1 00:00:00,560 --> 00:00:03,560 Speaker 1: Taking a Walk Bowen had hired for his division, which 2 00:00:03,640 --> 00:00:07,080 Speaker 1: was autonomous. He ran that separately from the rest of 3 00:00:07,200 --> 00:00:12,160 Speaker 1: MCA Records. He basically he hired Emmy, Gordy, Tony Brown, 4 00:00:12,280 --> 00:00:15,200 Speaker 1: and David Hungay, there's A and R people and told them, 5 00:00:15,280 --> 00:00:17,440 Speaker 1: you know, okay, you're hired. 6 00:00:17,520 --> 00:00:19,200 Speaker 2: Now go out and sign hereever you want to. 7 00:00:19,200 --> 00:00:21,080 Speaker 1: And Tony and Emory said, we want to sign Steve Earl, 8 00:00:21,120 --> 00:00:22,640 Speaker 1: And he said, anybody but Steve Earl. 9 00:00:22,680 --> 00:00:25,959 Speaker 3: Welcome to the Taking a Walk Podcasts podcast where Buzz 10 00:00:26,040 --> 00:00:30,240 Speaker 3: Night talks with the legendary artists, storytellers, and icons to 11 00:00:30,320 --> 00:00:34,479 Speaker 3: hear their stories behind their music. Today, Buzz is with 12 00:00:34,520 --> 00:00:39,000 Speaker 3: the true American original, Steve Earle, Grammy winning singer, songwriter, 13 00:00:39,280 --> 00:00:45,400 Speaker 3: fearless storyteller, and musical outlaw. Steve's career has spanned decades, genres, 14 00:00:45,440 --> 00:00:48,960 Speaker 3: and generations, from the back roads of Texas to the 15 00:00:48,960 --> 00:00:52,440 Speaker 3: streets of Nashville and New York City. Steve shares his 16 00:00:52,520 --> 00:00:55,400 Speaker 3: stories behind the music and his most beloved songs, the 17 00:00:55,520 --> 00:00:58,360 Speaker 3: lessons he's learned from his heroes, and how the simple 18 00:00:58,400 --> 00:01:00,400 Speaker 3: act of putting one foot in front of the other 19 00:01:00,560 --> 00:01:03,840 Speaker 3: keeps them grounded and creative. Steve URL's hitting the road 20 00:01:03,880 --> 00:01:07,080 Speaker 3: with fifty years of songs and stories summer tour this 21 00:01:07,160 --> 00:01:10,560 Speaker 3: summer coming to a city near you, and he joins 22 00:01:10,600 --> 00:01:14,080 Speaker 3: buzz Night on the Taking a Walk podcast right now. 23 00:01:16,040 --> 00:01:18,680 Speaker 4: Hello, Steve Earle, thank you for being on Taking a Walk. 24 00:01:19,920 --> 00:01:20,920 Speaker 2: It is good to be here. 25 00:01:21,720 --> 00:01:25,039 Speaker 4: If you could take a walk with somebody living or dead, 26 00:01:25,880 --> 00:01:28,200 Speaker 4: who might that person be, and you know where you 27 00:01:28,280 --> 00:01:29,800 Speaker 4: might take that walk with them? 28 00:01:30,319 --> 00:01:35,160 Speaker 1: Uh Ramdas because I knew him a little to the 29 00:01:35,240 --> 00:01:37,720 Speaker 1: end of his lock and he couldn't walk by the 30 00:01:37,800 --> 00:01:39,560 Speaker 1: time I met him, because he had had a pretty 31 00:01:39,560 --> 00:01:42,920 Speaker 1: catastrophic stroke, but he was still Ramdas. And it was 32 00:01:43,160 --> 00:01:46,120 Speaker 1: kind of a big deal for me because I I 33 00:01:48,280 --> 00:01:49,800 Speaker 1: just kind of I read me here now when it 34 00:01:49,840 --> 00:01:53,040 Speaker 1: came out, and so for my sixties, you know, it 35 00:01:53,120 --> 00:01:54,960 Speaker 1: was always a big deal to me. But I've never 36 00:01:55,000 --> 00:01:58,920 Speaker 1: managed to sort of put any sort of daily spiritual 37 00:01:58,960 --> 00:02:02,040 Speaker 1: practice together, even though I tried. I'm an old hippie, 38 00:02:02,040 --> 00:02:04,360 Speaker 1: and then as a person in recovery, it's something else 39 00:02:04,360 --> 00:02:07,880 Speaker 1: that you're supposed to do, and I just didn't manage 40 00:02:07,880 --> 00:02:10,679 Speaker 1: to do that until for my sixtieth birthday, my manager, 41 00:02:11,880 --> 00:02:15,160 Speaker 1: who had none rambos for a while. It took me 42 00:02:15,240 --> 00:02:19,200 Speaker 1: to Mali, to a small retreat at Ardi's house, and 43 00:02:19,639 --> 00:02:23,120 Speaker 1: I met him finally and and I started going to 44 00:02:23,160 --> 00:02:25,920 Speaker 1: Mali every year for the last few years of his 45 00:02:26,000 --> 00:02:30,160 Speaker 1: life and uh. And then got there just a few 46 00:02:30,240 --> 00:02:33,200 Speaker 1: days after he died in twenty twenty and so missed 47 00:02:33,240 --> 00:02:35,120 Speaker 1: that one and uh. And there was another time that 48 00:02:35,160 --> 00:02:37,359 Speaker 1: we couldn't see him because I didn't get to see 49 00:02:37,440 --> 00:02:40,440 Speaker 1: him or Willie. You know, Willie Nelson and Chrisco Stofferson 50 00:02:40,520 --> 00:02:43,080 Speaker 1: lived in Mali as well, and I'd visit them. But 51 00:02:43,560 --> 00:02:45,680 Speaker 1: when you're when you when you show up with a 52 00:02:45,680 --> 00:02:48,760 Speaker 1: stuning ose kid, you don't go visit the occagenarians who 53 00:02:48,800 --> 00:02:52,760 Speaker 1: all my friends at Mali were so uh. It was uh, 54 00:02:53,400 --> 00:02:56,640 Speaker 1: but it was it was something that really important to me. 55 00:02:56,680 --> 00:02:59,000 Speaker 1: And it did get me going on a daily yoga practice. 56 00:02:59,040 --> 00:03:03,240 Speaker 1: This that's can they need to now? And it's uh, 57 00:03:03,320 --> 00:03:07,640 Speaker 1: and walk probably in Mali. I haven't been back to 58 00:03:07,680 --> 00:03:11,280 Speaker 1: Mali since since Rhmbas passed away, and I'd never been 59 00:03:11,360 --> 00:03:12,800 Speaker 1: before I went toward that conference. 60 00:03:12,840 --> 00:03:15,960 Speaker 2: I'd never been to Hawaii. And somebody asked me one time, 61 00:03:16,080 --> 00:03:17,760 Speaker 2: why do you go to Mali? Why don't you go 62 00:03:17,800 --> 00:03:19,520 Speaker 2: to the Big Island Mali. That's so seventies. 63 00:03:19,680 --> 00:03:23,960 Speaker 1: Well, I'm pretty seventies and uh and and plus Ramdas, 64 00:03:24,240 --> 00:03:27,440 Speaker 1: Willie Nelson, Chris Christopherson. That was my reasons for a 65 00:03:27,520 --> 00:03:32,960 Speaker 1: pilgrimage to Maui and Ramdas used to go swimming once 66 00:03:33,000 --> 00:03:36,680 Speaker 1: a week at uh at keih and uh and I 67 00:03:36,760 --> 00:03:38,880 Speaker 1: used to stay over by there, and so I always, 68 00:03:38,960 --> 00:03:40,680 Speaker 1: you know, wish that I could have gotten there for that, 69 00:03:41,040 --> 00:03:43,400 Speaker 1: and uh, I just never I just never quite lined 70 00:03:43,480 --> 00:03:45,960 Speaker 1: up and h because it was right in front of 71 00:03:45,960 --> 00:03:47,880 Speaker 1: the hotel where I normally stayed. I was just never 72 00:03:48,360 --> 00:03:50,440 Speaker 1: there when it worked out on the day when they 73 00:03:50,480 --> 00:03:53,800 Speaker 1: were taking Rambas swimming and and so probably to take 74 00:03:53,840 --> 00:03:56,040 Speaker 1: a walk and then down to the beach to go swimming, 75 00:03:56,120 --> 00:03:57,080 Speaker 1: that's what the walk would be. 76 00:03:57,920 --> 00:04:02,000 Speaker 4: It'd be pretty pretty awesome. As somebody who lives in 77 00:04:02,040 --> 00:04:07,240 Speaker 4: New York, a great walking city as well, do you 78 00:04:07,320 --> 00:04:09,760 Speaker 4: have any favorite spots to walk in New York? 79 00:04:10,040 --> 00:04:11,600 Speaker 2: Well, I walk a lot of different routes. H. 80 00:04:11,760 --> 00:04:14,560 Speaker 1: I dropped my son off at school every day. He 81 00:04:14,600 --> 00:04:17,799 Speaker 1: has autism, and he goes just co called the Caswell School, 82 00:04:17,800 --> 00:04:20,000 Speaker 1: which is in It's in the Lower it's in the 83 00:04:20,000 --> 00:04:22,240 Speaker 1: Lower East side. It's like kind of you know, right, 84 00:04:22,240 --> 00:04:26,279 Speaker 1: we're standing INDs there, you know. And and so I 85 00:04:26,320 --> 00:04:29,440 Speaker 1: live in Bettery Perk City, so that's about three miles. 86 00:04:29,800 --> 00:04:31,680 Speaker 1: I can make it four miles if I take a 87 00:04:31,680 --> 00:04:34,200 Speaker 1: long route. I lived in Greenwich Village for eighteen years. 88 00:04:34,279 --> 00:04:36,400 Speaker 1: I still buy my coffee there at Puerto Rico and 89 00:04:36,520 --> 00:04:40,120 Speaker 1: coffee there, and so I'll re route to the village 90 00:04:40,279 --> 00:04:42,640 Speaker 1: to Bleaker Street and get coffee sometimes and then walk 91 00:04:42,680 --> 00:04:45,000 Speaker 1: straight out to the west side and down down the 92 00:04:45,080 --> 00:04:48,520 Speaker 1: Hudson River, you know, and which is beautiful when it's 93 00:04:48,760 --> 00:04:52,160 Speaker 1: I do this rain or shine, no matter how cold 94 00:04:52,240 --> 00:04:55,479 Speaker 1: it is. So I don't suggest that walk in January 95 00:04:55,560 --> 00:04:59,040 Speaker 1: or February. I usually go straight to Chinatown that way, 96 00:04:59,080 --> 00:05:02,359 Speaker 1: which is always of town at eight thirty nine o'clock 97 00:05:02,360 --> 00:05:03,440 Speaker 1: in the Morning's fascinating. 98 00:05:03,520 --> 00:05:05,240 Speaker 2: It always has been. Chinatown's funny. 99 00:05:05,240 --> 00:05:09,520 Speaker 1: Because Little Italy shrank to a block, Chinatown did not, 100 00:05:09,920 --> 00:05:12,680 Speaker 1: and in fact they got some of what used to 101 00:05:12,720 --> 00:05:16,160 Speaker 1: be Little Italy. That community is holding together and it's 102 00:05:16,160 --> 00:05:19,640 Speaker 1: still vibrant, and it's still you'd think you'd gone off 103 00:05:19,680 --> 00:05:20,560 Speaker 1: into another country. 104 00:05:20,560 --> 00:05:22,640 Speaker 2: Every time you cross one of those walks into Chinatown. 105 00:05:22,720 --> 00:05:26,960 Speaker 4: To this day, the amazing part about New York is 106 00:05:26,960 --> 00:05:30,400 Speaker 4: you just lose track of time when you're walking the 107 00:05:30,440 --> 00:05:33,799 Speaker 4: streets and just looking at people and kind of clearing 108 00:05:33,839 --> 00:05:34,279 Speaker 4: your head. 109 00:05:34,800 --> 00:05:35,919 Speaker 2: It used to be that way for me. 110 00:05:35,960 --> 00:05:38,600 Speaker 1: I used to come here to chill out after tourists 111 00:05:38,720 --> 00:05:40,760 Speaker 1: before I lived here, and now I live here, so 112 00:05:40,800 --> 00:05:41,800 Speaker 1: it's a little bit different. 113 00:05:41,839 --> 00:05:42,000 Speaker 3: You know. 114 00:05:42,200 --> 00:05:44,400 Speaker 1: I'm watching the clock a little bit more, you know, 115 00:05:44,440 --> 00:05:46,960 Speaker 1: because I'm know, I live here and work here and 116 00:05:47,480 --> 00:05:49,080 Speaker 1: get my kid to school, and I come back and 117 00:05:49,160 --> 00:05:51,080 Speaker 1: I just hammer trying to get something done before you 118 00:05:51,120 --> 00:05:52,640 Speaker 1: gets out of school and be after you like every 119 00:05:52,640 --> 00:05:53,839 Speaker 1: other single parent in the world. 120 00:05:54,720 --> 00:05:56,680 Speaker 4: So we're going to talk about you going out on 121 00:05:56,720 --> 00:06:01,920 Speaker 4: your long run of a tour. We'll touch on that, 122 00:06:02,040 --> 00:06:07,520 Speaker 4: but I wanted to mention something Charlie Reid from the Proclaimers. 123 00:06:08,800 --> 00:06:14,039 Speaker 4: He says that your album Guitar Town was at this 124 00:06:14,200 --> 00:06:15,800 Speaker 4: time when he said it, he said it was the 125 00:06:15,839 --> 00:06:18,960 Speaker 4: best record of the nineteen eighties in his opinion. 126 00:06:19,720 --> 00:06:22,400 Speaker 1: Well, they ended up recording you know, mile Friend the Blues, 127 00:06:22,440 --> 00:06:26,000 Speaker 1: which was from that record, and then that ended. My 128 00:06:26,120 --> 00:06:27,719 Speaker 1: luck was on the record of Theirs that sort of 129 00:06:27,720 --> 00:06:30,440 Speaker 1: found a new life after they had a hit from it. 130 00:06:30,520 --> 00:06:34,080 Speaker 1: You know that was on Sunshine and Leath and it's funny. 131 00:06:34,120 --> 00:06:35,320 Speaker 2: And Craig's daughter. 132 00:06:37,160 --> 00:06:39,600 Speaker 1: Like it showed up at my songwriting camp when here 133 00:06:39,600 --> 00:06:43,720 Speaker 1: when she was eighteen years old, and she's like, you know, 134 00:06:43,839 --> 00:06:46,400 Speaker 1: she's really, really, really good. And I'm knowne those guys 135 00:06:46,440 --> 00:06:49,680 Speaker 1: a long time and I appreciate that. But I was 136 00:06:49,760 --> 00:06:51,279 Speaker 1: a big fan of theirs from record one. 137 00:06:52,080 --> 00:06:56,640 Speaker 4: What was the Guitar Town session? Like the whole creation 138 00:06:56,800 --> 00:06:59,360 Speaker 4: of that? What can you tell us about it? 139 00:06:59,360 --> 00:07:01,640 Speaker 1: It was weird because I was I've been to Nashville 140 00:07:01,680 --> 00:07:05,000 Speaker 1: for thirteen years or twelve years, but when we started it, 141 00:07:05,600 --> 00:07:08,120 Speaker 1: I'd had one record deal that I got just by default. 142 00:07:08,240 --> 00:07:11,480 Speaker 1: I tried to get a record deal for years, and 143 00:07:11,560 --> 00:07:13,560 Speaker 1: I just missed. I was sort of a baby and 144 00:07:13,680 --> 00:07:15,360 Speaker 1: what they you know, what people think of as the 145 00:07:15,400 --> 00:07:18,680 Speaker 1: outlaw movement, and then you know, the record deals kind 146 00:07:18,680 --> 00:07:20,800 Speaker 1: of dried up pretty quickly on that. You know, they 147 00:07:21,360 --> 00:07:24,960 Speaker 1: wanted to control again, and so I remember I just 148 00:07:25,080 --> 00:07:28,160 Speaker 1: wasn't good enough. But you know, there's some songs I 149 00:07:28,160 --> 00:07:29,840 Speaker 1: still played that were written back then. That's part of 150 00:07:29,840 --> 00:07:33,400 Speaker 1: the point of this tour. But you know, by the 151 00:07:33,480 --> 00:07:35,840 Speaker 1: time I'd been through a couple of publishers. I'd been 152 00:07:35,880 --> 00:07:37,920 Speaker 1: on Epic Records for a minute. I had a three 153 00:07:37,920 --> 00:07:40,119 Speaker 1: piece rockabilly band, and that finally got me a record 154 00:07:40,120 --> 00:07:42,240 Speaker 1: deal of all things. And I didn't think that I 155 00:07:42,280 --> 00:07:43,720 Speaker 1: would be doing that for the rest of my life, 156 00:07:43,760 --> 00:07:46,240 Speaker 1: but it was sort of fun. And the first time 157 00:07:46,280 --> 00:07:48,280 Speaker 1: I ever played electric guitar was in my late twenties 158 00:07:48,280 --> 00:07:52,440 Speaker 1: when I had that band, and then those those singles 159 00:07:52,480 --> 00:07:55,000 Speaker 1: we released and Epic didn't work, so they dropped me, 160 00:07:55,640 --> 00:07:57,760 Speaker 1: and then I signed to a publishing company that belonged 161 00:07:57,760 --> 00:08:00,080 Speaker 1: to the Oakreage Boys called Silver Line goal Line a 162 00:08:00,120 --> 00:08:02,520 Speaker 1: gentleman named Noel Fox who had been the bass singer 163 00:08:02,600 --> 00:08:04,560 Speaker 1: the Oaks back when they were really when they were 164 00:08:04,560 --> 00:08:08,800 Speaker 1: a gospel group before they went secular, and Noah was 165 00:08:08,840 --> 00:08:11,640 Speaker 1: a song guy, and he just told me i'd been 166 00:08:11,680 --> 00:08:14,120 Speaker 1: you know, when Justin was born. I started panicking trying 167 00:08:14,120 --> 00:08:15,800 Speaker 1: to write songs I could get cut and I had 168 00:08:16,640 --> 00:08:19,200 Speaker 1: very marginal success with that. A few people covered my songs, 169 00:08:19,200 --> 00:08:22,240 Speaker 1: but not very many, not enough for to really, you know, 170 00:08:22,800 --> 00:08:26,280 Speaker 1: turn into a career. And none of us, my crowd 171 00:08:26,320 --> 00:08:28,120 Speaker 1: of people went there to be staff writers for the 172 00:08:28,120 --> 00:08:28,840 Speaker 1: rest of our lives. 173 00:08:28,880 --> 00:08:32,520 Speaker 2: We were singer songwriters. We wanted record deals, and Noel 174 00:08:32,559 --> 00:08:34,800 Speaker 2: believed in me. He told me to go write a record. 175 00:08:34,840 --> 00:08:37,120 Speaker 1: I went out and saw Bruce Springsteen and the East 176 00:08:37,120 --> 00:08:40,160 Speaker 1: Street Man on the Born in the USA tour. He 177 00:08:40,240 --> 00:08:42,400 Speaker 1: came out and opened with Born in the USA. I 178 00:08:42,440 --> 00:08:45,240 Speaker 1: went home and wrote Guitar Town and started writing an album. 179 00:08:45,880 --> 00:08:48,200 Speaker 1: And there was only one song that wasn't written in 180 00:08:48,280 --> 00:08:52,840 Speaker 1: that few months before we actually recorded Guitar Town that 181 00:08:52,920 --> 00:08:54,920 Speaker 1: I took from it a couple of years earlier, and 182 00:08:54,920 --> 00:08:57,200 Speaker 1: I played it with a rockabilly man that was Fearless Heart. 183 00:08:57,679 --> 00:08:58,920 Speaker 2: I thought it was just such a good song and 184 00:08:58,920 --> 00:09:00,719 Speaker 2: didn't want to leave it behind, and it wasn't that. 185 00:09:00,760 --> 00:09:02,880 Speaker 1: But I didn't go back for any of the songs 186 00:09:03,400 --> 00:09:05,920 Speaker 1: that I'd written over, you know, the twelve or thirteen 187 00:09:06,000 --> 00:09:08,400 Speaker 1: years before I got there. I did record some of 188 00:09:08,440 --> 00:09:11,400 Speaker 1: those songs later on training, coming after I got out 189 00:09:11,440 --> 00:09:13,000 Speaker 1: of jail, I recorded a few of those songs, and 190 00:09:13,000 --> 00:09:14,600 Speaker 1: those are the ones that you're going to hear on 191 00:09:14,679 --> 00:09:16,560 Speaker 1: the tour this year. Those are the older songs that 192 00:09:16,600 --> 00:09:19,920 Speaker 1: I that I still play. But it was the sessions where, 193 00:09:20,720 --> 00:09:25,199 Speaker 1: you know, they were pretty disciplined. We were doing different 194 00:09:25,240 --> 00:09:27,559 Speaker 1: than Nashville was doing. When I first got there. They 195 00:09:27,600 --> 00:09:30,439 Speaker 1: catered and they did everybody just stayed in the studio 196 00:09:30,520 --> 00:09:34,960 Speaker 1: at eight there, and we didn't We worked, you know, 197 00:09:35,000 --> 00:09:37,080 Speaker 1: at least two sessions a day, you know. We worked 198 00:09:37,080 --> 00:09:40,400 Speaker 1: from you know, usually noon or so till pretty late, 199 00:09:40,480 --> 00:09:43,920 Speaker 1: and once the tracks were done, we work even later. Sometimes. 200 00:09:43,920 --> 00:09:46,040 Speaker 1: It was just one of those things. It's one thing 201 00:09:46,080 --> 00:09:48,520 Speaker 1: I don't do anymore. I'm standing recording studio show two 202 00:09:48,600 --> 00:09:51,960 Speaker 1: or three o'clock in the morning anymore. But you know, 203 00:09:52,040 --> 00:09:54,920 Speaker 1: we discovered I think when you're younger, you think it's 204 00:09:55,400 --> 00:09:57,199 Speaker 1: you know, you finally turn out later that you throw 205 00:09:57,200 --> 00:09:58,719 Speaker 1: away most of the stuff that you do when you're 206 00:09:58,760 --> 00:09:59,720 Speaker 1: too tired anyway. 207 00:09:59,800 --> 00:10:01,200 Speaker 2: So it's one of those things. 208 00:10:01,360 --> 00:10:03,199 Speaker 1: But the best stuff gets done of the first couple 209 00:10:03,200 --> 00:10:04,920 Speaker 1: of takes, in the first couple of hours. 210 00:10:05,720 --> 00:10:07,640 Speaker 4: Did you ever do any work in your time in 211 00:10:07,720 --> 00:10:12,000 Speaker 4: Nashville at the infamous Quantcet Hut studios? 212 00:10:12,400 --> 00:10:15,920 Speaker 2: No, I never recorded there. It's the conset Hut. 213 00:10:16,000 --> 00:10:19,880 Speaker 1: You can still see the shape of the Quantset Hut itself, 214 00:10:20,000 --> 00:10:21,720 Speaker 1: you know, a conset hut for people that don't know 215 00:10:21,840 --> 00:10:24,679 Speaker 1: is if you've ever seen gum er pile, you know 216 00:10:24,840 --> 00:10:28,240 Speaker 1: those those structures that they that they used for barracks 217 00:10:28,240 --> 00:10:31,160 Speaker 1: in that marine camp. The quantset that was invented is 218 00:10:31,200 --> 00:10:35,240 Speaker 1: a is a I guess by within the military to 219 00:10:35,320 --> 00:10:37,760 Speaker 1: be a structure that could be thrown up quickly. But 220 00:10:37,920 --> 00:10:41,480 Speaker 1: was what was was really sound set up to wind 221 00:10:42,040 --> 00:10:43,679 Speaker 1: sit up to other things, you. 222 00:10:43,640 --> 00:10:44,240 Speaker 2: Know pretty well. 223 00:10:44,240 --> 00:10:46,960 Speaker 1: And it was basically Owen Bradley got the idea. There's 224 00:10:46,960 --> 00:10:49,080 Speaker 1: a sort of a theory in studios that you don't 225 00:10:49,080 --> 00:10:51,319 Speaker 1: want parallel walls to close to each other because it's 226 00:10:51,440 --> 00:10:54,080 Speaker 1: what they call a standing wave. And the quantset has 227 00:10:54,160 --> 00:10:58,240 Speaker 1: one long curved wall to ceiling, you know, just like 228 00:10:58,280 --> 00:11:01,680 Speaker 1: a tunnel, and and so there are no parallel surfaces 229 00:11:01,760 --> 00:11:02,920 Speaker 1: unless you put some in it. 230 00:11:03,080 --> 00:11:03,880 Speaker 2: So that was the idea. 231 00:11:03,880 --> 00:11:05,840 Speaker 1: He thought it would make a perfect recording studio, and 232 00:11:06,400 --> 00:11:09,120 Speaker 1: so he bought one, put it on music Row and 233 00:11:09,160 --> 00:11:11,560 Speaker 1: built a recording studio in it, and then he sold 234 00:11:11,600 --> 00:11:16,160 Speaker 1: that to Columbia Records and they built their building around it. 235 00:11:16,200 --> 00:11:19,040 Speaker 1: And I can show people you can drive past the 236 00:11:19,080 --> 00:11:21,760 Speaker 1: Sunny building now in the back and you can still 237 00:11:21,800 --> 00:11:25,680 Speaker 1: see the crack where two buildings are, you know, sort 238 00:11:25,679 --> 00:11:29,199 Speaker 1: of together there an annex. You can see the curve 239 00:11:29,280 --> 00:11:31,480 Speaker 1: at the top of the quantset in between them and I, 240 00:11:31,520 --> 00:11:33,400 Speaker 1: because it's sort of it's sort of what connects the 241 00:11:33,440 --> 00:11:36,520 Speaker 1: two that long ago got turned into offices. It was 242 00:11:36,559 --> 00:11:38,280 Speaker 1: still a recording studio when I got there. 243 00:11:38,840 --> 00:11:39,800 Speaker 2: Billy Cheryl was in. 244 00:11:39,880 --> 00:11:42,040 Speaker 1: Sconce there and was still recording there when I got 245 00:11:42,080 --> 00:11:44,600 Speaker 1: there in nineteen seventy five, but I never got to 246 00:11:44,640 --> 00:11:45,520 Speaker 1: record there myself. 247 00:11:46,679 --> 00:11:51,680 Speaker 4: As an obvious student of the greats of Nashville, how 248 00:11:51,720 --> 00:11:54,360 Speaker 4: does a song such as I Saw the Light by 249 00:11:54,880 --> 00:11:58,679 Speaker 4: Hank Williams make an influence on somebody like you? 250 00:12:00,000 --> 00:12:00,400 Speaker 2: I don't know. 251 00:12:00,440 --> 00:12:04,800 Speaker 1: I think there's gospel songs like that. First personally I 252 00:12:04,880 --> 00:12:08,720 Speaker 1: knew that wrote gospel songs was Towns Fanzant and which 253 00:12:08,800 --> 00:12:11,640 Speaker 1: was seemed, you know his reputation, it seemed in Congress. 254 00:12:11,640 --> 00:12:13,319 Speaker 1: He wrote one called two Hands, which was a very 255 00:12:13,320 --> 00:12:16,679 Speaker 1: traditional tempo gospel song, and one called when He Offers 256 00:12:16,720 --> 00:12:19,880 Speaker 1: His Hand. They're both on the same album, and you 257 00:12:19,920 --> 00:12:23,000 Speaker 1: know he write them for his mother's That's that's why 258 00:12:23,280 --> 00:12:26,280 Speaker 1: why he did it. I've written a couple I've written 259 00:12:26,440 --> 00:12:29,080 Speaker 1: I've written one Christmas song. It's not really a gospel sung, 260 00:12:29,120 --> 00:12:31,680 Speaker 1: but it is a Christmas story that does have to 261 00:12:31,720 --> 00:12:34,560 Speaker 1: do with what Christmas is about. It's called Nothing but 262 00:12:34,640 --> 00:12:39,000 Speaker 1: a Child, and I wrote I've got a gospel song 263 00:12:40,080 --> 00:12:42,760 Speaker 1: that I'm pretty proud of that's actually called Tender Mercies. 264 00:12:42,760 --> 00:12:45,880 Speaker 1: That's in this musical of Tender Mercies that I'm that 265 00:12:45,920 --> 00:12:47,000 Speaker 1: I'm working on right now. 266 00:12:47,520 --> 00:12:48,400 Speaker 2: It's just one of those things. 267 00:12:48,440 --> 00:12:51,840 Speaker 1: Gospel music was always such an integral part of country music. 268 00:12:52,480 --> 00:12:54,839 Speaker 1: There was always a gospel song in every country show, 269 00:12:55,080 --> 00:12:58,439 Speaker 1: and so it got ingrained and you know, why me, lord, 270 00:12:58,559 --> 00:13:01,480 Speaker 1: that's still one of my one of my favorite, you know, 271 00:13:01,760 --> 00:13:04,360 Speaker 1: and that's you would call that a sacred song or 272 00:13:04,400 --> 00:13:09,960 Speaker 1: a spiritual song. Gospel is actually and I know way 273 00:13:10,040 --> 00:13:12,720 Speaker 1: too much about gospel when it comes down to because 274 00:13:12,720 --> 00:13:14,680 Speaker 1: the roochs of rock and roll are also found there. 275 00:13:14,720 --> 00:13:16,719 Speaker 1: And I wrote for a company that belonged to the 276 00:13:16,800 --> 00:13:19,120 Speaker 1: Ukrage Boys, and I've learned the history of all that 277 00:13:19,920 --> 00:13:22,240 Speaker 1: from them, at least from the white gospel side, and 278 00:13:22,640 --> 00:13:26,400 Speaker 1: that's connected to the black gospel side. And you know, 279 00:13:26,440 --> 00:13:28,320 Speaker 1: I knew other people in Nashville that were involved in 280 00:13:28,320 --> 00:13:30,560 Speaker 1: that kind of gospel music and it always fascinated me. 281 00:13:31,880 --> 00:13:36,880 Speaker 4: So I was programming rock stations when Copperhead Road came 282 00:13:36,920 --> 00:13:41,440 Speaker 4: out right, and it really was super cool how it 283 00:13:42,480 --> 00:13:45,800 Speaker 4: stood in between a Rolling Stone song and a Jimmy 284 00:13:45,880 --> 00:13:51,720 Speaker 4: Hendrick song and really really worked fabulously. We absolutely loved 285 00:13:51,720 --> 00:13:55,360 Speaker 4: that when that came out, and still love it. Can 286 00:13:55,400 --> 00:13:58,120 Speaker 4: you take us back to that time with the creation 287 00:13:58,240 --> 00:13:59,920 Speaker 4: of that certainly great produce. 288 00:14:00,920 --> 00:14:03,760 Speaker 1: I started out, you know, when I made Guitar Town, 289 00:14:03,800 --> 00:14:06,800 Speaker 1: I wanted to make credible country records and I never 290 00:14:06,880 --> 00:14:09,160 Speaker 1: saw that much difference between country and rock and roll, 291 00:14:09,280 --> 00:14:14,400 Speaker 1: not the good stuff anyway, So Guitar Town and Exit 292 00:14:14,440 --> 00:14:16,600 Speaker 1: of Zero, I was definitely trying to do that. By 293 00:14:16,640 --> 00:14:19,240 Speaker 1: the time Egit of Zero came along, Guitar Town was 294 00:14:19,280 --> 00:14:23,640 Speaker 1: more successful, almost a little too successful, according to Jimmy Bowen, 295 00:14:23,680 --> 00:14:27,320 Speaker 1: who ran who ran MCA Nashville at the time, and 296 00:14:27,400 --> 00:14:32,840 Speaker 1: Bowen basically Emmy Gordey and and Tony Brown decided they 297 00:14:32,840 --> 00:14:35,280 Speaker 1: wanted to sign me. I'd worked with Emery on the 298 00:14:35,320 --> 00:14:37,720 Speaker 1: when I was on Epic. He produced the stuff that 299 00:14:37,800 --> 00:14:42,280 Speaker 1: I did there, and they he hired Bowen had hired 300 00:14:42,320 --> 00:14:45,120 Speaker 1: for his division, which was which was autonomous. He ran 301 00:14:45,200 --> 00:14:49,440 Speaker 1: that separately from the rest of MCA Records, and he's 302 00:14:49,080 --> 00:14:53,760 Speaker 1: he basically he hired Emmy Gordy, Tony Brown, and David 303 00:14:53,840 --> 00:14:56,440 Speaker 1: Hungate as A and R people, and David hung Gate 304 00:14:56,480 --> 00:15:00,120 Speaker 1: was the base original bass player in Toto, and they 305 00:15:00,840 --> 00:15:04,080 Speaker 1: and told them, you know, okay, you're hired, Now go 306 00:15:04,120 --> 00:15:05,920 Speaker 1: out and sign hereever you want to. And Tony and 307 00:15:05,920 --> 00:15:07,720 Speaker 1: Emory said, we want to sign Steve Earl, and he said, 308 00:15:07,760 --> 00:15:11,640 Speaker 1: anybody but Steve Earl because he knew me because the 309 00:15:11,680 --> 00:15:14,600 Speaker 1: rockabilly record I made. And he hated that because he 310 00:15:14,680 --> 00:15:18,400 Speaker 1: kind of came from it. And I don't know what 311 00:15:18,480 --> 00:15:20,080 Speaker 1: that's about, but I know he did come from that. 312 00:15:20,440 --> 00:15:23,800 Speaker 1: Buddy Knox and he were partners and recorded together and 313 00:15:23,880 --> 00:15:28,040 Speaker 1: Party Doll the A side, well, they was shipped as 314 00:15:28,080 --> 00:15:30,520 Speaker 1: a double A, but Party Doll became the hit and 315 00:15:30,560 --> 00:15:33,000 Speaker 1: the other side is the song that Jimmy Bowen sings. 316 00:15:33,120 --> 00:15:36,600 Speaker 1: And so he went on to be a really successful 317 00:15:36,600 --> 00:15:39,640 Speaker 1: producer in LA and a part of that whole Oklahoma 318 00:15:39,800 --> 00:15:43,120 Speaker 1: you know, migration to the West Coast that created a 319 00:15:43,160 --> 00:15:45,520 Speaker 1: lot of great music. But he ended up in Nashville 320 00:15:45,640 --> 00:15:47,920 Speaker 1: running MCA, and he just did not like me, did 321 00:15:48,360 --> 00:15:49,920 Speaker 1: like my voice, and did not want me on. 322 00:15:49,880 --> 00:15:51,680 Speaker 2: This record label, Guitar Town. 323 00:15:51,840 --> 00:15:53,720 Speaker 1: He let them go ahead and do it because he 324 00:15:53,920 --> 00:15:55,840 Speaker 1: told them that they could sign anybody that they wanted to, 325 00:15:55,960 --> 00:15:57,720 Speaker 1: but I had to go. I had to go prove 326 00:15:57,760 --> 00:15:59,040 Speaker 1: to him that I could sing. I had to go 327 00:15:59,080 --> 00:16:02,240 Speaker 1: make a special demo. I did it, and then so 328 00:16:02,560 --> 00:16:05,440 Speaker 1: he gradually let him sign me. We made the record. 329 00:16:06,240 --> 00:16:09,880 Speaker 1: We put out one single that got into the thirties, 330 00:16:10,440 --> 00:16:13,240 Speaker 1: which was Hillbilly Highway, and the guitar town just sort 331 00:16:13,240 --> 00:16:16,200 Speaker 1: of exploded and radio stations jumped all over it, and 332 00:16:16,240 --> 00:16:17,920 Speaker 1: they even tried to pull the plug on it at 333 00:16:17,960 --> 00:16:20,560 Speaker 1: one point because they had a McIntire record they were trying. 334 00:16:20,400 --> 00:16:21,920 Speaker 2: To get added, and you how that works. 335 00:16:22,320 --> 00:16:25,320 Speaker 1: Every every label is going to get what they're going 336 00:16:25,400 --> 00:16:27,960 Speaker 1: to get according to whatever their relationship with the with 337 00:16:28,000 --> 00:16:31,560 Speaker 1: the programmer is. And and they were told, no, we're 338 00:16:31,600 --> 00:16:34,240 Speaker 1: getting phones on this. This is an active record here, 339 00:16:34,240 --> 00:16:37,800 Speaker 1: and most of the stations wouldn't drop it, so they 340 00:16:37,920 --> 00:16:40,160 Speaker 1: just that record went on. It became a number one 341 00:16:40,200 --> 00:16:42,600 Speaker 1: country album, and then I made exits. He WoT the 342 00:16:42,600 --> 00:16:45,160 Speaker 1: second record, and you know, there's a lot of sophomore slunt, 343 00:16:45,200 --> 00:16:46,880 Speaker 1: but I don't think that was the case of that record. 344 00:16:46,920 --> 00:16:48,880 Speaker 1: I'm pretty proud of that record. I think it holds 345 00:16:48,920 --> 00:16:50,800 Speaker 1: up there's still a lot of songs on it. I 346 00:16:50,840 --> 00:16:54,600 Speaker 1: sing every night, but I've had people that were working 347 00:16:54,640 --> 00:16:56,240 Speaker 1: there at the time tell me that they were told 348 00:16:56,240 --> 00:16:57,840 Speaker 1: absolutely not to work my record. 349 00:16:58,400 --> 00:17:00,000 Speaker 2: So Copperhead Road. 350 00:16:59,800 --> 00:17:04,000 Speaker 1: Will, I knew that I was dead if I didn't, 351 00:17:04,080 --> 00:17:06,640 Speaker 1: you know, I had a seven you know, album contract. 352 00:17:06,640 --> 00:17:07,919 Speaker 2: I knew I wasn't going to get dropped. 353 00:17:08,320 --> 00:17:11,199 Speaker 1: And I was thirty two by that time, and I just, 354 00:17:11,400 --> 00:17:13,919 Speaker 1: you know, I just knew that I needed to do something. 355 00:17:14,000 --> 00:17:17,840 Speaker 1: So I was in London producing a record and MCA 356 00:17:17,960 --> 00:17:22,240 Speaker 1: had started an imprint that they'd had before called UNI, 357 00:17:22,960 --> 00:17:26,840 Speaker 1: and I Irving asof was running the whole record label 358 00:17:26,880 --> 00:17:29,080 Speaker 1: at the time. And I walked up to Irving at 359 00:17:29,119 --> 00:17:31,520 Speaker 1: a party and said I want to be on UNI. 360 00:17:31,640 --> 00:17:33,879 Speaker 1: He goes, he got this slice and he didn't like 361 00:17:33,880 --> 00:17:34,600 Speaker 1: Bowing very much. 362 00:17:34,640 --> 00:17:37,520 Speaker 2: They didn't get along, but Boem's division made money, so 363 00:17:37,560 --> 00:17:40,320 Speaker 2: he left him alone. And I think I presented a 364 00:17:40,320 --> 00:17:42,680 Speaker 2: way for him to fuck with Bowen. It was part 365 00:17:42,720 --> 00:17:43,320 Speaker 2: of it, you know. 366 00:17:43,440 --> 00:17:46,639 Speaker 1: And I just I said, I said I want to 367 00:17:46,680 --> 00:17:48,320 Speaker 1: be moved to UNI. And he got this look on 368 00:17:48,320 --> 00:17:51,200 Speaker 1: his face. He said, Unie's not for country, Unie's for 369 00:17:51,320 --> 00:17:53,440 Speaker 1: rock and roll, and hip hop, and I said, I'll 370 00:17:53,440 --> 00:17:56,560 Speaker 1: make a rock record, and so I went to Memphis 371 00:17:56,640 --> 00:17:59,320 Speaker 1: to make it. I'm surprised I got to do it. 372 00:17:59,320 --> 00:18:01,280 Speaker 1: I'm surprised they didn't just pull the plug right there. 373 00:18:01,280 --> 00:18:04,399 Speaker 1: I think they could have. I don't you know. I 374 00:18:04,440 --> 00:18:08,040 Speaker 1: barely understood the contract that i'd signed anyway, so I 375 00:18:08,080 --> 00:18:09,919 Speaker 1: know it was seven albums that they wanted it to 376 00:18:09,920 --> 00:18:12,879 Speaker 1: be seven albums, and and and you know one if 377 00:18:12,880 --> 00:18:14,959 Speaker 1: they only wanted it to be one, and they got 378 00:18:15,040 --> 00:18:16,960 Speaker 1: the second one got made, So. 379 00:18:18,520 --> 00:18:20,119 Speaker 2: You know that I went to Memphis. 380 00:18:21,440 --> 00:18:23,520 Speaker 1: There was a rule about the type of recording equipment 381 00:18:23,560 --> 00:18:26,040 Speaker 1: that you had to use because Bowen, because he owned 382 00:18:26,080 --> 00:18:28,320 Speaker 1: all those the machines of that type in Nashville. 383 00:18:28,359 --> 00:18:30,280 Speaker 2: That was part of it, but. 384 00:18:29,720 --> 00:18:31,919 Speaker 1: But it was it was supposed to be about sound quality. 385 00:18:32,160 --> 00:18:34,600 Speaker 1: But they had the same equipment that arted in Memphis. 386 00:18:35,000 --> 00:18:38,320 Speaker 1: And I knew that because I was I was dating 387 00:18:38,359 --> 00:18:40,520 Speaker 1: and getting ready to marry an A and R person 388 00:18:40,560 --> 00:18:42,560 Speaker 1: at the time, and she had made some records over there, 389 00:18:42,560 --> 00:18:44,359 Speaker 1: and I'd been over there with her. So I decided 390 00:18:44,400 --> 00:18:46,800 Speaker 1: I wanted to go to Arden and make Copper. It's 391 00:18:46,840 --> 00:18:50,840 Speaker 1: the studio that that the Zzy Top records were made there. 392 00:18:50,920 --> 00:18:54,199 Speaker 1: Parts of led Zeppelin three were made there. It was 393 00:18:54,720 --> 00:18:57,760 Speaker 1: still open a very very famous recording studio Memphis. So 394 00:18:57,800 --> 00:19:00,720 Speaker 1: I went to Memphis, made Copper Hit Road to be 395 00:19:00,960 --> 00:19:03,399 Speaker 1: a rock record and and and we got played at 396 00:19:03,440 --> 00:19:05,840 Speaker 1: rock radio someplace. There were some places that just still 397 00:19:05,840 --> 00:19:08,639 Speaker 1: thought it was two country, you know, and up north. 398 00:19:08,720 --> 00:19:12,639 Speaker 1: And I already had a pretty good thing going at 399 00:19:13,680 --> 00:19:15,199 Speaker 1: h And one of the reasons that I did what 400 00:19:15,280 --> 00:19:17,960 Speaker 1: I did is even on Guitar Town and especially on 401 00:19:18,040 --> 00:19:22,600 Speaker 1: EGSIT zero w XRT in Chicago were sort of unknowingly 402 00:19:22,720 --> 00:19:25,240 Speaker 1: inventing a radio format at the time because it got 403 00:19:25,280 --> 00:19:27,920 Speaker 1: so wide open and it became you know, the tripa 404 00:19:28,040 --> 00:19:32,160 Speaker 1: a format, you know, and and adult album alternative whatever. 405 00:19:32,200 --> 00:19:35,040 Speaker 2: Well, whatever order you put those words in, it's that's 406 00:19:35,080 --> 00:19:37,760 Speaker 2: three words. I never can't remember what order it goes in, 407 00:19:38,800 --> 00:19:39,000 Speaker 2: you know. 408 00:19:39,160 --> 00:19:43,000 Speaker 1: It was a XRT, you know, convinced me that there 409 00:19:43,000 --> 00:19:44,680 Speaker 1: was an audience out there, and I knew I needed 410 00:19:44,680 --> 00:19:48,720 Speaker 1: to stay on the road. Luckily, my publishing deal ran 411 00:19:48,760 --> 00:19:52,119 Speaker 1: out right as Guitar Town was number one, so they 412 00:19:52,160 --> 00:19:53,919 Speaker 1: had to re sign me on a better deal. So 413 00:19:54,040 --> 00:19:55,920 Speaker 1: I got a big enough publishing deal that I could 414 00:19:55,960 --> 00:19:58,360 Speaker 1: live on it and I just put the money from 415 00:19:58,359 --> 00:20:00,960 Speaker 1: the road into the bus and paying the band and 416 00:20:01,080 --> 00:20:02,000 Speaker 1: stayed on the road. 417 00:20:02,720 --> 00:20:05,520 Speaker 2: And uh, I had a career from that point. 418 00:20:05,880 --> 00:20:08,080 Speaker 3: We'll be right back with more of the Taken a 419 00:20:08,080 --> 00:20:16,320 Speaker 3: Walk Podcast. Welcome back to the Taking a Walk Podcast. 420 00:20:17,000 --> 00:20:19,760 Speaker 4: Is there a genre you haven't touched yet that you 421 00:20:19,800 --> 00:20:22,320 Speaker 4: would consider touching in the future. 422 00:20:22,880 --> 00:20:23,240 Speaker 3: Jazz? 423 00:20:23,280 --> 00:20:24,880 Speaker 1: I guess because a friend of mine told me after 424 00:20:24,920 --> 00:20:28,119 Speaker 1: I've made a bluegrass record. He's his mother started the 425 00:20:28,160 --> 00:20:33,359 Speaker 1: station in in Nashville. He's like, he's in some really 426 00:20:33,359 --> 00:20:36,160 Speaker 1: good I guess they would call alternative bands that were around, 427 00:20:36,200 --> 00:20:38,920 Speaker 1: you know, and and uh and he but his grandfather's 428 00:20:39,720 --> 00:20:43,040 Speaker 1: was Woody Hermann. And he told me that he grew 429 00:20:43,080 --> 00:20:45,800 Speaker 1: up being a bandboy with his with with his dad 430 00:20:45,800 --> 00:20:49,280 Speaker 1: and he he just I mean, with his granddad. And 431 00:20:49,320 --> 00:20:51,760 Speaker 1: he just said, we have you can probably make any 432 00:20:51,800 --> 00:20:52,760 Speaker 1: kind of record you want. 433 00:20:52,640 --> 00:20:54,919 Speaker 2: To steps a jazz record. Don't ever try to make 434 00:20:54,920 --> 00:20:55,879 Speaker 2: a jazz record. 435 00:20:55,640 --> 00:20:57,680 Speaker 1: That kind of I took that as a double dog there, 436 00:20:57,680 --> 00:20:59,359 Speaker 1: and so I have thought about it a few times. 437 00:21:01,480 --> 00:21:02,040 Speaker 2: I love that. 438 00:21:02,040 --> 00:21:06,560 Speaker 4: That's fantastic. Any jazz players in particular that that you admire. 439 00:21:06,920 --> 00:21:10,600 Speaker 1: Pretty old passion, you know, like hard bop and and 440 00:21:10,600 --> 00:21:13,119 Speaker 1: and I love Woody Herman, and I love Stan Kenton 441 00:21:13,240 --> 00:21:14,560 Speaker 1: and that kind of big band jazz. 442 00:21:14,600 --> 00:21:16,119 Speaker 2: It's I mean, it's really jazz. 443 00:21:16,160 --> 00:21:21,199 Speaker 1: And and I love Birth of the Cools probably my 444 00:21:21,320 --> 00:21:23,919 Speaker 1: favorite jazz album, which is Miles and that you know 445 00:21:24,040 --> 00:21:28,080 Speaker 1: that that well relatively large band, you know, and that's 446 00:21:28,160 --> 00:21:30,000 Speaker 1: that's a really really great record. But I like, I 447 00:21:30,080 --> 00:21:33,399 Speaker 1: like piano players are kind of, you know, more than 448 00:21:33,600 --> 00:21:35,720 Speaker 1: almost anything else. I mean, I love I love Bird 449 00:21:35,760 --> 00:21:38,080 Speaker 1: and I love I love Filonia s Mont. But I'm 450 00:21:38,160 --> 00:21:42,399 Speaker 1: kind of, you know, just Bud Poalell. That's I listened 451 00:21:42,400 --> 00:21:43,480 Speaker 1: to a lot of Bud Powell. 452 00:21:44,240 --> 00:21:49,920 Speaker 4: Have you checked out the Lewis Armstrong Museum there in Corona, Queens. 453 00:21:50,320 --> 00:21:51,840 Speaker 1: I've never been out there, and I need to go 454 00:21:51,880 --> 00:21:54,080 Speaker 1: out there because I love all that stuff there, you know, 455 00:21:54,560 --> 00:21:56,280 Speaker 1: the early Lily Armstrong stuff. 456 00:21:56,280 --> 00:21:57,520 Speaker 2: And I got I got. 457 00:21:57,359 --> 00:22:01,960 Speaker 1: Obsessed because of a great book Michael Lodace wrote, Coming 458 00:22:01,960 --> 00:22:05,639 Speaker 1: through Slaughter with the whole legend of Buddy Bolden because 459 00:22:05,640 --> 00:22:07,880 Speaker 1: we never really heard him play in his prime because 460 00:22:07,880 --> 00:22:10,480 Speaker 1: they weren't making records when he was younger, and then 461 00:22:10,520 --> 00:22:13,600 Speaker 1: he basically had mental health issues. I mean, he lived 462 00:22:13,600 --> 00:22:16,720 Speaker 1: into the forties, but he he never was quite right 463 00:22:16,760 --> 00:22:18,639 Speaker 1: when they when they when there was really a market 464 00:22:18,680 --> 00:22:20,400 Speaker 1: for jazz, and he could have gotten a record deal. 465 00:22:20,440 --> 00:22:23,960 Speaker 1: But but but according to Louis Armstrong and everybody else 466 00:22:24,000 --> 00:22:26,520 Speaker 1: that was around, you are hearing Buddy Bolden if you 467 00:22:26,560 --> 00:22:29,760 Speaker 1: hear Louis Armstrong early on, and a lot of almost 468 00:22:29,800 --> 00:22:31,720 Speaker 1: anybody else in town. He was the trump He was 469 00:22:31,760 --> 00:22:33,800 Speaker 1: a cornet player. He never owned a trumpet. 470 00:22:34,280 --> 00:22:38,000 Speaker 4: The museum is cool, but the house is incredible. It's 471 00:22:38,040 --> 00:22:42,240 Speaker 4: got some great archival sound there and everything as you 472 00:22:42,280 --> 00:22:42,840 Speaker 4: walk through. 473 00:22:43,640 --> 00:22:45,719 Speaker 2: You know, in New Orleans where I spent a lot 474 00:22:45,720 --> 00:22:46,440 Speaker 2: of time in New Orleans. 475 00:22:46,480 --> 00:22:48,879 Speaker 1: I was on a television show called Tremet and it 476 00:22:48,960 --> 00:22:51,399 Speaker 1: was about you know, New Orleans after the you know, 477 00:22:51,480 --> 00:22:55,120 Speaker 1: just characters in New Orleans after after the storm. Most 478 00:22:55,160 --> 00:22:58,200 Speaker 1: of the musicians. I played the street musician. But there's 479 00:22:58,720 --> 00:23:01,880 Speaker 1: there's a guy there, but I can't remember his name. 480 00:23:01,920 --> 00:23:05,440 Speaker 1: But he he collected a lot of jazz memobilia. He's 481 00:23:05,640 --> 00:23:09,280 Speaker 1: he's an academic. He teaches, he teaches that stuff, you know, 482 00:23:09,320 --> 00:23:12,840 Speaker 1: that kind of neurons culture. But he owned Louis Armstrong's 483 00:23:12,880 --> 00:23:16,840 Speaker 1: first cornett wow and it ended up and that water. 484 00:23:16,760 --> 00:23:19,480 Speaker 2: Was so toxic, was so caustic. 485 00:23:19,359 --> 00:23:22,280 Speaker 1: That flooded his house got flooded, and they opened the 486 00:23:22,320 --> 00:23:24,560 Speaker 1: case and it just fell apart. It left only the 487 00:23:24,560 --> 00:23:27,280 Speaker 1: steel parts, the valves, the hardened parts of all the 488 00:23:27,320 --> 00:23:28,639 Speaker 1: brass parts dissolved. 489 00:23:28,840 --> 00:23:32,040 Speaker 2: That's how caustic that water was. It was in the streets. 490 00:23:32,280 --> 00:23:35,680 Speaker 1: That's why all those trees along those boulevards going out, 491 00:23:35,800 --> 00:23:38,560 Speaker 1: you know, back towards the river, you know, back towards 492 00:23:38,600 --> 00:23:40,560 Speaker 1: the you know, the levees in the back. That's why 493 00:23:40,680 --> 00:23:43,760 Speaker 1: all those trees died, all those big magnelio's, all that 494 00:23:43,760 --> 00:23:44,119 Speaker 1: stuff that. 495 00:23:44,359 --> 00:23:48,960 Speaker 4: Oh, I didn't know that. God, bluegrass is important to you, 496 00:23:49,400 --> 00:23:53,480 Speaker 4: and I think it's an interesting time with some of 497 00:23:53,520 --> 00:23:57,480 Speaker 4: these newer creators that have come on the horizon. I 498 00:23:57,520 --> 00:23:58,680 Speaker 4: wonder it's great. 499 00:23:58,800 --> 00:24:00,720 Speaker 2: It's the biggest it's ever men and. 500 00:24:00,880 --> 00:24:04,920 Speaker 4: The Sierra Halls and the you know those. 501 00:24:04,720 --> 00:24:07,639 Speaker 1: Strings you know, sells out multiple nights at Red Rocks 502 00:24:07,680 --> 00:24:12,119 Speaker 1: and and plays arenas, and and yeah, I don't you know, 503 00:24:12,160 --> 00:24:14,920 Speaker 1: and I've watched all that stuff, and I just I did. Actually, 504 00:24:15,920 --> 00:24:18,760 Speaker 1: Molly Tuttle's band backs me up along with Molly at 505 00:24:18,800 --> 00:24:21,280 Speaker 1: Harley Strictly Bluegrass last year and it was a blast. 506 00:24:21,840 --> 00:24:22,440 Speaker 2: I'm all for it. 507 00:24:22,480 --> 00:24:26,280 Speaker 1: I'm I'm I'm gonna do. I've done some few bluegrass gigs. 508 00:24:26,280 --> 00:24:28,320 Speaker 1: I played with Molly at Harley Strictly last year, the 509 00:24:28,359 --> 00:24:29,000 Speaker 1: Outlaw Cruise. 510 00:24:29,040 --> 00:24:32,080 Speaker 2: This last year, the Earls of Leicester backed me up 511 00:24:32,080 --> 00:24:33,160 Speaker 2: for one show, which. 512 00:24:32,920 --> 00:24:36,159 Speaker 1: Is That's That's you know, it's one of those things 513 00:24:36,160 --> 00:24:38,919 Speaker 1: that that it's a it's a flatten Strudge, you know, 514 00:24:39,040 --> 00:24:42,440 Speaker 1: tribute band that Jerry Douglas put together, and Sean Campsen, 515 00:24:42,600 --> 00:24:44,359 Speaker 1: who's one of the best musicians I know, pound for 516 00:24:44,440 --> 00:24:45,879 Speaker 1: pound in that whole town. 517 00:24:45,680 --> 00:24:47,720 Speaker 2: And and a lot of great players in it. It 518 00:24:47,760 --> 00:24:49,720 Speaker 2: was a blast. It was real, live, holding on for 519 00:24:49,800 --> 00:24:52,760 Speaker 2: dear life, adult bluegrass. It was fun. 520 00:24:53,119 --> 00:24:56,040 Speaker 4: Is there a thing you have to reconcile as far 521 00:24:56,080 --> 00:24:59,920 Speaker 4: as the improvisation of bluegrass versus the you know, other 522 00:25:00,200 --> 00:25:04,280 Speaker 4: forms that don't I don't know, embrace improvisation. 523 00:25:05,000 --> 00:25:07,760 Speaker 1: I'm if you played according to Monroe, then the lead 524 00:25:07,800 --> 00:25:11,240 Speaker 1: singer is a guitar player, and guitar players and monros 525 00:25:11,280 --> 00:25:13,600 Speaker 1: bands never saw loads, so I get off light with that. 526 00:25:13,720 --> 00:25:13,880 Speaker 2: Now. 527 00:25:13,880 --> 00:25:16,040 Speaker 1: There are guys like Billy Strings that you know, but 528 00:25:16,119 --> 00:25:18,439 Speaker 1: Bill's thing was no takeoff guitar. 529 00:25:19,000 --> 00:25:21,160 Speaker 2: That was his deal. He just didn't do it. 530 00:25:21,200 --> 00:25:23,520 Speaker 1: And because he want a guitar holding down the middle, 531 00:25:24,040 --> 00:25:27,159 Speaker 1: and it allowed, you know, the mandolin to stop playing rhythm. 532 00:25:27,440 --> 00:25:29,439 Speaker 1: It allowed you know, guitar had to stay, had to 533 00:25:29,440 --> 00:25:30,600 Speaker 1: hold that down no matter what. 534 00:25:31,040 --> 00:25:33,240 Speaker 2: And bass. I heard him one time. I got to 535 00:25:33,240 --> 00:25:34,200 Speaker 2: be around Monroe. 536 00:25:33,960 --> 00:25:36,840 Speaker 1: A little bit the last few decades of his life, 537 00:25:36,840 --> 00:25:38,560 Speaker 1: and I got to go sit in on a session 538 00:25:38,600 --> 00:25:41,399 Speaker 1: Emmory Gordy who's produced by something My Stuff of that 539 00:25:41,440 --> 00:25:43,240 Speaker 1: pick and was a co producer and guitar Town and 540 00:25:43,320 --> 00:25:46,560 Speaker 1: Egs zero. He was producing a Bill Monroe record and 541 00:25:46,640 --> 00:25:48,320 Speaker 1: I got to go. It was called Bill Monroe and 542 00:25:48,359 --> 00:25:51,280 Speaker 1: Friends and it was him with all these other bluegrass bands. 543 00:25:51,280 --> 00:25:53,719 Speaker 1: He was finally kind of acknowledging he created a genre 544 00:25:53,760 --> 00:25:55,639 Speaker 1: and playing with all these bands. Some of the people 545 00:25:55,640 --> 00:25:57,520 Speaker 1: that he didn't talk to you for years because they 546 00:25:57,520 --> 00:26:00,960 Speaker 1: had left his band, but they had figured out by 547 00:26:00,960 --> 00:26:03,919 Speaker 1: that time, long years before that, that that's because he 548 00:26:04,000 --> 00:26:07,400 Speaker 1: invented something in an American art form and and that's 549 00:26:07,440 --> 00:26:08,159 Speaker 1: how that works. 550 00:26:08,200 --> 00:26:10,000 Speaker 2: But he he you. 551 00:26:09,960 --> 00:26:13,919 Speaker 1: Know, they were signing the pay the Time cards at 552 00:26:13,960 --> 00:26:17,000 Speaker 1: the end of the session, everybody signing and Jack Cook, 553 00:26:17,040 --> 00:26:21,119 Speaker 1: who was who was Ralph Stanley was it was his band, 554 00:26:21,280 --> 00:26:24,520 Speaker 1: right and Jack Cook was his bass player for years 555 00:26:24,520 --> 00:26:27,320 Speaker 1: and so he had the seniority. So he made him 556 00:26:27,320 --> 00:26:30,159 Speaker 1: the session leader because you get double scale. And he 557 00:26:30,280 --> 00:26:34,160 Speaker 1: was signing the card and Bill was watching Jack Cook 558 00:26:34,240 --> 00:26:37,360 Speaker 1: sign that card and he elbows Emory. 559 00:26:37,040 --> 00:26:40,440 Speaker 2: And he says, Emory, we don't pay bass players. You 560 00:26:40,480 --> 00:26:44,160 Speaker 2: can't hear them, you know. So it's it's what those say. 561 00:26:44,480 --> 00:26:48,320 Speaker 1: He was hit this very very dry, almost English sense 562 00:26:48,359 --> 00:26:48,760 Speaker 1: of humor. 563 00:26:48,880 --> 00:26:50,080 Speaker 2: It was pretty hilarious. 564 00:26:50,560 --> 00:26:52,960 Speaker 1: Uh, some people mistook it for something else, but he 565 00:26:53,040 --> 00:26:54,800 Speaker 1: was really smart and really funny. 566 00:26:55,760 --> 00:27:00,359 Speaker 4: Somebody sent me the incredible performance there in goal Way 567 00:27:00,440 --> 00:27:02,600 Speaker 4: that was you know, it seems like there was hundreds 568 00:27:02,640 --> 00:27:06,480 Speaker 4: of thousands of people that were singing Galway Girl. 569 00:27:06,600 --> 00:27:06,760 Speaker 3: It was. 570 00:27:06,800 --> 00:27:09,560 Speaker 1: Yeah, it was Monday and Monday and Sharon Shan and 571 00:27:09,560 --> 00:27:12,040 Speaker 1: Monday actually had the biggest hit on the Galway Girl 572 00:27:12,080 --> 00:27:15,320 Speaker 1: that finally pushed it into Irish culture once and for all. 573 00:27:16,760 --> 00:27:19,560 Speaker 1: Cheveral years after my Version Insurance version, my Version Insurance 574 00:27:19,600 --> 00:27:21,680 Speaker 1: version of the same things that the accordions lived on 575 00:27:21,720 --> 00:27:22,760 Speaker 1: the mix on her record. 576 00:27:23,960 --> 00:27:27,480 Speaker 2: But yeah, and I wasn't around for that, but yeah, 577 00:27:27,480 --> 00:27:30,439 Speaker 2: it was. It was people trust me. I got that 578 00:27:30,560 --> 00:27:31,920 Speaker 2: video forwarded to me a lot. 579 00:27:32,520 --> 00:27:35,120 Speaker 4: It must make you feel really great watching that. It's 580 00:27:35,119 --> 00:27:37,080 Speaker 4: so joyous, I mean, yeah yeah. 581 00:27:37,200 --> 00:27:40,720 Speaker 1: And it's also I got one from a from a class, 582 00:27:40,720 --> 00:27:43,560 Speaker 1: a friend of mine's, you know class, and you know, 583 00:27:43,600 --> 00:27:46,119 Speaker 1: a school teacher, friend of mine's class, and everybody's singing it, 584 00:27:46,160 --> 00:27:46,960 Speaker 1: and you. 585 00:27:46,960 --> 00:27:47,840 Speaker 2: Know, it's what I'm saying. 586 00:27:48,200 --> 00:27:50,280 Speaker 1: They are musicians that hate me for it because it's 587 00:27:50,320 --> 00:27:53,040 Speaker 1: become such a part of culture. You know, there's you know, 588 00:27:53,040 --> 00:27:55,159 Speaker 1: I also had, you know, a friend of mine who 589 00:27:55,200 --> 00:28:00,040 Speaker 1: runs the Galway Traditional Music School. He's Mick Crean, and 590 00:28:00,080 --> 00:28:03,800 Speaker 1: he's he's he's a whistle player. He's he plays he 591 00:28:03,800 --> 00:28:07,000 Speaker 1: plays you know, the low whistle and and and and 592 00:28:07,080 --> 00:28:09,480 Speaker 1: you know, penny whistles to ten whistles, whichever you want 593 00:28:09,480 --> 00:28:12,480 Speaker 1: to call him, and some flute. But monthly he's about whistles. 594 00:28:13,000 --> 00:28:17,439 Speaker 1: And he's like, he's an old he's an old socialist. 595 00:28:17,560 --> 00:28:19,760 Speaker 1: He's like, he and I have a lot in common 596 00:28:19,840 --> 00:28:22,840 Speaker 1: and and uh got to be really really good friends. 597 00:28:22,880 --> 00:28:26,320 Speaker 1: But he uh, he's like, uh, he teaches at that 598 00:28:26,400 --> 00:28:28,480 Speaker 1: school and he and he had he plays mandolin and 599 00:28:28,520 --> 00:28:31,760 Speaker 1: guitar too. And this this kid came in he was 600 00:28:31,800 --> 00:28:34,840 Speaker 1: about eight or nine. Yeah, Mandolin, and he said, I 601 00:28:34,840 --> 00:28:36,600 Speaker 1: want to play the learn to play the Gallery girl. 602 00:28:36,600 --> 00:28:38,920 Speaker 1: And this is Mitt telling the story, so I have 603 00:28:39,000 --> 00:28:41,000 Speaker 1: his word, only have his word for it that this 604 00:28:41,120 --> 00:28:43,040 Speaker 1: was how win. He goes, I want to learn to 605 00:28:43,040 --> 00:28:45,200 Speaker 1: play the Gallway Girl. And he goes, well, first let's 606 00:28:45,400 --> 00:28:46,800 Speaker 1: show you. Here's a g cord. 607 00:28:46,840 --> 00:28:48,080 Speaker 2: He goes, I just want to learn to play the 608 00:28:48,120 --> 00:28:49,040 Speaker 2: fucking Gallway girl. 609 00:28:49,720 --> 00:28:50,400 Speaker 3: And that was it. 610 00:28:50,480 --> 00:28:52,720 Speaker 2: That's all he who's interested that. I think he learned 611 00:28:52,720 --> 00:28:53,040 Speaker 2: to play it. 612 00:28:53,080 --> 00:28:55,959 Speaker 4: Eventually, I want to talk about some causes that are 613 00:28:56,000 --> 00:28:59,160 Speaker 4: important to you. Obviously, the Keswell's School is is one. 614 00:29:00,040 --> 00:29:02,040 Speaker 2: Yeah, well, you know I got a kid that goes 615 00:29:02,080 --> 00:29:04,000 Speaker 2: to school there. Yeah, anybody that's got a kid that 616 00:29:04,040 --> 00:29:05,760 Speaker 2: goes to school is probably raising funds for it in 617 00:29:05,840 --> 00:29:07,600 Speaker 2: some one form or another nowadays. 618 00:29:07,680 --> 00:29:10,280 Speaker 4: So you will do another show coming up later in 619 00:29:10,360 --> 00:29:10,680 Speaker 4: the fall. 620 00:29:11,000 --> 00:29:13,440 Speaker 2: Yeah, we're gonna do when we're moving venues this year. 621 00:29:14,080 --> 00:29:16,320 Speaker 2: We haven't announced it yet, but we'll be announcing pretty 622 00:29:16,320 --> 00:29:17,400 Speaker 2: soon since we get off Headliner. 623 00:29:17,520 --> 00:29:21,400 Speaker 4: Locked In and I know Better than Jail is an 624 00:29:21,720 --> 00:29:25,520 Speaker 4: equal justice organization that you support as well? 625 00:29:26,080 --> 00:29:31,160 Speaker 1: Yeah, yeah, and you know I don't. I still am 626 00:29:31,440 --> 00:29:33,760 Speaker 1: opposed to the death penalty. That was a core issue 627 00:29:33,800 --> 00:29:36,480 Speaker 1: for me for a long time. I don't get directly 628 00:29:36,520 --> 00:29:38,960 Speaker 1: involved with inmates anymore because that eventually led to me 629 00:29:39,080 --> 00:29:41,640 Speaker 1: witnessing an execution, and I don't have it in me 630 00:29:41,760 --> 00:29:43,240 Speaker 1: to go through that again. 631 00:29:43,400 --> 00:29:43,840 Speaker 2: Oh my god. 632 00:29:44,040 --> 00:29:45,920 Speaker 1: So I try not to get too close to inmates. 633 00:29:45,920 --> 00:29:48,240 Speaker 1: I feel bad about it sometimes, but I was. I 634 00:29:48,320 --> 00:29:51,479 Speaker 1: had about eleven guys that I corresponded with. They've all 635 00:29:51,560 --> 00:29:54,880 Speaker 1: been executed now, and one of them I witnessed that execution, 636 00:29:55,000 --> 00:29:57,640 Speaker 1: and I just can't do that again. And you know, 637 00:29:58,040 --> 00:29:59,840 Speaker 1: I was blindsided. He asked me, how are you going 638 00:29:59,920 --> 00:30:02,640 Speaker 1: to say? No, it's a dying man's last request. And 639 00:30:02,720 --> 00:30:06,480 Speaker 1: my guys weren't innocent, you know, innocent guys never wrote me. Ah, 640 00:30:06,560 --> 00:30:09,400 Speaker 1: my guys were guilty. But I'm opposed to the death penalty. 641 00:30:09,400 --> 00:30:15,160 Speaker 1: I opposed to if the government kills somebody and the democracy, 642 00:30:15,240 --> 00:30:17,800 Speaker 1: which we're barely hanging on too, but we're all sensibly 643 00:30:17,880 --> 00:30:21,480 Speaker 1: a democracy, then then I'm killing someone, and I object 644 00:30:21,520 --> 00:30:23,520 Speaker 1: to the damage that dost to my spirit. I'm not 645 00:30:23,680 --> 00:30:25,560 Speaker 1: you know, I'm trying to keep me from going to hell. 646 00:30:25,560 --> 00:30:28,280 Speaker 1: I'm not trying to save anybody on death row necessarily. 647 00:30:28,520 --> 00:30:32,080 Speaker 4: Any other charities and causes you want to make mention. 648 00:30:32,000 --> 00:30:35,960 Speaker 1: Of Autism Speaks obviously, which funds a lot of the research, 649 00:30:36,520 --> 00:30:39,920 Speaker 1: and that the causes of autism. In every city there's 650 00:30:40,360 --> 00:30:43,280 Speaker 1: there are local autism you know charities, and those are those. 651 00:30:43,160 --> 00:30:45,160 Speaker 2: Are pretty near and dear to my heart. You know, 652 00:30:45,920 --> 00:30:48,600 Speaker 2: American Civil Liberties Union, you know, I also I do 653 00:30:48,680 --> 00:30:49,800 Speaker 2: stuff for them all the time. 654 00:30:50,520 --> 00:30:52,880 Speaker 1: I've done I've played their plenary every year, and it's 655 00:30:52,960 --> 00:30:56,640 Speaker 1: like it's it's just it's one of those things that 656 00:30:56,760 --> 00:30:59,760 Speaker 1: I it's more or less the same causes. 657 00:30:59,840 --> 00:31:02,240 Speaker 2: The have been my causes pretty much all my life. 658 00:31:03,640 --> 00:31:06,960 Speaker 4: So you're you're heading out for a couple of months 659 00:31:07,240 --> 00:31:09,280 Speaker 4: on the road here with these three months months. 660 00:31:09,040 --> 00:31:12,720 Speaker 2: Pretty much ninety days, sixty nine shows and ninety days. 661 00:31:12,600 --> 00:31:15,040 Speaker 4: So people can go to Steveborol dot com and check 662 00:31:15,120 --> 00:31:16,960 Speaker 4: out all of the devils there. 663 00:31:17,400 --> 00:31:22,800 Speaker 1: Yeah, we're starting and and the KA Alabama like coming 664 00:31:22,920 --> 00:31:26,880 Speaker 1: up in it's next Sunday night, actually the twenty the 665 00:31:26,960 --> 00:31:29,640 Speaker 1: twenty as we're as we're taking this to twenty fifth, 666 00:31:30,200 --> 00:31:33,280 Speaker 1: and it goes through the week till Labor Day weekend, 667 00:31:33,960 --> 00:31:36,920 Speaker 1: and it's at rhythm and Roots Festival in Rhode Island 668 00:31:37,080 --> 00:31:37,720 Speaker 1: is the last show. 669 00:31:39,160 --> 00:31:42,040 Speaker 4: Any other venues that you've played before that you'll be 670 00:31:42,120 --> 00:31:43,560 Speaker 4: playing that are some of your favorites. 671 00:31:44,440 --> 00:31:46,800 Speaker 1: Yeah, there's some clubs, some theaters, there's a there's a 672 00:31:46,880 --> 00:31:51,240 Speaker 1: really cool like art center in Grass Valley, California. I 673 00:31:51,280 --> 00:31:53,680 Speaker 1: haven't played in years and years, and Utah Phillips lived 674 00:31:53,680 --> 00:31:56,080 Speaker 1: there the last, you know, a few decades of his life. 675 00:31:56,120 --> 00:31:59,400 Speaker 1: It's funny U Tap Phillips and Chuck Yeger ended up 676 00:31:59,440 --> 00:32:01,400 Speaker 1: in the same place on the planet for the end 677 00:32:01,480 --> 00:32:02,040 Speaker 1: of their lives. 678 00:32:02,240 --> 00:32:03,440 Speaker 2: I always thought it was interesting. 679 00:32:04,760 --> 00:32:09,680 Speaker 1: I'm playing playing the Calgary Buck Festival, that's what the 680 00:32:09,720 --> 00:32:14,000 Speaker 1: reckless Kelly. I'm playing the VIC in Chicago, which I 681 00:32:14,040 --> 00:32:15,720 Speaker 1: haven't played in years, which used to be sort of 682 00:32:15,760 --> 00:32:19,400 Speaker 1: my home base in Chicago and but like especially the 683 00:32:19,520 --> 00:32:21,080 Speaker 1: nineties right after I got out of jail. 684 00:32:21,200 --> 00:32:22,920 Speaker 2: But I haven't played there in quite a while, and 685 00:32:22,920 --> 00:32:23,840 Speaker 2: I'm looking forward to that. 686 00:32:24,680 --> 00:32:27,240 Speaker 4: So, Steven closing, I know you're a big Yankee fan, 687 00:32:27,720 --> 00:32:29,960 Speaker 4: and I wanted to ask you, were you ever a ballplayer? 688 00:32:30,040 --> 00:32:33,240 Speaker 2: First of all, No, I was the worst athlete in 689 00:32:33,360 --> 00:32:37,040 Speaker 2: the history of Texas and my brother was. My brother 690 00:32:37,120 --> 00:32:39,880 Speaker 2: played everything. My dad was you know, we held a 691 00:32:40,440 --> 00:32:43,640 Speaker 2: held a record in a high school record in the mile. 692 00:32:43,560 --> 00:32:45,960 Speaker 1: Relay until he was you know, until I was on 693 00:32:46,120 --> 00:32:48,880 Speaker 1: the planet. And it was broken when I was about 694 00:32:48,920 --> 00:32:52,000 Speaker 1: ten years old. But I was just terrible at everything. 695 00:32:52,440 --> 00:32:55,520 Speaker 1: The baseball thing got. I was a Dallas Cowboys football fan. 696 00:32:55,600 --> 00:32:58,800 Speaker 1: I just kind of quit watching American football. I don't know, 697 00:32:59,040 --> 00:33:03,040 Speaker 1: several decades. I got Jerry Jones started to piss me off, 698 00:33:03,160 --> 00:33:04,400 Speaker 1: and so it was one of those things I got 699 00:33:04,480 --> 00:33:05,760 Speaker 1: tired of watching guys get hurt. 700 00:33:06,120 --> 00:33:08,000 Speaker 2: I follow English Premier League. 701 00:33:07,800 --> 00:33:11,520 Speaker 1: Soccer, you know football, you know that football in general, 702 00:33:11,960 --> 00:33:13,880 Speaker 1: and the Premier League because I produced a lot of 703 00:33:13,960 --> 00:33:15,800 Speaker 1: records in England, and I got kind of hooked, and 704 00:33:15,880 --> 00:33:18,959 Speaker 1: I've been an arsenal guy. But the Yankees thing started 705 00:33:19,000 --> 00:33:23,360 Speaker 1: with my grandfather, he's actually my mother's stepfather, who mustled 706 00:33:23,400 --> 00:33:26,960 Speaker 1: out of the army in New York City, intended to 707 00:33:27,000 --> 00:33:29,760 Speaker 1: stay here, but he was dragged back to Jacksonville, Texas, 708 00:33:29,840 --> 00:33:32,760 Speaker 1: kicking and screaming because his stepfather died and he had 709 00:33:32,800 --> 00:33:35,320 Speaker 1: to go home and run the family hardware store because 710 00:33:35,320 --> 00:33:38,200 Speaker 1: that was his mother's livelihood. So but he came back 711 00:33:38,240 --> 00:33:40,880 Speaker 1: a Yankees fan, and you only got the Yankees and 712 00:33:40,920 --> 00:33:42,800 Speaker 1: the Dodgers on TV when I was growing up. 713 00:33:42,880 --> 00:33:44,000 Speaker 2: That was it the game of the week. 714 00:33:44,400 --> 00:33:46,200 Speaker 1: So you were either in the middle of the country 715 00:33:46,280 --> 00:33:48,320 Speaker 1: if you had no baseball team, you or Dodgers or 716 00:33:48,320 --> 00:33:51,160 Speaker 1: a Yankees fan. That's pretty you know that the originally 717 00:33:51,200 --> 00:33:54,040 Speaker 1: America's team that wasn't coined for the Dallas Cowboys. It 718 00:33:54,120 --> 00:33:56,680 Speaker 1: was a coin for the Yankees. And it was because 719 00:33:56,720 --> 00:33:59,720 Speaker 1: of that that period in history. So I was issued 720 00:33:59,760 --> 00:34:01,680 Speaker 1: Penns tricks when I was six years old. My first 721 00:34:01,760 --> 00:34:05,720 Speaker 1: team was sixty one Maris and Mantel and that record 722 00:34:05,840 --> 00:34:08,879 Speaker 1: and that story. So and as a big Yogi Bearer guy, 723 00:34:09,080 --> 00:34:11,600 Speaker 1: I like catchers, Thurman Munson and Yogi Bearra. 724 00:34:11,920 --> 00:34:15,320 Speaker 2: You know, catchers are a big deal for me. For 725 00:34:15,400 --> 00:34:15,759 Speaker 2: some reason. 726 00:34:15,800 --> 00:34:17,960 Speaker 1: They're the only player on the field that gets to 727 00:34:18,000 --> 00:34:20,400 Speaker 1: see a whole baseball game. That's why so many of 728 00:34:20,440 --> 00:34:21,320 Speaker 1: them become managers. 729 00:34:21,440 --> 00:34:24,560 Speaker 4: The tools of ignorance, right, Yeah. 730 00:34:25,239 --> 00:34:28,040 Speaker 1: Yogi Barra was such a character too, He said, My 731 00:34:28,160 --> 00:34:32,000 Speaker 1: favorite yogiism is when people die, you should go to 732 00:34:32,040 --> 00:34:33,880 Speaker 1: their funerals, otherwise they won't come to yours. 733 00:34:36,239 --> 00:34:37,240 Speaker 2: That's my very favorite. 734 00:34:37,960 --> 00:34:40,200 Speaker 4: Steve, thank you so much for being taking a walk 735 00:34:40,239 --> 00:34:43,080 Speaker 4: good luck on the tour, and I really appreciate you 736 00:34:43,200 --> 00:34:43,480 Speaker 4: being on. 737 00:34:44,440 --> 00:34:45,480 Speaker 2: Thanks say down the rug. 738 00:34:47,200 --> 00:34:49,600 Speaker 3: Thanks for listening to this episode of the Taking a 739 00:34:49,680 --> 00:34:53,520 Speaker 3: Walk podcast. Share this and other episodes with your friends 740 00:34:53,680 --> 00:34:57,120 Speaker 3: and follow us so you never miss an episode. Taking 741 00:34:57,200 --> 00:35:01,000 Speaker 3: a Walk is available on the iHeartRadio app, Apple Podcasts, 742 00:35:01,280 --> 00:35:03,520 Speaker 3: and wherever you get your podcasts.