1 00:00:00,560 --> 00:00:01,360 Speaker 1: Taking a Walk. 2 00:00:01,560 --> 00:00:06,040 Speaker 2: I've lived my life with very little planning as far 3 00:00:06,120 --> 00:00:09,480 Speaker 2: as you know, or intention Actually even you know, I 4 00:00:09,520 --> 00:00:12,760 Speaker 2: would say that all I've done in my whole life 5 00:00:12,840 --> 00:00:16,119 Speaker 2: is just seeing doors open and walking through them, and 6 00:00:16,280 --> 00:00:17,720 Speaker 2: that's basically what it is. 7 00:00:17,840 --> 00:00:20,920 Speaker 1: Welcome to the Taking a Walk Podcast with your host 8 00:00:21,040 --> 00:00:25,160 Speaker 1: Buzz Night. Buzz speaks with musicians talking about their latest 9 00:00:25,160 --> 00:00:29,880 Speaker 1: projects and their inspirations and their stories behind the music. Today, 10 00:00:30,080 --> 00:00:33,560 Speaker 1: Buzz speaks with the legendary guitarist for Blue Oyster, Calf 11 00:00:33,880 --> 00:00:37,640 Speaker 1: Buck Dharma. Buzz Night speaks with Buck about his latest 12 00:00:37,640 --> 00:00:41,159 Speaker 1: work and walk down memory lane with his great career. 13 00:00:41,960 --> 00:00:46,400 Speaker 1: Here's Buzz Night with Buck Dharma now on Taking a Walk. 14 00:00:47,600 --> 00:00:50,000 Speaker 3: Well, thanks for being on Taking a Walk, Buck Dharma, 15 00:00:50,200 --> 00:00:52,000 Speaker 3: I want to ask you out of the gate, did 16 00:00:52,000 --> 00:00:54,960 Speaker 3: you ever have a plan b if you weren't going 17 00:00:55,040 --> 00:00:55,840 Speaker 3: to be a musician. 18 00:00:56,800 --> 00:01:01,040 Speaker 2: I wasn't taking that far ahead. I assumed when we 19 00:01:01,080 --> 00:01:05,080 Speaker 2: got a recording contract that if you follow the arc 20 00:01:05,200 --> 00:01:09,319 Speaker 2: of most artists careers, you know, they make two or 21 00:01:09,319 --> 00:01:11,880 Speaker 2: three albums and then they do something else for the 22 00:01:11,920 --> 00:01:14,360 Speaker 2: rest of their life. At least that was my impression, 23 00:01:14,480 --> 00:01:21,200 Speaker 2: you know, and at every increment of Blue Oyster cults history. 24 00:01:21,360 --> 00:01:27,399 Speaker 2: The record company would make allow us to make another record, So, 25 00:01:27,760 --> 00:01:30,120 Speaker 2: you know, we made the first record, we made the 26 00:01:30,160 --> 00:01:34,160 Speaker 2: second record, a third record, and the fourth that was 27 00:01:34,200 --> 00:01:37,080 Speaker 2: our first goal record, on your Feet Around your Knees 28 00:01:37,200 --> 00:01:40,959 Speaker 2: live record, and then we made Agents of Fortune and Specters, 29 00:01:41,040 --> 00:01:47,600 Speaker 2: which went platinum. And so I didn't really think about it, 30 00:01:47,720 --> 00:01:50,520 Speaker 2: you know, in the in the eighties, when we stopped 31 00:01:51,160 --> 00:01:53,800 Speaker 2: playing arenas and things like that, you know, I thought 32 00:01:53,800 --> 00:01:58,040 Speaker 2: about doing other stuff, but we were doing very well 33 00:01:58,440 --> 00:02:02,400 Speaker 2: just performing live, so it didn't occur to me to 34 00:02:02,680 --> 00:02:09,359 Speaker 2: really change gears. I think if if I failed early on, 35 00:02:09,720 --> 00:02:15,640 Speaker 2: I would have gone into recording engineering and production, because 36 00:02:15,639 --> 00:02:18,600 Speaker 2: I've always enjoyed that part of it, you know, and 37 00:02:20,400 --> 00:02:22,280 Speaker 2: I know a lot of artists did. In fact, if 38 00:02:22,280 --> 00:02:25,440 Speaker 2: you talked to a lot of record producers, they were 39 00:02:25,440 --> 00:02:29,240 Speaker 2: originally artists themselves and got into the production side. 40 00:02:30,040 --> 00:02:32,920 Speaker 4: Can you take us inside the audition that you did 41 00:02:32,919 --> 00:02:33,919 Speaker 4: for Clive Davis? 42 00:02:34,200 --> 00:02:35,320 Speaker 2: Yeah? Have you heard about that. 43 00:02:36,960 --> 00:02:41,480 Speaker 3: I think there's a little bit of a notorious story involved. 44 00:02:41,560 --> 00:02:41,800 Speaker 4: Yeah. 45 00:02:41,880 --> 00:02:46,760 Speaker 2: Yeah, you know, we made demos for several companies in 46 00:02:46,800 --> 00:02:51,240 Speaker 2: New York. A band was New York based and we 47 00:02:51,280 --> 00:02:54,560 Speaker 2: made one for Columbia and when it came time to 48 00:02:55,919 --> 00:02:59,600 Speaker 2: make a decision on signing us, we auditioned for Clive 49 00:02:59,800 --> 00:03:05,480 Speaker 2: in the then CBS office building on sixth Avenue and 50 00:03:06,280 --> 00:03:09,400 Speaker 2: fifty second Street. Actually it was like forty eighth Street. 51 00:03:09,560 --> 00:03:12,560 Speaker 2: Forty yeah, forty eighth Street, it was fifty second was 52 00:03:12,560 --> 00:03:15,880 Speaker 2: what the studios were. And they call it black Rock. 53 00:03:15,960 --> 00:03:21,000 Speaker 2: And because it was a black granite building in a 54 00:03:21,040 --> 00:03:24,000 Speaker 2: conference room which is not really that big, you know, 55 00:03:24,040 --> 00:03:27,000 Speaker 2: had a big table in it which was moved to 56 00:03:27,520 --> 00:03:31,960 Speaker 2: the side on its edge, and the band set up 57 00:03:32,000 --> 00:03:35,240 Speaker 2: at one end and there were some chairs at the 58 00:03:35,280 --> 00:03:39,560 Speaker 2: other end, and Clive came in and he brought with 59 00:03:39,680 --> 00:03:44,040 Speaker 2: him Harry Nilsen and Bobby Columbie, the drummer of Blood, 60 00:03:44,080 --> 00:03:49,160 Speaker 2: Sweat and Tears, and we played four songs I think 61 00:03:49,800 --> 00:03:54,960 Speaker 2: for them, you know, And you know this, I wouldn't 62 00:03:55,000 --> 00:03:56,040 Speaker 2: say that they were an. 63 00:03:56,600 --> 00:04:03,400 Speaker 5: Enthusiastic audience, you know, I think, you know, we were 64 00:04:03,440 --> 00:04:06,080 Speaker 5: we were going over, I guess, but again, you know, 65 00:04:06,120 --> 00:04:07,400 Speaker 5: they weren't jumping up and down. 66 00:04:07,680 --> 00:04:09,800 Speaker 2: And at one point Harry Nilsen gets up and he 67 00:04:09,840 --> 00:04:12,600 Speaker 2: walks out of the room and we're thinking that he 68 00:04:12,640 --> 00:04:18,520 Speaker 2: doesn't like it. So when it was over and he said, oh, 69 00:04:18,560 --> 00:04:21,200 Speaker 2: thanks very much, boys, we'll get back to you, you know, 70 00:04:21,880 --> 00:04:25,960 Speaker 2: And we had a conversation with Harry later on. He said, no, no, 71 00:04:26,200 --> 00:04:28,000 Speaker 2: I liked you guys. I told Clive to sign you. 72 00:04:29,040 --> 00:04:30,839 Speaker 2: I just why does this have to have a cigarette? 73 00:04:30,880 --> 00:04:31,280 Speaker 1: That's all. 74 00:04:34,240 --> 00:04:35,679 Speaker 4: How nerve wracking? 75 00:04:35,800 --> 00:04:37,839 Speaker 2: Yeah, it was, you know, it was a little tactic, 76 00:04:37,920 --> 00:04:40,960 Speaker 2: but you know he did. He did sign us, you know, 77 00:04:41,040 --> 00:04:43,480 Speaker 2: and he never brags about us when he talks about 78 00:04:43,480 --> 00:04:46,480 Speaker 2: the artists he science. But that's okay, you know, he 79 00:04:46,520 --> 00:04:49,200 Speaker 2: can he can talk about Whitney Houston. You know, Lorisa 80 00:04:49,320 --> 00:04:50,440 Speaker 2: called that. That's so munch. 81 00:04:51,680 --> 00:04:53,760 Speaker 3: I mean, I wonder if he really knew though that 82 00:04:53,880 --> 00:04:57,000 Speaker 3: he was signing a piece of you know, music history, right. 83 00:04:57,839 --> 00:05:00,440 Speaker 2: I think probably everything he did is just oracle in 84 00:05:00,480 --> 00:05:06,240 Speaker 2: one way or another. But no, I you know, I 85 00:05:06,279 --> 00:05:12,039 Speaker 2: applaud Columbia for sticking with us and letting us build 86 00:05:12,080 --> 00:05:14,440 Speaker 2: our audience. And I think at that time that was 87 00:05:14,520 --> 00:05:17,719 Speaker 2: the way they did business. You know, they they signed 88 00:05:17,839 --> 00:05:21,760 Speaker 2: artists to like seven record deals, you know, out of 89 00:05:21,800 --> 00:05:24,400 Speaker 2: the gate, you know, they kept it tied up. But 90 00:05:24,600 --> 00:05:26,680 Speaker 2: on the other side of that coin is that if 91 00:05:26,720 --> 00:05:30,720 Speaker 2: they believed in you, they would continue to back you, 92 00:05:30,720 --> 00:05:33,960 Speaker 2: you know, even even if you didn't go platinum the 93 00:05:33,960 --> 00:05:37,760 Speaker 2: first time, and obviously later on the business changed to 94 00:05:37,880 --> 00:05:40,000 Speaker 2: the point where you know, you had one shot to 95 00:05:40,040 --> 00:05:42,000 Speaker 2: succeed and then you'd be gone if you didn't. 96 00:05:42,080 --> 00:05:45,960 Speaker 4: You know, was Clive hands on after the signing. 97 00:05:46,680 --> 00:05:50,280 Speaker 2: Uh, not so much. It might have been better if 98 00:05:50,279 --> 00:05:56,560 Speaker 2: you was, but but no, we had real, real autonomy 99 00:05:56,640 --> 00:05:58,839 Speaker 2: with the with the record company. They let us do 100 00:05:58,920 --> 00:05:59,520 Speaker 2: what we wanted to. 101 00:06:00,320 --> 00:06:03,000 Speaker 3: And I remember, as somebody who was on the radio side, 102 00:06:03,040 --> 00:06:07,440 Speaker 3: they always had a really tremendous promotion staff that worked, 103 00:06:07,600 --> 00:06:11,760 Speaker 3: you know, rock music. I think they really knew their 104 00:06:12,400 --> 00:06:14,400 Speaker 3: craft and they were passionate about it. 105 00:06:14,440 --> 00:06:14,640 Speaker 1: You know. 106 00:06:15,600 --> 00:06:19,760 Speaker 2: Yes, that was demonstrated by when Don't Fit the Reaper 107 00:06:19,839 --> 00:06:23,040 Speaker 2: broke out a radio and it sort of just bubbled up. 108 00:06:23,040 --> 00:06:27,400 Speaker 2: It wasn't even a single, you know, became a single. 109 00:06:27,880 --> 00:06:33,120 Speaker 2: But when that happened, the Columbia muscle was evident. You know, 110 00:06:33,200 --> 00:06:37,080 Speaker 2: they could get the albums into record stores and move 111 00:06:37,120 --> 00:06:41,359 Speaker 2: them through retail, you know, so that was impressive. 112 00:06:42,160 --> 00:06:46,080 Speaker 3: Was it a geographic breakout? First there was its first 113 00:06:46,120 --> 00:06:48,320 Speaker 3: East Coast and then it sort of worked its way 114 00:06:48,400 --> 00:06:51,160 Speaker 3: across the country in terms of popularity for the. 115 00:06:51,120 --> 00:06:54,640 Speaker 2: Band, not to my recollection. I think once the song 116 00:06:55,640 --> 00:07:00,240 Speaker 2: was added at aoor radio, album, radio, FM radio, it 117 00:07:01,640 --> 00:07:04,279 Speaker 2: just sort of was an organic thing that everybody picked 118 00:07:04,360 --> 00:07:09,039 Speaker 2: up on, and then the single got to be It 119 00:07:09,120 --> 00:07:12,440 Speaker 2: got to be nine on cash Box, I think, eleven 120 00:07:13,080 --> 00:07:17,120 Speaker 2: on Billboard, eleven or twelve, you know so, and it 121 00:07:17,160 --> 00:07:20,120 Speaker 2: didn't get higher because it never got added on New 122 00:07:20,200 --> 00:07:22,400 Speaker 2: York radio of all places, or you know, we were 123 00:07:22,440 --> 00:07:25,400 Speaker 2: a New York band, and you know, to byb C. 124 00:07:25,600 --> 00:07:27,360 Speaker 2: He said, nah, I we're not playing that song. 125 00:07:27,480 --> 00:07:29,240 Speaker 4: How fascinating that would have been. 126 00:07:29,280 --> 00:07:30,960 Speaker 2: You know, that would have been top ten if it 127 00:07:31,000 --> 00:07:31,920 Speaker 2: would have done that. 128 00:07:32,040 --> 00:07:35,040 Speaker 4: You know, yeah, that's crazy. I didn't realize that. 129 00:07:35,760 --> 00:07:36,040 Speaker 1: Yeah. 130 00:07:36,200 --> 00:07:41,640 Speaker 2: I think the programmer was Rick Sklar, if I remember anyway, 131 00:07:42,040 --> 00:07:44,840 Speaker 2: you know I is a song about a reaper. 132 00:07:44,880 --> 00:07:45,480 Speaker 1: I don't think so. 133 00:07:45,680 --> 00:07:50,840 Speaker 3: You know, so, what was the first moment you realized 134 00:07:50,880 --> 00:07:55,080 Speaker 3: that you were hooked on music in your life? 135 00:07:56,640 --> 00:08:00,240 Speaker 2: I always liked music as a kid. My dad was 136 00:08:00,280 --> 00:08:05,600 Speaker 2: a horn player. He played sax and clarinet and a flute, 137 00:08:06,360 --> 00:08:11,800 Speaker 2: and he always worked weekends and he played in combo bands, 138 00:08:11,840 --> 00:08:15,240 Speaker 2: you know, four piece, five piece. He worked clubs and 139 00:08:15,320 --> 00:08:17,720 Speaker 2: he played weddings and did things like that. You know, 140 00:08:17,760 --> 00:08:20,040 Speaker 2: he had a day job. He was in the defense industry, 141 00:08:21,680 --> 00:08:24,800 Speaker 2: but he used to take me on gigs when I 142 00:08:24,840 --> 00:08:27,840 Speaker 2: was a kid. You know, I would just sit there 143 00:08:27,880 --> 00:08:30,320 Speaker 2: and drink a ginger ale and really really you know, 144 00:08:30,920 --> 00:08:35,000 Speaker 2: listen to the music and dig it. And I played 145 00:08:35,000 --> 00:08:37,600 Speaker 2: accordion when I was nine years old. Took it for 146 00:08:37,600 --> 00:08:41,320 Speaker 2: about a year, and then I didn't really think I 147 00:08:41,400 --> 00:08:46,120 Speaker 2: was the according was that cool? So techo I was 148 00:08:46,160 --> 00:08:49,720 Speaker 2: a drummer later on when as a teenager. And I 149 00:08:49,800 --> 00:08:52,560 Speaker 2: started playing guitar when I was about fifteen. And when 150 00:08:52,559 --> 00:08:54,240 Speaker 2: I started guitar, I didn't look back. 151 00:08:55,160 --> 00:08:56,679 Speaker 4: What was the first guitar you bought? 152 00:08:57,160 --> 00:09:01,240 Speaker 2: First guitar I had was a Premier to pick up 153 00:09:01,960 --> 00:09:06,240 Speaker 2: no cutaway sort of jazz box that my dad had found, 154 00:09:06,559 --> 00:09:08,640 Speaker 2: you know, one of his compadres had it, you know, 155 00:09:08,679 --> 00:09:12,720 Speaker 2: and it was not really a rock instrument, and it 156 00:09:12,800 --> 00:09:15,760 Speaker 2: looked to me like, you know, you know the Mexican 157 00:09:15,880 --> 00:09:18,720 Speaker 2: guitar owns that based the bass guitar with the big 158 00:09:18,760 --> 00:09:20,520 Speaker 2: thick body that's sort of looked like on me because 159 00:09:20,520 --> 00:09:22,840 Speaker 2: I'm a little guy, you know. So I played that 160 00:09:22,920 --> 00:09:25,679 Speaker 2: for a while and then my second guitar was a 161 00:09:25,800 --> 00:09:28,760 Speaker 2: Hackstroum Fender stratocaster copy. 162 00:09:29,800 --> 00:09:32,480 Speaker 4: And who then were the guitarists that you looked up to? 163 00:09:33,760 --> 00:09:37,439 Speaker 2: I was playing surf music, so it was all the 164 00:09:37,520 --> 00:09:43,040 Speaker 2: surf bands, you know, the Safaris, the Chanteys, the Beach Boys. 165 00:09:44,240 --> 00:09:48,240 Speaker 2: But we're playing instrumentals pretty much, not not a little 166 00:09:48,240 --> 00:09:50,440 Speaker 2: bit of vocals, but in my high school band, you know, 167 00:09:50,480 --> 00:09:54,080 Speaker 2: but that's what we're doing. So anybody with you know, 168 00:09:54,120 --> 00:09:58,559 Speaker 2: the ventures a huge influence, you know, anybody that played 169 00:09:58,600 --> 00:10:02,640 Speaker 2: Fender guitars and a Fender that was where we're at. 170 00:10:03,160 --> 00:10:06,960 Speaker 4: And what was the first concert that you ever attended? 171 00:10:07,960 --> 00:10:12,040 Speaker 2: The first one I ever went to was rather late 172 00:10:12,040 --> 00:10:14,160 Speaker 2: in my life. It must have been it must have 173 00:10:14,200 --> 00:10:17,080 Speaker 2: been eighteen at the time. It never occurred to me 174 00:10:17,120 --> 00:10:20,480 Speaker 2: to go see music live. I was very much into recordings. 175 00:10:21,280 --> 00:10:26,600 Speaker 2: But it was it was the Young Rascals and the 176 00:10:26,640 --> 00:10:34,480 Speaker 2: Beau Brummels and the Seeds, Sky's Accent and the Seeds and. 177 00:10:34,440 --> 00:10:36,760 Speaker 4: Pushing too hard, Pushing too hard. 178 00:10:36,840 --> 00:10:39,120 Speaker 2: Yeah, And that was the bill. It was all three 179 00:10:39,160 --> 00:10:41,360 Speaker 2: of those acts. And then they were all great, you know. 180 00:10:42,200 --> 00:10:46,680 Speaker 2: And it was in it was in a large club. 181 00:10:46,800 --> 00:10:50,080 Speaker 2: It was like a dance Hall in Suffolk County, So 182 00:10:50,200 --> 00:10:54,680 Speaker 2: that was and of course seeing bands live just opened 183 00:10:54,679 --> 00:10:56,760 Speaker 2: my mind to that. And after that I became a 184 00:10:56,760 --> 00:10:58,080 Speaker 2: big fan of live music. 185 00:10:58,800 --> 00:11:02,160 Speaker 4: And what was the first album that you remember ever buying? 186 00:11:02,800 --> 00:11:05,800 Speaker 2: The Ventures Walked Don't Run the Ventures? Yeah, I bought 187 00:11:05,840 --> 00:11:07,880 Speaker 2: the single and the LP. Yeah. 188 00:11:08,679 --> 00:11:11,960 Speaker 3: So when you think of your hall of fame of 189 00:11:12,040 --> 00:11:17,440 Speaker 3: guitarists that really made an impact and still impact you 190 00:11:17,559 --> 00:11:20,920 Speaker 3: to this day. Who is in Buck Dharmer's guitar Hall 191 00:11:20,960 --> 00:11:21,360 Speaker 3: of Fame? 192 00:11:22,800 --> 00:11:25,200 Speaker 2: Well, first of all, more than you can mention many, 193 00:11:25,280 --> 00:11:31,720 Speaker 2: many many, you know, certainly the when I was learning 194 00:11:31,880 --> 00:11:36,280 Speaker 2: it was it was the surf instrumentalists. You know. It's funny. 195 00:11:36,320 --> 00:11:39,400 Speaker 2: Dick Dale was not big on on the East Coast 196 00:11:39,920 --> 00:11:42,160 Speaker 2: like he was on the West coast, but you know, 197 00:11:42,200 --> 00:11:45,120 Speaker 2: he would have been mentioned if if I had heard him. 198 00:11:45,720 --> 00:11:47,680 Speaker 2: But it was you know, who was ever playing on 199 00:11:47,720 --> 00:11:49,840 Speaker 2: the Beach Boys record. I thought it was Carl Wilson, 200 00:11:49,920 --> 00:11:52,840 Speaker 2: but it was probably Tommy Didsko or somebody like that, 201 00:11:53,000 --> 00:11:54,960 Speaker 2: or even Glenn Campbell. It could have been you know, 202 00:11:54,960 --> 00:11:58,280 Speaker 2: I don't know who played those parts, but you know, 203 00:11:58,440 --> 00:12:01,040 Speaker 2: but it was sort of like Chuck Berry has filtered 204 00:12:01,040 --> 00:12:03,840 Speaker 2: through the Beach Boys, you know that that kind of stuff. 205 00:12:03,880 --> 00:12:09,120 Speaker 2: So obviously, Chuck Berry, we were very influenced by the 206 00:12:09,280 --> 00:12:15,000 Speaker 2: early psychedelic bands. You know. Robbie Krieger's a big influence 207 00:12:15,040 --> 00:12:19,080 Speaker 2: on me. You know, the Jerry Garcia very big, you know, 208 00:12:19,760 --> 00:12:24,240 Speaker 2: through the Grateful Ted and of course Jefferson Airplane and 209 00:12:24,760 --> 00:12:29,400 Speaker 2: Quicksilver Messenger Service, all those guys, you know, and all 210 00:12:29,440 --> 00:12:33,960 Speaker 2: the English guitar players which are playing the American Chicago 211 00:12:34,080 --> 00:12:38,400 Speaker 2: blues players. You know, so sort of got around to 212 00:12:38,600 --> 00:12:42,559 Speaker 2: the Chicago blues men through the early English guys who 213 00:12:42,600 --> 00:12:46,160 Speaker 2: were covering that stuff, the Stones and Jeff Beck and 214 00:12:46,320 --> 00:12:51,280 Speaker 2: you know all those guys. Clapton, Richie Blackmore, very important stylist, 215 00:12:52,160 --> 00:12:54,520 Speaker 2: you know. I mean all there's so many great players, 216 00:12:54,520 --> 00:12:58,079 Speaker 2: you know. It's it's one of my favorite players now 217 00:12:58,200 --> 00:13:02,000 Speaker 2: is Robin Ford. You know, I think he's awesome. Tommy 218 00:13:02,000 --> 00:13:05,720 Speaker 2: Emmanuel is an acoustic player, but he plays a great 219 00:13:05,720 --> 00:13:09,400 Speaker 2: electric too. You know, there's there's too many great players 220 00:13:09,440 --> 00:13:12,400 Speaker 2: to mention. You just feel bad for leaving anybody out, 221 00:13:12,600 --> 00:13:14,840 Speaker 2: but they're all good. 222 00:13:15,800 --> 00:13:16,079 Speaker 4: I think. 223 00:13:16,200 --> 00:13:21,320 Speaker 3: What's amazing thinking about the soft white underbelly, which was 224 00:13:21,440 --> 00:13:24,720 Speaker 3: obviously you know before Blue Oyster cult. 225 00:13:25,160 --> 00:13:28,160 Speaker 4: It was really like a like a psychedelic jam band, 226 00:13:28,240 --> 00:13:28,640 Speaker 4: wasn't it. 227 00:13:29,000 --> 00:13:32,000 Speaker 2: Yeah, I would say we would be called a jam band, 228 00:13:32,240 --> 00:13:35,560 Speaker 2: you know, if if we could be transported to you know, 229 00:13:35,920 --> 00:13:36,400 Speaker 2: that era. 230 00:13:37,040 --> 00:13:39,240 Speaker 1: We'll be right back with more of the Taking a 231 00:13:39,280 --> 00:13:47,480 Speaker 1: Walk podcast. Welcome back to the Taking a Walk podcast. 232 00:13:48,360 --> 00:13:51,800 Speaker 3: So take us inside a couple of sessions if you can. 233 00:13:52,000 --> 00:13:54,680 Speaker 3: First of all, don't fear the Reaper. What do you 234 00:13:54,679 --> 00:13:58,160 Speaker 3: remember about that session? I know there was a lot 235 00:13:58,200 --> 00:14:01,560 Speaker 3: of prep beforehand that into it, so you didn't really 236 00:14:01,600 --> 00:14:04,720 Speaker 3: waste studio time and we're really you know, on top 237 00:14:04,800 --> 00:14:08,120 Speaker 3: of it. But bring us inside what you remember of 238 00:14:08,160 --> 00:14:11,760 Speaker 3: that session with the kind of guitar you used, and 239 00:14:11,840 --> 00:14:13,360 Speaker 3: what it was like creating that. 240 00:14:14,880 --> 00:14:17,520 Speaker 2: We were always pretty prepared before we went the studio, 241 00:14:18,200 --> 00:14:22,360 Speaker 2: and the Age of Fortune record was the first one 242 00:14:22,480 --> 00:14:28,360 Speaker 2: where the band members had made pretty advanced or evolved 243 00:14:28,400 --> 00:14:31,840 Speaker 2: demos of the song as a writer before bringing it 244 00:14:31,880 --> 00:14:37,000 Speaker 2: to the band, because we had just gotten home four 245 00:14:37,080 --> 00:14:40,400 Speaker 2: track recorders, which previous to that no one could afford. 246 00:14:41,240 --> 00:14:44,960 Speaker 2: But when T came out with Theirs, we all had 247 00:14:45,000 --> 00:14:49,040 Speaker 2: gotten four track recorders. So the demo that I brought 248 00:14:49,080 --> 00:14:52,040 Speaker 2: in for The Reaper was was pretty well arranged so 249 00:14:52,080 --> 00:14:55,240 Speaker 2: that it was not too different than what the band recorded. 250 00:14:55,280 --> 00:14:57,640 Speaker 2: Of course, the band, you know, did its own thing 251 00:14:57,680 --> 00:15:02,560 Speaker 2: on it, but it's essentially this. The demo is out 252 00:15:02,680 --> 00:15:08,440 Speaker 2: on one of the box set type compilations of BOC, 253 00:15:08,480 --> 00:15:11,240 Speaker 2: so you could compare him if you wanted to. The 254 00:15:11,760 --> 00:15:15,920 Speaker 2: iconic riff of the Reaper was recorded on Murray Krugman's 255 00:15:16,400 --> 00:15:21,160 Speaker 2: ES one seventy five Gibson, which is again a hollow 256 00:15:21,240 --> 00:15:24,520 Speaker 2: body with one cutaway two pickups. 257 00:15:24,040 --> 00:15:24,440 Speaker 1: And. 258 00:15:25,760 --> 00:15:29,040 Speaker 2: It sounds unique in that in the sense that that's 259 00:15:29,080 --> 00:15:31,480 Speaker 2: not the guitar I play it live and never have, 260 00:15:31,680 --> 00:15:34,720 Speaker 2: so it's it doesn't sound exactly like the record, but 261 00:15:35,040 --> 00:15:36,000 Speaker 2: you get close. 262 00:15:38,560 --> 00:15:40,600 Speaker 4: Sorry, Elmer's barking in the background. 263 00:15:40,640 --> 00:15:40,800 Speaker 1: There. 264 00:15:40,840 --> 00:15:42,480 Speaker 4: There must be a delivery guy. 265 00:15:42,360 --> 00:15:46,080 Speaker 3: Coming to the house, so I'll try I'll try to 266 00:15:46,160 --> 00:15:49,640 Speaker 3: ignore his big vocal cords down there. 267 00:15:49,720 --> 00:15:52,480 Speaker 2: So yeah, well, we all worked from home, now, don't we. 268 00:15:53,760 --> 00:15:56,160 Speaker 3: Yeah, it's got to be a delivery. He thinks he's 269 00:15:56,240 --> 00:16:01,040 Speaker 3: the watchdog here. Yeah, yeah, Well how about taking us 270 00:16:01,040 --> 00:16:04,640 Speaker 3: inside the session that produced the great song Burning for You? 271 00:16:04,760 --> 00:16:08,080 Speaker 2: What was that like, now, Bernard for you? It was 272 00:16:08,120 --> 00:16:11,120 Speaker 2: a song that I wrote intending to put it on 273 00:16:11,160 --> 00:16:16,920 Speaker 2: my nineteen eighty one solo record, flat Out, And obviously 274 00:16:17,000 --> 00:16:20,760 Speaker 2: it's Sandy Pelman, who has managed us at the time 275 00:16:20,840 --> 00:16:24,640 Speaker 2: and of course as our mentor and chief lyricists for 276 00:16:24,680 --> 00:16:28,200 Speaker 2: a lot of years. He convinced me to let Lorister 277 00:16:28,280 --> 00:16:31,680 Speaker 2: Call recorded because he thought it would be better served 278 00:16:33,080 --> 00:16:36,200 Speaker 2: as a BOC song, and he was probably right. So 279 00:16:37,480 --> 00:16:41,400 Speaker 2: we made that recording with Martin Birch. It was the 280 00:16:41,440 --> 00:16:44,600 Speaker 2: second record we did with Martin Birch producing and engineering, 281 00:16:44,960 --> 00:16:50,440 Speaker 2: and I think he did a great job of taking 282 00:16:50,520 --> 00:16:53,560 Speaker 2: the tune and really bringing it home, you know, with 283 00:16:53,680 --> 00:16:55,479 Speaker 2: the sound and the performance. 284 00:16:56,680 --> 00:16:59,040 Speaker 3: It must really make you feel great when you still 285 00:16:59,560 --> 00:17:03,800 Speaker 3: know those two songs in particular of course Godzilla too, 286 00:17:03,840 --> 00:17:07,960 Speaker 3: that they're you know, still part of our music culture today. 287 00:17:09,119 --> 00:17:12,560 Speaker 2: Yeah, that's that's that's that's been gratifying as I see 288 00:17:13,000 --> 00:17:15,520 Speaker 2: what Bloor is a called stun ripple out into the 289 00:17:15,600 --> 00:17:18,280 Speaker 2: larger culture. You know, it's you know, it makes you 290 00:17:18,359 --> 00:17:18,840 Speaker 2: feel good. 291 00:17:19,200 --> 00:17:22,159 Speaker 3: How many times a week does somebody come up to 292 00:17:22,200 --> 00:17:25,480 Speaker 3: you and say, hey, buck more cow bell? 293 00:17:26,880 --> 00:17:29,359 Speaker 2: It's I think that's peaked. But there was a time 294 00:17:29,440 --> 00:17:31,600 Speaker 2: when when you couldn't get away from the cowbell, And. 295 00:17:35,359 --> 00:17:37,320 Speaker 4: Did you see that in real time. 296 00:17:37,640 --> 00:17:42,880 Speaker 2: Not as not exactly. My wife's mom called us up 297 00:17:43,200 --> 00:17:45,880 Speaker 2: when it was on, saying because she was watching Saturday Night, 298 00:17:45,960 --> 00:17:48,800 Speaker 2: you know, and she said, turn on Saturday right now. 299 00:17:50,080 --> 00:17:53,560 Speaker 2: Of course I saw it pretty shortly thereafter. I don't 300 00:17:53,560 --> 00:17:56,240 Speaker 2: know who had it recorded. It was really the beginning 301 00:17:56,320 --> 00:17:58,040 Speaker 2: of the VHS era. 302 00:17:58,880 --> 00:18:02,600 Speaker 4: I promise anybody, if you're ever in a bad. 303 00:18:02,400 --> 00:18:04,600 Speaker 3: Mood and you want to put yourself in a good mood, 304 00:18:04,720 --> 00:18:07,879 Speaker 3: just watch that because it's it's guaranteed to lift your 305 00:18:07,920 --> 00:18:09,320 Speaker 3: spirits every time. 306 00:18:10,080 --> 00:18:13,160 Speaker 2: It's it's still funny, you know, and for that I'm grateful. 307 00:18:13,320 --> 00:18:17,360 Speaker 2: You know. We just did an interview with the Peacock 308 00:18:17,440 --> 00:18:22,040 Speaker 2: Channel that's doing a special on SNL this summer, and 309 00:18:22,960 --> 00:18:25,760 Speaker 2: it's going to be four episodes and one episode is 310 00:18:25,800 --> 00:18:30,680 Speaker 2: devoted to the Cabo sketch, you know. So it's amazing 311 00:18:30,720 --> 00:18:33,800 Speaker 2: that it has endured because it's been a lot of 312 00:18:33,840 --> 00:18:35,639 Speaker 2: years since that was aired. 313 00:18:36,600 --> 00:18:41,680 Speaker 3: So throughout the touring career, the robust years of touring 314 00:18:41,800 --> 00:18:44,679 Speaker 3: that were part of that grind. What were some of 315 00:18:44,720 --> 00:18:48,440 Speaker 3: your favorite concert venues to play. 316 00:18:48,480 --> 00:18:52,040 Speaker 2: We were very popular up and down the West coast, 317 00:18:52,119 --> 00:18:55,000 Speaker 2: like from Seattle to San Diego. That's sort of where 318 00:18:55,040 --> 00:18:59,960 Speaker 2: we you know, had our arena era and once once 319 00:19:00,080 --> 00:19:02,080 Speaker 2: the Reaper was a head, you know, we went into 320 00:19:02,119 --> 00:19:07,240 Speaker 2: the big rooms. And the Midwest is always good for us. Ironically, 321 00:19:07,320 --> 00:19:09,479 Speaker 2: we did okay in New York, but being a New 322 00:19:09,560 --> 00:19:12,360 Speaker 2: York band was never an advantage, you know, for us. 323 00:19:12,680 --> 00:19:17,119 Speaker 2: I would say, you know, and I'd just like to 324 00:19:17,119 --> 00:19:19,560 Speaker 2: go to places that are nice places I enjoy that, 325 00:19:19,840 --> 00:19:23,080 Speaker 2: you know, I like going overseas, like going to Hawaii, 326 00:19:23,359 --> 00:19:27,560 Speaker 2: like going to New Orleans, and like Chicago, and you know, 327 00:19:28,920 --> 00:19:31,520 Speaker 2: it's not really that much different one place or another. 328 00:19:32,440 --> 00:19:35,000 Speaker 3: And how about some of the favorite bands that you 329 00:19:35,119 --> 00:19:38,920 Speaker 3: toured with over the years that you really enjoyed either 330 00:19:39,160 --> 00:19:43,560 Speaker 3: just you know, being with or you know, sharing audiences with. 331 00:19:43,640 --> 00:19:44,760 Speaker 4: Who were some of the bands? 332 00:19:45,800 --> 00:19:48,520 Speaker 2: Yeah, you know, in those days, I think the bands 333 00:19:48,560 --> 00:19:51,240 Speaker 2: are a lot more competitive with each other in terms 334 00:19:51,280 --> 00:19:56,919 Speaker 2: of personal relationships. Nowadays, everybody's good buddies, you know. I 335 00:19:56,960 --> 00:19:59,720 Speaker 2: think anyone who's survived and is still out there is 336 00:20:00,280 --> 00:20:05,200 Speaker 2: very cordial and friendly, and of course anyone that's still 337 00:20:05,200 --> 00:20:07,080 Speaker 2: doing it, you know, I pretty much know at this 338 00:20:07,200 --> 00:20:10,600 Speaker 2: point and at the time, I think we had the 339 00:20:10,640 --> 00:20:15,040 Speaker 2: best time and closest personal relationship with Nazareth. Nazareth and 340 00:20:15,040 --> 00:20:18,399 Speaker 2: the Scottish band. You know, they were great guys, still are. 341 00:20:18,440 --> 00:20:21,439 Speaker 2: There's only one original left now but pte Age. But 342 00:20:22,280 --> 00:20:25,320 Speaker 2: there were great fellows. We had just some wonderful times together. 343 00:20:26,359 --> 00:20:29,040 Speaker 3: So I know, with some stuff that you've been involved 344 00:20:29,040 --> 00:20:32,879 Speaker 3: with and the band's been involved with, the use of 345 00:20:33,000 --> 00:20:38,560 Speaker 3: artificial intelligence was involved to sort of, you know, help 346 00:20:38,600 --> 00:20:41,480 Speaker 3: in the process there. Maybe you can talk about that 347 00:20:42,320 --> 00:20:47,440 Speaker 3: a little bit, how that benefited that process and overall 348 00:20:48,000 --> 00:20:50,959 Speaker 3: what your feelings are on AI and music. 349 00:20:54,240 --> 00:20:58,280 Speaker 2: I think you're specifically talking about the Ghost Stories record, 350 00:20:58,320 --> 00:21:02,400 Speaker 2: which is our latest release, and the AI tools were 351 00:21:02,560 --> 00:21:07,159 Speaker 2: used to deconstruct stereo mixes of pre production sessions that 352 00:21:07,520 --> 00:21:12,920 Speaker 2: enabled us to augment and add to recordings that were 353 00:21:12,960 --> 00:21:15,919 Speaker 2: basically done in the time period nineteen seventy nine to 354 00:21:16,280 --> 00:21:21,320 Speaker 2: about eighty four. That's the same tools that Peter Jackson 355 00:21:21,440 --> 00:21:27,480 Speaker 2: used on the Beatles' recordings. And of course it's amazing 356 00:21:27,840 --> 00:21:31,720 Speaker 2: what AI can do in just about every field. Now 357 00:21:31,840 --> 00:21:35,919 Speaker 2: it's inescapable. You know, that's another horse you have to 358 00:21:36,000 --> 00:21:39,359 Speaker 2: ride in the direction it's going. I think, I think 359 00:21:40,480 --> 00:21:47,760 Speaker 2: the ability to construct music instantly in any genre or 360 00:21:48,640 --> 00:21:54,520 Speaker 2: whatever it's going to probably make obsolete a lot of 361 00:21:54,920 --> 00:21:58,680 Speaker 2: a lot of the incidental music for videos, that kind 362 00:21:58,720 --> 00:22:03,160 Speaker 2: of thing. As far as creativity, I don't. I think 363 00:22:03,440 --> 00:22:07,760 Speaker 2: it's it could be useful to humans, you know, and 364 00:22:08,480 --> 00:22:13,480 Speaker 2: cut down a lot of the the grunt work of 365 00:22:13,960 --> 00:22:17,200 Speaker 2: making music. But I don't think that computers are going 366 00:22:17,280 --> 00:22:23,960 Speaker 2: to create stuff that's that really nails what people identify 367 00:22:24,080 --> 00:22:28,280 Speaker 2: with in a song that that's popular. You know, I 368 00:22:28,320 --> 00:22:30,280 Speaker 2: could be wrong, but I have yet to see it. 369 00:22:30,400 --> 00:22:35,639 Speaker 2: You know, everything sounds generic. I know. I asked chatp 370 00:22:36,000 --> 00:22:40,120 Speaker 2: GPT sort of early on to write a Bloyster Cullt 371 00:22:40,240 --> 00:22:43,200 Speaker 2: lyric and what it came up with, I mean, had 372 00:22:43,240 --> 00:22:45,760 Speaker 2: some of the vernacular and some of the some of 373 00:22:45,560 --> 00:22:49,680 Speaker 2: the basic themes, but it was nothing like any Blowyster 374 00:22:49,800 --> 00:22:53,920 Speaker 2: Cullt lyric, you know. Just it wouldn't have made made 375 00:22:53,960 --> 00:22:56,440 Speaker 2: the cut, you know, if if that song had been 376 00:22:56,480 --> 00:22:59,359 Speaker 2: brought in, you know, to the band, now, that's terrible. 377 00:23:00,840 --> 00:23:03,720 Speaker 2: So again, it's maybe as possible, but I've yet to 378 00:23:03,720 --> 00:23:07,359 Speaker 2: see it. I think that you know, real real you know, 379 00:23:07,440 --> 00:23:11,000 Speaker 2: feeling humans at the helm will will endure, you know, 380 00:23:11,080 --> 00:23:12,920 Speaker 2: when it comes to creative stuff. 381 00:23:12,720 --> 00:23:15,440 Speaker 4: A human touch, a human connection, right. 382 00:23:16,440 --> 00:23:20,000 Speaker 2: Yeah, well you know, I don't know if you know, 383 00:23:20,600 --> 00:23:25,080 Speaker 2: if the large language model AI is, you know, just 384 00:23:26,000 --> 00:23:31,760 Speaker 2: are trained on what has been in terms of songs, language, 385 00:23:33,240 --> 00:23:38,520 Speaker 2: you know, musical phrases, chord progressions. You know, as it is, 386 00:23:38,720 --> 00:23:42,360 Speaker 2: popular music is really narrow in terms of how many 387 00:23:42,400 --> 00:23:44,800 Speaker 2: chords get used and in what order. You know, most 388 00:23:44,840 --> 00:23:47,560 Speaker 2: of the most of the big hits, you know, follow 389 00:23:47,640 --> 00:23:53,040 Speaker 2: those same four chords that you know Journey used twenty 390 00:23:53,040 --> 00:23:54,360 Speaker 2: five thirty years ago. You know. 391 00:23:55,520 --> 00:23:57,800 Speaker 4: So let's talk about some new music of yours. 392 00:23:57,880 --> 00:24:01,480 Speaker 3: The new song, the end of every song, great video, 393 00:24:01,680 --> 00:24:03,440 Speaker 3: great song, How. 394 00:24:03,280 --> 00:24:05,320 Speaker 4: Did that song come about? 395 00:24:05,640 --> 00:24:09,119 Speaker 3: And let's sort of talk about it in today's terms 396 00:24:09,680 --> 00:24:12,840 Speaker 3: of you know, I think the starkness of the song 397 00:24:13,880 --> 00:24:16,440 Speaker 3: that really struck me emotionally. 398 00:24:17,560 --> 00:24:21,800 Speaker 2: I was commissioned to write this song from a lyric 399 00:24:22,040 --> 00:24:28,760 Speaker 2: that was based on a poem by English poet Ernest 400 00:24:28,880 --> 00:24:34,000 Speaker 2: Christopher Dowson. He wrote, he only lived thirty two years. 401 00:24:34,400 --> 00:24:37,479 Speaker 2: He was not in good health, but he had a 402 00:24:37,520 --> 00:24:42,480 Speaker 2: fairly prolific output. At that time. He was known for 403 00:24:42,640 --> 00:24:46,960 Speaker 2: comining the phrase gone with the wind and days of 404 00:24:47,000 --> 00:24:50,480 Speaker 2: wine and roses. So it's you know, his phrases anyway, 405 00:24:50,520 --> 00:24:54,720 Speaker 2: have been lifted by other creators for other stuff. The 406 00:24:54,960 --> 00:24:58,840 Speaker 2: poem is called Dregs and it was a forward in 407 00:24:58,920 --> 00:25:02,920 Speaker 2: a book written by Michael Moorcock. And Michael Moorcock is 408 00:25:03,119 --> 00:25:07,600 Speaker 2: a writer in mostly in the sci fi fantasy realm, 409 00:25:07,880 --> 00:25:13,280 Speaker 2: and he has provided lyrics for US previously veteran The 410 00:25:13,320 --> 00:25:17,919 Speaker 2: Psychic Wars is his words, and he's also written for 411 00:25:18,000 --> 00:25:23,679 Speaker 2: Hawkwind and currently he's his books are set to music 412 00:25:23,800 --> 00:25:28,359 Speaker 2: by a project called The Spirits Burning and they've done 413 00:25:29,200 --> 00:25:36,600 Speaker 2: several records of based on Morcock's writing. And I wrote 414 00:25:36,640 --> 00:25:41,480 Speaker 2: the song with the intention of The Spirits Burning releasing it, 415 00:25:41,640 --> 00:25:44,560 Speaker 2: and there's a version of my song. Of course. I 416 00:25:44,640 --> 00:25:48,600 Speaker 2: wrote the song that The Spirits Burning have completed. And 417 00:25:48,840 --> 00:25:53,680 Speaker 2: at the time I began this, I intended to do 418 00:25:53,840 --> 00:25:57,120 Speaker 2: my own version of it because I was I thought 419 00:25:57,160 --> 00:25:59,400 Speaker 2: that I had something to say here, you know, through 420 00:25:59,440 --> 00:26:05,439 Speaker 2: the through the words of Ernest Dowson, and that's taken 421 00:26:05,520 --> 00:26:08,400 Speaker 2: a few years to come to fruition, and here it is. 422 00:26:08,640 --> 00:26:12,960 Speaker 2: I just completed a video. I think that what Dallison 423 00:26:13,080 --> 00:26:17,560 Speaker 2: says here is it just strikes a chord with the 424 00:26:17,600 --> 00:26:21,720 Speaker 2: way people are feeling in twenty twenty four, and I 425 00:26:21,760 --> 00:26:26,000 Speaker 2: think it's I think the video touches on that, and 426 00:26:26,040 --> 00:26:29,639 Speaker 2: it's also sort of an overview of the arc of 427 00:26:29,680 --> 00:26:33,000 Speaker 2: my career from the beginning, the beginning of the band 428 00:26:33,080 --> 00:26:38,160 Speaker 2: till present day and looking forward. And there's a lot 429 00:26:38,240 --> 00:26:40,919 Speaker 2: to it, and I'm I'm quite proud of it and 430 00:26:41,320 --> 00:26:43,520 Speaker 2: glad to see it out. It's the first thing that 431 00:26:43,560 --> 00:26:47,800 Speaker 2: I've done just on my own since the Flat Out Record, 432 00:26:48,359 --> 00:26:50,120 Speaker 2: which is several decades ago. 433 00:26:50,160 --> 00:26:54,600 Speaker 4: Now, congratulations on it. It's really it's profound work. 434 00:26:55,080 --> 00:26:57,640 Speaker 2: Well, thank you. I'm glad you great it struck you, 435 00:26:57,960 --> 00:27:02,840 Speaker 2: because it certainly struck me. So far, the jukebox jury 436 00:27:02,880 --> 00:27:04,720 Speaker 2: on it has been very strong. 437 00:27:05,600 --> 00:27:09,679 Speaker 3: So fucking closing, knowing that collaboration is so critical for 438 00:27:09,800 --> 00:27:16,040 Speaker 3: bands to thrive and survive. Is there anything about collaboration 439 00:27:16,880 --> 00:27:19,520 Speaker 3: as you sort of think back on it, that you 440 00:27:19,640 --> 00:27:22,160 Speaker 3: wish you learned or did differently. 441 00:27:23,359 --> 00:27:27,880 Speaker 2: I've lived my life with very little planning as far 442 00:27:27,920 --> 00:27:31,320 Speaker 2: as you know, or intention Actually even you know, I 443 00:27:31,320 --> 00:27:34,800 Speaker 2: would say that all I've done my whole life is 444 00:27:34,960 --> 00:27:39,120 Speaker 2: just seeing doors open and walking through them. That's basically 445 00:27:39,119 --> 00:27:44,640 Speaker 2: what it is. I think if I'd been geographically closer 446 00:27:44,760 --> 00:27:49,520 Speaker 2: to some of the music cities like Los Angeles and 447 00:27:49,600 --> 00:27:53,720 Speaker 2: the seventies or you know, maybe Nashville in the nineties 448 00:27:53,840 --> 00:27:56,639 Speaker 2: or something. I would have, you know, collaborated with more people, 449 00:27:56,840 --> 00:28:02,240 Speaker 2: but I'm still open to it. I I enjoy working 450 00:28:02,280 --> 00:28:05,280 Speaker 2: with everybody. I enjoy playing with different people, even though 451 00:28:05,280 --> 00:28:08,080 Speaker 2: I haven't done too much of it. I'm good with 452 00:28:08,200 --> 00:28:10,960 Speaker 2: the I'm good with music. You know what can I say? 453 00:28:12,960 --> 00:28:15,439 Speaker 3: Thanks for the music you continue to give us and 454 00:28:15,480 --> 00:28:18,440 Speaker 3: that you have given us. And thanks Buck for being 455 00:28:18,480 --> 00:28:21,360 Speaker 3: on Taking a Walk and walking down Memory Lane. 456 00:28:21,880 --> 00:28:24,359 Speaker 2: Okay, I just want to just plug the end of 457 00:28:24,400 --> 00:28:27,280 Speaker 2: every song again. There's there's a website the end of 458 00:28:27,359 --> 00:28:30,560 Speaker 2: everysong dot com. If you go there, you could see 459 00:28:31,160 --> 00:28:34,720 Speaker 2: the a story of the song, the entire credits. You know, 460 00:28:34,800 --> 00:28:36,880 Speaker 2: usually when you see a rock video, you don't really 461 00:28:36,920 --> 00:28:39,720 Speaker 2: know who did what, but you can find everything out there, 462 00:28:40,200 --> 00:28:44,560 Speaker 2: and it's it also has uh there's a lot of 463 00:28:44,640 --> 00:28:47,200 Speaker 2: personalities in the song, in the song, in the video 464 00:28:47,440 --> 00:28:49,080 Speaker 2: that you know you want to know who it is. 465 00:28:49,160 --> 00:28:51,120 Speaker 2: They're all listed there. 466 00:28:51,640 --> 00:28:53,160 Speaker 4: Awesome. Thank you Buck. 467 00:28:55,040 --> 00:28:57,480 Speaker 1: Thanks for listening to this episode of the Taking a 468 00:28:57,520 --> 00:29:01,400 Speaker 1: Walk podcast. Share this and other episodes with your friends 469 00:29:01,520 --> 00:29:04,960 Speaker 1: and follow us so you never miss an episode. Taking 470 00:29:05,040 --> 00:29:09,080 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 471 00:29:09,120 --> 00:29:11,440 Speaker 1: and wherever you get your podcasts.