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Speaker 1: Kenny Wayne Sheppard is one of the most successful blues

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Speaker 1: and rock guitarists and songwriters.

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Speaker 2: In the world.

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Speaker 1: It was just nominated for a Grammy. But it's his

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Speaker 1: devotion to the roots of his music, the music he

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Speaker 1: loves that animates his work. We'll talk about the power

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Speaker 1: of tradition and the AI music he and other artists

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Speaker 1: are battling all on this Arroyo Grande. Come on, I'm

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Speaker 1: Raymond Arroyo. Welcome to a royal Grande. Go subscribe to

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Speaker 1: the show, turn the notifications on so you know it's

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Speaker 1: coming and you can always support our work at Raymondarroyo

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Speaker 1: dot com. Before we go to Kenny Wayne Shepherd and

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Speaker 1: it's a great interview, let's go to the culture counter. First. Up,

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Speaker 1: a Czech brother and sister skating duo slid onto thin

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Speaker 1: Ice at the Olympics, not with their dancing, but for

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Speaker 1: the music they chose. During the Olympic competition, pairs had

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Speaker 1: to create choreography from tunes from the nineteen nineties and

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Speaker 1: the check skaters chose an AI plagiarized version of You

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Speaker 1: Get What You Give by the New Radicals. They didn't

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Speaker 1: clear the music rights for the actual song but danced

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Speaker 1: to a hackneyed, confused, odd version of the original, complete

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Speaker 1: with lyrics. The Olympics does allow AI music to be

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Speaker 1: used in competition, but does it allow plagiarism and distortion

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Speaker 1: of an artist's work on an international stage like this.

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Speaker 1: It shouldn't. The Czech couple didn't place in the competition,

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Speaker 1: and maybe it had something to do with that lousy accompaniment.

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Speaker 1: Over the last few months, a soul singer has were

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Speaker 1: act up four million monthly Spotify listeners. Her name is

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Speaker 1: Siena Rose. Rose's Spotify biography hails her as a storyteller

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Speaker 1: of the heart who sings with a sense of truth

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Speaker 1: and beauty, emphasis on the word sense of You see.

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Speaker 1: Though she may be a storyteller of the heart, she

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Speaker 1: doesn't have one and you won't see her at the

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Speaker 1: Grammys ever. Cianna Rose is very likely AI generated. She

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Speaker 1: doesn't exist, but she's competing with real artists without AI

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Speaker 1: labeling on these streaming platforms. Rose is the creation of

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Speaker 1: a company called Nostalgic Records. They may make a million

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Speaker 1: dollars off of Roses songs this year. As hard as

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Speaker 1: it is to sing soul music when you lack a soul.

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Speaker 1: The record company is doing it with great success, but

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Speaker 1: this slick AI fraud may be killing off those with

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Speaker 1: real souls and real voices. Here's what's at stake. Those

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Speaker 1: singers you love, the ones that you go to see

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Speaker 1: in concert, They're all being jammed out of the marketplaced

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Speaker 1: by these AI counterfeits. Now bear in mind, it is

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Speaker 1: the elements of these human innovators, their music, lyrics, beats,

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Speaker 1: melodies that are fitting to the AI engines to create

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Speaker 1: musical replicans, terminators that then compete with them on platforms

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Speaker 1: like Spotify. I read this the other day. UNESCO, the

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Speaker 1: UN's Education, Sciences and Cultural organization, predicts steep revenue drops

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Speaker 1: for real musicians as AI floods their markets. UNESCO warns

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Speaker 1: that music creators could lose twenty four percent of their

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Speaker 1: revenue by twenty twenty eight. A lot of these AI

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Speaker 1: uploads are covers, their ripoffs of the real artists work.

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Speaker 1: The Associated Press reports that twenty thousand new AI tracks

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Speaker 1: are uploaded each day to the music platform Deezer. That's

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Speaker 1: eighteen percent of their downloads. And now establish acts like

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Speaker 1: Eliza Minelli and Art Garfunle are allowing an AI company

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Speaker 1: to release new music with their voices fit in and

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Speaker 1: it's mostly slop and junk. But even if it pulls

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Speaker 1: in a fraction of the audience, that's attention and money

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Speaker 1: being play from active, current, real artists and another funeral

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Speaker 1: bell for the music industry and the real practitioners in it.

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Speaker 1: Now to our deep dive. Kenny Wayne Shepherd is one

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Speaker 1: of the most innovative blues and rock artists on the scene,

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Speaker 1: and he's no AI. He has won multiple awards. He

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Speaker 1: was just nominated for Best Traditional Blues Album at the Grammys.

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Speaker 1: He sells out arenas. But what's so interesting about Shepherd,

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Speaker 1: who is a child prodigy, is his devotion to the

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Speaker 1: blues tradition that inhabits his work. He's taken great efforts

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Speaker 1: from very early in his career to honor that blues

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Speaker 1: heritage and extend it right up to his most recent

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Speaker 1: album and tour. Here's my conversation with Kenny Wayne Shepherd.

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Speaker 1: One of the things that every time I look at

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Speaker 1: your work, every time I listen to it, you can

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Speaker 1: hear the past in it, the fullness of the legacy

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Speaker 1: that you stand upon, and yet you carry it forward.

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Speaker 1: Your newest project, Young Fashioned Ways, you're pairing with a

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Speaker 1: ninety one year old Bobby Rush. You're touring with him.

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Speaker 1: First of where did this project come from?

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Speaker 3: Well, so, Bobby Rush, a little bit of backstory. Bobby

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Speaker 3: Rush is ninety one years old. He as I like

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Speaker 3: to refer to him as one of He is a

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Speaker 3: part of the generation that I refer to as the

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Speaker 3: originators of blues music. You know, he goes back very

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Speaker 3: close to the beginning and ninety one years old.

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Speaker 1: Wow.

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Speaker 3: And so you know, this man is somebody I've been

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Speaker 3: aware of for a long time. I've seen him play

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Speaker 3: before more than once, and you know, he's got his

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Speaker 3: own thing going on like one hundred percent. And you know,

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Speaker 3: I'd never played music with him before until a couple

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Speaker 3: of years ago. So I have a blues festival that

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Speaker 3: we do on an annual basis called the back Roads

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Speaker 3: Blues Festival, and we invited him to come be our

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Speaker 3: special guest and sit in with our band.

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Speaker 2: So we did about three or four songs.

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Speaker 3: But I'm telling you, like the first from the first

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Speaker 3: note when he walked out, it was obvious to me

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Speaker 3: that we had this chemistry. And chemistry is something that

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Speaker 3: you cannot fake like you can manufacture.

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Speaker 2: That we're speaking my life, which yeah, it's true.

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Speaker 3: It's like, so you can get talented and you look

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Speaker 3: at a football team, it's like, oh, we're an all

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Speaker 3: star team, right, and like we're gonna put this guy,

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Speaker 3: this kind or this girl the highest rate, and you

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Speaker 3: think it's gonna be amazing, and sometimes it just falls

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Speaker 3: flat because the chemistry is not there. Doesn't mean they're

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Speaker 3: not great on their own right, So when you realize

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Speaker 3: that something like that exists, you have to seize on that.

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Speaker 3: And so I noticed it. I recognize it. I think

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Speaker 3: he did too. After the show. First thing I said

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Speaker 3: when we walked off the stage was I think we

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Speaker 3: need to do an album together.

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Speaker 1: Did you do covers? What were you singing?

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Speaker 2: What did you do that day that day? Always a

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Speaker 2: couple of just standard blue songs.

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Speaker 3: He just got up like you know, Mannish Boy, the

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Speaker 3: Muddy Water song, Elmore James song.

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Speaker 1: You know, well, listen, I listened to this album on

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Speaker 1: the way over today. I've been listening to it all

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Speaker 1: weekend there. It is such a classic old school blues,

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Speaker 1: you know, and I love these so somebody going out

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Speaker 1: of my back door. It's so I mean, it's it's full,

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Speaker 1: it's fun, it's earthy. H forty years difference separates the

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Speaker 1: two of you. What was that artistic chemistry like in studio?

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Speaker 3: Well, so for me, that's interesting because not everybody. Everybody

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Speaker 3: kind of has their own way of doing things. And

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Speaker 3: you know, he's a solo artist. I'm a solo artist.

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Speaker 3: So you know, sometimes people can be really set in

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Speaker 3: their ways and then when those two worlds collide, you

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Speaker 3: never know what to expect. So this working together in

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Speaker 3: the studio, it's a very intimate thing. So I wasn't

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Speaker 3: sure how it was going to all go down. Actually,

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Speaker 3: to be honest with you, when we walked in the

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Speaker 3: door of the studio, neither one of us, especially not me,

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Speaker 3: I had no idea. I didn't know one song we

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Speaker 3: were going to record.

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Speaker 1: He just had lyrics.

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Speaker 3: Yeah, well he had lyrics, but he didn't even tell

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Speaker 3: me that. Like I was texting him and he would

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Speaker 3: respond to me about other things, but I'd be like, hey, man,

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Speaker 3: you know, you want me to send you some lyrics

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Speaker 3: or you want me to send you some music to

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Speaker 3: work on these songs before we get there, And he

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Speaker 3: just didn't respond to any of that.

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Speaker 2: Why not, I don't it was.

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Speaker 3: I think it was part of his plan, like I

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Speaker 3: think he did it on purpose. Is because the end

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Speaker 3: result was is that the album literally unfolded in front

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Speaker 3: of us, like from moment to moment, it just organically,

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Speaker 3: just naturally developed.

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Speaker 3: So, like I walked in, I'm like, I don't know,

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Speaker 3: I've no what we're doing it first time in my life,

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Speaker 3: I didn't know a single song that was going to

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Speaker 3: be on a record.

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Speaker 2: And he would he walked in.

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Speaker 3: He had a stack of papers like this thick, all

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Speaker 3: lyrics that he had written, some many years ago, some

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Speaker 3: just the other day, and I would just start playing something.

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Speaker 3: I'm like, what do you think about this? And then

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Speaker 3: he'd go through his papers and he pulled one out

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Speaker 3: and you'd come over and stand over my shoulder and

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Speaker 3: start singing in my ear and he would sing the

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Speaker 3: words and it was just like it was always the

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Speaker 3: perfect thing for the song. So I'm like, let's cut it.

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Speaker 3: So that's literally how the whole album came about.

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Speaker 1: This take, what's this process?

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Speaker 2: Like seven days. It is pretty quick now. Just for

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Speaker 2: the recording.

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Speaker 3: Then I had to go and I had to do

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Speaker 3: some grunt work, as we say, and clean it all

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Speaker 3: up and then mix it and master it.

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Speaker 1: Why ten new songs instead of covers, I would imagine

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Speaker 1: you would do covers.

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Speaker 3: Well, there's one cover song was not actually a cover song.

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Speaker 3: I didn't I've never done this before this album. But

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Speaker 3: you can take an original song and then you can

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Speaker 3: rewrite some of it and then it becomes a collaborate

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Speaker 3: excuse me, a collaboration between.

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Speaker 2: You and the original writer.

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Speaker 3: So the title track that the album's called Young Fashion Waits.

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Speaker 3: There's an old Willy Dixon song Muddy Water's made famous

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Speaker 3: called young Fashion Ways. Bobby adjusted it. I wrote completely

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Speaker 3: new music for it. Bobby changed about half the lyrics,

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Speaker 3: so then it became Young Ways and it's a collaboration.

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Speaker 2: So that's the only real cover.

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Speaker 1: Yeah, but that's kind of to a degree, it feels

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Speaker 1: very new to me. I know that song doesn't sound

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Speaker 1: like it at all, I mean pretty different exactly.

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Speaker 3: And then there was two or maybe three songs that

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Speaker 3: he had previously recorded on some of his previous albums,

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Speaker 3: but I didn't know that and he didn't tell me that,

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Speaker 3: And I think that was actually really good, because if

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Speaker 3: I knew that he had recorded those songs as a producer,

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Speaker 3: I would have gone and listened to those songs, and

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Speaker 3: then that would have influenced how.

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Speaker 2: We would have played them in the studio.

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Speaker 3: But instead we approached them as if they were completely

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Speaker 3: new songs, so they sound really different than his previous

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Speaker 3: versions of.

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Speaker 1: Those ninety one year old Bobby Rush said he was

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Speaker 1: so emotional during the he started crying during these sessions

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Speaker 1: in Memphis. At what point were you aware that this

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Speaker 1: was striking something deep in him?

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Speaker 2: Well, I think there was.

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Speaker 3: We had a moment like we were probably two thirds

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Speaker 3: of the way through the recording, getting kind of in

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Speaker 3: the home stretch, and he came up to me in

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Speaker 3: the hallway. We just our paths crossed and he just

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Speaker 3: started crying and I hugged him and he hugged me back,

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Speaker 3: and he was just and it was tears of joy

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Speaker 3: and gratitude. And I was so moved because like, I'm

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Speaker 3: the one that feels like that I'm getting the great

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Speaker 3: into this deal, because like I'm making an authentic traditional

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Speaker 3: blues record, which is the music that inspired me when

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Speaker 3: I was a kid, like I used to dream about

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Speaker 3: there's a Muddy Waters album called Hart Again and it's

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Speaker 3: Johnny Winter playing guitar, producing the record and Muddy Waters

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Speaker 3: is the featured artist, and that was my favorite blues

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Speaker 3: album and I used to just dream of like what

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Speaker 3: that must have been like for like Johnny Winter to

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Speaker 3: do that. And this was kind of like my Johnny

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Speaker 3: Winter Muddy Waters moment with Kenny Wayne and Bobby Rush.

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Speaker 3: So I'm the one thinking like, this is so amazing

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Speaker 3: for me and then he just breaks down in tears

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Speaker 3: and says, you know how amazing it is for him,

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Speaker 3: and it was just it's been incredible, And that really

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Speaker 3: like our whole relationship from that experience moving forward, is

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Speaker 3: ben like that there's been a real bond.

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Speaker 1: Well, he said it was God that brought you all again.

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Speaker 2: I believe so perfect.

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Speaker 1: I mean, it sounds like you all were just winging

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Speaker 1: this thing on inspiration and whatever bubbled up in the moment,

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Speaker 1: which is a risky way to go into a Memphis

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Speaker 1: Where did you do this?

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Speaker 3: So it was Royal Studios in Memphis, So that's where

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Speaker 3: all the original, like the most famous music. I'm in

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Speaker 3: a lot of famous music, but all the Al Green

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Speaker 3: stuff from back in the day.

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Speaker 2: It was recording there.

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Speaker 3: But it's a legendary studio, perfect place to do this record. Logistically,

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Speaker 3: it was great because it was the halfway point between

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Speaker 3: where Bobby lives and where I live, so we met

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Speaker 3: in the middle. But yeah, the whole thing we just

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Speaker 3: kind of I mean, honestly, everything I do, I believe

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Speaker 3: that I'm not the driving force. I believe God is

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Speaker 3: the driving force, and I'm just have to be the conduit.

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Speaker 3: I got to be open enough to try. My part

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Speaker 3: is to figure out is to be able to keep

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Speaker 3: my eyes open enough to know which direction to go,

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Speaker 3: that which direction he's leading me in, right, yeah, and so,

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Speaker 3: and I think Bobby feels the same way. But you know,

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Speaker 3: going into this, I mean I was out of my

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Speaker 3: comfort zone. I'm like, what is going to happen here?

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Speaker 3: I don't even know a single song we're going to record.

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Speaker 3: But I had the faith. I mean, God's given us

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Speaker 3: the ability, He's got his talent, I've got my talent.

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Speaker 3: I know we both can bring that to the table

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Speaker 3: and then we just have faith in the process and

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Speaker 3: take the music and everything the inspiration where it leads

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Speaker 3: us and the end result, I think is an incredible record.

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Speaker 1: And he also because he'd played with you and had

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Speaker 1: watched your career and he talked about that. I've seen

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Speaker 1: interviews where he's talked about that he knew your veneration

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Speaker 1: and respect of what went before, right, and that as

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Speaker 1: I've had that experience with a lot of older artists.

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Speaker 1: When I first interviewed Jerry Lewis, because of it, I

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Speaker 1: had such respect for what he did. There was an

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Speaker 1: openness to working with me and talking that he shared

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Speaker 1: things that he'd never shared before. Did you have that

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Speaker 1: experience here?

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Speaker 3: Well, for me, it's like everything that I do is

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Speaker 3: based on my childhood inspiration. It's all the music that

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Speaker 3: I was exposed to. My dad was in radio, so

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Speaker 3: I grew up around music twenty four seven and went

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Speaker 3: to every concert.

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Speaker 1: Was a concert promoter to in shreport.

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Speaker 3: Right, So all of that I was soaking it up

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Speaker 3: and absorbing it and didn't know at the time that

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Speaker 3: I was but reflecting now you go, Oh, all of

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Speaker 3: this led to led me to hear and all of

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Speaker 3: that music that inspired me to go pick up the instrument,

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Speaker 3: you know, the early blues music, and it was everything.

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Speaker 3: It was blues, country, rock, jazz, funk, gospel, everything but

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Speaker 3: blues was what I gravitated towards when I got the

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Speaker 3: guitar in my hands.

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Speaker 1: As a child. We were talking three years old.

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Speaker 2: Yeah, yeah, four or five, six seven.

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Speaker 3: I got my first electric guitar after I met Stevie

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Speaker 3: ray Vaughan for the first time.

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Speaker 2: Seeing him was life changing.

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Speaker 1: Tell me what was it? Tell me what was that?

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Speaker 1: But you saw Money Waters live. I mean you saw

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Speaker 1: incredible people even as a little tot.

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Speaker 3: Yeah, And I do believe that was my first concert.

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Speaker 3: My dad said he took me to see Muddy Waters

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Speaker 3: and John Lee Hooker when I was three. Now I

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Speaker 3: don't remember the show, but I have to believe that

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Speaker 3: left an imprint, and I do believe that that's what

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Speaker 3: set me on the path of my love and appreciation

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Speaker 3: for blues music. But seeing Stevie was I was old

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Speaker 3: enough for. It's a register I was old enough for.

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Speaker 3: Like the I was just in awe of him because

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Speaker 3: he played. He was like a he channeled everything. It

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Speaker 3: was like being a conduit, which is what I strive

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Speaker 3: to be on stage. Like what I saw in him

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Speaker 3: was he played with this passion and this intensity that

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Speaker 3: just came through him and went outward and if you

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Speaker 3: were receiving it, like you couldn't help but feel it.

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Speaker 3: And even at seven years old, I was like, oh

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Speaker 3: my gosh. And that's all I want to do, is

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Speaker 3: I want to have that kind of energy and project

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Speaker 3: that to people and affect them the way he affected me.

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Speaker 1: You know the BB King line about Stevie ray Vaughn

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Speaker 1: that the Blues is like the Blues is like being black.

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Speaker 1: Twice Stevie ray missed on both counts and I never noticed.

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Speaker 1: It's a great line. It's a great line. Yeah, but

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Speaker 1: I see this when I watch you play, it's almost

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Speaker 1: like you're playing another language. That is that I don't

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Speaker 1: fully comprehend, but I.

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Speaker 2: Know, yeah exactly.

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Speaker 1: I mean, it's it's a strange thing to watch a

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Speaker 1: musician kind of channel that instrument. It's almost it's like

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Speaker 1: a translator. It's like a translator device, and it's so

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Speaker 1: powerful when you see it.

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Speaker 2: Is that.

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Speaker 1: So that's what Stevie ray Vaughan. That's the imprint he

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Speaker 1: left on you.

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Speaker 3: Absolutely, And that's what I try and leave on people

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Speaker 3: when I when I play, that's the I want to

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Speaker 3: leave behind and it's like you say, I mean, it's

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Speaker 3: like speaking another language, but that everybody says music is

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Speaker 3: the universal language. And because I believe that when you

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Speaker 3: tap into that place, it's so authentic, it's so pure.

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Speaker 3: If you're playing straight from real heart. Now, not everybody

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Speaker 3: does that, and that's you know, there's markets for all

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Speaker 3: that other kind of music. But when that's your intention

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Speaker 3: and you're really channeling from your heart outward, then that

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Speaker 3: is something that everybody can identify with. It doesn't matter

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Speaker 3: the words you're singing. And there's songs like that we

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Speaker 3: do that are instrumental, that have no words, and it

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Speaker 3: moves people to tears, and like that's the power of music.

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Speaker 3: And so you when you're communicating on that level, all

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Speaker 3: the barriers have been put aside.

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Speaker 1: I remember many years ago was that Tippetinas, you know

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Speaker 1: that up in New Orleans, and the Neville Brothers used

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Speaker 1: to play I'm going back. My eye was on high

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Speaker 1: school and at the end of their concert, Aaron Neville

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Speaker 1: would always step forward and a cappella do a version

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Speaker 1: of Ave Maria. Well, this is one o'clock in the morning.

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Speaker 1: Half the people are loaded tears and audible crying from

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Speaker 1: the audience, and I said, Aaron, I asked you years later,

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Speaker 1: what's happening there? First of all, why are you doing that?

375
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Speaker 1: And what's happening? He said, Oh, Raymond, that's the garden,

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Speaker 1: me talking to the garden.

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Speaker 2: Now, that's right.

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Speaker 1: That's really what this seems to me. Why did the

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Speaker 1: blues resonate so deeply with you? Why does it still resonate.

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Speaker 2: Well to me?

381
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Speaker 3: Because the number one requirement to play blues authentically is

382
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Speaker 3: to be able to play it from your heart right

383
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Speaker 3: like with them, with that kind of feeling.

384
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Speaker 2: And I think that's why I was drawn to it.

385
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Speaker 3: Even when I was a kid, I couldn't relate necessarily

386
00:19:01,480 --> 00:19:03,720
Speaker 3: to the lyrics. You know, even if it was I

387
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Speaker 3: hadn't been in a relationship, I hadn't had a woman

388
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Speaker 3: do me wrong, I hadn't had some of the other

389
00:19:09,040 --> 00:19:12,479
Speaker 3: experiences outside of relationships that these people were singing about. Yeah,

390
00:19:12,480 --> 00:19:15,840
Speaker 3: but I could feel the emotion that they were portraying

391
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Speaker 3: in the music.

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Speaker 1: Yeah. I mean at thirteen, you're invited on stage, was it,

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Speaker 1: Brian Brian Brinley, Yeah, Brian Lee's who's a New Orleans lose?

394
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Speaker 1: Many invite you on stage? You're at a Shreveport Arts Festival.

395
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Speaker 2: Well that was later, Oh, that was later.

396
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Speaker 3: Brian Lee was Bourbon Street, the old Absent House bar

397
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Speaker 3: in New Orleans, thirteen years old, first time ever on stage,

398
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Speaker 3: and what was that like, Well, it was it was

399
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Speaker 3: a turning point for me because I was really I

400
00:19:42,200 --> 00:19:44,960
Speaker 3: was really shy, even after I put my band together stuff.

401
00:19:44,960 --> 00:19:46,520
Speaker 2: I used to have long blonde hair and I would

402
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Speaker 2: kind of hide behind behind the hair.

403
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Speaker 3: And but Brian, that was the first time I really

404
00:19:50,880 --> 00:19:53,159
Speaker 3: got to perform in front of people. And I remember

405
00:19:53,160 --> 00:19:56,199
Speaker 3: thinking to myself that this is either going to go

406
00:19:56,280 --> 00:19:58,639
Speaker 3: really well or it's going to go horribly wrong, and

407
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Speaker 3: if it does, I'm I'm never going to do this again,

408
00:20:01,560 --> 00:20:04,800
Speaker 3: like ever. And so I got up there, I did

409
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Speaker 3: my two songs, have my hair behind behind my hair,

410
00:20:07,440 --> 00:20:09,639
Speaker 3: and I did. He said two songs and then you know,

411
00:20:09,680 --> 00:20:11,560
Speaker 3: you got to get out off this my show, kid.

412
00:20:11,800 --> 00:20:13,440
Speaker 3: But I did the two songs and then I went

413
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Speaker 3: to get down and he was like, don't go anywhere,

414
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Speaker 3: and he kept me up all night long. I played

415
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Speaker 3: till like three or four o'clock in the morning with him.

416
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Speaker 3: Got my first standing ovations how old are you thirteen?

417
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Speaker 3: And that was like, Okay, maybe I can do something

418
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Speaker 3: with this and that set that began that was like

419
00:20:30,520 --> 00:20:34,360
Speaker 3: it's a trajectory between So thirteen I did that, Fourteen

420
00:20:34,400 --> 00:20:37,760
Speaker 3: I did my first demo recordings. Fifteen I formed my band.

421
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Speaker 3: Sixteen I signed a major record contract.

422
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Speaker 1: But it was a video. It was video of that

423
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Speaker 1: that Red River Rebel that yeah, you're thirteen years old

424
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Speaker 1: playing It was that video that got you the record contract.

425
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Speaker 3: Well, the red River Rebel was when I was fifteen

426
00:20:51,280 --> 00:20:55,080
Speaker 3: or fifteen. So I put my band together, started doing

427
00:20:55,119 --> 00:20:57,639
Speaker 3: shows and we filmed that shows in my hometown as

428
00:20:57,680 --> 00:21:00,600
Speaker 3: Outdoor Festival had a good crowd. But that was a

429
00:21:00,640 --> 00:21:03,560
Speaker 3: tool that we used to send to record labels that

430
00:21:03,600 --> 00:21:06,600
Speaker 3: were expressing some interest so that they could actually see,

431
00:21:06,960 --> 00:21:09,560
Speaker 3: you know, because rumors started flying all over the country

432
00:21:09,560 --> 00:21:12,679
Speaker 3: about this kid from Louisiana playing blues music.

433
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Speaker 2: Word was getting to.

434
00:21:14,000 --> 00:21:17,080
Speaker 3: New York, LA everywhere, and we were getting phone calls

435
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Speaker 3: and my dad was like, we need to film a

436
00:21:18,720 --> 00:21:20,639
Speaker 3: show and we can send them this video.

437
00:21:20,680 --> 00:21:22,720
Speaker 2: And so yes, that's what eventually helped us.

438
00:21:22,760 --> 00:21:25,240
Speaker 1: And what did they see, Kenny, what do you think

439
00:21:25,280 --> 00:21:26,520
Speaker 1: they saw in that video?

440
00:21:26,600 --> 00:21:31,119
Speaker 3: Well, it's interesting because you know, I'm my own worst critic,

441
00:21:31,680 --> 00:21:34,399
Speaker 3: and so I look back and I've never felt like

442
00:21:35,400 --> 00:21:38,000
Speaker 3: I've come to realize that I've earned my place here

443
00:21:38,160 --> 00:21:39,320
Speaker 3: and then I belong.

444
00:21:39,080 --> 00:21:39,680
Speaker 2: Where I'm at.

445
00:21:40,320 --> 00:21:43,760
Speaker 3: But I never thought of myself as being anyone special

446
00:21:43,960 --> 00:21:46,360
Speaker 3: or anyone different than anybody else. I'm just a guy

447
00:21:46,359 --> 00:21:49,360
Speaker 3: who loves music and loves to play guitar, right, So

448
00:21:49,600 --> 00:21:51,520
Speaker 3: I was always kind of baffled that, like people had

449
00:21:51,520 --> 00:21:53,439
Speaker 3: the reaction that they had to me when I was

450
00:21:53,440 --> 00:21:56,080
Speaker 3: playing music, because I'm like, you know, I'm just I'm

451
00:21:56,119 --> 00:21:58,399
Speaker 3: just a kid playing guitar. But I look back at

452
00:21:58,440 --> 00:22:00,280
Speaker 3: that video and I go, well, what they saw was

453
00:22:00,320 --> 00:22:02,520
Speaker 3: they saw as a fifteen or sixteen year old kid

454
00:22:02,520 --> 00:22:06,960
Speaker 3: playing guitar. In my opinion, at that time, maybe maybe

455
00:22:07,000 --> 00:22:07,880
Speaker 3: there wasn't a lot.

456
00:22:07,680 --> 00:22:10,040
Speaker 2: Of people doing it at that level at that time,

457
00:22:10,080 --> 00:22:10,640
Speaker 2: but there's a.

458
00:22:10,640 --> 00:22:13,200
Speaker 3: Lot of because of social media now, you can see

459
00:22:13,280 --> 00:22:16,479
Speaker 3: everybody that plays guitar online. Now there's a lot of

460
00:22:16,600 --> 00:22:18,719
Speaker 3: like kids that are sixteen now that I think if

461
00:22:18,840 --> 00:22:20,320
Speaker 3: more advanced than I was then.

462
00:22:20,960 --> 00:22:24,240
Speaker 2: But I don't know. There's a difference.

463
00:22:23,880 --> 00:22:26,040
Speaker 3: Between like being able to play great and being a

464
00:22:26,080 --> 00:22:28,360
Speaker 3: great player, because there's a lot of great players and

465
00:22:28,480 --> 00:22:31,359
Speaker 3: somebody that has the it factor and that's what they're

466
00:22:31,400 --> 00:22:35,200
Speaker 3: looking for. And somebody obviously saw that there was more

467
00:22:35,240 --> 00:22:37,600
Speaker 3: to me than just a teenage guitar player.

468
00:22:37,800 --> 00:22:40,080
Speaker 1: Yeah, there's that Hendrix line about the blues. The blues

469
00:22:40,119 --> 00:22:41,760
Speaker 1: are easy to play but hard to feel.

470
00:22:41,920 --> 00:22:45,320
Speaker 2: Yeah, there's that. And then there's also like the songs.

471
00:22:45,359 --> 00:22:48,439
Speaker 3: I mean, I was already playing original songs at that point,

472
00:22:48,560 --> 00:22:50,960
Speaker 3: and so that's a huge thing. If you're going to

473
00:22:51,040 --> 00:22:53,359
Speaker 3: get into business with a record company, you can't be

474
00:22:53,400 --> 00:22:55,520
Speaker 3: a cover band. Yeah, you know, you have to have

475
00:22:55,720 --> 00:22:57,520
Speaker 3: material that they think is marketing well.

476
00:22:57,640 --> 00:23:00,959
Speaker 1: Ledbetter heights hits in nineteen ninety five life when you

477
00:23:01,040 --> 00:23:04,200
Speaker 1: listen to that, Now, what did the seventeen year old

478
00:23:04,640 --> 00:23:09,199
Speaker 1: or eighteen year old Kenny not know? Oh, you know not.

479
00:23:09,320 --> 00:23:10,880
Speaker 2: I didn't know hardly anything.

480
00:23:10,960 --> 00:23:14,040
Speaker 3: But I knew what I needed to know to get

481
00:23:14,040 --> 00:23:16,679
Speaker 3: the job done, which was which was I needed to

482
00:23:16,840 --> 00:23:21,040
Speaker 3: play straight from the heart and communicate through my instrument

483
00:23:21,640 --> 00:23:24,359
Speaker 3: and I needed to be true to myself and play

484
00:23:24,440 --> 00:23:27,280
Speaker 3: the and record the music I felt inspired.

485
00:23:26,760 --> 00:23:28,000
Speaker 2: To play and record.

486
00:23:28,320 --> 00:23:31,080
Speaker 3: So like Irving Azof, who's one of the most powerful

487
00:23:31,320 --> 00:23:34,960
Speaker 3: men in the entertainment industry by far, he's the one

488
00:23:34,960 --> 00:23:37,840
Speaker 3: that signed me to his record label, personally Giant Records,

489
00:23:37,840 --> 00:23:40,760
Speaker 3: when he was running Giant Records, and he asked me

490
00:23:40,920 --> 00:23:43,800
Speaker 3: at the time because I didn't sing. My problem was

491
00:23:44,359 --> 00:23:46,840
Speaker 3: I could play beyond my years, but when I opened

492
00:23:46,840 --> 00:23:50,200
Speaker 3: my mouth and sang, I sounded like a kid, and

493
00:23:50,560 --> 00:23:53,280
Speaker 3: those things didn't match up for me. And I had

494
00:23:53,320 --> 00:23:55,919
Speaker 3: standards that I heard from my music, so if my

495
00:23:56,040 --> 00:23:58,280
Speaker 3: voice couldn't meet that standard, I was going to find

496
00:23:58,280 --> 00:24:01,840
Speaker 3: somebody else who's could, right. So I remember him telling

497
00:24:01,880 --> 00:24:04,280
Speaker 3: me when he was signing me. He was like, hey man,

498
00:24:05,280 --> 00:24:06,840
Speaker 3: what kind of record are you going to make? And

499
00:24:06,880 --> 00:24:08,840
Speaker 3: I'm like, I don't know. I'm just going to go

500
00:24:09,640 --> 00:24:11,120
Speaker 3: make it Kenny Wayne Shepherd record.

501
00:24:11,200 --> 00:24:12,800
Speaker 2: I guess. He goes, Look, he goes, I don't.

502
00:24:12,640 --> 00:24:15,679
Speaker 3: Care if you make an all instrumental record if you

503
00:24:15,720 --> 00:24:18,280
Speaker 3: have a guy singing on it, Like, just go make

504
00:24:18,320 --> 00:24:20,960
Speaker 3: the album you feel inspired to make. He gave me

505
00:24:21,000 --> 00:24:23,480
Speaker 3: permission to do that from day one, and I've done

506
00:24:23,520 --> 00:24:26,880
Speaker 3: that my entire career, and not everybody has that luxury

507
00:24:26,920 --> 00:24:29,160
Speaker 3: because a lot of times people are making artists, they're

508
00:24:29,200 --> 00:24:30,840
Speaker 3: trying to make them be who they think they should.

509
00:24:31,280 --> 00:24:33,920
Speaker 3: So I just followed my instinct, and I've been true

510
00:24:33,920 --> 00:24:36,240
Speaker 3: to that my entire career, and thankfully it's brought us

511
00:24:36,520 --> 00:24:37,080
Speaker 3: to this point.

512
00:24:37,160 --> 00:24:40,480
Speaker 1: Yeah, I mean Troubbly Is, which is nineteen ninety seven

513
00:24:41,000 --> 00:24:45,200
Speaker 1: the longest running Billboard Blues chart topper for an album ever.

514
00:24:45,600 --> 00:24:48,280
Speaker 1: You still hold that record, You go seven singles in

515
00:24:48,320 --> 00:24:51,119
Speaker 1: the top ten, you go back and re record that

516
00:24:51,200 --> 00:24:54,600
Speaker 1: album on the twenty fifth niver Why do that.

517
00:24:54,760 --> 00:24:57,080
Speaker 2: Kenny, Well, there's multiple reasons.

518
00:24:57,119 --> 00:25:01,040
Speaker 3: First was to acknowledge the twenty fifth anniversary of that album,

519
00:25:01,080 --> 00:25:05,200
Speaker 3: because that was arguably our most mainstream successful record.

520
00:25:05,320 --> 00:25:06,840
Speaker 2: Blue on Black a massive hit.

521
00:25:06,960 --> 00:25:09,880
Speaker 1: Why did those songs hit? Blue on Black and somewhere.

522
00:25:09,800 --> 00:25:10,199
Speaker 2: I don't know.

523
00:25:10,280 --> 00:25:11,600
Speaker 3: I mean, you know, it's the right place, at the

524
00:25:11,640 --> 00:25:13,640
Speaker 3: right time, the right music. I mean, I tell people

525
00:25:13,680 --> 00:25:16,360
Speaker 3: all the time, like there's so many things that have

526
00:25:16,440 --> 00:25:19,800
Speaker 3: to happen in order for you to be successful, for

527
00:25:19,920 --> 00:25:23,199
Speaker 3: a song to reach its potential, and that song I

528
00:25:23,200 --> 00:25:26,439
Speaker 3: think didn't reach its full potential, to be honest with you,

529
00:25:26,480 --> 00:25:28,880
Speaker 3: because at the time, and I don't know anybody would

530
00:25:28,920 --> 00:25:31,320
Speaker 3: argue with me about this, I don't think, but at

531
00:25:31,320 --> 00:25:34,600
Speaker 3: the time the record company had done it. They did

532
00:25:34,600 --> 00:25:37,000
Speaker 3: a great job at rock radio but I think they

533
00:25:37,000 --> 00:25:39,399
Speaker 3: were kind of lacking in the top forty department and

534
00:25:39,440 --> 00:25:41,480
Speaker 3: trying to figure out how to get that song to

535
00:25:41,520 --> 00:25:42,919
Speaker 3: cross over in the top forty.

536
00:25:43,160 --> 00:25:45,040
Speaker 2: Had they been successful in doing that.

537
00:25:44,920 --> 00:25:47,560
Speaker 3: It would have been even a bigger smash than it was,

538
00:25:47,840 --> 00:25:50,080
Speaker 3: but it still was a massive number one hit for us.

539
00:25:50,800 --> 00:25:53,400
Speaker 3: The record, the second album did better than the first album, though.

540
00:25:53,440 --> 00:25:56,080
Speaker 3: Between the first two records that built us the foundation

541
00:25:56,280 --> 00:25:58,439
Speaker 3: of the fans that have now carried us going on

542
00:25:58,480 --> 00:26:02,040
Speaker 3: three decades. But we did the twenty fifth anniversary Trouble

543
00:26:02,200 --> 00:26:06,359
Speaker 3: Is record to number one acknowledged twenty five years of

544
00:26:06,400 --> 00:26:09,760
Speaker 3: this script music number two. We did a very very

545
00:26:09,760 --> 00:26:14,439
Speaker 3: close recreation of the album, same guitar and everything, and

546
00:26:14,480 --> 00:26:16,639
Speaker 3: we had all the same guys with the exception of

547
00:26:16,720 --> 00:26:20,640
Speaker 3: one player, So same crew, everything right twenty five years later.

548
00:26:21,240 --> 00:26:23,120
Speaker 2: And it was cool because it was like, hey man,

549
00:26:23,320 --> 00:26:24,280
Speaker 2: I was what was.

550
00:26:24,280 --> 00:26:27,560
Speaker 3: I eighteen or nineteen when I did that, and we

551
00:26:27,560 --> 00:26:29,879
Speaker 3: were all twenty five years younger. But it was cool

552
00:26:29,920 --> 00:26:33,160
Speaker 3: to show everybody we can rock just as hard today

553
00:26:33,200 --> 00:26:35,760
Speaker 3: twenty five years later as we did back then. And

554
00:26:35,800 --> 00:26:39,280
Speaker 3: then also there's a business case for it because we

555
00:26:39,359 --> 00:26:42,439
Speaker 3: own this version of it, you know, because ownership.

556
00:26:42,760 --> 00:26:44,120
Speaker 1: It was Kenny's version. Yeah.

557
00:26:44,480 --> 00:26:48,720
Speaker 3: Yeah, And you know, we actually started recording that album

558
00:26:48,800 --> 00:26:51,399
Speaker 3: and re recording two of my We were doing the

559
00:26:51,480 --> 00:26:53,760
Speaker 3: Ledbetter Heights album as well. Wow, that's going to come

560
00:26:53,800 --> 00:26:56,639
Speaker 3: out next year for the thirtieth anniversary that record, But

561
00:26:56,680 --> 00:26:59,200
Speaker 3: we had started recording those before Taylor did her whole

562
00:26:59,440 --> 00:27:02,240
Speaker 3: Taylor's thing. But there's a real business case for that.

563
00:27:02,320 --> 00:27:06,439
Speaker 3: I mean, it's it's kind of like unbelievable that in

564
00:27:06,480 --> 00:27:09,399
Speaker 3: the music industry that you can go people go to

565
00:27:09,440 --> 00:27:12,159
Speaker 3: a record company, especially back then, because you don't have money.

566
00:27:12,200 --> 00:27:13,840
Speaker 3: You don't have the money to make the record, you

567
00:27:13,880 --> 00:27:15,720
Speaker 3: don't have the connections to market it, you don't have

568
00:27:15,720 --> 00:27:17,600
Speaker 3: the connections to get it on radio. A lot of

569
00:27:17,600 --> 00:27:20,240
Speaker 3: that stuff isn't as relevant now as it was then.

570
00:27:20,560 --> 00:27:22,320
Speaker 3: But you went to them because they had all these

571
00:27:22,359 --> 00:27:25,320
Speaker 3: resources you didn't have. But at the same time, they're

572
00:27:25,320 --> 00:27:27,920
Speaker 3: giving you this money, they're loaning you the money, right

573
00:27:27,920 --> 00:27:30,119
Speaker 3: because you have to pay it all back, right, And

574
00:27:30,160 --> 00:27:33,680
Speaker 3: they get like ninety you know, seven cents out of

575
00:27:33,720 --> 00:27:35,919
Speaker 3: every dollar made on a record, and you're paying it

576
00:27:35,960 --> 00:27:38,240
Speaker 3: back like three cents at the time, you know what

577
00:27:38,320 --> 00:27:41,040
Speaker 3: I mean. And they charge you back for every single

578
00:27:41,080 --> 00:27:43,320
Speaker 3: thing that they do, every dollar they spend. Sometimes they

579
00:27:43,400 --> 00:27:46,840
Speaker 3: charge you for stuff that they didn't do or overcharge

580
00:27:46,840 --> 00:27:47,159
Speaker 3: you for it.

581
00:27:47,160 --> 00:27:49,880
Speaker 2: You have to audit them. But you pay it all

582
00:27:49,960 --> 00:27:50,840
Speaker 2: back over.

583
00:27:50,680 --> 00:27:53,600
Speaker 3: Time, right, and only then after they've gotten all their

584
00:27:53,680 --> 00:27:56,239
Speaker 3: money back, then you start to make a little bit

585
00:27:56,240 --> 00:27:58,520
Speaker 3: of money. But at the end of the day, they

586
00:27:58,560 --> 00:28:02,320
Speaker 3: still own they own. You're not even a half owner.

587
00:28:02,480 --> 00:28:06,560
Speaker 3: And without the music, they don't have anything, right, so

588
00:28:06,600 --> 00:28:09,120
Speaker 3: you go all they did was bankroll it. So it's

589
00:28:09,119 --> 00:28:11,159
Speaker 3: like you go to the bank and you get a

590
00:28:11,200 --> 00:28:14,200
Speaker 3: loan for a house, and then you pay the loan back,

591
00:28:14,400 --> 00:28:15,919
Speaker 3: but the bank still owns your house.

592
00:28:16,480 --> 00:28:17,399
Speaker 2: Like it's unbelievable.

593
00:28:17,760 --> 00:28:19,359
Speaker 1: Like you write a show, I have a theater, and

594
00:28:19,440 --> 00:28:21,880
Speaker 1: I now own the show because you've performed at my theme.

595
00:28:21,960 --> 00:28:22,720
Speaker 2: Exactly crazy.

596
00:28:22,960 --> 00:28:26,639
Speaker 3: So the least they could do, and like this is

597
00:28:26,760 --> 00:28:29,800
Speaker 3: monumental change that needs to take place. But the least

598
00:28:29,840 --> 00:28:32,760
Speaker 3: they could have done is say we're partners in this, right,

599
00:28:32,880 --> 00:28:35,400
Speaker 3: you know. And so after after you've paid it back,

600
00:28:35,400 --> 00:28:37,480
Speaker 3: then you then we're fifty to fifty you know what

601
00:28:37,560 --> 00:28:40,400
Speaker 3: I mean, or something at some point, but you know,

602
00:28:40,440 --> 00:28:43,080
Speaker 3: we get all of our money back and we still

603
00:28:43,120 --> 00:28:46,840
Speaker 3: own everything, and for perpetuity, you're going to make three

604
00:28:46,880 --> 00:28:48,800
Speaker 3: cents on every dollar you know or whatever.

605
00:28:49,200 --> 00:28:53,320
Speaker 1: Well, this is why Look, you hit. Before there was

606
00:28:53,360 --> 00:28:56,960
Speaker 1: the social media possibilities and then direct distribution, all of

607
00:28:57,000 --> 00:28:59,520
Speaker 1: that was unheard of when you started. We're in a

608
00:28:59,560 --> 00:29:02,760
Speaker 1: different yeah, but it's harder for artists to break up,

609
00:29:02,840 --> 00:29:03,520
Speaker 1: don't you feel that.

610
00:29:03,880 --> 00:29:05,560
Speaker 2: Well, there's so many different things.

611
00:29:05,600 --> 00:29:08,200
Speaker 3: Like I'm very grateful that I got in when I

612
00:29:08,200 --> 00:29:11,560
Speaker 3: did because I got to experience what I believe, I mean,

613
00:29:11,600 --> 00:29:13,880
Speaker 3: call me a dinosaur, call me old or wherever. What

614
00:29:14,040 --> 00:29:15,840
Speaker 3: I got in on the very end of what I

615
00:29:15,840 --> 00:29:20,360
Speaker 3: think was the golden age of like the radio industry,

616
00:29:20,440 --> 00:29:23,960
Speaker 3: the recording industry, Like things were so different back then

617
00:29:24,000 --> 00:29:26,360
Speaker 3: than they are now now some of it has changed

618
00:29:26,360 --> 00:29:29,040
Speaker 3: for the better. They put some power technologies, put some

619
00:29:29,080 --> 00:29:32,160
Speaker 3: power in the hands of the artists, Like you don't

620
00:29:32,280 --> 00:29:35,600
Speaker 3: need it necessarily a record company to market yourself. If

621
00:29:35,640 --> 00:29:38,440
Speaker 3: you're savvy with social media, you can break you can

622
00:29:38,480 --> 00:29:41,400
Speaker 3: go viral on YouTube, you know, Instagram, Facebook, all of

623
00:29:41,480 --> 00:29:45,120
Speaker 3: those things, and you can attract an audience of millions

624
00:29:45,120 --> 00:29:48,600
Speaker 3: of people. And the challenge that you then face is

625
00:29:48,600 --> 00:29:50,720
Speaker 3: a challenge that every artist faces, is how do you

626
00:29:50,760 --> 00:29:54,520
Speaker 3: retain that audience, because that's where the talent factor comes in.

627
00:29:54,760 --> 00:29:56,840
Speaker 3: But you can get your name out there. You can

628
00:29:56,920 --> 00:30:00,120
Speaker 3: grow a following without having to even now.

629
00:30:00,320 --> 00:30:01,560
Speaker 2: They all want a lot of money.

630
00:30:01,600 --> 00:30:04,760
Speaker 3: Now social media is kind of a huge bait and

631
00:30:04,800 --> 00:30:07,000
Speaker 3: switch thing to me, Like, I don't really like it

632
00:30:07,120 --> 00:30:09,080
Speaker 3: very much because in the beginning, they're like, come to

633
00:30:09,120 --> 00:30:12,880
Speaker 3: our platform and accumulate a following, and so you spend

634
00:30:12,880 --> 00:30:16,120
Speaker 3: this time cultivating this following, and then I get it

635
00:30:16,160 --> 00:30:18,760
Speaker 3: they're in business to make money. But now it's like,

636
00:30:18,800 --> 00:30:20,800
Speaker 3: all of a sudden, it's like, we have two million

637
00:30:20,800 --> 00:30:24,480
Speaker 3: people almost following us on Facebook. I'll post something and

638
00:30:24,520 --> 00:30:28,160
Speaker 3: you can see that it reaches eight thousand, five twenty

639
00:30:28,160 --> 00:30:30,920
Speaker 3: five hundred out of those two million people. And if

640
00:30:30,920 --> 00:30:33,080
Speaker 3: you want to reach any more of those people, they

641
00:30:33,080 --> 00:30:36,080
Speaker 3: want you to pay for them. And so in that regard,

642
00:30:36,200 --> 00:30:38,080
Speaker 3: in the early days of social media, it was a

643
00:30:38,120 --> 00:30:40,680
Speaker 3: great tool and they didn't choke you down trying to

644
00:30:40,680 --> 00:30:42,080
Speaker 3: get a bunch of money out of you, so you

645
00:30:42,120 --> 00:30:44,600
Speaker 3: could really grow your fan base. Now it's all about

646
00:30:44,600 --> 00:30:46,960
Speaker 3: the almighty dollars. So if you don't have a bunch

647
00:30:46,960 --> 00:30:49,920
Speaker 3: of money to invest in boosting your posts, and advertising

648
00:30:49,920 --> 00:30:52,960
Speaker 3: with them. Then you can't really reach a lot of people. Yeah,

649
00:30:53,000 --> 00:30:56,120
Speaker 3: so it's an interesting thing. There's these tools, the ability

650
00:30:56,120 --> 00:30:58,520
Speaker 3: to record on a computer and a laptop. I mean

651
00:30:58,560 --> 00:31:00,960
Speaker 3: Billie Eilish or whatever her first they just record on

652
00:31:01,000 --> 00:31:02,880
Speaker 3: a laptop in an apartment and she's one of the

653
00:31:02,880 --> 00:31:06,239
Speaker 3: biggest artists in recent time. Right, So you couldn't go

654
00:31:06,600 --> 00:31:09,200
Speaker 3: You had to rent a studio. Before you had to

655
00:31:09,200 --> 00:31:11,760
Speaker 3: have the money to rent a studio to make a record.

656
00:31:11,960 --> 00:31:13,160
Speaker 2: Now you can do it at home.

657
00:31:13,280 --> 00:31:14,040
Speaker 1: It's all open.

658
00:31:14,200 --> 00:31:16,320
Speaker 2: Yeah, so there's a lot more options available.

659
00:31:17,600 --> 00:31:19,640
Speaker 1: There's something I need to talk to you about. Early

660
00:31:19,680 --> 00:31:23,120
Speaker 1: on in your career. You open for the Stones, Bob

661
00:31:23,240 --> 00:31:26,800
Speaker 1: Dylan van Halen, what did you pick up from them?

662
00:31:26,840 --> 00:31:28,680
Speaker 1: I mean, these are the people, some of whom you

663
00:31:28,760 --> 00:31:31,400
Speaker 1: listened to as a child, and here you are opening

664
00:31:31,400 --> 00:31:33,240
Speaker 1: with them, touring with them. What was that like?

665
00:31:33,640 --> 00:31:34,560
Speaker 2: Well, it's incredible.

666
00:31:34,680 --> 00:31:36,840
Speaker 3: I mean part of I think the thing that worked

667
00:31:36,840 --> 00:31:39,400
Speaker 3: in my advantage of being so young was maybe I

668
00:31:39,440 --> 00:31:41,400
Speaker 3: was a little bit naive, or maybe it.

669
00:31:41,480 --> 00:31:43,560
Speaker 2: Just didn't fully register. You know.

670
00:31:43,720 --> 00:31:46,800
Speaker 3: I've done a lot of reflection in my life now,

671
00:31:46,880 --> 00:31:51,040
Speaker 3: especially doing these anniversary albums and anniversary tours.

672
00:31:51,040 --> 00:31:52,480
Speaker 2: And you go, wow, man, look.

673
00:31:52,280 --> 00:31:55,840
Speaker 3: At all this stuff that happened, and like the reality

674
00:31:55,920 --> 00:31:59,760
Speaker 3: kind of hindsight, you can look back and you really

675
00:31:59,800 --> 00:32:02,800
Speaker 3: put it in perspective and the moment, like you're walking

676
00:32:02,840 --> 00:32:05,520
Speaker 3: out on Wimbley, the old Wimbley Stadium in front of

677
00:32:05,560 --> 00:32:07,800
Speaker 3: eighty thousand people opening up for the Eagles when they

678
00:32:07,800 --> 00:32:10,880
Speaker 3: first got back together on the Hell Freezes Over tour, and.

679
00:32:10,760 --> 00:32:11,960
Speaker 2: You're like, wow, this is cool.

680
00:32:11,960 --> 00:32:14,120
Speaker 3: But you're like this is you know, I'm just gonna

681
00:32:14,120 --> 00:32:17,480
Speaker 3: go play my guitar and hide behind my hair, you

682
00:32:17,520 --> 00:32:19,000
Speaker 3: know what I mean. But you look back and you're like,

683
00:32:19,080 --> 00:32:22,680
Speaker 3: oh my gosh, Like how incredible. And so, you know,

684
00:32:22,760 --> 00:32:25,640
Speaker 3: I learned a lot about entertaining people. I learned how

685
00:32:25,800 --> 00:32:28,200
Speaker 3: to play in these massive venues, and I learned how

686
00:32:28,200 --> 00:32:30,440
Speaker 3: to play. I mean I went from playing like, you know,

687
00:32:31,120 --> 00:32:34,360
Speaker 3: one hundred and fifty two hundred people in clubs, you know,

688
00:32:34,440 --> 00:32:37,360
Speaker 3: doing three one hour sets with fifteen minute breaks in

689
00:32:37,440 --> 00:32:41,160
Speaker 3: between for like two hundred and fifty bucks, to opening

690
00:32:41,280 --> 00:32:43,880
Speaker 3: up for the Eagles eighty thousand people at night in

691
00:32:44,000 --> 00:32:48,760
Speaker 3: freaking soccer stadiums in Europe all over Europe and everything

692
00:32:48,800 --> 00:32:52,840
Speaker 3: in between. So it's the best practice any artist could

693
00:32:52,840 --> 00:32:55,200
Speaker 3: ever get is just actually doing it on stage in

694
00:32:55,200 --> 00:32:55,800
Speaker 3: front of people.

695
00:32:55,840 --> 00:32:58,120
Speaker 1: But tell me, what did you have any interaction with them?

696
00:32:58,120 --> 00:33:02,320
Speaker 3: With Jillian with all home, so like incredible interactions like

697
00:33:02,360 --> 00:33:05,000
Speaker 3: for example, my one of my favorite stories, Joe Walsh

698
00:33:05,040 --> 00:33:08,840
Speaker 3: and I met and became friends on that tour. And

699
00:33:09,160 --> 00:33:11,080
Speaker 3: the first thing he said to me, I'm standing at

700
00:33:11,080 --> 00:33:14,080
Speaker 3: the side of the stage. We're in Wimbley Stadium and

701
00:33:14,120 --> 00:33:17,360
Speaker 3: I'm over there tuning my guitar and Joe walks up

702
00:33:17,400 --> 00:33:19,960
Speaker 3: to me and he goes, Hey, what are you doing.

703
00:33:20,360 --> 00:33:21,760
Speaker 2: And I was like, oh, I'm tuning my guitar.

704
00:33:21,800 --> 00:33:24,880
Speaker 3: He goes, I haven't tuned a guitar and over twenty years,

705
00:33:24,920 --> 00:33:27,160
Speaker 3: and he just walked away. And it was like you

706
00:33:27,240 --> 00:33:29,640
Speaker 3: just got to know him to know how funny that is, right,

707
00:33:30,040 --> 00:33:32,440
Speaker 3: And he and I became friends, and we've been friends

708
00:33:32,440 --> 00:33:36,080
Speaker 3: for decades now. And so I met, you know, everybody

709
00:33:36,160 --> 00:33:39,080
Speaker 3: except for Glenn Frye on that tour. Everyone came and

710
00:33:39,120 --> 00:33:41,360
Speaker 3: said hello to me and sat, you know, had a

711
00:33:41,400 --> 00:33:44,240
Speaker 3: meal with me or whatever. Never met Glen fry Really, yeah,

712
00:33:44,280 --> 00:33:46,280
Speaker 3: I don't know why, but that's what happened. So like

713
00:33:46,400 --> 00:33:49,719
Speaker 3: interesting experiences like on Van Halen we did Van Halen.

714
00:33:50,000 --> 00:33:52,160
Speaker 3: We did the Van Halen three tour in the nineties

715
00:33:52,160 --> 00:33:53,480
Speaker 3: and then we did the very last.

716
00:33:53,280 --> 00:33:54,480
Speaker 2: Van hid both.

717
00:33:54,600 --> 00:33:56,760
Speaker 3: I didn't know that, yeah, and Ed and I became

718
00:33:56,800 --> 00:33:57,840
Speaker 3: friends on the first tour.

719
00:33:58,200 --> 00:33:58,400
Speaker 2: Our.

720
00:33:58,800 --> 00:34:02,160
Speaker 3: Connection goes back even further than that because my dad

721
00:34:02,680 --> 00:34:06,520
Speaker 3: was responsible for Valerie Burtnelli meeting Eddie van Halen. You

722
00:34:06,800 --> 00:34:10,759
Speaker 3: at a concert in Shreveport. Yeah, And so he brought

723
00:34:10,760 --> 00:34:13,040
Speaker 3: her to the show at the request of her father,

724
00:34:13,080 --> 00:34:15,560
Speaker 3: because my dad was the radio guy and he would

725
00:34:15,600 --> 00:34:19,600
Speaker 3: always get passes and tickets, and so he took Valerie

726
00:34:19,920 --> 00:34:22,520
Speaker 3: to see Van Halen for the first time at Shreveport, Louisiana.

727
00:34:22,800 --> 00:34:26,400
Speaker 3: Took her backstage and introduced her to Eddie van Halen

728
00:34:26,840 --> 00:34:29,840
Speaker 3: and so wow, you know his history. Yeah, but he

729
00:34:29,920 --> 00:34:32,880
Speaker 3: and then he and I became friends. And Bob Dylan

730
00:34:33,040 --> 00:34:33,640
Speaker 3: like people.

731
00:34:33,960 --> 00:34:35,279
Speaker 1: Bob he's very reclusive.

732
00:34:35,680 --> 00:34:38,000
Speaker 2: So every okay, I'll give you that.

733
00:34:38,160 --> 00:34:40,680
Speaker 3: But for me, what I've learned, one of the biggest

734
00:34:40,760 --> 00:34:43,960
Speaker 3: lessons I've learned in life, and not just in music,

735
00:34:43,960 --> 00:34:47,000
Speaker 3: but in life in general, is that I don't I

736
00:34:47,160 --> 00:34:50,400
Speaker 3: refuse to take on other people's issues and other people's

737
00:34:50,480 --> 00:34:53,960
Speaker 3: resentments or other people's problems. With people like, I'll take

738
00:34:54,000 --> 00:34:57,759
Speaker 3: in the information, but I've learned so many times that

739
00:34:58,880 --> 00:35:02,920
Speaker 3: just because somebody said is that this person is this way,

740
00:35:03,560 --> 00:35:06,080
Speaker 3: that doesn't mean that's going to be my experience. And

741
00:35:06,160 --> 00:35:08,840
Speaker 3: so before I met Bob Dylan, you hear all these things,

742
00:35:08,880 --> 00:35:10,799
Speaker 3: it's like, you know, don't look at them, don't try

743
00:35:10,840 --> 00:35:13,640
Speaker 3: and shake his hand, like you know, you hear about

744
00:35:13,680 --> 00:35:15,719
Speaker 3: him like climbing into trees and all this stuff. I mean,

745
00:35:15,800 --> 00:35:19,120
Speaker 3: just all these weird things, right, and everything that everybody

746
00:35:19,200 --> 00:35:21,279
Speaker 3: ever told me about him was not my.

747
00:35:21,360 --> 00:35:25,200
Speaker 2: Experience every single day. And I'm like seventeen.

748
00:35:25,239 --> 00:35:27,520
Speaker 3: I did two tours with him, seventeen or nineteen years old,

749
00:35:28,239 --> 00:35:30,960
Speaker 3: and every day he would show up early and watch

750
00:35:31,040 --> 00:35:34,680
Speaker 3: me soundcheck every single day, and then we'd finished sound

751
00:35:34,760 --> 00:35:36,960
Speaker 3: checking and he'd come up on the stage and we

752
00:35:37,120 --> 00:35:39,120
Speaker 3: come straight up to me and he would shake my

753
00:35:39,239 --> 00:35:41,040
Speaker 3: hand and he would stand there and talk to me

754
00:35:41,080 --> 00:35:44,160
Speaker 3: for like twenty minutes. And one night he came up

755
00:35:44,239 --> 00:35:46,240
Speaker 3: he was knocking on the door of the tour bus.

756
00:35:46,280 --> 00:35:49,399
Speaker 3: I'm in the back lounge. My bus driver comes back

757
00:35:49,440 --> 00:35:51,040
Speaker 3: and knocks on my door and I'm like yeah, and

758
00:35:51,080 --> 00:35:53,279
Speaker 3: he goes, hey, Bob's outside. He wants to know if

759
00:35:53,320 --> 00:35:55,320
Speaker 3: he can come up on the bus. I was like, Bob, who,

760
00:35:55,640 --> 00:35:58,319
Speaker 3: And he goes Dylan, and I'm like, you're making him wait,

761
00:35:58,920 --> 00:36:00,879
Speaker 3: Like get him up. He came up on the bus.

762
00:36:00,920 --> 00:36:02,600
Speaker 3: He had a big, old Great Dane dog with him,

763
00:36:02,600 --> 00:36:03,960
Speaker 3: and he sat on the bus for like an hour

764
00:36:04,000 --> 00:36:05,960
Speaker 3: and a half just hanging out. And at the end

765
00:36:06,000 --> 00:36:08,000
Speaker 3: of the tour he said, Hey, I don't care if

766
00:36:08,000 --> 00:36:09,719
Speaker 3: you have a new record out or if you're just

767
00:36:09,760 --> 00:36:11,040
Speaker 3: working up new material.

768
00:36:11,440 --> 00:36:13,320
Speaker 2: You can come out on the road with me anytime

769
00:36:13,360 --> 00:36:13,759
Speaker 2: you want.

770
00:36:14,120 --> 00:36:17,719
Speaker 3: And that was like contrary to every crazy story that

771
00:36:17,760 --> 00:36:19,640
Speaker 3: I had ever heard about him. Now I'm not seeing

772
00:36:19,680 --> 00:36:23,440
Speaker 3: those people didn't have those experiences, but that was not

773
00:36:23,560 --> 00:36:24,200
Speaker 3: my experience.

774
00:36:24,400 --> 00:36:26,640
Speaker 1: To me pick up anything artistically from him.

775
00:36:26,640 --> 00:36:29,359
Speaker 3: Well, I got to play. We got sitting with him

776
00:36:29,360 --> 00:36:31,640
Speaker 3: every night. I got to play all along the Watchtower

777
00:36:31,640 --> 00:36:33,200
Speaker 3: with him. So I was doing all the Jimmy Henrick

778
00:36:33,239 --> 00:36:35,759
Speaker 3: sla version stuff with him singing it in his way

779
00:36:35,800 --> 00:36:36,279
Speaker 3: of doing it.

780
00:36:36,480 --> 00:36:37,200
Speaker 2: That was cool.

781
00:36:37,480 --> 00:36:40,280
Speaker 3: I mean, Bob's an inspiration. I mean the lyrical genius,

782
00:36:40,400 --> 00:36:43,480
Speaker 3: absolute powerhouse. I mean, you can't listen to his music

783
00:36:43,560 --> 00:36:45,759
Speaker 3: and not pick something up from that.

784
00:36:46,440 --> 00:36:49,240
Speaker 1: I love that you love the tradition that you stand

785
00:36:49,320 --> 00:36:51,719
Speaker 1: upon and the foundation of all of that. One of

786
00:36:51,760 --> 00:36:55,480
Speaker 1: my favorite projects that you ever did was ten Days

787
00:36:55,480 --> 00:36:58,879
Speaker 1: Out Blues from the back Roads, and it was you

788
00:36:58,920 --> 00:37:01,560
Speaker 1: and two thousand and six it and you went with

789
00:37:01,680 --> 00:37:05,399
Speaker 1: a film crew and a recording kit and you went

790
00:37:05,480 --> 00:37:09,880
Speaker 1: to these great blues masters in their home spaces and

791
00:37:09,920 --> 00:37:13,799
Speaker 1: you interview them and you're recorded with them. Tell me

792
00:37:13,920 --> 00:37:15,960
Speaker 1: why did First of all, why did you do that?

793
00:37:16,320 --> 00:37:18,400
Speaker 1: And looking back on that, I see you sitting on

794
00:37:18,400 --> 00:37:21,920
Speaker 1: the couch with Bbking. I watched it last week. You

795
00:37:21,920 --> 00:37:23,879
Speaker 1: can see you're just in all of this. Oh yeah,

796
00:37:23,880 --> 00:37:29,040
Speaker 1: I mean it's incredible. It's like sitting with Royalty exactly. Exactly.

797
00:37:29,200 --> 00:37:29,439
Speaker 2: Yeah.

798
00:37:29,520 --> 00:37:32,040
Speaker 3: Well, for me, it was about my love and appreciation

799
00:37:32,160 --> 00:37:34,440
Speaker 3: for the genre and for these artists. And also I

800
00:37:34,480 --> 00:37:37,279
Speaker 3: had kind of noticed that I've been given a lot

801
00:37:37,320 --> 00:37:41,120
Speaker 3: of opportunities and blues music has kind of been my

802
00:37:41,239 --> 00:37:44,200
Speaker 3: platform that I've built my music off of. It's the

803
00:37:44,239 --> 00:37:48,240
Speaker 3: foundation of everything, and I've I mean in every genre.

804
00:37:48,760 --> 00:37:51,480
Speaker 3: I mean Nashville is a perfect example. You can walk

805
00:37:51,520 --> 00:37:55,200
Speaker 3: up and down Broadway here and you can see incredibly

806
00:37:55,239 --> 00:37:58,560
Speaker 3: talented musicians playing every single night of the week.

807
00:37:58,600 --> 00:38:02,799
Speaker 2: All day, and you know, and they got a lot

808
00:38:02,840 --> 00:38:03,160
Speaker 2: of talent.

809
00:38:03,200 --> 00:38:06,080
Speaker 3: They sound really good, but they may not ever be

810
00:38:06,280 --> 00:38:08,080
Speaker 3: known to the rest of the world, you know what

811
00:38:08,080 --> 00:38:08,359
Speaker 3: I mean.

812
00:38:08,480 --> 00:38:10,560
Speaker 2: And it's not their fault, it doesn't have it.

813
00:38:10,640 --> 00:38:13,120
Speaker 3: It's just kind of like, I don't know who gets

814
00:38:13,120 --> 00:38:16,240
Speaker 3: to decide how it all works out, but it doesn't

815
00:38:16,239 --> 00:38:17,600
Speaker 3: work out the same for everybody.

816
00:38:18,120 --> 00:38:20,080
Speaker 2: And so I'm aware of that.

817
00:38:20,120 --> 00:38:23,239
Speaker 3: And there's these really talented blues musicians that I've admired,

818
00:38:23,280 --> 00:38:25,920
Speaker 3: and I'm like, more people need to know about these people.

819
00:38:26,280 --> 00:38:27,759
Speaker 2: And it's kind of the Bobby Rush thing too.

820
00:38:27,800 --> 00:38:30,160
Speaker 3: I'm like, I want to turn my fans onto people

821
00:38:30,200 --> 00:38:32,680
Speaker 3: like Bobby Rush so that they can enjoy the music

822
00:38:33,160 --> 00:38:34,839
Speaker 3: that they might not be aware of.

823
00:38:35,360 --> 00:38:37,680
Speaker 1: Pop music is predicated on it. Yeah, I mean, R

824
00:38:37,719 --> 00:38:41,439
Speaker 1: and b rap country, it all finds it's real root.

825
00:38:41,520 --> 00:38:41,879
Speaker 2: Oh yeah.

826
00:38:42,360 --> 00:38:45,040
Speaker 3: If you do your homework and you go backwards from

827
00:38:45,120 --> 00:38:47,520
Speaker 3: whatever's happening right now, and you connect the dots, you

828
00:38:47,560 --> 00:38:50,560
Speaker 3: go whoever it is you go, who inspired them, who

829
00:38:50,600 --> 00:38:53,920
Speaker 3: inspired them, who inspired them, who inspired them, You're going

830
00:38:53,960 --> 00:38:56,160
Speaker 3: to find your way back to blues music at some point.

831
00:38:56,280 --> 00:38:59,080
Speaker 3: You know, blues and country for sure, which you're kind.

832
00:38:58,920 --> 00:39:01,839
Speaker 1: Of like were born around the same time. Yeah, yeah,

833
00:39:02,000 --> 00:39:04,120
Speaker 1: really it's the same region.

834
00:39:04,200 --> 00:39:07,200
Speaker 3: Yeah, Blues, country and jazz is like the trifecta, and

835
00:39:07,280 --> 00:39:10,080
Speaker 3: everything comes from that, you know, and that's all that's

836
00:39:10,120 --> 00:39:11,200
Speaker 3: American music, you know.

837
00:39:11,320 --> 00:39:15,520
Speaker 1: Do you feel an obligation to carry that tradition forward?

838
00:39:16,360 --> 00:39:19,880
Speaker 3: Well, what I feel like is my responsibility. And not

839
00:39:20,000 --> 00:39:22,880
Speaker 3: everybody feels this way, but it's the example I was given,

840
00:39:23,280 --> 00:39:25,239
Speaker 3: is that I have to give. I feel obligated to

841
00:39:25,239 --> 00:39:28,920
Speaker 3: give credit where credit is due. So I didn't invent this.

842
00:39:29,360 --> 00:39:33,280
Speaker 3: None of us have invented any of this, right. Everybody's

843
00:39:33,400 --> 00:39:36,080
Speaker 3: music that they are inspired to create has been inspired

844
00:39:36,120 --> 00:39:38,200
Speaker 3: by something someone else did before them.

845
00:39:38,680 --> 00:39:41,279
Speaker 2: And my obligation, I believe.

846
00:39:41,080 --> 00:39:44,600
Speaker 3: Is not to sit here and pretend like I invented something,

847
00:39:44,840 --> 00:39:48,880
Speaker 3: but instead to the people who look to me and

848
00:39:48,920 --> 00:39:51,279
Speaker 3: appreciate what I do, to say, hey, but did you

849
00:39:51,320 --> 00:39:54,120
Speaker 3: hear about this guy? Have you heard this woman's music?

850
00:39:54,320 --> 00:39:55,560
Speaker 3: Have you heard this artist?

851
00:39:55,600 --> 00:39:56,080
Speaker 2: This band?

852
00:39:56,280 --> 00:39:59,360
Speaker 3: Because this got me fired up and that's what inspired

853
00:39:59,400 --> 00:40:02,560
Speaker 3: me to do so turn them onto that. And people

854
00:40:02,600 --> 00:40:05,080
Speaker 3: like Stevie Rayvaughn and Jimmy HEDRICKX and all those guys,

855
00:40:05,080 --> 00:40:07,640
Speaker 3: they did that as well, you know. And then that

856
00:40:07,760 --> 00:40:10,600
Speaker 3: helped me go back and research and discover so many

857
00:40:10,680 --> 00:40:14,320
Speaker 3: more artists because it opened my eyes to this entire

858
00:40:14,360 --> 00:40:15,520
Speaker 3: new world of artists.

859
00:40:15,600 --> 00:40:17,520
Speaker 1: What do you say to young artists to say, I

860
00:40:17,520 --> 00:40:20,520
Speaker 1: don't want all that old stuff. I got my own.

861
00:40:20,560 --> 00:40:23,640
Speaker 1: I got to express myself for today. I've got songs

862
00:40:23,640 --> 00:40:26,399
Speaker 1: for today, not that old stuff. You would say, what.

863
00:40:26,600 --> 00:40:29,359
Speaker 3: Well, but I would say that, like, well, first of all,

864
00:40:29,400 --> 00:40:33,600
Speaker 3: you don't have anything that you're doing without the old stuff.

865
00:40:34,000 --> 00:40:36,800
Speaker 3: That's how you got to the point, to this point,

866
00:40:37,040 --> 00:40:39,680
Speaker 3: so that you could make that music. But it's just

867
00:40:39,719 --> 00:40:43,000
Speaker 3: like anything, it's like knowing your history, it's like knowing

868
00:40:43,120 --> 00:40:46,279
Speaker 3: where all of this comes from then makes you a

869
00:40:46,360 --> 00:40:49,399
Speaker 3: much more well rounded artist, and it will actually give

870
00:40:49,440 --> 00:40:50,719
Speaker 3: you the ability to have.

871
00:40:50,680 --> 00:40:52,200
Speaker 2: More depth to what you're doing.

872
00:40:52,280 --> 00:40:55,279
Speaker 3: If you're trying to start right here, moving forward like you,

873
00:40:55,520 --> 00:40:58,160
Speaker 3: there's no depth behind it, there's no substance behind it.

874
00:40:58,280 --> 00:41:00,799
Speaker 1: Yeah, it seems to me when you know you came from,

875
00:41:00,800 --> 00:41:03,560
Speaker 1: when you know the foundations of this, first of all,

876
00:41:03,600 --> 00:41:05,200
Speaker 1: you know what's already been done, so you don't have

877
00:41:05,239 --> 00:41:07,560
Speaker 1: to reinvent the wheel. You can help build upon that.

878
00:41:08,120 --> 00:41:11,319
Speaker 1: I mean Edison, he didn't create the light bulb. He

879
00:41:11,400 --> 00:41:13,440
Speaker 1: figured out the right fiber, and he built on all

880
00:41:13,480 --> 00:41:15,600
Speaker 1: the failures of the past. He was smart enough to

881
00:41:15,640 --> 00:41:19,080
Speaker 1: recognize the failures and what worked and then build upon that.

882
00:41:19,560 --> 00:41:23,440
Speaker 1: For some reason, in the arts today and immediate we

883
00:41:23,600 --> 00:41:25,919
Speaker 1: just discard all of it. And I love that you've

884
00:41:25,960 --> 00:41:28,840
Speaker 1: taken the time in your career while writing new material

885
00:41:29,160 --> 00:41:32,759
Speaker 1: that infuses rock and country into all of your work.

886
00:41:33,239 --> 00:41:36,160
Speaker 1: You stop on going Home, which was you and Shreveport

887
00:41:36,200 --> 00:41:39,800
Speaker 1: doing traditional blues music. Is that in any way tide

888
00:41:40,560 --> 00:41:42,799
Speaker 1: I'm going to get personal? Is that in any way

889
00:41:42,880 --> 00:41:47,400
Speaker 1: tied to your faith, to that idea of we stand

890
00:41:47,400 --> 00:41:48,080
Speaker 1: on this tradition?

891
00:41:49,239 --> 00:41:50,080
Speaker 2: Well, I think so.

892
00:41:50,320 --> 00:41:53,439
Speaker 3: I mean I think everything that I do, everything that

893
00:41:53,520 --> 00:41:56,120
Speaker 3: I do in my life, the way I choose to

894
00:41:56,160 --> 00:41:59,680
Speaker 3: live my life is to try and stand firmly within

895
00:41:59,719 --> 00:42:02,960
Speaker 3: my faith and my values that I learned from my faith. Right,

896
00:42:03,040 --> 00:42:05,400
Speaker 3: and we can get off into a whole nother conversation

897
00:42:05,520 --> 00:42:09,040
Speaker 3: that's not even musically related, but you know about religion

898
00:42:09,120 --> 00:42:11,960
Speaker 3: and things like that. But to me, it's principles I

899
00:42:12,080 --> 00:42:16,160
Speaker 3: learned in another program. Principles before personalities. What are the

900
00:42:16,200 --> 00:42:19,160
Speaker 3: principles that we're being taught and are they good? And

901
00:42:19,239 --> 00:42:21,720
Speaker 3: are they well intentioned? And do they actually in fact

902
00:42:21,800 --> 00:42:24,520
Speaker 3: make us better people if we followed them. And so

903
00:42:24,800 --> 00:42:27,120
Speaker 3: I try to implement that to the best of my abilities,

904
00:42:27,160 --> 00:42:31,280
Speaker 3: knowing that I'm not perfect, I'm not a saint, I'm flawed,

905
00:42:31,400 --> 00:42:34,440
Speaker 3: I'm gonna fall short, but to the best of my

906
00:42:34,480 --> 00:42:38,399
Speaker 3: abilities at any given time, right, And so with my music, yes,

907
00:42:38,480 --> 00:42:40,880
Speaker 3: I mean the foundations of my faith are in everything

908
00:42:40,920 --> 00:42:42,960
Speaker 3: that I do. It's my approach to my career, it's

909
00:42:42,960 --> 00:42:45,120
Speaker 3: my approach to my family, it's my approach to my

910
00:42:45,160 --> 00:42:46,680
Speaker 3: personal life, my friend life.

911
00:42:46,719 --> 00:42:48,439
Speaker 2: My interactions with the everyday guy.

912
00:42:48,760 --> 00:42:51,440
Speaker 3: Like today, you know, I had people coming over helping

913
00:42:51,440 --> 00:42:54,239
Speaker 3: me out with stuff in my lawn, and you know

914
00:42:54,440 --> 00:42:56,600
Speaker 3: this is I'm in my home and.

915
00:42:56,000 --> 00:42:59,000
Speaker 1: I demanded you come over here, and I'm sorry for

916
00:42:59,160 --> 00:42:59,560
Speaker 1: the day.

917
00:43:00,160 --> 00:43:02,560
Speaker 2: The whole, the whole musician net up time.

918
00:43:02,560 --> 00:43:04,359
Speaker 1: I'm gonna get you on the road because I want

919
00:43:04,400 --> 00:43:06,520
Speaker 1: the hat, the big orim pad. I've seen you a

920
00:43:06,600 --> 00:43:09,520
Speaker 1: hundred times with the hat and the coat, the whole routine.

921
00:43:09,719 --> 00:43:12,080
Speaker 1: I like this, Kenny, though, this is nice, but this is.

922
00:43:12,040 --> 00:43:14,520
Speaker 3: And I think that people at the end of the day, man,

923
00:43:14,560 --> 00:43:18,239
Speaker 3: it's like treating do unto others. You know, but yes, absolutely,

924
00:43:18,320 --> 00:43:20,680
Speaker 3: I mean I feel like I don't let my ego

925
00:43:20,719 --> 00:43:22,760
Speaker 3: get the best of me. I don't let my pride

926
00:43:23,200 --> 00:43:27,800
Speaker 3: overwhelm my. My decision making process is like stay humbled,

927
00:43:28,120 --> 00:43:31,400
Speaker 3: you know, appreciate what you've been given, not what you have.

928
00:43:32,200 --> 00:43:34,680
Speaker 3: I didn't manifest this. I didn't create all of this.

929
00:43:34,960 --> 00:43:37,279
Speaker 3: I put in the work, but I didn't do it

930
00:43:37,280 --> 00:43:39,319
Speaker 3: all myself. And so yes, I mean I feel like

931
00:43:39,560 --> 00:43:42,279
Speaker 3: creating music. My intention every single night that I walk

932
00:43:42,320 --> 00:43:44,160
Speaker 3: out on stage and every time I go into the

933
00:43:44,200 --> 00:43:48,160
Speaker 3: studio is my prayer is that I bring light into

934
00:43:48,160 --> 00:43:50,120
Speaker 3: people's lives through the gift of music that has been

935
00:43:50,520 --> 00:43:52,680
Speaker 3: that I've been blessed with, and that I'm a conduit

936
00:43:53,000 --> 00:43:57,400
Speaker 3: for God to show people through me what his power

937
00:43:57,440 --> 00:43:59,440
Speaker 3: and his love and all of that stuff. And so

938
00:44:00,320 --> 00:44:02,359
Speaker 3: and when people message me and they say I saw

939
00:44:02,400 --> 00:44:05,760
Speaker 3: your show, and they're like, God truly has blessed you,

940
00:44:05,760 --> 00:44:09,080
Speaker 3: you know that, I'm like, Oh that happened, that exchanged.

941
00:44:09,440 --> 00:44:11,319
Speaker 2: I was able to do that. And I'm not out

942
00:44:11,360 --> 00:44:14,560
Speaker 2: there like I'm not trying to. I've learned to be.

943
00:44:16,040 --> 00:44:19,800
Speaker 3: It's another phrase from another program, but it's like attraction,

944
00:44:19,920 --> 00:44:20,520
Speaker 3: not promotion.

945
00:44:21,040 --> 00:44:23,640
Speaker 2: So I'm not the kind of guy that's going around trying.

946
00:44:23,440 --> 00:44:25,720
Speaker 3: To beat everybody over the head with my belief system

947
00:44:25,840 --> 00:44:28,359
Speaker 3: or my trying to convert them to think the way

948
00:44:28,400 --> 00:44:28,799
Speaker 3: I think.

949
00:44:29,000 --> 00:44:29,920
Speaker 2: I feel like I just.

950
00:44:29,880 --> 00:44:31,880
Speaker 3: Need to live my life in a manner in which,

951
00:44:32,080 --> 00:44:35,879
Speaker 3: you know, hopefully people might notice something positive that they're

952
00:44:35,920 --> 00:44:37,879
Speaker 3: curious about, and that opens up.

953
00:44:37,800 --> 00:44:40,160
Speaker 2: A line of communication and we can have a conversation.

954
00:44:40,280 --> 00:44:44,640
Speaker 1: You're the father of six children, a convert to Catholicism.

955
00:44:45,000 --> 00:44:48,440
Speaker 1: Did that change and deepen your working anyway?

956
00:44:48,680 --> 00:44:50,280
Speaker 2: Well? It changed for those things.

957
00:44:50,480 --> 00:44:55,080
Speaker 3: Well yeah, well having a family and six children, well

958
00:44:55,160 --> 00:44:59,600
Speaker 3: it provides an entirely new sense of motivation and inspiration

959
00:44:59,719 --> 00:45:03,719
Speaker 3: because I want to make my kids proud. I want

960
00:45:03,719 --> 00:45:06,000
Speaker 3: to You know, when you're in a position like this,

961
00:45:06,640 --> 00:45:09,800
Speaker 3: you can leave behind a lot. You can leave behind

962
00:45:09,840 --> 00:45:12,880
Speaker 3: a lot of wreckage, or you can leave behind a legacy,

963
00:45:13,400 --> 00:45:15,120
Speaker 3: or you can leave a little bit of both. But

964
00:45:15,160 --> 00:45:18,200
Speaker 3: my intention is to leave at least just the impression

965
00:45:18,280 --> 00:45:21,719
Speaker 3: that through my music that people felt something and I

966
00:45:21,760 --> 00:45:23,880
Speaker 3: had a positive impact on their lives. And therefore my

967
00:45:23,920 --> 00:45:26,000
Speaker 3: kids can be proud of that, and I can show

968
00:45:26,080 --> 00:45:29,520
Speaker 3: my kids what hard work and dedication looks like and

969
00:45:29,560 --> 00:45:32,160
Speaker 3: what the payoff for that is and still even thirty

970
00:45:32,239 --> 00:45:35,319
Speaker 3: years into my career, I set goals and I tell

971
00:45:35,360 --> 00:45:38,879
Speaker 3: them this is what I want to accomplish this year,

972
00:45:39,360 --> 00:45:41,560
Speaker 3: and then hopefully they can see me work hard and

973
00:45:41,840 --> 00:45:44,880
Speaker 3: see that come to pass and then inspire them in

974
00:45:44,920 --> 00:45:47,440
Speaker 3: those ways. Right, So that's a new and then you

975
00:45:47,480 --> 00:45:50,880
Speaker 3: know my Catholic faith. It was just I mean, that

976
00:45:50,960 --> 00:45:53,640
Speaker 3: was just an interesting experience because I grew up Methodist,

977
00:45:54,239 --> 00:45:56,960
Speaker 3: and you know, I just remember being a little kid

978
00:45:57,000 --> 00:45:58,920
Speaker 3: and like seeing people do the Sign of the Cross,

979
00:45:58,920 --> 00:46:00,279
Speaker 3: and I was like I was to my.

980
00:46:00,200 --> 00:46:02,520
Speaker 2: Grandma, like how come we don't do how can't we

981
00:46:02,560 --> 00:46:04,920
Speaker 2: do that? And and you know.

982
00:46:04,920 --> 00:46:06,239
Speaker 1: I just I'm hanging around to orlands.

983
00:46:06,280 --> 00:46:09,560
Speaker 2: You saw a lot of Yeah, and everybody has their

984
00:46:09,560 --> 00:46:10,200
Speaker 2: own kind of way.

985
00:46:10,280 --> 00:46:12,440
Speaker 3: Like I'm just the guy that like I like to,

986
00:46:12,880 --> 00:46:14,920
Speaker 3: Like I said, I just try to be as good

987
00:46:14,960 --> 00:46:16,799
Speaker 3: of a person as I can be. I try and

988
00:46:16,880 --> 00:46:20,360
Speaker 3: just live my life hopefully in some way that that

989
00:46:20,400 --> 00:46:23,839
Speaker 3: if somebody feels compelled, they go, hey, you know.

990
00:46:24,560 --> 00:46:26,319
Speaker 2: What's what's going on? Like how do you how are

991
00:46:26,320 --> 00:46:28,080
Speaker 2: you doing this? You know, how are you managing this?

992
00:46:30,320 --> 00:46:34,960
Speaker 3: Like if they can see me operate in turmoil or whatever,

993
00:46:35,080 --> 00:46:37,759
Speaker 3: like in a flurry of activity and be focused and

994
00:46:37,880 --> 00:46:40,600
Speaker 3: centered and still coming from the right place and not

995
00:46:40,719 --> 00:46:42,680
Speaker 3: get frazzled by everything.

996
00:46:42,680 --> 00:46:44,440
Speaker 2: And it's like, wow, how did you do that? Well?

997
00:46:44,640 --> 00:46:48,120
Speaker 3: Because I seek a contact with the power greater than myself,

998
00:46:48,160 --> 00:46:50,279
Speaker 3: and I seek guidance from that, and I try and

999
00:46:50,360 --> 00:46:54,000
Speaker 3: channel that and know that, like, I'm not responsible for everything,

1000
00:46:54,160 --> 00:46:56,640
Speaker 3: right and as actually like to be powerless and to

1001
00:46:56,760 --> 00:46:59,800
Speaker 3: let go and to realize that I'm not responsible for

1002
00:47:00,040 --> 00:47:04,000
Speaker 3: making everything happen is a huge relief. But I am

1003
00:47:04,040 --> 00:47:07,760
Speaker 3: responsible for doing what I'm capable of doing, and seeking

1004
00:47:07,840 --> 00:47:10,560
Speaker 3: that guidance and then trying to implement that so that

1005
00:47:10,560 --> 00:47:12,359
Speaker 3: then the end result can be accomplished.

1006
00:47:12,400 --> 00:47:14,400
Speaker 2: You know what I mean. It's another just being the

1007
00:47:14,480 --> 00:47:15,080
Speaker 2: condu I.

1008
00:47:15,000 --> 00:47:18,080
Speaker 1: Always say, Kenny, all the mistakes of mine right, well

1009
00:47:18,400 --> 00:47:22,240
Speaker 1: rest the rest belongs to God somebody else. In fact,

1010
00:47:22,360 --> 00:47:26,160
Speaker 1: I love the two albums you did Dirt in my Diamonds.

1011
00:47:26,239 --> 00:47:29,720
Speaker 1: I always thought that's my soul dirt, that's the perfect

1012
00:47:29,880 --> 00:47:32,279
Speaker 1: I love those two albums. By the way, Before I

1013
00:47:32,360 --> 00:47:34,640
Speaker 1: let you go and move on to my royal Grande questionnaire,

1014
00:47:34,640 --> 00:47:37,360
Speaker 1: which I ask everybody, I love the fact that you

1015
00:47:37,480 --> 00:47:40,880
Speaker 1: record live in studio. You like to be in studio

1016
00:47:40,960 --> 00:47:43,840
Speaker 1: with everybody absolutely, Why do you do that? Why is

1017
00:47:44,040 --> 00:47:46,759
Speaker 1: that important as opposed to getting it just perfect this

1018
00:47:46,880 --> 00:47:49,279
Speaker 1: section and then recording to a.

1019
00:47:49,320 --> 00:47:53,759
Speaker 3: Track, Because I believe that there is a tangible difference

1020
00:47:54,400 --> 00:47:57,319
Speaker 3: that can be heard and can also be felt when

1021
00:47:57,400 --> 00:48:04,080
Speaker 3: you have a band playing together versus people emailing files

1022
00:48:04,120 --> 00:48:06,719
Speaker 3: back and forth to each other across the country that

1023
00:48:06,840 --> 00:48:08,560
Speaker 3: never sit down in the room together. And the other

1024
00:48:08,600 --> 00:48:12,799
Speaker 3: thing about that is is you eliminate When you do

1025
00:48:12,840 --> 00:48:17,080
Speaker 3: it like that, you have now to eliminated all possibility

1026
00:48:17,120 --> 00:48:20,799
Speaker 3: for anything spontaneous to happen. Right, So, whoever the first

1027
00:48:20,880 --> 00:48:23,360
Speaker 3: guy is that sits down in front of the computer

1028
00:48:23,719 --> 00:48:26,520
Speaker 3: and puts the click track down and plays the first

1029
00:48:26,760 --> 00:48:30,600
Speaker 3: guitar keys, whatever the first instrument is, This is the arrangement.

1030
00:48:30,800 --> 00:48:33,120
Speaker 3: This is how the song's going to go from start

1031
00:48:33,239 --> 00:48:36,239
Speaker 3: to finish. When you're in this and everybody has to

1032
00:48:36,280 --> 00:48:39,880
Speaker 3: follow that. When you're in the studio, people like what

1033
00:48:39,920 --> 00:48:41,800
Speaker 3: about this and what about this part? What if you

1034
00:48:41,880 --> 00:48:44,440
Speaker 3: play it like this? Or like, how about a different ending?

1035
00:48:44,480 --> 00:48:47,239
Speaker 3: And it's like and then it's a group effort and

1036
00:48:47,280 --> 00:48:50,400
Speaker 3: it's a team. It's a team sport playing music as

1037
00:48:50,400 --> 00:48:50,880
Speaker 3: a team.

1038
00:48:50,920 --> 00:48:54,520
Speaker 1: Soul, its souls and hearts and these people communicating. Yeah,

1039
00:48:54,520 --> 00:48:56,840
Speaker 1: I mean the thing I've always loved about the blues

1040
00:48:57,360 --> 00:49:01,239
Speaker 1: and your particular take on it. You can hear the communication.

1041
00:49:01,760 --> 00:49:05,480
Speaker 1: You can hear that, particularly when you're vibing with somebody.

1042
00:49:05,600 --> 00:49:07,919
Speaker 1: It's like they're talking back and forth to each other,

1043
00:49:07,960 --> 00:49:11,240
Speaker 1: which is what great music you're read. And there's something

1044
00:49:11,239 --> 00:49:13,520
Speaker 1: about the blues and jazz that facilitates that in a

1045
00:49:13,600 --> 00:49:16,719
Speaker 1: way that other genres don't, right, And I love that

1046
00:49:16,760 --> 00:49:20,200
Speaker 1: you've preserved that and tipped your hat to the past,

1047
00:49:20,400 --> 00:49:23,359
Speaker 1: venerated it, carried it forward, and you're doing your own

1048
00:49:23,880 --> 00:49:26,880
Speaker 1: exploration with you, which is incredible. Okay the Royal Grande

1049
00:49:27,000 --> 00:49:29,760
Speaker 1: questionnaire I ask this. If everybody right, these are quick answers,

1050
00:49:29,800 --> 00:49:32,560
Speaker 1: then I'll get you back to the gardener. Okay, okay,

1051
00:49:32,719 --> 00:49:35,919
Speaker 1: who is the person you most admire? Oh?

1052
00:49:37,400 --> 00:49:42,520
Speaker 2: Wow, you say quick answers. I don't know, man, There's

1053
00:49:42,520 --> 00:49:42,919
Speaker 2: so many.

1054
00:49:43,040 --> 00:49:45,400
Speaker 3: I've had a lot of great people in my life,

1055
00:49:45,840 --> 00:49:47,640
Speaker 3: and I admire them in many different ways.

1056
00:49:48,440 --> 00:49:50,799
Speaker 2: I'm going to say this. It might come across as.

1057
00:49:50,760 --> 00:49:55,359
Speaker 4: Cheesy, but I admire I admire my wife like I

1058
00:49:55,440 --> 00:50:01,200
Speaker 4: really admire her well because she's a fascinating visual she's

1059
00:50:01,280 --> 00:50:06,759
Speaker 4: so multifaceted, but she's just you know, what's amazing about

1060
00:50:06,800 --> 00:50:10,839
Speaker 4: relationships is that in a good, healthy, I believe relationship,

1061
00:50:12,680 --> 00:50:15,680
Speaker 4: she excels where I fall short, and I excel where

1062
00:50:15,680 --> 00:50:17,200
Speaker 4: she falls short, and so it.

1063
00:50:17,120 --> 00:50:18,240
Speaker 2: Creates this balance.

1064
00:50:18,719 --> 00:50:22,200
Speaker 3: But in the areas that she excels in that I don't.

1065
00:50:22,440 --> 00:50:26,000
Speaker 3: I'm just totally fascinated by her. But she's an incredible mother,

1066
00:50:26,080 --> 00:50:29,759
Speaker 3: She's an incredible individual. She's a I've never seen a

1067
00:50:29,800 --> 00:50:33,960
Speaker 3: more good natured person, you know, And it speaks to

1068
00:50:34,000 --> 00:50:37,120
Speaker 3: her upbringing and her family and you know as to

1069
00:50:37,160 --> 00:50:39,520
Speaker 3: who she is that that all had an influence. And

1070
00:50:39,520 --> 00:50:41,880
Speaker 3: then it's also now your family can give you what

1071
00:50:41,920 --> 00:50:43,400
Speaker 3: they can give you, but it's up to you what

1072
00:50:43,480 --> 00:50:45,600
Speaker 3: you do with it. Yeah, she's I mean, she's an

1073
00:50:45,640 --> 00:50:46,399
Speaker 3: incredible person.

1074
00:50:46,400 --> 00:50:48,080
Speaker 1: She's a great lady. I've known her. I knew her

1075
00:50:48,120 --> 00:50:49,920
Speaker 1: just before you were married you. I met her a

1076
00:50:49,960 --> 00:50:52,520
Speaker 1: long time ago. Who do you despise?

1077
00:50:53,520 --> 00:50:56,120
Speaker 2: I don't despise anybody. I really don't like what.

1078
00:50:56,160 --> 00:50:58,399
Speaker 3: Ever, since I was a kid, the word hate and

1079
00:50:58,480 --> 00:51:00,680
Speaker 3: I feel like that's pretty similar territory.

1080
00:51:01,120 --> 00:51:04,120
Speaker 2: It just never resonated with me. It always felt offensive

1081
00:51:04,160 --> 00:51:04,400
Speaker 2: to me.

1082
00:51:04,680 --> 00:51:07,320
Speaker 3: So the only thing I would say that I really

1083
00:51:08,280 --> 00:51:10,160
Speaker 3: don't like is I don't like it.

1084
00:51:10,640 --> 00:51:13,280
Speaker 2: I don't like people that aren't independent thinkers. They can't.

1085
00:51:13,680 --> 00:51:16,000
Speaker 3: I think, you know, in the world we live in

1086
00:51:16,040 --> 00:51:19,360
Speaker 3: today that is incredibly controversial and divided and all that stuff,

1087
00:51:19,360 --> 00:51:21,440
Speaker 3: and it's like everybody's forcing you to be on one

1088
00:51:21,440 --> 00:51:24,000
Speaker 3: side or the other. I think everyone's doing themselves a

1089
00:51:24,000 --> 00:51:27,840
Speaker 3: disservice by not actually taking in all the information, by

1090
00:51:27,880 --> 00:51:30,719
Speaker 3: just taking in one source or you know, one point

1091
00:51:30,760 --> 00:51:33,000
Speaker 3: of view and neglecting the other. You know, it's like,

1092
00:51:33,360 --> 00:51:38,080
Speaker 3: take it all in, understand that there's there are there subjectives,

1093
00:51:38,080 --> 00:51:40,759
Speaker 3: Like people are trying to make you think things right

1094
00:51:41,360 --> 00:51:43,279
Speaker 3: by the way they're delivering that to you is they

1095
00:51:43,320 --> 00:51:47,839
Speaker 3: want to persuade you know that, listen to this, put

1096
00:51:47,880 --> 00:51:50,080
Speaker 3: it all together, and find the truth in the middle,

1097
00:51:50,080 --> 00:51:52,279
Speaker 3: and then make a decision based on that this. You know,

1098
00:51:52,320 --> 00:51:54,719
Speaker 3: it's like I want people to use their brains. And

1099
00:51:54,760 --> 00:51:56,719
Speaker 3: I'm not saying you know, that might sound offensive. Some

1100
00:51:56,760 --> 00:51:58,359
Speaker 3: people might say, well, of course I use my brain,

1101
00:51:58,480 --> 00:52:02,040
Speaker 3: But I don't think everybody takes in all the information

1102
00:52:02,280 --> 00:52:05,000
Speaker 3: without the buy and tries to put the bias aside.

1103
00:52:04,800 --> 00:52:08,960
Speaker 1: And critical thinking and reason has become they've become sinful

1104
00:52:09,000 --> 00:52:11,480
Speaker 1: and they're not Yeah, we're built this way, we're supposed

1105
00:52:11,520 --> 00:52:11,640
Speaker 1: to be.

1106
00:52:11,680 --> 00:52:16,080
Speaker 3: Critically, it's like, how how can the more If everybody's

1107
00:52:16,239 --> 00:52:20,240
Speaker 3: on the same page all the time, then where where's

1108
00:52:20,239 --> 00:52:25,040
Speaker 3: the innovation, where's the creativity, where's the individuality? Those are

1109
00:52:25,080 --> 00:52:28,359
Speaker 3: all the you've eliminated that. If everybody is just in

1110
00:52:28,520 --> 00:52:33,920
Speaker 3: lockstep with one of the same mindset, there is no progress.

1111
00:52:34,040 --> 00:52:38,040
Speaker 1: It's the click track of life, no room for improvisation.

1112
00:52:38,400 --> 00:52:39,439
Speaker 1: It's really what you were talking.

1113
00:52:39,520 --> 00:52:42,560
Speaker 3: And that's convenient for some people who want everybody to

1114
00:52:42,600 --> 00:52:43,360
Speaker 3: be that way.

1115
00:52:43,719 --> 00:52:47,080
Speaker 2: But I think, you know, we're individuals. Let's act like individuals.

1116
00:52:47,080 --> 00:52:48,239
Speaker 1: A really boring way to live.

1117
00:52:48,520 --> 00:52:51,080
Speaker 3: Let's be honest and so and and just stop with

1118
00:52:51,120 --> 00:52:53,520
Speaker 3: all the hate, Like it's just horrific.

1119
00:52:53,600 --> 00:52:54,840
Speaker 1: What's your best feature?

1120
00:52:55,840 --> 00:53:00,239
Speaker 3: My best I don't know, is it my cham It's uh, well,

1121
00:53:00,239 --> 00:53:01,520
Speaker 3: it used to be. When I was a kid, it

1122
00:53:01,600 --> 00:53:05,200
Speaker 3: was like everybody loved my long loss. You know, I'm

1123
00:53:05,239 --> 00:53:07,759
Speaker 3: well into middle age now, so that's not what it

1124
00:53:07,800 --> 00:53:11,080
Speaker 3: once was. I don't know, I don't really know. Probably

1125
00:53:11,320 --> 00:53:13,439
Speaker 3: just my ability to play guitar. That's what I'm mostly

1126
00:53:13,560 --> 00:53:13,960
Speaker 3: known for.

1127
00:53:14,600 --> 00:53:17,319
Speaker 1: What do you know Kenny that others don't know?

1128
00:53:18,000 --> 00:53:20,320
Speaker 3: I think I have some insights because of my life

1129
00:53:20,800 --> 00:53:23,200
Speaker 3: that maybe most people don't have, Like what is it

1130
00:53:23,280 --> 00:53:26,160
Speaker 3: like to be a child prodigy? What is it like

1131
00:53:26,200 --> 00:53:31,360
Speaker 3: to be a child star? That experience and what everything

1132
00:53:31,400 --> 00:53:32,400
Speaker 3: that comes along with that?

1133
00:53:32,680 --> 00:53:32,920
Speaker 2: You know?

1134
00:53:33,840 --> 00:53:36,040
Speaker 3: I think I probably have some insight on that kind

1135
00:53:36,040 --> 00:53:39,279
Speaker 3: of stuff and the challenges and the struggles that come with.

1136
00:53:39,200 --> 00:53:42,319
Speaker 1: Would you would you would you advance or want your

1137
00:53:42,320 --> 00:53:44,359
Speaker 1: own child to be a child star?

1138
00:53:44,800 --> 00:53:48,080
Speaker 2: I would. So let's put it this way.

1139
00:53:48,160 --> 00:53:51,440
Speaker 3: All of my kids are musical, They're all incredibly intelligent.

1140
00:53:51,440 --> 00:53:56,000
Speaker 3: They're all very talented people. But I'm not going to

1141
00:53:56,040 --> 00:53:57,920
Speaker 3: try and persuade any of them. I just want them

1142
00:53:57,920 --> 00:53:59,880
Speaker 3: to be their own people. I also do think that

1143
00:54:00,120 --> 00:54:03,759
Speaker 3: is this thing where it's like when you have a

1144
00:54:03,760 --> 00:54:07,880
Speaker 3: a famous father or something, you know, the the the

1145
00:54:07,920 --> 00:54:11,200
Speaker 3: inclination is to not go down that path because you

1146
00:54:11,280 --> 00:54:14,640
Speaker 3: maybe feel like you can't. But I look at my

1147
00:54:14,719 --> 00:54:18,080
Speaker 3: kids and I'm like, you, guys, it could be better

1148
00:54:18,160 --> 00:54:20,600
Speaker 3: than me, you know what I mean, if you just tried.

1149
00:54:21,000 --> 00:54:21,080
Speaker 2: So.

1150
00:54:21,400 --> 00:54:24,640
Speaker 3: I do have several of my kids play guitar, but

1151
00:54:25,000 --> 00:54:27,839
Speaker 3: and one of my daughters like she Actually they're all

1152
00:54:27,840 --> 00:54:30,600
Speaker 3: doing different things. I have daughters playing drums. I have

1153
00:54:30,600 --> 00:54:34,239
Speaker 3: another daughter's doing keyboards. I one was doing keyboards and

1154
00:54:34,719 --> 00:54:36,560
Speaker 3: vocal band.

1155
00:54:36,600 --> 00:54:38,400
Speaker 1: You're building. I know what you're doing. You're building the

1156
00:54:38,400 --> 00:54:39,480
Speaker 1: Shepherd Family band.

1157
00:54:39,600 --> 00:54:41,279
Speaker 3: But when I was but when I was a kid,

1158
00:54:41,320 --> 00:54:42,879
Speaker 3: I would come home from school and I would grab

1159
00:54:42,880 --> 00:54:44,759
Speaker 3: my guitar and that's all I would do until I

1160
00:54:44,800 --> 00:54:48,360
Speaker 3: went to bed, and then rent and repeat. So I

1161
00:54:48,360 --> 00:54:49,879
Speaker 3: don't know if they, if any of them, have taken

1162
00:54:49,920 --> 00:54:52,200
Speaker 3: it to it taken it to that point yet. But

1163
00:54:52,480 --> 00:54:54,960
Speaker 3: you know, the path is different for everyone, and you

1164
00:54:55,040 --> 00:54:57,759
Speaker 3: never know what's going to happen. So if they want

1165
00:54:57,800 --> 00:55:00,800
Speaker 3: to make a music and a career in music, I

1166
00:55:00,840 --> 00:55:03,680
Speaker 3: absolutely support that. If they want to do something completely different,

1167
00:55:03,719 --> 00:55:06,279
Speaker 3: has nothing to do with music, I support that as well.

1168
00:55:06,320 --> 00:55:08,880
Speaker 3: I just want them to fought to follow their passion

1169
00:55:09,000 --> 00:55:11,399
Speaker 3: and see if they can to make a career doing

1170
00:55:11,440 --> 00:55:12,320
Speaker 3: something that they love.

1171
00:55:12,280 --> 00:55:14,240
Speaker 1: To be who they were meant to be. Yeah, yeah,

1172
00:55:14,280 --> 00:55:16,240
Speaker 1: and realize their potential. What do you fear?

1173
00:55:20,600 --> 00:55:25,400
Speaker 3: H I pray if death is still something I'm trying

1174
00:55:25,400 --> 00:55:27,160
Speaker 3: to come to turn. If I think, if most of

1175
00:55:27,239 --> 00:55:31,960
Speaker 3: us are being honest, we still grapple with that concept, and.

1176
00:55:31,920 --> 00:55:33,279
Speaker 2: A lot of people say, I don't not worried abou

1177
00:55:33,280 --> 00:55:33,640
Speaker 2: but I like it.

1178
00:55:33,680 --> 00:55:36,040
Speaker 3: I don't know, man, you know, you might just be

1179
00:55:36,160 --> 00:55:39,000
Speaker 3: saying that, you know, And it's like even with my faith, like,

1180
00:55:39,520 --> 00:55:41,520
Speaker 3: you know, I believe I had a moment in my

1181
00:55:41,560 --> 00:55:43,680
Speaker 3: life and I really didn't intend to get off in

1182
00:55:43,719 --> 00:55:49,400
Speaker 3: spiritual things, but you know, I've been taught through my faith,

1183
00:55:49,520 --> 00:55:51,840
Speaker 3: even growing up Methodist or whatever, that you know, the

1184
00:55:51,880 --> 00:55:57,440
Speaker 3: spirit is eternal, the life, everlasting, right, and you believe it,

1185
00:55:57,920 --> 00:56:01,000
Speaker 3: but you have to like really believe it. Like some

1186
00:56:01,080 --> 00:56:03,759
Speaker 3: of it's well that's faith, and faith just means you

1187
00:56:03,840 --> 00:56:06,000
Speaker 3: have to be But like, there was a moment where

1188
00:56:06,000 --> 00:56:11,560
Speaker 3: I started feeling my age, you know, and it was

1189
00:56:11,640 --> 00:56:13,799
Speaker 3: but this was a real moment of clarity for me

1190
00:56:14,440 --> 00:56:17,840
Speaker 3: because I will go up one day, I remember what

1191
00:56:17,920 --> 00:56:21,120
Speaker 3: I was doing. I just had Yeah, well I just

1192
00:56:21,280 --> 00:56:23,640
Speaker 3: literally yesterday had a cortisome shot in my back.

1193
00:56:23,719 --> 00:56:24,640
Speaker 2: Like that's getting old.

1194
00:56:24,680 --> 00:56:26,719
Speaker 1: You're going to give me the doctor's name because guess what,

1195
00:56:26,880 --> 00:56:28,880
Speaker 1: Oh my gosh, I went to brush my teeth this morning.

1196
00:56:28,960 --> 00:56:31,440
Speaker 3: Oh yeah, So I don't remember what it was I

1197
00:56:31,480 --> 00:56:34,600
Speaker 3: was doing, but I was trying to do something physically

1198
00:56:35,400 --> 00:56:41,280
Speaker 3: that just should come naturally, and it was a struggler.

1199
00:56:41,320 --> 00:56:43,319
Speaker 3: I couldn't do it or I hurt myself doing it,

1200
00:56:43,760 --> 00:56:47,360
Speaker 3: and all of a sudden, in that moment, I felt

1201
00:56:47,360 --> 00:56:51,000
Speaker 3: the disconnection between who I am inside.

1202
00:56:51,640 --> 00:56:54,160
Speaker 2: Most people say up here, but I.

1203
00:56:54,040 --> 00:56:57,440
Speaker 3: Believe it's all connected, and but they would say, well,

1204
00:56:57,440 --> 00:57:00,759
Speaker 3: I feel like everybody says, I feel like I'm seventeen.

1205
00:57:00,800 --> 00:57:02,800
Speaker 2: I feel like I'm twenty five, twenty five.

1206
00:57:02,640 --> 00:57:06,880
Speaker 3: Years old, but your body's not right. And I felt

1207
00:57:07,200 --> 00:57:11,680
Speaker 3: in real time the disconnect between my body and my spirit,

1208
00:57:12,120 --> 00:57:17,440
Speaker 3: and I thought, this thing is not twenty five or

1209
00:57:17,600 --> 00:57:20,840
Speaker 3: eighteen or whatever, but I feel that I should be

1210
00:57:20,840 --> 00:57:24,880
Speaker 3: able to do those things. So these things are developing

1211
00:57:24,920 --> 00:57:29,600
Speaker 3: at different rates, right, And so that's the real like

1212
00:57:29,680 --> 00:57:33,040
Speaker 3: I was like, oh, this is my spirit is not aging.

1213
00:57:33,280 --> 00:57:38,240
Speaker 3: What it is is I'm advancing through wisdom, through acquired

1214
00:57:38,480 --> 00:57:41,800
Speaker 3: experience and knowledge, right, which I think is kind of

1215
00:57:41,840 --> 00:57:43,160
Speaker 3: the big point here.

1216
00:57:43,080 --> 00:57:46,520
Speaker 1: There are spiritual As the experience of wisdom grows, the

1217
00:57:46,520 --> 00:57:48,240
Speaker 1: body doesn't yeah the case.

1218
00:57:48,320 --> 00:57:51,840
Speaker 3: And so the body's going one way, the spirit's going

1219
00:57:51,880 --> 00:57:54,800
Speaker 3: another way, and there's that detachment that it inevitably ends

1220
00:57:54,840 --> 00:57:57,120
Speaker 3: up happening when you die. But that was the moment

1221
00:57:57,160 --> 00:58:00,720
Speaker 3: that I felt sometimes need tangible things I can touch

1222
00:58:00,760 --> 00:58:03,160
Speaker 3: and feel, you know, to believe it. And that was

1223
00:58:03,320 --> 00:58:07,080
Speaker 3: that was real and I was like, oh, inside I

1224
00:58:07,120 --> 00:58:10,280
Speaker 3: feel like this, but outside I feel like this. And

1225
00:58:10,320 --> 00:58:14,160
Speaker 3: you still fear death, Well, yes, because the experience of

1226
00:58:14,440 --> 00:58:17,120
Speaker 3: the experience maybe not even like the pain of it.

1227
00:58:17,120 --> 00:58:19,320
Speaker 3: It's like a lot of people are like, oh, I'd

1228
00:58:19,320 --> 00:58:21,520
Speaker 3: love to die in my sleep. It's like, yeah, that's

1229
00:58:21,560 --> 00:58:24,400
Speaker 3: great because it's comfortable. But like, but if you had

1230
00:58:24,480 --> 00:58:27,560
Speaker 3: no fair warning, if you didn't like sometimes, I mean,

1231
00:58:27,600 --> 00:58:29,720
Speaker 3: there's a lot of suffering that happens, Like people get

1232
00:58:29,800 --> 00:58:32,640
Speaker 3: sick and they know, oh, you have a certain amount

1233
00:58:32,680 --> 00:58:35,479
Speaker 3: of time, and that's sad and takes a whole nother

1234
00:58:35,560 --> 00:58:38,360
Speaker 3: toll breaking. But maybe it's a blessing in the sense

1235
00:58:38,360 --> 00:58:41,360
Speaker 3: that you get an opportunity to prepare for it, you know.

1236
00:58:42,080 --> 00:58:44,320
Speaker 3: So I don't know, the whole thing is so complicated.

1237
00:58:44,320 --> 00:58:46,160
Speaker 3: The idea when I was a kid that were born

1238
00:58:46,320 --> 00:58:49,560
Speaker 3: so we can die, which just felt like so big

1239
00:58:49,600 --> 00:58:52,200
Speaker 3: of a concept to like wrap my mind around. So

1240
00:58:52,280 --> 00:58:55,840
Speaker 3: it's still something that it's like, it feels overwhelming. But

1241
00:58:56,040 --> 00:58:58,920
Speaker 3: my prayer is that I live long enough to like,

1242
00:58:59,000 --> 00:59:02,320
Speaker 3: remember my grandmother was she was ready to die, you know.

1243
00:59:03,000 --> 00:59:05,280
Speaker 1: And so it happens a lot with older people.

1244
00:59:05,120 --> 00:59:07,360
Speaker 3: Right, And so I don't know if you know, whatever

1245
00:59:07,400 --> 00:59:10,760
Speaker 3: it is, maybe it's an age thing. Maybe it's the

1246
00:59:10,800 --> 00:59:14,080
Speaker 3: cards you're dealt. Maybe you're not seventy or eighty or

1247
00:59:14,160 --> 00:59:16,480
Speaker 3: ninety years old. I mean, because Bobby Rush is still

1248
00:59:16,520 --> 00:59:18,360
Speaker 3: hitting on all cylinders.

1249
00:59:17,440 --> 00:59:21,080
Speaker 1: He's old, playing with he's unbelievable.

1250
00:59:20,480 --> 00:59:22,240
Speaker 2: Right, So maybe it's not an age thing.

1251
00:59:22,280 --> 00:59:26,720
Speaker 3: But whatever life cards I'm dealt, is that when my

1252
00:59:26,840 --> 00:59:29,320
Speaker 3: time comes, that I that I'm able to live long

1253
00:59:29,400 --> 00:59:31,840
Speaker 3: enough to get to the point to be ready for

1254
00:59:31,880 --> 00:59:33,360
Speaker 3: it and accepting of it, you know.

1255
00:59:33,840 --> 00:59:35,800
Speaker 2: And I know I'm not at that point yet, So

1256
00:59:35,920 --> 00:59:37,200
Speaker 2: I know my time's.

1257
00:59:36,920 --> 00:59:40,200
Speaker 1: Not getting there. You know, what's your greatest virtue?

1258
00:59:40,440 --> 00:59:43,560
Speaker 3: I just I think my nature, just the nature that

1259
00:59:44,080 --> 00:59:49,080
Speaker 3: I've kind of I've been raised a certain way, you know,

1260
00:59:49,720 --> 00:59:51,919
Speaker 3: as salt of the earth people. We didn't have money

1261
00:59:51,960 --> 00:59:56,600
Speaker 3: growing up, like no money, and so there was not

1262
00:59:56,800 --> 00:59:59,080
Speaker 3: money in my family until I signed my record deal.

1263
00:59:59,360 --> 01:00:01,880
Speaker 3: And so you know, just like to know that, like,

1264
01:00:01,960 --> 01:00:04,240
Speaker 3: I'm not any different. I don't treat people any different,

1265
01:00:06,280 --> 01:00:08,400
Speaker 3: do onto others? Just follow the you know, the golden

1266
01:00:08,480 --> 01:00:10,280
Speaker 3: rules as much as I can, which I think you

1267
01:00:10,320 --> 01:00:12,000
Speaker 3: know makes you a good natured person.

1268
01:00:12,040 --> 01:00:13,760
Speaker 2: And I've I've tried to implement that.

1269
01:00:13,880 --> 01:00:17,000
Speaker 1: You feel that in your work too. What's your biggest regret?

1270
01:00:19,520 --> 01:00:23,840
Speaker 3: Why don't honestly don't have regrets because I do believe

1271
01:00:23,880 --> 01:00:30,480
Speaker 3: that every every decision, mistake or not is what develops

1272
01:00:30,480 --> 01:00:34,160
Speaker 3: you into who you are today. Now, we can meet

1273
01:00:34,160 --> 01:00:37,320
Speaker 3: again in about twenty years or something, or you know,

1274
01:00:37,360 --> 01:00:39,360
Speaker 3: thirty years, and you can ask me that question again,

1275
01:00:39,400 --> 01:00:42,479
Speaker 3: and maybe a few, maybe there might be a few,

1276
01:00:43,120 --> 01:00:44,800
Speaker 3: But at this point, I mean, there's things that maybe

1277
01:00:44,840 --> 01:00:47,200
Speaker 3: I would have done differently. But why why would I

1278
01:00:47,240 --> 01:00:49,720
Speaker 3: do them differently? Is it because I want to control

1279
01:00:49,800 --> 01:00:52,360
Speaker 3: the outcome? Because I want to change it and make

1280
01:00:52,400 --> 01:00:53,480
Speaker 3: it the way I think.

1281
01:00:53,280 --> 01:00:54,040
Speaker 2: It should be.

1282
01:00:54,040 --> 01:00:57,280
Speaker 3: Because I've learned in my in my relationship with God,

1283
01:00:57,680 --> 01:01:00,080
Speaker 3: is that a lot of times God's answer to my

1284
01:01:00,200 --> 01:01:02,840
Speaker 3: prayers and my questions and the things that I want

1285
01:01:03,080 --> 01:01:06,680
Speaker 3: isn't always necessarily no. It's either not right now, or

1286
01:01:06,720 --> 01:01:10,439
Speaker 3: I have something better or different which ends up being better.

1287
01:01:10,520 --> 01:01:10,800
Speaker 1: Yes.

1288
01:01:10,840 --> 01:01:12,600
Speaker 3: And so it's like, do I want to go change

1289
01:01:12,640 --> 01:01:16,320
Speaker 3: those decisions because I want a different outcome, because then

1290
01:01:16,480 --> 01:01:18,760
Speaker 3: that doesn't net me the life that I have, That

1291
01:01:18,800 --> 01:01:20,919
Speaker 3: doesn't give me my wife and my beautiful six kids

1292
01:01:20,960 --> 01:01:22,720
Speaker 3: in the career in the way that it is today

1293
01:01:22,760 --> 01:01:24,680
Speaker 3: and the happiness that I do experience.

1294
01:01:24,880 --> 01:01:28,040
Speaker 1: Now, that's a wise way of looking at it. What's

1295
01:01:28,120 --> 01:01:30,280
Speaker 1: the best piece of advice you've ever gotten?

1296
01:01:31,040 --> 01:01:32,840
Speaker 3: Well, to me, it was Stevie ray Vaughn when he

1297
01:01:32,920 --> 01:01:36,080
Speaker 3: signed my first stratocaster the last time I saw him

1298
01:01:36,120 --> 01:01:38,720
Speaker 3: before he passed away. He signed my very first strat

1299
01:01:38,800 --> 01:01:40,880
Speaker 3: for me, and he said, can he just play it

1300
01:01:40,880 --> 01:01:43,720
Speaker 3: with all your heart? And that's been everything from that

1301
01:01:43,840 --> 01:01:45,760
Speaker 3: day forward, when every time I pick up my instrument,

1302
01:01:45,760 --> 01:01:47,840
Speaker 3: I try and play it with all my heart, and

1303
01:01:47,920 --> 01:01:50,680
Speaker 3: I feel like professionally it's the best advice I got

1304
01:01:50,720 --> 01:01:52,120
Speaker 3: because that's what's gotten me here.

1305
01:01:52,200 --> 01:01:57,520
Speaker 1: What happens when this is over, Kenny? Which your decision.

1306
01:01:57,640 --> 01:02:02,000
Speaker 1: I'm letting you interpret it. This interview, it's life, well,

1307
01:02:02,160 --> 01:02:05,280
Speaker 1: this week, this year, this is over, Kenny. What happened?

1308
01:02:05,280 --> 01:02:07,000
Speaker 2: Well, when the interview is over, I'm going to go

1309
01:02:07,040 --> 01:02:08,520
Speaker 2: back home and I'm going to do a little more

1310
01:02:08,560 --> 01:02:08,960
Speaker 2: yard work.

1311
01:02:09,080 --> 01:02:11,360
Speaker 1: You're not raining, I'm looking at the rain. You're missing it.

1312
01:02:11,360 --> 01:02:13,200
Speaker 1: It's raining, you're not doing yard work at all.

1313
01:02:13,760 --> 01:02:17,760
Speaker 3: Else they're going to change clothes right and be of

1314
01:02:17,800 --> 01:02:18,720
Speaker 3: service to my family.

1315
01:02:19,960 --> 01:02:21,440
Speaker 2: The end of this year, I don't know.

1316
01:02:21,520 --> 01:02:23,800
Speaker 3: I mean, you know, we'll begin next year, and I

1317
01:02:23,920 --> 01:02:26,360
Speaker 3: will begin in the thirtieth anniversary of my first album.

1318
01:02:26,400 --> 01:02:28,200
Speaker 1: When you're going in a big tour, you're in tour,

1319
01:02:28,240 --> 01:02:29,440
Speaker 1: and then where are you going in Europe?

1320
01:02:29,520 --> 01:02:33,160
Speaker 3: So all over we're going to like you know, Germany, Switzerland, France, Italy,

1321
01:02:33,560 --> 01:02:37,640
Speaker 3: UK like you know, all the hot spots. And then

1322
01:02:37,920 --> 01:02:40,520
Speaker 3: September is a thirty year anniversary of Leedbetter Heights, my

1323
01:02:40,600 --> 01:02:43,240
Speaker 3: first album. We re recorded a new version of that record,

1324
01:02:43,280 --> 01:02:46,280
Speaker 3: which is actually less of a recreation, more of a

1325
01:02:46,320 --> 01:02:48,400
Speaker 3: reinterpretation of some of the songs.

1326
01:02:48,560 --> 01:02:49,640
Speaker 2: Huh, And so that.

1327
01:02:49,760 --> 01:02:51,880
Speaker 1: Anything new there? You had a new Dylan song on

1328
01:02:51,920 --> 01:02:52,720
Speaker 1: this No.

1329
01:02:52,600 --> 01:02:57,000
Speaker 3: We didn't do any hidden tracks now, but we did

1330
01:02:57,080 --> 01:02:59,360
Speaker 3: kind of reimagine a few of the songs. So they

1331
01:02:59,400 --> 01:03:01,200
Speaker 3: sound different. I mean they sound different because I had

1332
01:03:01,200 --> 01:03:04,280
Speaker 3: a different singer on the first album. Noah joined me

1333
01:03:04,320 --> 01:03:06,480
Speaker 3: on the second album and has been with me ever since.

1334
01:03:06,480 --> 01:03:10,040
Speaker 1: And now we tell that story quickly. He was thrust.

1335
01:03:10,120 --> 01:03:11,600
Speaker 1: You didn't have any time to prep with him.

1336
01:03:11,720 --> 01:03:14,560
Speaker 3: Yeah, so the first album, the first guy, Corey Sterling,

1337
01:03:15,640 --> 01:03:18,360
Speaker 3: it just didn't work, you know, and we had to

1338
01:03:19,120 --> 01:03:22,520
Speaker 3: we and it actually didn't end all that great because

1339
01:03:22,560 --> 01:03:25,960
Speaker 3: we were supposed to be flying out. We met at

1340
01:03:25,960 --> 01:03:28,440
Speaker 3: the airport to fly out to start recording the Trouble

1341
01:03:28,520 --> 01:03:32,200
Speaker 3: Is record, and he just never showed up. And you know,

1342
01:03:32,360 --> 01:03:35,360
Speaker 3: there's a whole series of events that led up to that.

1343
01:03:35,520 --> 01:03:38,040
Speaker 3: But so then we're like, Okay, well this doesn't work.

1344
01:03:38,520 --> 01:03:41,720
Speaker 3: We have to make a change. So then we started looking.

1345
01:03:41,880 --> 01:03:44,120
Speaker 3: But then, I want to say, is two weeks four

1346
01:03:44,120 --> 01:03:47,240
Speaker 3: at the most. You know, we had auditioned like twelve

1347
01:03:47,280 --> 01:03:50,160
Speaker 3: to fourteen different people. We found Noah and we were

1348
01:03:50,400 --> 01:03:53,120
Speaker 3: in the studio making the record. Noah's been with me now,

1349
01:03:53,440 --> 01:03:56,440
Speaker 3: I guess twenty seven twenty eight years. And then I

1350
01:03:56,600 --> 01:04:00,520
Speaker 3: eventually progressed into going from just kind of seeing background

1351
01:04:00,560 --> 01:04:03,080
Speaker 3: vocals to singing lead vocals, and now we both sing

1352
01:04:03,160 --> 01:04:03,720
Speaker 3: lead vocals.

1353
01:04:03,760 --> 01:04:07,200
Speaker 2: We share about fifty to fifty. But it's been an

1354
01:04:07,240 --> 01:04:08,120
Speaker 2: incredible experience.

1355
01:04:08,120 --> 01:04:12,040
Speaker 3: But doing the Ledbetter Heights thirtieth anniversary album, we never

1356
01:04:12,080 --> 01:04:15,440
Speaker 3: could completely recreate it because the voice you're going to

1357
01:04:15,480 --> 01:04:17,160
Speaker 3: hear on it is not going to be the same.

1358
01:04:17,440 --> 01:04:18,720
Speaker 2: So that immediately gave us.

1359
01:04:18,760 --> 01:04:21,800
Speaker 3: This gave me this liberty to kind of like not

1360
01:04:21,920 --> 01:04:24,160
Speaker 3: have to put it under a microscope and try and

1361
01:04:24,240 --> 01:04:27,600
Speaker 3: match it. And so we decided to change like Aberdeen

1362
01:04:27,720 --> 01:04:30,960
Speaker 3: and Riverside and a few of these other songs where

1363
01:04:31,560 --> 01:04:35,240
Speaker 3: we interpreted, we played them differently. We added some different instrumentation, like,

1364
01:04:35,480 --> 01:04:38,040
Speaker 3: did a different arrangement and made it more interesting.

1365
01:04:38,480 --> 01:04:41,160
Speaker 1: Yeah, I love it, Kenny Wayne Sheppard. I can't thank

1366
01:04:41,200 --> 01:04:43,560
Speaker 1: you enough. This has been a joy. Yeah, thank you

1367
01:04:43,600 --> 01:04:45,040
Speaker 1: for the time. We'll do it again soon. Thanks for

1368
01:04:45,120 --> 01:04:48,120
Speaker 1: having thank you. Okay, here's the whole. First of all,

1369
01:04:48,440 --> 01:04:51,800
Speaker 1: AI can't do what Kenny Wayne Sheppard and his collaborators do.

1370
01:04:52,640 --> 01:04:57,600
Speaker 1: Musicians in a room, creating a vibe, writing each other's beat,

1371
01:04:58,040 --> 01:05:01,640
Speaker 1: and rolling into innovative moments that you never imagine. That

1372
01:05:01,720 --> 01:05:06,120
Speaker 1: only happens with human beings, recording live music and feeling

1373
01:05:06,160 --> 01:05:08,960
Speaker 1: each other over a long period of time and knowing

1374
01:05:09,000 --> 01:05:12,160
Speaker 1: your history is crucial. I think we disregard it. We

1375
01:05:12,160 --> 01:05:15,480
Speaker 1: ignore the past to our detriment in so many facets

1376
01:05:15,480 --> 01:05:18,040
Speaker 1: of life today, not only the arts, but manners and

1377
01:05:18,120 --> 01:05:22,160
Speaker 1: basic living centuries of people preceded us with their wisdom,

1378
01:05:22,560 --> 01:05:26,000
Speaker 1: often hard earned wisdom, and it's valuable. I love that

1379
01:05:26,160 --> 01:05:30,360
Speaker 1: Kenny Wayne not only recognizes that, but he's preserving it

1380
01:05:30,440 --> 01:05:33,520
Speaker 1: and taking it to a new generation. And what he

1381
01:05:33,600 --> 01:05:36,280
Speaker 1: told me about the Prairie says before going on stage

1382
01:05:36,520 --> 01:05:38,479
Speaker 1: is something we can all use no matter our work.

1383
01:05:39,080 --> 01:05:42,600
Speaker 1: Let need bring light into people's lives through the gift

1384
01:05:42,640 --> 01:05:46,120
Speaker 1: of music or teaching or podcasting or cooking or building

1385
01:05:46,200 --> 01:05:49,560
Speaker 1: or whatever whatever our calling is. That's a great opener.

1386
01:05:49,880 --> 01:05:53,520
Speaker 1: And Kenny Wayne Shepherd's Young fashioned Ways is an incredible

1387
01:05:53,520 --> 01:05:56,680
Speaker 1: blues album. You should hear it. The authenticity is there

1388
01:05:56,680 --> 01:05:59,600
Speaker 1: in every groove. Pick it up. I hope you'll come

1389
01:05:59,640 --> 01:06:02,360
Speaker 1: back to Royal Grande soon. Why live a dry, constricted

1390
01:06:02,400 --> 01:06:04,720
Speaker 1: life when if you fill it with truth and beauty

1391
01:06:04,760 --> 01:06:07,800
Speaker 1: and wisdom, it can flow into a broad, thriving A

1392
01:06:07,880 --> 01:06:11,080
Speaker 1: Royal Grande. I'm raiming Arroyo. Make sure you subscribe like

1393
01:06:11,120 --> 01:06:15,280
Speaker 1: this episode, come back soon. Thanks for joining me. A

1394
01:06:15,360 --> 01:06:18,280
Speaker 1: Royal Grande is produced in partnership with iHeart Podcasts and

1395
01:06:18,400 --> 01:06:34,960
Speaker 1: is available on the iHeartRadio, Apple, wherever you get your podcasts.