1 00:00:00,520 --> 00:00:01,320 Speaker 1: Taking a Walk. 2 00:00:01,520 --> 00:00:04,520 Speaker 2: I remember I had a development deal with RCA Records, 3 00:00:05,000 --> 00:00:07,400 Speaker 2: and I said, well, I'm gonna finally get my record deal. 4 00:00:07,480 --> 00:00:07,640 Speaker 1: You know. 5 00:00:07,720 --> 00:00:09,440 Speaker 2: It's like, you know, I've been doing this my whole life, 6 00:00:09,480 --> 00:00:15,200 Speaker 2: you know. And I remember BMG Music bought RCA and 7 00:00:14,400 --> 00:00:18,159 Speaker 2: they dropped forty of their sind acts and all of 8 00:00:18,200 --> 00:00:20,720 Speaker 2: the development things, which was the category I was in. 9 00:00:21,280 --> 00:00:23,799 Speaker 2: They dropped everything. So it's like things like that where 10 00:00:23,800 --> 00:00:26,040 Speaker 2: it's like you're, you know, you're holding on for dear life. 11 00:00:26,079 --> 00:00:28,720 Speaker 1: It's like, why are you holding on for dear life? 12 00:00:28,840 --> 00:00:31,480 Speaker 2: I can't quite explain that, but it's something that starts 13 00:00:31,480 --> 00:00:32,040 Speaker 2: in childhood. 14 00:00:32,159 --> 00:00:36,080 Speaker 3: Welcome to the Taking a Walk Podcast, hosted by Buzznight, 15 00:00:36,720 --> 00:00:41,919 Speaker 3: inside stories of musicians and their craft. This episode, singer, songwriter, 16 00:00:42,000 --> 00:00:46,400 Speaker 3: of musician and producer Mark Ribler, a man on a mission. 17 00:00:46,120 --> 00:00:47,560 Speaker 1: To celebrate great music. 18 00:00:48,080 --> 00:00:51,960 Speaker 3: Mark discusses his cool video project Celebrating to Cabot, and 19 00:00:52,000 --> 00:00:54,480 Speaker 3: he also talks about his work with Stephen van zandt 20 00:00:54,920 --> 00:00:58,320 Speaker 3: serving as Stephen's band leader for his Disciples of Soul project, 21 00:00:58,840 --> 00:01:04,080 Speaker 3: which is prominently on a new HBO documentary Disciple. Here's 22 00:01:04,120 --> 00:01:07,760 Speaker 3: Buzz Night and Mark Ribbler on Taking a walk. 23 00:01:09,040 --> 00:01:12,560 Speaker 4: Mark Ribbler, possibly the busiest man in show business. Welcome 24 00:01:12,680 --> 00:01:15,080 Speaker 4: to the Take Out a Walk podcast. Will be taking 25 00:01:15,160 --> 00:01:18,640 Speaker 4: a walk down memory Lane virtually but so nice to 26 00:01:18,959 --> 00:01:19,600 Speaker 4: get to meet you. 27 00:01:20,120 --> 00:01:22,400 Speaker 2: Oh this this fantastic buzz. I'm so glad we got 28 00:01:22,440 --> 00:01:23,119 Speaker 2: to do this today. 29 00:01:23,920 --> 00:01:26,320 Speaker 4: How do you find enough hours in the day for 30 00:01:26,520 --> 00:01:27,960 Speaker 4: all the projects you work on? 31 00:01:30,000 --> 00:01:32,959 Speaker 1: You know, it's uh, it's very interesting. 32 00:01:35,000 --> 00:01:38,720 Speaker 2: Being a musician, you know, my entire life, and it's 33 00:01:38,760 --> 00:01:41,640 Speaker 2: the struggle has always been what do you do with you. 34 00:01:41,600 --> 00:01:43,039 Speaker 1: Know, with with downtime. 35 00:01:43,920 --> 00:01:46,160 Speaker 2: So whenever this's downtime, it's like, oh man, you start, 36 00:01:46,200 --> 00:01:47,199 Speaker 2: you know, you start getting nervous. 37 00:01:47,200 --> 00:01:47,960 Speaker 1: I got to get a gig. 38 00:01:48,000 --> 00:01:51,000 Speaker 2: I gotta you know, I gotta be more proactive and 39 00:01:51,080 --> 00:01:53,840 Speaker 2: then you know, then you'll establish you know, like the 40 00:01:53,880 --> 00:01:56,160 Speaker 2: next let's say, the next few months, you're okay, I'm 41 00:01:56,240 --> 00:01:58,680 Speaker 2: busy every day and then you're like, man, I really 42 00:01:58,800 --> 00:02:00,760 Speaker 2: i'd love a break right now. But you got to 43 00:02:00,800 --> 00:02:03,120 Speaker 2: be careful what you ask for either, you know, because 44 00:02:03,120 --> 00:02:06,640 Speaker 2: it's it's always feast or famine. It's it's never been 45 00:02:07,440 --> 00:02:10,040 Speaker 2: you know, like I I've always been striving for balance 46 00:02:10,200 --> 00:02:12,960 Speaker 2: in in the music business or in my life. Really 47 00:02:13,040 --> 00:02:19,320 Speaker 2: you know, so I I'm seeking balance right now. It's 48 00:02:19,400 --> 00:02:23,880 Speaker 2: it it seems busier than it is. Although I I 49 00:02:24,000 --> 00:02:25,639 Speaker 2: like to be busy. I like to you know, keep 50 00:02:25,680 --> 00:02:30,880 Speaker 2: my mind and my creativity engaged. Oh, my mind's always engaged. 51 00:02:30,919 --> 00:02:33,800 Speaker 2: I like to have the creativity to kind of distract 52 00:02:33,880 --> 00:02:35,520 Speaker 2: me from thinking too much. 53 00:02:36,560 --> 00:02:40,040 Speaker 4: So you moved from Brooklyn to New Jersey at what age? 54 00:02:41,720 --> 00:02:43,920 Speaker 1: Uh nine? 55 00:02:44,440 --> 00:02:47,120 Speaker 2: Yeah, and that was a shock because I grew up 56 00:02:47,160 --> 00:02:50,280 Speaker 2: in the projects in Brooklyn, and sheep said, bay. So 57 00:02:50,400 --> 00:02:53,240 Speaker 2: my friends were they were black and Puerto Rican and 58 00:02:53,320 --> 00:02:55,440 Speaker 2: Italian and Jewish and Irish. 59 00:02:55,800 --> 00:03:00,240 Speaker 1: And I moved to a town called jack in. 60 00:03:00,200 --> 00:03:04,600 Speaker 2: New Jersey and and it was you know, I never 61 00:03:04,680 --> 00:03:05,680 Speaker 2: really experienced. 62 00:03:06,440 --> 00:03:07,720 Speaker 1: It was kind of it was whitebread. 63 00:03:07,720 --> 00:03:10,000 Speaker 2: It was it was like there was there was a 64 00:03:10,040 --> 00:03:12,400 Speaker 2: couple of black kids, there was a couple of Jewish kids, 65 00:03:12,919 --> 00:03:16,080 Speaker 2: and everyone else was you know, looked like my Irish 66 00:03:16,080 --> 00:03:18,680 Speaker 2: friends in Brooklyn or my my you know. It was 67 00:03:18,760 --> 00:03:23,720 Speaker 2: just a very big adjustment because I never experienced and 68 00:03:23,800 --> 00:03:25,520 Speaker 2: of course all my friends weren't Irish, but you know, 69 00:03:25,919 --> 00:03:27,520 Speaker 2: like my next door neighbor and my good friend was 70 00:03:27,520 --> 00:03:30,040 Speaker 2: German and Irish and and I had you know, friends 71 00:03:30,080 --> 00:03:33,280 Speaker 2: that were more, you know, uh. 72 00:03:34,000 --> 00:03:36,600 Speaker 1: Just a different perspective on life. 73 00:03:36,640 --> 00:03:42,000 Speaker 2: And I never and also I never heard derogatory terms 74 00:03:42,040 --> 00:03:46,000 Speaker 2: towards different different ethnic groups, you know. So I never 75 00:03:46,040 --> 00:03:49,600 Speaker 2: experienced prejudice until I moved to the small, smaller town 76 00:03:49,640 --> 00:03:50,280 Speaker 2: in New Jersey. 77 00:03:50,680 --> 00:03:52,400 Speaker 1: So it's a huge shock because. 78 00:03:52,160 --> 00:03:55,040 Speaker 2: I I didn't, you know, my parents it was a 79 00:03:55,120 --> 00:03:56,280 Speaker 2: very liberal household. 80 00:03:56,320 --> 00:03:57,600 Speaker 1: I didn't. I didn't. 81 00:03:59,520 --> 00:04:03,320 Speaker 2: I never heard you know, those expletives about any cultures, 82 00:04:03,440 --> 00:04:08,320 Speaker 2: and so to hear it it was very It was unnerving, 83 00:04:08,400 --> 00:04:10,160 Speaker 2: you know, at a young age, you know. And I 84 00:04:10,920 --> 00:04:13,000 Speaker 2: struggled with it, and I really wanted to move back 85 00:04:13,040 --> 00:04:15,520 Speaker 2: to Brooklyn. And then I found a couple years later, 86 00:04:15,520 --> 00:04:17,200 Speaker 2: I found the guitar, and that kind of gave me 87 00:04:18,120 --> 00:04:21,720 Speaker 2: sort of sanctuary, you know, like that gave me a 88 00:04:21,760 --> 00:04:24,240 Speaker 2: place where I could go that was safe, where I 89 00:04:24,240 --> 00:04:27,200 Speaker 2: could channel my you know, my angst and my my 90 00:04:28,560 --> 00:04:30,600 Speaker 2: you know, the questions I had about life. I could 91 00:04:30,680 --> 00:04:33,839 Speaker 2: I could channel it into my music and somehow answers 92 00:04:33,880 --> 00:04:36,400 Speaker 2: would come in some kind of spiritual lessons. 93 00:04:36,920 --> 00:04:40,120 Speaker 4: Now did Brooklyn get to shape you at all musically 94 00:04:40,200 --> 00:04:43,080 Speaker 4: while you were there? 95 00:04:43,400 --> 00:04:47,279 Speaker 2: I think, Well, I grew up listening to WABC AM 96 00:04:47,360 --> 00:04:49,600 Speaker 2: radio in New York, which was pop radio. 97 00:04:49,880 --> 00:04:53,320 Speaker 1: They played when I was a kid. They played the Jackson. 98 00:04:53,080 --> 00:04:58,080 Speaker 2: Five, the Rolling Stones, James Brown, they played you know 99 00:04:58,120 --> 00:05:02,400 Speaker 2: those instrumental pop songs, you know, Tijuana Brass. So it 100 00:05:02,440 --> 00:05:07,400 Speaker 2: was this incredible melting pot of popular music. So I 101 00:05:07,480 --> 00:05:10,520 Speaker 2: was influenced by all of that, so it started. I 102 00:05:10,560 --> 00:05:12,640 Speaker 2: didn't start playing music. I mean I would only sing 103 00:05:12,680 --> 00:05:17,120 Speaker 2: with my little Victrola in my bedroom for those kids 104 00:05:17,120 --> 00:05:21,160 Speaker 2: out there. Victrolla actually a Victrolla was was the the RCA, 105 00:05:21,360 --> 00:05:24,120 Speaker 2: you know with the big horn and the wind up 106 00:05:24,160 --> 00:05:26,599 Speaker 2: seventy eight's, you know. But you know, we had like 107 00:05:26,640 --> 00:05:28,920 Speaker 2: a little a little turntable and we would play our 108 00:05:28,960 --> 00:05:31,040 Speaker 2: forty fives, all the songs. 109 00:05:30,800 --> 00:05:31,960 Speaker 1: We would hear on WABC. 110 00:05:32,080 --> 00:05:35,440 Speaker 2: We'd go to you know, Corvettes, EJ Corvettes or you know, 111 00:05:35,480 --> 00:05:39,719 Speaker 2: the local department store and by forty fives and you know, 112 00:05:39,800 --> 00:05:41,719 Speaker 2: and we learned every word and we would sing along. 113 00:05:41,800 --> 00:05:44,960 Speaker 2: So I didn't start playing guitar until I moved to 114 00:05:45,000 --> 00:05:50,560 Speaker 2: New Jersey. So, but I was very influenced by the 115 00:05:50,560 --> 00:05:54,680 Speaker 2: the musical vibrations that were happening in Brooklyn at that time. 116 00:05:55,279 --> 00:05:59,039 Speaker 4: So what sort of cemented you to be so connected 117 00:05:59,080 --> 00:06:01,560 Speaker 4: to music. And how old were you when you felt 118 00:06:01,560 --> 00:06:02,479 Speaker 4: that first connection. 119 00:06:04,000 --> 00:06:06,839 Speaker 1: I was eleven. I remember. 120 00:06:07,080 --> 00:06:09,680 Speaker 2: I remember the day like it was yesterday. We were 121 00:06:09,760 --> 00:06:14,839 Speaker 2: visiting my cousin, my cousin Stephen, who still lived in 122 00:06:14,880 --> 00:06:15,960 Speaker 2: Cheapside Bay of Brooklyn. 123 00:06:16,560 --> 00:06:18,280 Speaker 1: So when I'd go back, it's like, oh, man, I 124 00:06:18,839 --> 00:06:19,840 Speaker 1: just want to move back here. 125 00:06:19,880 --> 00:06:22,919 Speaker 2: I just felt so I felt displaced, you know, So 126 00:06:22,960 --> 00:06:25,839 Speaker 2: I go to Brooklyn anyway. One day, it was December 127 00:06:25,920 --> 00:06:30,440 Speaker 2: of nineteen, early seventies, like seventy three or seventy two 128 00:06:30,560 --> 00:06:32,120 Speaker 2: or something, and I walk. 129 00:06:31,960 --> 00:06:32,800 Speaker 1: In his room and. 130 00:06:34,279 --> 00:06:37,159 Speaker 2: There's a guitar in the corner, and I said, man, 131 00:06:37,160 --> 00:06:40,400 Speaker 2: what's that. He goes I started playing guitar, and it 132 00:06:40,560 --> 00:06:42,160 Speaker 2: just it was like the Holy Grail. It was like 133 00:06:42,200 --> 00:06:45,880 Speaker 2: this thing was just kind of shining this light from 134 00:06:45,920 --> 00:06:50,599 Speaker 2: another another plane, another world, other worlds, and it was 135 00:06:50,760 --> 00:06:53,520 Speaker 2: calling to me. And he was a couple of years older, 136 00:06:53,560 --> 00:06:58,080 Speaker 2: and I always, I guess I really looked up to him, 137 00:06:58,279 --> 00:07:01,320 Speaker 2: and the fact that he was in interested in it 138 00:07:01,360 --> 00:07:05,600 Speaker 2: made me even you know, maybe gravitated, gravitate to it 139 00:07:05,640 --> 00:07:08,760 Speaker 2: even more. So that's when I you know, that was 140 00:07:08,800 --> 00:07:11,280 Speaker 2: the day that I feel like my life changed ites, 141 00:07:11,320 --> 00:07:13,240 Speaker 2: like there was this guitar in the corner of the 142 00:07:13,320 --> 00:07:15,720 Speaker 2: room and it turned to be the holy grail and 143 00:07:15,760 --> 00:07:17,120 Speaker 2: the thing I would do forever. 144 00:07:17,880 --> 00:07:20,920 Speaker 4: And as you're telling that story, in the background, You've 145 00:07:20,920 --> 00:07:25,040 Speaker 4: got the lovely guitars that I could see. So that's 146 00:07:25,040 --> 00:07:27,800 Speaker 4: such a special story that you're telling and that I'm 147 00:07:27,840 --> 00:07:30,520 Speaker 4: able to sort of see the guitars in the background. 148 00:07:30,560 --> 00:07:31,200 Speaker 4: That's awesome. 149 00:07:31,400 --> 00:07:33,280 Speaker 1: Yeah, man, Yeah, Yeah, that's that's some of them. 150 00:07:33,320 --> 00:07:36,080 Speaker 2: You know, they're the tools of the trade that you know, 151 00:07:36,280 --> 00:07:39,240 Speaker 2: I'm in my recording studio, so that's sort of like 152 00:07:39,280 --> 00:07:41,440 Speaker 2: that's my pal, you know, my my toolbox. 153 00:07:42,320 --> 00:07:44,880 Speaker 4: How many of those bad boys do you have? 154 00:07:47,360 --> 00:07:51,640 Speaker 2: Probably around sixty, Yeah, in different rooms in the house, 155 00:07:51,680 --> 00:07:56,600 Speaker 2: you know. And I have some really great old ones 156 00:07:56,640 --> 00:08:01,120 Speaker 2: from like the sixties, and you know, like an old 157 00:08:01,120 --> 00:08:05,880 Speaker 2: Fender stratocaster and Les Paul and an SG and e 158 00:08:06,040 --> 00:08:08,920 Speaker 2: S three thirty five and three forty five, and you 159 00:08:08,960 --> 00:08:12,480 Speaker 2: know the Country Gentleman, the George Harrison guitar from nineteen 160 00:08:12,560 --> 00:08:15,520 Speaker 2: sixty one. Yeah, So those are sort of they do 161 00:08:15,600 --> 00:08:19,600 Speaker 2: a special thing, you know, and they yeah, they kind 162 00:08:19,600 --> 00:08:20,960 Speaker 2: of have a life of their own. 163 00:08:21,640 --> 00:08:22,320 Speaker 1: It's beautiful. 164 00:08:22,320 --> 00:08:24,800 Speaker 4: What was the first guitar you ever bought. 165 00:08:27,960 --> 00:08:31,600 Speaker 2: Okay, So when I first started playing, my parents, I 166 00:08:31,640 --> 00:08:33,559 Speaker 2: guess they were you know, they didn't know if I 167 00:08:33,600 --> 00:08:37,400 Speaker 2: would really stick with it, you know, So we went 168 00:08:37,440 --> 00:08:40,200 Speaker 2: to a local music store and we rented a guitar. 169 00:08:40,280 --> 00:08:42,840 Speaker 2: It was a g and Einie and I owned it. 170 00:08:43,120 --> 00:08:44,679 Speaker 2: I rented it for about a year and then we 171 00:08:44,800 --> 00:08:47,160 Speaker 2: just we purchased it. So it was a g and 172 00:08:47,200 --> 00:08:49,920 Speaker 2: Einie acoustic guitar, which is not a very popular brand. 173 00:08:50,000 --> 00:08:54,400 Speaker 2: But my first electric guitar I got when I was thirteen. 174 00:08:54,600 --> 00:08:57,720 Speaker 2: It was Gibson Les Paul, which I still have and 175 00:08:58,679 --> 00:09:01,000 Speaker 2: I wish I didn't. I never took a chisel to it, 176 00:09:01,040 --> 00:09:03,600 Speaker 2: but I put three I put a hole in it 177 00:09:03,600 --> 00:09:05,680 Speaker 2: because I wanted three pickups. And I wish I'd never 178 00:09:05,800 --> 00:09:11,440 Speaker 2: done that because it's it served a purpose. But it 179 00:09:11,520 --> 00:09:13,040 Speaker 2: was never it was never the same. 180 00:09:13,200 --> 00:09:13,400 Speaker 3: You know. 181 00:09:14,120 --> 00:09:18,120 Speaker 4: We had this character named Skunk Baxter on the podcast 182 00:09:19,080 --> 00:09:22,400 Speaker 4: some time ago, and as you probably know, he was 183 00:09:22,440 --> 00:09:28,079 Speaker 4: always into reverse engineering guitars and sort of creating different 184 00:09:28,120 --> 00:09:31,040 Speaker 4: effects with the engineering and stuff like that. Are you 185 00:09:31,160 --> 00:09:33,199 Speaker 4: someone who did that as well. 186 00:09:33,960 --> 00:09:35,560 Speaker 1: As a kid? I did? Yeah? Yeah, I had. 187 00:09:35,679 --> 00:09:38,439 Speaker 2: I had some friends, my dad was an electrician, so 188 00:09:38,480 --> 00:09:42,880 Speaker 2: I had a little bit of electronic knowledge from him, 189 00:09:43,800 --> 00:09:47,040 Speaker 2: and I attracted a couple of friends. A close friend 190 00:09:47,080 --> 00:09:50,679 Speaker 2: of mine, Joe Reo, Joe would he was a mad scientist. 191 00:09:50,760 --> 00:09:50,880 Speaker 1: You know. 192 00:09:51,080 --> 00:09:55,200 Speaker 2: He probably not quite at Skunk's level, but he became 193 00:09:55,600 --> 00:09:56,319 Speaker 2: as he got older. 194 00:09:56,360 --> 00:10:00,600 Speaker 1: He got into the skunks level of designing. 195 00:10:00,840 --> 00:10:04,160 Speaker 2: You know, Skunk's like a he's real, he's a rocket center. 196 00:10:04,480 --> 00:10:07,200 Speaker 2: He's actually a scientist, an engineer, right. 197 00:10:07,080 --> 00:10:12,160 Speaker 4: He's advises the government, that's right, aspects of sort of, 198 00:10:12,240 --> 00:10:15,200 Speaker 4: I think, well, he didn't tell me what it is, yeah, 199 00:10:15,200 --> 00:10:17,160 Speaker 4: because he'd have to kill me, you have to kill you. 200 00:10:18,080 --> 00:10:21,120 Speaker 4: But but he made reference to the fact that he 201 00:10:21,240 --> 00:10:24,800 Speaker 4: is still doing work, and that was as far as 202 00:10:24,800 --> 00:10:26,439 Speaker 4: it went. And I didn't want to push. 203 00:10:26,320 --> 00:10:30,640 Speaker 2: Him, right man, right, right, Yeah, he couldn't. He literally 204 00:10:30,640 --> 00:10:33,760 Speaker 2: could not tell you. Yeah, that's someone had told me 205 00:10:33,800 --> 00:10:36,600 Speaker 2: that years ago. And I was like, it makes sense, man, 206 00:10:36,640 --> 00:10:39,160 Speaker 2: I mean, you know, just his intellect, you know, And 207 00:10:39,440 --> 00:10:43,080 Speaker 2: and but yeah, he was he would take I guess 208 00:10:43,120 --> 00:10:45,080 Speaker 2: he would take his instruments, probably as a kid like 209 00:10:45,120 --> 00:10:46,959 Speaker 2: I did, and he would he would make holes and 210 00:10:47,040 --> 00:10:50,600 Speaker 2: things and try to create something, make something into something else. 211 00:10:51,320 --> 00:10:53,880 Speaker 2: The thing I realized is that when I put the 212 00:10:53,880 --> 00:10:55,800 Speaker 2: hole in my left poll is like I really wanted 213 00:10:55,800 --> 00:10:59,640 Speaker 2: a stratacas which has three pickups and it did you know, 214 00:11:00,080 --> 00:11:02,360 Speaker 2: repick up less Paul is not a stratocaster. You know, 215 00:11:03,040 --> 00:11:05,920 Speaker 2: they're quite they're quite different animals, you know. And it's 216 00:11:05,920 --> 00:11:08,920 Speaker 2: more about the string length than than the amount of pickups. 217 00:11:08,920 --> 00:11:13,000 Speaker 2: It's like the distance between the bridge and the pickups 218 00:11:13,000 --> 00:11:15,640 Speaker 2: and which creates this tone, and the types of woods 219 00:11:15,720 --> 00:11:16,600 Speaker 2: used and stuff, you know. 220 00:11:17,280 --> 00:11:19,120 Speaker 1: But yes, Skunk Skunk. I loved Skunk. 221 00:11:19,160 --> 00:11:21,360 Speaker 2: I was that was an influence of mine when I 222 00:11:21,400 --> 00:11:24,520 Speaker 2: was a kid listening to Steely Dan Records and Doobie Brothers. 223 00:11:24,600 --> 00:11:29,880 Speaker 4: Yeah, so how did you end up at seventeen to 224 00:11:30,800 --> 00:11:33,680 Speaker 4: get into the record plant in New York City for 225 00:11:35,120 --> 00:11:35,839 Speaker 4: session work? 226 00:11:37,240 --> 00:11:42,160 Speaker 2: Well, that's a it's a very interesting thing. And I 227 00:11:42,200 --> 00:11:45,439 Speaker 2: was talking earlier about being proactive. So I was at 228 00:11:45,440 --> 00:11:48,160 Speaker 2: this point in my life I had I dropped out 229 00:11:48,200 --> 00:11:52,400 Speaker 2: of high school. There wasn't any anything offered in music. 230 00:11:52,440 --> 00:11:54,120 Speaker 2: There was nothing to keep me in high school, and 231 00:11:54,160 --> 00:11:56,720 Speaker 2: I was I probably started playing in clubs when I 232 00:11:56,760 --> 00:12:00,719 Speaker 2: was fifteen years old, playing with guys that were much 233 00:12:00,720 --> 00:12:02,520 Speaker 2: older than me, like ten years older, and they were 234 00:12:02,679 --> 00:12:08,440 Speaker 2: they were full time musicians, and my mom really struggled 235 00:12:08,440 --> 00:12:10,319 Speaker 2: with it because she really wanted me to go to. 236 00:12:10,240 --> 00:12:12,439 Speaker 1: College like my parents go to college, but they wanted 237 00:12:12,440 --> 00:12:13,240 Speaker 1: the kids to you know. 238 00:12:14,200 --> 00:12:19,000 Speaker 2: So there was an ad in a weekly paper New 239 00:12:19,080 --> 00:12:21,959 Speaker 2: Jersey called the Aquarium. There would be like a musician's 240 00:12:22,000 --> 00:12:26,880 Speaker 2: want ad section, you know, musicians wanted, like the classified section. 241 00:12:27,600 --> 00:12:31,120 Speaker 2: And this span Nightfier from Roosevelt, New Jersey, were looking 242 00:12:31,120 --> 00:12:34,280 Speaker 2: for a guitar player and it was this guy, Ronal Orlando. 243 00:12:34,360 --> 00:12:35,480 Speaker 1: He was a singer songwriter. 244 00:12:35,840 --> 00:12:38,640 Speaker 2: And as it turned out, the guy that was mentoring 245 00:12:38,760 --> 00:12:42,600 Speaker 2: the band, producing them was a gentleman by the name 246 00:12:42,640 --> 00:12:47,600 Speaker 2: of Paul Prestopino who became one of my first true 247 00:12:47,640 --> 00:12:54,200 Speaker 2: mentors in the music business. And Paul, unfortunately, he passed 248 00:12:54,240 --> 00:12:56,880 Speaker 2: away last year, in the last year he was He 249 00:12:56,920 --> 00:13:00,560 Speaker 2: was in his mid eighties. But Paul would bring us 250 00:13:00,600 --> 00:13:04,400 Speaker 2: into Record Plant. So I joined this band. I passed 251 00:13:04,440 --> 00:13:07,079 Speaker 2: the audition and that weekend we went to Record Planet 252 00:13:07,880 --> 00:13:11,160 Speaker 2: and my like, my head exploded. You know, you walk 253 00:13:11,200 --> 00:13:14,600 Speaker 2: into first of all, it's this amazing wooden carved door. 254 00:13:15,400 --> 00:13:17,360 Speaker 2: You open the door and it's all you know, it's 255 00:13:17,400 --> 00:13:21,559 Speaker 2: it's platinum and gold records of all your favorite bands. 256 00:13:21,559 --> 00:13:21,679 Speaker 1: You know. 257 00:13:21,720 --> 00:13:25,320 Speaker 2: It was Johnny Winter and Aarosmith and Jimmy Hendrix. They 258 00:13:25,360 --> 00:13:28,720 Speaker 2: recorded Electric Ladyland a record plant before you opened the studio. 259 00:13:29,559 --> 00:13:31,280 Speaker 2: So I was just like I was a kid in 260 00:13:31,280 --> 00:13:34,840 Speaker 2: a candy store, and we just started making our demos 261 00:13:34,880 --> 00:13:37,440 Speaker 2: to get a record deal, and Paul was producing them. 262 00:13:38,559 --> 00:13:40,840 Speaker 2: And we would go in on what was called spectime, 263 00:13:41,120 --> 00:13:42,840 Speaker 2: you know, we would we would if we got a 264 00:13:42,880 --> 00:13:44,400 Speaker 2: record deal, we would pay our bill. 265 00:13:45,000 --> 00:13:46,160 Speaker 1: But Paul was the. 266 00:13:47,840 --> 00:13:50,920 Speaker 2: He was the house maintenance engioneer, so he would repair 267 00:13:50,960 --> 00:13:57,840 Speaker 2: all the tape machines and mixing consoles, recording consoles, and 268 00:13:58,000 --> 00:14:00,839 Speaker 2: he was also an amazing music He played with the 269 00:14:00,920 --> 00:14:04,920 Speaker 2: Chad Mitchell Trio. He played banjo and he would play 270 00:14:05,000 --> 00:14:10,839 Speaker 2: all string instruments, mandolin, guitar. And when John Denver joined 271 00:14:10,840 --> 00:14:14,200 Speaker 2: the Chad Mitchell Trio, Paul was with the band auditioning John, 272 00:14:14,240 --> 00:14:16,120 Speaker 2: and they realized that, well, this guy has a really 273 00:14:16,160 --> 00:14:20,000 Speaker 2: special voice. So John joined and then him and Paul 274 00:14:20,040 --> 00:14:23,720 Speaker 2: became best friends. So when John started his solo career 275 00:14:23,920 --> 00:14:28,320 Speaker 2: just before Our Country Roads and probably shortly after, like 276 00:14:28,800 --> 00:14:33,760 Speaker 2: Peter Paul, Mary recorded leading on a jet plane. John 277 00:14:33,840 --> 00:14:36,440 Speaker 2: asked Paul to be his musical director to go on 278 00:14:36,480 --> 00:14:39,240 Speaker 2: the road with him, and Paul at that time was 279 00:14:39,280 --> 00:14:41,120 Speaker 2: working at a record plan for about six months and 280 00:14:41,120 --> 00:14:44,200 Speaker 2: he realized that this is my home. It's like it's 281 00:14:44,240 --> 00:14:46,440 Speaker 2: an hour from my where my family is. You know, 282 00:14:46,480 --> 00:14:47,800 Speaker 2: he was I guess he was tired of being on 283 00:14:47,840 --> 00:14:50,320 Speaker 2: the road away from his family. So he became like 284 00:14:50,440 --> 00:14:53,400 Speaker 2: the guy anyone you talk to that's you know, from 285 00:14:53,480 --> 00:14:57,960 Speaker 2: John Lennon you may rest in peace, to Bruce, to 286 00:14:58,080 --> 00:15:02,480 Speaker 2: Stevie van zandt they all know Paul. Like Paul was 287 00:15:02,520 --> 00:15:05,440 Speaker 2: like the you know, the heart of record plan. You know, 288 00:15:05,520 --> 00:15:08,960 Speaker 2: he'd be either fixing things or playing on people's records, 289 00:15:09,000 --> 00:15:12,400 Speaker 2: playing on Arrowsmith Records and Johnny Winter Records and kids records. 290 00:15:12,480 --> 00:15:14,720 Speaker 1: Fam So he became my mentors. 291 00:15:15,840 --> 00:15:19,480 Speaker 4: He must have intersected and you as well, with the 292 00:15:19,520 --> 00:15:21,800 Speaker 4: great Jack Douglas, who was on the podcast. 293 00:15:22,000 --> 00:15:25,320 Speaker 1: I'm guessing absolutely right, yes, yeah, in fact, I listen. 294 00:15:25,360 --> 00:15:27,400 Speaker 1: I loved that podcast. That was one of the first 295 00:15:27,400 --> 00:15:30,640 Speaker 1: buzz Night podcasts that I listened to. It was. 296 00:15:31,240 --> 00:15:36,600 Speaker 2: Yeah, Jack and Paul were best friends, and you know, 297 00:15:36,720 --> 00:15:40,440 Speaker 2: Paul was around when you know, when Jack was recording Arrowsmith, 298 00:15:41,080 --> 00:15:42,800 Speaker 2: and you know, I'd hear all the stories, you know, 299 00:15:43,000 --> 00:15:46,200 Speaker 2: like we were in there. We started in nineteen seventy nine. 300 00:15:46,760 --> 00:15:51,160 Speaker 2: But they would talk about Jack recording Arrowsmith in Studio C, 301 00:15:52,200 --> 00:15:55,080 Speaker 2: and he would They would put a blanket over the 302 00:15:55,200 --> 00:15:59,920 Speaker 2: VU meters because Jack Jack got his sound. He was 303 00:16:00,080 --> 00:16:03,960 Speaker 2: saturating the inputs like he was like basically the meters 304 00:16:03,960 --> 00:16:04,560 Speaker 2: were pinned. 305 00:16:04,960 --> 00:16:06,960 Speaker 1: They were just smacking against the wall. 306 00:16:06,760 --> 00:16:09,640 Speaker 2: You know, and at some point they break also, so 307 00:16:09,680 --> 00:16:12,640 Speaker 2: they would cover it so people wouldn't be like alarmed 308 00:16:12,640 --> 00:16:15,200 Speaker 2: at like you're murdering the mixing console. 309 00:16:15,880 --> 00:16:17,240 Speaker 1: No, man, I'm creating this. 310 00:16:17,920 --> 00:16:21,880 Speaker 2: Listen to this sound, man, listen to the saturated sound 311 00:16:22,000 --> 00:16:24,680 Speaker 2: of Arrowsmith. You know, it's like those are an amazing 312 00:16:24,680 --> 00:16:27,480 Speaker 2: sounds of records. And Jack pushed the limits, you know. 313 00:16:28,440 --> 00:16:28,760 Speaker 1: Yeah. 314 00:16:28,800 --> 00:16:30,920 Speaker 4: So who are some of the other folks you ran 315 00:16:30,960 --> 00:16:32,880 Speaker 4: into at the record plant while you were there? 316 00:16:34,840 --> 00:16:37,200 Speaker 2: Joe Perry was recording there at the time, he was 317 00:16:37,320 --> 00:16:40,000 Speaker 2: doing the Joe Perry projects. We would see Joe there, 318 00:16:40,960 --> 00:16:42,920 Speaker 2: Guys from Kiss would kind of be in and out. 319 00:16:44,360 --> 00:16:49,120 Speaker 2: Johnny Winter I think just did still Live and well Sasai. 320 00:16:49,200 --> 00:16:51,880 Speaker 2: Johnny just did a couple of records with Stevie van 321 00:16:51,960 --> 00:16:57,120 Speaker 2: Zant there. Bruce had just finished Darkness on the Edge 322 00:16:57,120 --> 00:17:03,080 Speaker 2: of Town, which they had like seventy seventy songs recorded 323 00:17:03,120 --> 00:17:05,359 Speaker 2: for the album, but he couldn't release anything because he 324 00:17:05,400 --> 00:17:10,280 Speaker 2: was in he was in court with his manager. I guess, 325 00:17:11,080 --> 00:17:12,800 Speaker 2: I guess he had a problem with Michaepel, so he 326 00:17:12,800 --> 00:17:14,920 Speaker 2: could He didn't release any music for a couple of years. 327 00:17:14,960 --> 00:17:18,080 Speaker 1: But yeah, you never knew. 328 00:17:17,800 --> 00:17:19,600 Speaker 2: Like you'd just be sitting in the lobby and you know, 329 00:17:19,720 --> 00:17:23,800 Speaker 2: Yoko would walk in or you know, it was just like, uh, 330 00:17:24,720 --> 00:17:26,680 Speaker 2: it was like the Museum of Rock and Roll and 331 00:17:26,840 --> 00:17:27,720 Speaker 2: the Living Museum. 332 00:17:27,840 --> 00:17:32,960 Speaker 4: You know, if those walls could talk, what would they say. 333 00:17:33,560 --> 00:17:37,320 Speaker 1: Man, it's good to be alive. 334 00:17:40,000 --> 00:17:45,280 Speaker 4: Now. Where did you first meet Stevie van Zam Interesting? 335 00:17:45,320 --> 00:17:48,959 Speaker 2: You know, we grew up. I grew up playing at 336 00:17:48,960 --> 00:17:52,080 Speaker 2: the Jersey Shore. Stevie grew up playing at the Jersey Shore. 337 00:17:53,520 --> 00:18:00,640 Speaker 2: We had so many friends in common. I'd never met Stevie. 338 00:18:01,240 --> 00:18:04,119 Speaker 2: I met Bruce in the late seventies. I used to 339 00:18:04,119 --> 00:18:07,439 Speaker 2: see him at the fast Lane and the Stone Pony. 340 00:18:07,480 --> 00:18:09,760 Speaker 2: He'd be hanging out, you know. We used to open 341 00:18:09,840 --> 00:18:12,440 Speaker 2: for different acts there and we'd have you know, certain nights, 342 00:18:12,440 --> 00:18:15,280 Speaker 2: you know, with the featured artists. So I'd met Bruce 343 00:18:15,280 --> 00:18:20,280 Speaker 2: a few times anyway, I think it was twenty fourteen. 344 00:18:21,320 --> 00:18:24,920 Speaker 2: I was called two of my close friends, Richard Mercurio 345 00:18:25,000 --> 00:18:29,600 Speaker 2: and Lee Adell, were playing on the Stevie's record that 346 00:18:29,600 --> 00:18:33,359 Speaker 2: he produced for Darlene Love Introducing Darlene Love. I was 347 00:18:33,440 --> 00:18:36,600 Speaker 2: called to play on the very last track that they recorded, 348 00:18:36,640 --> 00:18:43,480 Speaker 2: which was a Bruce Springsteen song night Closing In, and 349 00:18:44,520 --> 00:18:46,520 Speaker 2: we just hit it off, you know, we started talking. 350 00:18:46,920 --> 00:18:51,080 Speaker 2: I was very close with a mutual friend of ours 351 00:18:51,119 --> 00:18:53,800 Speaker 2: that had passed away a bunch of years ago, Kevin Cavanaugh, 352 00:18:53,840 --> 00:18:56,480 Speaker 2: who was the original keyboardist in Sousaid Johnny and the 353 00:18:56,520 --> 00:18:57,280 Speaker 2: Osberg Jukes. 354 00:18:58,119 --> 00:18:59,720 Speaker 1: So we started talking a little bit about Kevin and 355 00:18:59,800 --> 00:19:00,240 Speaker 1: then and. 356 00:19:01,840 --> 00:19:04,240 Speaker 2: We recorded the rhythm tracks and most of the band 357 00:19:04,280 --> 00:19:08,680 Speaker 2: had left, and I spent like probably eight hours. Stevie 358 00:19:08,760 --> 00:19:12,960 Speaker 2: was creating a Phil Spector production on this song, like 359 00:19:13,000 --> 00:19:15,840 Speaker 2: so he was creating a wall of sound. But it 360 00:19:15,960 --> 00:19:18,960 Speaker 2: wasn't at media where they you know, where they would 361 00:19:18,960 --> 00:19:20,959 Speaker 2: have all these you know, like this huge room with 362 00:19:21,680 --> 00:19:26,359 Speaker 2: you know, four guitar players playing ballero, you know, twelve 363 00:19:26,359 --> 00:19:30,960 Speaker 2: string acoustic guitar rhythms and you know, two bass players. 364 00:19:31,000 --> 00:19:34,080 Speaker 2: So so basically he was having me I would do 365 00:19:34,119 --> 00:19:36,159 Speaker 2: four tracks of acoustic. 366 00:19:35,640 --> 00:19:38,560 Speaker 1: Guitar and and. 367 00:19:38,320 --> 00:19:41,760 Speaker 2: Twelve string electric guitar, and so he was having me 368 00:19:41,880 --> 00:19:44,920 Speaker 2: do all these overdubs. And as quickly as he would 369 00:19:44,920 --> 00:19:46,800 Speaker 2: ask me to play something, you know, I've been I've 370 00:19:46,800 --> 00:19:49,000 Speaker 2: been playing my whole life. I was able to, you know, 371 00:19:49,400 --> 00:19:52,600 Speaker 2: interpret what he was hearing. And we just hit it off, 372 00:19:52,640 --> 00:19:56,199 Speaker 2: you know. And about six months later he called me 373 00:19:56,240 --> 00:19:58,840 Speaker 2: to be to put a band together for Darlene Love 374 00:19:58,920 --> 00:20:00,439 Speaker 2: for her her. 375 00:20:00,359 --> 00:20:01,560 Speaker 1: Album release parties. 376 00:20:02,840 --> 00:20:05,800 Speaker 2: And maybe a year after that he called me to 377 00:20:05,800 --> 00:20:08,719 Speaker 2: put a band together to do one show at the 378 00:20:08,720 --> 00:20:12,760 Speaker 2: London Blues Festival at the at the O two Center, 379 00:20:13,640 --> 00:20:16,040 Speaker 2: and and then we then we went on the road 380 00:20:16,040 --> 00:20:18,080 Speaker 2: for three years, we made a record, and so we 381 00:20:18,160 --> 00:20:19,040 Speaker 2: became really. 382 00:20:18,880 --> 00:20:20,640 Speaker 1: Close rather quickly. 383 00:20:20,680 --> 00:20:20,800 Speaker 3: You know. 384 00:20:20,840 --> 00:20:22,360 Speaker 1: It's like it's almost like we made our full lost 385 00:20:22,400 --> 00:20:23,480 Speaker 1: time not knowing each other. 386 00:20:24,720 --> 00:20:28,640 Speaker 4: And how much fun is that working with him? Man? 387 00:20:28,880 --> 00:20:31,959 Speaker 2: Well, one thing, he's hilarious. He's one of the funniest 388 00:20:32,000 --> 00:20:34,720 Speaker 2: people I know. He's one of the most generous people 389 00:20:34,760 --> 00:20:39,280 Speaker 2: I know. He's like, you're if you work with Stevie, 390 00:20:39,400 --> 00:20:44,080 Speaker 2: you quickly realize that he views us all as family. Like, 391 00:20:44,200 --> 00:20:47,199 Speaker 2: you know, we're on the road after shows, we you know, 392 00:20:47,600 --> 00:20:49,480 Speaker 2: he always takes us all out to like a beautiful 393 00:20:49,520 --> 00:20:52,840 Speaker 2: dinner and we talked down the show and he's really 394 00:20:52,880 --> 00:20:56,320 Speaker 2: about the you know, the family environment, you know. So, 395 00:20:57,240 --> 00:21:00,639 Speaker 2: I mean it's some of the best you know, recording 396 00:21:00,680 --> 00:21:03,000 Speaker 2: and touring years of my life have been with Stevie. 397 00:21:03,040 --> 00:21:06,439 Speaker 2: You know, it just it just makes it, you know, 398 00:21:06,520 --> 00:21:07,960 Speaker 2: makes it a joy to be around. 399 00:21:08,000 --> 00:21:08,159 Speaker 1: You know. 400 00:21:08,240 --> 00:21:11,640 Speaker 2: Of course, there's stress and challenges that you. 401 00:21:11,600 --> 00:21:12,120 Speaker 1: Know, you meet. 402 00:21:12,200 --> 00:21:16,360 Speaker 2: I mean, he has very high you know, his quality 403 00:21:16,400 --> 00:21:18,320 Speaker 2: meter is very high. So people have to live up 404 00:21:18,320 --> 00:21:22,119 Speaker 2: to these standards. But if you're the right person for 405 00:21:22,160 --> 00:21:25,600 Speaker 2: the job, it's a it's a challenge that you want, 406 00:21:25,720 --> 00:21:27,879 Speaker 2: you know. You know, you you grow from it. You know, 407 00:21:27,960 --> 00:21:31,280 Speaker 2: you grow as a musician, as an arranger, just from 408 00:21:31,560 --> 00:21:33,600 Speaker 2: you know, being in his presence as a producer. 409 00:21:34,320 --> 00:21:38,119 Speaker 4: So when you're the musical director for Little Steven and 410 00:21:38,640 --> 00:21:43,200 Speaker 4: he's out doing Bruce work, does that mean you won't 411 00:21:43,320 --> 00:21:47,800 Speaker 4: hear from him about projects or any particular ideas or will. 412 00:21:47,600 --> 00:21:51,360 Speaker 2: You There's always something going on, you know, he'll call 413 00:21:51,440 --> 00:21:54,960 Speaker 2: me to co produce, like we just co produced to 414 00:21:54,960 --> 00:21:57,919 Speaker 2: Span the Cocktail Slippers there from the Norway. They were 415 00:21:57,920 --> 00:22:00,639 Speaker 2: actually in a couple of Lily Hammer episodes and really 416 00:22:00,760 --> 00:22:03,359 Speaker 2: really great all female band. You know. So we just 417 00:22:03,400 --> 00:22:05,400 Speaker 2: recorded a couple of tracks for them a few months ago, 418 00:22:07,520 --> 00:22:10,240 Speaker 2: and we're always doing He's always calling me for things. 419 00:22:10,240 --> 00:22:14,640 Speaker 2: I got out of Blue or like last December before 420 00:22:14,640 --> 00:22:15,440 Speaker 2: he went out with Bruce. 421 00:22:15,480 --> 00:22:21,080 Speaker 1: We uh, Darlene called me. No, no, he called me 422 00:22:21,119 --> 00:22:21,359 Speaker 1: to do. 423 00:22:21,880 --> 00:22:24,600 Speaker 2: We did a TV show with Darlene for her Christmas thing, 424 00:22:25,680 --> 00:22:27,560 Speaker 2: The View and you know, the View on Channel seven 425 00:22:27,600 --> 00:22:29,360 Speaker 2: in New York, which she was doing with her band 426 00:22:29,359 --> 00:22:31,639 Speaker 2: for years. But she asked Stevie and the you know, 427 00:22:31,640 --> 00:22:33,560 Speaker 2: so Stevie called me to get the band together for that. 428 00:22:34,640 --> 00:22:37,359 Speaker 2: A couple of weeks, I'm doing the American Music Honors, 429 00:22:37,400 --> 00:22:40,320 Speaker 2: which it's the second year it's so it's from the 430 00:22:40,680 --> 00:22:41,879 Speaker 2: Springsteen archives. 431 00:22:42,400 --> 00:22:43,879 Speaker 1: They're building a museum at. 432 00:22:43,760 --> 00:22:49,080 Speaker 2: Mammoth University and so last year they had the first 433 00:22:49,119 --> 00:22:53,159 Speaker 2: awards night and they honored Darlene Love, Sam Moore from 434 00:22:53,240 --> 00:22:56,520 Speaker 2: Sam and Dave, Stevie and Steve Earle. 435 00:22:57,240 --> 00:23:00,560 Speaker 1: So he said, he said, get the band together, you know. 436 00:23:01,200 --> 00:23:04,240 Speaker 2: So you know, so we played songs with each of 437 00:23:04,280 --> 00:23:09,040 Speaker 2: those artists, and then in the middle of organizing that, 438 00:23:09,119 --> 00:23:12,080 Speaker 2: he said, go find me a sound stage, so I 439 00:23:12,080 --> 00:23:15,920 Speaker 2: can we need to record four songs live on a 440 00:23:16,000 --> 00:23:20,000 Speaker 2: sound stage for my upcoming documentary. So I made some 441 00:23:20,080 --> 00:23:25,159 Speaker 2: calls and and that four songs turned into a twenty 442 00:23:25,160 --> 00:23:28,560 Speaker 2: eight song set at the count Basy Theater two weeks later. 443 00:23:28,960 --> 00:23:30,159 Speaker 1: So we're doing we do the. 444 00:23:30,160 --> 00:23:32,600 Speaker 2: American Awards, and we quit like we went right into 445 00:23:32,640 --> 00:23:35,720 Speaker 2: doing two shows at the count Basy Theater for twenty 446 00:23:35,760 --> 00:23:39,840 Speaker 2: eight song live DVD. So it's like the guy's in Alchemist, 447 00:23:39,920 --> 00:23:42,720 Speaker 2: you know. He says he plants the seed, the seed 448 00:23:42,720 --> 00:23:45,760 Speaker 2: grows into you know, a cornfield, you know, not just 449 00:23:45,800 --> 00:23:47,399 Speaker 2: like one ear of corn, you know. 450 00:23:48,960 --> 00:23:50,840 Speaker 1: So now I'm preparing for the next two. 451 00:23:50,800 --> 00:23:54,800 Speaker 2: Music Awards coming up on April twenty fourth, and they'll 452 00:23:54,800 --> 00:23:59,960 Speaker 2: be honoring Jackson Brown and Mayvas Staples a great Mayva Staple, 453 00:24:00,440 --> 00:24:02,639 Speaker 2: John Mellencamp and Dion. 454 00:24:03,560 --> 00:24:03,800 Speaker 1: Yeah. 455 00:24:03,840 --> 00:24:06,720 Speaker 2: So we're getting that together now, and Steve'll be involved. 456 00:24:06,760 --> 00:24:09,160 Speaker 2: He's gonna be one of the presenters. 457 00:24:08,600 --> 00:24:12,280 Speaker 4: And yeah, I got chills, give him our best. 458 00:24:12,480 --> 00:24:14,560 Speaker 1: I love Stevie, I will Man, yeah yeah. 459 00:24:14,600 --> 00:24:18,720 Speaker 4: And is he from Boston, I know, yeah, we've we've 460 00:24:18,720 --> 00:24:23,160 Speaker 4: broken bread many times and it's always been a wonderful experience. 461 00:24:23,200 --> 00:24:28,600 Speaker 4: In fact, as you were describing the Darlene Love project 462 00:24:28,640 --> 00:24:34,360 Speaker 4: there in twenty fourteen, I flashed back to being with 463 00:24:34,440 --> 00:24:38,720 Speaker 4: him as he was fiddling around with, you know, engineering 464 00:24:38,760 --> 00:24:42,520 Speaker 4: things from that particular session while we were sitting and 465 00:24:42,720 --> 00:24:46,960 Speaker 4: bs ing there up at his office. So I remember 466 00:24:47,000 --> 00:24:50,160 Speaker 4: that very clearly. It was pretty fascinating to just watch 467 00:24:50,280 --> 00:24:52,360 Speaker 4: him moving the knobs. 468 00:24:52,400 --> 00:24:52,560 Speaker 1: You know. 469 00:24:52,760 --> 00:24:54,840 Speaker 2: Yeah, oh, so you were at Renegade Nation, you were 470 00:24:54,840 --> 00:24:57,280 Speaker 2: at the office and in the studio with Stevie out Yeah, 471 00:24:57,280 --> 00:25:03,200 Speaker 2: so was it around twenty fourteen, It must have been, yes, yeah, absolutely, yeah, Yeah, 472 00:25:03,240 --> 00:25:05,120 Speaker 2: he's he's a wizard of sorts. 473 00:25:05,440 --> 00:25:06,520 Speaker 1: Yeah, he is a wizard. 474 00:25:06,720 --> 00:25:07,920 Speaker 4: Yes, absolutely. 475 00:25:08,600 --> 00:25:10,800 Speaker 3: We'll be right back with more of the Taking a 476 00:25:10,840 --> 00:25:19,040 Speaker 3: Walk Podcast. Welcome back to the Taking a Walk Podcast. 477 00:25:19,480 --> 00:25:24,160 Speaker 4: So tell me about the creation of the song, Dick 478 00:25:24,240 --> 00:25:32,879 Speaker 4: Cabot and ultimately the filming as well of that amazing video. 479 00:25:33,160 --> 00:25:36,160 Speaker 4: It's it's it's absolutely stellar. 480 00:25:36,359 --> 00:25:41,240 Speaker 1: Thanks friend. It was one of those it was one 481 00:25:41,240 --> 00:25:42,000 Speaker 1: of the most. 482 00:25:43,440 --> 00:25:47,000 Speaker 2: Auspicious occurrences, you know, being in the in the business, 483 00:25:47,040 --> 00:25:49,399 Speaker 2: as you know, it's like you know, you you know, 484 00:25:49,480 --> 00:25:51,520 Speaker 2: you grow up. You know, you're a kid, and you 485 00:25:51,520 --> 00:25:54,600 Speaker 2: know you watch TV and it's like, man, you know, 486 00:25:55,160 --> 00:25:58,000 Speaker 2: wouldn't be amazing to, you know, to play with Paul McCartney. 487 00:25:58,040 --> 00:26:00,560 Speaker 2: Wouldn't it be you know, amazing to be on you know, 488 00:26:00,600 --> 00:26:03,240 Speaker 2: the Johnny Carson Show, or you know, the Dick Cavit Show, 489 00:26:03,359 --> 00:26:04,640 Speaker 2: or you know the Mike Douglas Show. 490 00:26:04,680 --> 00:26:04,840 Speaker 4: You know. 491 00:26:06,000 --> 00:26:08,120 Speaker 1: So I was. 492 00:26:08,240 --> 00:26:10,480 Speaker 2: I was finishing the album The Less. Actually the last 493 00:26:10,520 --> 00:26:15,480 Speaker 2: song on the album was Dick Cavit. So the song 494 00:26:15,640 --> 00:26:18,920 Speaker 2: essentially is about It's about a fourteen year old kid 495 00:26:19,119 --> 00:26:20,600 Speaker 2: trying to figure out how to get laid. 496 00:26:20,880 --> 00:26:23,280 Speaker 1: You know, it's like there's something. 497 00:26:23,400 --> 00:26:25,280 Speaker 2: It's like the kids saying, there's something I need to 498 00:26:25,320 --> 00:26:28,440 Speaker 2: be doing, just just as a biological thing that needs 499 00:26:28,440 --> 00:26:31,479 Speaker 2: to happen in my life. And his girlfriend is you know, 500 00:26:31,560 --> 00:26:35,080 Speaker 2: she's she's like curious, but it's like they're fourteen and 501 00:26:35,119 --> 00:26:36,800 Speaker 2: they have no idea how to you know, how to 502 00:26:36,800 --> 00:26:37,480 Speaker 2: make this happen. 503 00:26:37,760 --> 00:26:39,800 Speaker 4: Ice cold shower in the midnight hour. 504 00:26:39,920 --> 00:26:42,439 Speaker 1: I love that exactly, man, exactly. 505 00:26:43,000 --> 00:26:46,440 Speaker 2: Yeah, some eat some apple jacks, you know, and take 506 00:26:46,480 --> 00:26:48,760 Speaker 2: a cold shower and put the TV on and watch 507 00:26:48,800 --> 00:26:51,000 Speaker 2: Dick Kvit because it ain't happening tonight, you know. 508 00:26:51,440 --> 00:26:51,600 Speaker 4: Yeah. 509 00:26:51,680 --> 00:26:55,919 Speaker 2: So Dick was like, it's like what TV show. It's like, okay, 510 00:26:56,240 --> 00:26:58,600 Speaker 2: I had the you know, I had the whole story. 511 00:26:58,680 --> 00:27:01,360 Speaker 2: It's like, but what show is it? And it's it's 512 00:27:01,400 --> 00:27:03,320 Speaker 2: my favorite show as a kid. I mean, my parents 513 00:27:03,400 --> 00:27:06,679 Speaker 2: used to watch Dick Cabot. Dick had all our heroes on. 514 00:27:06,760 --> 00:27:12,240 Speaker 2: He had every cultural icon in the renaissance of of 515 00:27:12,280 --> 00:27:13,000 Speaker 2: our lives. 516 00:27:13,000 --> 00:27:15,720 Speaker 1: You know, the sixties was really like Stevie. 517 00:27:15,320 --> 00:27:18,400 Speaker 2: Calls that the Renaissance, you know, the rock and roll Renaissance, 518 00:27:18,800 --> 00:27:20,080 Speaker 2: the film renaissance. 519 00:27:20,760 --> 00:27:21,840 Speaker 1: It's like that period. 520 00:27:22,560 --> 00:27:27,400 Speaker 2: You know. It's like Truman, Capodi, the Beatles, Jimmy Hendrix, 521 00:27:27,560 --> 00:27:35,480 Speaker 2: Bob Dylan, you know, the Vietnam War, you know, the 522 00:27:35,480 --> 00:27:38,040 Speaker 2: the Freedom Writers, you know, the Chicago Seven. It's all 523 00:27:38,119 --> 00:27:41,320 Speaker 2: all this is going on. Muhammad Ali, Joe Frasier, and 524 00:27:41,480 --> 00:27:45,000 Speaker 2: he was at the epicenter. Dick had everyone on, you know, 525 00:27:45,080 --> 00:27:49,040 Speaker 2: so it was the most I mean, it was thrilling 526 00:27:49,080 --> 00:27:51,600 Speaker 2: as a kid to see his connection with these people 527 00:27:51,680 --> 00:27:53,960 Speaker 2: like Muhammad Ali was one of my heroes, you know, 528 00:27:53,960 --> 00:27:58,399 Speaker 2: as a lot of kids, and just to see that 529 00:27:59,160 --> 00:28:01,879 Speaker 2: when he was with Dick Cavitt, they had reverence for 530 00:28:01,960 --> 00:28:06,280 Speaker 2: each other, like there was total respect Dick got. Dick 531 00:28:06,400 --> 00:28:09,440 Speaker 2: understood somehow, even though he was a kid from Nebraska, 532 00:28:09,520 --> 00:28:12,879 Speaker 2: he understood the plight of the African American he was. 533 00:28:13,040 --> 00:28:16,439 Speaker 2: He was empathetic towards it. He truly, you know, felt 534 00:28:16,720 --> 00:28:20,919 Speaker 2: a connection to people that struggled. You know, Groucho Marx, 535 00:28:20,960 --> 00:28:23,960 Speaker 2: you know, which was Dick's hero. They he became like 536 00:28:23,960 --> 00:28:26,920 Speaker 2: a father to Dick. They were best friends. 537 00:28:26,960 --> 00:28:27,119 Speaker 4: You know. 538 00:28:29,080 --> 00:28:32,639 Speaker 2: So it's like, okay, okay, this is this song is 539 00:28:32,640 --> 00:28:37,119 Speaker 2: called Dick Caviot, you know. And we finished the record, 540 00:28:37,200 --> 00:28:40,320 Speaker 2: you know, I mixed it, we had it mastered, and 541 00:28:40,400 --> 00:28:43,240 Speaker 2: I just started having I started. It was a dream. 542 00:28:43,400 --> 00:28:46,560 Speaker 2: It was literally I was dreaming. It's like, I got 543 00:28:46,600 --> 00:28:48,680 Speaker 2: to call the label. It was in my thoughts. I 544 00:28:48,680 --> 00:28:51,560 Speaker 2: gotta tell Stevie, I got to call the label. Somehow 545 00:28:52,520 --> 00:28:53,960 Speaker 2: we got to get this. We got to get Dick 546 00:28:54,000 --> 00:28:54,720 Speaker 2: to hear the song. 547 00:28:54,800 --> 00:28:55,200 Speaker 1: That's all. 548 00:28:55,280 --> 00:28:57,240 Speaker 2: That's the only thing I really wanted. I wanted Dick 549 00:28:57,280 --> 00:29:01,680 Speaker 2: to hear the song. Eight months later, and I never 550 00:29:01,680 --> 00:29:05,479 Speaker 2: said anything to anybody, my family, my girlfriend, you know, 551 00:29:05,520 --> 00:29:08,800 Speaker 2: the label, Stevie, just say my thoughts. I get a 552 00:29:08,840 --> 00:29:11,000 Speaker 2: call from I don't know, if you know Rich Russo, 553 00:29:11,120 --> 00:29:15,560 Speaker 2: he's he's a radiotis jockey and he's been working for 554 00:29:15,600 --> 00:29:18,680 Speaker 2: the Underground Garage and Stevie for years. He calls me 555 00:29:18,720 --> 00:29:22,880 Speaker 2: out of the blue, he says, Mark. He said, first 556 00:29:22,920 --> 00:29:26,680 Speaker 2: of all, I want to apologize. I want to apologize 557 00:29:26,680 --> 00:29:28,880 Speaker 2: advance in case I overstepped my bounds. 558 00:29:28,920 --> 00:29:30,600 Speaker 1: I said, what are you talking about? I'm like, what 559 00:29:30,720 --> 00:29:31,800 Speaker 1: is he talking about? Now? 560 00:29:32,600 --> 00:29:35,840 Speaker 2: He says, well, I got an advanced copy of your record, 561 00:29:36,160 --> 00:29:38,880 Speaker 2: and he says, I love that song. Dick Cabot and 562 00:29:38,960 --> 00:29:41,560 Speaker 2: a friend of mine is he's Dick Cabot's guy. He 563 00:29:41,600 --> 00:29:44,200 Speaker 2: does he directs all his documentaries, you know, the Ali 564 00:29:44,520 --> 00:29:48,160 Speaker 2: Cavit documentary, the Grouchow documentary, which I've seen of all 565 00:29:48,200 --> 00:29:50,640 Speaker 2: of them. You know, I've been so in the last 566 00:29:50,640 --> 00:29:53,560 Speaker 2: ten years. I kind of got re totally reconnected to 567 00:29:53,640 --> 00:29:56,640 Speaker 2: Dick Cabot, you know. And he says, my friend Robert 568 00:29:56,720 --> 00:29:59,959 Speaker 2: loved the song. And I go, why do you apologize? 569 00:30:00,040 --> 00:30:04,120 Speaker 2: And I said, you're a magician. You know, Rob's going 570 00:30:04,200 --> 00:30:06,280 Speaker 2: to play the song for Dick. Keep your fingers crossed 571 00:30:06,280 --> 00:30:09,240 Speaker 2: that he likes it, you know. Great calls me. Rich 572 00:30:09,280 --> 00:30:12,560 Speaker 2: calls me a week later, Dick loves the song, and 573 00:30:12,600 --> 00:30:16,800 Speaker 2: he's invited you and the band to his house, to 574 00:30:16,920 --> 00:30:19,640 Speaker 2: his home in Connecticut to make a music video. 575 00:30:21,400 --> 00:30:23,360 Speaker 1: I mean, you know, pinch me Wow. 576 00:30:23,480 --> 00:30:25,920 Speaker 2: Yeah, yeah, just one of those buzz It was one 577 00:30:25,920 --> 00:30:29,120 Speaker 2: of those surreal things that you could only be in 578 00:30:29,160 --> 00:30:29,600 Speaker 2: a dream. 579 00:30:29,840 --> 00:30:30,040 Speaker 1: You know. 580 00:30:30,120 --> 00:30:33,840 Speaker 2: It's like of all things, you know. And then he 581 00:30:33,960 --> 00:30:37,840 Speaker 2: was so gracious man he invited. As soon as I 582 00:30:37,840 --> 00:30:42,000 Speaker 2: met Dick, I understood why Muhammad Ali and Jon lenn 583 00:30:42,240 --> 00:30:45,880 Speaker 2: and Yoko and all these people they felt that like 584 00:30:45,920 --> 00:30:48,480 Speaker 2: they were in his home, like on the set. He 585 00:30:48,560 --> 00:30:51,480 Speaker 2: made them feel like they were you know, they were 586 00:30:51,640 --> 00:30:54,280 Speaker 2: completely welcome and they were family, you know. And that's 587 00:30:54,280 --> 00:30:57,520 Speaker 2: how I felt. And he made the entire band feel 588 00:30:57,560 --> 00:30:59,200 Speaker 2: that way. You know, he made everyone feel that way. 589 00:30:59,200 --> 00:31:02,240 Speaker 2: And his beautiful wife Martha, they just you know, they 590 00:31:02,240 --> 00:31:05,080 Speaker 2: open their doors and it's like, get you guys are here, 591 00:31:05,200 --> 00:31:09,320 Speaker 2: Let's let's have a great time, which we did and 592 00:31:09,320 --> 00:31:10,840 Speaker 2: and I feel like I made a friend that day. 593 00:31:10,880 --> 00:31:13,320 Speaker 2: And then he invited me back and with my friend 594 00:31:13,760 --> 00:31:20,040 Speaker 2: Robert Bader is his guy that directs everything. And Rob said, 595 00:31:20,040 --> 00:31:21,600 Speaker 2: you know, we're gonna go to Dick wants to come 596 00:31:21,600 --> 00:31:22,040 Speaker 2: to the house. 597 00:31:22,040 --> 00:31:24,800 Speaker 1: We're gonna do. So I'm interviewing Dick Dick, and Dick's 598 00:31:24,840 --> 00:31:27,480 Speaker 1: interviewing me. I'm like, you know, it's just one of 599 00:31:27,520 --> 00:31:30,200 Speaker 1: those unbelievable things, man. Yeah. 600 00:31:30,240 --> 00:31:32,840 Speaker 4: And he seems in great health and great spirits and 601 00:31:32,960 --> 00:31:33,720 Speaker 4: great health. Yeah. 602 00:31:33,800 --> 00:31:37,760 Speaker 2: Yeah, his mind, he's as sharp as ever. He's hilarious. 603 00:31:38,520 --> 00:31:42,360 Speaker 2: And you know, the funny thing is he was as 604 00:31:42,400 --> 00:31:45,600 Speaker 2: excited about someone writing a song about him as I 605 00:31:45,880 --> 00:31:49,320 Speaker 2: was about him loving the song and wanting to participate. 606 00:31:49,920 --> 00:31:52,600 Speaker 2: It's like, you know, he's eighty seven years old. You know, 607 00:31:52,680 --> 00:31:54,719 Speaker 2: he hasn't exactly been in the you know, in the 608 00:31:54,760 --> 00:31:56,959 Speaker 2: news every day. And this is a guy that was 609 00:31:57,600 --> 00:32:01,520 Speaker 2: on television every day for you know what thirty years 610 00:32:01,600 --> 00:32:03,840 Speaker 2: or you know, he was involved in TV since the beginning, 611 00:32:03,920 --> 00:32:08,000 Speaker 2: right Jack Parr and the Tonight Show, you know, writing 612 00:32:08,000 --> 00:32:11,480 Speaker 2: with Woody Allen, and then to have you know, like 613 00:32:11,560 --> 00:32:14,440 Speaker 2: many years where he's sort of you know, I mean, 614 00:32:14,680 --> 00:32:18,560 Speaker 2: if I put myself in dick shoes, not feeling relevant, 615 00:32:18,680 --> 00:32:22,000 Speaker 2: you know, not feeling vital, you know, and connected, you know, 616 00:32:22,120 --> 00:32:26,680 Speaker 2: so I mean just to see him so elated about 617 00:32:26,680 --> 00:32:28,880 Speaker 2: something and it was just like this beautiful win win, 618 00:32:29,080 --> 00:32:29,360 Speaker 2: you know. 619 00:32:30,240 --> 00:32:33,200 Speaker 4: And he was on. At a time, there was only 620 00:32:34,520 --> 00:32:35,840 Speaker 4: three networks. 621 00:32:35,400 --> 00:32:36,360 Speaker 1: Right, yeah, that's right. 622 00:32:36,480 --> 00:32:39,800 Speaker 2: It was NBC, NBC and CBS, right except for all 623 00:32:39,840 --> 00:32:42,640 Speaker 2: think about that local Boston and New York stations which 624 00:32:42,640 --> 00:32:47,480 Speaker 2: were But yeah, and at that time, it's like there 625 00:32:47,480 --> 00:32:50,320 Speaker 2: could be a Mohammad Ali's story, you. 626 00:32:50,240 --> 00:32:50,920 Speaker 1: Know, there could be. 627 00:32:51,120 --> 00:32:54,640 Speaker 2: Now nowadays there's so much as you know, there's just 628 00:32:54,760 --> 00:32:59,440 Speaker 2: so much noise and it's like this, you know, this 629 00:32:59,640 --> 00:33:02,840 Speaker 2: solo oxygen for things. As in those days, it was 630 00:33:02,880 --> 00:33:06,880 Speaker 2: like here's all the oxygen, you know, just breathe, you know, 631 00:33:07,000 --> 00:33:11,320 Speaker 2: like like here developed like create a life from this oxygen. 632 00:33:11,360 --> 00:33:14,000 Speaker 2: You know. Now it's you know, it's it's it's really 633 00:33:14,920 --> 00:33:17,800 Speaker 2: it's it's really challenging the business now and you've got to, 634 00:33:18,080 --> 00:33:21,080 Speaker 2: you know, you go trying to reinvent the wheel of 635 00:33:21,120 --> 00:33:24,040 Speaker 2: how you know, how to you know, continue being productive 636 00:33:24,160 --> 00:33:29,640 Speaker 2: and proactive and making a noise in a in a 637 00:33:29,680 --> 00:33:32,200 Speaker 2: sea of noisy chaos. 638 00:33:32,240 --> 00:33:32,440 Speaker 1: You know. 639 00:33:33,320 --> 00:33:35,920 Speaker 4: Well, Bravo on the song and Bravo on the video. 640 00:33:36,000 --> 00:33:39,560 Speaker 4: Everybody should check out both. Who's listening to taking a 641 00:33:39,600 --> 00:33:42,000 Speaker 4: walk because it's it's really joyous. 642 00:33:42,920 --> 00:33:44,360 Speaker 1: Thank you brother, thank you man. 643 00:33:45,120 --> 00:33:48,320 Speaker 4: So as you know, we have another podcast. We produce 644 00:33:48,440 --> 00:33:52,640 Speaker 4: hosted by this wonderful person named Lynn Hoffman that is 645 00:33:52,680 --> 00:33:56,320 Speaker 4: a mutual friend of both of ours as well. And 646 00:33:56,640 --> 00:33:59,200 Speaker 4: it's about really the you know, sort of the healing 647 00:33:59,480 --> 00:34:03,800 Speaker 4: powers behind music and what it really means to fans 648 00:34:03,800 --> 00:34:07,280 Speaker 4: of artists and to artists themselves. And I know you 649 00:34:07,360 --> 00:34:11,160 Speaker 4: went through a period in life that had you know, 650 00:34:11,239 --> 00:34:17,840 Speaker 4: some health challenges there for you talk about what music 651 00:34:17,960 --> 00:34:20,520 Speaker 4: means to you, especially in light of when you're going 652 00:34:20,560 --> 00:34:22,200 Speaker 4: through something challenging like you did. 653 00:34:23,040 --> 00:34:26,239 Speaker 2: Yeah, first of all, I want to say that Lynn 654 00:34:26,400 --> 00:34:28,840 Speaker 2: Lynn Hoffman is one of my favorite people on the planet. 655 00:34:29,000 --> 00:34:31,920 Speaker 2: I love her dearly, and she actually made our introduction 656 00:34:32,000 --> 00:34:34,240 Speaker 2: buzz and I want to I want to thank Lynn. 657 00:34:34,280 --> 00:34:36,000 Speaker 1: You know me too really enjoying this. 658 00:34:37,920 --> 00:34:43,040 Speaker 5: So and you know I can attribute it to being, 659 00:34:43,239 --> 00:34:45,399 Speaker 5: you know, being in this business, you know, this music 660 00:34:45,480 --> 00:34:50,080 Speaker 5: business of ours, and and just personally, you know, it's 661 00:34:50,120 --> 00:34:54,000 Speaker 5: like you you really have to have a really you know, 662 00:34:54,080 --> 00:34:58,000 Speaker 5: a really tough shell, because it's very hard not to 663 00:34:58,040 --> 00:35:01,200 Speaker 5: personalize things when you're presenting your music to a record 664 00:35:01,239 --> 00:35:04,560 Speaker 5: company and or you know, you're you're allowing yourself to 665 00:35:04,600 --> 00:35:07,960 Speaker 5: be so vulnerable, and you know, you have to have 666 00:35:07,960 --> 00:35:09,640 Speaker 5: a thick skin and you have to like learn to 667 00:35:09,680 --> 00:35:10,560 Speaker 5: deal with rejection. 668 00:35:10,960 --> 00:35:14,520 Speaker 2: And you know, so there was it was a period 669 00:35:14,520 --> 00:35:17,719 Speaker 2: in my life there was a lot of challenges going on. 670 00:35:17,840 --> 00:35:21,200 Speaker 2: I remember I had I had a development deal with 671 00:35:21,320 --> 00:35:25,400 Speaker 2: RCA Records, and I say, well, I'm going to finally 672 00:35:25,400 --> 00:35:26,200 Speaker 2: get my record deal. 673 00:35:26,280 --> 00:35:26,440 Speaker 3: You know. 674 00:35:26,520 --> 00:35:28,239 Speaker 2: It's like, you know, I've been doing this my whole life, 675 00:35:28,239 --> 00:35:34,440 Speaker 2: you know, the early nineties, and I remember BMG Music 676 00:35:34,480 --> 00:35:38,960 Speaker 2: bought RCA and they they dropped forty of their sindacts 677 00:35:39,040 --> 00:35:41,800 Speaker 2: and all of the development things, which was the category 678 00:35:41,840 --> 00:35:42,200 Speaker 2: I was in. 679 00:35:43,080 --> 00:35:44,480 Speaker 1: They dropped everything. So it's like. 680 00:35:44,719 --> 00:35:46,640 Speaker 2: Things like that where it's like you're you know, you're 681 00:35:46,640 --> 00:35:49,880 Speaker 2: holding on for dear life. It's like why are you 682 00:35:49,920 --> 00:35:52,440 Speaker 2: holding on for dear life? I can't quite explain that, 683 00:35:52,520 --> 00:35:55,239 Speaker 2: but it's something that starts in childhood, you know, this 684 00:35:55,400 --> 00:35:58,920 Speaker 2: need to to express ourselves and to prove ourselves to 685 00:35:59,000 --> 00:35:59,360 Speaker 2: the world. 686 00:35:59,400 --> 00:36:03,600 Speaker 1: Whatever happened to us as children anyway, So. 687 00:36:04,320 --> 00:36:08,080 Speaker 2: Being in the business all these years, you know, it's 688 00:36:08,120 --> 00:36:13,640 Speaker 2: like everyone processes stress differently. So I found out, you know, 689 00:36:13,760 --> 00:36:15,919 Speaker 2: and I was like in this dark period of like, man, 690 00:36:16,000 --> 00:36:19,960 Speaker 2: what is what's my purpose? You know? And I remember 691 00:36:19,960 --> 00:36:22,960 Speaker 2: I just I moved to lor Manhattan in New York City, 692 00:36:23,040 --> 00:36:26,120 Speaker 2: and I was actually I was playing on the streets. 693 00:36:26,120 --> 00:36:29,759 Speaker 2: I had an acoustic guitar and a battery poweredamp, and 694 00:36:29,800 --> 00:36:32,279 Speaker 2: I had a busker's box. I met this guy that 695 00:36:32,480 --> 00:36:35,719 Speaker 2: was in charge of the music at the South Street Seaport. 696 00:36:36,960 --> 00:36:40,279 Speaker 2: He was playing outside my dear friend, Joel Camener May 697 00:36:40,320 --> 00:36:44,360 Speaker 2: he rest in peace. Joel was playing music and he 698 00:36:44,440 --> 00:36:46,160 Speaker 2: invited me to come play with him, and I played, 699 00:36:46,200 --> 00:36:48,719 Speaker 2: and he said so Basically, when I moved to lor 700 00:36:48,760 --> 00:36:51,680 Speaker 2: Manhattan by the South Street Seaport, I would play music 701 00:36:52,280 --> 00:36:56,160 Speaker 2: outside every day for tourists. And one day I'm playing 702 00:36:56,239 --> 00:37:00,200 Speaker 2: music and I'm like, my stomach's not feeling good, you know. Anyway, 703 00:36:59,800 --> 00:37:03,719 Speaker 2: I just just from going through whatever. I had an 704 00:37:03,760 --> 00:37:07,480 Speaker 2: achilles heel and it and it was being challenged at 705 00:37:07,520 --> 00:37:09,960 Speaker 2: that point, and I realized I had to go to 706 00:37:09,960 --> 00:37:12,759 Speaker 2: the doctor and I developed all sort of colitis. So 707 00:37:12,880 --> 00:37:15,680 Speaker 2: I was vegetarian at that time. I didn't really believe 708 00:37:15,719 --> 00:37:19,640 Speaker 2: in allopathic medicine. I didn't believe in drugs and going 709 00:37:19,680 --> 00:37:22,600 Speaker 2: to doctors. I would I would use alternative doctors, you know. 710 00:37:22,719 --> 00:37:28,040 Speaker 2: So I started going alternative doctors, and I, you know, 711 00:37:28,080 --> 00:37:30,640 Speaker 2: I would get results. You know, my my coliitis would 712 00:37:30,640 --> 00:37:33,000 Speaker 2: go into remission for a little while, and then it 713 00:37:33,040 --> 00:37:37,440 Speaker 2: would it would it would exacerbate again. Finally, two years later, 714 00:37:37,600 --> 00:37:39,920 Speaker 2: after trying all this, that and the other thing, nothing working. 715 00:37:40,040 --> 00:37:44,040 Speaker 2: I I was losing weight rapidly. I went down to 716 00:37:44,120 --> 00:37:47,360 Speaker 2: like one hundred I'm about a harnd andrndred eighty five pounds. 717 00:37:47,360 --> 00:37:49,120 Speaker 1: I went down ahearn and forty pounds. I go, wow. 718 00:37:49,120 --> 00:37:50,080 Speaker 1: I got to go to the doctor. 719 00:37:51,120 --> 00:37:55,480 Speaker 2: And with colidis, you know, there's there's you're bleeding, you know, 720 00:37:55,640 --> 00:37:57,840 Speaker 2: so I'd lost a lot of blood. I went to 721 00:37:57,840 --> 00:38:02,440 Speaker 2: the hospital. You have ulter of colitis. You're going to 722 00:38:02,520 --> 00:38:04,040 Speaker 2: have to take these drugs for the rest. 723 00:38:03,920 --> 00:38:04,440 Speaker 1: Of your life. 724 00:38:06,200 --> 00:38:08,840 Speaker 2: Like, oh man, I don't want these drugs. And I resisted, 725 00:38:08,880 --> 00:38:13,759 Speaker 2: you know. Anyway, I spent four months in the hospital. 726 00:38:15,440 --> 00:38:19,360 Speaker 2: They gave me chemotherapy to because it's an autoimmune disease, 727 00:38:19,360 --> 00:38:23,280 Speaker 2: to shut down the immune system, right, they I needed 728 00:38:23,320 --> 00:38:24,320 Speaker 2: twelve units of blood. 729 00:38:24,320 --> 00:38:25,320 Speaker 1: Well, I was in the hospital. 730 00:38:25,400 --> 00:38:28,600 Speaker 2: Finally one day the surgeon comes in and he says, 731 00:38:28,880 --> 00:38:31,480 Speaker 2: I have this surgery that I think can save you. 732 00:38:31,520 --> 00:38:34,640 Speaker 2: Can you know, because you're this isn't getting better. So 733 00:38:34,719 --> 00:38:36,560 Speaker 2: I agreet to the surgery and the guy. The guy 734 00:38:36,600 --> 00:38:39,239 Speaker 2: saved my life. Everything turned around, but it got I 735 00:38:39,280 --> 00:38:39,600 Speaker 2: went down. 736 00:38:39,600 --> 00:38:42,080 Speaker 1: I went down to one hunt and ten pounds and 737 00:38:42,120 --> 00:38:45,120 Speaker 1: I was in the hospital for four months and in 738 00:38:45,160 --> 00:38:46,920 Speaker 1: the corner of the room, I couldn't I didn't have 739 00:38:46,920 --> 00:38:48,480 Speaker 1: the strength to play it. But I had a guitar 740 00:38:48,480 --> 00:38:50,960 Speaker 1: in the corner of the room, and that the victior 741 00:38:51,040 --> 00:38:53,120 Speaker 1: of that guitar kept me, you know, kept me going. 742 00:38:53,200 --> 00:38:55,319 Speaker 1: It's like, I'm going to get back to this, you know, 743 00:38:55,400 --> 00:38:56,879 Speaker 1: it's like I'm going to get. 744 00:38:57,080 --> 00:39:00,319 Speaker 2: And going through a health crisis where you're you know, 745 00:39:00,320 --> 00:39:04,880 Speaker 2: where you really you know, you get close to leaving 746 00:39:04,920 --> 00:39:08,759 Speaker 2: this place and you realize how unimportant certain things are 747 00:39:08,760 --> 00:39:11,239 Speaker 2: and how important other things are. You're you know, a 748 00:39:11,280 --> 00:39:14,920 Speaker 2: relationship to family and friends, and your appreciation of. 749 00:39:16,719 --> 00:39:22,000 Speaker 1: Life is you know, it's you become you know, you become. 750 00:39:24,000 --> 00:39:26,960 Speaker 2: Much more realistic about, you know, the things that you 751 00:39:27,040 --> 00:39:30,680 Speaker 2: let get you down, and realize that as long as 752 00:39:30,680 --> 00:39:33,480 Speaker 2: you're alive in this hope, then anything can happen. 753 00:39:33,920 --> 00:39:37,040 Speaker 4: You know, that must have had an impact on you 754 00:39:37,160 --> 00:39:41,319 Speaker 4: in terms of what I see you doing often where 755 00:39:41,320 --> 00:39:45,640 Speaker 4: you're sort of like this good shepherd through New Jersey 756 00:39:45,719 --> 00:39:50,360 Speaker 4: communities in terms of their needs at certain times for 757 00:39:50,680 --> 00:39:53,960 Speaker 4: charities and things of that nature. Did that time shape 758 00:39:53,960 --> 00:39:58,600 Speaker 4: you towards those sort of actions that you still you know, 759 00:39:59,440 --> 00:40:00,640 Speaker 4: follow through today. 760 00:40:01,719 --> 00:40:05,920 Speaker 2: Yes, I think, you know, being an artist and being 761 00:40:05,920 --> 00:40:08,040 Speaker 2: a musician, you know, there's a I would say I've 762 00:40:08,040 --> 00:40:10,600 Speaker 2: always been sort of sensitive to the plights of people, 763 00:40:10,600 --> 00:40:14,239 Speaker 2: but I would say that it increased my empathy and 764 00:40:15,040 --> 00:40:18,520 Speaker 2: you know, and my wanting to help when people are 765 00:40:18,560 --> 00:40:21,000 Speaker 2: in need, you know, whether it's you know, like you know, 766 00:40:21,080 --> 00:40:23,640 Speaker 2: like when when we got hit with Superstorm Sandy. You know, 767 00:40:23,680 --> 00:40:26,839 Speaker 2: we would do these benefit concerts and or you know, 768 00:40:26,920 --> 00:40:29,600 Speaker 2: we would go my friend Tim McClune has this great 769 00:40:29,680 --> 00:40:33,800 Speaker 2: organization called the Holiday Express where we'd go around Christmas 770 00:40:33,840 --> 00:40:36,320 Speaker 2: time and just play for kids in the hospital and 771 00:40:37,480 --> 00:40:42,239 Speaker 2: less fortunate people, you know, homeless the homeless. And it's like, yeah, 772 00:40:42,280 --> 00:40:46,839 Speaker 2: it's like giving back is it enriches? You realize how 773 00:40:46,920 --> 00:40:48,560 Speaker 2: much of a gift it is when you you know, 774 00:40:48,600 --> 00:40:52,279 Speaker 2: when you're able to give of yourself, the return is 775 00:40:53,400 --> 00:40:56,120 Speaker 2: completely eclipses, you know, the amount of giving. 776 00:40:56,160 --> 00:40:58,800 Speaker 1: You know, it's like the gift is in the giving. 777 00:40:59,239 --> 00:41:03,600 Speaker 4: Yeah, sense, though you're somewhat I wouldn't say quiet about it, 778 00:41:03,640 --> 00:41:07,160 Speaker 4: but you're you're very low key about your approach to it. 779 00:41:07,160 --> 00:41:08,319 Speaker 4: It's just in your heart. 780 00:41:09,400 --> 00:41:13,200 Speaker 2: Yeah, yeah, I would say it's a reflection of my parents. 781 00:41:13,200 --> 00:41:17,920 Speaker 2: My parents were always very empathetic and generous towards people, 782 00:41:18,040 --> 00:41:20,239 Speaker 2: and they instilled that in me that you know, it's 783 00:41:20,320 --> 00:41:23,040 Speaker 2: like you have to care for you know, your neighbors, 784 00:41:23,080 --> 00:41:25,160 Speaker 2: and you know you need to be sensitive, you know 785 00:41:25,320 --> 00:41:27,880 Speaker 2: to what people go through. You know, if you're fortunate, 786 00:41:27,960 --> 00:41:29,879 Speaker 2: you know you you have a roof over your head, 787 00:41:29,960 --> 00:41:31,560 Speaker 2: you know, you eat three meals a day. It's like, 788 00:41:31,600 --> 00:41:34,319 Speaker 2: you know, there's people that aren't as fortunate, and you 789 00:41:34,360 --> 00:41:38,360 Speaker 2: need to do what you can when you can, you know, 790 00:41:38,560 --> 00:41:39,440 Speaker 2: or when it's needed. 791 00:41:39,840 --> 00:41:43,000 Speaker 4: Yeah, what did your parents do for a living. 792 00:41:44,400 --> 00:41:48,719 Speaker 2: My dad was an elevator mechanic, so he worked in 793 00:41:48,719 --> 00:41:51,720 Speaker 2: New York City and when we moved to New Jersey. 794 00:41:51,800 --> 00:41:53,880 Speaker 2: He would wake up at four in the morning, he 795 00:41:54,040 --> 00:41:55,879 Speaker 2: was on the bus at four thirty and he would 796 00:41:56,040 --> 00:41:57,919 Speaker 2: in am and he would come home at six thirty 797 00:41:57,920 --> 00:41:59,680 Speaker 2: at night. So he was in the city, you know, 798 00:42:00,000 --> 00:42:02,960 Speaker 2: at the house, fourteen hours a day. And he was 799 00:42:03,600 --> 00:42:06,560 Speaker 2: an amazing provider and he was when he was home 800 00:42:06,640 --> 00:42:09,520 Speaker 2: He was very present for the family, and so I 801 00:42:09,560 --> 00:42:11,480 Speaker 2: think I learned I got my work ethic from my 802 00:42:11,600 --> 00:42:13,080 Speaker 2: dad and my mom. 803 00:42:13,160 --> 00:42:13,680 Speaker 1: Growing up. 804 00:42:13,800 --> 00:42:16,600 Speaker 2: She always had odd jobs she would like she would 805 00:42:16,640 --> 00:42:20,920 Speaker 2: do sales, like phone sales. And she's a real people person, 806 00:42:21,000 --> 00:42:27,279 Speaker 2: you know. So she was a great homemaker and housewife 807 00:42:27,520 --> 00:42:30,120 Speaker 2: as they were called in the sixties and seventies. And 808 00:42:30,160 --> 00:42:34,400 Speaker 2: she was, you know, great provider also and just instilled that, 809 00:42:34,600 --> 00:42:37,400 Speaker 2: you know, just you know, just caring for people and 810 00:42:38,600 --> 00:42:41,160 Speaker 2: showing by their example that you know, this is this 811 00:42:41,239 --> 00:42:41,960 Speaker 2: is a good way to be. 812 00:42:43,560 --> 00:42:45,719 Speaker 4: What was the first concert experience for you? 813 00:42:46,560 --> 00:42:51,280 Speaker 2: Johnny Winter June first, nineteen seventy four, Madison Square Garden. 814 00:42:53,200 --> 00:42:54,279 Speaker 1: Yeah, it was. It was. 815 00:42:56,120 --> 00:42:58,080 Speaker 2: I remember, in fact, my dad drove me and my 816 00:42:58,160 --> 00:43:00,839 Speaker 2: cousin who the guitar player. He drove us to the 817 00:43:00,840 --> 00:43:03,880 Speaker 2: city and I drove us to the garden and he 818 00:43:03,960 --> 00:43:06,280 Speaker 2: dropped us off and he picked us up after the concert, 819 00:43:06,320 --> 00:43:08,239 Speaker 2: and it was Johnny Winter was, you know, one of 820 00:43:08,239 --> 00:43:11,160 Speaker 2: my heroes, guitar heroes, So it was amazing. 821 00:43:11,840 --> 00:43:12,080 Speaker 1: Yeah. 822 00:43:12,200 --> 00:43:13,680 Speaker 4: Who else was on the bill? Do you remember? 823 00:43:13,840 --> 00:43:18,480 Speaker 2: Yeah? It was Golden Earring open for them. Yeah, oh no, 824 00:43:18,520 --> 00:43:22,600 Speaker 2: I'm sorry. It was a ten CC yeah, I'm not 825 00:43:22,680 --> 00:43:24,600 Speaker 2: in Love. Yeah, Big Boys Don't Cry. I think that 826 00:43:24,640 --> 00:43:25,040 Speaker 2: was their hit. 827 00:43:25,120 --> 00:43:29,200 Speaker 4: Then sure, how about Fillmore East experiences for you. 828 00:43:29,560 --> 00:43:34,080 Speaker 2: I'm at the age where I think by seventy four 829 00:43:34,200 --> 00:43:37,200 Speaker 2: was the first concert I went to and the film Moore. 830 00:43:38,640 --> 00:43:42,880 Speaker 2: The Fillmore East concerts are such an important part of 831 00:43:42,920 --> 00:43:46,920 Speaker 2: my development as a musician and as an artist, because 832 00:43:46,920 --> 00:43:49,960 Speaker 2: I was so influenced by those iconic concerts like you know, 833 00:43:50,000 --> 00:43:53,799 Speaker 2: the Band of Gypsies Live and the Allman Brothers at 834 00:43:53,800 --> 00:43:56,800 Speaker 2: the film More and Neil Young and Aretha Franklin and 835 00:43:56,800 --> 00:44:00,799 Speaker 2: all these great artists that you know, Miles Davis. But 836 00:44:00,880 --> 00:44:03,919 Speaker 2: I was too young to attend, so I I that's 837 00:44:03,960 --> 00:44:06,040 Speaker 2: one of the things I regret that I I guess 838 00:44:06,080 --> 00:44:07,839 Speaker 2: my my dad couldn't drop me off there when I 839 00:44:07,880 --> 00:44:10,600 Speaker 2: was eleven years old, you know, to see those shows. 840 00:44:10,640 --> 00:44:13,080 Speaker 2: But I have so many friends that have gone to 841 00:44:13,200 --> 00:44:15,680 Speaker 2: the shows and we've talked about it, and I've of 842 00:44:15,719 --> 00:44:17,680 Speaker 2: course grew up on the records, you know, the famous 843 00:44:17,719 --> 00:44:21,840 Speaker 2: concerts that were made into vinyl from those shows. 844 00:44:21,440 --> 00:44:24,880 Speaker 1: So it had a tremendous impact. But I never attended. 845 00:44:25,600 --> 00:44:27,600 Speaker 4: And how about some of the other hangs in the 846 00:44:27,680 --> 00:44:31,080 Speaker 4: village that you might have seen some great acts as 847 00:44:31,120 --> 00:44:33,600 Speaker 4: you were. We used to developing. 848 00:44:33,680 --> 00:44:36,080 Speaker 2: We used to play, you know, at the Bitter End 849 00:44:36,239 --> 00:44:41,440 Speaker 2: and and Kenny's Castaways, a lot of the Bleaker Street clubs. 850 00:44:42,280 --> 00:44:43,960 Speaker 2: But I kind of it was it was it was 851 00:44:44,000 --> 00:44:46,120 Speaker 2: sort of like like Stevie and Bruce used to go 852 00:44:46,160 --> 00:44:46,880 Speaker 2: to the village. 853 00:44:47,840 --> 00:44:48,960 Speaker 1: That's how they became friendly. 854 00:44:49,000 --> 00:44:51,160 Speaker 2: They would they would ride the bus to the city 855 00:44:51,200 --> 00:44:53,960 Speaker 2: together and they would but they would. But Jimmy Hendricks 856 00:44:54,000 --> 00:44:56,600 Speaker 2: was playing at the Cafe Wa then, and you know, 857 00:44:56,680 --> 00:44:59,880 Speaker 2: James Taylor was playing, and uh so, I kind of 858 00:45:00,239 --> 00:45:03,400 Speaker 2: by the time I was playing there, it was more 859 00:45:04,280 --> 00:45:06,920 Speaker 2: it was more guys that were I'd met a lot 860 00:45:06,920 --> 00:45:09,520 Speaker 2: of sidemen, like like you know, people that ended up 861 00:45:09,520 --> 00:45:12,120 Speaker 2: in David Bowie's band or in Sydney Lauper's band, or 862 00:45:13,000 --> 00:45:17,960 Speaker 2: but I wasn't There wasn't as many sort of iconic 863 00:45:18,040 --> 00:45:21,080 Speaker 2: stars at their beginning that I was experiencing. 864 00:45:21,120 --> 00:45:21,319 Speaker 1: You know. 865 00:45:21,600 --> 00:45:24,600 Speaker 2: Maybe you know, I remember later on, like in the nineties, 866 00:45:24,600 --> 00:45:26,400 Speaker 2: we used to play, like Joan Osborne would always be 867 00:45:26,480 --> 00:45:28,120 Speaker 2: on bills with us, and you know there were people 868 00:45:28,160 --> 00:45:31,839 Speaker 2: that later on became famous. But I started playing there 869 00:45:31,840 --> 00:45:34,560 Speaker 2: like in the mid to late seventies, So I think 870 00:45:34,560 --> 00:45:37,080 Speaker 2: I missed a lot of the heyday of Bleaker Street 871 00:45:37,360 --> 00:45:39,160 Speaker 2: in the West Village. 872 00:45:39,400 --> 00:45:41,600 Speaker 4: What do you think the state of the music business 873 00:45:41,680 --> 00:45:42,120 Speaker 4: is now? 874 00:45:43,880 --> 00:45:49,000 Speaker 1: It's uh man it uh I think it's it's it's 875 00:45:49,040 --> 00:45:49,959 Speaker 1: very sad that. 876 00:45:51,520 --> 00:45:56,200 Speaker 2: Corporations buying up the publishing of all the iconic artists. 877 00:45:57,200 --> 00:46:00,440 Speaker 2: And you know, since I think I think what happened 878 00:46:00,480 --> 00:46:02,759 Speaker 2: was in nineteen ninety eight when the when the industry 879 00:46:02,840 --> 00:46:06,120 Speaker 2: didn't embrace napster that this is this trend. 880 00:46:06,239 --> 00:46:09,920 Speaker 1: It's not a trend. This is this is the future. 881 00:46:10,160 --> 00:46:13,400 Speaker 2: Of you know, kids, you know having or people having 882 00:46:13,520 --> 00:46:16,880 Speaker 2: all this music library and then letting giving it away 883 00:46:16,920 --> 00:46:19,560 Speaker 2: for nothing, or you know, they were stealing music. 884 00:46:19,600 --> 00:46:19,799 Speaker 3: You know. 885 00:46:20,120 --> 00:46:21,760 Speaker 1: I used to make a living as a songwriter. 886 00:46:21,840 --> 00:46:24,320 Speaker 2: I mean I still make some living as a songwriter, 887 00:46:24,400 --> 00:46:28,600 Speaker 2: but a primary part of my income was from songs 888 00:46:28,600 --> 00:46:31,520 Speaker 2: that I had cut by by different artists or you know, 889 00:46:32,080 --> 00:46:35,279 Speaker 2: things I had on you know, on you know, if 890 00:46:35,280 --> 00:46:38,880 Speaker 2: a TV ad or something in a film. And what's 891 00:46:38,920 --> 00:46:42,520 Speaker 2: happened is there's a couple, you know like this, there's 892 00:46:42,560 --> 00:46:46,239 Speaker 2: a there's a few corporations that are that have brought 893 00:46:46,320 --> 00:46:49,880 Speaker 2: up all the music. It's like Amazon has the market 894 00:46:50,000 --> 00:46:52,680 Speaker 2: on you know, there's other companies that do it, but 895 00:46:52,719 --> 00:46:55,520 Speaker 2: they're the monopoly sort of, or it seems like a monopoly. 896 00:46:55,560 --> 00:46:58,799 Speaker 2: They're not, but they they figured out, well, people don't 897 00:46:58,800 --> 00:47:00,600 Speaker 2: want to leave their house to go, you know, food 898 00:47:00,600 --> 00:47:03,480 Speaker 2: shopping or to buy a shirt, so we'll just delivered 899 00:47:03,520 --> 00:47:04,080 Speaker 2: to their house. 900 00:47:04,160 --> 00:47:04,479 Speaker 1: You know. 901 00:47:06,080 --> 00:47:06,120 Speaker 3: What. 902 00:47:06,320 --> 00:47:09,200 Speaker 1: It's an amazing business model, but a lot of. 903 00:47:09,120 --> 00:47:13,400 Speaker 2: People, their businesses are hurt and affected by it. Just 904 00:47:13,480 --> 00:47:17,600 Speaker 2: like if you know, back in the day, if you 905 00:47:17,760 --> 00:47:21,080 Speaker 2: had something, if you had a song featured in a film, 906 00:47:21,520 --> 00:47:23,960 Speaker 2: you know, maybe you know, you'd get ten to fifty 907 00:47:24,080 --> 00:47:28,880 Speaker 2: thousand dollars for replacement. Now, you know, kids, you know, 908 00:47:28,920 --> 00:47:31,719 Speaker 2: they have so many people have home studios and they're 909 00:47:32,239 --> 00:47:35,000 Speaker 2: they're submitting music. It's like they pay you know, a 910 00:47:35,000 --> 00:47:38,280 Speaker 2: few hundred dollars for songs that earned feature films. 911 00:47:38,320 --> 00:47:40,440 Speaker 1: Now, so it's like it's affected that. 912 00:47:42,200 --> 00:47:46,040 Speaker 2: People not buying records, you know, but companies like Spotify 913 00:47:46,239 --> 00:47:50,040 Speaker 2: and these streaming services, people they buy the subscription, they 914 00:47:50,040 --> 00:47:53,319 Speaker 2: don't they're not buying the records anymore. So it's really 915 00:47:53,440 --> 00:47:57,840 Speaker 2: hurt you know, the sales of of. 916 00:47:58,880 --> 00:48:01,799 Speaker 1: CDs or downloads and albums, you know, so. 917 00:48:02,600 --> 00:48:06,120 Speaker 2: It's caused people like me, it's like to have to 918 00:48:06,160 --> 00:48:07,839 Speaker 2: think out of the box. It's like, well, how am 919 00:48:07,880 --> 00:48:10,319 Speaker 2: I going to make a living? And it's you know, 920 00:48:10,400 --> 00:48:14,279 Speaker 2: it's touring, it's you know, just just thinking, you know, 921 00:48:14,320 --> 00:48:17,800 Speaker 2: reinventing the wheel, you know, but it's it's it's created 922 00:48:17,840 --> 00:48:19,719 Speaker 2: a struggle for a lot of people that were you know, 923 00:48:19,880 --> 00:48:22,000 Speaker 2: made a living for many years doing one thing, and 924 00:48:22,040 --> 00:48:24,319 Speaker 2: now it's it's the wild West. 925 00:48:26,239 --> 00:48:28,239 Speaker 4: I know, we probably don't have enough time for this 926 00:48:28,360 --> 00:48:32,000 Speaker 4: complete answer because you're always working on so many damn things. 927 00:48:32,320 --> 00:48:35,040 Speaker 4: I say that lovingly, but what are you working on 928 00:48:35,160 --> 00:48:36,240 Speaker 4: that you want to talk about? 929 00:48:37,400 --> 00:48:40,680 Speaker 2: Well, right now, about ninety percent of my energy is 930 00:48:40,719 --> 00:48:46,320 Speaker 2: on this American Music Honors the Springsteen Archives Music Awards 931 00:48:46,320 --> 00:48:50,120 Speaker 2: in a couple of weeks, So that really excited about. 932 00:48:50,800 --> 00:48:54,920 Speaker 2: I'm actually I've been working on music for with some 933 00:48:55,000 --> 00:48:58,440 Speaker 2: various artists. As it materializes, I'll be able to announce 934 00:48:58,480 --> 00:49:01,000 Speaker 2: who they are. But I've been actually work something I've 935 00:49:01,040 --> 00:49:04,279 Speaker 2: never done, but working on a Christmas album. So that's 936 00:49:04,320 --> 00:49:07,000 Speaker 2: something that I actually a couple of months ago, I 937 00:49:07,040 --> 00:49:09,160 Speaker 2: spent a lot of time in writing a body of 938 00:49:09,200 --> 00:49:13,160 Speaker 2: work and now we're figuring out the next step with that, 939 00:49:13,760 --> 00:49:17,640 Speaker 2: and you know, still going out and playing some original shows, 940 00:49:17,680 --> 00:49:20,279 Speaker 2: you know, doing playing dig cab of that song, and 941 00:49:21,600 --> 00:49:24,920 Speaker 2: doing some do some tribute shows, you know, we do. 942 00:49:25,320 --> 00:49:27,799 Speaker 2: We just did a Watkins Glenn tribute from the you know, 943 00:49:27,840 --> 00:49:33,640 Speaker 2: the Watkins Glenn concert from nineteen seventy three, the Olmen 944 00:49:33,680 --> 00:49:36,120 Speaker 2: Brothers and the band and the Grateful Dead. 945 00:49:36,480 --> 00:49:38,080 Speaker 1: So that was fun. We did that Friday night. 946 00:49:38,600 --> 00:49:42,400 Speaker 2: So yeah, just some making music with people I care about, 947 00:49:42,440 --> 00:49:45,080 Speaker 2: you know, and trying to spread some love and joy, 948 00:49:45,160 --> 00:49:48,600 Speaker 2: you know with what we do. That's like on the 949 00:49:49,320 --> 00:49:50,800 Speaker 2: foreseeable docket. 950 00:49:52,320 --> 00:49:55,560 Speaker 4: Well, you've led a life of dreams and fulfilling dreams. 951 00:49:56,040 --> 00:49:59,279 Speaker 4: But if you had a session or a tour that 952 00:49:59,520 --> 00:50:02,960 Speaker 4: was something that you hadn't dreamt of yet, dream of 953 00:50:03,000 --> 00:50:05,680 Speaker 4: it right now? Who would it be with living or 954 00:50:05,719 --> 00:50:07,120 Speaker 4: dead man? 955 00:50:09,200 --> 00:50:12,160 Speaker 2: That is well, I would love to get back out 956 00:50:12,239 --> 00:50:13,200 Speaker 2: on the road with Stevie. 957 00:50:15,400 --> 00:50:16,560 Speaker 1: You know. I had the. 958 00:50:18,040 --> 00:50:21,440 Speaker 2: Honor of work being Darlne Love's musical director for a 959 00:50:21,480 --> 00:50:24,799 Speaker 2: couple of years and actually singing duets. The first time 960 00:50:24,840 --> 00:50:27,840 Speaker 2: I started saying I had to sing a duet with Darlene, 961 00:50:27,880 --> 00:50:30,000 Speaker 2: it was like I had to pinch myself, you know, 962 00:50:31,920 --> 00:50:34,680 Speaker 2: you know. I mean, we played in London, Paul McCartney 963 00:50:34,680 --> 00:50:37,280 Speaker 2: came on the stage. You know, it's all these surreal things. 964 00:50:37,280 --> 00:50:43,000 Speaker 2: So I'm just I'm leaving. My imagination is always running wild, 965 00:50:43,200 --> 00:50:48,120 Speaker 2: and I'm I'm in the process of manifesting. I don't 966 00:50:48,120 --> 00:50:49,600 Speaker 2: know what it's going to be, but it's gonna be 967 00:50:49,640 --> 00:50:52,280 Speaker 2: something that that I'll be pinching myself. 968 00:50:53,719 --> 00:50:56,200 Speaker 4: Mark. I'm so grateful to meet you and to have 969 00:50:56,239 --> 00:50:58,360 Speaker 4: you on the podcast as. 970 00:50:58,239 --> 00:51:01,920 Speaker 3: We Thanks for listening to this Who're Taking a Walk podcast? 971 00:51:02,400 --> 00:51:07,040 Speaker 1: Share this another episode, enjoy so you never miss it 972 00:51:07,080 --> 00:51:07,520 Speaker 1: so much. 973 00:51:08,239 --> 00:51:12,440 Speaker 3: Taking a Walk is available on the iHeartRadio app, Apple Podcasts, 974 00:51:12,640 --> 00:51:14,959 Speaker 3: and wherever you get your podcasts.