1 00:00:01,080 --> 00:00:02,640 Speaker 1: Podcast play good. 2 00:00:08,039 --> 00:00:11,040 Speaker 2: Buzz night here for taking a Walk and welcome to 3 00:00:11,039 --> 00:00:14,240 Speaker 2: another classic replay. It was about last year at this 4 00:00:14,360 --> 00:00:17,239 Speaker 2: time that I took a journey down to the Philadelphia 5 00:00:17,320 --> 00:00:20,640 Speaker 2: area to meet up with a maestro of the keyboards, 6 00:00:21,000 --> 00:00:25,760 Speaker 2: an outstanding guy, Bill Payne, founding member of the great 7 00:00:25,840 --> 00:00:26,720 Speaker 2: band Little Feed. 8 00:00:27,120 --> 00:00:28,760 Speaker 1: They're still out these days. 9 00:00:28,480 --> 00:00:33,800 Speaker 2: Playing great live performances with amazing perfection. We'll talk to 10 00:00:33,840 --> 00:00:38,199 Speaker 2: Bill Payne from Little Feed next on this classic replay 11 00:00:38,280 --> 00:00:41,879 Speaker 2: of taking a Walk. Well, Billy Payne, it is so 12 00:00:42,120 --> 00:00:45,000 Speaker 2: great to be with you taking a walk? 13 00:00:45,200 --> 00:00:46,280 Speaker 1: How are you my friend? 14 00:00:46,800 --> 00:00:51,040 Speaker 3: You know I feel good. It's been an intense month 15 00:00:51,200 --> 00:00:51,360 Speaker 3: or so. 16 00:00:52,640 --> 00:00:55,280 Speaker 4: Last night we played which we were there at the 17 00:00:55,400 --> 00:00:59,720 Speaker 4: Beacon Theater in New York, and the audience, not only 18 00:00:59,760 --> 00:01:03,880 Speaker 4: there but every place we've played, has just been They've 19 00:01:03,880 --> 00:01:08,120 Speaker 4: been a static. I think they're coming with this expectation 20 00:01:08,800 --> 00:01:12,200 Speaker 4: that will be good, but they don't know. Although the 21 00:01:12,240 --> 00:01:14,959 Speaker 4: word is out now that the drug beat is that 22 00:01:14,959 --> 00:01:19,560 Speaker 4: we're doing okay. But in the beginning, we'd hit the 23 00:01:19,560 --> 00:01:21,479 Speaker 4: stage and I'd be looking at people and they are like. 24 00:01:22,200 --> 00:01:23,360 Speaker 3: Please make this work. 25 00:01:24,400 --> 00:01:28,920 Speaker 4: And when they hear it from the opening salvos of 26 00:01:29,000 --> 00:01:31,480 Speaker 4: the concert, they're like they kind of relax and then 27 00:01:32,080 --> 00:01:35,120 Speaker 4: they just it's just pure joy, and I feel so 28 00:01:36,200 --> 00:01:37,200 Speaker 4: proud to be a part of that. 29 00:01:38,160 --> 00:01:41,600 Speaker 1: It is pure joy. The audience loves it. 30 00:01:41,600 --> 00:01:46,520 Speaker 2: It's the anniversary waiting for Columbus Tour kind of sort 31 00:01:46,520 --> 00:01:47,080 Speaker 2: of right. 32 00:01:47,080 --> 00:01:51,600 Speaker 4: Mean, yeah, it's forty five years, which is you know, 33 00:01:52,000 --> 00:01:54,680 Speaker 4: an interesting Usually your wait till fifty years. But I 34 00:01:54,720 --> 00:01:58,120 Speaker 4: think I think choosing forty five years is a good thing. 35 00:01:58,760 --> 00:02:01,640 Speaker 4: I just turned seventy three and March I play like 36 00:02:01,680 --> 00:02:05,560 Speaker 4: I'm a twenty year old. But facts are facts. 37 00:02:05,680 --> 00:02:07,920 Speaker 2: I love it. I love how you're playing. I love 38 00:02:07,960 --> 00:02:10,560 Speaker 2: how the band is playing. So when did you first 39 00:02:10,720 --> 00:02:15,320 Speaker 2: realize that you were hooked on being a musician. 40 00:02:16,400 --> 00:02:20,440 Speaker 3: Well, I think that's an excellent question. 41 00:02:21,200 --> 00:02:23,360 Speaker 4: I was going to I'll twist it just a little 42 00:02:23,360 --> 00:02:25,960 Speaker 4: bit and say that I realized that I was a 43 00:02:26,080 --> 00:02:32,120 Speaker 4: musician first when my wood shop teacher, mister O'Connell said, 44 00:02:32,280 --> 00:02:34,840 Speaker 4: i'll give you a passing grade bill, but stay away. 45 00:02:34,600 --> 00:02:35,320 Speaker 3: From the sauce. 46 00:02:40,919 --> 00:02:41,720 Speaker 1: I stuck with you. 47 00:02:41,840 --> 00:02:44,560 Speaker 4: It was in seventh grade. I went, really, he knows 48 00:02:44,560 --> 00:02:47,040 Speaker 4: that I play well. I'd been playing for a while. 49 00:02:47,160 --> 00:02:50,280 Speaker 4: I started playing piano when I was five, taking lessons 50 00:02:50,280 --> 00:02:51,640 Speaker 4: from Ruth Newman and Ventura. 51 00:02:53,040 --> 00:02:54,240 Speaker 3: But I think. 52 00:02:55,560 --> 00:02:58,959 Speaker 4: So when I was fifteen and started playing in a band, 53 00:02:59,880 --> 00:03:03,320 Speaker 4: I think they kind of solidified the camaraderie of what 54 00:03:03,360 --> 00:03:06,040 Speaker 4: it is to be in a band. And it's odd, 55 00:03:06,120 --> 00:03:09,680 Speaker 4: because there's so many things in life you think, Oh, 56 00:03:09,720 --> 00:03:12,960 Speaker 4: I'm from the Groucho Marx school. I thought, which is 57 00:03:13,160 --> 00:03:16,960 Speaker 4: I would never accept an invitation to a club that 58 00:03:17,000 --> 00:03:22,120 Speaker 4: would bring me as a member. And yet I got 59 00:03:22,120 --> 00:03:25,400 Speaker 4: to say that being a musician and being in a 60 00:03:25,440 --> 00:03:28,600 Speaker 4: band is the ultimate club, other than maybe being a 61 00:03:28,600 --> 00:03:32,280 Speaker 4: president or somebody like that. Keith Richards, when I was 62 00:03:32,280 --> 00:03:39,160 Speaker 4: in Amsterdam seventy four maybe seventy five, we were down 63 00:03:39,240 --> 00:03:41,800 Speaker 4: the basement with the stones that come on moss to 64 00:03:41,840 --> 00:03:43,080 Speaker 4: hear Little Feet play. 65 00:03:45,280 --> 00:03:46,040 Speaker 3: John Eden Hall. 66 00:03:46,160 --> 00:03:49,640 Speaker 4: I think it's called and I'm down there. I'm going, 67 00:03:49,800 --> 00:03:53,920 Speaker 4: oh Keith, Oh my gosh. He grabbed me around his shoulder, 68 00:03:53,960 --> 00:03:56,520 Speaker 4: pulled me in tight and he says, all night, we're 69 00:03:56,560 --> 00:04:00,640 Speaker 4: all part of the same cloth. And it was like 70 00:04:00,840 --> 00:04:04,800 Speaker 4: welcome to the club bill, you know. And then when 71 00:04:04,800 --> 00:04:08,960 Speaker 4: I was reading his biography, I can't remember the other 72 00:04:09,000 --> 00:04:11,840 Speaker 4: fellow that wrote it with him, but he was had 73 00:04:11,840 --> 00:04:14,600 Speaker 4: a similar thing when he was in the dressing room 74 00:04:14,640 --> 00:04:19,000 Speaker 4: with Muddy Waters a little Richard, right, and he thought, well, 75 00:04:19,080 --> 00:04:19,799 Speaker 4: those are the cats. 76 00:04:19,839 --> 00:04:22,000 Speaker 3: I must be one of the cats too. So that 77 00:04:22,120 --> 00:04:23,200 Speaker 3: was what he was sharing with me. 78 00:04:23,240 --> 00:04:26,200 Speaker 4: And I've done that since with a lot of musicians 79 00:04:26,560 --> 00:04:30,600 Speaker 4: because we are a part of something not super special, 80 00:04:30,640 --> 00:04:33,880 Speaker 4: but it's it's it's nice to be in that crowd. 81 00:04:34,400 --> 00:04:38,039 Speaker 2: And the energy that comes from playing for an audience, right, 82 00:04:38,240 --> 00:04:39,040 Speaker 2: is so special. 83 00:04:40,000 --> 00:04:42,800 Speaker 4: Yeah, especially now, buzz. I mean, not that it wasn't before, 84 00:04:42,920 --> 00:04:48,520 Speaker 4: but I think music has taken on a larger role. 85 00:04:50,160 --> 00:04:54,240 Speaker 4: And for this reason, I'll tie it into Richard Goodwin's 86 00:04:54,240 --> 00:05:00,360 Speaker 4: book which I've just started. And that that book, I mean, 87 00:05:00,360 --> 00:05:04,880 Speaker 4: I'll say it again, it's called Remembering America, A Voice 88 00:05:04,880 --> 00:05:05,760 Speaker 4: from the Sixties. 89 00:05:05,880 --> 00:05:06,679 Speaker 1: Fabulous book. 90 00:05:06,839 --> 00:05:07,039 Speaker 3: Yeah. 91 00:05:07,080 --> 00:05:13,440 Speaker 4: This man wrote speeches for John Kennedy, for his brother Robert, later, 92 00:05:13,839 --> 00:05:23,120 Speaker 4: for Eugene McCarthy, and for Linda Johnson, I believe, and 93 00:05:23,160 --> 00:05:27,200 Speaker 4: he looked at the sixties as a failure, which indeed 94 00:05:28,000 --> 00:05:35,160 Speaker 4: it was in many respects. We find ourselves now twenty 95 00:05:35,240 --> 00:05:38,679 Speaker 4: twenty two and in the pandemic ot in twenty twenty 96 00:05:39,160 --> 00:05:41,960 Speaker 4: we're in that precipice again of what is America. 97 00:05:42,040 --> 00:05:44,200 Speaker 3: Is it a failure? Are we? 98 00:05:45,320 --> 00:05:49,280 Speaker 4: And the way I've sort of compartmentalized it is we 99 00:05:49,320 --> 00:05:51,960 Speaker 4: are an aspirational country. 100 00:05:52,120 --> 00:05:55,640 Speaker 3: Our ideals are aspirational. I wrote a song called when 101 00:05:55,680 --> 00:05:56,479 Speaker 3: All Boats Ride. 102 00:05:56,480 --> 00:05:59,200 Speaker 4: Somebody wrote back to me in that combative, well I 103 00:05:59,240 --> 00:06:02,440 Speaker 4: don't have a boat, I said, it's not about you 104 00:06:02,600 --> 00:06:06,080 Speaker 4: having a boat, Okay, I mean it's aspirationally we ought 105 00:06:06,120 --> 00:06:08,720 Speaker 4: to all have boats that will rise together when when 106 00:06:09,160 --> 00:06:11,080 Speaker 4: the tidings are good and when the tides are in. 107 00:06:12,720 --> 00:06:14,840 Speaker 4: But we don't have liberty and justice for all either, 108 00:06:14,920 --> 00:06:21,440 Speaker 4: which is aspirational. So so for me, what is happening 109 00:06:21,600 --> 00:06:26,640 Speaker 4: is is music is now finding people together. We don't 110 00:06:26,880 --> 00:06:30,960 Speaker 4: in that audience, nobody's discussing politics. Last night they were digging, 111 00:06:31,400 --> 00:06:34,479 Speaker 4: you know, Fatman the bat up. They're singing along with 112 00:06:34,600 --> 00:06:38,800 Speaker 4: Will and I mean, we can get a fite soon enough. 113 00:06:38,880 --> 00:06:41,160 Speaker 4: But it's nice to have something where we can kind 114 00:06:41,200 --> 00:06:44,119 Speaker 4: of relieve the pressure a little bit. And thus music 115 00:06:44,200 --> 00:06:45,760 Speaker 4: is more important around it has never been. 116 00:06:46,880 --> 00:06:49,160 Speaker 2: Yeah, I got chills when you're talking about it, because 117 00:06:49,480 --> 00:06:53,640 Speaker 2: really I talk about this and we take on a 118 00:06:53,640 --> 00:06:54,520 Speaker 2: walk podcast. 119 00:06:54,760 --> 00:06:57,480 Speaker 1: You know, why is music so important? Why is it 120 00:06:57,520 --> 00:06:58,200 Speaker 1: so special? 121 00:06:58,800 --> 00:07:01,560 Speaker 2: Why is it do the thing in such a wonderful 122 00:07:01,560 --> 00:07:02,720 Speaker 2: way to us. 123 00:07:02,640 --> 00:07:05,880 Speaker 1: That it does. It touches us, it lifts us up. 124 00:07:06,360 --> 00:07:09,240 Speaker 2: It brings us down in a certain times. Yes, but 125 00:07:09,320 --> 00:07:12,160 Speaker 2: it's it's such an amazing thing. So I'm so glad 126 00:07:11,920 --> 00:07:15,280 Speaker 2: you touched on the the emotion. 127 00:07:15,040 --> 00:07:18,120 Speaker 1: Of it, and in a way that the neuroscience of 128 00:07:18,160 --> 00:07:18,480 Speaker 1: it too. 129 00:07:18,880 --> 00:07:19,080 Speaker 3: Yeah. 130 00:07:19,080 --> 00:07:23,680 Speaker 4: I think that it is not a benign art. I 131 00:07:23,720 --> 00:07:28,040 Speaker 4: mean Hitler used it to great effect. Trump used it 132 00:07:28,040 --> 00:07:32,200 Speaker 4: to great effect with however, he put it together to 133 00:07:32,240 --> 00:07:35,840 Speaker 4: stir people's souls in a certain way. So it does 134 00:07:35,920 --> 00:07:42,360 Speaker 4: not benign, but ultimately it can be uplifting and and 135 00:07:42,440 --> 00:07:46,680 Speaker 4: again bind us rather than pull us apart. We we 136 00:07:46,720 --> 00:07:50,440 Speaker 4: just need those areas where it's like when you get sick, 137 00:07:51,000 --> 00:07:54,480 Speaker 4: your body's finding something that it can't control, and what 138 00:07:55,560 --> 00:08:00,360 Speaker 4: doctors try to provide and oftentimes they can, but most 139 00:08:00,360 --> 00:08:03,080 Speaker 4: stuff has got to come through your heads, through your brains, 140 00:08:03,600 --> 00:08:09,400 Speaker 4: and that part of it is allowing a pressure release 141 00:08:09,840 --> 00:08:13,560 Speaker 4: so your body can begin to function again. If this 142 00:08:13,680 --> 00:08:16,640 Speaker 4: doesn't do it, if if things are tight and fighting 143 00:08:16,680 --> 00:08:19,480 Speaker 4: against each other, it it never works. So there's that 144 00:08:19,600 --> 00:08:25,000 Speaker 4: analogy too, and the religious component, which is crazy, which 145 00:08:25,040 --> 00:08:27,160 Speaker 4: we don't have to get into. But I would just 146 00:08:28,680 --> 00:08:32,560 Speaker 4: suggest it with with Abraham Lincoln. He said, well, I 147 00:08:32,559 --> 00:08:34,960 Speaker 4: don't remember the quote, but it's about which God is 148 00:08:35,000 --> 00:08:38,079 Speaker 4: on our side, is on our sides on the Confederacy. 149 00:08:39,160 --> 00:08:42,080 Speaker 3: You know, We've always got that that thing going on. 150 00:08:42,880 --> 00:08:43,880 Speaker 3: So we pick and choose. 151 00:08:43,920 --> 00:08:49,360 Speaker 4: It's like a Chinese menu with people on our values 152 00:08:49,440 --> 00:08:55,400 Speaker 4: and beliefs and core core systems that we operate from. 153 00:08:55,440 --> 00:08:59,640 Speaker 1: So on this day that we're taking a walk. Coincidentally, 154 00:09:00,320 --> 00:09:01,760 Speaker 1: it also happens. 155 00:09:01,360 --> 00:09:07,920 Speaker 2: To be the birthday of Little George, which is pretty remarkable. 156 00:09:09,720 --> 00:09:13,200 Speaker 2: So tell me what you remember about the first time 157 00:09:13,240 --> 00:09:15,000 Speaker 2: you met old George. 158 00:09:15,640 --> 00:09:20,480 Speaker 4: I was driving from Santa Barbara actually ile Vesta, I 159 00:09:20,520 --> 00:09:24,199 Speaker 4: think was where I was sleeping Prepol's apartments. I was 160 00:09:24,240 --> 00:09:28,840 Speaker 4: sleeping on the beach. I was scared to death driving 161 00:09:28,840 --> 00:09:31,280 Speaker 4: on the freeways in La so I hug the right 162 00:09:31,320 --> 00:09:33,720 Speaker 4: hand lane almost the entire way down by. 163 00:09:33,640 --> 00:09:35,440 Speaker 1: The way, I still am scared to death when I 164 00:09:35,520 --> 00:09:36,000 Speaker 1: drive there. 165 00:09:36,400 --> 00:09:37,120 Speaker 3: I don't blame you. 166 00:09:37,960 --> 00:09:40,240 Speaker 4: You you just have to say, Gene Hackman in the 167 00:09:40,280 --> 00:09:42,960 Speaker 4: French connection. You just have to put the gas on 168 00:09:43,000 --> 00:09:46,760 Speaker 4: the pedal and hope you hit you close your eyes, clore, 169 00:09:47,240 --> 00:09:53,320 Speaker 4: pretend it's a dream. Anyway, I drove on Lawell's house 170 00:09:53,360 --> 00:09:53,800 Speaker 4: he was near. 171 00:09:56,800 --> 00:09:58,360 Speaker 3: It was on Rowena. 172 00:10:00,080 --> 00:10:02,959 Speaker 4: Over Lake, but not It was just west of Silver Lake, 173 00:10:02,960 --> 00:10:05,160 Speaker 4: and I can't remember the name of the town. There 174 00:10:05,200 --> 00:10:09,200 Speaker 4: was a little rustic homb just off the street. The 175 00:10:09,280 --> 00:10:13,120 Speaker 4: door was opened. I heard some Eric's atte floating out 176 00:10:13,160 --> 00:10:16,240 Speaker 4: of the front door. I walked up. There was this 177 00:10:16,360 --> 00:10:23,079 Speaker 4: beautiful blonde girl, short pixie kind of cut haircut and 178 00:10:23,080 --> 00:10:26,640 Speaker 4: a cross legged on the floor. Says, oh, you must 179 00:10:26,679 --> 00:10:30,120 Speaker 4: be Bill. Lowell's expecting you. He'll be back in five hours. 180 00:10:30,960 --> 00:10:32,480 Speaker 4: I said, well, what does he do when he's not 181 00:10:32,520 --> 00:10:33,040 Speaker 4: expecting you? 182 00:10:34,640 --> 00:10:40,280 Speaker 3: So I went in there five hours. 183 00:10:40,280 --> 00:10:43,560 Speaker 4: She said, yeah, what's he doing when he's not expecting it? 184 00:10:43,760 --> 00:10:45,319 Speaker 3: So I get in there and I started. 185 00:10:46,120 --> 00:10:47,960 Speaker 4: First thing I see other than her and listening to 186 00:10:47,960 --> 00:10:51,559 Speaker 4: this beautiful music is on the back wall there was 187 00:10:51,600 --> 00:10:52,680 Speaker 4: a samurai sword. 188 00:10:53,720 --> 00:10:56,079 Speaker 3: To the right of that. In the corner was a sitar. 189 00:11:00,360 --> 00:11:01,400 Speaker 3: To the sitar was. 190 00:11:01,320 --> 00:11:09,120 Speaker 4: A library that had books by Carl Sandberg Allen Ginsburg hal. 191 00:11:09,240 --> 00:11:14,680 Speaker 4: I think, oh, Last Exit to Brooklyn, which is a 192 00:11:14,679 --> 00:11:19,240 Speaker 4: brutal book. Don't look it up, everybody, Uh, let's see. 193 00:11:20,120 --> 00:11:22,320 Speaker 4: And then then he had this record collection, which was 194 00:11:22,640 --> 00:11:23,959 Speaker 4: John Coltrane home. 195 00:11:24,080 --> 00:11:24,679 Speaker 3: He had. 196 00:11:26,360 --> 00:11:29,560 Speaker 4: A couple of albums by Muddy Waters and Helen Wolf 197 00:11:29,679 --> 00:11:36,320 Speaker 4: Jester Burnett. He also had this, uh this record the 198 00:11:37,520 --> 00:11:40,160 Speaker 4: that had joined the band on it, and it was 199 00:11:40,200 --> 00:11:44,120 Speaker 4: a Smithsonian recording of like Chain Gang Music, Oh Love 200 00:11:44,160 --> 00:11:46,959 Speaker 4: It John, the BNN, Big Bull, Rat Gun John and 201 00:11:47,040 --> 00:11:50,800 Speaker 4: the Bann which we opened up waiting for Columbus with Yeah, 202 00:11:51,320 --> 00:11:54,640 Speaker 4: so all the all that stuff was there, and by 203 00:11:54,640 --> 00:11:56,040 Speaker 4: the time he came in there was there was this 204 00:11:56,080 --> 00:12:00,440 Speaker 4: famous story of Jay Gavara and Fidel Castro. For the 205 00:12:00,440 --> 00:12:03,720 Speaker 4: first time they met, they talked about everything under the sun. 206 00:12:04,440 --> 00:12:05,839 Speaker 3: And that's kind of the way Low and I hit 207 00:12:05,880 --> 00:12:06,240 Speaker 3: it off. 208 00:12:06,520 --> 00:12:08,160 Speaker 4: By the time he got there, I actually felt I 209 00:12:08,200 --> 00:12:11,560 Speaker 4: kind of knew him, but I didn't know him, and 210 00:12:11,880 --> 00:12:13,880 Speaker 4: so we just discussed everything and it was like I 211 00:12:13,880 --> 00:12:17,440 Speaker 4: did join the band that evening. I'd come to Los 212 00:12:17,480 --> 00:12:22,160 Speaker 4: Angeles Sustins to meet Frank Zappa, well. 213 00:12:22,000 --> 00:12:23,000 Speaker 3: Frank Silver in Europe. 214 00:12:23,080 --> 00:12:27,320 Speaker 4: So the record company after's many many calls, which I 215 00:12:27,360 --> 00:12:31,120 Speaker 4: did with a phony credit card, much like Steve Jobs 216 00:12:31,840 --> 00:12:35,440 Speaker 4: and his partners. Everyone was using these cards to make 217 00:12:35,480 --> 00:12:40,719 Speaker 4: calls and well, I'm Bill Payne, and who what I 218 00:12:41,000 --> 00:12:46,679 Speaker 4: played keyboards, I think, and uh so as nervous as hell. 219 00:12:46,840 --> 00:12:49,559 Speaker 4: I didn't know how to start, and they finally cooked 220 00:12:49,600 --> 00:12:54,199 Speaker 4: me up with Lowell, and yeah, the guy was just 221 00:12:54,280 --> 00:12:59,240 Speaker 4: such an engaging, warm human being. I just felt like, well, 222 00:12:59,280 --> 00:13:01,680 Speaker 4: this is cool. Said, well, come back in a couple 223 00:13:01,679 --> 00:13:04,640 Speaker 4: of weeks and let's try and write something. So I did, 224 00:13:04,720 --> 00:13:07,600 Speaker 4: and I think one of the we were writing all 225 00:13:07,600 --> 00:13:11,560 Speaker 4: these crazy songs that we presented to Ahmed irning and dancing. 226 00:13:11,600 --> 00:13:14,480 Speaker 4: The new biole version of Slaves was one of them. 227 00:13:14,679 --> 00:13:19,400 Speaker 4: It was an instrumental and I don't know what else 228 00:13:19,440 --> 00:13:23,160 Speaker 4: we had, but but Ahmed heard the stuff and he 229 00:13:23,200 --> 00:13:26,679 Speaker 4: looks at us, he goes, boys, it's too diverse. And 230 00:13:26,720 --> 00:13:30,320 Speaker 4: we we went back to the drawing room and I 231 00:13:30,320 --> 00:13:34,360 Speaker 4: think we started writing Truckstop Girl, Brides of Jesus, Gunboat, 232 00:13:34,440 --> 00:13:39,520 Speaker 4: Captain Gunboat, Willie Strawberry Flats. I mean, all these Hamburger Midnight, so, 233 00:13:39,600 --> 00:13:42,679 Speaker 4: all these songs that the titles alone. 234 00:13:42,320 --> 00:13:44,679 Speaker 3: Suggested there's some real eclectic. 235 00:13:44,240 --> 00:13:47,400 Speaker 4: Thought going on, and there was, so you can only 236 00:13:47,440 --> 00:13:50,640 Speaker 4: imagine what we played for for Ahmed to have him 237 00:13:50,640 --> 00:13:53,559 Speaker 4: say it was too diverse. Yeah, uh, and I think 238 00:13:53,600 --> 00:13:55,960 Speaker 4: that's the essence of Little Feet. The essence of of 239 00:13:56,000 --> 00:13:59,160 Speaker 4: where Lol and I saw the vision for this band was. 240 00:13:59,200 --> 00:14:07,400 Speaker 4: This was it's eclecticism. It was an open proposition. Do 241 00:14:07,440 --> 00:14:10,319 Speaker 4: we need horns? Do we need another guitar player? Do 242 00:14:10,360 --> 00:14:12,800 Speaker 4: we want somebody else to fill in on keyboards every 243 00:14:12,840 --> 00:14:13,160 Speaker 4: now and then? 244 00:14:13,400 --> 00:14:14,160 Speaker 3: What are we going to do? 245 00:14:14,880 --> 00:14:17,720 Speaker 4: Let's leave it open, let's bring what we need when 246 00:14:17,720 --> 00:14:21,880 Speaker 4: we need it. And it kind of set the tone 247 00:14:22,280 --> 00:14:26,480 Speaker 4: of where we are now, which is, how can we 248 00:14:26,520 --> 00:14:28,280 Speaker 4: call this band little Feet? We don't have law, we 249 00:14:28,280 --> 00:14:32,040 Speaker 4: don't have Richie Hayward our drummer, we don't have Paul Brer, 250 00:14:32,080 --> 00:14:37,640 Speaker 4: we passed away in twenty nineteen. We do it because 251 00:14:37,720 --> 00:14:41,680 Speaker 4: we have the music, the catalog, and we're still writing. 252 00:14:41,960 --> 00:14:46,160 Speaker 4: I've written twenty songs with Robert Hunter. I've written nine 253 00:14:46,160 --> 00:14:49,280 Speaker 4: songs I think with Paul muldoon, who just did the 254 00:14:49,440 --> 00:14:54,360 Speaker 4: editing for Paul McCartney's Book of Lyrics. He wrote the 255 00:14:55,280 --> 00:15:00,320 Speaker 4: forward as well. So there's it kind of boil down 256 00:15:00,320 --> 00:15:01,840 Speaker 4: to music. And for a guy that was brought up 257 00:15:01,840 --> 00:15:07,400 Speaker 4: playing classical music, I think, well, all right, Beethoven's not around. 258 00:15:07,440 --> 00:15:11,400 Speaker 4: We still play his music. One guy years ago, but 259 00:15:11,520 --> 00:15:14,360 Speaker 4: I was was saying not to me personally, but they 260 00:15:14,720 --> 00:15:18,680 Speaker 4: talk to a friendly this He goes, well, why why 261 00:15:18,800 --> 00:15:22,120 Speaker 4: is Bill playing you know, New Orleans music? He's not 262 00:15:22,240 --> 00:15:26,840 Speaker 4: from there. Well, my parents were married there, so that's okay. 263 00:15:27,640 --> 00:15:29,480 Speaker 4: But I told the guy, I said, well, tell him, 264 00:15:29,240 --> 00:15:32,600 Speaker 4: I'm not from Vienna and I played Mozart. I'm not 265 00:15:32,600 --> 00:15:36,120 Speaker 4: from Hamburg and I played Beethoven? Is that okay with him? 266 00:15:36,440 --> 00:15:39,720 Speaker 2: I love it, And I love how you brought a 267 00:15:39,720 --> 00:15:41,960 Speaker 2: full circle to the present in terms of. 268 00:15:41,880 --> 00:15:43,400 Speaker 1: Where Little Feet is today. 269 00:15:43,360 --> 00:15:47,200 Speaker 2: Yeah, and where that foundation that you and Lowell sort 270 00:15:47,200 --> 00:15:51,800 Speaker 2: of laid out really to this day is the backbone 271 00:15:51,840 --> 00:15:55,520 Speaker 2: of what Feet is all about, right, and you you know, 272 00:15:55,600 --> 00:15:57,320 Speaker 2: stay true to that. 273 00:15:57,840 --> 00:16:01,560 Speaker 4: You know, Yeah, I think very few bands of a 274 00:16:01,600 --> 00:16:06,240 Speaker 4: North Store, very few people do. I mean, it's not 275 00:16:06,280 --> 00:16:09,280 Speaker 4: anything you contemplate. I I mean, even when Long and 276 00:16:09,320 --> 00:16:12,280 Speaker 4: I were sorting that out, I didn't project, you know, 277 00:16:13,080 --> 00:16:16,160 Speaker 4: fifty years in the future plus to say this is 278 00:16:16,200 --> 00:16:17,040 Speaker 4: what I'd be doing. 279 00:16:17,160 --> 00:16:18,600 Speaker 3: I mean, I knew I'd be playing music. 280 00:16:19,360 --> 00:16:21,600 Speaker 4: I Mean, the only gig I've ever had, a legitimate 281 00:16:21,600 --> 00:16:24,560 Speaker 4: gig I've ever had was a paper boy. So I 282 00:16:24,640 --> 00:16:32,120 Speaker 4: played music my live But yeah, it's an extraordinary thing 283 00:16:32,200 --> 00:16:37,960 Speaker 4: to be able to converse with people in many different 284 00:16:38,000 --> 00:16:41,520 Speaker 4: creative ways. What it is through my photography, through my writing, 285 00:16:41,920 --> 00:16:45,680 Speaker 4: through my music, through songwriting. So there's a lot of 286 00:16:45,720 --> 00:16:51,360 Speaker 4: subsets to everything, right, and this is the friends I 287 00:16:51,400 --> 00:16:53,480 Speaker 4: mean to have this conversation with you, buzz I mean, 288 00:16:54,760 --> 00:16:58,280 Speaker 4: these are the things you hope will happen in the beginning, 289 00:16:58,280 --> 00:17:05,560 Speaker 4: that you'll be connected to inquisitive people and the curse 290 00:17:05,600 --> 00:17:08,920 Speaker 4: of the Chinese living interesting times, which we definitely do, 291 00:17:10,600 --> 00:17:13,920 Speaker 4: but have people that you can lean on during those 292 00:17:13,960 --> 00:17:18,320 Speaker 4: times that uh don't necessarily holds the same beliefs, but 293 00:17:18,720 --> 00:17:23,879 Speaker 4: but hold that that deeper belief and that there's a 294 00:17:23,920 --> 00:17:27,120 Speaker 4: path we have in front of us. There are divergent paths. 295 00:17:27,640 --> 00:17:30,359 Speaker 4: How do we ultimately connect through all that? That that 296 00:17:30,480 --> 00:17:33,199 Speaker 4: to me is the thing that really works. So it's 297 00:17:33,600 --> 00:17:36,359 Speaker 4: I'm not a purist. If I want to play some 298 00:17:36,480 --> 00:17:38,760 Speaker 4: jazz and throw in some stuff, that's That's what we 299 00:17:38,800 --> 00:17:39,879 Speaker 4: took the audience. 300 00:17:39,520 --> 00:17:40,359 Speaker 3: On last night. 301 00:17:42,720 --> 00:17:45,520 Speaker 4: Rock and Roll with Oh Atlanta with Fat Man and 302 00:17:45,520 --> 00:17:50,120 Speaker 4: the Bathtub with Paul's Pauls to an old folks boogie 303 00:17:50,400 --> 00:17:52,879 Speaker 4: and you pop in the day or night mercing their 304 00:17:53,080 --> 00:17:56,439 Speaker 4: territory and it just takes you to another world, and 305 00:17:56,480 --> 00:18:01,600 Speaker 4: it's like, that's what that transport form of transportation of 306 00:18:01,720 --> 00:18:06,800 Speaker 4: music is the most fun. Donal play and we're listening 307 00:18:06,840 --> 00:18:10,320 Speaker 4: while we play, obviously, but I every down when we'll 308 00:18:10,320 --> 00:18:13,200 Speaker 4: look out at the audience and they're like, yeah, this 309 00:18:12,119 --> 00:18:16,280 Speaker 4: is a time to sit down. Let this music wash over. 310 00:18:16,320 --> 00:18:18,240 Speaker 4: I mean, now we can get up and dance or 311 00:18:18,240 --> 00:18:20,840 Speaker 4: what we want to do. And you can't make anybody 312 00:18:20,880 --> 00:18:24,680 Speaker 4: do anything. There's not que cars. Anym got up and dance. 313 00:18:24,720 --> 00:18:27,880 Speaker 4: Everyone they either do it or they don't. It's still 314 00:18:27,960 --> 00:18:30,320 Speaker 4: the adage of the gig itself. I think it was 315 00:18:30,359 --> 00:18:32,239 Speaker 4: Goldwin who said, if they're not going to show up, 316 00:18:32,280 --> 00:18:34,320 Speaker 4: you can't stop them. 317 00:18:35,800 --> 00:18:37,639 Speaker 2: You know when I first went to that show that 318 00:18:37,720 --> 00:18:41,160 Speaker 2: I referenced at the University of Cincinnati Fieldhouse to show 319 00:18:41,200 --> 00:18:42,520 Speaker 2: that I believe sort of. 320 00:18:42,560 --> 00:18:46,760 Speaker 1: Changed my life in terms of the magic of an 321 00:18:46,800 --> 00:18:47,960 Speaker 1: amazing performance. 322 00:18:48,280 --> 00:18:51,600 Speaker 2: I remember some of my buddies from the University of 323 00:18:51,720 --> 00:18:54,320 Speaker 2: Dayton where I went to school. 324 00:18:54,280 --> 00:18:57,360 Speaker 1: Saying, you gotta check this band out. You've never heard 325 00:18:57,400 --> 00:19:00,000 Speaker 1: anything like this band. And that's what we did that right. 326 00:19:00,080 --> 00:19:03,080 Speaker 2: We were guys who were starting out at the radio 327 00:19:03,119 --> 00:19:06,680 Speaker 2: station back there, and we just shared experiences before there 328 00:19:06,760 --> 00:19:09,600 Speaker 2: was you know, social networks and everything, and they said, 329 00:19:09,600 --> 00:19:10,280 Speaker 2: you gotta. 330 00:19:10,560 --> 00:19:11,480 Speaker 1: Listen to this band. 331 00:19:11,760 --> 00:19:12,520 Speaker 3: There's nothing like. 332 00:19:12,480 --> 00:19:13,480 Speaker 1: You've ever heard before. 333 00:19:13,520 --> 00:19:17,520 Speaker 2: You can't compare them to anybody, which is so true. 334 00:19:18,040 --> 00:19:19,440 Speaker 2: And then they were like, you got to go see 335 00:19:19,440 --> 00:19:23,120 Speaker 2: this band. So you know, I'm so grateful for them 336 00:19:23,560 --> 00:19:27,920 Speaker 2: turning me on to you guys, and I'll never I'll 337 00:19:27,960 --> 00:19:29,280 Speaker 2: never forget it, really, you know. 338 00:19:30,640 --> 00:19:32,399 Speaker 3: So what led. 339 00:19:32,240 --> 00:19:37,120 Speaker 2: To the period with Lowell deciding he had had enough. 340 00:19:37,160 --> 00:19:40,760 Speaker 2: I know he had put out the solo album and everything. 341 00:19:41,280 --> 00:19:43,320 Speaker 2: I mean there were differences, right. 342 00:19:43,480 --> 00:19:46,960 Speaker 4: Yeah, he and I were logger hats and I had 343 00:19:46,960 --> 00:19:49,880 Speaker 4: actually quit the band. I said, I can't take this man. 344 00:19:50,200 --> 00:19:54,880 Speaker 4: We take two steps forward, three steps back, one step forward, etc. 345 00:19:55,240 --> 00:19:59,280 Speaker 4: And I gotta do something else. If you want to 346 00:19:59,320 --> 00:20:02,720 Speaker 4: continue a little feet, please do what I would suggest 347 00:20:02,800 --> 00:20:06,920 Speaker 4: you do. However, is you love producing albums, Produce a 348 00:20:06,960 --> 00:20:10,760 Speaker 4: couple more records, do your solo thing. You've been working 349 00:20:10,800 --> 00:20:13,119 Speaker 4: on that for a long time. Get out there and 350 00:20:13,119 --> 00:20:17,200 Speaker 4: play your music, and then test the waters and see 351 00:20:17,240 --> 00:20:20,119 Speaker 4: what you need to make yourself happy. 352 00:20:20,640 --> 00:20:23,680 Speaker 3: That is not happening right now. And when you're unhappy, 353 00:20:24,320 --> 00:20:25,320 Speaker 3: it's like it just. 354 00:20:26,920 --> 00:20:29,719 Speaker 4: I'm not easy to get along with sometimes and so 355 00:20:29,840 --> 00:20:31,560 Speaker 4: we just kind. 356 00:20:31,480 --> 00:20:32,920 Speaker 3: Of let it go. But it was. 357 00:20:34,760 --> 00:20:39,919 Speaker 4: Under that that guys that he went on that last tour. 358 00:20:40,960 --> 00:20:42,879 Speaker 4: And then I got the call that he had passed 359 00:20:42,920 --> 00:20:48,119 Speaker 4: away in Washington, d C. Following by all accounts of 360 00:20:48,200 --> 00:20:53,439 Speaker 4: brilliant performance of his solo endeavors and fed Tackett was 361 00:20:53,440 --> 00:20:54,200 Speaker 4: out on that tour. 362 00:20:56,240 --> 00:21:01,080 Speaker 2: So and you had been doing so much, uh like 363 00:21:01,600 --> 00:21:05,280 Speaker 2: session work also, right, you had work with so many 364 00:21:05,320 --> 00:21:12,280 Speaker 2: people from obviously Jackson Brown to Bob Seeker and Doobie Brothers, 365 00:21:12,400 --> 00:21:17,520 Speaker 2: and so you you had some side action going on always. 366 00:21:17,200 --> 00:21:19,879 Speaker 4: Right, always, Even when I was in Santa Maria, there 367 00:21:19,960 --> 00:21:22,080 Speaker 4: was a I was with a group called the devon Airs, 368 00:21:22,080 --> 00:21:25,840 Speaker 4: but there was a group called the chevrons Is I'd 369 00:21:25,880 --> 00:21:28,680 Speaker 4: sitting with them, and uh, you know, I was always 370 00:21:28,680 --> 00:21:31,800 Speaker 4: sitting with people because I've I had the acumen to 371 00:21:32,200 --> 00:21:35,920 Speaker 4: play just about anything, not everything. So in low Pass, 372 00:21:36,040 --> 00:21:39,960 Speaker 4: I I uh, I wound up playing with an Ronstad 373 00:21:40,800 --> 00:21:44,960 Speaker 4: and then I played with Jackson, not well Jackson later, 374 00:21:44,960 --> 00:21:49,960 Speaker 4: but James Taylor for about six years because the wonderful 375 00:21:50,200 --> 00:21:55,639 Speaker 4: obviously a wonderful artist to connected with. So yeah, the 376 00:21:57,080 --> 00:22:01,400 Speaker 4: I just Lowell was thirty four years old by Mozart 377 00:22:01,480 --> 00:22:02,120 Speaker 4: was thirty four. 378 00:22:03,320 --> 00:22:06,600 Speaker 3: And so another way to look at what. 379 00:22:06,560 --> 00:22:10,160 Speaker 4: We're doing now, which I point out to people, is look, 380 00:22:11,000 --> 00:22:14,159 Speaker 4: if you wanna put a lull or Little Vet and 381 00:22:14,240 --> 00:22:20,280 Speaker 4: whomever in this band into a U A worship area, 382 00:22:20,840 --> 00:22:24,119 Speaker 4: that's cool to do so, but keep in mind what 383 00:22:24,160 --> 00:22:27,000 Speaker 4: we're doing is keeping this music alive, and thus we're 384 00:22:27,080 --> 00:22:34,600 Speaker 4: keeping his memory alive. And uh, cause whatever travails were 385 00:22:34,600 --> 00:22:37,679 Speaker 4: going on with him, with with with a lot of 386 00:22:37,720 --> 00:22:44,080 Speaker 4: people back then, it was a creative soul, a brilliant musician. 387 00:22:44,200 --> 00:22:50,280 Speaker 4: I think his phrasing was uh impeccable, honestly, and uh, 388 00:22:50,359 --> 00:22:53,719 Speaker 4: both as a singer and as a player. And so 389 00:22:54,000 --> 00:22:57,920 Speaker 4: uh the guys that are in the band now, Scott Schrard, 390 00:22:58,920 --> 00:23:03,080 Speaker 4: who's the musical director for uh, Greg Almond. When I 391 00:23:03,080 --> 00:23:06,000 Speaker 4: met him seven six, seven years ago when I was 392 00:23:06,000 --> 00:23:09,840 Speaker 4: playing with the Doobie Brothers, he'd been studying. 393 00:23:09,520 --> 00:23:12,280 Speaker 3: Little Feat since like twelve years old. Wow, same thing 394 00:23:12,320 --> 00:23:15,440 Speaker 3: with Tony Leoni. He's on drums, and he'd. 395 00:23:15,280 --> 00:23:20,359 Speaker 4: Been studying Richie Hayward and also he's studying other people. 396 00:23:20,359 --> 00:23:24,520 Speaker 4: But these are guys that come into this thing with 397 00:23:24,680 --> 00:23:29,800 Speaker 4: a wide swath of music and influences, which is another area. 398 00:23:29,800 --> 00:23:33,240 Speaker 3: Alone I discussed a lot. What are the influences? 399 00:23:33,320 --> 00:23:37,359 Speaker 4: So when I, as I said the outside of our conversation, 400 00:23:37,800 --> 00:23:41,000 Speaker 4: when I went into his house, I wasn't doing it 401 00:23:41,000 --> 00:23:44,560 Speaker 4: on purpose, but that is an effect. What I was 402 00:23:44,600 --> 00:23:50,679 Speaker 4: doing was viewing, but had influenced him. And so if 403 00:23:50,680 --> 00:23:55,240 Speaker 4: you got jazz, you got there's an album that Zappa 404 00:23:55,280 --> 00:24:00,440 Speaker 4: put out of Lenny Bruce. So there's that asked fact 405 00:24:00,280 --> 00:24:04,119 Speaker 4: of it all. I loved the Marx Brothers. I rotch 406 00:24:04,119 --> 00:24:09,400 Speaker 4: over earlier. There's a song called alone. I think it's 407 00:24:09,440 --> 00:24:15,120 Speaker 4: Jack Jones and Kitty Carlyle, I believe how Well and 408 00:24:15,960 --> 00:24:18,960 Speaker 4: Jack Jones the Dixie Chicken. On The Tonight Show with 409 00:24:19,200 --> 00:24:20,159 Speaker 4: Johnny Carson. 410 00:24:19,920 --> 00:24:20,880 Speaker 1: Wentz, oh my god. 411 00:24:20,960 --> 00:24:26,960 Speaker 3: On boards, it's like a Dickenson tale. Honestly, that's amazing. 412 00:24:27,359 --> 00:24:28,040 Speaker 1: Yeah. Wow. 413 00:24:28,320 --> 00:24:37,240 Speaker 2: Now there's a lot of stories around why Lowell left 414 00:24:37,880 --> 00:24:41,440 Speaker 2: playing with Frank Zappa. Okay, what's the one that you 415 00:24:41,720 --> 00:24:43,000 Speaker 2: believe is the reason why? 416 00:24:43,880 --> 00:24:45,960 Speaker 3: Well, Frank asked him to leave. He asked him to 417 00:24:46,240 --> 00:24:47,200 Speaker 3: form his own band. 418 00:24:47,880 --> 00:24:51,720 Speaker 4: He did so upon hearing a song called Willin which 419 00:24:51,760 --> 00:24:57,639 Speaker 4: had drug references weed watch and whine and uh. Frank 420 00:24:57,800 --> 00:25:02,600 Speaker 4: was not into so that we aspects, but he also 421 00:25:02,680 --> 00:25:08,960 Speaker 4: knew I had a this is an untapped resource, and 422 00:25:09,119 --> 00:25:12,040 Speaker 4: he sent him listen and Frank was helpful. So was 423 00:25:12,080 --> 00:25:18,280 Speaker 4: heard calling his manager. And that's that's the story I have. 424 00:25:18,760 --> 00:25:21,560 Speaker 4: I'll only say that when we first went in to 425 00:25:22,920 --> 00:25:26,560 Speaker 4: sign the record deal, I think Herbie was there or 426 00:25:26,640 --> 00:25:29,399 Speaker 4: close in the vicinity when we went and signed the 427 00:25:29,440 --> 00:25:30,120 Speaker 4: record deal. 428 00:25:29,960 --> 00:25:30,960 Speaker 3: For letter Roll. 429 00:25:32,280 --> 00:25:37,040 Speaker 4: Gosh, yes, eighty seven eighty eight. Somewhere in there, Herbie 430 00:25:37,080 --> 00:25:39,480 Speaker 4: was the first guy walking out of the new Warner building. 431 00:25:40,000 --> 00:25:42,560 Speaker 4: I reminded him of that. So there was this kind 432 00:25:42,600 --> 00:25:43,760 Speaker 4: of bookends going on. 433 00:25:43,920 --> 00:25:45,960 Speaker 3: Oh wow, yeah, yeah. 434 00:25:46,000 --> 00:25:50,880 Speaker 2: And you guys during that period when I was at 435 00:25:51,480 --> 00:25:58,560 Speaker 2: QFM ninety six and Columbus, you and Paul and Richie 436 00:25:59,400 --> 00:26:03,040 Speaker 2: came in to the studio and did a scaled down. 437 00:26:02,880 --> 00:26:03,440 Speaker 1: Version of. 438 00:26:05,040 --> 00:26:08,640 Speaker 2: A few songs, which is pretty amazing, pretty pretty special 439 00:26:08,720 --> 00:26:13,240 Speaker 2: radio really for that time sounded so awesome. 440 00:26:14,520 --> 00:26:16,240 Speaker 1: Lowell was somebody who had a lot of a. 441 00:26:18,040 --> 00:26:21,680 Speaker 2: Lot of a lot of great great lines, right, I mean, 442 00:26:21,800 --> 00:26:22,679 Speaker 2: he he was. 443 00:26:22,760 --> 00:26:26,680 Speaker 5: He was quick to throw out some funny stuff. Any 444 00:26:26,960 --> 00:26:31,640 Speaker 5: any in particular that come to mind that our lollisms 445 00:26:31,680 --> 00:26:33,160 Speaker 5: on this day on his birthday. 446 00:26:33,800 --> 00:26:36,119 Speaker 3: You know, well, happy birthday. 447 00:26:37,640 --> 00:26:41,280 Speaker 4: I hope you're hanging out with whomever you love up 448 00:26:41,280 --> 00:26:46,680 Speaker 4: there wherever you are. His soul someplace, for sure. I 449 00:26:46,680 --> 00:26:49,480 Speaker 4: don't remember so much witticisms from here. I remember a 450 00:26:49,480 --> 00:26:52,880 Speaker 4: lot more from Richie Hayward, who was from Iowa. 451 00:26:53,000 --> 00:26:54,280 Speaker 3: But but Lowell. 452 00:26:55,480 --> 00:26:58,359 Speaker 4: He had that sense of humor where we'd be sitting 453 00:26:58,359 --> 00:27:00,919 Speaker 4: around a table at Richie's house. And this is uh 454 00:27:01,040 --> 00:27:06,239 Speaker 4: in West la just off of Sunset Boulevard and uh 455 00:27:06,359 --> 00:27:08,840 Speaker 4: right next to the Cocking Bowl restaurant. There are Spanish 456 00:27:08,920 --> 00:27:13,320 Speaker 4: apartments that were there, and these apartments were filled with writers, 457 00:27:13,720 --> 00:27:17,000 Speaker 4: drug dealers, uh, uh. 458 00:27:16,800 --> 00:27:18,600 Speaker 3: Musicians, et cetera. 459 00:27:18,680 --> 00:27:22,360 Speaker 4: The Lowld like get up on the window and put 460 00:27:22,359 --> 00:27:24,160 Speaker 4: his face there and secared the hell out of us. 461 00:27:24,640 --> 00:27:24,920 Speaker 5: It was. 462 00:27:27,800 --> 00:27:29,679 Speaker 3: It was as well as prankster as we end up. 463 00:27:30,880 --> 00:27:32,040 Speaker 1: You liked having a good time. 464 00:27:32,400 --> 00:27:34,080 Speaker 3: He did, he he he really did. 465 00:27:34,160 --> 00:27:36,840 Speaker 4: And then I I think that's that's the essence of 466 00:27:37,119 --> 00:27:40,600 Speaker 4: when when people are having fun, which we did during 467 00:27:40,600 --> 00:27:44,040 Speaker 4: the making of UH pieces don't family now. 468 00:27:45,119 --> 00:27:45,239 Speaker 3: Uh. 469 00:27:45,320 --> 00:27:48,680 Speaker 4: His daughter Anara was born and that was a really 470 00:27:48,760 --> 00:27:51,560 Speaker 4: I think it was a great time in his life. 471 00:27:51,960 --> 00:27:56,479 Speaker 4: Uh and for us as a result, of it in 472 00:27:56,560 --> 00:28:00,960 Speaker 4: many ways. He used to, like Jerry Garcia. Uh, during 473 00:28:01,000 --> 00:28:06,200 Speaker 4: the times that were not example of uh of fun 474 00:28:06,240 --> 00:28:09,840 Speaker 4: and joy he was we kind of disappear for periods 475 00:28:09,840 --> 00:28:14,040 Speaker 4: of time. That's a Jerry and uh what I've read 476 00:28:14,080 --> 00:28:19,520 Speaker 4: and heard, we go, well, oh, he'll be back doing that. 477 00:28:21,359 --> 00:28:23,440 Speaker 3: Kind of stuff. Yeah. 478 00:28:22,600 --> 00:28:22,719 Speaker 2: Uh. 479 00:28:23,480 --> 00:28:25,960 Speaker 4: Fred Tackett, who's been with us for some one of 480 00:28:25,960 --> 00:28:29,800 Speaker 4: the first people I've met in La Fred, don't you 481 00:28:29,840 --> 00:28:32,720 Speaker 4: remember when he was running for office for the Musicians Union? 482 00:28:34,040 --> 00:28:37,720 Speaker 4: I got no, ya really I and I go, oh, 483 00:28:37,760 --> 00:28:40,120 Speaker 4: wait a minute, yeah, I that is a rings a 484 00:28:40,200 --> 00:28:44,200 Speaker 4: vague bell. Well, Fred got us our first gig with 485 00:28:44,280 --> 00:28:48,040 Speaker 4: Jimmy Webb at a paying gig, I should say, for 486 00:28:48,040 --> 00:28:52,080 Speaker 4: the little fee at a uh Jimmy's birthday party in 487 00:28:52,160 --> 00:28:56,000 Speaker 4: a Sino, California. So Fred came from that world of 488 00:28:56,440 --> 00:28:58,920 Speaker 4: he knew Lowell got a couple of well a few 489 00:28:59,000 --> 00:29:02,680 Speaker 4: years before I met him, and he was playing with 490 00:29:02,720 --> 00:29:07,360 Speaker 4: Sonny and cheer Jimmy Webb. Uh. When you look at 491 00:29:07,360 --> 00:29:11,880 Speaker 4: Fred's discography, it's it's spell like mine. It's uh, it's 492 00:29:11,880 --> 00:29:13,760 Speaker 4: sort of like when did you guys have time to 493 00:29:13,760 --> 00:29:17,160 Speaker 4: go to the bathroom? You know that kind so it's nuts. 494 00:29:18,000 --> 00:29:21,600 Speaker 1: I love it. So there's a documentary in the works. 495 00:29:22,000 --> 00:29:26,800 Speaker 4: There is, uh Jesse Latter's is a director. There is 496 00:29:26,840 --> 00:29:32,200 Speaker 4: a documentary he just has out now with uh Susan 497 00:29:32,240 --> 00:29:37,040 Speaker 4: Sandeshi and Derek Trucks and Joe Cocker, Mad Dogs and Englishmen. 498 00:29:37,440 --> 00:29:37,720 Speaker 1: Wow. 499 00:29:38,000 --> 00:29:41,120 Speaker 3: And so the survivors of that. 500 00:29:43,200 --> 00:29:49,440 Speaker 4: Confluence all got together later and rem reminiscing about John 501 00:29:49,520 --> 00:29:52,960 Speaker 4: had some great uh footage of Cocker when he was 502 00:29:53,000 --> 00:29:56,720 Speaker 4: around and what that tour was about. So he knows 503 00:29:56,760 --> 00:30:00,720 Speaker 4: how to tell a story. And ultimately that's uh, that's 504 00:30:00,800 --> 00:30:05,600 Speaker 4: what I who I wanted was somebody that not I 505 00:30:05,640 --> 00:30:08,520 Speaker 4: could tell a story, but listen to the story, and 506 00:30:08,720 --> 00:30:14,120 Speaker 4: that's there. We don't need to probably gate the bridge 507 00:30:14,240 --> 00:30:17,400 Speaker 4: like a mighty python skit the bridge. The castle was 508 00:30:17,400 --> 00:30:20,080 Speaker 4: built and sunk into the swamp. The bridge was built, 509 00:30:20,120 --> 00:30:23,840 Speaker 4: it was blown up by the You know that happens 510 00:30:24,560 --> 00:30:29,120 Speaker 4: to everybody. You can always you can always allude to 511 00:30:29,160 --> 00:30:33,480 Speaker 4: something without being hammered it. 512 00:30:33,400 --> 00:30:34,080 Speaker 3: Into the ground. 513 00:30:34,120 --> 00:30:35,000 Speaker 1: I guess sure. 514 00:30:35,480 --> 00:30:39,720 Speaker 4: And I think the better story is the creative aspect 515 00:30:39,800 --> 00:30:42,480 Speaker 4: of what we were doing and how it ties into 516 00:30:42,480 --> 00:30:47,200 Speaker 4: what we're doing now all these years later. That's what 517 00:30:47,280 --> 00:30:50,080 Speaker 4: Little Feet is it's it's bigger than any of us. 518 00:30:50,120 --> 00:30:52,320 Speaker 4: And I figured that out quite a few years ago. 519 00:30:53,200 --> 00:30:58,640 Speaker 2: Yeah, that's it's gone through so many generations, incarnations, you know, 520 00:30:58,880 --> 00:31:02,960 Speaker 2: creative processes, and still cranking. 521 00:31:02,600 --> 00:31:06,120 Speaker 1: It out for sure. How do you use taking a 522 00:31:06,200 --> 00:31:09,960 Speaker 1: walk yourself? Uh? Probably I'm assuming out. 523 00:31:09,840 --> 00:31:14,160 Speaker 2: In Montana to kind of, you know, help you creatively 524 00:31:14,480 --> 00:31:18,720 Speaker 2: or inspire you. How were you able to do that 525 00:31:18,840 --> 00:31:22,520 Speaker 2: in the wide expanse of Montana. 526 00:31:22,320 --> 00:31:25,560 Speaker 4: Well, I think anywhere. Well, so much of what we 527 00:31:25,640 --> 00:31:31,600 Speaker 4: do is compartmentalized, trying as between the years. But if 528 00:31:31,640 --> 00:31:34,239 Speaker 4: you can find a place that it could, I mean 529 00:31:34,240 --> 00:31:36,040 Speaker 4: I found it just walking into New York City. 530 00:31:35,840 --> 00:31:38,120 Speaker 3: The other day. You just you're just looking. 531 00:31:38,520 --> 00:31:41,600 Speaker 4: You're you're able to think you can kind of settle 532 00:31:41,640 --> 00:31:42,480 Speaker 4: down a little bit. 533 00:31:43,320 --> 00:31:45,360 Speaker 3: Ho if you're not done looking for buses that might 534 00:31:45,440 --> 00:31:45,719 Speaker 3: get you. 535 00:31:47,000 --> 00:31:52,440 Speaker 4: It's it's just your The reflective mode is really what 536 00:31:52,480 --> 00:31:54,960 Speaker 4: you're you're involved in and wherever you. 537 00:31:54,920 --> 00:31:55,440 Speaker 3: Can find it. 538 00:31:55,920 --> 00:31:59,480 Speaker 4: Any Dike Ellington used to get into those those reflective 539 00:31:59,520 --> 00:32:04,480 Speaker 4: modes the cab, you know, taking a shower, you're you go, 540 00:32:04,760 --> 00:32:06,880 Speaker 4: oh my gosh, I got to retain the thoughts, but 541 00:32:07,000 --> 00:32:10,080 Speaker 4: I can write it down. There are that kind of thing. 542 00:32:12,000 --> 00:32:13,440 Speaker 4: The mind has a mind of its. 543 00:32:13,360 --> 00:32:19,400 Speaker 1: Own, and photography is relatively new for you. 544 00:32:20,320 --> 00:32:22,960 Speaker 4: Yeah, listen, Like I said, I turned seventy three in March, 545 00:32:23,840 --> 00:32:27,840 Speaker 4: same day as both James Taylor's a year older than me. 546 00:32:28,600 --> 00:32:30,040 Speaker 3: Our birthdays in March twelfth. 547 00:32:31,240 --> 00:32:35,520 Speaker 4: Happy, happy, thanks, And that's all. James, you like the 548 00:32:35,560 --> 00:32:37,640 Speaker 4: canary and the coal mine. As long as you're doing good, 549 00:32:37,880 --> 00:32:43,000 Speaker 4: I think I'll do good. But the photography I began 550 00:32:43,880 --> 00:32:51,280 Speaker 4: in my fifties, so I think, well, I don't know 551 00:32:51,280 --> 00:32:54,640 Speaker 4: if Roll said this, and I think about it. It's 552 00:32:54,680 --> 00:32:57,040 Speaker 4: a truism that we talk ourselves out of far more 553 00:32:57,120 --> 00:32:59,760 Speaker 4: things than we talk ourselves into. 554 00:33:01,360 --> 00:33:04,960 Speaker 3: All I can't do this because of that. Yeah I can. Uh. 555 00:33:05,120 --> 00:33:07,160 Speaker 4: Yeah, I played piano, but how many people in the 556 00:33:07,200 --> 00:33:10,920 Speaker 4: world play piano? Should I be playing guitar? You know 557 00:33:11,000 --> 00:33:15,280 Speaker 4: that that kind of thing. The inquisitiveness is what is 558 00:33:15,320 --> 00:33:18,280 Speaker 4: what pulls us out of that pulls us out of ourselves, 559 00:33:18,960 --> 00:33:23,360 Speaker 4: which are either wildly ambitious or or completely in denial 560 00:33:23,400 --> 00:33:26,200 Speaker 4: of what what is in front of us. And it's 561 00:33:26,200 --> 00:33:29,320 Speaker 4: an odd mixture. But the the steps are jumping in 562 00:33:29,400 --> 00:33:30,880 Speaker 4: that pool and taking the dive. 563 00:33:32,120 --> 00:33:32,760 Speaker 3: Uh. 564 00:33:33,520 --> 00:33:35,480 Speaker 4: Before you take that dive, there's a lot that goes 565 00:33:35,520 --> 00:33:38,480 Speaker 4: into your head, temperature of the water, can I swim? 566 00:33:38,800 --> 00:33:40,600 Speaker 4: How close is socide of the pool? Am I gonna 567 00:33:40,640 --> 00:33:42,520 Speaker 4: hit my head on the side to put one one? 568 00:33:42,720 --> 00:33:45,400 Speaker 4: And all those things that you just kind of build up, 569 00:33:45,440 --> 00:33:49,440 Speaker 4: and they they stall the process. And what you wanna 570 00:33:49,480 --> 00:33:53,160 Speaker 4: do when you can, as a creative person is to 571 00:33:53,160 --> 00:33:56,400 Speaker 4: to open that up where the creativity will come out, 572 00:33:56,480 --> 00:33:58,320 Speaker 4: and then I would stop editing yourself. 573 00:33:59,520 --> 00:34:04,360 Speaker 2: So a beautiful advice for creative process. 574 00:34:04,560 --> 00:34:06,880 Speaker 4: Well, I'm just glad I've lived long enough to be 575 00:34:06,920 --> 00:34:09,439 Speaker 4: able to articulate it, because that was another thing, remember 576 00:34:09,480 --> 00:34:15,640 Speaker 4: the Tom wolfbook, to write stuff. They those astronauts, and 577 00:34:14,800 --> 00:34:22,000 Speaker 4: they it wasn't mainly I guess, to question what they 578 00:34:22,040 --> 00:34:22,520 Speaker 4: were doing. 579 00:34:22,680 --> 00:34:24,240 Speaker 3: They just did it right right. 580 00:34:24,480 --> 00:34:28,400 Speaker 4: And and we kind of adapted that attitude as well 581 00:34:30,719 --> 00:34:36,719 Speaker 4: in the seventies of not looking or analyzing what we did. 582 00:34:36,760 --> 00:34:38,680 Speaker 4: Why we make that a two four bar instead of 583 00:34:38,680 --> 00:34:41,880 Speaker 4: a four fourth bar? I just I don't know if 584 00:34:41,880 --> 00:34:44,080 Speaker 4: always did it? And later I went, you know, I 585 00:34:44,120 --> 00:34:47,919 Speaker 4: want to know why, why I'm doing this right? And 586 00:34:48,120 --> 00:34:50,720 Speaker 4: the fear I was talking to a guy, a driver 587 00:34:50,800 --> 00:34:55,000 Speaker 4: in a car taking me someplace. He was a musician 588 00:34:55,239 --> 00:34:57,560 Speaker 4: and I said, do you really play scales? And in 589 00:34:57,560 --> 00:34:59,480 Speaker 4: a sense he says no. 590 00:34:59,480 --> 00:34:59,719 Speaker 3: No. 591 00:35:00,400 --> 00:35:03,319 Speaker 4: I said, is that because for study music? Because you 592 00:35:03,360 --> 00:35:07,040 Speaker 4: think it will take away from your creativity? He said yeah. 593 00:35:07,239 --> 00:35:11,640 Speaker 4: I said, okay, I'm gonna share something with you. When 594 00:35:11,680 --> 00:35:16,920 Speaker 4: you add learning about a subject, in this case music 595 00:35:17,880 --> 00:35:21,960 Speaker 4: and the notion of playing scales, which John Coltrane did 596 00:35:22,600 --> 00:35:27,040 Speaker 4: at nausea, they add to your vocabulary. They don't take 597 00:35:27,080 --> 00:35:30,239 Speaker 4: anything away. He went, I never thought of it like that, 598 00:35:30,440 --> 00:35:32,640 Speaker 4: while I said no, I didn't either. That's why I'm 599 00:35:32,640 --> 00:35:35,480 Speaker 4: sharing it with it. If you want to broaden your vocabulary, 600 00:35:35,520 --> 00:35:36,359 Speaker 4: not restrict it. 601 00:35:38,480 --> 00:35:42,120 Speaker 1: Have you seen Chasing Train, the documentary on huluf. 602 00:35:43,239 --> 00:35:45,920 Speaker 4: I? You know I did, I and we were talking 603 00:35:45,920 --> 00:35:51,200 Speaker 4: about this last night. Also the documentary on Bill Evans 604 00:35:51,880 --> 00:35:53,560 Speaker 4: on Blue Note Records. 605 00:35:53,920 --> 00:35:55,640 Speaker 1: And uh, well I haven't seen those. 606 00:35:56,000 --> 00:36:01,000 Speaker 4: And lastly, A Birth of the Cool on Miles Davis. 607 00:36:01,480 --> 00:36:04,360 Speaker 4: And that was the one documentary I forgot, was it? 608 00:36:04,480 --> 00:36:07,279 Speaker 4: John Coltrane documentary? 609 00:36:07,800 --> 00:36:10,879 Speaker 3: Lovely documentary? Oh? You know i'd seen those? 610 00:36:10,880 --> 00:36:14,600 Speaker 1: Photography. Oh I'm sorry, ahead, I'm going back to photography. 611 00:36:14,680 --> 00:36:17,440 Speaker 2: You know Henry Dilts, Yes, Henry Dilts and I took 612 00:36:17,440 --> 00:36:19,680 Speaker 2: a walk a couple of weeks back in LA and 613 00:36:19,719 --> 00:36:23,759 Speaker 2: there was a beautiful moment we're walking and it describes, 614 00:36:24,239 --> 00:36:27,840 Speaker 2: you know, him really beautifully where. 615 00:36:28,560 --> 00:36:30,799 Speaker 6: We're taking a walk and he had a stop at 616 00:36:30,840 --> 00:36:35,480 Speaker 6: a very moment and whip out his little portable you know, camera, 617 00:36:35,640 --> 00:36:38,600 Speaker 6: whatever it was, because he saw something in the window 618 00:36:38,680 --> 00:36:41,920 Speaker 6: that was an image that just made him curious. 619 00:36:42,480 --> 00:36:46,279 Speaker 1: And I was like, wow, at eighty three years old, this. 620 00:36:46,239 --> 00:36:50,640 Speaker 2: Guy is still loving his view of the world that 621 00:36:50,719 --> 00:36:52,280 Speaker 2: he can kind of capture. 622 00:36:52,480 --> 00:36:55,560 Speaker 3: You know, that's right. What do you see things? You know? 623 00:36:55,680 --> 00:37:03,440 Speaker 4: And Henry is a wonderful photograph for He's taking photos 624 00:37:03,520 --> 00:37:08,359 Speaker 4: of everybody, including the little feet, and but I never 625 00:37:09,680 --> 00:37:12,040 Speaker 4: you know what he brings to it and whatever any 626 00:37:12,040 --> 00:37:14,920 Speaker 4: photographer brings to it. It's kind of like a musician, 627 00:37:14,960 --> 00:37:19,440 Speaker 4: we go through the auditory sources. But so he's I 628 00:37:19,680 --> 00:37:23,759 Speaker 4: would bet that he watched a lot of films growing up. 629 00:37:24,920 --> 00:37:28,680 Speaker 4: And what you're doing is you're educating your eye to 630 00:37:29,760 --> 00:37:33,719 Speaker 4: the best cinematographers in the world. How they work for 631 00:37:33,800 --> 00:37:40,160 Speaker 4: John Houston or David Lean, Kubrick on up and down. 632 00:37:41,320 --> 00:37:44,560 Speaker 4: And so when you see something, you have a chance 633 00:37:44,680 --> 00:37:47,520 Speaker 4: to a talk yourself out of it because well everybody's 634 00:37:47,560 --> 00:37:51,640 Speaker 4: doing it before or you figure out that what's unique 635 00:37:51,640 --> 00:37:55,359 Speaker 4: about human beings is we all have that little bit 636 00:37:55,520 --> 00:37:59,880 Speaker 4: in us that shares our view of what that is. 637 00:38:00,320 --> 00:38:03,200 Speaker 4: Maybe Kubrick's views that's got a our David Lean's has 638 00:38:03,239 --> 00:38:06,279 Speaker 4: got a bigger picture to it. I mean, I don't 639 00:38:06,280 --> 00:38:09,440 Speaker 4: mean literally, but put the well, actually it is literal. 640 00:38:09,520 --> 00:38:13,000 Speaker 4: We've got expanses in Lawrence of Arabia. 641 00:38:14,200 --> 00:38:15,840 Speaker 3: Maybe you're just capturing. 642 00:38:15,400 --> 00:38:18,320 Speaker 4: One of the mounds or the flow of the sand. 643 00:38:19,400 --> 00:38:20,240 Speaker 3: It's all there. 644 00:38:20,520 --> 00:38:25,000 Speaker 4: You know, where does your vision who literally and figuratively 645 00:38:25,120 --> 00:38:29,719 Speaker 4: take you? And when I figured that out with photography 646 00:38:29,719 --> 00:38:32,359 Speaker 4: for myself, when I hit that shutter as I hit 647 00:38:32,400 --> 00:38:34,680 Speaker 4: in the Middle Sea on a keyboard as a child, 648 00:38:34,719 --> 00:38:39,040 Speaker 4: I went, oh no, I'm off and running. My wife, 649 00:38:39,080 --> 00:38:42,440 Speaker 4: Pauli's a wonderful photographer too. There's a there's an image 650 00:38:42,440 --> 00:38:45,880 Speaker 4: of Ritchie Hayward that we showed last night in the 651 00:38:45,960 --> 00:38:48,200 Speaker 4: time of was a Hero And it looks like the 652 00:38:48,640 --> 00:38:51,759 Speaker 4: photo like this, it's it's it is raked up and 653 00:38:51,800 --> 00:38:54,560 Speaker 4: he's like got this specific smile on his face. He's 654 00:38:54,560 --> 00:38:57,319 Speaker 4: playing the drums that's in a CPO tone. She took 655 00:38:57,360 --> 00:39:03,680 Speaker 4: that photo and he two weeks later and I told U, said, 656 00:39:03,719 --> 00:39:12,040 Speaker 4: what that photo exemplifies is this, this is where Richie lived. Literally, 657 00:39:15,360 --> 00:39:17,200 Speaker 4: he had so much fun. When he got off stage, 658 00:39:17,239 --> 00:39:19,880 Speaker 4: he was shaking. We threw towels on him. So he 659 00:39:19,920 --> 00:39:22,279 Speaker 4: only played three or three songs that night. It was 660 00:39:22,400 --> 00:39:24,799 Speaker 4: up in Vancouver Island, I think. 661 00:39:25,760 --> 00:39:25,840 Speaker 3: So. 662 00:39:27,640 --> 00:39:31,720 Speaker 4: You know, Paul went to Japan a few weeks before 663 00:39:31,760 --> 00:39:34,799 Speaker 4: he passed, and I know Coltrane. One of the last 664 00:39:34,800 --> 00:39:37,920 Speaker 4: things he did was he went to Japan. Paul was 665 00:39:37,960 --> 00:39:41,320 Speaker 4: first in that stuff. I got him a Charles Mingus 666 00:39:41,320 --> 00:39:45,399 Speaker 4: book one year for his birthday. But that's that's where 667 00:39:45,440 --> 00:39:49,960 Speaker 4: we gained inspiration from others. That's where that the connectiveness 668 00:39:49,960 --> 00:39:52,879 Speaker 4: of things. It doesn't always have to be music. It 669 00:39:52,760 --> 00:39:54,880 Speaker 4: can be food, it can be politics, it can be 670 00:39:56,520 --> 00:40:02,560 Speaker 4: obviously relationships, which are most important, but they all inform 671 00:40:02,640 --> 00:40:06,040 Speaker 4: everything else of who we are as human beings. And 672 00:40:06,120 --> 00:40:08,840 Speaker 4: I think that's the thing that's the most dramatically upsetting 673 00:40:08,880 --> 00:40:13,400 Speaker 4: to me this day and age. And conversely, the most 674 00:40:14,160 --> 00:40:16,880 Speaker 4: where I get the most excited about things are the 675 00:40:16,960 --> 00:40:21,360 Speaker 4: fact there's so many people that just they don't want 676 00:40:21,560 --> 00:40:27,879 Speaker 4: to intellectualize anything to intellect and to intellectualize is it's 677 00:40:27,880 --> 00:40:32,120 Speaker 4: like taboo. You know, he's shutting themselves off in the world. 678 00:40:32,760 --> 00:40:37,799 Speaker 4: It's how people like Hitler any any kind of dictatorship 679 00:40:38,080 --> 00:40:40,680 Speaker 4: they want That father figured out. Yeah he's a bastard, 680 00:40:40,840 --> 00:40:45,360 Speaker 4: but he made the decision, not me. Well, hey, we 681 00:40:45,400 --> 00:40:49,359 Speaker 4: need to make decisions too. John Lewis, God bless him, 682 00:40:49,400 --> 00:40:51,440 Speaker 4: you know what I mean. I'm not a religious person, 683 00:40:52,080 --> 00:40:53,799 Speaker 4: but I got to say that that that man has 684 00:40:53,800 --> 00:40:57,480 Speaker 4: some soul, and he might have been more of the 685 00:40:57,520 --> 00:41:03,000 Speaker 4: Godfather of soul than even is brown Bread counts. 686 00:41:03,480 --> 00:41:08,360 Speaker 7: You got some soul, Billy, And thanks for the joy 687 00:41:08,400 --> 00:41:12,000 Speaker 7: that you bring me still to this day and to 688 00:41:12,719 --> 00:41:15,840 Speaker 7: many fans over the years and to this day. 689 00:41:16,040 --> 00:41:19,759 Speaker 1: And I'm so grateful that we were able to take 690 00:41:19,800 --> 00:41:20,200 Speaker 1: a walk. 691 00:41:20,480 --> 00:41:22,799 Speaker 3: Me too. I enjoyed the walk very much. Best thank you. 692 00:41:23,640 --> 00:41:28,879 Speaker 2: Taking a Walk with Buzznight is available on Spotify, Apple Podcasts, 693 00:41:29,400 --> 00:41:31,560 Speaker 2: or wherever you get your podcasts.