1 00:00:00,960 --> 00:00:03,720 Speaker 1: When we were kids, when we heard a live album, 2 00:00:03,800 --> 00:00:05,720 Speaker 1: we wanted to hear something that was different from the 3 00:00:05,760 --> 00:00:10,480 Speaker 1: studio album. Maybe a different guitar solo, maybe they do 4 00:00:10,520 --> 00:00:13,080 Speaker 1: it in a different key, and you'd hear the screw 5 00:00:13,160 --> 00:00:16,079 Speaker 1: up set it, you know, But that's okay because it 6 00:00:16,160 --> 00:00:18,440 Speaker 1: tells you, you know, this is a live record, this 7 00:00:18,480 --> 00:00:20,920 Speaker 1: is what happened that night. So in other words, if 8 00:00:20,960 --> 00:00:23,680 Speaker 1: we screw up on stage, you'll hear it. 9 00:00:24,840 --> 00:00:28,080 Speaker 2: Welcome to the Taking a Walk podcast, where your host 10 00:00:28,120 --> 00:00:32,000 Speaker 2: Buzz Night talks with musicians about the inside story behind 11 00:00:32,040 --> 00:00:37,199 Speaker 2: their music. On this episode, our guests are actor musician 12 00:00:37,280 --> 00:00:41,199 Speaker 2: Billy Bob Thornton and Grammy Award winning engineer j D Andrew. 13 00:00:41,760 --> 00:00:45,240 Speaker 2: Currently on tour. They're the founding members of the band 14 00:00:45,280 --> 00:00:49,279 Speaker 2: The box Masters. The band started in Bellflower, California, back 15 00:00:49,320 --> 00:00:52,600 Speaker 2: in two thousand and seven, and two dozen albums later, 16 00:00:52,960 --> 00:00:56,000 Speaker 2: they're still out on the road, showcasing their unique brand 17 00:00:56,040 --> 00:00:59,720 Speaker 2: of music. Here's Billy, Bob and JD with Buzz on 18 00:01:00,120 --> 00:01:00,880 Speaker 2: can Walk. 19 00:01:02,440 --> 00:01:04,759 Speaker 3: Well, congrats, Billy, Bob and j D on the new 20 00:01:04,840 --> 00:01:09,120 Speaker 3: album Love and Hate in Desperate Places and the Big Tour. 21 00:01:09,560 --> 00:01:13,080 Speaker 3: Rolling on one of the dates is I know Friday, 22 00:01:13,120 --> 00:01:17,520 Speaker 3: October the eleventh at the Pollock Theater in Monmouth, New Jersey. 23 00:01:17,520 --> 00:01:20,000 Speaker 3: But you've got dates all over the place, guys. I 24 00:01:20,040 --> 00:01:25,200 Speaker 3: know some city wineries and many others, and I know 25 00:01:25,400 --> 00:01:28,280 Speaker 3: your fans can't wait to see you out on the road. 26 00:01:29,760 --> 00:01:31,200 Speaker 4: So, Billy Bob, I'm gonna start with you. 27 00:01:33,040 --> 00:01:36,080 Speaker 3: What does j D Andrews bring out in you to 28 00:01:36,200 --> 00:01:38,440 Speaker 3: make you better as a musician. 29 00:01:39,080 --> 00:01:42,880 Speaker 1: Well, I think it's the thing we do for each 30 00:01:42,920 --> 00:01:47,400 Speaker 1: other as we we leave no stone unturned, So we 31 00:01:47,520 --> 00:01:53,360 Speaker 1: push each other very hard, and the best idea always wins. 32 00:01:53,720 --> 00:01:57,960 Speaker 1: And you know we've disagreed very few times over the years. 33 00:01:58,000 --> 00:02:01,960 Speaker 1: But you know, if JD thinks I can do something 34 00:02:02,000 --> 00:02:06,480 Speaker 1: better on a on a track, whether it's a harmony 35 00:02:06,560 --> 00:02:09,040 Speaker 1: or playing drums or a lead vocal, whatever it is, 36 00:02:10,560 --> 00:02:14,280 Speaker 1: he doesn't stop until he knows I got the one. 37 00:02:14,320 --> 00:02:18,520 Speaker 1: That's that's me, you know. And and plus JD is 38 00:02:18,520 --> 00:02:21,440 Speaker 1: our engineer, which a lot of bands don't have a 39 00:02:21,440 --> 00:02:25,520 Speaker 1: world class engineer who's in the band, you know, also 40 00:02:25,600 --> 00:02:28,280 Speaker 1: records the records. So most of the time it's just 41 00:02:28,320 --> 00:02:30,560 Speaker 1: me and j D of the studio playing everything and 42 00:02:30,600 --> 00:02:37,520 Speaker 1: singing everything. And so you know, it's a pretty relaxed 43 00:02:37,639 --> 00:02:42,880 Speaker 1: atmosphere usually and so and we have the time to 44 00:02:42,960 --> 00:02:46,320 Speaker 1: do it because we bought a studio a few years back, 45 00:02:46,320 --> 00:02:52,640 Speaker 1: almost four years ago, and it kind of came with 46 00:02:52,720 --> 00:02:57,320 Speaker 1: the house. But it's a very very good studio. For 47 00:02:57,480 --> 00:03:01,000 Speaker 1: years we recorded over at A and M and it's 48 00:03:01,040 --> 00:03:05,320 Speaker 1: an amazing studio. We miss going to work in some ways, 49 00:03:05,360 --> 00:03:08,560 Speaker 1: but in other words ways it's so much better. It's 50 00:03:08,560 --> 00:03:11,440 Speaker 1: a very creative place. Some places just have a creative 51 00:03:11,520 --> 00:03:15,519 Speaker 1: vibe and this this one has it. And but yeah, 52 00:03:15,520 --> 00:03:17,680 Speaker 1: in terms of what JD does for me, he just 53 00:03:18,280 --> 00:03:21,280 Speaker 1: he pushes me to be my best. 54 00:03:20,880 --> 00:03:23,400 Speaker 4: And JD, how about Billy for you? 55 00:03:24,080 --> 00:03:25,960 Speaker 1: Well, I mean I think it's kind of the same. 56 00:03:26,400 --> 00:03:30,800 Speaker 5: I mean, you know, it's you know, like you said, 57 00:03:30,840 --> 00:03:33,680 Speaker 5: the best idea wins, you know. And sometimes I'm just 58 00:03:33,720 --> 00:03:35,760 Speaker 5: standing there, you know, I've got a bass or a 59 00:03:35,760 --> 00:03:38,720 Speaker 5: guitar in my hands and i have no idea. 60 00:03:38,400 --> 00:03:40,920 Speaker 1: What I'm going to do. You know, Billy will be like, hey, 61 00:03:41,000 --> 00:03:43,680 Speaker 1: why don't you try this sort of part? 62 00:03:43,760 --> 00:03:48,240 Speaker 5: And usually we'll call it out like doing a Ronnie 63 00:03:48,240 --> 00:03:50,800 Speaker 5: Wood part or you know what, Well, we don't have 64 00:03:50,880 --> 00:03:54,680 Speaker 5: a technical name for it. It's like what would you know, 65 00:03:54,720 --> 00:03:57,760 Speaker 5: a Paul McCartney baseline sound like on this or a 66 00:03:57,840 --> 00:04:01,080 Speaker 5: Ronnie Wood guitar part, or a Keith guitar art or 67 00:04:01,240 --> 00:04:03,640 Speaker 5: Roger mcgwin part. It's kind of like what would one 68 00:04:03,680 --> 00:04:05,800 Speaker 5: of those guys, you know, what would our heroes do 69 00:04:06,360 --> 00:04:08,920 Speaker 5: on one of these songs. We just kind of try 70 00:04:08,920 --> 00:04:12,640 Speaker 5: to channel those songs that we grew up loving and 71 00:04:13,440 --> 00:04:17,000 Speaker 5: get kind of the essence of whatever we loved about 72 00:04:17,120 --> 00:04:19,520 Speaker 5: that thing that we're you know, kind of using as 73 00:04:19,560 --> 00:04:23,039 Speaker 5: a touchstone. It's like, how can we put that into 74 00:04:23,080 --> 00:04:27,880 Speaker 5: this song? And you know, it generally works out. We 75 00:04:28,000 --> 00:04:31,159 Speaker 5: get an idea for something and it's like, okay, great, 76 00:04:31,279 --> 00:04:34,039 Speaker 5: and that might change the direction of a song, you 77 00:04:34,080 --> 00:04:37,039 Speaker 5: know a little bit. It might just add a little 78 00:04:37,360 --> 00:04:40,360 Speaker 5: you know, something special to it. But to each other, 79 00:04:40,480 --> 00:04:42,400 Speaker 5: you know, we really are you know, pushing each other. 80 00:04:42,440 --> 00:04:44,680 Speaker 5: It's like, let's make the best thing. 81 00:04:44,760 --> 00:04:44,960 Speaker 2: You know. 82 00:04:45,000 --> 00:04:48,800 Speaker 5: It's there's we don't have any reason to only you know, 83 00:04:48,960 --> 00:04:51,600 Speaker 5: to half asset. It's like, you know, we've got the 84 00:04:51,640 --> 00:04:54,279 Speaker 5: time and we've got the place. We have to do 85 00:04:54,320 --> 00:04:58,719 Speaker 5: our best, you know, because if if we don't, kind 86 00:04:58,720 --> 00:05:01,240 Speaker 5: of what's the point. You know, there's there's no reason 87 00:05:01,279 --> 00:05:05,640 Speaker 5: to not do our best, and you know, thankfully, going 88 00:05:05,680 --> 00:05:09,400 Speaker 5: into our eighteenth year, every record that we make now 89 00:05:09,480 --> 00:05:12,520 Speaker 5: we feel like this is the best one we've ever made, 90 00:05:13,200 --> 00:05:16,440 Speaker 5: and we keep pushing each other to do better and 91 00:05:16,480 --> 00:05:20,920 Speaker 5: better and better, and to us, we're succeeding because we're 92 00:05:20,960 --> 00:05:23,440 Speaker 5: super proud of what we're doing and we're proud of 93 00:05:23,520 --> 00:05:26,960 Speaker 5: every record and you know, we work really hard on them, 94 00:05:27,440 --> 00:05:32,200 Speaker 5: so it doesn't feel like it's year eighteen of this band. 95 00:05:32,360 --> 00:05:34,760 Speaker 5: It feels like, you know, we're just getting started. We're 96 00:05:34,800 --> 00:05:37,800 Speaker 5: just hitting the road, playing you know, new shows for 97 00:05:38,160 --> 00:05:41,200 Speaker 5: different crowds, and feels like the momentum it just always 98 00:05:41,320 --> 00:05:41,920 Speaker 5: is going up. 99 00:05:42,040 --> 00:05:44,640 Speaker 1: You know, we just keep doing it and keep plowing away. 100 00:05:44,680 --> 00:05:47,400 Speaker 5: And if we didn't like it, we wouldn't do it 101 00:05:47,520 --> 00:05:49,400 Speaker 5: for one But you know, we love what we do 102 00:05:49,440 --> 00:05:52,880 Speaker 5: and we love making the records. But we love getting to, 103 00:05:53,200 --> 00:05:54,880 Speaker 5: you know, get our friends together to go on the 104 00:05:54,960 --> 00:05:57,040 Speaker 5: road with us. And you know, it's all guys that 105 00:05:57,080 --> 00:05:59,280 Speaker 5: we've known for you know, a number of years, and 106 00:05:59,360 --> 00:06:01,880 Speaker 5: we love hanging out with and when you're stuck with 107 00:06:01,960 --> 00:06:04,560 Speaker 5: ten guys in a bus, you better get along. 108 00:06:07,640 --> 00:06:12,960 Speaker 3: So if you guys had the ability to be plopped 109 00:06:13,000 --> 00:06:18,880 Speaker 3: into any year in music history, in any place in 110 00:06:18,960 --> 00:06:22,720 Speaker 3: time that was you know, fertile and music history, what 111 00:06:22,880 --> 00:06:25,560 Speaker 3: year would it would it be for you guys? 112 00:06:26,800 --> 00:06:34,200 Speaker 1: I would say sixty seven through seventy in there, JD 113 00:06:34,320 --> 00:06:36,400 Speaker 1: and I say it all the time. If this band 114 00:06:36,440 --> 00:06:41,880 Speaker 1: had been around in nineteen sixty seven sixty eight, I 115 00:06:41,920 --> 00:06:44,599 Speaker 1: think we would have songs in the top ten. I 116 00:06:44,600 --> 00:06:47,239 Speaker 1: mean just because that we play that kind of music. 117 00:06:47,240 --> 00:06:51,760 Speaker 1: It's original music. But we write these records based on 118 00:06:51,800 --> 00:06:55,080 Speaker 1: our love of those times. I mean obviously earlier, you know, 119 00:06:55,080 --> 00:06:57,320 Speaker 1: when the Beatles came along, and the Kinks and the 120 00:06:57,360 --> 00:07:00,960 Speaker 1: Animals and everybody were highly influenced by British invasion. But 121 00:07:03,400 --> 00:07:08,240 Speaker 1: our music isn't quite that old sixties sounding. It's it's 122 00:07:08,279 --> 00:07:10,960 Speaker 1: a little more like when it changed from rock and 123 00:07:11,080 --> 00:07:13,880 Speaker 1: roll to rock in sixty seven. It's when Cream and 124 00:07:13,960 --> 00:07:18,080 Speaker 1: Traffic and all those guys came along. And so I 125 00:07:18,120 --> 00:07:21,200 Speaker 1: would say, yeah, if we'd be plopped in anywhere, probably 126 00:07:21,280 --> 00:07:26,520 Speaker 1: nineteen sixty seven, and back in those days, labels didn't 127 00:07:26,600 --> 00:07:29,960 Speaker 1: drop you because your album wasn't a huge success. You 128 00:07:30,080 --> 00:07:34,320 Speaker 1: had time. I mean some people would have their first 129 00:07:34,360 --> 00:07:37,840 Speaker 1: three records flop, and that still be on Columbia or 130 00:07:37,960 --> 00:07:41,680 Speaker 1: RCA or whoever. They're wrong, and you know, they let 131 00:07:41,760 --> 00:07:46,480 Speaker 1: bands develop and now if your first thing, and these 132 00:07:46,560 --> 00:07:51,000 Speaker 1: days it's single, not necessarily album. We still do albums. 133 00:07:51,000 --> 00:07:55,040 Speaker 1: But yeah, we've pop stars. If they have a turkey, 134 00:07:55,920 --> 00:07:58,160 Speaker 1: you know, next thing. You know, you don't see much 135 00:07:58,600 --> 00:08:00,800 Speaker 1: around see them around my color. 136 00:08:01,640 --> 00:08:05,080 Speaker 4: Yeah, that's for sure. But let me ask you. 137 00:08:05,160 --> 00:08:09,400 Speaker 3: Back in that era, what was so beautiful about that 138 00:08:09,520 --> 00:08:16,520 Speaker 3: era was the fact that bands musicians were rewarded for 139 00:08:16,640 --> 00:08:17,840 Speaker 3: being different. 140 00:08:18,760 --> 00:08:21,320 Speaker 4: Everything could sound different, and. 141 00:08:22,880 --> 00:08:27,600 Speaker 3: I submit to you, if somebody clicks with something nowadays, 142 00:08:28,240 --> 00:08:30,480 Speaker 3: you're going to have twenty five other people trying to 143 00:08:30,520 --> 00:08:31,320 Speaker 3: replicate that. 144 00:08:31,520 --> 00:08:33,080 Speaker 4: Is that unfair of me to say? 145 00:08:33,920 --> 00:08:34,000 Speaker 1: That? 146 00:08:34,120 --> 00:08:36,960 Speaker 5: Is not unfair for you to say at all? Uh, yeah, 147 00:08:37,000 --> 00:08:40,679 Speaker 5: we say this thing exactly. You know that was Billyus, 148 00:08:40,720 --> 00:08:43,480 Speaker 5: you know, always like that was the thing. Every band 149 00:08:43,640 --> 00:08:47,720 Speaker 5: strove to be there themselves and individuals and different from 150 00:08:47,760 --> 00:08:49,440 Speaker 5: the next one. You know, you wanted to have your 151 00:08:49,480 --> 00:08:54,319 Speaker 5: own sound. That's how we feel. We sound like ourselves. 152 00:08:54,360 --> 00:08:56,400 Speaker 5: You know, we have all these influences of all these 153 00:08:56,400 --> 00:08:58,960 Speaker 5: bands that we loved, but at the end of the day, 154 00:09:00,120 --> 00:09:03,800 Speaker 5: a pretty you know, specific box master sound. If you've 155 00:09:03,800 --> 00:09:07,440 Speaker 5: listened to us from the beginning to the end. You know, 156 00:09:07,480 --> 00:09:10,320 Speaker 5: from album one to seventeen, there's been a lot of 157 00:09:10,360 --> 00:09:15,120 Speaker 5: stylistic changes, but at the same time, you can tell 158 00:09:15,160 --> 00:09:18,760 Speaker 5: it's the same band from album one to album seventeen. 159 00:09:19,520 --> 00:09:23,440 Speaker 1: And also we when we play live, we don't use 160 00:09:23,480 --> 00:09:26,600 Speaker 1: any gizmos or play the tracks or anything like that. 161 00:09:26,920 --> 00:09:31,079 Speaker 1: So a lot of people now are I mean, it 162 00:09:31,160 --> 00:09:33,400 Speaker 1: used to be like a secret that some bands would 163 00:09:33,400 --> 00:09:35,199 Speaker 1: do that they tried to keep a secret. Now it's 164 00:09:35,240 --> 00:09:37,719 Speaker 1: just in the open that now we just go out 165 00:09:37,720 --> 00:09:42,240 Speaker 1: and play to a track. So I when we were kids, 166 00:09:42,600 --> 00:09:44,719 Speaker 1: when we heard a live album, we wanted to hear 167 00:09:44,760 --> 00:09:48,040 Speaker 1: something that was different from the studio album. And so 168 00:09:49,160 --> 00:09:52,760 Speaker 1: maybe a different guitar solo, maybe they do it in 169 00:09:52,800 --> 00:09:55,760 Speaker 1: a different key, and you'd hear the screw up sentence, 170 00:09:55,840 --> 00:09:58,840 Speaker 1: you know, But that's okay because it tells you, you 171 00:09:58,880 --> 00:10:00,720 Speaker 1: know this, this is a live record, this is what 172 00:10:00,880 --> 00:10:03,760 Speaker 1: happened that night. So in other words, if if we 173 00:10:03,880 --> 00:10:05,720 Speaker 1: screw up on stage, you'll hear it. 174 00:10:07,760 --> 00:10:10,640 Speaker 3: Well, you just led me perfectly to my next question. 175 00:10:10,720 --> 00:10:14,840 Speaker 3: It's like you were reading my notes here, because I 176 00:10:14,960 --> 00:10:19,920 Speaker 3: feel like with the advent of you know technology and 177 00:10:19,960 --> 00:10:22,679 Speaker 3: with you know, various software and. 178 00:10:22,720 --> 00:10:24,760 Speaker 4: AI can do that. 179 00:10:25,200 --> 00:10:31,040 Speaker 3: This notion of allowing imperfection to shine through in a 180 00:10:31,200 --> 00:10:37,439 Speaker 3: unique way seems to be going away in favor of perfection. 181 00:10:37,559 --> 00:10:38,800 Speaker 4: Would you guys agree with. 182 00:10:38,720 --> 00:10:44,079 Speaker 1: That for sure? Absolutely? Yeah, And that's who wants that. 183 00:10:44,160 --> 00:10:46,600 Speaker 1: I mean, if you're going to go see somebody live 184 00:10:47,360 --> 00:10:49,720 Speaker 1: and you're just going to hear the record, just save 185 00:10:49,840 --> 00:10:53,080 Speaker 1: you're fifty to five hundred bucks whatever it is for 186 00:10:53,160 --> 00:10:56,320 Speaker 1: some of the big stars, you know, stay home and 187 00:10:56,360 --> 00:10:59,880 Speaker 1: listen to the record, just you know, go somewhere to right, 188 00:11:00,080 --> 00:11:03,120 Speaker 1: run your car and put your phone into the Bluetooth 189 00:11:03,200 --> 00:11:04,800 Speaker 1: or whatever and just listen to the record. 190 00:11:04,840 --> 00:11:05,040 Speaker 4: You know. 191 00:11:06,120 --> 00:11:08,640 Speaker 3: But do you feel like it's happening in studio work 192 00:11:08,679 --> 00:11:12,559 Speaker 3: as well, where perfection is sort of the ideal scenario 193 00:11:12,720 --> 00:11:15,000 Speaker 3: rather than allowing some rough edges. 194 00:11:16,000 --> 00:11:17,200 Speaker 1: Sure, yeah, absolutely. 195 00:11:17,840 --> 00:11:20,520 Speaker 5: I mean people have been doing it since the dawn 196 00:11:20,559 --> 00:11:23,280 Speaker 5: of recording, where they try to you know, make everything 197 00:11:23,360 --> 00:11:24,440 Speaker 5: absolutely perfect. 198 00:11:25,080 --> 00:11:26,439 Speaker 1: It used to be a lot harder. 199 00:11:26,200 --> 00:11:29,440 Speaker 5: When you're using a tape machine and a razor blade 200 00:11:29,520 --> 00:11:32,200 Speaker 5: to you know, fix timing issues and things like that. 201 00:11:33,120 --> 00:11:35,200 Speaker 5: These days, you just have a computer and if you 202 00:11:35,360 --> 00:11:38,240 Speaker 5: mess it up, you just hit undo and okay, you're 203 00:11:38,280 --> 00:11:39,800 Speaker 5: back to what you had and now you can. 204 00:11:39,760 --> 00:11:40,439 Speaker 1: Fix it again. 205 00:11:41,360 --> 00:11:44,320 Speaker 5: It's so rare that a band or you know, anybody 206 00:11:44,360 --> 00:11:47,120 Speaker 5: plays live in the studio, you know, so you don't 207 00:11:47,240 --> 00:11:50,120 Speaker 5: end up with those imperfections. And you know, we have 208 00:11:50,240 --> 00:11:53,040 Speaker 5: our own method of recording because you know, it is 209 00:11:53,200 --> 00:11:55,040 Speaker 5: just the two of us that make the records most 210 00:11:55,040 --> 00:11:58,080 Speaker 5: of the time, so we can't help. But you know, 211 00:11:58,080 --> 00:12:00,560 Speaker 5: it's like one guy has to press record the machine 212 00:12:00,559 --> 00:12:03,000 Speaker 5: and one guy has to go play the part. But 213 00:12:03,440 --> 00:12:05,240 Speaker 5: the way that we try to do it to make 214 00:12:06,000 --> 00:12:09,440 Speaker 5: it feel a little more organic and more live, is 215 00:12:10,120 --> 00:12:12,000 Speaker 5: we start at the beginning of the song and we 216 00:12:12,040 --> 00:12:15,800 Speaker 5: play to the end of the song. And so hopefully 217 00:12:16,360 --> 00:12:19,000 Speaker 5: when you're doing it that way, you have the dynamics 218 00:12:19,240 --> 00:12:22,520 Speaker 5: of Okay, here's the beginning, I'm pretty hyped up. Oh 219 00:12:22,600 --> 00:12:24,560 Speaker 5: the verse, you bring it down a little bit, chorus, 220 00:12:24,600 --> 00:12:26,680 Speaker 5: you bring it back up. You know, So we try 221 00:12:26,720 --> 00:12:31,000 Speaker 5: to bring the songs a live like that. What is 222 00:12:31,080 --> 00:12:34,120 Speaker 5: just the two of us. But these days, yeah, the 223 00:12:34,800 --> 00:12:38,000 Speaker 5: using a drum machine for everything, or you know, using 224 00:12:38,679 --> 00:12:42,120 Speaker 5: keyboards to basically do all the parts. You know, it's 225 00:12:42,160 --> 00:12:45,240 Speaker 5: all all very easy to just hit, quantize on all 226 00:12:45,280 --> 00:12:48,920 Speaker 5: of it, so everything is perfectly in time, and then 227 00:12:48,960 --> 00:12:51,800 Speaker 5: you can tune the vocals until they're basically a flat 228 00:12:51,840 --> 00:12:56,480 Speaker 5: sign wave of just perfect pitch. You know, that's kind 229 00:12:56,520 --> 00:13:01,319 Speaker 5: of why so few songs have any last life to them. 230 00:13:01,400 --> 00:13:05,240 Speaker 5: They just there's no the feeling has been completely washed 231 00:13:05,240 --> 00:13:08,400 Speaker 5: out of them, so it's it doesn't You might enjoy 232 00:13:08,440 --> 00:13:11,840 Speaker 5: it for a little bit, but then something else comes 233 00:13:11,840 --> 00:13:14,640 Speaker 5: along and then you forget about that song that you've 234 00:13:14,760 --> 00:13:20,480 Speaker 5: enjoyed for a few minutes, just because there's there's nothing left. 235 00:13:20,600 --> 00:13:23,800 Speaker 5: There's no meat to it to grasp into. And you know, 236 00:13:24,880 --> 00:13:27,680 Speaker 5: if you're not singing about anything other than partying, I 237 00:13:27,720 --> 00:13:30,760 Speaker 5: don't think you know that that's not really a lasting 238 00:13:31,120 --> 00:13:32,440 Speaker 5: equation for a song either. 239 00:13:33,000 --> 00:13:35,200 Speaker 2: We'll be right back with more of the Taking a 240 00:13:35,240 --> 00:13:43,400 Speaker 2: Walk Podcast. Welcome back to the Taking a Walk Podcast. 241 00:13:43,520 --> 00:13:46,000 Speaker 3: Well, there's a new song that you guys have called 242 00:13:46,000 --> 00:13:49,760 Speaker 3: a River's Rising, which has got a lot of heart 243 00:13:49,840 --> 00:13:54,520 Speaker 3: and soul to it, and I want to ask you 244 00:13:55,640 --> 00:13:59,160 Speaker 3: was it influenced in any way by the mess that 245 00:13:59,360 --> 00:14:01,319 Speaker 3: social media has created. 246 00:14:02,320 --> 00:14:06,240 Speaker 1: Yes, it's about all those things. It's about It's a 247 00:14:07,480 --> 00:14:10,640 Speaker 1: very socio political I'll put it that way. The song 248 00:14:10,760 --> 00:14:15,320 Speaker 1: is really about, you know, when you tell somebody, hey, listen, 249 00:14:16,240 --> 00:14:19,480 Speaker 1: I think that boulder up there it looks doesn't look 250 00:14:19,560 --> 00:14:22,160 Speaker 1: it's kind of precarious, something not sure a thing might fall. 251 00:14:22,480 --> 00:14:24,840 Speaker 1: They go, oh yeah, does kind of looks like I said, no, no, no, 252 00:14:24,840 --> 00:14:27,320 Speaker 1: you understand. I'm saying you need to get out of 253 00:14:27,320 --> 00:14:32,040 Speaker 1: the way. You know. It's like what was the not 254 00:14:32,120 --> 00:14:34,080 Speaker 1: the boy cried wolf, but the old and said the 255 00:14:34,080 --> 00:14:37,240 Speaker 1: sky was falling, whatever it was. It's it's a it's 256 00:14:37,280 --> 00:14:42,960 Speaker 1: a song saying stop sleeping on what's happening and uh, 257 00:14:43,760 --> 00:14:48,920 Speaker 1: you know. And and this is not a left or 258 00:14:49,040 --> 00:14:51,800 Speaker 1: right thing. It's just about the whole mess, you know, 259 00:14:52,600 --> 00:14:55,360 Speaker 1: how people are being separated and stuff, and the middle 260 00:14:55,440 --> 00:14:58,440 Speaker 1: is being kind of killed. Critical thinking is not as 261 00:14:58,480 --> 00:15:01,360 Speaker 1: important as it used to be. And it's a song 262 00:15:01,440 --> 00:15:05,080 Speaker 1: that's kind of saying, look, look behind you, the river's rising. 263 00:15:05,720 --> 00:15:08,400 Speaker 1: We might want to get out of here, you know, 264 00:15:08,560 --> 00:15:12,360 Speaker 1: because in other words, it's like a ground swell of 265 00:15:12,440 --> 00:15:15,760 Speaker 1: stuff that when we're comfortable, we don't think about it, 266 00:15:16,560 --> 00:15:20,040 Speaker 1: but in the meantime it's all bubbling up around us, 267 00:15:20,080 --> 00:15:23,040 Speaker 1: you know. And that's that's really what the song's about. 268 00:15:23,120 --> 00:15:27,600 Speaker 1: And we have several songs about how social media has 269 00:15:28,640 --> 00:15:30,560 Speaker 1: it can be used for good and it can be 270 00:15:30,640 --> 00:15:34,720 Speaker 1: used for bad, and most of the time the stuff 271 00:15:34,760 --> 00:15:38,160 Speaker 1: that sticks is on the more on the bad side. 272 00:15:38,920 --> 00:15:41,360 Speaker 3: Do you think social media is more to blame for 273 00:15:41,440 --> 00:15:44,760 Speaker 3: things or do you think the person that invented the 274 00:15:44,800 --> 00:15:46,960 Speaker 3: infinite scroll is the real demon? 275 00:15:48,720 --> 00:15:50,560 Speaker 1: I don't know what that, Yeah, I mean, I don't 276 00:15:50,560 --> 00:15:52,000 Speaker 1: know what the infinite scroll is. 277 00:15:52,880 --> 00:15:57,320 Speaker 3: Well, I mean the ability with you know phones, you know, 278 00:15:57,440 --> 00:16:00,520 Speaker 3: cell phones, to be able to continually go like this 279 00:16:00,760 --> 00:16:04,080 Speaker 3: and be able to look at all your junk and 280 00:16:04,120 --> 00:16:06,880 Speaker 3: see where people ate for dinner last night and all 281 00:16:06,880 --> 00:16:07,760 Speaker 3: that stupid stuff. 282 00:16:07,920 --> 00:16:10,840 Speaker 1: Oh yeah, it's just it's so creepy to us. And 283 00:16:10,880 --> 00:16:14,000 Speaker 1: the thing about it is is once once things are 284 00:16:14,120 --> 00:16:17,800 Speaker 1: gone and this is all you have, then even people 285 00:16:17,880 --> 00:16:20,880 Speaker 1: who are not into it or even speak against it 286 00:16:21,280 --> 00:16:24,480 Speaker 1: get hooked on it. It's like I have my phone 287 00:16:24,520 --> 00:16:26,680 Speaker 1: with me all the time because I have a family. 288 00:16:27,000 --> 00:16:30,960 Speaker 1: JD's the same way, and after a while you've become 289 00:16:31,000 --> 00:16:33,840 Speaker 1: so dependent on it. I remember when I first moved 290 00:16:33,840 --> 00:16:39,040 Speaker 1: to la in nineteen eighty, I was we had a 291 00:16:39,080 --> 00:16:42,000 Speaker 1: thing called a Thomas Guide, and it was just a 292 00:16:42,080 --> 00:16:47,160 Speaker 1: map of every street in La County, and you had 293 00:16:47,200 --> 00:16:50,400 Speaker 1: to look at this. It is like a serious catalog 294 00:16:50,800 --> 00:16:52,680 Speaker 1: and you had to look up where you were going 295 00:16:52,720 --> 00:16:55,760 Speaker 1: and figure out how to get there. And you know, 296 00:16:55,800 --> 00:17:01,600 Speaker 1: I think social media has made people so lazy. And 297 00:17:01,760 --> 00:17:06,920 Speaker 1: also the life's about the journey, not the end result. 298 00:17:07,160 --> 00:17:09,760 Speaker 1: So what everything is at your fingertips? You're not going 299 00:17:09,760 --> 00:17:11,720 Speaker 1: on a journey to learn And I think when you 300 00:17:11,840 --> 00:17:14,960 Speaker 1: learn that way, you don't remember it as well. If 301 00:17:14,960 --> 00:17:17,360 Speaker 1: you have to work hard to learn something, you remember 302 00:17:17,400 --> 00:17:19,080 Speaker 1: it well. 303 00:17:19,119 --> 00:17:24,400 Speaker 3: Stated Billy, you cast John Prine and Daddy and them, 304 00:17:24,760 --> 00:17:26,919 Speaker 3: And I know he was a friend of yours. 305 00:17:27,720 --> 00:17:29,760 Speaker 4: I'm JD. I'm not sure if he was a friend 306 00:17:29,800 --> 00:17:31,960 Speaker 4: of yours. I would imagine if he was a friend 307 00:17:31,960 --> 00:17:33,560 Speaker 4: of Billy's. He was a friend of yours. 308 00:17:33,600 --> 00:17:36,560 Speaker 1: But sadly John was one of the guys I never 309 00:17:36,600 --> 00:17:37,200 Speaker 1: got to meet. 310 00:17:38,040 --> 00:17:45,040 Speaker 5: And I was, yeah, I'm a huge fan of his music, 311 00:17:45,600 --> 00:17:47,880 Speaker 5: but yeah, sadly I never got to meet him. 312 00:17:48,320 --> 00:17:52,440 Speaker 3: Well, he clearly chronicled the journey in such a brilliant way. 313 00:17:52,560 --> 00:17:55,199 Speaker 3: Can you tell me what the experience for you was like? 314 00:17:55,880 --> 00:17:59,320 Speaker 3: You know, certainly knowing him and working with him on 315 00:17:59,480 --> 00:18:01,840 Speaker 3: Daddy and the. 316 00:18:00,960 --> 00:18:04,160 Speaker 1: Well, John and I had met several years before we 317 00:18:04,200 --> 00:18:07,640 Speaker 1: did that, and we just kind of hit it off. 318 00:18:07,680 --> 00:18:11,640 Speaker 1: And in terms of where I first met him. When 319 00:18:11,680 --> 00:18:15,040 Speaker 1: I get asked that about people, I usually don't remember 320 00:18:15,080 --> 00:18:17,680 Speaker 1: how we met. It's just from being around, you know 321 00:18:17,680 --> 00:18:23,440 Speaker 1: what I mean. But we were mutual fans of each other, 322 00:18:23,480 --> 00:18:26,520 Speaker 1: you know, and we just ended up being pals. And 323 00:18:27,320 --> 00:18:30,560 Speaker 1: I thought, you know, this guy, this guy could play 324 00:18:30,560 --> 00:18:32,960 Speaker 1: my older brother. I'm telling you, I know he's got 325 00:18:32,960 --> 00:18:35,400 Speaker 1: it in it because John didn't have the ability to 326 00:18:35,440 --> 00:18:40,320 Speaker 1: not be who he was, to not be natural. Actually, 327 00:18:40,720 --> 00:18:43,280 Speaker 1: he has a song that became a famous song of 328 00:18:43,400 --> 00:18:46,880 Speaker 1: his that I asked him to do. I said, John, 329 00:18:46,920 --> 00:18:50,040 Speaker 1: can you write a song for the closing credit sequence? 330 00:18:50,600 --> 00:18:53,320 Speaker 1: And he goes, how do I do that? I said, well, 331 00:18:54,040 --> 00:18:55,960 Speaker 1: I said, you just kind of you don't hit the 332 00:18:56,040 --> 00:18:59,320 Speaker 1: nail on the head. But at the same time, make 333 00:18:59,440 --> 00:19:03,159 Speaker 1: reference is to the characters and the story somehow, so 334 00:19:03,320 --> 00:19:07,080 Speaker 1: make it a little more of a not a linear 335 00:19:07,760 --> 00:19:11,639 Speaker 1: storytelling of the movie, but just you know, get it 336 00:19:11,680 --> 00:19:14,800 Speaker 1: across whatever you're feeling is. So he ended up writing 337 00:19:17,680 --> 00:19:22,160 Speaker 1: In Spite of Ourselves, which was the closing credit song, 338 00:19:22,280 --> 00:19:24,560 Speaker 1: and he did it with Iris Dement and it became 339 00:19:24,640 --> 00:19:28,200 Speaker 1: one of his staples. You know, it was an awesome, 340 00:19:28,560 --> 00:19:29,560 Speaker 1: incredible song. 341 00:19:29,640 --> 00:19:31,800 Speaker 4: My god, what a magical. 342 00:19:32,320 --> 00:19:37,360 Speaker 3: Use of it and performance by John and Iris. 343 00:19:37,400 --> 00:19:42,720 Speaker 1: My god, I love that wonderful you know. Yeah, yeah, Can. 344 00:19:42,600 --> 00:19:45,560 Speaker 3: You take us inside? I know your studio it's called 345 00:19:45,600 --> 00:19:46,640 Speaker 3: pepper Tree Hill. 346 00:19:46,560 --> 00:19:52,120 Speaker 4: Right, yes, and I believe it's even you know. 347 00:19:52,160 --> 00:19:57,119 Speaker 3: The subject of your next project, which is you know, 348 00:19:57,160 --> 00:19:58,160 Speaker 3: down down the Road. 349 00:19:58,600 --> 00:19:59,520 Speaker 4: Take us inside. 350 00:19:59,600 --> 00:20:03,359 Speaker 3: What a process for you guys inside the studio is 351 00:20:03,400 --> 00:20:05,760 Speaker 3: in terms of creating and recording. 352 00:20:06,760 --> 00:20:09,360 Speaker 1: Well, first of all, the studio it doesn't know when 353 00:20:09,359 --> 00:20:12,760 Speaker 1: somebody says you have a home studio. It's not like 354 00:20:12,840 --> 00:20:14,879 Speaker 1: a you know, a bedroom or the pro tools and 355 00:20:14,960 --> 00:20:19,440 Speaker 1: a keyboard and an acoustic guitar. It's like, in other words, 356 00:20:19,600 --> 00:20:22,320 Speaker 1: if it could be a commercial studio that people would 357 00:20:22,400 --> 00:20:28,400 Speaker 1: record at. And we have a good sized control room, 358 00:20:28,480 --> 00:20:33,399 Speaker 1: a really nice big tracking room. It's full of all 359 00:20:33,440 --> 00:20:36,720 Speaker 1: of our vintage gear that's from our old studio. Wished 360 00:20:36,720 --> 00:20:38,960 Speaker 1: to have the same board that I've had since nineteen 361 00:20:39,119 --> 00:20:44,960 Speaker 1: ninety nine two thousand. It has two lounges, a smaller 362 00:20:45,000 --> 00:20:47,159 Speaker 1: lounge kind of we caught the reading lounge, and then 363 00:20:47,160 --> 00:20:50,240 Speaker 1: it's got a regular lounge. It's like a kitchen and a bathroom, 364 00:20:50,280 --> 00:20:55,240 Speaker 1: and so it's the full setup, and it's just it's 365 00:20:55,280 --> 00:20:58,320 Speaker 1: got such a creative vibe in there. It's not a 366 00:20:58,359 --> 00:21:04,040 Speaker 1: place where we sit down to write songs. Usually it's 367 00:21:04,080 --> 00:21:06,560 Speaker 1: not that one or the other of us doesn't write 368 00:21:06,560 --> 00:21:09,080 Speaker 1: one in there on our own, but JD and I 369 00:21:09,200 --> 00:21:13,400 Speaker 1: usually write together by one of us brings the other 370 00:21:13,480 --> 00:21:19,160 Speaker 1: one a line and a melody or chord progression or 371 00:21:19,400 --> 00:21:22,159 Speaker 1: just some words or whatever. And said, I think we 372 00:21:22,200 --> 00:21:25,080 Speaker 1: can make this into something, and so we already have 373 00:21:25,280 --> 00:21:29,600 Speaker 1: the idea usually when we go into the studio, and 374 00:21:29,680 --> 00:21:34,480 Speaker 1: so we start with what we have and and at 375 00:21:34,480 --> 00:21:38,160 Speaker 1: that point it becomes songwriting together in the same room. 376 00:21:38,400 --> 00:21:43,679 Speaker 1: And during during the pandemic and everything, whenever he was 377 00:21:43,680 --> 00:21:47,639 Speaker 1: locked down, we did a lot of stuff on FaceTime 378 00:21:48,000 --> 00:21:51,719 Speaker 1: or the phone, you know, and which send back and 379 00:21:51,760 --> 00:21:55,000 Speaker 1: forth to each other. But this studio here is amazing, 380 00:21:55,000 --> 00:21:59,160 Speaker 1: And like I said, JD's a world class engineer, and 381 00:21:59,240 --> 00:22:01,679 Speaker 1: so we get to experiment with sounds there. We have 382 00:22:02,040 --> 00:22:04,880 Speaker 1: we mainly have vintage gear. We take our new gear 383 00:22:04,920 --> 00:22:07,000 Speaker 1: on the road because we don't want to break all 384 00:22:07,040 --> 00:22:10,480 Speaker 1: that stuff. But we have a lot of really good 385 00:22:10,520 --> 00:22:13,320 Speaker 1: stuff we've collected over the years, so we have the 386 00:22:13,359 --> 00:22:16,359 Speaker 1: stuff that we need to get the sounds of the 387 00:22:16,440 --> 00:22:19,120 Speaker 1: time we were talking about earlier, you know, I mean 388 00:22:19,160 --> 00:22:21,800 Speaker 1: we've got things like a fuzz face and you know, 389 00:22:22,080 --> 00:22:25,520 Speaker 1: wild wah pedals and you know, it was sixty five 390 00:22:25,800 --> 00:22:31,480 Speaker 1: box AC thirty, you know, and sixty three B fifteen 391 00:22:31,720 --> 00:22:35,320 Speaker 1: flip top bass amp that we use on almost everything 392 00:22:35,560 --> 00:22:39,919 Speaker 1: and oh yeah, every so, yeah, exactly. It's just it 393 00:22:40,080 --> 00:22:42,320 Speaker 1: is just a super creative place. 394 00:22:42,520 --> 00:22:46,159 Speaker 5: And thankfully when Billy bought the place, you know, he 395 00:22:46,200 --> 00:22:49,359 Speaker 5: bought it from another musician. You know, it's Jason Wade 396 00:22:49,359 --> 00:22:54,000 Speaker 5: from Lifehouse had the house before, and he had bought 397 00:22:54,000 --> 00:22:58,040 Speaker 5: it from another producer who had initially built it. So 398 00:22:58,200 --> 00:23:01,919 Speaker 5: it was kind of always set up as a place 399 00:23:02,280 --> 00:23:05,040 Speaker 5: for people to kind of come and hang out and 400 00:23:05,080 --> 00:23:07,399 Speaker 5: hide out and record. It was you know, it's not 401 00:23:08,359 --> 00:23:10,320 Speaker 5: it's not in the middle of Hollywood or anything. It's 402 00:23:10,359 --> 00:23:13,320 Speaker 5: you know, it's outside of town a bit, and you 403 00:23:13,440 --> 00:23:17,640 Speaker 5: really are kind of on your own little island. It's 404 00:23:17,760 --> 00:23:20,320 Speaker 5: just the most comfortable place. And you know it's like 405 00:23:20,840 --> 00:23:23,239 Speaker 5: when we've moved in, there was nothing there. It was 406 00:23:23,320 --> 00:23:27,199 Speaker 5: just the walls, you know, everything was beautiful, but it 407 00:23:27,240 --> 00:23:29,919 Speaker 5: was completely empty, and so we were able to just 408 00:23:29,960 --> 00:23:33,960 Speaker 5: bring all of our stuff, you know, anything that we needed. 409 00:23:34,160 --> 00:23:36,119 Speaker 5: All of a sudden, we had space for it. So 410 00:23:36,160 --> 00:23:38,600 Speaker 5: it's like we had never had a piano of our 411 00:23:38,640 --> 00:23:41,720 Speaker 5: own that was in the studio, so we were able to, 412 00:23:42,040 --> 00:23:44,359 Speaker 5: you know, through a friend, get a piano and some 413 00:23:44,480 --> 00:23:47,600 Speaker 5: other keyboards and things like that that you know, we 414 00:23:48,400 --> 00:23:52,320 Speaker 5: had space and the need for. And it's been a 415 00:23:52,440 --> 00:23:56,200 Speaker 5: very important part of our recording process. When we started out, 416 00:23:56,200 --> 00:23:59,280 Speaker 5: we wrote every song on guitar, you know, because that's 417 00:23:59,640 --> 00:24:02,639 Speaker 5: how I played and Billy plays guitar, so all of 418 00:24:02,680 --> 00:24:05,000 Speaker 5: the songs were you know, kind of limited by what 419 00:24:05,040 --> 00:24:07,640 Speaker 5: we knew how to do on a guitar. But as 420 00:24:07,720 --> 00:24:09,919 Speaker 5: the years have gone by and I break out my 421 00:24:10,119 --> 00:24:13,240 Speaker 5: ten year old kids piano lessons and it's like, I can, 422 00:24:13,520 --> 00:24:15,040 Speaker 5: you know, sit there and you know, you just kind 423 00:24:15,040 --> 00:24:17,000 Speaker 5: of put your hands down on it, and all of 424 00:24:17,040 --> 00:24:19,960 Speaker 5: a sudden, it's like, okay, that's a chord that it's 425 00:24:20,000 --> 00:24:24,080 Speaker 5: a little strange, but we can go from that chord 426 00:24:24,160 --> 00:24:27,960 Speaker 5: to another chord, and you know, it's something different for us, 427 00:24:28,000 --> 00:24:31,000 Speaker 5: you know, so we're not just using the same you know, 428 00:24:31,160 --> 00:24:33,920 Speaker 5: standard chord progressions that you'd play on a guitar. We're 429 00:24:34,000 --> 00:24:36,720 Speaker 5: you know, messing around with other you know, just different 430 00:24:37,400 --> 00:24:41,320 Speaker 5: voicings and things that make us create, you know, just 431 00:24:41,359 --> 00:24:44,640 Speaker 5: having an extra weird note in something, or Billy I'll 432 00:24:44,640 --> 00:24:48,640 Speaker 5: tuna guitar to some random open tuning that we don't 433 00:24:48,680 --> 00:24:50,479 Speaker 5: know what it is. But then you put your fingers 434 00:24:50,520 --> 00:24:52,439 Speaker 5: on the strings in a you know, a spot and 435 00:24:52,480 --> 00:24:54,520 Speaker 5: it's like, Okay, that sounds neat. How do I go 436 00:24:54,600 --> 00:24:57,960 Speaker 5: from there to another chord? And how does that become 437 00:24:57,960 --> 00:25:01,480 Speaker 5: a song? And we're not around just like oh, let's 438 00:25:01,560 --> 00:25:04,800 Speaker 5: rip off a Rolling Stones chord progression here, it's like 439 00:25:05,440 --> 00:25:09,120 Speaker 5: we actively go in there and try to create something 440 00:25:09,920 --> 00:25:12,480 Speaker 5: that maybe he's never been heard. Maybe we come up 441 00:25:12,480 --> 00:25:14,920 Speaker 5: with a chord progression that it's different. 442 00:25:16,040 --> 00:25:19,159 Speaker 1: And these days, as a matter of fact, we start 443 00:25:19,320 --> 00:25:24,040 Speaker 1: on piano more often than we do guitar because writing 444 00:25:24,080 --> 00:25:28,560 Speaker 1: on piano is a completely different type of writing. They 445 00:25:28,720 --> 00:25:31,720 Speaker 1: just sound different. You can listen to our songs or 446 00:25:31,840 --> 00:25:35,360 Speaker 1: we can listen to them and we can know, yeah, 447 00:25:35,640 --> 00:25:37,879 Speaker 1: that one was written on piano, this one was written 448 00:25:37,880 --> 00:25:41,639 Speaker 1: on guitar. And like Jad said, sometimes with some of 449 00:25:41,680 --> 00:25:44,840 Speaker 1: the strange tunings, Sometimes I write songs and I'm using 450 00:25:44,880 --> 00:25:46,679 Speaker 1: chords that don't even know what they are, and we 451 00:25:46,720 --> 00:25:48,720 Speaker 1: have to and JD doesn't either, and we have to 452 00:25:48,720 --> 00:25:51,480 Speaker 1: call it. We have a buddy named Brad Davis who 453 00:25:52,000 --> 00:25:55,560 Speaker 1: talked for Berkeley College and music and all that, and 454 00:25:55,640 --> 00:25:59,520 Speaker 1: we just call Brad get on FaceTime with him and say, Brad, 455 00:25:59,600 --> 00:26:02,919 Speaker 1: what is this and he goes, oh, that's a you know, 456 00:26:03,480 --> 00:26:06,960 Speaker 1: D nine with a you know, with an added C 457 00:26:07,480 --> 00:26:07,760 Speaker 1: all that. 458 00:26:09,320 --> 00:26:11,640 Speaker 5: You know we're like, which, thank you very much, still 459 00:26:11,680 --> 00:26:14,760 Speaker 5: doesn't mean anything to us, so thank you for your 460 00:26:14,760 --> 00:26:17,640 Speaker 5: help that or you know, It's like when I'm making 461 00:26:17,760 --> 00:26:22,000 Speaker 5: charts for the band, I've got a website bookmarked that 462 00:26:22,160 --> 00:26:24,919 Speaker 5: you know, you can just put put a dot where 463 00:26:25,080 --> 00:26:27,040 Speaker 5: your fingers are and it will tell you what the 464 00:26:27,119 --> 00:26:29,959 Speaker 5: chord name is. So sometimes I have to do that. 465 00:26:30,520 --> 00:26:35,159 Speaker 5: But we're not music theory guys. We're just rock and 466 00:26:35,280 --> 00:26:37,560 Speaker 5: roll guys. We just you know, play stuff. Does it 467 00:26:37,640 --> 00:26:41,040 Speaker 5: sound good, and that's it. That's that's what we go with. 468 00:26:41,080 --> 00:26:43,399 Speaker 5: If it doesn't sound right, we'll keep working until we 469 00:26:43,440 --> 00:26:44,760 Speaker 5: find a chord that works. 470 00:26:45,200 --> 00:26:47,680 Speaker 1: Yeah, we grew up as guys who played G, C 471 00:26:47,920 --> 00:26:50,679 Speaker 1: and D and E and F and everything and the 472 00:26:50,720 --> 00:26:53,200 Speaker 1: next thing, you know, we're using chords that like yes 473 00:26:53,280 --> 00:26:57,439 Speaker 1: and every overused. Yeah. 474 00:26:57,520 --> 00:26:58,080 Speaker 4: I love that. 475 00:26:59,119 --> 00:27:01,800 Speaker 3: Obviously, we have a delivery here because my dogs are 476 00:27:01,800 --> 00:27:06,160 Speaker 3: freaking out. Welcome to the world of twenty twenty four. 477 00:27:07,280 --> 00:27:10,720 Speaker 3: But I just want to close with the fact that 478 00:27:11,080 --> 00:27:14,720 Speaker 3: you know, music is about joy. We know that, and 479 00:27:16,000 --> 00:27:18,760 Speaker 3: you guys are bringing joy to your fans and too 480 00:27:18,840 --> 00:27:21,639 Speaker 3: the world with the music. But what's so cool is 481 00:27:22,000 --> 00:27:25,199 Speaker 3: I just see the connection and the joy that you 482 00:27:25,320 --> 00:27:29,840 Speaker 3: two have working together, and it is contagious, and I 483 00:27:29,880 --> 00:27:32,239 Speaker 3: want to just tell you how much I appreciate it 484 00:27:32,280 --> 00:27:34,080 Speaker 3: and appreciate spending. 485 00:27:33,760 --> 00:27:34,439 Speaker 4: The time with you. 486 00:27:34,920 --> 00:27:37,960 Speaker 3: Folks should go to boxmasters dot com to check out 487 00:27:37,960 --> 00:27:39,320 Speaker 3: the many tour. 488 00:27:39,160 --> 00:27:42,200 Speaker 4: Dates and other little tidbits that are going on. 489 00:27:43,000 --> 00:27:46,360 Speaker 1: There is the show dates with ticket links, the stores 490 00:27:46,400 --> 00:27:48,720 Speaker 1: kind of down you can download you know, our past 491 00:27:48,760 --> 00:27:51,480 Speaker 1: records well and the new one. You can download those 492 00:27:51,560 --> 00:27:52,840 Speaker 1: for you know, five bucks. 493 00:27:53,480 --> 00:27:55,600 Speaker 5: Once we get off the road, I'll put the store 494 00:27:55,640 --> 00:27:57,600 Speaker 5: back up in one of our t shirts and records 495 00:27:57,600 --> 00:28:01,359 Speaker 5: and everything signed and available purchase again. But you know, 496 00:28:01,400 --> 00:28:04,760 Speaker 5: we do it all ourselves, so it's very time consuming. 497 00:28:05,160 --> 00:28:08,040 Speaker 5: So to try to be your own websites and your 498 00:28:08,080 --> 00:28:11,280 Speaker 5: store and write the songs and everything. You know, it's 499 00:28:12,320 --> 00:28:16,000 Speaker 5: it's a difficult process. So hopefully people will be patient 500 00:28:16,040 --> 00:28:17,880 Speaker 5: with me, and you know, when we get back home, 501 00:28:17,960 --> 00:28:20,520 Speaker 5: I'll turn the store back on and people can order 502 00:28:20,560 --> 00:28:23,000 Speaker 5: if they're not able to make it to a show. 503 00:28:23,640 --> 00:28:25,960 Speaker 1: Because at the shows we have all the stuff. Yeah, 504 00:28:25,960 --> 00:28:29,920 Speaker 1: everything's there and all by records and CDs are signed 505 00:28:30,000 --> 00:28:34,440 Speaker 1: by the band and stuff. So we have the records 506 00:28:34,440 --> 00:28:36,639 Speaker 1: and the t shirts and all the gizmos out there 507 00:28:37,240 --> 00:28:40,040 Speaker 1: on tour. And you were speaking of Monmouth before we 508 00:28:40,120 --> 00:28:43,080 Speaker 1: let you go the last time we played there, and 509 00:28:43,560 --> 00:28:46,480 Speaker 1: we'd always heard of Monmouth University because you know, you know, 510 00:28:46,520 --> 00:28:52,000 Speaker 1: we watched basketball. So and so when we got there 511 00:28:52,040 --> 00:28:54,760 Speaker 1: was a Sunday at school wasn't in session. It was 512 00:28:54,960 --> 00:28:59,200 Speaker 1: a drizzling rain, and the promoter it was very nice 513 00:28:59,240 --> 00:29:03,400 Speaker 1: to us, and we were like, well, they're certainly happy 514 00:29:03,480 --> 00:29:06,760 Speaker 1: for people that only sold you know, ninety eight tickets 515 00:29:06,800 --> 00:29:11,480 Speaker 1: or it was, and so we couldn't believe it when 516 00:29:12,320 --> 00:29:14,680 Speaker 1: the agent had that on the schedule again, We're like, 517 00:29:14,720 --> 00:29:16,840 Speaker 1: they're having us back because we had an empty house. 518 00:29:17,360 --> 00:29:19,680 Speaker 1: He goes, well, yeah, we talked to him and school 519 00:29:19,720 --> 00:29:25,640 Speaker 1: will be in session this time, so hopefully hopefully some 520 00:29:25,760 --> 00:29:28,520 Speaker 1: Mommuth University students will come out there and see us. 521 00:29:29,400 --> 00:29:33,560 Speaker 3: That's awesome, guys, great time on the road, great time 522 00:29:33,640 --> 00:29:34,880 Speaker 3: having you on Taking a Walk. 523 00:29:34,920 --> 00:29:37,120 Speaker 1: Thanks so much, Thank you so much. 524 00:29:38,200 --> 00:29:40,640 Speaker 2: Thanks for listening to this episode of the Taking a 525 00:29:40,680 --> 00:29:44,600 Speaker 2: Walk podcast. Share this and other episodes with your friends 526 00:29:44,680 --> 00:29:48,160 Speaker 2: and follow us so you never miss an episode. Taking 527 00:29:48,200 --> 00:29:52,080 Speaker 2: a Walk is available on the iHeartRadio app, Apple Podcasts, 528 00:29:52,320 --> 00:29:54,600 Speaker 2: and wherever you get your podcasts.