> 00:06:05,440 Speaker 3: a really warm, engaging guy, and and I could tell 114 00:06:05,480 --> 00:06:09,520 Speaker 3: from immediately that there was something going on. We had 115 00:06:09,520 --> 00:06:13,080 Speaker 3: a reel, you know, it was very compatible, and I 116 00:06:13,080 --> 00:06:15,560 Speaker 3: could just I sense that we could do something together. 117 00:06:15,560 --> 00:06:18,080 Speaker 3: I didn't know what that was going to be, but 118 00:06:18,160 --> 00:06:20,239 Speaker 3: we did talk about, you know, getting together to write. 119 00:06:20,240 --> 00:06:22,840 Speaker 3: And when we did, I had this idea for a reunion. 120 00:06:23,279 --> 00:06:27,279 Speaker 3: I had the concept. I had the part of the chorus, 121 00:06:28,120 --> 00:06:31,080 Speaker 3: and I had a key line the lights at the 122 00:06:31,120 --> 00:06:33,880 Speaker 3: party burned bright, but I'm leaving early tonight, and to 123 00:06:33,920 --> 00:06:37,880 Speaker 3: me that that kind of symbolizes the spirit of the 124 00:06:37,880 --> 00:06:38,440 Speaker 3: whole song. 125 00:06:38,880 --> 00:06:39,800 Speaker 2: We talked about it. 126 00:06:39,880 --> 00:06:42,000 Speaker 3: I told him about my hundred year old father who 127 00:06:42,080 --> 00:06:45,640 Speaker 3: gave me the inspiration for this song. We start discussing, 128 00:06:45,760 --> 00:06:48,920 Speaker 3: you know, what it's like to really find the essence 129 00:06:48,960 --> 00:06:51,520 Speaker 3: of yourself, and of course he related I think in 130 00:06:51,560 --> 00:06:53,200 Speaker 3: a lot of ways. Due to the fact that his 131 00:06:53,200 --> 00:06:56,720 Speaker 3: father was such a famous and well known songwriter, and 132 00:06:57,400 --> 00:06:59,320 Speaker 3: he was in the midst of doing a tour Croachy 133 00:06:59,320 --> 00:07:02,320 Speaker 3: Sings Croachy, there was a lot going on that really 134 00:07:03,080 --> 00:07:06,359 Speaker 3: we were both able to relate to the idea of 135 00:07:06,440 --> 00:07:11,880 Speaker 3: the song in our own personal way, and it really 136 00:07:12,160 --> 00:07:14,280 Speaker 3: it was beautiful. It flowed really quickly. I think we 137 00:07:14,320 --> 00:07:15,520 Speaker 3: wrote the song in a few hours. 138 00:07:16,000 --> 00:07:18,320 Speaker 6: Had you encountered his father through your career. 139 00:07:19,120 --> 00:07:21,480 Speaker 2: No, not personally, no, but of course I was a fan. 140 00:07:22,000 --> 00:07:23,560 Speaker 6: What a legacy, right, my god? 141 00:07:24,280 --> 00:07:28,000 Speaker 5: Yeah, I think really in a way it's sad, but 142 00:07:28,080 --> 00:07:32,560 Speaker 5: many times people's legacy is more appreciated after they pass away, 143 00:07:32,640 --> 00:07:35,160 Speaker 5: and it feels like that was the case with his father. 144 00:07:35,920 --> 00:07:38,480 Speaker 3: Well, you know, I think he was also appreciated, you know, 145 00:07:38,560 --> 00:07:40,200 Speaker 3: in his own time tho. 146 00:07:40,400 --> 00:07:41,400 Speaker 2: You know, he had big hits. 147 00:07:41,600 --> 00:07:44,280 Speaker 3: He had big hits with a very kind of acoustic, 148 00:07:44,400 --> 00:07:48,960 Speaker 3: folky kind of recording style and which was unusual for 149 00:07:49,000 --> 00:07:51,080 Speaker 3: the time, which was great. It made him stand out 150 00:07:51,120 --> 00:07:51,480 Speaker 3: for sure. 151 00:07:52,240 --> 00:07:54,760 Speaker 5: So I'll put you on the spot here and ask 152 00:07:54,840 --> 00:07:59,440 Speaker 5: you maybe five quintessential albums that have really mattered to 153 00:07:59,560 --> 00:08:02,000 Speaker 5: you and had an influence on you. 154 00:08:03,000 --> 00:08:04,160 Speaker 2: Well, I don't know where to begin. 155 00:08:06,200 --> 00:08:10,000 Speaker 3: Sure, I would say, you know, going back, the first, 156 00:08:10,280 --> 00:08:14,480 Speaker 3: the first long playing album LP that I ever heard, 157 00:08:14,960 --> 00:08:17,880 Speaker 3: other than early rock and roll single forty five's was 158 00:08:18,520 --> 00:08:23,520 Speaker 3: Ray Charles Ray Charles' Greatest Hits, And I did not 159 00:08:23,680 --> 00:08:27,800 Speaker 3: have a long playing record player at home. I had 160 00:08:27,840 --> 00:08:30,560 Speaker 3: only had a little forty five recording record player, and 161 00:08:30,600 --> 00:08:34,120 Speaker 3: this was probably late fifties, and I remember a friend 162 00:08:34,160 --> 00:08:40,199 Speaker 3: of mine's parents had a console record player and they 163 00:08:40,240 --> 00:08:42,760 Speaker 3: had this Rach Charles record and I just absorbed it. 164 00:08:43,480 --> 00:08:45,560 Speaker 3: You know, it had what I say, and it had 165 00:08:46,080 --> 00:08:48,679 Speaker 3: you know, you know, all some of his early classics, 166 00:08:48,720 --> 00:08:51,360 Speaker 3: and it was just it just grabbed me immediately. So 167 00:08:51,440 --> 00:08:53,840 Speaker 3: I would definitely say Ray Charles was a huge influence 168 00:08:53,840 --> 00:08:56,560 Speaker 3: on me. And then you know, when the folk movement 169 00:08:56,960 --> 00:09:00,360 Speaker 3: either folk revival hit in the early sixties, I I 170 00:09:00,480 --> 00:09:03,120 Speaker 3: was exposed to music that I had never heard from, 171 00:09:03,679 --> 00:09:08,240 Speaker 3: never heard before, roots music that was being rediscovered and 172 00:09:08,679 --> 00:09:12,120 Speaker 3: spread around the college campuses in the early sixties. So 173 00:09:12,200 --> 00:09:15,360 Speaker 3: I would say Dave Van Ronk, who was a big, 174 00:09:15,400 --> 00:09:19,200 Speaker 3: big influence on me because I loved his voice. It 175 00:09:19,280 --> 00:09:23,680 Speaker 3: was so gritty and he had this powerful personality. Also, 176 00:09:24,040 --> 00:09:29,920 Speaker 3: the first Doc Watson record on Vanguard was a real 177 00:09:29,960 --> 00:09:32,280 Speaker 3: touchdown for me because it was the first time I 178 00:09:32,320 --> 00:09:35,319 Speaker 3: heard virtuosic acoustic guitar playing. 179 00:09:35,840 --> 00:09:37,400 Speaker 2: So I absorbed that record. 180 00:09:37,480 --> 00:09:39,719 Speaker 3: I try to learn, as you know, eventually over the 181 00:09:39,800 --> 00:09:42,280 Speaker 3: years I learned all the songs on the record, but 182 00:09:42,600 --> 00:09:45,319 Speaker 3: you know, that was a challenge and a real inspiration 183 00:09:45,440 --> 00:09:48,320 Speaker 3: for me. And then you know, you know, there's so 184 00:09:48,360 --> 00:09:53,520 Speaker 3: many more. The Temptations, they had a particular live album 185 00:09:53,559 --> 00:09:56,640 Speaker 3: that was incredible that they recorded at a club somewhere, 186 00:09:57,000 --> 00:10:00,199 Speaker 3: which was amazing. And then of course the classic James 187 00:10:00,240 --> 00:10:03,000 Speaker 3: Brown Live at the Apollo, which was probably the most 188 00:10:03,440 --> 00:10:06,840 Speaker 3: kinetic and exciting recording that I had ever heard. The 189 00:10:06,880 --> 00:10:10,320 Speaker 3: tempos were all jacked up. It was a it's just 190 00:10:10,440 --> 00:10:13,520 Speaker 3: James Brown at his best at the Apollo Theater. And 191 00:10:13,559 --> 00:10:16,080 Speaker 3: then moving on later on in the sixties. 192 00:10:15,640 --> 00:10:16,360 Speaker 2: You know, the band. 193 00:10:16,600 --> 00:10:19,280 Speaker 3: The band was a big influence on me and I, 194 00:10:19,520 --> 00:10:22,040 Speaker 3: you know, and I just thought that it was music 195 00:10:22,080 --> 00:10:24,040 Speaker 3: that I had never heard before. It was a style 196 00:10:24,120 --> 00:10:26,560 Speaker 3: of music, but I understood the roots of it, I 197 00:10:26,640 --> 00:10:31,120 Speaker 3: understood where the influences were. But their unique take on 198 00:10:31,160 --> 00:10:34,240 Speaker 3: it and their unique well not only the songwriting but 199 00:10:34,280 --> 00:10:37,200 Speaker 3: they're playing and singing was so unique. There was no 200 00:10:37,240 --> 00:10:40,000 Speaker 3: one that ever sounded like them, So that was highly 201 00:10:40,000 --> 00:10:42,720 Speaker 3: influential to me. And then the record that I consider 202 00:10:42,760 --> 00:10:45,360 Speaker 3: the classic of all time is Blue by Joni Mitchell. 203 00:10:46,240 --> 00:10:47,680 Speaker 2: I think that's the perfect album. 204 00:10:47,760 --> 00:10:51,400 Speaker 3: I think on every level, there's nothing I've never heard 205 00:10:51,440 --> 00:10:52,000 Speaker 3: anything better. 206 00:10:53,160 --> 00:10:54,200 Speaker 2: Her singing, her. 207 00:10:54,080 --> 00:10:58,920 Speaker 3: Playing, the production, the engineering, the songs themselves, even down 208 00:10:58,920 --> 00:11:03,239 Speaker 3: to the album cover. It's the perfect the perfect combination 209 00:11:03,480 --> 00:11:12,320 Speaker 3: of sensitivity, sensibility, music, lyrics, creativity, all all wrapped into 210 00:11:12,360 --> 00:11:14,400 Speaker 3: one perfect album. 211 00:11:14,840 --> 00:11:16,640 Speaker 6: Brilliant list, Brilliant list. 212 00:11:17,280 --> 00:11:21,520 Speaker 5: How did you feel watching Jonie at that Newport Folk 213 00:11:21,600 --> 00:11:22,480 Speaker 5: Festival event? 214 00:11:23,240 --> 00:11:24,080 Speaker 6: Wasn't it beautiful? 215 00:11:24,400 --> 00:11:28,960 Speaker 3: You mean most recently? Yes, yeah, well, you know, congrats 216 00:11:29,000 --> 00:11:32,320 Speaker 3: to her, kudos to her. I'm really you know, I'm 217 00:11:32,360 --> 00:11:35,600 Speaker 3: just glad that she she left her house and decided 218 00:11:35,640 --> 00:11:37,480 Speaker 3: to make that step. 219 00:11:37,520 --> 00:11:39,680 Speaker 2: You know, a very good friend of mine who was 220 00:11:39,720 --> 00:11:40,560 Speaker 2: my guitar. 221 00:11:40,280 --> 00:11:44,360 Speaker 3: Tech during the eighties and also who's current currently the 222 00:11:44,360 --> 00:11:48,280 Speaker 3: guitar tech for the Edge and you two, he was 223 00:11:48,320 --> 00:11:51,560 Speaker 3: asked to go to her house and help her with 224 00:11:51,600 --> 00:11:54,520 Speaker 3: her acoustic guitars and help her kind of prepare for 225 00:11:54,559 --> 00:11:55,040 Speaker 3: that show. 226 00:11:55,280 --> 00:11:56,280 Speaker 2: So he gave me a lot. 227 00:11:56,120 --> 00:11:59,400 Speaker 3: Of inside scoop on what what she was like and 228 00:11:59,440 --> 00:12:02,040 Speaker 3: the and the you know, I'm sure the you know, 229 00:12:02,080 --> 00:12:05,319 Speaker 3: she was concerned and I'm sure she had a lot 230 00:12:05,320 --> 00:12:07,840 Speaker 3: of trepidation about what she was going to do and 231 00:12:07,840 --> 00:12:09,720 Speaker 3: how she was going to do it. As you age, 232 00:12:09,800 --> 00:12:14,240 Speaker 3: you have certain limitations to your skill set, whether that 233 00:12:14,280 --> 00:12:16,319 Speaker 3: be vocally or instrumentally. 234 00:12:16,679 --> 00:12:18,120 Speaker 2: And I think, you know, she was. 235 00:12:18,080 --> 00:12:20,720 Speaker 3: Concerned, but she had an amazing group of people to 236 00:12:20,880 --> 00:12:25,000 Speaker 3: support her, and it was great to see her honored 237 00:12:25,080 --> 00:12:27,320 Speaker 3: and appreciated by a newer generation. 238 00:12:28,200 --> 00:12:32,160 Speaker 5: Yeah, it was a magical moment for sure. Speaking of 239 00:12:32,240 --> 00:12:37,800 Speaker 5: magical moments, first concert that you experienced as a fan, 240 00:12:38,559 --> 00:12:41,320 Speaker 5: what was it? 241 00:12:41,520 --> 00:12:45,160 Speaker 3: When I was four years old? It was Bill Haley 242 00:12:45,200 --> 00:12:48,120 Speaker 3: in the Comments. I saw them play at Willo Grove 243 00:12:48,160 --> 00:12:52,760 Speaker 3: Amusement Park in Pennsylvania in a bandshell, and I had 244 00:12:52,840 --> 00:12:55,199 Speaker 3: just my family had just moved us from New York 245 00:12:55,240 --> 00:12:57,800 Speaker 3: City to Pennsylvania, and it was one of my first 246 00:12:57,840 --> 00:13:01,400 Speaker 3: memories of Pennsylvania to go to the amusement park and 247 00:13:01,559 --> 00:13:05,800 Speaker 3: hear this band. I had never heard live music before. Well, 248 00:13:05,840 --> 00:13:07,560 Speaker 3: of course I was four years old, four or five, 249 00:13:07,960 --> 00:13:11,520 Speaker 3: maybe four and a half, and I remember running down 250 00:13:11,600 --> 00:13:16,120 Speaker 3: to the bandshell, down to the stage, and the stage 251 00:13:16,200 --> 00:13:19,040 Speaker 3: was probably only, you know, two feet high, so I 252 00:13:19,120 --> 00:13:20,800 Speaker 3: was even as a little kid, I was able to 253 00:13:20,960 --> 00:13:21,520 Speaker 3: stand there. 254 00:13:21,720 --> 00:13:24,000 Speaker 2: And I remember standing right in front of the upright 255 00:13:24,000 --> 00:13:24,640 Speaker 2: bass player. 256 00:13:25,040 --> 00:13:26,920 Speaker 3: And then when at a certain point in the show, 257 00:13:27,000 --> 00:13:29,199 Speaker 3: which was a kind of a rockabilly tradition, which of 258 00:13:29,240 --> 00:13:31,840 Speaker 3: course I didn't know at the time, you know, he 259 00:13:31,920 --> 00:13:33,600 Speaker 3: put it on its side and rode it like a 260 00:13:33,600 --> 00:13:35,440 Speaker 3: horse while he was playing. And of course to a 261 00:13:35,440 --> 00:13:37,679 Speaker 3: four year old, that was big. That was that was 262 00:13:38,720 --> 00:13:41,000 Speaker 3: that was the the app a gee of a show 263 00:13:41,040 --> 00:13:42,040 Speaker 3: business there right there? 264 00:13:42,360 --> 00:13:45,280 Speaker 6: Did that cement you for life that you'd be a musician. 265 00:13:46,880 --> 00:13:48,640 Speaker 2: I was already a musician, believe it or not. 266 00:13:49,400 --> 00:13:51,760 Speaker 3: I have recordings of me at four years old singing 267 00:13:51,800 --> 00:13:55,480 Speaker 3: songs that we did at the Coney Island Amusement Park 268 00:13:55,480 --> 00:13:57,920 Speaker 3: in the little booth, in the record booth where you'd 269 00:13:57,920 --> 00:14:00,000 Speaker 3: put a coin in and you'd go in and sing. 270 00:14:00,120 --> 00:14:03,120 Speaker 2: So for some reason, I just had this ability to sing. 271 00:14:03,640 --> 00:14:07,120 Speaker 3: And my parents, my mother in particular, was you know, 272 00:14:07,160 --> 00:14:09,559 Speaker 3: she really pushed me and supported me about that. 273 00:14:09,679 --> 00:14:11,440 Speaker 6: So do those recordings still exist? 274 00:14:13,160 --> 00:14:14,320 Speaker 2: I've got them. Yep. 275 00:14:14,520 --> 00:14:16,760 Speaker 6: Wow, that's amazing. 276 00:14:17,120 --> 00:14:19,480 Speaker 3: First one first, the first one was here comes Peter 277 00:14:19,560 --> 00:14:24,000 Speaker 3: Cottontail when I was about three or four, and then 278 00:14:24,040 --> 00:14:26,840 Speaker 3: the second one was later a few years later. 279 00:14:26,920 --> 00:14:30,520 Speaker 2: It was all shook up by Elvis tremendous. 280 00:14:31,760 --> 00:14:35,000 Speaker 5: Who were some of the mentors in your career that 281 00:14:35,040 --> 00:14:36,760 Speaker 5: have really mattered to you. 282 00:14:37,600 --> 00:14:38,800 Speaker 2: Well a few. 283 00:14:40,280 --> 00:14:44,760 Speaker 3: I had an English teacher in seventh grade who gave 284 00:14:44,840 --> 00:14:49,520 Speaker 3: us an assignment to write a poem, and it was 285 00:14:49,640 --> 00:14:53,720 Speaker 3: at the time of the Cuban missile crisis, and I 286 00:14:55,200 --> 00:14:58,840 Speaker 3: I was kind of aware of the uh, the kind 287 00:14:58,880 --> 00:15:02,000 Speaker 3: of the early day of the protest song a movement 288 00:15:02,080 --> 00:15:05,640 Speaker 3: with phil Oaks, people like that Bob Dylan Phillips. So 289 00:15:05,720 --> 00:15:08,000 Speaker 3: I wrote this poem about the Cuban missile crisis. And 290 00:15:08,040 --> 00:15:11,920 Speaker 3: the teacher knew that I played guitar and said, you know, 291 00:15:12,000 --> 00:15:16,160 Speaker 3: you should put this to music. And I never I 292 00:15:16,280 --> 00:15:18,920 Speaker 3: never thought of the idea that I could write a song, 293 00:15:20,120 --> 00:15:22,360 Speaker 3: and that was kind of an you know, that was 294 00:15:23,080 --> 00:15:26,120 Speaker 3: an incentive to try it. So I would have to 295 00:15:26,160 --> 00:15:30,359 Speaker 3: count that English teacher as. 296 00:15:29,360 --> 00:15:30,240 Speaker 2: An early mentor. 297 00:15:30,240 --> 00:15:32,960 Speaker 3: But my real mentor was a guy named Jerry Rix, 298 00:15:33,120 --> 00:15:40,880 Speaker 3: who I met in Philadelphia in nineteen sixty seven. He 299 00:15:41,840 --> 00:15:46,640 Speaker 3: or sixty six. I can't exprid sixty six. I had 300 00:15:46,760 --> 00:15:50,800 Speaker 3: my first year of college. I was I needed a job. 301 00:15:50,840 --> 00:15:52,760 Speaker 3: I needed a part time job. Of course, I'm too 302 00:15:52,840 --> 00:15:56,480 Speaker 3: lazy to work. So I went to a place called 303 00:15:56,560 --> 00:16:01,840 Speaker 3: Esther Halpern's Folk Music School in Philadelphia and I applied 304 00:16:01,840 --> 00:16:05,480 Speaker 3: for a job as a guitar teacher, and she auditioned 305 00:16:05,520 --> 00:16:07,320 Speaker 3: me and I played her a few things and she 306 00:16:07,320 --> 00:16:09,720 Speaker 3: said okay, you you'll be good to teach like the 307 00:16:09,760 --> 00:16:10,920 Speaker 3: beginners in the intermediates. 308 00:16:10,920 --> 00:16:13,080 Speaker 2: And I said, okay, fine, I just needed a job. 309 00:16:13,720 --> 00:16:15,720 Speaker 3: The guy who was teaching the advanced lessons was a 310 00:16:15,720 --> 00:16:20,520 Speaker 3: guy named Jerry Rix, and he he was unbelievable and 311 00:16:20,600 --> 00:16:25,480 Speaker 3: he also had been involved with helping a guy named 312 00:16:25,480 --> 00:16:28,800 Speaker 3: Dick Waterman. Dick Waterman was the manager to a lot 313 00:16:28,840 --> 00:16:32,760 Speaker 3: of the early blues men, people like Sunhouse, Sonny Terry 314 00:16:32,800 --> 00:16:40,440 Speaker 3: Brownie McGhee, Robert Pete Williams, Mississippi, John Hurt, Doc Watson, 315 00:16:40,560 --> 00:16:43,600 Speaker 3: people like that kind of helping them because when a 316 00:16:43,600 --> 00:16:48,040 Speaker 3: lot of these performers, rural performers came to the big 317 00:16:48,080 --> 00:16:50,840 Speaker 3: cities and were performing for the first time at these 318 00:16:51,120 --> 00:16:53,000 Speaker 3: folk festivals and things, they had. 319 00:16:52,880 --> 00:16:54,360 Speaker 2: No clue on what to do. 320 00:16:54,400 --> 00:16:56,240 Speaker 3: They had no money, they couldn't stay in a hotel, 321 00:16:56,480 --> 00:16:59,080 Speaker 3: so they would stay at Jerry's house because Jerry lived 322 00:16:59,160 --> 00:17:01,400 Speaker 3: right across the street from Dick Waterman. And a little 323 00:17:02,040 --> 00:17:06,439 Speaker 3: fun fact sidebar, Bonnie Ray was Dick Waterman's girlfriend. So 324 00:17:06,520 --> 00:17:08,960 Speaker 3: if anyone ever wonders why Bonnie Raid is so good 325 00:17:09,000 --> 00:17:11,439 Speaker 3: and why she's so authentic, it's because she sat in 326 00:17:11,480 --> 00:17:14,920 Speaker 3: the living room with some of these great authentic performers 327 00:17:14,920 --> 00:17:17,159 Speaker 3: and learned directly from them. 328 00:17:17,359 --> 00:17:19,080 Speaker 2: But anyway, and. 329 00:17:19,040 --> 00:17:21,800 Speaker 3: Actually one day Bonnie and I had to drag Robert 330 00:17:22,040 --> 00:17:25,080 Speaker 3: Williams out of a bar in South Philly and bring him. 331 00:17:25,000 --> 00:17:28,080 Speaker 2: Back because no one could find him. These guys didn't 332 00:17:28,080 --> 00:17:28,240 Speaker 2: know it. 333 00:17:28,640 --> 00:17:33,959 Speaker 3: They did tend to like to drink. But anyway, Jerry 334 00:17:34,000 --> 00:17:36,840 Speaker 3: became my Initially, when I realized how good he was, 335 00:17:37,200 --> 00:17:39,000 Speaker 3: I asked him if he could teach me some things. 336 00:17:39,240 --> 00:17:42,480 Speaker 3: So I became his guitar student, and eventually we played together. 337 00:17:43,359 --> 00:17:45,600 Speaker 3: In fact, Jerry is playing Jerry Rix is playing on 338 00:17:45,640 --> 00:17:47,879 Speaker 3: the first two Hall and Oates albums with me on 339 00:17:48,000 --> 00:17:51,880 Speaker 3: acoustic guitar on some of their songs. And interestingly enough, 340 00:17:51,920 --> 00:17:57,119 Speaker 3: here's another sidebar. After Mississippi John Hurt died, his guitar 341 00:17:57,160 --> 00:17:59,480 Speaker 3: that he played at Newport Folk Festival in sixty three 342 00:17:59,760 --> 00:18:02,640 Speaker 3: was too Jerry. And when I asked Jerry to come 343 00:18:02,640 --> 00:18:04,359 Speaker 3: to New York in the early seventies and play on 344 00:18:04,359 --> 00:18:06,080 Speaker 3: the whole of Notes albums, he asked me, he said, 345 00:18:06,080 --> 00:18:08,840 Speaker 3: you want me to bring Mississippi John's guitar so you 346 00:18:08,840 --> 00:18:11,520 Speaker 3: can play it. And I said absolutely, So the guitar 347 00:18:11,600 --> 00:18:13,480 Speaker 3: I'm playing on the first two Whole Notes albums is 348 00:18:13,520 --> 00:18:16,320 Speaker 3: Mississippi John Hurts acoustic guitar, which. 349 00:18:16,119 --> 00:18:20,520 Speaker 2: I now own, by the way, Wow, I know it's. 350 00:18:20,400 --> 00:18:24,720 Speaker 3: Crazy, and it's on display at the Phoenix Musical Instrument 351 00:18:24,800 --> 00:18:28,960 Speaker 3: Museum as we speak, and I'm playing there as well 352 00:18:29,320 --> 00:18:33,679 Speaker 3: in a week or so. But so, Jerry was incredible, 353 00:18:33,720 --> 00:18:35,639 Speaker 3: and not only you know, he became a good friend, 354 00:18:35,920 --> 00:18:38,920 Speaker 3: a teacher, a mentor, and I really learned so much 355 00:18:38,960 --> 00:18:42,000 Speaker 3: from him, not only about actually how to play some 356 00:18:42,080 --> 00:18:45,160 Speaker 3: of these songs and how to authentically finger the finger 357 00:18:45,200 --> 00:18:49,359 Speaker 3: picking in the styles, but also just some basic just 358 00:18:49,440 --> 00:18:54,639 Speaker 3: basic learning about musicianship and listening and a more sophisticated 359 00:18:54,680 --> 00:18:59,520 Speaker 3: way of He made me a more sophisticated musician in 360 00:18:59,560 --> 00:19:02,280 Speaker 3: a way. So so I would say they're they're my 361 00:19:02,359 --> 00:19:03,120 Speaker 3: real mentors. 362 00:19:03,600 --> 00:19:05,760 Speaker 1: We'll be right back with more of the Taking a 363 00:19:05,800 --> 00:19:13,720 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 364 00:19:14,560 --> 00:19:17,080 Speaker 5: Well, throughout your career, you've always had an eye on, 365 00:19:17,359 --> 00:19:20,960 Speaker 5: you know, rising talent and how to help them and 366 00:19:21,160 --> 00:19:25,720 Speaker 5: work with them. We had one of those talents on 367 00:19:25,920 --> 00:19:30,520 Speaker 5: this podcast named Honorly, who was a delightful person for 368 00:19:30,600 --> 00:19:34,080 Speaker 5: us to encounter and very talented tell us about how 369 00:19:34,080 --> 00:19:36,880 Speaker 5: that collaboration came about with honorly. 370 00:19:37,960 --> 00:19:42,960 Speaker 3: Well, she's my niece, all right, she said, yes, she's 371 00:19:43,359 --> 00:19:48,320 Speaker 3: my wife's brother's daughter. And she was always a very 372 00:19:48,640 --> 00:19:49,520 Speaker 3: you know, I watched. 373 00:19:49,320 --> 00:19:51,760 Speaker 2: Her grow up from the time she was a baby. Uh. 374 00:19:51,760 --> 00:19:54,480 Speaker 3: And she's always very outgoing. She had always had a 375 00:19:54,520 --> 00:19:55,920 Speaker 3: real big personality. 376 00:19:56,480 --> 00:19:56,760 Speaker 2: Uh. 377 00:19:56,800 --> 00:19:59,880 Speaker 3: And she she she began to sing. And I when 378 00:19:59,880 --> 00:20:01,800 Speaker 3: I I first heard her sing, you know, I knew 379 00:20:01,800 --> 00:20:06,720 Speaker 3: that she could really sing. And I remember she came. 380 00:20:06,880 --> 00:20:08,399 Speaker 2: She came to Nashville. 381 00:20:08,720 --> 00:20:11,000 Speaker 3: Quite a while ago when she was just maybe in 382 00:20:11,080 --> 00:20:14,000 Speaker 3: high school or just in college, and she really wanted 383 00:20:14,000 --> 00:20:15,960 Speaker 3: to come to Nashville, and she said she wanted to 384 00:20:16,000 --> 00:20:18,760 Speaker 3: make it and all this stuff. And I remember we 385 00:20:18,800 --> 00:20:20,919 Speaker 3: went to a restaurant with her parents and we were 386 00:20:20,960 --> 00:20:24,600 Speaker 3: sitting there and I said to her, look, I said, 387 00:20:25,000 --> 00:20:28,239 Speaker 3: you see all these waitresses. They're all trying to do 388 00:20:28,320 --> 00:20:30,959 Speaker 3: exactly what you're dying to do. I said, so, if 389 00:20:31,000 --> 00:20:33,840 Speaker 3: you're going to come here, you better be prepared because 390 00:20:33,880 --> 00:20:37,600 Speaker 3: the bar is set very high and it is not easy. 391 00:20:37,920 --> 00:20:40,320 Speaker 3: And I thought maybe she would get scared off or 392 00:20:40,359 --> 00:20:44,600 Speaker 3: maybe just lose the vibe. But she came and she 393 00:20:44,720 --> 00:20:48,240 Speaker 3: worked her butt off she went down on Lower Broadways, 394 00:20:48,240 --> 00:20:51,440 Speaker 3: she sang in the bars, she did all the cover songs. 395 00:20:51,920 --> 00:20:55,360 Speaker 3: She really really worked hard. I didn't help her very much, 396 00:20:55,400 --> 00:20:57,800 Speaker 3: to be honest with you, but I did help her 397 00:20:57,840 --> 00:21:00,960 Speaker 3: when she needed it and wrote a song together. I 398 00:21:01,000 --> 00:21:05,200 Speaker 3: put her with the great Nathan Chapman, who produced Taylor Swift, 399 00:21:05,359 --> 00:21:10,359 Speaker 3: and Nathan myself and Anna Lee. We wrote a song together, 400 00:21:10,560 --> 00:21:12,160 Speaker 3: and I think that was the first time she got 401 00:21:12,160 --> 00:21:14,920 Speaker 3: a chance to write with professional songwriters. And we wrote 402 00:21:14,960 --> 00:21:18,000 Speaker 3: a really cool song called Hey There Walls, which I 403 00:21:18,119 --> 00:21:21,199 Speaker 3: believe she recorded. So, I mean, I didn't, you know. 404 00:21:21,240 --> 00:21:23,760 Speaker 3: I just I've always there for her, but it didn't 405 00:21:23,800 --> 00:21:26,360 Speaker 3: really want to be, you know, like kind of pushy, 406 00:21:26,480 --> 00:21:29,600 Speaker 3: and it was really her career. And I just I'm 407 00:21:29,600 --> 00:21:32,159 Speaker 3: so proud of her for really doing it herself and 408 00:21:32,280 --> 00:21:35,680 Speaker 3: really finding her way. She's making some new music now 409 00:21:35,680 --> 00:21:39,240 Speaker 3: out in California. She's found some producers who she's working with, 410 00:21:39,280 --> 00:21:41,240 Speaker 3: and she runs things by me. I give her my 411 00:21:41,240 --> 00:21:44,880 Speaker 3: two cents, but she knows what she's doing and she's amazing. 412 00:21:45,359 --> 00:21:46,000 Speaker 6: Is a good soul. 413 00:21:46,600 --> 00:21:50,040 Speaker 5: Good tell yeah, good, tell tell me about the Nashville community. 414 00:21:50,040 --> 00:21:53,560 Speaker 5: You've been there a while and it is a unique 415 00:21:53,600 --> 00:21:57,280 Speaker 5: and I think special community. Talk about what it means 416 00:21:57,320 --> 00:22:00,520 Speaker 5: being part of that community in the way that you are. 417 00:22:01,160 --> 00:22:03,320 Speaker 3: Well in the nineties, when Daryl and I weren't doing 418 00:22:03,400 --> 00:22:07,240 Speaker 3: very much, I started going to Nashville and meeting some people. 419 00:22:07,840 --> 00:22:10,120 Speaker 3: I did a few demo sessions and things like that, 420 00:22:10,520 --> 00:22:12,680 Speaker 3: and immediately the first thing that struck me was the 421 00:22:14,040 --> 00:22:16,840 Speaker 3: caliber and quality of the of the players, the musicians. 422 00:22:17,960 --> 00:22:20,440 Speaker 2: I realized that they were really really good. 423 00:22:21,119 --> 00:22:23,600 Speaker 3: And you know, I had spent my whole basically my 424 00:22:23,680 --> 00:22:26,520 Speaker 3: o you know, I was in bands and playing playing 425 00:22:26,520 --> 00:22:28,359 Speaker 3: by myself prior to meeting Darryl. 426 00:22:28,440 --> 00:22:29,720 Speaker 2: But once Daryl. 427 00:22:29,440 --> 00:22:31,359 Speaker 3: And I started, you know, it was all Hall and 428 00:22:31,400 --> 00:22:33,959 Speaker 3: Oates all the time, twenty four to seven for you know, 429 00:22:34,040 --> 00:22:37,439 Speaker 3: for fifteen twenty years whatever. So I was used to 430 00:22:37,520 --> 00:22:40,000 Speaker 3: playing with a certain in a certain style, with a 431 00:22:40,000 --> 00:22:43,080 Speaker 3: certain band, with a certain ensemble. So all of a sudden, 432 00:22:43,080 --> 00:22:45,760 Speaker 3: I was playing with different people in different settings, and 433 00:22:46,480 --> 00:22:47,520 Speaker 3: I was really impressed. 434 00:22:47,600 --> 00:22:48,560 Speaker 2: And I also. 435 00:22:48,440 --> 00:22:52,359 Speaker 3: Realized that that I couldn't kind of kind of skate 436 00:22:52,480 --> 00:22:56,440 Speaker 3: and kind of I couldn't make it on my reputation. 437 00:22:56,560 --> 00:22:58,679 Speaker 3: I really had to up my game. So to be 438 00:22:58,720 --> 00:23:02,320 Speaker 3: honest with you, I started practicing really hard. You know, 439 00:23:02,320 --> 00:23:05,320 Speaker 3: in the late nineties early two thousands, I realized that 440 00:23:05,400 --> 00:23:08,000 Speaker 3: I needed to really up my game and if I 441 00:23:08,040 --> 00:23:12,480 Speaker 3: wanted to be in that caliber player. So it's really 442 00:23:12,480 --> 00:23:15,640 Speaker 3: been an incredible incentive to me to get better and 443 00:23:15,720 --> 00:23:18,320 Speaker 3: to really realize my full potential. 444 00:23:19,160 --> 00:23:22,760 Speaker 5: You know, there's a couple of historic moments in your 445 00:23:22,840 --> 00:23:27,560 Speaker 5: career that I wanted to get your memory of Live 446 00:23:27,640 --> 00:23:31,040 Speaker 5: Aid and the We Are the World sessions, those two 447 00:23:31,040 --> 00:23:35,800 Speaker 5: in particular, Any reflections you could share with us about 448 00:23:35,840 --> 00:23:37,440 Speaker 5: those two historic events. 449 00:23:38,160 --> 00:23:42,040 Speaker 3: I don't think you have enough time, But Okay, where 450 00:23:42,080 --> 00:23:43,560 Speaker 3: you want to start with Live AID, I guess we 451 00:23:43,560 --> 00:23:46,720 Speaker 3: can start there. Yeah, well, you know, the American version 452 00:23:46,880 --> 00:23:49,639 Speaker 3: was going to be in Philadelphia, of course, Darren I 453 00:23:49,720 --> 00:23:52,720 Speaker 3: being from Philadelphia and being of course at almost you know, 454 00:23:52,800 --> 00:23:56,239 Speaker 3: at the top of our commercial you know, we were 455 00:23:56,240 --> 00:23:58,160 Speaker 3: at the top of the pop pyramid at the time, 456 00:23:59,400 --> 00:24:04,520 Speaker 3: so we were we were asked to basically close the show, 457 00:24:04,800 --> 00:24:07,080 Speaker 3: and we wanted to do something really special and something 458 00:24:07,600 --> 00:24:10,560 Speaker 3: you know, above and beyond. We had just played the 459 00:24:10,560 --> 00:24:14,000 Speaker 3: Apollo Theater with Eddie Kendrick and David Ruffin who were 460 00:24:14,040 --> 00:24:17,359 Speaker 3: the lead singers, and the Temptations and we did a Temptations, 461 00:24:17,400 --> 00:24:22,240 Speaker 3: you know, kind of retrospective of songs Metley and it 462 00:24:22,320 --> 00:24:24,680 Speaker 3: was great. So we thought, well, why not bring Eddie 463 00:24:24,720 --> 00:24:28,199 Speaker 3: and David and we'll do some Temptations songs in addition 464 00:24:28,280 --> 00:24:30,879 Speaker 3: to our own set, of course, and then Mick Chagger 465 00:24:30,920 --> 00:24:33,679 Speaker 3: reached out and he was doing a solo album at 466 00:24:33,720 --> 00:24:36,359 Speaker 3: the time and he didn't have a band, so he 467 00:24:36,520 --> 00:24:40,159 Speaker 3: asked if our band were backing, So of course, you know, 468 00:24:40,240 --> 00:24:43,520 Speaker 3: we said, yeah, of course. And I remember, you know, 469 00:24:43,600 --> 00:24:46,880 Speaker 3: one anecdote it's really amazing to me, is we were 470 00:24:46,880 --> 00:24:50,679 Speaker 3: rehearsing at SIR, which was studio instrument rentals in New 471 00:24:50,720 --> 00:24:52,560 Speaker 3: York City, so you know where they have a sound 472 00:24:52,640 --> 00:24:56,000 Speaker 3: stage and you can rehearse and all that. And we 473 00:24:56,040 --> 00:24:58,840 Speaker 3: had rehearsed the songs that Mick wanted to play, and 474 00:24:58,920 --> 00:25:01,080 Speaker 3: so we knew the songs. We learn them, and then 475 00:25:01,160 --> 00:25:02,880 Speaker 3: Nick was going to come in and just go over 476 00:25:02,920 --> 00:25:03,399 Speaker 3: them with us. 477 00:25:03,960 --> 00:25:05,320 Speaker 2: And I thought, you know, well. 478 00:25:05,119 --> 00:25:07,359 Speaker 3: He'll just come in and you know, we'll go through 479 00:25:07,359 --> 00:25:09,880 Speaker 3: the motions and we'll play the songs and he'll say 480 00:25:09,960 --> 00:25:10,520 Speaker 3: yes or no. 481 00:25:10,640 --> 00:25:11,520 Speaker 2: Or change whatever. 482 00:25:12,119 --> 00:25:15,480 Speaker 3: But what I didn't expect was for him to literally 483 00:25:15,960 --> 00:25:20,000 Speaker 3: jump on stage grab the mic and count the song 484 00:25:20,080 --> 00:25:23,679 Speaker 3: off and go into his full mc jagger routine in 485 00:25:23,760 --> 00:25:26,000 Speaker 3: rehearsal with nobody in the room except us. 486 00:25:26,440 --> 00:25:27,080 Speaker 2: I mean, I'm. 487 00:25:26,920 --> 00:25:29,639 Speaker 3: Talking about the full thing, the chicken wings, you know, 488 00:25:29,760 --> 00:25:34,240 Speaker 3: the jumping around doing He did it as if he 489 00:25:34,359 --> 00:25:38,520 Speaker 3: was playing you know, Madison Square Garden. It was unbelievable 490 00:25:38,640 --> 00:25:42,119 Speaker 3: and you know, and it was incredible and it was exciting, 491 00:25:42,280 --> 00:25:45,879 Speaker 3: and I immediately said, Okay, well, this is why this 492 00:25:45,960 --> 00:25:48,879 Speaker 3: guy is who he is. And then of course he 493 00:25:48,880 --> 00:25:50,760 Speaker 3: didn't tell us. We didn't know that he was going 494 00:25:50,760 --> 00:25:52,760 Speaker 3: to bring Tina Turner out on stage. That was a 495 00:25:52,760 --> 00:25:55,920 Speaker 3: surprise and literally he didn't we didn't know. And when 496 00:25:55,920 --> 00:25:57,480 Speaker 3: he brought her out on stage, and then of course 497 00:25:57,480 --> 00:26:00,080 Speaker 3: he ripped her leather skirt off, which was kind of 498 00:26:00,119 --> 00:26:02,399 Speaker 3: cool too. I guess they had it all planned, but 499 00:26:02,600 --> 00:26:05,280 Speaker 3: you know, but it just made it so exciting because 500 00:26:05,320 --> 00:26:08,919 Speaker 3: it was like it was happening all, you know, for 501 00:26:08,960 --> 00:26:09,560 Speaker 3: the first time. 502 00:26:09,920 --> 00:26:11,040 Speaker 2: So that was that. 503 00:26:11,040 --> 00:26:12,920 Speaker 3: That was an amazing night and I believe that was 504 00:26:12,960 --> 00:26:16,639 Speaker 3: the biggest rock concert to ever be a simulcast around 505 00:26:16,680 --> 00:26:18,000 Speaker 3: the world, you know, at the time. 506 00:26:19,480 --> 00:26:21,960 Speaker 2: And then you know, on We Are the World. 507 00:26:22,119 --> 00:26:25,159 Speaker 3: That was That was scheduled to be done after the 508 00:26:25,160 --> 00:26:27,320 Speaker 3: American Music Awards, and back in those days, you know, 509 00:26:27,400 --> 00:26:30,080 Speaker 3: there was really only the American Music Awards and the Grammys, 510 00:26:30,720 --> 00:26:33,320 Speaker 3: so everybody who was anybody in pop was pretty much 511 00:26:33,359 --> 00:26:37,000 Speaker 3: at that show. And they carted us all over to 512 00:26:37,160 --> 00:26:40,840 Speaker 3: the studio and put us, you know, on those things. 513 00:26:40,840 --> 00:26:43,280 Speaker 2: And there I was standing next to Bob Dylan and Ray. 514 00:26:43,160 --> 00:26:45,760 Speaker 3: Charles, to my heroes. So I thought, hey, this is 515 00:26:45,800 --> 00:26:49,919 Speaker 3: pretty good, pretty good spot to be and yeah, and 516 00:26:49,920 --> 00:26:52,840 Speaker 3: then I went around and got everyone to sign my manuscript, 517 00:26:52,920 --> 00:26:55,600 Speaker 3: my music, the music lea, the lead sheet, the sheet 518 00:26:55,680 --> 00:26:59,240 Speaker 3: music which they handed us. I got everyone to sign it, 519 00:26:59,280 --> 00:27:01,920 Speaker 3: and I have that frame now. So it's a it's 520 00:27:01,960 --> 00:27:03,879 Speaker 3: a definitely one of my prize positions. 521 00:27:04,600 --> 00:27:05,000 Speaker 2: Love it. 522 00:27:05,960 --> 00:27:07,920 Speaker 5: How do you think the Musical Hall of Notes will 523 00:27:07,960 --> 00:27:09,600 Speaker 5: be viewed for years to come? 524 00:27:10,520 --> 00:27:12,679 Speaker 3: I think I think it would be. Uh. 525 00:27:12,760 --> 00:27:14,080 Speaker 2: I think it's pretty timeless. 526 00:27:14,119 --> 00:27:18,199 Speaker 3: So some of those songs are have that already, you know, 527 00:27:18,520 --> 00:27:22,399 Speaker 3: withstood the test of generations, so I don't see that 528 00:27:22,400 --> 00:27:28,640 Speaker 3: they're going to go away. Great songs endure, and I'm 529 00:27:28,760 --> 00:27:32,240 Speaker 3: very proud and happy to know that I was part 530 00:27:32,280 --> 00:27:36,320 Speaker 3: of something that will endure. Uh and uh you know, 531 00:27:36,359 --> 00:27:38,800 Speaker 3: which is is fabulous and you know it's a it's 532 00:27:38,800 --> 00:27:42,160 Speaker 3: a blessing. It's something that people, you know, people would 533 00:27:42,359 --> 00:27:44,840 Speaker 3: you know, most musicians and songwriters would hope that they 534 00:27:44,840 --> 00:27:47,919 Speaker 3: would have one much less than you know, multiple songs 535 00:27:48,240 --> 00:27:49,920 Speaker 3: that fit that description. 536 00:27:50,080 --> 00:27:51,679 Speaker 2: So I'm proud of it. 537 00:27:52,240 --> 00:27:56,080 Speaker 3: At the same time, I feel like I I think 538 00:27:56,160 --> 00:28:00,719 Speaker 3: those songs should be respected and heard in in the 539 00:28:00,720 --> 00:28:04,840 Speaker 3: context of the records that were made in the seventies 540 00:28:04,880 --> 00:28:07,960 Speaker 3: and eighties, and I really don't feel like I've moved 541 00:28:07,960 --> 00:28:10,920 Speaker 3: beyond it now. I'd rather hear those songs the way 542 00:28:10,960 --> 00:28:14,400 Speaker 3: they should sound, as opposed to kind of, you know, 543 00:28:14,480 --> 00:28:17,240 Speaker 3: a live reproduction of them. At this point in my life, 544 00:28:17,280 --> 00:28:18,680 Speaker 3: I've kind of moved away from that. 545 00:28:19,600 --> 00:28:22,719 Speaker 5: You moved to Colorado to just sort of change the 546 00:28:22,720 --> 00:28:25,359 Speaker 5: pace of your life a bit and sort of go 547 00:28:25,480 --> 00:28:28,240 Speaker 5: into a different mode. And as part of that move, 548 00:28:28,840 --> 00:28:33,560 Speaker 5: I think you did encounter the great Hunter Thompson while 549 00:28:33,600 --> 00:28:38,720 Speaker 5: you were out there. Can you share anything about an 550 00:28:38,760 --> 00:28:41,040 Speaker 5: experience with Hunter? 551 00:28:42,040 --> 00:28:47,520 Speaker 3: Many some of which I can't tell you, but well, 552 00:28:47,760 --> 00:28:51,160 Speaker 3: you know, I had been going to Colorado since the 553 00:28:51,200 --> 00:28:55,000 Speaker 3: late sixties when I was in college, and finally moved 554 00:28:55,000 --> 00:28:57,440 Speaker 3: there in the late eighties nearly nineties, I met my 555 00:28:57,480 --> 00:28:59,960 Speaker 3: future wife and we were looking for a place to live. 556 00:29:00,520 --> 00:29:04,000 Speaker 3: She she found a little piece of land in place 557 00:29:04,040 --> 00:29:08,400 Speaker 3: called Woody Creek outside of Aspen, Colorado, and it was 558 00:29:08,440 --> 00:29:09,520 Speaker 3: like a little little. 559 00:29:09,280 --> 00:29:10,440 Speaker 2: Farm, a little ranch. 560 00:29:10,560 --> 00:29:13,920 Speaker 3: And I remember the first time we went to see 561 00:29:13,960 --> 00:29:17,760 Speaker 3: it with the real estate agent. We're standing there on 562 00:29:17,800 --> 00:29:19,960 Speaker 3: this kind of there was only a horse barn and 563 00:29:20,000 --> 00:29:23,480 Speaker 3: a little log cabin, and we're standing there and all 564 00:29:23,520 --> 00:29:25,960 Speaker 3: of a sudden we heard, you know, boom boom, and 565 00:29:26,000 --> 00:29:29,240 Speaker 3: then we heard shotgun pellets all on the metal roof 566 00:29:29,280 --> 00:29:30,120 Speaker 3: of this little. 567 00:29:29,880 --> 00:29:33,560 Speaker 2: Barn, like you know. And I was like, whoa, what's that? 568 00:29:33,800 --> 00:29:36,040 Speaker 3: And he got and then real estate agent was like, oh, 569 00:29:36,080 --> 00:29:39,400 Speaker 3: that's your neighbor's that's on her that's your neighbor. And 570 00:29:39,480 --> 00:29:41,640 Speaker 3: I said, well, is this something we should be concerned about? 571 00:29:42,080 --> 00:29:44,400 Speaker 2: And he said no, no, he's he's fine. He's fine. 572 00:29:44,440 --> 00:29:48,040 Speaker 3: He's just sending a warning shot, you know. So I 573 00:29:48,360 --> 00:29:50,600 Speaker 3: thought to myself, well, this is either really good or 574 00:29:50,640 --> 00:29:53,560 Speaker 3: really terrible. As it turned out, it was really good 575 00:29:53,680 --> 00:29:56,840 Speaker 3: because he slept during the day and worked at night. 576 00:29:56,960 --> 00:29:59,720 Speaker 3: I did I work during the day and slept at night, 577 00:30:00,080 --> 00:30:02,520 Speaker 3: So that worked out pretty well. The interesting thing that 578 00:30:02,640 --> 00:30:05,800 Speaker 3: I noticed immediately in the little log cabin there was 579 00:30:05,880 --> 00:30:08,280 Speaker 3: the big There was a big red convertible, which was 580 00:30:08,320 --> 00:30:10,960 Speaker 3: that land shark that he used in fear and loathing 581 00:30:11,080 --> 00:30:14,760 Speaker 3: his car because no one had been on the property 582 00:30:14,800 --> 00:30:17,520 Speaker 3: for years, so he even though he didn't own the property, 583 00:30:17,560 --> 00:30:19,720 Speaker 3: he just put his car in the cabin and put 584 00:30:19,760 --> 00:30:23,719 Speaker 3: a padlock on the door. And I said, what are 585 00:30:23,720 --> 00:30:25,880 Speaker 3: we going to do with this guy's car? Because we 586 00:30:25,920 --> 00:30:29,360 Speaker 3: wanted to turn the cabin into it into a little 587 00:30:29,400 --> 00:30:31,880 Speaker 3: apartment where we could live while we built the rest 588 00:30:31,920 --> 00:30:34,200 Speaker 3: of our house. So I would go and knock on 589 00:30:34,280 --> 00:30:37,160 Speaker 3: his door and he never answered. Then I'd go again, 590 00:30:37,200 --> 00:30:40,959 Speaker 3: I'd knock and I didn't even note because we wanted to, 591 00:30:41,320 --> 00:30:44,720 Speaker 3: you know, we wanted to have the carpenters come in 592 00:30:44,760 --> 00:30:48,200 Speaker 3: and start rebuilding this cabin. So the keys were in it. 593 00:30:48,280 --> 00:30:51,080 Speaker 3: I jumped, started it, I backed it out, I drove 594 00:30:51,120 --> 00:30:52,920 Speaker 3: it up on his lawn. I put it directly in 595 00:30:52,920 --> 00:30:55,320 Speaker 3: front of his door, and I just left it there. 596 00:30:55,520 --> 00:30:58,600 Speaker 3: And I knew him for twenty five years, and he 597 00:30:58,640 --> 00:31:00,960 Speaker 3: never said a word to me about it. I guess 598 00:31:00,960 --> 00:31:03,120 Speaker 3: he just thought the car just appeared one day. 599 00:31:03,440 --> 00:31:03,680 Speaker 2: You know. 600 00:31:04,840 --> 00:31:07,600 Speaker 3: So we went to his funeral that Johnny Depp organized 601 00:31:07,600 --> 00:31:09,800 Speaker 3: and it was amazing. We played at his funeral with 602 00:31:09,920 --> 00:31:13,840 Speaker 3: Lyle loved and Johnny Depp and it was just absolutely amazing. 603 00:31:13,880 --> 00:31:16,640 Speaker 3: He was an amazing guy and one of the great 604 00:31:16,680 --> 00:31:19,960 Speaker 3: you know, a classic journalists, you know who invented a 605 00:31:20,000 --> 00:31:24,040 Speaker 3: style of journalism. Really, you know, he loved being Hunter Thompson. 606 00:31:24,200 --> 00:31:26,520 Speaker 3: He loved the image of himself. And I think what 607 00:31:26,600 --> 00:31:28,600 Speaker 3: happened when he broke his hip in his leg and 608 00:31:28,640 --> 00:31:31,680 Speaker 3: he couldn't really be that guy anymore, I don't. I 609 00:31:31,680 --> 00:31:35,040 Speaker 3: think that's when he decided to pack it all in. 610 00:31:35,760 --> 00:31:37,920 Speaker 3: But he we sut to go up there and watch 611 00:31:37,960 --> 00:31:42,120 Speaker 3: Monday night football with the sheriff, and we like, it's 612 00:31:42,160 --> 00:31:42,880 Speaker 3: just kind of crazy. 613 00:31:44,680 --> 00:31:46,160 Speaker 6: Let's come back to reunion here. 614 00:31:46,200 --> 00:31:49,000 Speaker 5: I want to get your take on a couple of 615 00:31:49,040 --> 00:31:50,760 Speaker 5: the specific songs here. 616 00:31:50,800 --> 00:31:54,560 Speaker 6: We've already touched on Long Monday and Reunion. 617 00:31:55,040 --> 00:31:57,600 Speaker 5: I want to talk about Sonny Terry and Brownie McGee, 618 00:31:57,600 --> 00:32:01,880 Speaker 5: who you mentioned earlier in the conversation, So talk about 619 00:32:02,600 --> 00:32:03,920 Speaker 5: them and that song. 620 00:32:04,440 --> 00:32:06,440 Speaker 3: That song was written during the pandemic when I was 621 00:32:06,480 --> 00:32:09,800 Speaker 3: out in Colorado, spending more time in Colorado during the pandemic, 622 00:32:09,920 --> 00:32:12,000 Speaker 3: just to get out of the city, breathe some fresh 623 00:32:12,040 --> 00:32:15,960 Speaker 3: air and all that. And I ran into a guy 624 00:32:16,080 --> 00:32:19,320 Speaker 3: who was his neighbor who I knew for years and years, 625 00:32:19,320 --> 00:32:22,440 Speaker 3: but we never did anything together. His guy named Joe Henry, 626 00:32:22,480 --> 00:32:25,920 Speaker 3: who has written lyrics. He's an author, he's written books, 627 00:32:27,040 --> 00:32:29,880 Speaker 3: and we were just shooting the breeze and he said, 628 00:32:30,840 --> 00:32:33,320 Speaker 3: you know, we should write a song. I said, yeah, 629 00:32:33,400 --> 00:32:35,760 Speaker 3: we should, And so he came up to my little 630 00:32:35,760 --> 00:32:38,880 Speaker 3: cabin and the cabin where that car was by the way, 631 00:32:39,400 --> 00:32:44,680 Speaker 3: and we'd start talking about, you know, ideas for songs. 632 00:32:45,080 --> 00:32:47,520 Speaker 3: And he told me he related this story about Sunny 633 00:32:47,560 --> 00:32:50,000 Speaker 3: Terry and BROWNI McGee how as time went on in 634 00:32:50,040 --> 00:32:54,040 Speaker 3: their career they were together for over forty years, they 635 00:32:54,120 --> 00:32:56,120 Speaker 3: began to really dislike each other and they didn't want 636 00:32:56,120 --> 00:32:57,200 Speaker 3: to play together anymore. 637 00:32:57,720 --> 00:33:00,400 Speaker 2: So obviously there was something going on that resonated with me. 638 00:33:01,680 --> 00:33:04,680 Speaker 3: And but he said that the interesting part was that 639 00:33:04,720 --> 00:33:07,360 Speaker 3: one of them lost his ability to see and the 640 00:33:07,400 --> 00:33:10,760 Speaker 3: other one lost his ability to walk. Uh, and it 641 00:33:10,800 --> 00:33:13,760 Speaker 3: brought them together in a way, and they needed each 642 00:33:13,800 --> 00:33:14,760 Speaker 3: other to get on stage. 643 00:33:14,760 --> 00:33:16,720 Speaker 2: And when when I thought about it, I said, well, 644 00:33:16,760 --> 00:33:18,200 Speaker 2: you know, we could write about. 645 00:33:17,920 --> 00:33:23,440 Speaker 3: Them specifically, or we could use their story and their 646 00:33:23,480 --> 00:33:27,080 Speaker 3: experience as a metaphor for highness and lending a helping 647 00:33:27,120 --> 00:33:29,520 Speaker 3: hand and helping your fellow man, so to speaking. 648 00:33:29,800 --> 00:33:32,600 Speaker 2: I thought that was a more broad subject, So in. 649 00:33:32,520 --> 00:33:35,240 Speaker 3: The end, Sunny Terry and Browniemcghee became more of a 650 00:33:35,280 --> 00:33:38,000 Speaker 3: metaphor for the meaning of the song. 651 00:33:38,720 --> 00:33:41,920 Speaker 5: How about the song all I Am that you you 652 00:33:42,200 --> 00:33:43,920 Speaker 5: co wrote with Adam Ezra. 653 00:33:44,480 --> 00:33:45,840 Speaker 2: Yeah, Adam's great. 654 00:33:46,160 --> 00:33:47,920 Speaker 3: He and I just did a song that we just 655 00:33:47,960 --> 00:33:50,720 Speaker 3: played together in New York just a couple of weeks ago. 656 00:33:52,120 --> 00:33:55,080 Speaker 3: He's he's great. He's from the Boston area, a really 657 00:33:55,080 --> 00:34:00,320 Speaker 3: good soul, talented guy, and we played with We've done 658 00:34:00,360 --> 00:34:03,840 Speaker 3: shows together over the years. We've written a few songs together, 659 00:34:03,880 --> 00:34:05,600 Speaker 3: and All I Am is probably my favorite of the 660 00:34:05,600 --> 00:34:06,360 Speaker 3: ones we've written. 661 00:34:06,920 --> 00:34:07,600 Speaker 2: It's just a song. 662 00:34:07,640 --> 00:34:12,160 Speaker 3: He came to Nashville, we sat down and we wrote it. 663 00:34:10,760 --> 00:34:14,239 Speaker 2: It just worked, and I love that song we played 664 00:34:14,320 --> 00:34:14,799 Speaker 2: all the time. 665 00:34:15,880 --> 00:34:18,320 Speaker 5: And how about the song that This Field Is Mine? 666 00:34:18,960 --> 00:34:22,040 Speaker 5: Which is just wonderful to talk about that one? 667 00:34:22,440 --> 00:34:22,839 Speaker 2: Thank you. 668 00:34:22,880 --> 00:34:26,080 Speaker 3: That song was supposed to be included on the Arkansas album, 669 00:34:26,120 --> 00:34:30,280 Speaker 3: which came out in twenty eighteen, but it just didn't 670 00:34:30,320 --> 00:34:33,200 Speaker 3: There was something about it that I didn't think it 671 00:34:33,239 --> 00:34:36,160 Speaker 3: was right for that album. So I held it, but 672 00:34:36,239 --> 00:34:37,960 Speaker 3: I knew that I was going to release it someday. 673 00:34:38,600 --> 00:34:39,239 Speaker 2: That song was. 674 00:34:39,239 --> 00:34:42,160 Speaker 3: Inspired by my wife's family who they own a farm 675 00:34:42,239 --> 00:34:47,640 Speaker 3: in southern Illinois and they're very, very passionate about keeping 676 00:34:47,719 --> 00:34:52,880 Speaker 3: the farm as the surrounding area gets developed by suburbs 677 00:34:52,880 --> 00:34:57,880 Speaker 3: and housing developments. And when I know the passion that 678 00:34:57,920 --> 00:35:00,640 Speaker 3: they have for their land because it's a it's been 679 00:35:00,640 --> 00:35:04,520 Speaker 3: in their farm family for generations. So I thought about 680 00:35:04,520 --> 00:35:06,720 Speaker 3: it and I just thought about what that really means. 681 00:35:07,080 --> 00:35:09,560 Speaker 3: I thought about what owning a piece of land? Do 682 00:35:09,600 --> 00:35:11,160 Speaker 3: you really really own it? Or are you're just the 683 00:35:11,200 --> 00:35:14,440 Speaker 3: caretaker for a while, you know? And so that was 684 00:35:14,480 --> 00:35:18,480 Speaker 3: the impetus for it. And I ran the idea by 685 00:35:18,520 --> 00:35:21,360 Speaker 3: Sam Bush and the great Jeff Black, who's an incredible 686 00:35:21,440 --> 00:35:25,440 Speaker 3: Nashville songwriter, and we wanted to try to write something together. 687 00:35:25,480 --> 00:35:27,760 Speaker 3: So the three of us got together and we wrote 688 00:35:27,760 --> 00:35:31,000 Speaker 3: that song together. Yeah, So that was that was That 689 00:35:31,120 --> 00:35:33,000 Speaker 3: was really great to be able to. I had never 690 00:35:33,040 --> 00:35:35,480 Speaker 3: written anything with Sam and it was first time, and 691 00:35:35,520 --> 00:35:37,319 Speaker 3: I think we did pretty good. 692 00:35:38,280 --> 00:35:39,040 Speaker 6: It did awesome. 693 00:35:40,200 --> 00:35:46,040 Speaker 5: And closing You've always explored diverse influences in your career 694 00:35:46,320 --> 00:35:51,080 Speaker 5: and you continue to do that. Are there some influences 695 00:35:51,160 --> 00:35:54,360 Speaker 5: that you have not explored that you'd still like to explore. 696 00:35:56,840 --> 00:36:00,719 Speaker 3: I wouldn't say there's any particular influence like style I 697 00:36:01,080 --> 00:36:03,760 Speaker 3: I but I still have a lot of interest. 698 00:36:03,880 --> 00:36:04,040 Speaker 2: You know. 699 00:36:04,080 --> 00:36:07,239 Speaker 3: I just wrote a song with a young artist named 700 00:36:07,239 --> 00:36:11,760 Speaker 3: Devin Gilfillan, who's fantastic. He's an R and B singer 701 00:36:12,760 --> 00:36:16,880 Speaker 3: from Philadelphia and once saw him live and he's great, 702 00:36:17,160 --> 00:36:19,480 Speaker 3: and I introduced myself and we hit it off and 703 00:36:19,880 --> 00:36:22,560 Speaker 3: wrote a song. It sounds like a vintage soul song. 704 00:36:23,120 --> 00:36:26,239 Speaker 3: And so I'm not going to be stuck in any 705 00:36:26,280 --> 00:36:29,800 Speaker 3: particular style. I'm just going to, you know, do whatever 706 00:36:29,840 --> 00:36:32,440 Speaker 3: it feels right at the time. That's a song that 707 00:36:32,480 --> 00:36:35,440 Speaker 3: I want to release this coming fall, and it's a 708 00:36:35,480 --> 00:36:39,200 Speaker 3: really cool song. So and then, you know, I just recently, 709 00:36:39,239 --> 00:36:42,560 Speaker 3: I was on the Joe Bonamassa Blues Cruise and I 710 00:36:42,600 --> 00:36:44,439 Speaker 3: got a chance to sit in with a band called 711 00:36:44,560 --> 00:36:47,960 Speaker 3: Robert John and the Reck They're a California based rock 712 00:36:48,040 --> 00:36:51,880 Speaker 3: band and they're really really good and I really like 713 00:36:51,960 --> 00:36:54,960 Speaker 3: them and got together and wrote a song just a 714 00:36:54,960 --> 00:36:57,920 Speaker 3: few days ago. With him and Dave Cobb is producing him. 715 00:36:58,160 --> 00:37:01,719 Speaker 3: Hopefully it'll make it onto the album and so you know, 716 00:37:01,760 --> 00:37:05,040 Speaker 3: I'm just I'm just open to interesting ideas. 717 00:37:05,719 --> 00:37:09,319 Speaker 5: Congratulations on reunion. I'm so grateful that you took the 718 00:37:09,360 --> 00:37:11,279 Speaker 5: time to be on Taking a Walk. I've been a 719 00:37:11,320 --> 00:37:14,440 Speaker 5: fan forever, and thank you for the music that you 720 00:37:14,600 --> 00:37:15,839 Speaker 5: continued to give us. 721 00:37:15,920 --> 00:37:16,200 Speaker 6: John. 722 00:37:16,840 --> 00:37:19,480 Speaker 2: Thanks, was a good interview. I like talking about that stuff, 723 00:37:19,560 --> 00:37:20,280 Speaker 2: so thanks. 724 00:37:21,600 --> 00:37:24,080 Speaker 1: Thanks for listening to this episode of the Taking a 725 00:37:24,120 --> 00:37:28,000 Speaker 1: Walk podcast. Share this and other episodes with your friends 726 00:37:28,080 --> 00:37:31,600 Speaker 1: and follow us so you never miss an episode. Taking 727 00:37:31,600 --> 00:37:35,680 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 728 00:37:35,719 --> 00:37:38,000 Speaker 1: and wherever you get your podcasts.