WEBVTT - Steve Cropper

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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<v Speaker 1>My guest today is the one in the truly legendary

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<v Speaker 1>Steve Kropper. Steve, great to have you here. So, how

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<v Speaker 1>you been handling COVID very delicately? Okay? So have you

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<v Speaker 1>been vaccinated yet? I have not. That is my choice, okay, okay,

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<v Speaker 1>and that's your choice because and if they come up

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<v Speaker 1>with this thing about a vaccination to get on the plane,

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<v Speaker 1>that's today I stopped flying. Okay, okay. There's only two

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<v Speaker 1>people on this planet and not hear anymore. They're in

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<v Speaker 1>the planet. My mom and Daddy. The only people tell

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<v Speaker 1>me what to do. So you have a new album.

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<v Speaker 1>How did that come together? Well, but because of this pandemic,

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<v Speaker 1>and it came together and now it's it's almost over.

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<v Speaker 1>The pandemic is almost over. But during the lockdowns, so

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<v Speaker 1>it was John Tivers I did to pull up these

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<v Speaker 1>old tracks and do something with him and they turned

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<v Speaker 1>out great. So and I had just written them off.

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<v Speaker 1>Did you know Tivin before this? Oh yeah, known him

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<v Speaker 1>for a long time. So all the songs we wrote together. Okay,

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<v Speaker 1>So he approached you and just for those out of

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<v Speaker 1>the loop, exactly what is on the record. I wouldn't

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<v Speaker 1>say exactly. I'll tell you what happened. Let me tell

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<v Speaker 1>you about the album. He has a studio in his house.

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<v Speaker 1>I do not. I have never had a studio at

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<v Speaker 1>my house. When I go home, I go home. I

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<v Speaker 1>don't take my work home with me. But with the

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<v Speaker 1>computer age, you know, you're on doing emails or whatever.

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<v Speaker 1>And when I get up in the morning, I'm usually

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<v Speaker 1>on the computer before seven thirty. And today I got

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<v Speaker 1>off at nine third. Two hours of just getting rid

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<v Speaker 1>of stuff and answer things and it's fun. Okay, we've

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<v Speaker 1>got two things going up. What are you? Who's looking

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<v Speaker 1>for you that it takes two hours to go through

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<v Speaker 1>your email? Everybody just trying to sell something. And I

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<v Speaker 1>bet you I have deleted every morning at least twenty

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<v Speaker 1>or thirty emails, and I try to not be subscribed

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<v Speaker 1>to them, and I hit that and they call back.

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<v Speaker 1>So I have an old car. Just to give you

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<v Speaker 1>an example, Okay, I bet I get three or four

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<v Speaker 1>calls a day wanting to extend my warranty on my

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<v Speaker 1>old car. Okay, what kind of car is it? And

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<v Speaker 1>Infinity a good one? Really? You see Avanti the old

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<v Speaker 1>student baker, Did I hear that correctly? I could go

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<v Speaker 1>for an old car, but it's not. It was new

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<v Speaker 1>when I bought it. I have a twenty eleven. My

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<v Speaker 1>wife has a twenty our team. Okay, so you get

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<v Speaker 1>all the email and phone calls that are junk calls?

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<v Speaker 1>How many personal and business personal business email and calls

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<v Speaker 1>do you get? Hundreds? And what are they looking for? Well,

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<v Speaker 1>that's a good question. Either an autograph or want me

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<v Speaker 1>to play something. We'll do a concert or you know,

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<v Speaker 1>perform or whatever. And what does it take for you

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<v Speaker 1>to say yes? A question? Do you want to do this?

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<v Speaker 1>I will say? Is you always say so? Guys that

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<v Speaker 1>are farm more important than I am, I don't know

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<v Speaker 1>how they deal with life. It's amazing because if a

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<v Speaker 1>little guy like me guess that kind of mail, they

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<v Speaker 1>must be getting thousands a day. So if I emailed

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<v Speaker 1>you for some reason I had your email address and

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<v Speaker 1>I asked you to play on my record, you would

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<v Speaker 1>say yes, Well, that depend on what the record is.

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<v Speaker 1>I'd have to hear it first, Okay, But you're open

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<v Speaker 1>to everybody absolutely. Okay, Well, that certainly gives you more opportunity,

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<v Speaker 1>but it certainly takes you two hours to get through this?

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<v Speaker 1>And is it mostly on the computer or how many

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<v Speaker 1>people still call it's motionally on a computer? By email? Okay? Now,

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<v Speaker 1>you have a big birthday coming up this year, and

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<v Speaker 1>I don't want to go too deeply into that at

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<v Speaker 1>this moment. But what's it like having some of your

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<v Speaker 1>best buddies pass? It's not fun. So I am one

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<v Speaker 1>of the few lucky people on this planet. I can

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<v Speaker 1>say that my father lost my best friend. I've lost

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<v Speaker 1>all my other friends and families. Is your father in law?

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<v Speaker 1>How old is he? Same age? Okay? And what about

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<v Speaker 1>how do you handle all your contemporaries dying? Say it again,

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<v Speaker 1>contemporary dives that what you said? You know, know your

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<v Speaker 1>old musician friends, your old buddies who are dying. Even

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<v Speaker 1>I'm younger than you, I'm still experiencing this. It's weird

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<v Speaker 1>that my friends die and it makes me think about

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<v Speaker 1>dying myself. Well, you're trying not to think about it.

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<v Speaker 1>I try not to think about it. But you know,

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<v Speaker 1>there's only one guy left and the out of the

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<v Speaker 1>original band, and uh, as far as book of ten

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<v Speaker 1>m g s, it would be book A ten MG.

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<v Speaker 1>Now three of the other mgs are gone. They have

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<v Speaker 1>since gone. Ben. You know, the funny thing is these

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<v Speaker 1>people are in plain sight and one day they're gonna disappear.

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<v Speaker 1>And everybody says, oh, I could have seen him, I

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<v Speaker 1>could have talked to him. It's really so sad. So

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<v Speaker 1>Tivin approaches you and he says, well, we wrote these

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<v Speaker 1>songs together. Let's let's lay him down. Yeah. And I said,

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<v Speaker 1>if you want to bring these things back to life,

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<v Speaker 1>you're gonna Ben a singer. He says, I got one.

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<v Speaker 1>I said you better send me something. So he did.

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<v Speaker 1>And when you do, and I said, where's this guy

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<v Speaker 1>been on my life? Roger Real or something else? I

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<v Speaker 1>never heard it? Hands? Okay, So where'd you come from? Well,

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<v Speaker 1>it's up north. That's probably why I never heard of.

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<v Speaker 1>We never crossed pass We should have crossed passed somewhere

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<v Speaker 1>down the line, but we didn't. Okay. And did you

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<v Speaker 1>do it via the computer? Did you go to John Studio? Well,

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<v Speaker 1>every song on this album, if you listen to it,

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<v Speaker 1>was done. The vocal was done through an iPhone and

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<v Speaker 1>even my engineers, yeah, which is amazing. That was mixed

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<v Speaker 1>in Pro Tools, so it was bounced down to Pro tools,

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<v Speaker 1>which I don't think pro tools didn't change anything, but

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<v Speaker 1>it was all done with an iPhone and it's for

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<v Speaker 1>the sake of the record and promotion. It's too bad

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<v Speaker 1>because that would have been a real good, uh promotional item.

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<v Speaker 1>But now they're into movies. You can edit your own movies,

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<v Speaker 1>just like Hollywood and all that. So let's hope they

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<v Speaker 1>can do that. And I know that the iPhone people

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<v Speaker 1>have been bragging about their phones or their microphones in

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<v Speaker 1>their in their telephone us for a long time, and

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<v Speaker 1>people just took it for granted. They were more into

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<v Speaker 1>the picture thing with selfish and so forth, which is fine,

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<v Speaker 1>and people just kind of forgot that that's a real

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<v Speaker 1>good mike in that iPhone. And then how did you

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<v Speaker 1>lay down your guitar? Well, originally it was just the

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<v Speaker 1>rhythm tracks mainly with a loop, and then we brought

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<v Speaker 1>in extra drummers. Now, as far as all the solo licks,

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<v Speaker 1>when Roger finished the vocals, I said, I'm not laying

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<v Speaker 1>down any any lead licks until I hear the vocal

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<v Speaker 1>and so I just get inspired by that. That's the

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<v Speaker 1>way I get inspired. I hate working things out. I

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<v Speaker 1>don't like that at all. I just don't work things out.

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<v Speaker 1>I like the spawning Eddie and listen to something for

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<v Speaker 1>the first time, and and and let the emotion just

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<v Speaker 1>flow and let it go and be a chanler. I'm

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<v Speaker 1>actually the exact same way. That's how you get inspired.

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<v Speaker 1>So let's just soon the vocal is cut. You don't

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<v Speaker 1>want to hear it until you're in the studio with

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<v Speaker 1>the guitar strapped on, ready to play. Correct. Okay, And

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<v Speaker 1>let's say in one song, how long is it gonna

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<v Speaker 1>take you to work out what you're gonna play and

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<v Speaker 1>lay it down. Not very long. So we do piece

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<v Speaker 1>things together sometimes and I'll get hit with something and

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<v Speaker 1>play something in the engine will say that was a

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<v Speaker 1>good look you did three takes ago, or if it's

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<v Speaker 1>not completely say let's say another one, and then we

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<v Speaker 1>put them all together. So that's the way we do it.

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<v Speaker 1>The same thing with vocals. Okay. So if I if

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<v Speaker 1>you laid down a lick and it was a half

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<v Speaker 1>hour later, the engineer said, play that lick again. Could

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<v Speaker 1>you remember it and do it? Probably not? If you

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<v Speaker 1>pleasure to me, I could probably duplicate it, But to remember, no,

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<v Speaker 1>it comes and goes, but it comes about as fast.

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<v Speaker 1>I mean it goes about as fast it comes, So

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<v Speaker 1>there you go. I have always approached I have always

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<v Speaker 1>approached sessions the same way. So when we were learning

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<v Speaker 1>a song and the old days, we learned it together

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<v Speaker 1>at the same time, heard it for the first time,

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<v Speaker 1>and the and the writers, we weren't there the night before.

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<v Speaker 1>You used to we would write songs the night before

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<v Speaker 1>we cut them. Today you might write a song and

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<v Speaker 1>it might be two years before it gets cut. You

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<v Speaker 1>just don't know what's gonna happen today. It's certainly different now.

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<v Speaker 1>In the old days we're talking about pre internet, you

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<v Speaker 1>would have made this record. There was a limited number

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<v Speaker 1>of records, and everybody would have been aware of it,

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<v Speaker 1>whether it was successful or not, depending on what was

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<v Speaker 1>in the grooves. Today you can put out a record

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<v Speaker 1>and almost nobody can know about it. How does that

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<v Speaker 1>affect your inspiration to do it? You just do it

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<v Speaker 1>one at a time, and uh, you know, when you're

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<v Speaker 1>when you're overdubbing something or listening to something, you treat

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<v Speaker 1>it as the only song on the planet at the time.

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<v Speaker 1>And there's only two singers that I've ever worked with.

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<v Speaker 1>The singer song as though it was gonna be the

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<v Speaker 1>last song they would ever sing. Otis reading for number one,

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<v Speaker 1>Number two, rods shuret even though and I I refer

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<v Speaker 1>to Rod the fact that he knew that he would

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<v Speaker 1>take the track home that night and change the lyrics,

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<v Speaker 1>change the idea or whatever, and knowing that for the

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<v Speaker 1>musicians in the studio at the time, he would sing

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<v Speaker 1>it as though he was on live on stage for

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<v Speaker 1>the last time. I've always been how did you get

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<v Speaker 1>hooked up with Rod Stewart through Tommy Dodd? Okay, so

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<v Speaker 1>that of course makes a question, how did you know

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<v Speaker 1>Tom Doubt? I don't think we have a month or

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<v Speaker 1>a year to do this, but how did I know

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<v Speaker 1>Tom Doubt? Atlantic was our distributed stacks and he was

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<v Speaker 1>a vice president or in our director for a long time,

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<v Speaker 1>then became a vice person and okay, I've known him

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<v Speaker 1>since since sixty three, let's put it that way. Okay,

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<v Speaker 1>So right now you're in Nashville, Yeah, okay, why Nashville?

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<v Speaker 1>You you grew up in Memphis, you were in California

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<v Speaker 1>for a while, You're in Nashville. Why these different places? Well,

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<v Speaker 1>I was asked by some friends of mine to come

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<v Speaker 1>here and write some songs, and I said no. Then

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<v Speaker 1>I met my present wife. This June will be thirty

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<v Speaker 1>thirty two years that I've been married to her. And

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<v Speaker 1>I met her in this town and I was she

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<v Speaker 1>was up here from Dallas. She was living in Dallas

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<v Speaker 1>and I was living in l A at the time,

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<v Speaker 1>and so I took her out to l a show

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<v Speaker 1>to the house and she said, I'd rather have a

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<v Speaker 1>house in Nashville. Okay. So we've raised two kids and

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<v Speaker 1>head place. Wow, it's hard to say that that I'm

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<v Speaker 1>in in the music city of the world. And it's

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<v Speaker 1>hard to say that I didn't come here for the music.

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<v Speaker 1>But I didn't here because of my present So was

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<v Speaker 1>it was? It loved first sight? Absolutely? Did Did she

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<v Speaker 1>feel the same way or did you have to work?

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<v Speaker 1>I think so, except she tells it a little different

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<v Speaker 1>that she didn't. The good news is she didn't know

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<v Speaker 1>who I was, and she said, all another one one hit.

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<v Speaker 1>Wonder Then she found out letter that I had written

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<v Speaker 1>more than one song. So you've been married thirty years,

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<v Speaker 1>you have two kids, what are they up to? Well,

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<v Speaker 1>one of them is has our own merchandising company and

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<v Speaker 1>the other one is in college. That I put him

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<v Speaker 1>on the plane yesterday to fly back to Fort Collins.

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<v Speaker 1>He's going to Colorado State in four columns Colorado and

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<v Speaker 1>he'll be home back here from school. Let's out, which

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<v Speaker 1>is the end of my I think? And how many

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<v Speaker 1>times you've been married twice? And do you have kids

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<v Speaker 1>from your first marriage? I do older kids. And how

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<v Speaker 1>how many of you have and how old are there?

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<v Speaker 1>I have another boy and another girl, the boy being

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<v Speaker 1>the oldest. Then what are they up to? I said

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<v Speaker 1>that my my son is retired. My daughter works for

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<v Speaker 1>Ashley Furniture. Wow. And are they on the payroll or

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<v Speaker 1>totally independent? She is? And he he rant managed a

0:13:03.720 --> 0:13:06.640
<v Speaker 1>bookstore for a long time and he decided not to

0:13:06.800 --> 0:13:11.000
<v Speaker 1>He's he overmarried too. He married a girl in Memphis

0:13:11.080 --> 0:13:14.360
<v Speaker 1>that's head of the card services, and they transferred to

0:13:14.400 --> 0:13:16.880
<v Speaker 1>her to Atlanta, and that's where he went to college.

0:13:16.880 --> 0:13:18.880
<v Speaker 1>So he's very happy to be back in Atlanta. He

0:13:18.920 --> 0:13:25.720
<v Speaker 1>loves it. Okay, so you're in Nashville, and you've did

0:13:25.760 --> 0:13:28.040
<v Speaker 1>a lot of early work in Memphis. You grew up

0:13:28.040 --> 0:13:32.439
<v Speaker 1>in Memphis. Most people have not been to those places.

0:13:32.480 --> 0:13:36.480
<v Speaker 1>They say, oh it's Tennessee. Having been to those places,

0:13:36.960 --> 0:13:40.960
<v Speaker 1>I experienced them is radically different. Would you say the

0:13:41.000 --> 0:13:48.000
<v Speaker 1>same the two cities. Yeah, uh, totally musically inclined and otherwise.

0:13:48.679 --> 0:13:52.400
<v Speaker 1>Memphis is a melting pot. Now, Nashville gets a lot

0:13:52.400 --> 0:13:55.599
<v Speaker 1>of people here too, from Kentucky in different places, but

0:13:55.760 --> 0:14:02.800
<v Speaker 1>Memphis gets at all Mississippi, Arkansas, Kentucky, Missouri. So they

0:14:02.840 --> 0:14:05.480
<v Speaker 1>get a lot of entitled an album one time called

0:14:05.480 --> 0:14:08.840
<v Speaker 1>Melton Park. And that's been going on since way a

0:14:08.840 --> 0:14:11.960
<v Speaker 1>long time ago, when the river boats were gambling boats

0:14:12.040 --> 0:14:16.200
<v Speaker 1>or so forth. Wow. Yeah, people don't realize that when

0:14:16.200 --> 0:14:18.440
<v Speaker 1>you're in Memphis, you look over the river, it's Arkansas.

0:14:18.600 --> 0:14:22.600
<v Speaker 1>You don't realize that it's just that close. Never Mississippi,

0:14:23.720 --> 0:14:26.800
<v Speaker 1>just down south. Okay, So what age were you at

0:14:26.840 --> 0:14:30.600
<v Speaker 1>when you moved to Memphis ten years old? And where

0:14:30.600 --> 0:14:34.160
<v Speaker 1>were you the ten years before that? Missouri? Some people

0:14:34.160 --> 0:14:38.800
<v Speaker 1>call it Missoury. Just a state with three names Missouri, Missouri,

0:14:38.840 --> 0:14:41.080
<v Speaker 1>and Missouri. And there's say, misery, Why do you call

0:14:41.120 --> 0:14:42.960
<v Speaker 1>a Missoury? I said, obviously you didn't grow up on

0:14:43.000 --> 0:14:47.760
<v Speaker 1>a farm. So where was this farm in Missouri? Well,

0:14:48.160 --> 0:14:50.720
<v Speaker 1>it's not too far. If you know where West Plains

0:14:50.840 --> 0:14:53.520
<v Speaker 1>is and there and that those places. It's not in

0:14:53.520 --> 0:14:57.440
<v Speaker 1>the Booth Hill. It's in the southern part, right in

0:14:57.480 --> 0:15:01.400
<v Speaker 1>northern Arkansas or southern Missouri. The line is not too far,

0:15:01.600 --> 0:15:03.960
<v Speaker 1>thirty miles away, I guess something like that at the most.

0:15:04.640 --> 0:15:08.600
<v Speaker 1>But it's uh. It's it's just uh west of the

0:15:08.600 --> 0:15:13.240
<v Speaker 1>Booth Hill. And your father was a farmer. He was

0:15:13.320 --> 0:15:16.800
<v Speaker 1>originally uh, and then he met my mother at teacher's college,

0:15:17.560 --> 0:15:20.400
<v Speaker 1>and uh. He was a teacher, and so was my mom.

0:15:20.920 --> 0:15:24.040
<v Speaker 1>The thing about me was very simple. They didn't have

0:15:24.080 --> 0:15:27.000
<v Speaker 1>babysitters in those days. There was no work to and

0:15:27.240 --> 0:15:29.560
<v Speaker 1>we didn't have any close relatives that she could drop

0:15:29.600 --> 0:15:33.000
<v Speaker 1>me off at. So she put me to school. I

0:15:33.080 --> 0:15:36.920
<v Speaker 1>was full when I started a month later. I was five,

0:15:37.080 --> 0:15:39.280
<v Speaker 1>So you know, I started when I was five years old.

0:15:39.960 --> 0:15:41.880
<v Speaker 1>The thing was, my mother told me, I don't know

0:15:42.120 --> 0:15:43.960
<v Speaker 1>this to be a fact. She said, I did as

0:15:44.000 --> 0:15:46.520
<v Speaker 1>good as the registers. She said, I didn't really have

0:15:46.560 --> 0:15:48.120
<v Speaker 1>any choice. I had to move you up. So she

0:15:48.160 --> 0:15:50.280
<v Speaker 1>took me from the first grade to the second grade

0:15:50.600 --> 0:15:53.360
<v Speaker 1>and on to the third grade. Except she's as a

0:15:53.400 --> 0:15:56.080
<v Speaker 1>retired teacher, she stayed on the on the teacher's board.

0:15:56.960 --> 0:15:59.720
<v Speaker 1>So we moved to West Plains, which was in those

0:15:59.800 --> 0:16:01.880
<v Speaker 1>days is if you were raised on a farm. That

0:16:01.920 --> 0:16:05.560
<v Speaker 1>was a big town nineteen miles from the farm. And

0:16:05.680 --> 0:16:08.080
<v Speaker 1>she put me back. So I took the third grade twice.

0:16:09.400 --> 0:16:11.120
<v Speaker 1>I was in the fourth grade for about three weeks

0:16:11.120 --> 0:16:13.280
<v Speaker 1>and she said, these city boys are too big for

0:16:13.320 --> 0:16:18.080
<v Speaker 1>my son, so she put me back. What kind of

0:16:18.120 --> 0:16:22.960
<v Speaker 1>student were you? I did pretty good until I started

0:16:22.960 --> 0:16:25.920
<v Speaker 1>playing guitar. I was a straight AS student, and I

0:16:25.960 --> 0:16:29.480
<v Speaker 1>spent most of my time playing the guitar instead of studying,

0:16:29.600 --> 0:16:32.880
<v Speaker 1>so my grades went down a little bit. I started

0:16:32.880 --> 0:16:38.080
<v Speaker 1>making season bees, right, And what your parents? They were teachers?

0:16:38.080 --> 0:16:40.720
<v Speaker 1>What did they say about that? They didn't like it

0:16:40.840 --> 0:16:44.800
<v Speaker 1>very much, but they never discouraged me in the guitar playing.

0:16:46.120 --> 0:16:48.960
<v Speaker 1>And I remember I never thinked. People would ask me,

0:16:49.080 --> 0:16:51.080
<v Speaker 1>why what do you think last night, which was the

0:16:51.120 --> 0:16:54.280
<v Speaker 1>song that we had number three in the world, Uh,

0:16:54.920 --> 0:16:56.360
<v Speaker 1>why was it such a hit? And I said, I

0:16:56.400 --> 0:16:58.360
<v Speaker 1>don't know, but I do remember that my mother the

0:16:58.400 --> 0:17:00.760
<v Speaker 1>first time I played on the record, she started doing

0:17:00.800 --> 0:17:02.280
<v Speaker 1>a twist. I said, well, I guess it was the

0:17:02.320 --> 0:17:06.080
<v Speaker 1>first twist instrumental. That's the thing. I com credit it

0:17:06.080 --> 0:17:10.280
<v Speaker 1>to Dad at that at that at that so your

0:17:10.400 --> 0:17:14.640
<v Speaker 1>parents were supportive did they understand the level of success

0:17:14.720 --> 0:17:19.639
<v Speaker 1>that you achieved. I don't not until later. No, And

0:17:19.840 --> 0:17:21.720
<v Speaker 1>how were you were you an only kid or with

0:17:21.800 --> 0:17:23.840
<v Speaker 1>other kids in the family. I was the only one,

0:17:25.280 --> 0:17:28.439
<v Speaker 1>So I remember the time. I do remember this. My

0:17:28.560 --> 0:17:30.400
<v Speaker 1>dad came home. We were eating dinner, and he looks

0:17:30.440 --> 0:17:32.600
<v Speaker 1>up and he says, I've been transferred to Tulsa, Oklahoma.

0:17:32.720 --> 0:17:35.159
<v Speaker 1>We're moving to Tulsa. And I said I'm not and

0:17:35.200 --> 0:17:37.399
<v Speaker 1>he looked at me very sternly and said, so you

0:17:37.440 --> 0:17:39.960
<v Speaker 1>don't have a voice in this conversation. I said, yes,

0:17:39.960 --> 0:17:42.520
<v Speaker 1>I do. I've got a working band making money. And

0:17:42.560 --> 0:17:46.199
<v Speaker 1>he said, oh okay. He said, well I've got to go,

0:17:46.320 --> 0:17:50.200
<v Speaker 1>and he did. And my mom stayed until I graduated

0:17:50.280 --> 0:17:55.320
<v Speaker 1>from high school. And uh they found a duplex to

0:17:55.320 --> 0:17:57.440
<v Speaker 1>put me in that that sort of thing. But Dad

0:17:57.480 --> 0:17:59.040
<v Speaker 1>went ahead to Tulsa. He was gonna put me in

0:17:59.119 --> 0:18:03.240
<v Speaker 1>Oklahoma State, in the Norman Oklahoma and uh, I said,

0:18:03.240 --> 0:18:05.440
<v Speaker 1>I don't you know, but you'll be going to Oklahoma

0:18:05.440 --> 0:18:09.680
<v Speaker 1>State much better than Memphis. And said, uh, I want

0:18:09.720 --> 0:18:12.520
<v Speaker 1>the band. That's all I care about. The thing is

0:18:12.640 --> 0:18:15.359
<v Speaker 1>that on my entrance to x AM, I failed the

0:18:15.400 --> 0:18:17.960
<v Speaker 1>English part, but I raised it so high in the

0:18:18.000 --> 0:18:19.880
<v Speaker 1>math part, they let me take the take it over,

0:18:20.640 --> 0:18:22.280
<v Speaker 1>and I did it with There was a girl that

0:18:22.359 --> 0:18:24.040
<v Speaker 1>took it over to There was only two of us,

0:18:24.359 --> 0:18:26.480
<v Speaker 1>and she had already had two years of pre college

0:18:27.640 --> 0:18:30.000
<v Speaker 1>and she failed it as well, and that's why she

0:18:30.080 --> 0:18:34.480
<v Speaker 1>got to take it again. Of course we passed it secondary.

0:18:35.680 --> 0:18:40.879
<v Speaker 1>So go ahead, no, no, you continue. Well, I was

0:18:40.920 --> 0:18:44.280
<v Speaker 1>gonna say that. I got reprimanded one time for calling

0:18:44.280 --> 0:18:47.840
<v Speaker 1>it Memphis State. It always was. Now it's Memphis University.

0:18:48.440 --> 0:18:52.840
<v Speaker 1>And so my daughter's golf coach said, Steve, it's Memphis

0:18:52.880 --> 0:18:56.000
<v Speaker 1>University's something infish state anymore. I said, It'll always been

0:18:56.000 --> 0:18:58.359
<v Speaker 1>in the state as far as I'm concerned. So, m

0:18:59.480 --> 0:19:03.280
<v Speaker 1>my daughter played the high school college of golf, came

0:19:03.280 --> 0:19:06.240
<v Speaker 1>out of pretty good golfer. So how good a golfer

0:19:06.240 --> 0:19:08.959
<v Speaker 1>are you? Well? I used to be pretty good at

0:19:09.000 --> 0:19:12.119
<v Speaker 1>my age terrible, but I played with a lot of

0:19:12.119 --> 0:19:14.280
<v Speaker 1>guys in the nineties and all, and I said, well,

0:19:14.320 --> 0:19:17.159
<v Speaker 1>when I grow up, that's what I'm gonna do. You know,

0:19:17.800 --> 0:19:19.520
<v Speaker 1>you don't go on the road for fifty years and

0:19:20.000 --> 0:19:24.320
<v Speaker 1>been over like you used to. So, uh, people have

0:19:24.400 --> 0:19:27.119
<v Speaker 1>back trouble. Everybody does. And so I waited and waited

0:19:27.119 --> 0:19:30.720
<v Speaker 1>and waited to until I had some time off to

0:19:30.800 --> 0:19:32.880
<v Speaker 1>get my back work on. And the doctor said, Steve,

0:19:32.920 --> 0:19:34.520
<v Speaker 1>I can't help you anymore. So what do you mean

0:19:34.560 --> 0:19:37.040
<v Speaker 1>you can't help me? He said, because three and four

0:19:37.200 --> 0:19:40.040
<v Speaker 1>years together, and I'm telling you, when you've been over

0:19:40.080 --> 0:19:42.480
<v Speaker 1>it's like having or two before in your back. I

0:19:42.520 --> 0:19:44.440
<v Speaker 1>can't bend over and pick up anything anymore, and never

0:19:44.480 --> 0:19:48.160
<v Speaker 1>could anybody. Well, it's funny because you're the first person

0:19:48.200 --> 0:19:50.880
<v Speaker 1>who ever told me a similar story. I have back

0:19:50.960 --> 0:19:54.800
<v Speaker 1>problems too for fifty years, and I had to get

0:19:54.800 --> 0:19:56.840
<v Speaker 1>an injection. I used to get him in. The guy

0:19:56.840 --> 0:19:59.680
<v Speaker 1>who did the injection said, who did your surgery? Who

0:19:59.760 --> 0:20:06.680
<v Speaker 1>few is the disks? Yeah? So, uh, of all people,

0:20:06.720 --> 0:20:08.880
<v Speaker 1>Peter Jacobson was a pretty good friend of mine, still

0:20:09.000 --> 0:20:12.639
<v Speaker 1>is and he is one of the chief investors in

0:20:12.760 --> 0:20:17.280
<v Speaker 1>the Backs Clinic down in Florida. And he said, if

0:20:17.280 --> 0:20:18.840
<v Speaker 1>you have back trouble, I'll put you the head of

0:20:18.880 --> 0:20:23.160
<v Speaker 1>the line and you get in there. So my doctor said,

0:20:23.520 --> 0:20:26.919
<v Speaker 1>we can't shooting anything in there. I can't cut him apart.

0:20:27.040 --> 0:20:30.240
<v Speaker 1>They fused together. So that's what the m R. I showed.

0:20:30.280 --> 0:20:34.080
<v Speaker 1>And so I suffer with it absolutely Okay, So what

0:20:34.760 --> 0:20:41.399
<v Speaker 1>major parents move from Misery to Memphis. I well, it

0:20:41.480 --> 0:20:43.280
<v Speaker 1>had to be my dad getting a job he was on.

0:20:43.600 --> 0:20:46.439
<v Speaker 1>We moved from the farm to West Plains, Bressouri because

0:20:46.520 --> 0:20:49.359
<v Speaker 1>he was on the police force, filled out an application

0:20:49.520 --> 0:20:51.760
<v Speaker 1>of the railroad and and got picked up as a

0:20:52.080 --> 0:20:57.040
<v Speaker 1>railroad detective immediately. And that's when we went to Memphis.

0:20:57.280 --> 0:21:01.480
<v Speaker 1>And I remember right before we crossed the Mississippi, my dad.

0:21:01.480 --> 0:21:03.560
<v Speaker 1>I was asleep in the back seat. My dad wiggled

0:21:03.560 --> 0:21:05.560
<v Speaker 1>me up and he said, so you better get up.

0:21:05.560 --> 0:21:07.359
<v Speaker 1>You might want to see this. And it was a

0:21:07.440 --> 0:21:11.439
<v Speaker 1>river a mile wide. You know, I grew up on

0:21:11.520 --> 0:21:13.600
<v Speaker 1>rivers and strangers that I've never seen anything that big

0:21:13.640 --> 0:21:17.760
<v Speaker 1>in my life. It's amazing. So your father was a teacher,

0:21:18.240 --> 0:21:21.399
<v Speaker 1>then he was a railroad cop, and then he was

0:21:21.440 --> 0:21:25.920
<v Speaker 1>a teacher with the FBI for years. Really. Yeah, on

0:21:25.960 --> 0:21:29.520
<v Speaker 1>the good side, what kind of relationship did you have

0:21:29.600 --> 0:21:34.200
<v Speaker 1>with your dad? Very good relationship. And uh, I never

0:21:34.280 --> 0:21:36.880
<v Speaker 1>met anybody that ever said anything negative by my dad,

0:21:37.720 --> 0:21:40.359
<v Speaker 1>And everybody really liked my dad. He was just nice

0:21:40.359 --> 0:21:43.520
<v Speaker 1>to everybody. And I didn't even know my dad had

0:21:43.560 --> 0:21:45.480
<v Speaker 1>a sense of humor. But when the when some of

0:21:45.520 --> 0:21:48.920
<v Speaker 1>the boys would come over from from high school and

0:21:49.000 --> 0:21:51.879
<v Speaker 1>all he would start telling Jockson said, I didn't know

0:21:51.920 --> 0:21:55.600
<v Speaker 1>my dad could do that. He'd have everybody's stitches. And

0:21:55.680 --> 0:21:58.639
<v Speaker 1>that's just the way he was. But he was also

0:21:58.760 --> 0:22:02.320
<v Speaker 1>very serious, had a serious Uh as he got older. Uh,

0:22:02.400 --> 0:22:04.720
<v Speaker 1>he could have made a lot of changes and things,

0:22:04.760 --> 0:22:06.760
<v Speaker 1>but he didn't. He didn't. He didn't but end anything.

0:22:06.760 --> 0:22:11.160
<v Speaker 1>He just said back and listen. So, so you moved

0:22:11.160 --> 0:22:14.720
<v Speaker 1>to Memphis at age ten. That's a hard transition for

0:22:14.760 --> 0:22:17.600
<v Speaker 1>a kid to go from one school to another, making friends,

0:22:17.600 --> 0:22:19.800
<v Speaker 1>et cetera. Yeah, it's like going to Disney World for

0:22:19.840 --> 0:22:21.600
<v Speaker 1>the first time. So what was it like for you?

0:22:21.800 --> 0:22:24.840
<v Speaker 1>Pretty amazing. I mean everything that I looked at and

0:22:24.880 --> 0:22:28.119
<v Speaker 1>saw her her was was a shock treatment and I

0:22:28.200 --> 0:22:30.880
<v Speaker 1>just dealt with it. And uh, he was talking about

0:22:30.920 --> 0:22:32.879
<v Speaker 1>best friends. Donald Duck Dunn and I met on a

0:22:32.880 --> 0:22:36.440
<v Speaker 1>softball field one in the sixth grade, so we were

0:22:36.720 --> 0:22:39.600
<v Speaker 1>out well in the tenth or level. We were sophomores

0:22:39.600 --> 0:22:42.400
<v Speaker 1>and juniors when we started a band, and we got

0:22:42.440 --> 0:22:44.320
<v Speaker 1>real good in our sophomore year and we were doing

0:22:44.359 --> 0:22:47.560
<v Speaker 1>proms and you know, local stuff, and it's very simple.

0:22:47.960 --> 0:22:50.800
<v Speaker 1>We played music of the day that kids could dance to.

0:22:50.880 --> 0:22:53.760
<v Speaker 1>We played a lot of dances, socops and dances and

0:22:53.840 --> 0:22:57.480
<v Speaker 1>palms and so forth. And uh, we played the music

0:22:57.520 --> 0:23:00.679
<v Speaker 1>that they could dance to. Obviously they couldn't afford the

0:23:00.760 --> 0:23:05.200
<v Speaker 1>real artists. It's too expensive for him. Even in those days,

0:23:05.200 --> 0:23:08.840
<v Speaker 1>it was expensive today. I don't know how they deal

0:23:08.880 --> 0:23:11.520
<v Speaker 1>with it. It's amazing. I know what we make as

0:23:11.520 --> 0:23:13.560
<v Speaker 1>a Blue Brothers. I know what we make as a band,

0:23:14.200 --> 0:23:16.639
<v Speaker 1>and there's a there's a ceiling, and there's a we

0:23:16.680 --> 0:23:19.439
<v Speaker 1>don't go any lower than a certain price, even on

0:23:19.480 --> 0:23:22.360
<v Speaker 1>an off night. That's gonna cost you this much. Well,

0:23:22.400 --> 0:23:25.879
<v Speaker 1>when you do that, you know the the artist is

0:23:25.920 --> 0:23:28.359
<v Speaker 1>one thing. Then you gotta deal with the back line

0:23:28.359 --> 0:23:30.240
<v Speaker 1>and all that. If you can get it donated, that's great.

0:23:30.280 --> 0:23:33.560
<v Speaker 1>If you can't, he's got to shell it out. So

0:23:33.760 --> 0:23:36.560
<v Speaker 1>he's into your profits. And I would never be a promoter.

0:23:36.960 --> 0:23:41.159
<v Speaker 1>There's no way. Listen, it's a license to lose all

0:23:41.200 --> 0:23:46.760
<v Speaker 1>your money. It's just crazy. Okay, so you're in Memphis.

0:23:46.800 --> 0:23:50.040
<v Speaker 1>At what point do you start playing the guitar? But

0:23:50.240 --> 0:23:54.720
<v Speaker 1>around fourteen? And what's the inspiration? That's a good question.

0:23:54.760 --> 0:23:58.080
<v Speaker 1>I really don't know. I guess radio here and here

0:23:58.119 --> 0:24:00.760
<v Speaker 1>in the radio and seeing people happy, dancing and all

0:24:00.840 --> 0:24:03.119
<v Speaker 1>that kind of stuff. And that's what this record is

0:24:03.119 --> 0:24:06.760
<v Speaker 1>all about. Two Fired Up. It's all about fired up

0:24:06.800 --> 0:24:09.680
<v Speaker 1>and get to get the dancing again, feel good music.

0:24:09.960 --> 0:24:13.520
<v Speaker 1>I'm twelve years younger than you, and in my generation

0:24:13.640 --> 0:24:16.119
<v Speaker 1>people picked up the guitar to play folk songs in

0:24:16.160 --> 0:24:18.800
<v Speaker 1>the early sixties and then the Beatles hit, everybody got

0:24:18.840 --> 0:24:23.000
<v Speaker 1>an electric guitar. When you were starting, what was on

0:24:23.040 --> 0:24:25.440
<v Speaker 1>the radio? What was the inspiration that made you want

0:24:25.440 --> 0:24:29.440
<v Speaker 1>to play music? Well, that's a good question, but I

0:24:29.920 --> 0:24:33.399
<v Speaker 1>first heard gospel at that age, and that blew me away.

0:24:33.800 --> 0:24:36.640
<v Speaker 1>I had never heard gospel music before, just happy, good

0:24:36.640 --> 0:24:40.399
<v Speaker 1>feeling music. So I think I'm guilty of taking u

0:24:41.280 --> 0:24:44.640
<v Speaker 1>gospel grooves and turning it into you know, lyrically love

0:24:44.720 --> 0:24:51.840
<v Speaker 1>songs basically, or different things like that. So you're fourteen,

0:24:51.960 --> 0:24:55.840
<v Speaker 1>you get a guitar. What guitar do you get? I

0:24:55.960 --> 0:24:59.080
<v Speaker 1>found one that I liked out of a Serision Rollbuck catalog.

0:24:59.760 --> 0:25:05.840
<v Speaker 1>That's silvertone. That's silvertone, flat top, sunbursts, round hole, flattop.

0:25:06.320 --> 0:25:08.760
<v Speaker 1>Did you have one where the case had the ample

0:25:08.760 --> 0:25:12.520
<v Speaker 1>fire in it? No, that was a big thing of

0:25:12.600 --> 0:25:15.359
<v Speaker 1>the thick. But my dad, bless his heart, And I

0:25:15.359 --> 0:25:17.359
<v Speaker 1>told you he never discouraged me. He said, son, you

0:25:17.440 --> 0:25:18.600
<v Speaker 1>learned how to play that, and I'll buy you a

0:25:18.600 --> 0:25:22.000
<v Speaker 1>good guitar. Wow. Well he bought my first electric guitar

0:25:22.440 --> 0:25:25.439
<v Speaker 1>from a guy who had one for sale, and the

0:25:25.440 --> 0:25:27.800
<v Speaker 1>amp came with it. And I still have that app today. Well,

0:25:27.840 --> 0:25:32.040
<v Speaker 1>I don't have that app anymore. It's Smithsonian. But okay,

0:25:32.119 --> 0:25:35.080
<v Speaker 1>what was the guitar and what was the app? Uh?

0:25:35.240 --> 0:25:39.840
<v Speaker 1>The guitar was a Birdland cut Away or not? Wasn't

0:25:39.840 --> 0:25:42.200
<v Speaker 1>the bird Landers one seventy five got the bird Land letter.

0:25:42.920 --> 0:25:48.720
<v Speaker 1>It was a one trapeze bridge thin about thin body,

0:25:49.680 --> 0:25:55.240
<v Speaker 1>sharp cut away sunbursts. And the app was a Fender Harvard. Wow,

0:25:55.320 --> 0:25:57.840
<v Speaker 1>that really was on green onions. That was on green

0:25:57.960 --> 0:26:00.720
<v Speaker 1>onions and a bunch of otus reading and of other things.

0:26:01.080 --> 0:26:03.040
<v Speaker 1>And when I wanted that sound, I always pulled that

0:26:03.119 --> 0:26:05.200
<v Speaker 1>amp out and I still have it today. I had

0:26:05.240 --> 0:26:08.240
<v Speaker 1>it until I gave it, specially in a few years ago. Okay,

0:26:08.240 --> 0:26:10.919
<v Speaker 1>so there's the Harvard and the Princeton. The difference is

0:26:10.920 --> 0:26:14.399
<v Speaker 1>the Princeton has we verb? Is that it or reverse? Well,

0:26:15.440 --> 0:26:18.160
<v Speaker 1>I don't own a person. I've used it to tune

0:26:18.200 --> 0:26:21.080
<v Speaker 1>up with backstage when they have one. But I've never

0:26:21.119 --> 0:26:24.399
<v Speaker 1>owned one, the thunder Harvard. I've owned three since then.

0:26:24.520 --> 0:26:26.680
<v Speaker 1>None of them sound like this one that I had.

0:26:27.400 --> 0:26:29.560
<v Speaker 1>I don't know what I knew the difference in the sound,

0:26:29.600 --> 0:26:34.040
<v Speaker 1>but the quality was just unbelievable. And Tom Dad, we

0:26:34.160 --> 0:26:36.439
<v Speaker 1>missed it earlier. He always wanted me to take that

0:26:36.520 --> 0:26:38.760
<v Speaker 1>on the road. I said, Tommy didn't put out enough.

0:26:38.800 --> 0:26:42.840
<v Speaker 1>He said, just mike it and running through the sound system.

0:26:42.880 --> 0:26:46.000
<v Speaker 1>I never did do that, but I could have so.

0:26:47.040 --> 0:26:49.919
<v Speaker 1>Certainly back in the sixties and seventies when I was

0:26:49.960 --> 0:26:53.520
<v Speaker 1>into it, you go to the guitar shop, even if

0:26:53.560 --> 0:26:58.159
<v Speaker 1>it was the same model, they all sounded different. Was

0:26:58.200 --> 0:27:02.800
<v Speaker 1>that your experience then in his that you experienced still today? Well,

0:27:02.920 --> 0:27:07.000
<v Speaker 1>I think so. I will tell a quick story and

0:27:07.080 --> 0:27:10.040
<v Speaker 1>this I love the story, and it was validated. I

0:27:10.080 --> 0:27:14.399
<v Speaker 1>did a podcast too for a while, and uh, the

0:27:14.440 --> 0:27:16.479
<v Speaker 1>guy was interviewing and said, you know, I've told you

0:27:16.520 --> 0:27:19.320
<v Speaker 1>a story about Chad Atkins. He said, I was the

0:27:19.359 --> 0:27:23.639
<v Speaker 1>owner of that guitar shop. So he said, chat you

0:27:23.680 --> 0:27:25.119
<v Speaker 1>used to come around and look at the guitars on

0:27:25.160 --> 0:27:26.639
<v Speaker 1>the wall and all light he pulled them down and

0:27:26.640 --> 0:27:31.040
<v Speaker 1>start planning it. So this kid comes running up and said, man,

0:27:31.040 --> 0:27:33.119
<v Speaker 1>that's a great sound of guitar, and Chet takes it,

0:27:33.160 --> 0:27:34.600
<v Speaker 1>hangs it back on the wall. It says, how's the

0:27:34.640 --> 0:27:39.399
<v Speaker 1>sound now? That's a good story. That's a good story.

0:27:39.480 --> 0:27:42.240
<v Speaker 1>I love that one. That that blows me away. I

0:27:42.240 --> 0:27:44.080
<v Speaker 1>wouldn't have had guts enough to do the how's it

0:27:44.200 --> 0:27:48.199
<v Speaker 1>sound now if he just said If he had come

0:27:48.280 --> 0:27:50.240
<v Speaker 1>up and said, man, you're a great guitar player, that

0:27:50.280 --> 0:27:52.320
<v Speaker 1>would have been a different answer. But he said, man,

0:27:52.359 --> 0:27:56.800
<v Speaker 1>that's a great sound of guitar now. And I got

0:27:56.800 --> 0:28:01.720
<v Speaker 1>to beat Chad a few times, and uh, I figured

0:28:01.760 --> 0:28:04.080
<v Speaker 1>you get around, asked me, hadn't asked me yet? Who

0:28:04.119 --> 0:28:06.800
<v Speaker 1>who are my influences? I listened to Less Paul and

0:28:06.800 --> 0:28:09.000
<v Speaker 1>said actors like everybody else did. And I said, the

0:28:09.040 --> 0:28:12.440
<v Speaker 1>world doesn't need another Less Paul or to actings or B. B.

0:28:12.600 --> 0:28:15.560
<v Speaker 1>King or another of those guys. So I started pattern

0:28:15.640 --> 0:28:17.600
<v Speaker 1>what I did after a guy named Loman Paul and

0:28:17.640 --> 0:28:20.720
<v Speaker 1>who was the leader and guitar player for the Five Royals.

0:28:20.960 --> 0:28:22.840
<v Speaker 1>And that's some music. I grew up on dancer too.

0:28:24.240 --> 0:28:25.919
<v Speaker 1>I think a lot of people today don't even know

0:28:25.960 --> 0:28:31.479
<v Speaker 1>who the five Royals were not and uh Betty LaVette,

0:28:31.520 --> 0:28:34.240
<v Speaker 1>who was on a dedicated album, she said she dated

0:28:34.560 --> 0:28:37.200
<v Speaker 1>Loman's brother and they always want to be the Royals.

0:28:38.360 --> 0:28:41.680
<v Speaker 1>I'll go, okay, be the Royals. That's sort of like

0:28:41.760 --> 0:28:44.720
<v Speaker 1>the Royals. Sounds like a sports team. But if you

0:28:44.760 --> 0:28:48.880
<v Speaker 1>say Royal's that's big, that's enormous. It's just spelled. It's

0:28:48.880 --> 0:28:52.320
<v Speaker 1>spelled the same bit pronounced a little bit different. The Royals. Yeah, man,

0:28:53.760 --> 0:28:56.080
<v Speaker 1>I hear from her all the time. I'll have to

0:28:56.120 --> 0:28:59.720
<v Speaker 1>ask her about that story. So, okay, you're playing in

0:28:59.800 --> 0:29:02.640
<v Speaker 1>the being when you playing? Okay, your fourteen, when you

0:29:02.680 --> 0:29:05.600
<v Speaker 1>get a guitar, when do you start forming the band?

0:29:07.960 --> 0:29:13.520
<v Speaker 1>Let's see fourteen is when I was about sixteen. And

0:29:13.680 --> 0:29:16.320
<v Speaker 1>how did that come together? You say me, Well, there

0:29:16.360 --> 0:29:20.080
<v Speaker 1>was another guy in school, Charlie Freeman, Charles Freeman, who

0:29:20.120 --> 0:29:22.280
<v Speaker 1>was more into jazz than I was. But he was

0:29:22.360 --> 0:29:25.440
<v Speaker 1>taking the guitar lessons and I wasn't. My family couldn't

0:29:25.480 --> 0:29:28.800
<v Speaker 1>afford the guitar lessons. So when he his mom would

0:29:28.840 --> 0:29:30.360
<v Speaker 1>pick him up at school on the day he had

0:29:30.400 --> 0:29:33.640
<v Speaker 1>his lessons. I would run home and get my guitar

0:29:33.680 --> 0:29:35.640
<v Speaker 1>and be sitting on his front porch whenever he got

0:29:35.640 --> 0:29:38.160
<v Speaker 1>home from his lesson, and he would showing me what

0:29:38.200 --> 0:29:40.520
<v Speaker 1>he learned today, and I would stay and play behind

0:29:40.600 --> 0:29:43.600
<v Speaker 1>him so he could practice what he had learned. And

0:29:43.680 --> 0:29:45.920
<v Speaker 1>that seemed to work out pretty good. He went on

0:29:46.120 --> 0:29:50.120
<v Speaker 1>to further his career in jazz and all. And uh,

0:29:50.560 --> 0:29:52.600
<v Speaker 1>there was a guy named Mashew Skipper who had a

0:29:52.680 --> 0:29:56.240
<v Speaker 1>jazz band. And I don't know where Mashey was from.

0:29:56.280 --> 0:29:58.120
<v Speaker 1>I think he was from Arkansost, but I'm not really sure.

0:29:58.720 --> 0:30:01.360
<v Speaker 1>And uh, I remember, but Charlie went off with him

0:30:01.440 --> 0:30:03.360
<v Speaker 1>and did it a two up in Canada in a

0:30:03.360 --> 0:30:06.840
<v Speaker 1>bunch of places. And uh, he was the other guitar

0:30:06.840 --> 0:30:10.000
<v Speaker 1>player in the Marquees, so we always had if one

0:30:10.040 --> 0:30:13.520
<v Speaker 1>of us couldn't make it didn't matter, you know. But

0:30:13.600 --> 0:30:17.120
<v Speaker 1>he played with us at the in clubs and so forth. Now,

0:30:17.320 --> 0:30:19.240
<v Speaker 1>how much did you practice? Were you one of those

0:30:19.240 --> 0:30:22.360
<v Speaker 1>guys sitting in your bedroom for hours working it out? No?

0:30:22.520 --> 0:30:25.560
<v Speaker 1>I wish I had it, but I didn't. I still

0:30:25.560 --> 0:30:27.240
<v Speaker 1>look today, I come off the road, I put it

0:30:27.280 --> 0:30:28.600
<v Speaker 1>in the corner and I picked it back up, and

0:30:28.600 --> 0:30:31.800
<v Speaker 1>we'll go back on the road again. It's kind of

0:30:31.960 --> 0:30:33.920
<v Speaker 1>a silly way to look at things, but I never did,

0:30:34.480 --> 0:30:36.920
<v Speaker 1>and as I'm self taught, and I learned by doing.

0:30:37.240 --> 0:30:41.560
<v Speaker 1>You learn in the studio. So can you read music?

0:30:42.000 --> 0:30:52.080
<v Speaker 1>Not at all? Not enough to hurt my plan. So

0:30:52.120 --> 0:30:54.400
<v Speaker 1>you're playing in the Marquees, how do you end up me?

0:30:54.520 --> 0:30:59.200
<v Speaker 1>How do you end up recording? Uh? I guess because

0:30:59.280 --> 0:31:01.440
<v Speaker 1>we I was on for the dance songs and all

0:31:01.480 --> 0:31:04.040
<v Speaker 1>that sort of stuff, And I remember the first session

0:31:04.080 --> 0:31:06.560
<v Speaker 1>I did it. Son Scotty Moore had me come in

0:31:06.640 --> 0:31:09.640
<v Speaker 1>and double an upright bass and that's when the transition

0:31:09.680 --> 0:31:13.320
<v Speaker 1>was happening and recording and for those who could afford offender,

0:31:14.320 --> 0:31:17.000
<v Speaker 1>it sounded like you're playing with a pick. So I've

0:31:17.280 --> 0:31:21.200
<v Speaker 1>overdubbed the baritone guitar down electoral baritone that I played

0:31:21.200 --> 0:31:23.800
<v Speaker 1>with a pick, just like a guitar six strang and

0:31:23.920 --> 0:31:26.480
<v Speaker 1>it it wasn't a bass guitar. It was a baritone guitar.

0:31:26.720 --> 0:31:29.400
<v Speaker 1>So it was an oxic below a guitar, but it

0:31:29.520 --> 0:31:32.720
<v Speaker 1>was you could get it low and really pop the

0:31:32.840 --> 0:31:37.200
<v Speaker 1>upright bass, so you know the upright basically doom them

0:31:36.720 --> 0:31:38.880
<v Speaker 1>tom and you played with a pick and double and

0:31:38.920 --> 0:31:42.280
<v Speaker 1>get it right, and it sounds like an offender. Well

0:31:42.360 --> 0:31:45.040
<v Speaker 1>wait a second here, you're in Memphis, you're playing in

0:31:45.040 --> 0:31:48.520
<v Speaker 1>a high school band. How do you end up knowing

0:31:48.680 --> 0:31:55.040
<v Speaker 1>Scotty Moore and recording its son? Well, that's that's I

0:31:55.040 --> 0:31:58.160
<v Speaker 1>don't know, that's weird. I got I got a call,

0:31:58.240 --> 0:32:00.480
<v Speaker 1>that's all I know. And I remember the first time

0:32:00.480 --> 0:32:04.000
<v Speaker 1>I got called to plays session. I asked, Chips moment

0:32:04.080 --> 0:32:06.080
<v Speaker 1>I knew, you know, he was the engineer at Stacks

0:32:06.080 --> 0:32:09.600
<v Speaker 1>and whatever helping. Jim stirred and I said, Chips, I've

0:32:09.600 --> 0:32:11.760
<v Speaker 1>been asked to play on a session. What I played?

0:32:11.800 --> 0:32:13.760
<v Speaker 1>He said, just play what you feel. If they don't

0:32:13.800 --> 0:32:15.080
<v Speaker 1>like it, they'll tell you they don't like it. And

0:32:15.120 --> 0:32:16.920
<v Speaker 1>they asked you to play what they want. When I

0:32:16.960 --> 0:32:19.520
<v Speaker 1>hear you play otherwise, he said, if they like it,

0:32:19.560 --> 0:32:22.040
<v Speaker 1>then you just keep playing what you're playing. And that's

0:32:22.040 --> 0:32:24.760
<v Speaker 1>what I did. And I'll always give him the credit

0:32:24.840 --> 0:32:27.360
<v Speaker 1>for teaching me about the unwind G string. You can

0:32:27.360 --> 0:32:31.400
<v Speaker 1>bend it better, because all guitar strings in those days

0:32:32.200 --> 0:32:34.720
<v Speaker 1>and the best words were the Gibson Cinematics, and they

0:32:34.800 --> 0:32:37.520
<v Speaker 1>came with a wound G string and that was very

0:32:37.640 --> 0:32:40.200
<v Speaker 1>very hard to bend. I mean, it was very extremely

0:32:40.240 --> 0:32:43.720
<v Speaker 1>hard to be in but you could do it and Uh,

0:32:43.960 --> 0:32:45.960
<v Speaker 1>you know when I started using we used a B

0:32:46.080 --> 0:32:50.680
<v Speaker 1>string in those days because you couldn't buy gauge strings. Wow,

0:32:50.840 --> 0:32:53.120
<v Speaker 1>that's those are the That was a big breakthrough. When

0:32:53.120 --> 0:32:56.760
<v Speaker 1>they have the later games strings, that's for sure. So

0:32:57.680 --> 0:33:01.000
<v Speaker 1>you go to Scotty Moore. When do you start recording

0:33:01.040 --> 0:33:07.760
<v Speaker 1>as the Marquees? Wow? Well. Charles Acton came to me

0:33:07.840 --> 0:33:09.280
<v Speaker 1>one day and he said, I understand you have a

0:33:09.320 --> 0:33:12.480
<v Speaker 1>good man. I said, I'd like to think so, but

0:33:12.640 --> 0:33:13.960
<v Speaker 1>you know, he said I want to be in your

0:33:13.960 --> 0:33:16.280
<v Speaker 1>band and said you do what? He plays a saxophone.

0:33:16.720 --> 0:33:18.239
<v Speaker 1>I said, how long you've been playing? He said, man,

0:33:18.240 --> 0:33:22.120
<v Speaker 1>I've been taking lessons for three months. And somewhere in

0:33:22.120 --> 0:33:24.720
<v Speaker 1>that conversation he said his uncle on a recording studio.

0:33:25.560 --> 0:33:28.840
<v Speaker 1>That was Jim Stewart. I went, okay, can you show

0:33:28.880 --> 0:33:33.240
<v Speaker 1>up for rehearsal this Saturday. Come to find out, Jim

0:33:33.360 --> 0:33:35.880
<v Speaker 1>had some recording equipment in his garage in North Memphis,

0:33:37.880 --> 0:33:40.640
<v Speaker 1>but he had built a little sound booth. I guess,

0:33:40.800 --> 0:33:43.600
<v Speaker 1>put the singer isolated. The singer put some carpet down

0:33:43.600 --> 0:33:46.080
<v Speaker 1>on the concrete and that's what he called the studio.

0:33:46.720 --> 0:33:50.120
<v Speaker 1>So the first studio that was it was still satellite.

0:33:50.160 --> 0:33:54.240
<v Speaker 1>It wasn't stack ship was in Brunswick, Tennessee, about ten

0:33:54.280 --> 0:33:57.840
<v Speaker 1>miles out of town, now very you know minute ride

0:33:57.840 --> 0:34:00.880
<v Speaker 1>out there. And then Chips came to Jim and said, Jim,

0:34:00.920 --> 0:34:05.240
<v Speaker 1>there's this Capital theater building, an old movie theater that's

0:34:05.280 --> 0:34:07.840
<v Speaker 1>up police and I think we can get it if you,

0:34:07.960 --> 0:34:09.880
<v Speaker 1>if you want it. And Jim didn't have the money,

0:34:10.120 --> 0:34:12.600
<v Speaker 1>so he goes to a Stell and it Stell says

0:34:12.680 --> 0:34:16.600
<v Speaker 1>a Stell action. So Stuart Jim start st and action

0:34:16.680 --> 0:34:19.239
<v Speaker 1>A X S T A X. That's what they come

0:34:19.320 --> 0:34:23.000
<v Speaker 1>up with stacks. But anyway, uh, she said, I'll lend

0:34:23.040 --> 0:34:25.239
<v Speaker 1>you the money. I'll mortgage my home and lend you

0:34:25.320 --> 0:34:26.680
<v Speaker 1>the money, but you're gonna have to give me a

0:34:26.719 --> 0:34:29.920
<v Speaker 1>record shop. And that's where satellite records came came to pass.

0:34:30.280 --> 0:34:34.759
<v Speaker 1>And so there was nothing legally wrong with having satellite records,

0:34:34.800 --> 0:34:38.439
<v Speaker 1>but you couldn't have a record out the satellite leavel

0:34:38.480 --> 0:34:41.960
<v Speaker 1>because he got a season assists a letter from some

0:34:42.040 --> 0:34:44.800
<v Speaker 1>lawyers in California, so that you know, a satellite records

0:34:44.840 --> 0:34:48.080
<v Speaker 1>already exists, but a satellite record shop didn't matter. So

0:34:48.160 --> 0:34:51.319
<v Speaker 1>it's stayed the same, and uh, we had to go

0:34:51.840 --> 0:34:56.840
<v Speaker 1>change to the label from satellite to stacks and then, uh,

0:34:57.160 --> 0:35:01.799
<v Speaker 1>like all record companies, Stacks had a subsider vote, So

0:35:02.000 --> 0:35:06.000
<v Speaker 1>Green Onions came out on vote one oh two. So

0:35:06.040 --> 0:35:07.840
<v Speaker 1>I'm told I don't know. I wasn't there on the

0:35:07.880 --> 0:35:09.480
<v Speaker 1>other end of the line for this one. But they

0:35:09.520 --> 0:35:12.359
<v Speaker 1>said that we don't have time to promote a new

0:35:12.440 --> 0:35:16.560
<v Speaker 1>level because you had Atlantic at co, you know, and

0:35:16.680 --> 0:35:19.640
<v Speaker 1>every every big label had had an alternative levels so

0:35:19.640 --> 0:35:21.920
<v Speaker 1>they can put out more records. And they said, we

0:35:21.920 --> 0:35:23.960
<v Speaker 1>don't have time to promote a new label, get that

0:35:24.040 --> 0:35:28.000
<v Speaker 1>thing on stacks. So it came out on stack or

0:35:28.040 --> 0:35:32.800
<v Speaker 1>something originally Green understood. Okay, if Green Onion was number

0:35:32.800 --> 0:35:35.080
<v Speaker 1>one O two one vote, do you remember what was

0:35:35.160 --> 0:35:40.719
<v Speaker 1>one oh one? No, I don't properly, Charles Hines or

0:35:41.000 --> 0:35:43.520
<v Speaker 1>Nick Charles one or the other. I couldn't remember. Okay,

0:35:43.560 --> 0:35:47.200
<v Speaker 1>So you're in, You're in. You know your house? How

0:35:47.239 --> 0:35:53.000
<v Speaker 1>far was your house from downtown Memphis? About twenty minutes? Okay,

0:35:53.520 --> 0:35:57.800
<v Speaker 1>so was it the Memphis School District though? Oh yeah? Okay.

0:35:58.440 --> 0:36:02.799
<v Speaker 1>So Stewart goes into the movie studio a movie theater.

0:36:03.040 --> 0:36:05.480
<v Speaker 1>Do you help build him build it? Since you're there

0:36:05.480 --> 0:36:09.400
<v Speaker 1>at the ground floor. Well, let's I don't want to

0:36:09.440 --> 0:36:11.640
<v Speaker 1>say help build it. But when they took the seats

0:36:11.640 --> 0:36:13.759
<v Speaker 1>out of a lot of the boats and come up

0:36:13.760 --> 0:36:17.320
<v Speaker 1>from the concrete, so I remember Packy Ashton, Charles Ashton

0:36:17.320 --> 0:36:19.680
<v Speaker 1>and myself. We'd take a hammer and knock them back

0:36:19.680 --> 0:36:22.040
<v Speaker 1>down into the concrete. That's what we did, or if

0:36:22.040 --> 0:36:24.480
<v Speaker 1>there were long enough, we break them off, going back

0:36:24.480 --> 0:36:28.160
<v Speaker 1>and forth until I got hot and broke off. Okay,

0:36:28.640 --> 0:36:31.520
<v Speaker 1>Needless to say, the original Stacks was torn down. Now

0:36:31.560 --> 0:36:35.480
<v Speaker 1>there's a museum that tries to replicate the field. But

0:36:35.560 --> 0:36:39.560
<v Speaker 1>what always blew my mind was the floor wasn't flat, No,

0:36:39.680 --> 0:36:42.200
<v Speaker 1>it was angle. So what was that like? Making all

0:36:42.200 --> 0:36:45.200
<v Speaker 1>these records and it's the same exact angle today it was.

0:36:45.280 --> 0:36:49.080
<v Speaker 1>Then What happened was some guys came in the day

0:36:49.080 --> 0:36:51.520
<v Speaker 1>before they tore it down. They wanted me to remember

0:36:51.560 --> 0:36:55.000
<v Speaker 1>everything I could remember about Stacks when they went to

0:36:55.560 --> 0:36:58.000
<v Speaker 1>look at it. Even though it was leveled. The guy

0:36:58.080 --> 0:37:02.040
<v Speaker 1>never to build it back. Existing blueprints were still on

0:37:02.160 --> 0:37:06.720
<v Speaker 1>file downtown, so they didn't need what I remembered at all.

0:37:07.000 --> 0:37:09.680
<v Speaker 1>I remember colors and stuff, but the angle of the

0:37:09.719 --> 0:37:12.560
<v Speaker 1>floor is exactly the same facade out fronts exactly the same.

0:37:12.640 --> 0:37:15.640
<v Speaker 1>Everything is exactly the same, except some of it is

0:37:15.680 --> 0:37:21.120
<v Speaker 1>now a museum. Okay, but I know it's were you

0:37:21.200 --> 0:37:25.760
<v Speaker 1>worked all the time. But either one leg was higher

0:37:25.800 --> 0:37:28.799
<v Speaker 1>than the other or your toes your heels were higher.

0:37:28.920 --> 0:37:31.880
<v Speaker 1>Were you were aware of that when you were working there. Nah,

0:37:32.040 --> 0:37:33.880
<v Speaker 1>you didn't deal with that. It was just the saying.

0:37:33.880 --> 0:37:35.920
<v Speaker 1>It was up the top and the horns are down

0:37:35.920 --> 0:37:38.880
<v Speaker 1>at the bottom, and the piano was down there in

0:37:38.880 --> 0:37:41.040
<v Speaker 1>the drum riser. I remember the drum riser. We had

0:37:41.080 --> 0:37:43.640
<v Speaker 1>to build a little off angle so the floor of

0:37:43.640 --> 0:37:47.040
<v Speaker 1>the drums was flat the drum riser, and it was

0:37:47.080 --> 0:37:51.640
<v Speaker 1>only guarded on two sides instead of four. It was

0:37:51.680 --> 0:37:54.279
<v Speaker 1>more of a just an ail thing to isolate it.

0:37:56.160 --> 0:38:00.239
<v Speaker 1>And I remember piano note broke one time, one of

0:38:00.239 --> 0:38:03.440
<v Speaker 1>the strings and it's stuck in the baffled behind the

0:38:03.440 --> 0:38:07.040
<v Speaker 1>bass player. WHOA. That was scary for it to hit him.

0:38:07.080 --> 0:38:09.000
<v Speaker 1>That had been the end of that, but it broke.

0:38:09.840 --> 0:38:12.040
<v Speaker 1>I would never will forget that. That was pretty scary.

0:38:12.680 --> 0:38:16.480
<v Speaker 1>M Okay. So you make the record is the Marquees

0:38:16.719 --> 0:38:21.239
<v Speaker 1>Jim Steward opens up the big recording studio in the

0:38:21.280 --> 0:38:23.360
<v Speaker 1>movie theater. How you end up. How do you end

0:38:23.440 --> 0:38:28.600
<v Speaker 1>up getting integrated into that? I don't know, but I

0:38:28.640 --> 0:38:34.200
<v Speaker 1>do know this that Jim Stirt hated the band. Stelle

0:38:34.320 --> 0:38:36.800
<v Speaker 1>loved the band. Why because her son played saxophone in

0:38:36.840 --> 0:38:39.319
<v Speaker 1>the band, right, So she kept pushing the Jim to

0:38:39.360 --> 0:38:42.200
<v Speaker 1>record him and we recorded out Brunswick one time and

0:38:42.800 --> 0:38:48.200
<v Speaker 1>I still have those tapes. Is pretty bad, pretty amateurish. Uh.

0:38:48.560 --> 0:38:53.600
<v Speaker 1>The song last Night was written by a lot of guys,

0:38:53.680 --> 0:38:57.400
<v Speaker 1>but the the initial riff was written by Jerry spot Smith,

0:38:57.400 --> 0:39:00.759
<v Speaker 1>the piano player in Chips Woman's band. And they were

0:39:00.800 --> 0:39:03.720
<v Speaker 1>already they were older than we were, and uh already

0:39:03.719 --> 0:39:05.920
<v Speaker 1>had a big gig at one of the big clubs.

0:39:06.520 --> 0:39:08.400
<v Speaker 1>I think they were planning of Vapors or somewhere like that.

0:39:08.440 --> 0:39:13.440
<v Speaker 1>But anyway, uh so Smoochy was on that session. Chiffs

0:39:13.440 --> 0:39:16.839
<v Speaker 1>Woman engineered it and we called the band and I

0:39:16.880 --> 0:39:19.680
<v Speaker 1>wanted Duck to play based on it, and they say

0:39:19.719 --> 0:39:21.680
<v Speaker 1>I wasn't on the record because there's no guitar and

0:39:21.719 --> 0:39:24.080
<v Speaker 1>the record, however, I am on it. I'm playing the

0:39:24.080 --> 0:39:27.040
<v Speaker 1>whole note on the organ when Smoochy texas organ solo,

0:39:27.320 --> 0:39:31.400
<v Speaker 1>two different, two different solos on the record. So the

0:39:31.480 --> 0:39:34.719
<v Speaker 1>night before the evening afternoon before they recorded it. There

0:39:34.760 --> 0:39:38.280
<v Speaker 1>was a Friday afternoon. They recorded on a Saturday, packing

0:39:38.320 --> 0:39:41.560
<v Speaker 1>and I came up with the dada dada, and I

0:39:41.600 --> 0:39:43.279
<v Speaker 1>don't I didn't come up with that whole note on

0:39:43.320 --> 0:39:45.640
<v Speaker 1>the intro. So that was something the horns came up

0:39:45.640 --> 0:39:47.680
<v Speaker 1>with later. Maybe it was package out did I don't know.

0:39:47.719 --> 0:39:51.920
<v Speaker 1>I never did asked buh. That was my idea to

0:39:51.960 --> 0:39:55.560
<v Speaker 1>do the drum roule. So we had the drummer from

0:39:55.760 --> 0:39:59.320
<v Speaker 1>the plantation in plane and during the show he was

0:39:59.520 --> 0:40:02.480
<v Speaker 1>always Jackson played with his hands and people love that

0:40:02.520 --> 0:40:05.360
<v Speaker 1>play the drums like hunger drums. And I said, you

0:40:05.400 --> 0:40:07.800
<v Speaker 1>know that thing you do, that little show piece. You

0:40:07.880 --> 0:40:09.319
<v Speaker 1>do what you do with your hands? He said yes,

0:40:09.360 --> 0:40:13.520
<v Speaker 1>said can you do that same with sticks? He said

0:40:13.600 --> 0:40:15.120
<v Speaker 1>like this and he played it and I said, that's it.

0:40:15.160 --> 0:40:18.000
<v Speaker 1>And that was the intro. That that that that that

0:40:18.120 --> 0:40:23.000
<v Speaker 1>that we don't know where things come from. They just

0:40:23.000 --> 0:40:25.440
<v Speaker 1>follo out the ceiling and you go forward. Just be

0:40:25.520 --> 0:40:29.840
<v Speaker 1>a good channeler. Okay. So he records the marquees, but

0:40:29.920 --> 0:40:34.600
<v Speaker 1>then you personally get integrated into the Stax operation, right,

0:40:34.680 --> 0:40:36.600
<v Speaker 1>And I do remember the first session I played the

0:40:36.680 --> 0:40:40.840
<v Speaker 1>stacks and uh like all guitar players they want to

0:40:40.840 --> 0:40:42.840
<v Speaker 1>be engineers. I don't know why. It's just one of

0:40:42.920 --> 0:40:48.200
<v Speaker 1>those things, especially in Memphis. That's why Scotti, the combination

0:40:48.280 --> 0:40:51.520
<v Speaker 1>of myself going down and playing on Scottish session, he

0:40:51.600 --> 0:40:54.359
<v Speaker 1>wanted to be an engineer and he engineered the other

0:40:54.440 --> 0:40:59.279
<v Speaker 1>thing that Like, when Green Onions came around, I knew

0:40:59.280 --> 0:41:01.279
<v Speaker 1>it was pretty groove. They had no title yet, it

0:41:01.400 --> 0:41:04.759
<v Speaker 1>was just tracks, and I had the singer that we

0:41:04.760 --> 0:41:07.560
<v Speaker 1>were there to record showed up that day, and we

0:41:07.680 --> 0:41:09.640
<v Speaker 1>heard later that he did show up at the record shop,

0:41:09.640 --> 0:41:11.360
<v Speaker 1>but he had sang all night the night before. This

0:41:11.400 --> 0:41:13.920
<v Speaker 1>is on a Sunday afternoon, and uh, he didn't have

0:41:13.920 --> 0:41:17.320
<v Speaker 1>any voice, and so he never came back in the studio.

0:41:17.440 --> 0:41:19.600
<v Speaker 1>So we were just playing around, keeping our chops up,

0:41:20.440 --> 0:41:22.279
<v Speaker 1>and Jim hit the record button because it was ready

0:41:22.320 --> 0:41:25.560
<v Speaker 1>to record, and uh, he said, guys, come up. Listens

0:41:25.680 --> 0:41:28.160
<v Speaker 1>you recorded that, So yeah, so we'll come up. We

0:41:28.239 --> 0:41:29.680
<v Speaker 1>listened to it. He said, if we decided to put

0:41:29.760 --> 0:41:31.640
<v Speaker 1>something like this out, do you have anything else you

0:41:31.640 --> 0:41:33.400
<v Speaker 1>could put on the flip side? In those days of

0:41:33.440 --> 0:41:36.759
<v Speaker 1>the A side of bisade. So we just were dumbfounded.

0:41:36.800 --> 0:41:38.840
<v Speaker 1>We said we didn't have anything and I got to

0:41:38.880 --> 0:41:40.560
<v Speaker 1>thank and I said, book or you remember you played

0:41:40.560 --> 0:41:42.160
<v Speaker 1>me a roof about two weeks ago. You thought it

0:41:42.200 --> 0:41:45.640
<v Speaker 1>would be really good for vocal song? He said, I

0:41:45.680 --> 0:41:47.640
<v Speaker 1>don't remember, but come down to the organ. I'll play

0:41:47.640 --> 0:41:48.920
<v Speaker 1>a couple of roots. You tell me if, I said,

0:41:48.920 --> 0:41:50.360
<v Speaker 1>and he played the green engin and said, that's the

0:41:50.360 --> 0:41:54.920
<v Speaker 1>one right there. So how long did it take to

0:41:55.000 --> 0:41:59.680
<v Speaker 1>record Green Onions third tap? And did you know what

0:41:59.719 --> 0:42:03.040
<v Speaker 1>you have? No? I just knew it was good. I

0:42:03.080 --> 0:42:05.759
<v Speaker 1>knew it was danceable, and so I took it to

0:42:05.880 --> 0:42:08.280
<v Speaker 1>Scotty Moore, who at that time was running the lathe

0:42:09.000 --> 0:42:12.759
<v Speaker 1>and Elvis's contract was Samitory sold. Elvis's contract had a

0:42:12.800 --> 0:42:15.480
<v Speaker 1>lot of money, so he bought a lathe that was

0:42:15.600 --> 0:42:18.839
<v Speaker 1>very much unheard of it. All the maston came out

0:42:18.840 --> 0:42:21.440
<v Speaker 1>of Nashville, out of where we're setting now, in the

0:42:21.520 --> 0:42:26.520
<v Speaker 1>same studio. Uh, in those days, and uh, I don't

0:42:26.560 --> 0:42:28.680
<v Speaker 1>think this building was built still sixty four, so that

0:42:28.760 --> 0:42:32.319
<v Speaker 1>was a year. We had the Green Onions in sixty two,

0:42:32.360 --> 0:42:35.200
<v Speaker 1>I think it was, but it was mastered up here

0:42:35.880 --> 0:42:40.360
<v Speaker 1>and uh, chips, I remember wanting me to play on

0:42:40.360 --> 0:42:42.120
<v Speaker 1>a session. You wanted to engineer it and it was

0:42:42.160 --> 0:42:45.000
<v Speaker 1>Prince Connelly I'm Going Home was it was the title

0:42:45.000 --> 0:42:49.200
<v Speaker 1>of the song. Brought up a chip shutter to me

0:42:49.239 --> 0:42:52.600
<v Speaker 1>young guitar and I duplicated played And that was my

0:42:52.680 --> 0:42:57.520
<v Speaker 1>first session at sax Okay back at that level. Was

0:42:57.560 --> 0:43:03.799
<v Speaker 1>it one or two track mono? Yeah? Mono? So was

0:43:04.200 --> 0:43:06.600
<v Speaker 1>there any you know they laid it down? Were there?

0:43:06.600 --> 0:43:11.239
<v Speaker 1>It was there any so called mixing, any effects added after? No,

0:43:12.880 --> 0:43:15.960
<v Speaker 1>just the way it was recorded. In those days, you

0:43:16.080 --> 0:43:18.360
<v Speaker 1>mixed a song the way it was gonna be sounded

0:43:18.400 --> 0:43:21.160
<v Speaker 1>on the record. Basically, the engineer tried to do that

0:43:22.040 --> 0:43:25.280
<v Speaker 1>since it was mono, so any echo and any effects

0:43:25.320 --> 0:43:28.800
<v Speaker 1>had to be done at the time. So Green Onions

0:43:28.920 --> 0:43:31.560
<v Speaker 1>is cut. How long after you cut it does it

0:43:31.680 --> 0:43:36.680
<v Speaker 1>hit the market? Well, that's a good question. I don't remember.

0:43:36.680 --> 0:43:39.239
<v Speaker 1>That could have been more than a than a month,

0:43:39.600 --> 0:43:42.839
<v Speaker 1>several weeks, I guess. And do you remember the first

0:43:42.840 --> 0:43:46.239
<v Speaker 1>time you heard it on the radio? No? But I

0:43:46.280 --> 0:43:49.880
<v Speaker 1>do Green Onions. I was there, That's why I know.

0:43:51.040 --> 0:43:54.400
<v Speaker 1>But and all I had was that dub that that

0:43:54.480 --> 0:43:56.920
<v Speaker 1>Scotty had made me, and I took it to a

0:43:56.920 --> 0:43:59.400
<v Speaker 1>friend of mine, Ruben washing On w l Okay had

0:43:59.400 --> 0:44:01.400
<v Speaker 1>the drive time and the reason I used to go

0:44:01.480 --> 0:44:04.280
<v Speaker 1>there my wife at the time was working for Celia

0:44:04.320 --> 0:44:06.680
<v Speaker 1>Mattress Company. I drop her off at her gig at

0:44:06.680 --> 0:44:09.880
<v Speaker 1>seven o'clock and I'd be it at the radio station

0:44:09.880 --> 0:44:13.239
<v Speaker 1>about seven torenty or whatever, and I always got in.

0:44:13.280 --> 0:44:15.919
<v Speaker 1>Reuben and I were really good friends, and so that's

0:44:15.920 --> 0:44:17.560
<v Speaker 1>where he got started. And I said, I want you

0:44:17.600 --> 0:44:19.880
<v Speaker 1>to hear something we cut Sunday. I had scott This

0:44:20.000 --> 0:44:22.359
<v Speaker 1>was on a Tuesday morning, and I had I said,

0:44:22.360 --> 0:44:24.120
<v Speaker 1>I had Scotty cut me a little doub on this

0:44:24.200 --> 0:44:27.080
<v Speaker 1>thing yesterday, so tell me what you think. He's a

0:44:27.160 --> 0:44:30.040
<v Speaker 1>disc jocket, so he would know. And he plays the

0:44:30.080 --> 0:44:32.440
<v Speaker 1>intro and about two bars and stops it, backs it

0:44:32.520 --> 0:44:34.640
<v Speaker 1>up and I said, you don't like it, and he said, no,

0:44:34.840 --> 0:44:36.399
<v Speaker 1>it's good. I just want to make sure I heard

0:44:36.400 --> 0:44:38.719
<v Speaker 1>what I heard. I said, okay, but I didn't know.

0:44:38.760 --> 0:44:40.320
<v Speaker 1>He put it out on the air and the phones

0:44:40.400 --> 0:44:43.560
<v Speaker 1>lived up all I was playing. That's how that record

0:44:43.600 --> 0:44:47.800
<v Speaker 1>got broke. By playing on the on the radio. People

0:44:47.800 --> 0:44:49.719
<v Speaker 1>calling said I don't know what it is. He said,

0:44:49.719 --> 0:44:51.239
<v Speaker 1>I don't know what it is. We're gonna find out,

0:44:51.239 --> 0:44:52.560
<v Speaker 1>and then the phone ring again. I don't know what

0:44:52.600 --> 0:44:56.840
<v Speaker 1>it is, we're gonna find out and it becomes a

0:44:57.040 --> 0:45:00.440
<v Speaker 1>national hit and you're a young guy. What is that

0:45:00.520 --> 0:45:06.680
<v Speaker 1>experience like? Well, it's overwhelming, but it's all your dreams

0:45:06.800 --> 0:45:10.280
<v Speaker 1>come come together real quickly. So everything you thought about

0:45:10.520 --> 0:45:14.759
<v Speaker 1>happens very quickly. And we were in such de man,

0:45:14.840 --> 0:45:17.200
<v Speaker 1>it was amazing. And I the thing with green onions

0:45:17.320 --> 0:45:20.520
<v Speaker 1>already had experienced that with the last night. We did

0:45:20.560 --> 0:45:25.920
<v Speaker 1>a tour of the United States, the Atlantic sort of

0:45:27.000 --> 0:45:29.640
<v Speaker 1>Father or whatever, and we did Dick Clark. We were

0:45:29.640 --> 0:45:33.640
<v Speaker 1>on Dick Clark and uh, unfortunately that's one of the

0:45:33.680 --> 0:45:38.640
<v Speaker 1>tapes that got erased. Before you get a get a

0:45:38.760 --> 0:45:41.719
<v Speaker 1>judge to give her, don't do that. They were taking

0:45:41.760 --> 0:45:44.800
<v Speaker 1>all of his old kide scopes and destroying them because

0:45:44.840 --> 0:45:48.080
<v Speaker 1>they wanted to make more room. So Dick Clark himself

0:45:48.200 --> 0:45:51.480
<v Speaker 1>in those days, he finally got a judge to rule

0:45:51.520 --> 0:45:55.400
<v Speaker 1>it and make him stop. So and I went to

0:45:55.719 --> 0:45:57.520
<v Speaker 1>he was a friend of mine. I went to Dick

0:45:57.560 --> 0:46:01.000
<v Speaker 1>and I said, did you still have the a tape

0:46:01.000 --> 0:46:04.360
<v Speaker 1>of the markets and we're on your show? He said, non, Steve,

0:46:04.400 --> 0:46:06.040
<v Speaker 1>that was one of the ones that got destroyed and

0:46:06.239 --> 0:46:09.200
<v Speaker 1>get out of here. So there's no record of it,

0:46:10.560 --> 0:46:13.600
<v Speaker 1>and uh, there may be one up in Canada because

0:46:13.600 --> 0:46:17.480
<v Speaker 1>there's a TV show. We did it up there one time. Okay,

0:46:18.040 --> 0:46:22.080
<v Speaker 1>that was the sixties through the lens of today. Everybody

0:46:22.120 --> 0:46:24.080
<v Speaker 1>would ask. The first question they would ask it. I'm

0:46:24.120 --> 0:46:26.120
<v Speaker 1>not saying it's right, but it's the first question they

0:46:26.120 --> 0:46:30.960
<v Speaker 1>would ask would be about the money. So did you

0:46:30.960 --> 0:46:34.920
<v Speaker 1>ever make any money on Green Onions? Absoluteness still do today,

0:46:34.960 --> 0:46:38.319
<v Speaker 1>But that was not why we cut it. That was

0:46:38.360 --> 0:46:40.760
<v Speaker 1>not why I picked up the guitar warts to make money.

0:46:40.880 --> 0:46:43.279
<v Speaker 1>I mean, if you're good at what you do, you're

0:46:43.320 --> 0:46:45.920
<v Speaker 1>gonna make money out of it, I think. And if

0:46:45.920 --> 0:46:49.360
<v Speaker 1>you don't, you just keep going until you do. Okay.

0:46:49.400 --> 0:46:52.360
<v Speaker 1>A couple of questions here. You were going to Memphis State.

0:46:53.160 --> 0:46:56.000
<v Speaker 1>Did you graduate from Memphis State? No? I went two

0:46:56.080 --> 0:46:59.080
<v Speaker 1>years and we had green Onions, So I quit. I said,

0:46:59.120 --> 0:47:01.279
<v Speaker 1>I can always go by, and I never went back.

0:47:01.480 --> 0:47:05.920
<v Speaker 1>And what'd your parents say when you quit? I guess

0:47:05.920 --> 0:47:08.840
<v Speaker 1>he knows what he knows what he's doing, because I

0:47:08.880 --> 0:47:10.960
<v Speaker 1>convinced him I was gonna go back whenever all this

0:47:11.120 --> 0:47:14.719
<v Speaker 1>was over, and they never did stop. Okay, So Green Onions,

0:47:15.480 --> 0:47:18.720
<v Speaker 1>you tell the story, you go to the radio station.

0:47:19.080 --> 0:47:21.680
<v Speaker 1>You talk about a woman. Were you married to her

0:47:21.719 --> 0:47:28.759
<v Speaker 1>at that point? Uh? Yeah, whens were done. Okay, let's

0:47:28.800 --> 0:47:32.080
<v Speaker 1>be honest here, all your dreams come true. You go

0:47:32.160 --> 0:47:35.919
<v Speaker 1>on the road with a hit record. You know, there's

0:47:35.960 --> 0:47:37.560
<v Speaker 1>a lot of perks of being on the road. You

0:47:37.640 --> 0:47:42.319
<v Speaker 1>take an advantage of the perks. I don't know. That

0:47:42.440 --> 0:47:45.279
<v Speaker 1>was not again, that was not a purpose baby. We

0:47:45.360 --> 0:47:48.719
<v Speaker 1>did it was influenced by some of them, but that

0:47:48.840 --> 0:47:51.759
<v Speaker 1>was not the real orison we did it. Okay, So

0:47:51.880 --> 0:47:55.200
<v Speaker 1>there wasn't a lot of womanizing and drugging out there, No,

0:47:56.040 --> 0:47:59.960
<v Speaker 1>not at all with that. Then, Okay, let's go back

0:48:00.040 --> 0:48:03.040
<v Speaker 1>to Memphis at this time. What was it light between

0:48:03.080 --> 0:48:07.080
<v Speaker 1>the races in the fifties and sixth Well, basically, there

0:48:07.160 --> 0:48:10.120
<v Speaker 1>was no color in those days. Now, when you read

0:48:10.160 --> 0:48:13.359
<v Speaker 1>the history books, it says Memphis was the most segregated

0:48:13.400 --> 0:48:15.440
<v Speaker 1>town in the South. And it might have been. I

0:48:15.480 --> 0:48:17.359
<v Speaker 1>don't know, but it was something we all just took

0:48:17.400 --> 0:48:20.600
<v Speaker 1>for granted. I didn't look at a book or anybody

0:48:20.640 --> 0:48:23.120
<v Speaker 1>being any different color than I was. And that's not

0:48:23.200 --> 0:48:26.520
<v Speaker 1>why we did it. We were all there it stacks

0:48:26.560 --> 0:48:28.480
<v Speaker 1>as a team and working as a team, and it

0:48:28.520 --> 0:48:31.960
<v Speaker 1>seemed like everybody in Memphis was working as a team

0:48:32.000 --> 0:48:36.480
<v Speaker 1>because Memphis was the most was credited with being the

0:48:36.480 --> 0:48:39.160
<v Speaker 1>most beautiful city in the United States for about eight

0:48:39.200 --> 0:48:43.600
<v Speaker 1>years in a row. And I remember doing something in school.

0:48:43.640 --> 0:48:45.800
<v Speaker 1>I made a little wishing well and whatever, and it

0:48:46.120 --> 0:48:50.319
<v Speaker 1>got first place from the Quanners Club. So there were

0:48:50.840 --> 0:48:52.839
<v Speaker 1>and I have said this over and over, there was

0:48:52.880 --> 0:48:56.719
<v Speaker 1>never any color that I knew of its stacks. There

0:48:56.800 --> 0:49:00.359
<v Speaker 1>might have been later some division, but not not while

0:49:00.360 --> 0:49:03.120
<v Speaker 1>we were making all those records. And all that came later.

0:49:03.239 --> 0:49:08.640
<v Speaker 1>It came after Martin Ruther King was assassinated. So okay,

0:49:08.719 --> 0:49:11.319
<v Speaker 1>what the day that he was assassinated? What was it

0:49:11.440 --> 0:49:14.799
<v Speaker 1>like being in Memphis. I wasn't. I was in San Francisco.

0:49:16.280 --> 0:49:18.440
<v Speaker 1>The whole band had gone out there a day early

0:49:18.920 --> 0:49:23.160
<v Speaker 1>to play at the Fillmore West, and I think we

0:49:23.160 --> 0:49:25.560
<v Speaker 1>were supposed to be on the same show with Dina

0:49:25.640 --> 0:49:28.360
<v Speaker 1>Ross and the Supremes, who never got on the plane

0:49:28.680 --> 0:49:32.000
<v Speaker 1>in Detroit. When I heard about it. We were already

0:49:32.000 --> 0:49:37.120
<v Speaker 1>out there. Did the show play? Oh yeah, Now there's

0:49:37.160 --> 0:49:39.920
<v Speaker 1>a there's a small story that Bill Graham came to me.

0:49:40.000 --> 0:49:42.040
<v Speaker 1>I went to the restaurroom and Bill Graham came in

0:49:42.080 --> 0:49:44.080
<v Speaker 1>there behind me, and he said, Steve, I might have

0:49:44.120 --> 0:49:46.200
<v Speaker 1>send you guys back to Memphis. We have not sold

0:49:46.200 --> 0:49:48.160
<v Speaker 1>a ticket since we heard about that today, so it

0:49:48.239 --> 0:49:50.640
<v Speaker 1>really he said, yeah, he said I'm gonna take it.

0:49:50.680 --> 0:49:52.200
<v Speaker 1>He said, I'll take care of you, but I can't

0:49:52.200 --> 0:49:54.480
<v Speaker 1>pay you what I promise you. I'll pay you, but

0:49:54.600 --> 0:49:57.520
<v Speaker 1>I'll get you back to Memphis. And uh, you know

0:49:57.719 --> 0:50:00.400
<v Speaker 1>he had to deal with the Jack Tar motel hotel.

0:50:00.440 --> 0:50:03.600
<v Speaker 1>What it was, I stated, the Jack Tar and you

0:50:03.719 --> 0:50:12.399
<v Speaker 1>stayed there, and uh, Bill Graham always uh to get

0:50:12.440 --> 0:50:14.279
<v Speaker 1>off of that story a little bit, I'll get back

0:50:14.280 --> 0:50:16.600
<v Speaker 1>to it, uh, Otis when he did sitting on the

0:50:16.640 --> 0:50:19.239
<v Speaker 1>dock of the bay. Bill Graham always offered to the

0:50:19.280 --> 0:50:22.840
<v Speaker 1>Jack Tar Hotel or his boat house and Sausalita and

0:50:22.920 --> 0:50:25.160
<v Speaker 1>Otis decided to stay in the boat house, and that

0:50:25.239 --> 0:50:27.440
<v Speaker 1>was validated by new Young. We were out there with

0:50:27.520 --> 0:50:32.440
<v Speaker 1>him in ninety three. He was reading a book. So anyway, Uh,

0:50:32.560 --> 0:50:35.240
<v Speaker 1>we get we get back to the hotel a motel

0:50:35.440 --> 0:50:37.840
<v Speaker 1>and we get a call from the guys at the

0:50:37.840 --> 0:50:39.719
<v Speaker 1>Fillmore and they said, get your butts back down here

0:50:39.760 --> 0:50:41.800
<v Speaker 1>as soon as you can. There is a line around

0:50:41.800 --> 0:50:43.719
<v Speaker 1>the block. So we drive back down there and sure, enough,

0:50:43.719 --> 0:50:45.200
<v Speaker 1>there was a line all the way around the block.

0:50:45.600 --> 0:50:47.239
<v Speaker 1>Everybody wanted to get in to hear the Book of

0:50:47.280 --> 0:50:50.440
<v Speaker 1>Two the MG's. But there was a period during that

0:50:50.600 --> 0:50:55.520
<v Speaker 1>day that zero It just went to zero nothing. So anyway,

0:50:55.520 --> 0:50:57.959
<v Speaker 1>we had a great show that note night. And I think,

0:50:58.160 --> 0:51:01.040
<v Speaker 1>uh one of the bands that Mothers of Invention was

0:51:01.080 --> 0:51:05.319
<v Speaker 1>on Earth and I think and uh, I don't even

0:51:05.360 --> 0:51:07.920
<v Speaker 1>know who else played that night, but we were minus

0:51:08.000 --> 0:51:10.480
<v Speaker 1>the Supremes. Maybe they had a local band play. I

0:51:10.520 --> 0:51:14.080
<v Speaker 1>don't know, I don't remember. We played there so many times. Right,

0:51:14.160 --> 0:51:17.520
<v Speaker 1>so you go back to Memphis. What's the vibe in Memphis?

0:51:18.760 --> 0:51:23.640
<v Speaker 1>Pretty ugly? So things have changed. I can tell you

0:51:23.719 --> 0:51:26.799
<v Speaker 1>that the only building left standing in that block where

0:51:26.840 --> 0:51:31.279
<v Speaker 1>Stacks was was Stacks. Wow, that was the only one

0:51:31.320 --> 0:51:35.360
<v Speaker 1>that didn't torch the bank. We got it. All the

0:51:35.400 --> 0:51:38.600
<v Speaker 1>other play all the other buildings, the sandwich shop across

0:51:38.600 --> 0:51:41.640
<v Speaker 1>the street, the bakery, all those places, the filling station,

0:51:41.760 --> 0:51:46.759
<v Speaker 1>everything was tourist, the liquor store, everything except Stacks. So

0:51:47.080 --> 0:51:53.560
<v Speaker 1>it is what it is, Okay, Now today Bull Street

0:51:53.640 --> 0:51:56.839
<v Speaker 1>is just a tourist trap. Was Bull Street already over

0:51:56.960 --> 0:51:59.640
<v Speaker 1>by time you came of age? Was this still happening?

0:52:00.000 --> 0:52:02.640
<v Speaker 1>It was still happening, and what was it like now

0:52:02.719 --> 0:52:06.120
<v Speaker 1>some of the streets were redeemed like Rufus, Thomas Boulevard

0:52:06.200 --> 0:52:09.359
<v Speaker 1>and so forth. And they started doing that, and uh,

0:52:09.560 --> 0:52:15.279
<v Speaker 1>the music notes with people's name on it came way later.

0:52:15.320 --> 0:52:17.200
<v Speaker 1>I don't know when they started that, but you know,

0:52:17.200 --> 0:52:20.279
<v Speaker 1>they're still doing it as far as I know. So

0:52:20.320 --> 0:52:22.319
<v Speaker 1>would you go hang out there and go to the

0:52:22.719 --> 0:52:26.319
<v Speaker 1>go to the clubs? Now? What we did when I

0:52:26.360 --> 0:52:29.280
<v Speaker 1>was in high school, we used to drag that place.

0:52:29.360 --> 0:52:31.840
<v Speaker 1>In other words, we we'd go by the Hippodrome and

0:52:31.840 --> 0:52:34.160
<v Speaker 1>places like that and roll the windows down and drive

0:52:34.239 --> 0:52:37.319
<v Speaker 1>real slow so we could hear Ray Charles's music or

0:52:37.320 --> 0:52:40.080
<v Speaker 1>whenever they came to town, James Brown or BB who

0:52:40.120 --> 0:52:43.319
<v Speaker 1>it was performing and we could hear it. So that

0:52:43.440 --> 0:52:46.280
<v Speaker 1>was a place that you went to the Pond shops

0:52:46.280 --> 0:52:48.440
<v Speaker 1>on Saturday and you looked through the window and you went, oh,

0:52:48.600 --> 0:52:51.359
<v Speaker 1>you're just dreaming at those guitars and stuff, and say,

0:52:51.520 --> 0:52:53.239
<v Speaker 1>then I liked on one of those one of these days.

0:52:54.400 --> 0:52:57.759
<v Speaker 1>It was a wish factory basically, and there were still

0:52:57.800 --> 0:53:00.520
<v Speaker 1>guys on the corner selling pencils and and their thing.

0:53:00.600 --> 0:53:03.080
<v Speaker 1>And it was a great place to hang out and

0:53:03.160 --> 0:53:06.200
<v Speaker 1>what about the Duke Joints? And I've been through Memphis

0:53:06.239 --> 0:53:08.520
<v Speaker 1>and people have pointed them out, But was that a

0:53:08.520 --> 0:53:13.040
<v Speaker 1>factor something you were aware of back then? No? The

0:53:13.080 --> 0:53:18.280
<v Speaker 1>hippodrama named the Handy Club was another one. Uh Courage

0:53:18.320 --> 0:53:22.040
<v Speaker 1>Tropicana was way outside. It wasn't outside of the city,

0:53:22.080 --> 0:53:26.439
<v Speaker 1>but it was away from Bill Street. And I don't

0:53:26.480 --> 0:53:29.320
<v Speaker 1>remember very many club has been down on Bill Street.

0:53:29.360 --> 0:53:31.440
<v Speaker 1>The Landscape Brothers was there where it was bought his

0:53:31.480 --> 0:53:36.880
<v Speaker 1>suits and the mgs did too, But that was or

0:53:37.000 --> 0:53:42.400
<v Speaker 1>Elvis was earlier, way before us. Were you ever bothered

0:53:42.760 --> 0:53:46.040
<v Speaker 1>that it was Booker T and the MG's that your

0:53:46.120 --> 0:53:50.719
<v Speaker 1>name wasn't in the band? No? Done horse. However, so

0:53:52.560 --> 0:53:54.920
<v Speaker 1>when Jim found out what had happened that day and

0:53:56.040 --> 0:53:59.640
<v Speaker 1>Mrs Ashton, I want walked into the record shop, you know,

0:53:59.760 --> 0:54:01.680
<v Speaker 1>just my normal gig at nine o'clock, got to be

0:54:01.719 --> 0:54:03.920
<v Speaker 1>there by nine. She said, there's a lot going on.

0:54:04.000 --> 0:54:06.000
<v Speaker 1>I bet you're responsible, and I said, I held up

0:54:06.000 --> 0:54:09.000
<v Speaker 1>the devil. I said, you're not talking about this. The

0:54:09.040 --> 0:54:11.200
<v Speaker 1>phone was running off the wall before I got there.

0:54:11.640 --> 0:54:13.279
<v Speaker 1>What did I just hear on the radio to day?

0:54:13.280 --> 0:54:15.759
<v Speaker 1>I want to buy it? Nobody knew what it was.

0:54:15.840 --> 0:54:18.359
<v Speaker 1>So I still called Jim and he was working at

0:54:18.360 --> 0:54:20.000
<v Speaker 1>the bank. Still working at the banks, she said, will

0:54:20.040 --> 0:54:21.640
<v Speaker 1>you take your lunch break. You better get down to

0:54:21.640 --> 0:54:23.560
<v Speaker 1>the studio because there's something going on you need to

0:54:23.560 --> 0:54:26.480
<v Speaker 1>know about. So when he was told what was going on,

0:54:26.640 --> 0:54:30.040
<v Speaker 1>he said, we gotta get the guys in for emergency session.

0:54:30.080 --> 0:54:32.040
<v Speaker 1>We gotta come up with a name for the song

0:54:32.600 --> 0:54:34.680
<v Speaker 1>in a name for the group. And that's what we did.

0:54:34.840 --> 0:54:39.760
<v Speaker 1>Was everybody was there with Louis Stainberg and Al Jackson, Booker, team, myself. Okay,

0:54:39.760 --> 0:54:42.120
<v Speaker 1>then how did you come up with the names? What

0:54:42.280 --> 0:54:47.200
<v Speaker 1>Green Unions? A book of both Booker came up because

0:54:47.239 --> 0:54:49.400
<v Speaker 1>Booker it was a book of things. Booker came up

0:54:49.400 --> 0:54:51.719
<v Speaker 1>with that idea. But you know, even though we all

0:54:51.760 --> 0:54:55.280
<v Speaker 1>shared in the writers of it, we did. But uh,

0:54:55.440 --> 0:54:58.480
<v Speaker 1>Louis Stainberg, the bass player, said, let's name it onions.

0:54:59.120 --> 0:55:01.040
<v Speaker 1>Why would you want to name and onions? He said,

0:55:01.040 --> 0:55:03.120
<v Speaker 1>because that's the stink of hist music I've ever heard

0:55:03.160 --> 0:55:07.439
<v Speaker 1>my life. So I I said, okay, onions is fine,

0:55:07.480 --> 0:55:10.760
<v Speaker 1>but think about the negative side of onions. Sometimes onions

0:55:10.760 --> 0:55:13.680
<v Speaker 1>made people cry and there's other people indigestion. I said,

0:55:13.680 --> 0:55:16.520
<v Speaker 1>what about Green Onions And they said, ah, good idea,

0:55:16.640 --> 0:55:19.640
<v Speaker 1>So it became Green Onions. Okay, so the record is

0:55:19.680 --> 0:55:22.200
<v Speaker 1>a smash. You go on the road. Now you're back

0:55:22.239 --> 0:55:25.200
<v Speaker 1>at Stacks and you're coming back in with a hit

0:55:25.280 --> 0:55:29.480
<v Speaker 1>under your under your arm? How do you become integrated

0:55:29.520 --> 0:55:33.640
<v Speaker 1>in the scene and working? Uh with Stacks, it's both

0:55:33.680 --> 0:55:37.040
<v Speaker 1>an A and R guy and in the studio. Well,

0:55:37.160 --> 0:55:39.719
<v Speaker 1>I'm gonna tell my side of the story, which I

0:55:39.760 --> 0:55:43.440
<v Speaker 1>know to be the truth. Jimm Third couldn't rebuttle it

0:55:43.480 --> 0:55:47.080
<v Speaker 1>if he wants to rebuke it or whatever you call it. So, uh,

0:55:47.640 --> 0:55:51.680
<v Speaker 1>we have been very lucky at Stacks with instrumentals, so

0:55:51.800 --> 0:55:53.919
<v Speaker 1>they wanted to know all the instrumentals that I had.

0:55:54.040 --> 0:55:56.160
<v Speaker 1>They never even asked me. I've been writing lyrics to

0:55:56.200 --> 0:55:59.919
<v Speaker 1>song since I was fourteen. Not one time did they say,

0:56:00.080 --> 0:56:02.920
<v Speaker 1>have you got any songs? Steve, No, not one. So

0:56:03.920 --> 0:56:08.080
<v Speaker 1>I go to Jim Sturt's favorite artist, Carla Thomas, and

0:56:08.120 --> 0:56:10.360
<v Speaker 1>I said, Carla came to the record shop. I said, Carla,

0:56:10.600 --> 0:56:12.080
<v Speaker 1>can you come back in the back. I've got an

0:56:12.120 --> 0:56:14.279
<v Speaker 1>idea for a song I think you're gonna love. There

0:56:14.400 --> 0:56:18.000
<v Speaker 1>was no time to lose, and she says Steeve. That's great.

0:56:18.600 --> 0:56:20.760
<v Speaker 1>So she went to Jim and said, Jim, this Steve's

0:56:20.800 --> 0:56:22.600
<v Speaker 1>got a great song. I want to cut it. He said, okay,

0:56:22.600 --> 0:56:24.120
<v Speaker 1>if you want to cut it, we'll cut it. And

0:56:24.680 --> 0:56:26.799
<v Speaker 1>I started. He said, let me see the lyrics. I

0:56:26.840 --> 0:56:30.000
<v Speaker 1>had no time to into O L O O s C,

0:56:30.440 --> 0:56:35.440
<v Speaker 1>no time to lose, so I don't think I ever

0:56:35.480 --> 0:56:38.640
<v Speaker 1>could spell. I still can't spell, but I know how

0:56:38.680 --> 0:56:42.840
<v Speaker 1>to spell lose now. And uh so they cut it.

0:56:42.880 --> 0:56:45.799
<v Speaker 1>There was the biggest money making records Ship has since

0:56:45.880 --> 0:56:48.319
<v Speaker 1>she was now. They have tried to come up with,

0:56:48.560 --> 0:56:51.239
<v Speaker 1>you know, follow ups and all that, had not done

0:56:51.320 --> 0:56:53.600
<v Speaker 1>very well with it, but no time to lose. They

0:56:53.600 --> 0:56:56.319
<v Speaker 1>played on the radio and their social records and had

0:56:56.320 --> 0:56:59.200
<v Speaker 1>a little income on it. So that's pretty good. Okay,

0:56:59.239 --> 0:57:02.719
<v Speaker 1>the songs you wrote, who owned the publishing then and

0:57:02.760 --> 0:57:09.880
<v Speaker 1>who owns it now? Well, the original masters Universal owns it.

0:57:10.920 --> 0:57:14.840
<v Speaker 1>That's the record it was originally the song was East

0:57:14.840 --> 0:57:21.120
<v Speaker 1>Memphis Music. Now you know, everything reverted back. It now

0:57:21.200 --> 0:57:24.040
<v Speaker 1>owns my share of the publishing. And I came in

0:57:24.080 --> 0:57:25.680
<v Speaker 1>one day. I told my wife, I said, I'm getting

0:57:25.720 --> 0:57:28.880
<v Speaker 1>ridy to sell something I've never owned. That's the publishing

0:57:30.160 --> 0:57:34.240
<v Speaker 1>so primary Way in New York ons it. I see,

0:57:35.160 --> 0:57:39.400
<v Speaker 1>So what do you do with the money? Well, I

0:57:39.520 --> 0:57:41.240
<v Speaker 1>say about the money, They said, you just made a

0:57:41.280 --> 0:57:42.840
<v Speaker 1>Fortunates said, but I don't know, but it keeps me

0:57:42.840 --> 0:57:47.000
<v Speaker 1>in golf balls and fishing. Reverse. It's always, you know,

0:57:47.040 --> 0:57:48.520
<v Speaker 1>you never know what you can do with the money. Okay,

0:57:48.520 --> 0:57:51.080
<v Speaker 1>So now you have success with Carla Thomas, Jim Stewart

0:57:51.200 --> 0:57:56.040
<v Speaker 1>must be pretty impressed, I think. So he finally got

0:57:56.080 --> 0:57:58.280
<v Speaker 1>around to asking me, did I have any more songs?

0:58:00.000 --> 0:58:02.480
<v Speaker 1>Of course I had a bunch. We kept coming up

0:58:02.520 --> 0:58:08.520
<v Speaker 1>with him and and hitting and so forth. So Wilson

0:58:08.560 --> 0:58:13.240
<v Speaker 1>I wrote Midnight in the Midnight Hour, and there's a

0:58:13.240 --> 0:58:18.840
<v Speaker 1>whole story behind that song. And wait, wait, tell the story. Okay.

0:58:19.160 --> 0:58:22.120
<v Speaker 1>I didn't know who Wilson Picktt was at all, and

0:58:22.160 --> 0:58:24.000
<v Speaker 1>so Mrs Action said, I think he's sang on some

0:58:24.080 --> 0:58:26.520
<v Speaker 1>gospel songs. So we're playing him and said, oh, I'm

0:58:26.560 --> 0:58:28.360
<v Speaker 1>seeing my Jesus at the midnight I wolf, I want

0:58:28.360 --> 0:58:31.280
<v Speaker 1>to wait till the midnight hour, said, that's that guys label,

0:58:31.680 --> 0:58:35.080
<v Speaker 1>He's midnight Hour. And he wrote, I'm gonna wait till

0:58:35.080 --> 0:58:37.760
<v Speaker 1>the midnight hour to take my girl out. You know

0:58:37.880 --> 0:58:41.560
<v Speaker 1>that basically and when there's nobody else, no one else around,

0:58:41.560 --> 0:58:44.560
<v Speaker 1>just you and I in the midnight hour. So came

0:58:44.560 --> 0:58:46.760
<v Speaker 1>out to be a pretty good idea, I would say,

0:58:47.000 --> 0:58:49.360
<v Speaker 1>even though we spread him. He wrote most of uh,

0:58:49.960 --> 0:58:53.280
<v Speaker 1>don't fight it, you got the fee you And then

0:58:53.320 --> 0:58:55.320
<v Speaker 1>I came up with I'm not tired, Doom, the Doom,

0:58:55.400 --> 0:58:58.800
<v Speaker 1>the doomdom. It's just an old gospel groups all that is.

0:58:59.320 --> 0:59:02.439
<v Speaker 1>So we wrote three songs at night, cut all three

0:59:02.480 --> 0:59:07.760
<v Speaker 1>the next day. All three were chart wricords. Unbelievable, It

0:59:07.880 --> 0:59:12.360
<v Speaker 1>is unbelievable. Okay, we're most of your songs written in

0:59:12.480 --> 0:59:16.800
<v Speaker 1>collaboration like that, all of them, all except I can

0:59:16.840 --> 0:59:22.000
<v Speaker 1>remember one. It was for the Marquees. Everything. I love

0:59:22.040 --> 0:59:23.880
<v Speaker 1>to collaborate. That's on the on the way I like

0:59:23.960 --> 0:59:27.240
<v Speaker 1>to do it because it doesn't matter what percentage of

0:59:27.360 --> 0:59:30.040
<v Speaker 1>something somebody rights. It does if you if three people

0:59:30.120 --> 0:59:35.800
<v Speaker 1>writers thirty third if four people, rather just about it

0:59:35.840 --> 0:59:39.880
<v Speaker 1>that way pretty simple. And Jim Jim made a decision

0:59:39.920 --> 0:59:42.680
<v Speaker 1>that I don't think any studio ever made. If you

0:59:42.720 --> 0:59:44.880
<v Speaker 1>played on it, you got a part writers on it.

0:59:45.280 --> 0:59:49.600
<v Speaker 1>On instrumentals, wow, not the vocal songs. That was up

0:59:49.600 --> 0:59:51.320
<v Speaker 1>to the writers that wrote the song and all that

0:59:51.360 --> 0:59:54.200
<v Speaker 1>sort of stuff. Uh. And if the writer wanted to

0:59:54.200 --> 0:59:57.120
<v Speaker 1>share it with the artists, that's fine, but he did not.

0:59:57.160 --> 1:00:00.800
<v Speaker 1>It wasn't an automatic thing. On instrumentals, it was definitely automatic.

1:00:02.680 --> 1:00:06.480
<v Speaker 1>So if you needed a song, would you schedule the

1:00:06.520 --> 1:00:09.280
<v Speaker 1>equivalent of a writing session or would you have a

1:00:09.280 --> 1:00:13.200
<v Speaker 1>recording session and work it out in the studio. Now, well,

1:00:13.240 --> 1:00:14.920
<v Speaker 1>we've worked it out in the studio a lot of times,

1:00:14.960 --> 1:00:16.920
<v Speaker 1>but most of the songs were written the night before.

1:00:18.080 --> 1:00:21.760
<v Speaker 1>So mostly artists that had you know, recording session lined up,

1:00:23.040 --> 1:00:25.000
<v Speaker 1>they would fly in the day before that night. We

1:00:25.000 --> 1:00:26.480
<v Speaker 1>would get together and right, and this is what I

1:00:26.520 --> 1:00:28.440
<v Speaker 1>want you to say, and we'd find the keys and

1:00:28.480 --> 1:00:30.600
<v Speaker 1>that kind of thing. So then we'd show it to

1:00:30.640 --> 1:00:34.440
<v Speaker 1>the band the next morning, starting around uh eleven, I

1:00:34.520 --> 1:00:39.240
<v Speaker 1>think most successions started and ended by five. Sometimes they

1:00:39.320 --> 1:00:42.120
<v Speaker 1>ended earlier, but they always started no later than eleven o'clock.

1:00:42.560 --> 1:00:45.520
<v Speaker 1>Ten eleven o'clock. They were ready to go, and we

1:00:45.520 --> 1:00:47.760
<v Speaker 1>would show them what we've written and they would come

1:00:47.840 --> 1:00:49.400
<v Speaker 1>up a lot of a lot of the things. We're

1:00:49.440 --> 1:00:52.880
<v Speaker 1>here to arrange a lot of the stuff, maybe some

1:00:53.000 --> 1:00:55.920
<v Speaker 1>of it probably alas actions should have got some writers

1:00:55.920 --> 1:00:58.120
<v Speaker 1>on some of the songs that he did because he

1:00:58.200 --> 1:01:01.120
<v Speaker 1>set the group for everybody. Everybody to listen to Al Jackson.

1:01:02.160 --> 1:01:04.920
<v Speaker 1>He was a drummer, he set the tone for so

1:01:05.080 --> 1:01:08.320
<v Speaker 1>he was doing okay with with the boot MGS. He

1:01:08.440 --> 1:01:12.680
<v Speaker 1>got of that. So if you really think about it,

1:01:13.880 --> 1:01:16.400
<v Speaker 1>half goes to the publisher and half goes to the writer,

1:01:17.680 --> 1:01:21.360
<v Speaker 1>so that half that fift percent gets divided. That means

1:01:21.400 --> 1:01:25.240
<v Speaker 1>that the MGS made twelve of every song that we

1:01:25.360 --> 1:01:38.600
<v Speaker 1>ever had is twelve and whatever it is. Yeah, in

1:01:38.720 --> 1:01:42.720
<v Speaker 1>the midnight hour, as big as Green Onions was, it

1:01:42.840 --> 1:01:46.200
<v Speaker 1>was an instrumental, it was in its own category. But

1:01:46.280 --> 1:01:49.960
<v Speaker 1>in the midnight hour there was not a band alive.

1:01:50.160 --> 1:01:52.720
<v Speaker 1>And this is after the Beatles hit. They did not

1:01:52.880 --> 1:01:58.120
<v Speaker 1>play in the midnight hour. Could you realize the success

1:01:58.160 --> 1:02:04.800
<v Speaker 1>of that record? No, a little bit. You and I

1:02:04.880 --> 1:02:07.240
<v Speaker 1>used to get asked how many versions of in Him

1:02:07.400 --> 1:02:09.040
<v Speaker 1>that hour was there? I said, I don't know about

1:02:09.040 --> 1:02:12.600
<v Speaker 1>have been pedo and over a hundred and fifty world.

1:02:14.280 --> 1:02:18.080
<v Speaker 1>So do you get intimidated? You feel, well, I have

1:02:18.240 --> 1:02:20.240
<v Speaker 1>this gigantic kid, I might not be able to make

1:02:20.280 --> 1:02:26.160
<v Speaker 1>another one. No, I know I should have, but I didn't.

1:02:26.760 --> 1:02:30.120
<v Speaker 1>And uh, let me tell you a quick story. Eddie

1:02:30.160 --> 1:02:33.720
<v Speaker 1>Floyd and I were put together by Al Bell. He said,

1:02:33.760 --> 1:02:36.960
<v Speaker 1>I've got this friend of mine who's an artist and songwriter.

1:02:37.080 --> 1:02:38.960
<v Speaker 1>I know you guys will hit it off. So I

1:02:39.000 --> 1:02:41.000
<v Speaker 1>go to Worston, d C. And I meet Eddie Floyd

1:02:41.240 --> 1:02:44.920
<v Speaker 1>and we wrote three or four songs that week and uh,

1:02:45.560 --> 1:02:48.200
<v Speaker 1>so he and I are in in the Uh we

1:02:48.240 --> 1:02:50.320
<v Speaker 1>had written six or four or five, seven, A nine

1:02:50.400 --> 1:02:55.520
<v Speaker 1>for Wilson coming in and on his record knock on Wood.

1:02:57.600 --> 1:02:59.840
<v Speaker 1>I said, Uh, we knew we had a good song.

1:03:00.480 --> 1:03:02.640
<v Speaker 1>You know, you don't think of every being you think

1:03:02.640 --> 1:03:04.600
<v Speaker 1>of maybe it's been a hit, but we knew he

1:03:04.640 --> 1:03:07.160
<v Speaker 1>had a good song. Could not come up with an intro.

1:03:08.040 --> 1:03:10.120
<v Speaker 1>And after about an hour of that, I said Eddie,

1:03:10.160 --> 1:03:12.440
<v Speaker 1>I wonder what in the midnight hour would sound like backwards?

1:03:13.160 --> 1:03:15.080
<v Speaker 1>He said, I don't know, play it. So I played

1:03:15.080 --> 1:03:19.440
<v Speaker 1>it backwards. It starts on the D goes dB A

1:03:19.760 --> 1:03:25.480
<v Speaker 1>G E A, so I started on E G B

1:03:25.600 --> 1:03:31.080
<v Speaker 1>A B d V. Same thing. So I tell people

1:03:31.080 --> 1:03:32.680
<v Speaker 1>in my show, follow the dots. You want to know

1:03:32.720 --> 1:03:34.480
<v Speaker 1>how to write songs and store or something, just follow

1:03:34.520 --> 1:03:37.479
<v Speaker 1>the dots. Well, you're mentioning one thing that people don't

1:03:37.520 --> 1:03:41.840
<v Speaker 1>admit you really, people, you may not know exactly what

1:03:41.920 --> 1:03:44.320
<v Speaker 1>will be a hit, but you know when you do

1:03:44.440 --> 1:03:47.400
<v Speaker 1>something great, you can feel it's different from the rest

1:03:47.440 --> 1:03:50.160
<v Speaker 1>of the stuff. Well, you feel it as good. It's

1:03:50.200 --> 1:03:52.840
<v Speaker 1>better than other things that you've had. Yeah, that much,

1:03:53.160 --> 1:03:56.400
<v Speaker 1>I don't know about greatness. But I tell us also

1:03:56.560 --> 1:03:59.960
<v Speaker 1>that whenever we had a recording session, if we had

1:04:00.040 --> 1:04:02.520
<v Speaker 1>three songs on the session, they all got treated with

1:04:02.520 --> 1:04:05.440
<v Speaker 1>the same energy, and we didn't know which one was

1:04:05.440 --> 1:04:08.480
<v Speaker 1>a hit. Maybe the writers did felt that this was

1:04:08.560 --> 1:04:11.919
<v Speaker 1>better than something else they had, But as far as

1:04:11.960 --> 1:04:15.760
<v Speaker 1>the backing band, the session band, we treated them all

1:04:15.920 --> 1:04:20.280
<v Speaker 1>with the same inflection. We treated Uh soul Man exactly

1:04:20.280 --> 1:04:21.800
<v Speaker 1>the same what we did the other songs on the

1:04:21.920 --> 1:04:24.560
<v Speaker 1>on the date, same thing with Otis and stuff and

1:04:24.560 --> 1:04:26.440
<v Speaker 1>all that we didn't know what was hitting to this

1:04:26.720 --> 1:04:28.720
<v Speaker 1>press and release and put out there. Then you know

1:04:28.840 --> 1:04:31.480
<v Speaker 1>for sure if you have a hit or not. The

1:04:31.560 --> 1:04:33.840
<v Speaker 1>difference in Otis rating is he had seventeen in a

1:04:33.920 --> 1:04:38.040
<v Speaker 1>row from these arms of mine. Now, a lot of

1:04:38.080 --> 1:04:41.439
<v Speaker 1>guys can't follow up, but Otis had as far as

1:04:41.680 --> 1:04:44.760
<v Speaker 1>R and B is concerned, as far as generating enough

1:04:44.800 --> 1:04:47.760
<v Speaker 1>income to say that was a hit. He had seventeen

1:04:47.800 --> 1:04:50.880
<v Speaker 1>in a row. But he started off as the road guy.

1:04:51.160 --> 1:04:54.200
<v Speaker 1>He wasn't even the singer. Now he was the singer

1:04:54.200 --> 1:04:57.040
<v Speaker 1>in the band when he showed up the Stacks and

1:04:57.360 --> 1:05:00.080
<v Speaker 1>Johnny Jenkins in the Pine Toppers. The thing is that

1:05:01.400 --> 1:05:04.080
<v Speaker 1>we were there to record Johnny Jenkins in the Pine Toppers,

1:05:04.320 --> 1:05:06.480
<v Speaker 1>who already come off of a hit called Love Twist.

1:05:06.520 --> 1:05:08.560
<v Speaker 1>They couldn't come up with a follow up, so it

1:05:08.680 --> 1:05:12.920
<v Speaker 1>was Joe Walcotta Jerry Wexter's idea to send him to Memphis.

1:05:13.080 --> 1:05:15.480
<v Speaker 1>Maybe they can come up with something, because they really

1:05:15.760 --> 1:05:20.360
<v Speaker 1>they they they're good and be doing instrumentals. So when

1:05:20.360 --> 1:05:22.400
<v Speaker 1>Otis he wanted me to hear him saying he went

1:05:22.920 --> 1:05:24.760
<v Speaker 1>to Al Jackson first and Al said, you know, that

1:05:24.840 --> 1:05:27.160
<v Speaker 1>big tall guy came up driving the car and I

1:05:27.160 --> 1:05:29.560
<v Speaker 1>thought he was a roadie and so that's probably where

1:05:29.560 --> 1:05:32.600
<v Speaker 1>you got that from. But he was a singer. And

1:05:32.840 --> 1:05:36.800
<v Speaker 1>they told me later that, uh, some something happened with

1:05:36.840 --> 1:05:39.320
<v Speaker 1>Johnny Jenkins and he didn't have a light driver's license

1:05:39.400 --> 1:05:42.560
<v Speaker 1>at the time, and so he didn't want to get

1:05:42.600 --> 1:05:44.640
<v Speaker 1>caught driving a car without a license, so he had

1:05:44.720 --> 1:05:48.960
<v Speaker 1>orderst So Otis gets out out of the car. We've

1:05:48.960 --> 1:05:51.120
<v Speaker 1>watched them pull in front of us. We're standing outside

1:05:51.120 --> 1:05:53.920
<v Speaker 1>of the studio waiting for the session to happen, and

1:05:53.960 --> 1:05:56.160
<v Speaker 1>they showed up and he pulled on down and he

1:05:56.200 --> 1:05:58.720
<v Speaker 1>gets out, unlocks the trunk and started carrying in mikes

1:05:58.760 --> 1:06:01.720
<v Speaker 1>and stuff. And I said, man, we got mix and sad.

1:06:01.800 --> 1:06:03.280
<v Speaker 1>You don't need to bring those mix as you said

1:06:03.360 --> 1:06:06.680
<v Speaker 1>up like it was a gig, right, I said, bring

1:06:06.760 --> 1:06:09.439
<v Speaker 1>Johnny's guitar and apps whatever you want. But I said,

1:06:09.480 --> 1:06:11.120
<v Speaker 1>you don't need neither of mix. Put him back on

1:06:11.160 --> 1:06:13.480
<v Speaker 1>the trunk, and that's what he did. So I thought

1:06:13.480 --> 1:06:15.200
<v Speaker 1>it was a rotor. So he comes to Ale Jackson

1:06:15.680 --> 1:06:17.280
<v Speaker 1>and al I said, you know that guy would come

1:06:17.320 --> 1:06:19.160
<v Speaker 1>up driving a car, the big tall guy, and said yeah,

1:06:19.160 --> 1:06:20.640
<v Speaker 1>And he said he wants you to hear him saying

1:06:20.960 --> 1:06:24.120
<v Speaker 1>I've already told him you only hold the auditions on Saturdays.

1:06:24.760 --> 1:06:27.520
<v Speaker 1>Probably the chance that you hear him saying won't happen.

1:06:28.120 --> 1:06:30.640
<v Speaker 1>So at the end of the session, Jim Schurch send

1:06:30.680 --> 1:06:32.560
<v Speaker 1>everybody home early. He said, why don't we just take

1:06:32.600 --> 1:06:34.960
<v Speaker 1>off and start again to mar guys. So we did

1:06:35.000 --> 1:06:37.480
<v Speaker 1>that and we're back in the back listen to stuff,

1:06:38.160 --> 1:06:39.720
<v Speaker 1>and now comes to me, and he said, you know

1:06:39.760 --> 1:06:41.600
<v Speaker 1>what I told you earlier about this guy when you

1:06:42.440 --> 1:06:43.880
<v Speaker 1>want you to hear him saying? I said yeah. He

1:06:43.880 --> 1:06:45.840
<v Speaker 1>said he's driving me nuts. Can you just take five

1:06:45.880 --> 1:06:48.000
<v Speaker 1>seconds out of your time and get this guy off

1:06:48.000 --> 1:06:50.200
<v Speaker 1>of my back? I said, okay, bring him down to

1:06:50.240 --> 1:06:53.880
<v Speaker 1>the pian He brings them down and I said, okay,

1:06:53.960 --> 1:06:55.680
<v Speaker 1>saying something. He said, I don't. I don't play piano.

1:06:55.680 --> 1:06:58.200
<v Speaker 1>Play a little guitar. I don't play piano. Said give

1:06:58.240 --> 1:06:59.800
<v Speaker 1>me some of them church courts. Did you play pian

1:06:59.880 --> 1:07:02.200
<v Speaker 1>and not enoughing? Just to ride with it? He said,

1:07:02.280 --> 1:07:04.400
<v Speaker 1>play me some of the church squads. And he's time

1:07:04.440 --> 1:07:07.040
<v Speaker 1>about six eight trips that that that he starts these

1:07:07.280 --> 1:07:09.720
<v Speaker 1>arms of mine and I went, whoa, the hair of

1:07:09.760 --> 1:07:12.360
<v Speaker 1>my arm litterally stood up. I should stop it right there.

1:07:12.360 --> 1:07:13.920
<v Speaker 1>He said, you don't like us some men I love it.

1:07:13.960 --> 1:07:16.080
<v Speaker 1>But I got Jim Sturch here this so I go.

1:07:16.240 --> 1:07:19.400
<v Speaker 1>I knew I would get fired if Jim did. Brushed

1:07:19.400 --> 1:07:21.240
<v Speaker 1>me off and said, no, Steve, I'm not doing it,

1:07:21.600 --> 1:07:23.200
<v Speaker 1>he said. I said, Jim, you gotta come out and

1:07:23.200 --> 1:07:26.680
<v Speaker 1>hear this guy saying you're gonna die. So he did.

1:07:26.720 --> 1:07:28.240
<v Speaker 1>He heard it. He said we gotta get this down

1:07:28.280 --> 1:07:31.320
<v Speaker 1>on tape. Call the guys back. So Duck had to

1:07:31.360 --> 1:07:34.800
<v Speaker 1>remind me in Tokyo one time, the two days before

1:07:34.800 --> 1:07:37.720
<v Speaker 1>he passed away that I came running out of the

1:07:37.720 --> 1:07:39.960
<v Speaker 1>studio and he was putting his base in the tronk

1:07:40.000 --> 1:07:41.880
<v Speaker 1>of the car, and I said, get your base back out.

1:07:41.920 --> 1:07:46.040
<v Speaker 1>We gotta get this song down. The next morning, we

1:07:46.040 --> 1:07:48.640
<v Speaker 1>were cutting a B side for these Arms of Mine,

1:07:48.800 --> 1:07:52.800
<v Speaker 1>Hey Baby, or whatever was called, and I Johnny played

1:07:52.800 --> 1:07:54.960
<v Speaker 1>guitar on and I played piin on on These Arms

1:07:54.960 --> 1:07:58.280
<v Speaker 1>of Mine, and as Johnny Jenkins playing guitar a little,

1:07:58.280 --> 1:08:01.720
<v Speaker 1>little little. A lot of people don't know that either.

1:08:01.720 --> 1:08:04.320
<v Speaker 1>They think us Me and I don't care what they think.

1:08:04.320 --> 1:08:06.920
<v Speaker 1>It's it is what it is. If they've read a

1:08:06.920 --> 1:08:09.240
<v Speaker 1>book and tell the story, I tell a story about

1:08:09.320 --> 1:08:11.240
<v Speaker 1>tell her now that it was john and Jenkins played

1:08:11.240 --> 1:08:14.000
<v Speaker 1>guitar on that and I played piano. You don't play piano,

1:08:14.040 --> 1:08:19.280
<v Speaker 1>I said, I know that I don't play. Okay. Ultimately,

1:08:19.320 --> 1:08:22.960
<v Speaker 1>after Otis passes, uh, Dock of the Big comes out.

1:08:23.960 --> 1:08:26.240
<v Speaker 1>Now if one listens to Dock of the Bay, you

1:08:26.280 --> 1:08:30.040
<v Speaker 1>can hear the fingers on the strings. You know what

1:08:30.080 --> 1:08:32.559
<v Speaker 1>I'm talking about? No, I don't. I played guitar on

1:08:32.840 --> 1:08:35.120
<v Speaker 1>I played both guitars on that, right, I know. But

1:08:35.200 --> 1:08:37.040
<v Speaker 1>you know, maybe it's you know, when you heard it

1:08:37.040 --> 1:08:41.519
<v Speaker 1>on I never I never noticed it. You can hear,

1:08:41.600 --> 1:08:43.320
<v Speaker 1>you know, if your guitar player, you can hear the

1:08:43.400 --> 1:08:45.680
<v Speaker 1>fingers moving on the strings. You didn't steer it on

1:08:45.720 --> 1:08:50.080
<v Speaker 1>the radio, but on every you know, it's not that subtle. Well,

1:08:50.280 --> 1:08:52.080
<v Speaker 1>when we get to today, I'll gonna listen to it

1:08:52.720 --> 1:08:57.040
<v Speaker 1>exactly explain what it was. Okay, Now, at this point

1:08:57.080 --> 1:09:01.480
<v Speaker 1>in time, you have a number of successes. Los Angeles

1:09:01.600 --> 1:09:04.360
<v Speaker 1>is just starting to build up as a recording center.

1:09:05.280 --> 1:09:09.960
<v Speaker 1>You certainly have New York, you have Nashville, and then

1:09:10.200 --> 1:09:13.680
<v Speaker 1>Muscles Shoals is starting to become a thing. To what

1:09:13.840 --> 1:09:16.800
<v Speaker 1>degree did you know these other guys or compete with

1:09:16.840 --> 1:09:18.840
<v Speaker 1>these other guys who are just in your own world?

1:09:19.479 --> 1:09:24.040
<v Speaker 1>I didn't. That was Al Bell's I did farm stuff up.

1:09:24.479 --> 1:09:29.440
<v Speaker 1>So he had already started farming sessions up, WORSA, DC, Chicago,

1:09:30.120 --> 1:09:34.559
<v Speaker 1>l A, and Muscle Shoals. Now Jerry was already aware

1:09:34.600 --> 1:09:37.040
<v Speaker 1>of it. And what happened with Jerry Wessler, who was

1:09:37.280 --> 1:09:42.599
<v Speaker 1>president out of Atlantic Records. Uh, he knew that these

1:09:42.640 --> 1:09:45.479
<v Speaker 1>guys and muscle shows were cutting some good records. So

1:09:45.680 --> 1:09:48.920
<v Speaker 1>when Jim Stir decided no more outside recording, I said, Jim,

1:09:48.960 --> 1:09:51.559
<v Speaker 1>I'm just on a roll with Wilson Pickett. You know,

1:09:51.600 --> 1:09:54.040
<v Speaker 1>we've had three hits in a row here. And he said,

1:09:54.840 --> 1:09:57.800
<v Speaker 1>like I said to you, no outside recording. I went, oh,

1:09:57.920 --> 1:09:59.760
<v Speaker 1>so maybe that was the start of the downfall. I

1:09:59.760 --> 1:10:02.559
<v Speaker 1>haven't idea. I don't know. I wasn't that upset about it,

1:10:02.560 --> 1:10:04.519
<v Speaker 1>but I was a little upset. We still had a

1:10:04.520 --> 1:10:09.799
<v Speaker 1>lot going on. And what we did after the Stacks

1:10:09.880 --> 1:10:13.680
<v Speaker 1>vote tour, everybody wanted to be their own producers. They

1:10:13.720 --> 1:10:17.080
<v Speaker 1>wanted to go on instead of same produced by staff,

1:10:17.120 --> 1:10:19.600
<v Speaker 1>they wanted to produced by whoever was in charge of

1:10:19.640 --> 1:10:24.439
<v Speaker 1>the session. So that's what we did and the sister Okay. Now,

1:10:24.600 --> 1:10:27.559
<v Speaker 1>as years are going by, it's kind of like the

1:10:27.560 --> 1:10:33.680
<v Speaker 1>Internet twenty years ago. There's an incredible advancement in recording technology.

1:10:34.000 --> 1:10:36.200
<v Speaker 1>We go from one to two to four to eight

1:10:36.320 --> 1:10:39.920
<v Speaker 1>to sixteen to twenty four tracks. We have boards with

1:10:40.040 --> 1:10:44.479
<v Speaker 1>multiple channels to what degree with stocks keeping up with

1:10:44.520 --> 1:10:47.040
<v Speaker 1>that into what degree being a guitar player and being

1:10:47.040 --> 1:10:49.680
<v Speaker 1>in you know, gear head, to what degree were you

1:10:49.760 --> 1:10:54.120
<v Speaker 1>up to speed on all that stuff. Uh, technically, I'm

1:10:54.120 --> 1:10:58.479
<v Speaker 1>not sure we were speed. We were always behind everybody

1:10:58.520 --> 1:11:02.320
<v Speaker 1>in technology. Now. The thing about Atlantic was way ahead

1:11:02.360 --> 1:11:04.479
<v Speaker 1>of the game. They had an eight track. There was

1:11:04.560 --> 1:11:09.320
<v Speaker 1>two in the world and they had one of them.

1:11:09.360 --> 1:11:14.880
<v Speaker 1>So that's what they did. And they, when I say they,

1:11:15.880 --> 1:11:18.960
<v Speaker 1>I should say that Motown brought in Diana Ross I

1:11:19.080 --> 1:11:22.520
<v Speaker 1>brought the four Seasons in different things to do those handclaps,

1:11:22.560 --> 1:11:25.559
<v Speaker 1>and that's that great sound that made everybody want to dance.

1:11:26.240 --> 1:11:28.760
<v Speaker 1>They would dub it down on eight track at Atlantic

1:11:28.800 --> 1:11:31.000
<v Speaker 1>and put all that stuff on it. And Tom Dowb

1:11:31.040 --> 1:11:33.040
<v Speaker 1>being a good friend, taught me how he did a

1:11:33.040 --> 1:11:36.200
<v Speaker 1>lot of stuff and a lot of the handclaps. We're

1:11:36.240 --> 1:11:40.960
<v Speaker 1>done with the metal flanges from the reels because they

1:11:41.000 --> 1:11:43.840
<v Speaker 1>were more metalic that they sounded more like they just

1:11:43.840 --> 1:11:46.479
<v Speaker 1>sounded about it. Well, well, a little bit slower. How

1:11:46.520 --> 1:11:50.240
<v Speaker 1>were they done with the reels and the metal flanges. Well,

1:11:50.280 --> 1:11:52.280
<v Speaker 1>if you took a real apart, you got this round

1:11:52.320 --> 1:11:54.559
<v Speaker 1>metal flange, you get two of them together and clap

1:11:54.560 --> 1:11:58.280
<v Speaker 1>it together. What you're saying, I thought that with hands

1:11:58.280 --> 1:12:00.840
<v Speaker 1>and it sounds like a million hands on it's not.

1:12:01.360 --> 1:12:05.120
<v Speaker 1>And the other thing is chay was a board over

1:12:05.160 --> 1:12:11.040
<v Speaker 1>a broom handle, one guy with two flanges clapping and

1:12:11.080 --> 1:12:14.400
<v Speaker 1>doing his feedback and forth. And if you might it properly,

1:12:14.479 --> 1:12:16.439
<v Speaker 1>you can get this big chat sound. And they used

1:12:16.479 --> 1:12:21.280
<v Speaker 1>to do and what were you using for weaverb We

1:12:21.360 --> 1:12:26.440
<v Speaker 1>had our own echo chamber. Originally it was your bathroom

1:12:26.479 --> 1:12:30.840
<v Speaker 1>that had these old, uh black and white tiles hex tiles,

1:12:30.880 --> 1:12:34.080
<v Speaker 1>just like all the bathrooms. And Jim says that was

1:12:34.160 --> 1:12:37.040
<v Speaker 1>the girl's bathroom. It might have been. I don't know,

1:12:39.240 --> 1:12:40.880
<v Speaker 1>but one of them was taken up for the record

1:12:40.880 --> 1:12:44.080
<v Speaker 1>shop and the other one was still over there. And uh,

1:12:44.240 --> 1:12:46.160
<v Speaker 1>there was a guy there is a guy here in

1:12:46.200 --> 1:12:49.639
<v Speaker 1>town that's doing a book on recording studios, and he said,

1:12:49.640 --> 1:12:52.799
<v Speaker 1>how did you send the signal over? I knew the

1:12:52.800 --> 1:12:55.920
<v Speaker 1>return of the echo was on the eighth pot, so

1:12:56.120 --> 1:12:58.800
<v Speaker 1>of two Ampex mixerers, so it was on one side

1:12:58.880 --> 1:13:00.880
<v Speaker 1>or the other. There was know, we didn't have any

1:13:00.880 --> 1:13:02.720
<v Speaker 1>pan pots in those days, and you could have spent

1:13:02.760 --> 1:13:05.240
<v Speaker 1>the signal. But Jim guy said, maybe you need to

1:13:05.280 --> 1:13:07.519
<v Speaker 1>ask Jim that Jim couldn't remember how we said it

1:13:07.600 --> 1:13:10.880
<v Speaker 1>eire and well to Jatan who built all of that,

1:13:11.880 --> 1:13:16.120
<v Speaker 1>he's gone. So he's not around to ask anymore. We

1:13:16.200 --> 1:13:17.920
<v Speaker 1>know about the return, we don't know how it was

1:13:17.960 --> 1:13:22.519
<v Speaker 1>sent over there. So were you always kind of a

1:13:22.600 --> 1:13:25.439
<v Speaker 1>producer or how did you decide you were going to

1:13:25.479 --> 1:13:29.519
<v Speaker 1>become a producer? M Well, the way I became a

1:13:29.560 --> 1:13:31.439
<v Speaker 1>producer there was no one else to do the job.

1:13:33.160 --> 1:13:35.080
<v Speaker 1>And I have been asked in the past, how come

1:13:35.080 --> 1:13:38.200
<v Speaker 1>there's only one guitar on the sessions because we couldn't

1:13:38.200 --> 1:13:44.320
<v Speaker 1>afford a second guitar player. That's why. Pretty simple, And uh,

1:13:45.120 --> 1:13:48.240
<v Speaker 1>my job at Stacks as a producer all that. While

1:13:48.280 --> 1:13:51.360
<v Speaker 1>we're on our subject, Mrs Axon, I had a job

1:13:51.400 --> 1:13:54.920
<v Speaker 1>at the record shop and she went to Jim Still

1:13:55.000 --> 1:13:57.559
<v Speaker 1>one day and said, you're gonna start paying Steve because

1:13:57.800 --> 1:14:00.719
<v Speaker 1>he's spending more time in the studio than his record shop.

1:14:01.320 --> 1:14:03.200
<v Speaker 1>So they come up with a deal and Jim started

1:14:03.200 --> 1:14:11.000
<v Speaker 1>paying me. And okay, you talk about when everybody becomes

1:14:11.000 --> 1:14:15.080
<v Speaker 1>an independent producer. At what point do you disconnect from Stacks?

1:14:16.960 --> 1:14:20.920
<v Speaker 1>September nine, Well, it must have been a big effect

1:14:20.920 --> 1:14:23.680
<v Speaker 1>if you remember exactly what it was. I remember the day,

1:14:23.720 --> 1:14:25.960
<v Speaker 1>I remember the day of the time, the day and everything,

1:14:27.920 --> 1:14:30.800
<v Speaker 1>So what happened, I don't remember the whole week. But

1:14:30.840 --> 1:14:34.360
<v Speaker 1>I remember that day well. I was told I couldn't

1:14:34.360 --> 1:14:38.679
<v Speaker 1>get out, that you can't leave Stacks, you know, yeah,

1:14:38.880 --> 1:14:42.240
<v Speaker 1>And I'm gone by No, you can't leave Stacks. So

1:14:42.280 --> 1:14:45.640
<v Speaker 1>I went to Albil, who was by then vice president

1:14:45.720 --> 1:14:48.200
<v Speaker 1>of the label, and I went to Al I said, all,

1:14:48.439 --> 1:14:50.719
<v Speaker 1>I'm not happy here anymore. I want to go. He said, Steve,

1:14:50.760 --> 1:14:53.360
<v Speaker 1>if you want out, I'll help you get out. It's okay.

1:14:54.400 --> 1:14:57.080
<v Speaker 1>And he did and we got out. I had already

1:14:57.080 --> 1:14:59.120
<v Speaker 1>told Jim I said, I'll get my lawyer. I want

1:14:59.160 --> 1:15:03.400
<v Speaker 1>to get out of studio. I gotta go. And uh,

1:15:03.800 --> 1:15:06.920
<v Speaker 1>there was a great tant transition to go from Stacks

1:15:06.920 --> 1:15:09.120
<v Speaker 1>to t M I. They have been working on the

1:15:09.200 --> 1:15:12.880
<v Speaker 1>studio for a long time and the owner and uh,

1:15:13.320 --> 1:15:15.840
<v Speaker 1>one of my best friends are our lead singer in

1:15:15.840 --> 1:15:17.479
<v Speaker 1>our band who did a lot of art work on

1:15:17.520 --> 1:15:20.680
<v Speaker 1>the album covers and all that for Stacks have been

1:15:20.720 --> 1:15:22.320
<v Speaker 1>working with this guy for a long time. And they

1:15:22.360 --> 1:15:23.960
<v Speaker 1>come and got me out of bed one night and

1:15:23.960 --> 1:15:28.040
<v Speaker 1>said we're gonna show you something. So they showed me

1:15:28.160 --> 1:15:30.559
<v Speaker 1>that and they said this is yours if you want it.

1:15:30.600 --> 1:15:34.240
<v Speaker 1>That was t M I was a great studio, and uh,

1:15:34.520 --> 1:15:36.800
<v Speaker 1>that did I mean that helped, but it didn't really

1:15:36.920 --> 1:15:39.200
<v Speaker 1>entice me to leave Stacks. That's not why I left Stacks.

1:15:39.479 --> 1:15:42.000
<v Speaker 1>What I did tell Al and Uh and Jim start,

1:15:42.400 --> 1:15:44.599
<v Speaker 1>I'm not gonna leave Stacks and going across the street

1:15:45.280 --> 1:15:48.519
<v Speaker 1>in competition with you. I'm not doing that. I'm gonna

1:15:48.560 --> 1:15:50.479
<v Speaker 1>make a different kind of music. I'm not gonna make

1:15:50.560 --> 1:15:54.400
<v Speaker 1>R and B music anymore. And so Al says, well,

1:15:54.439 --> 1:15:56.200
<v Speaker 1>I've got this artist I need you to do. You've

1:15:56.200 --> 1:15:58.479
<v Speaker 1>already agreed to do it. And Uh, he said, you're

1:15:58.479 --> 1:16:00.800
<v Speaker 1>doing real good with Eddy Floyd. You're not gonna stop

1:16:00.800 --> 1:16:06.240
<v Speaker 1>doing that. So I recorded them at him. Okay, a

1:16:06.280 --> 1:16:11.320
<v Speaker 1>couple of a couple of questions here online It says

1:16:11.479 --> 1:16:14.200
<v Speaker 1>you were an A and R guy for Stacks. Is

1:16:14.240 --> 1:16:18.680
<v Speaker 1>that accurate? Yeah? So did you ever sign things? Or

1:16:18.760 --> 1:16:20.880
<v Speaker 1>we're talking about it was so loose. Someone come in

1:16:20.920 --> 1:16:23.960
<v Speaker 1>and you say, hey, this is a good guy. Well,

1:16:24.000 --> 1:16:27.800
<v Speaker 1>I know, I don't think I ever signed anybody. Uh.

1:16:28.479 --> 1:16:31.840
<v Speaker 1>It happened most of it by accident. I can't tell

1:16:31.880 --> 1:16:35.839
<v Speaker 1>you this. I don't ever remember telling somebody becoming famous

1:16:35.880 --> 1:16:38.080
<v Speaker 1>that I said. I listened to her said they're not

1:16:38.080 --> 1:16:41.280
<v Speaker 1>gonna happen. That never happened as far as I can remember.

1:16:41.720 --> 1:16:44.000
<v Speaker 1>So you have great ears. So how did you decide

1:16:44.000 --> 1:16:48.599
<v Speaker 1>you weren't gonna make R and B music anymore? Well,

1:16:48.640 --> 1:16:50.680
<v Speaker 1>I knew I couldn't get out if I said I

1:16:50.680 --> 1:16:56.680
<v Speaker 1>was going to Carcion Cita Buld competition. So at this

1:16:56.840 --> 1:17:00.840
<v Speaker 1>I'm just following the footsteps of Lincoln, Wayne Moment, Chips Bowman.

1:17:02.040 --> 1:17:04.880
<v Speaker 1>He started doing. He did the Sweden inspirations, he did

1:17:05.600 --> 1:17:10.880
<v Speaker 1>King Carters, Elvis and uh However and writers a bunch

1:17:10.920 --> 1:17:14.400
<v Speaker 1>of guys. You know. He did Neil Neil, not Neil

1:17:14.400 --> 1:17:20.439
<v Speaker 1>sadaka Neil Diamond Diamond. So you go, at this point

1:17:20.520 --> 1:17:23.800
<v Speaker 1>in time, not only is the Memphis sound famous, not

1:17:23.880 --> 1:17:28.240
<v Speaker 1>only Stocks famous, you were individually famous. And the way

1:17:28.840 --> 1:17:32.320
<v Speaker 1>people read the credits on the records in depth, so

1:17:32.520 --> 1:17:36.000
<v Speaker 1>I would assume from around the world people are contacting you,

1:17:36.080 --> 1:17:39.120
<v Speaker 1>they want to work with you. Okay? Is that what

1:17:39.240 --> 1:17:43.200
<v Speaker 1>happened when he went to work? Pretty much the thing.

1:17:43.400 --> 1:17:46.000
<v Speaker 1>The thing is, I left him. I made a production

1:17:46.040 --> 1:17:49.200
<v Speaker 1>deal with Columbia Records. I didn't leave to him. I

1:17:49.280 --> 1:17:52.120
<v Speaker 1>left Stacks and and made a deal with the Columbia

1:17:52.160 --> 1:17:56.640
<v Speaker 1>Records And at the time, Clive Davis, the President, and

1:17:56.840 --> 1:17:58.400
<v Speaker 1>he kind of took me in and he wanted to

1:17:58.479 --> 1:18:01.000
<v Speaker 1>make sure that you know, I was on his team,

1:18:01.000 --> 1:18:03.680
<v Speaker 1>and I was, so I did a lot of the

1:18:03.840 --> 1:18:06.719
<v Speaker 1>thank The first artists he sent me was a band

1:18:06.760 --> 1:18:12.960
<v Speaker 1>called Dreams. Very successful with that. Then we did Jeff Beck. Okay, okay, wait,

1:18:13.000 --> 1:18:18.000
<v Speaker 1>wait forget whatever his personality is, and one on one

1:18:18.120 --> 1:18:22.040
<v Speaker 1>he not really the public personality anyway. But of all

1:18:22.120 --> 1:18:25.280
<v Speaker 1>of them, we'll leave you out of this because we're talking.

1:18:25.920 --> 1:18:29.000
<v Speaker 1>I consider Beat to be the best, better than Hendricks,

1:18:29.280 --> 1:18:32.839
<v Speaker 1>better than Jimmy Page, as I say, not the greatest

1:18:32.880 --> 1:18:37.080
<v Speaker 1>songwriter in terms of player, unbelievable. So what did you

1:18:37.240 --> 1:18:40.519
<v Speaker 1>think of working with Jeff Beck also being a guitar player?

1:18:40.680 --> 1:18:43.639
<v Speaker 1>It was a treat, big treat. The thing I can

1:18:43.680 --> 1:18:48.280
<v Speaker 1>say about Jeff as a guitar player, I would watch him.

1:18:48.400 --> 1:18:50.200
<v Speaker 1>I was sitting next to him, and I'll go, you know,

1:18:50.280 --> 1:18:52.320
<v Speaker 1>I'm not the world's worst guitar player, but I know

1:18:52.400 --> 1:18:55.320
<v Speaker 1>you can't get that there in that position. He did

1:18:55.720 --> 1:18:59.519
<v Speaker 1>whatever was in his head. He just played. The thing

1:18:59.560 --> 1:19:02.240
<v Speaker 1>about if is that as his career went, as he

1:19:02.320 --> 1:19:04.920
<v Speaker 1>got older, he got better, better, better, better and better,

1:19:06.120 --> 1:19:09.280
<v Speaker 1>except he'll never top going down that's one of the

1:19:09.280 --> 1:19:13.680
<v Speaker 1>best versions that's ever been done. I think Going Down.

1:19:13.280 --> 1:19:16.439
<v Speaker 1>Don't believe me, I know it fantastic. And I think

1:19:16.920 --> 1:19:19.000
<v Speaker 1>Bobby Chense I didn't know at the time and I

1:19:19.040 --> 1:19:21.519
<v Speaker 1>was producing Bobby that he was a great rock guitar player.

1:19:21.800 --> 1:19:24.280
<v Speaker 1>I had no idea that he played guitar. I just

1:19:24.360 --> 1:19:28.360
<v Speaker 1>knew him as a good singer. And it was a

1:19:28.439 --> 1:19:30.840
<v Speaker 1>Jeff Beck group. They called it, I think at the time.

1:19:31.160 --> 1:19:34.360
<v Speaker 1>Next Building played piano, Coos and Power played drums, and

1:19:34.439 --> 1:19:38.479
<v Speaker 1>claud Shaman played the bass, and Bobby Chance singing and

1:19:38.560 --> 1:19:42.320
<v Speaker 1>Jeff played that incredible guitar. Wow. I mean, I think

1:19:42.320 --> 1:19:45.479
<v Speaker 1>the album as a whole was pretty Yankee. I don't

1:19:45.479 --> 1:19:48.200
<v Speaker 1>think Jeff was very proud of the album, but he's

1:19:48.200 --> 1:19:50.360
<v Speaker 1>got to be proud of Going Down. That is amazing.

1:19:51.360 --> 1:19:55.400
<v Speaker 1>So what was your production technique? How involved were you?

1:19:55.439 --> 1:19:57.400
<v Speaker 1>Were you type of guy who would were arrange, type

1:19:57.400 --> 1:19:59.320
<v Speaker 1>of guy change the songs. Youre the type of the

1:19:59.320 --> 1:20:02.160
<v Speaker 1>guy just sit behind the board, not interfere too much.

1:20:03.200 --> 1:20:06.000
<v Speaker 1>I have no idea, but I do know this. I

1:20:06.040 --> 1:20:08.439
<v Speaker 1>have told many people, if I knew what made me

1:20:08.560 --> 1:20:10.919
<v Speaker 1>who I am, I'd bought it and give it to everybody.

1:20:11.000 --> 1:20:13.200
<v Speaker 1>I have no idea. I was just there at the

1:20:13.200 --> 1:20:16.160
<v Speaker 1>time and it worked. The thing I say about producers,

1:20:16.200 --> 1:20:19.080
<v Speaker 1>you gotta be able to hear something finished. You can't

1:20:19.160 --> 1:20:21.599
<v Speaker 1>just get lucky and stair step it and get lucky

1:20:21.760 --> 1:20:24.000
<v Speaker 1>each time you do something. You gotta hear it finished.

1:20:24.439 --> 1:20:28.120
<v Speaker 1>And you worked for that goal. I think now another

1:20:28.160 --> 1:20:30.800
<v Speaker 1>being you worked with. It was un epic, but part

1:20:30.840 --> 1:20:35.600
<v Speaker 1>of the whole uh CBS enterprise was Poco. That it

1:20:35.680 --> 1:20:38.720
<v Speaker 1>doesn't seem like anything could be further from your wheelhouse

1:20:38.760 --> 1:20:43.400
<v Speaker 1>than Poco, all right, And recently I got to see

1:20:43.479 --> 1:20:46.599
<v Speaker 1>Richie Farrey again for the first time since Poco and

1:20:46.720 --> 1:20:48.840
<v Speaker 1>Timothy I have seen. You know, he's out with the

1:20:48.880 --> 1:20:52.320
<v Speaker 1>Eagles and I knew his time. I don't know whatever

1:20:52.320 --> 1:20:54.479
<v Speaker 1>happened to Paul Cotton. The only hit out of that

1:20:54.520 --> 1:20:56.880
<v Speaker 1>album that I did was Railroad Days by Paul Cotton,

1:20:57.640 --> 1:20:59.960
<v Speaker 1>and I think Richie knows that. And Richie Farrey at

1:21:00.040 --> 1:21:03.519
<v Speaker 1>the time was the writer and they had just split up.

1:21:04.080 --> 1:21:07.640
<v Speaker 1>Him and Jimerson has split up and uh he has

1:21:07.680 --> 1:21:09.599
<v Speaker 1>fit up with his wife as well. It was writing

1:21:09.640 --> 1:21:12.559
<v Speaker 1>all these great love songs, but that's all it was

1:21:12.560 --> 1:21:15.120
<v Speaker 1>with love songs, and I don't think Polko was known

1:21:15.160 --> 1:21:20.000
<v Speaker 1>for love songs. So I told Clive that okay, and

1:21:20.120 --> 1:21:22.880
<v Speaker 1>put the album out anyway, and you know, we had

1:21:22.920 --> 1:21:26.160
<v Speaker 1>railroad days. It's number one record was pretty good. That

1:21:26.320 --> 1:21:29.120
<v Speaker 1>was all we had out of that. And another thing

1:21:29.200 --> 1:21:33.280
<v Speaker 1>happened with looking Glass, I think with Ell Litt Laurie

1:21:33.400 --> 1:21:36.559
<v Speaker 1>looking at us. And so I'm up in New York

1:21:36.560 --> 1:21:38.559
<v Speaker 1>at the time, and they said, we got this group

1:21:38.600 --> 1:21:41.240
<v Speaker 1>who wants you to go here? So I did. They

1:21:41.240 --> 1:21:42.600
<v Speaker 1>came back the next day and I'm sitting down and

1:21:42.680 --> 1:21:44.639
<v Speaker 1>cloud he said, well, they have any hits. I said,

1:21:44.640 --> 1:21:49.439
<v Speaker 1>they got one Brandy. He said, well, let's take him

1:21:49.479 --> 1:21:51.000
<v Speaker 1>down to Memphis. You cut him and see what you're

1:21:51.000 --> 1:21:53.200
<v Speaker 1>gonna said. He called me about four days into the session.

1:21:53.680 --> 1:21:56.519
<v Speaker 1>He said, how's it going. I said, going pretty good.

1:21:56.760 --> 1:21:58.719
<v Speaker 1>She says, uh, if you got any hits, I said,

1:21:58.720 --> 1:22:01.519
<v Speaker 1>one Brandy. He said, would send them back to New

1:22:01.600 --> 1:22:05.960
<v Speaker 1>York then, And so they, I don't know, they think

1:22:05.960 --> 1:22:07.439
<v Speaker 1>I had something to do with it. I had nothing

1:22:07.439 --> 1:22:09.479
<v Speaker 1>to do with that, with him going back. But here's

1:22:09.479 --> 1:22:12.840
<v Speaker 1>what they did. They got an engineer to work for nothing.

1:22:13.120 --> 1:22:15.519
<v Speaker 1>They went in at midnight or late in the evening

1:22:16.120 --> 1:22:19.360
<v Speaker 1>and recorded Brandy the same way. We didn't head anbaring

1:22:19.400 --> 1:22:24.200
<v Speaker 1>record with it great. I'm proud of proud of them.

1:22:24.240 --> 1:22:26.800
<v Speaker 1>I heard that in Woodstock. I heard them do it

1:22:26.840 --> 1:22:29.120
<v Speaker 1>Brandy and it was hit. Then there's still a hit.

1:22:30.320 --> 1:22:31.840
<v Speaker 1>So I heard on the radio. I go, man, that

1:22:31.960 --> 1:22:36.599
<v Speaker 1>was a hit. So okay. So how long Needles Sway

1:22:36.720 --> 1:22:41.599
<v Speaker 1>Clive gets blown out of CBS uh and how long

1:22:41.640 --> 1:22:44.439
<v Speaker 1>does it last for you with t M I what's

1:22:44.479 --> 1:22:49.000
<v Speaker 1>the next step for you? Well, the guy that signed

1:22:49.080 --> 1:22:55.000
<v Speaker 1>us to Columbia whole mrs ever't doesn't matter. Um, he

1:22:55.280 --> 1:22:59.320
<v Speaker 1>was booted out of Columbia because of indifferences or something.

1:22:59.680 --> 1:23:01.439
<v Speaker 1>I think what it was. He was part on over

1:23:01.439 --> 1:23:03.920
<v Speaker 1>a building they were keeping the records in as a

1:23:04.040 --> 1:23:08.280
<v Speaker 1>as a wherever storage place. He couldn't do that. So

1:23:09.680 --> 1:23:11.599
<v Speaker 1>the guy was in partnership with came to me one

1:23:11.640 --> 1:23:14.920
<v Speaker 1>day answered, we're moving over to our c A. So

1:23:15.000 --> 1:23:18.800
<v Speaker 1>I wind up doing three records on Jos's Feliciano and

1:23:18.960 --> 1:23:22.160
<v Speaker 1>some other stuff. And and during that transition time I

1:23:22.280 --> 1:23:24.640
<v Speaker 1>did a little record. My name is not on there,

1:23:24.720 --> 1:23:29.840
<v Speaker 1>but I still produced. It was Tower Power, Bump City, Yeah,

1:23:30.880 --> 1:23:32.800
<v Speaker 1>down to the Nine Clubs, to leon Man and all

1:23:32.800 --> 1:23:38.200
<v Speaker 1>those records awesome. The problem was they got busted about

1:23:38.200 --> 1:23:42.439
<v Speaker 1>two or three times a week, and the fact that

1:23:42.479 --> 1:23:45.200
<v Speaker 1>we were friends with the police, they didn't they just

1:23:46.160 --> 1:23:49.000
<v Speaker 1>turn them loose back in the studio or whatever. So

1:23:49.240 --> 1:23:51.200
<v Speaker 1>when it came down to do a second album, they said,

1:23:51.200 --> 1:23:53.200
<v Speaker 1>we're not coming back to Memphis, and I said, well,

1:23:53.240 --> 1:23:56.080
<v Speaker 1>I'm not going out to Oakland. I went out there

1:23:56.200 --> 1:23:59.519
<v Speaker 1>later and row with Steve the bart player. He was

1:23:59.600 --> 1:24:03.320
<v Speaker 1>a ride and uh, you know, we hit it off

1:24:03.400 --> 1:24:04.880
<v Speaker 1>real good and all that sort of stuff. But the

1:24:04.920 --> 1:24:08.000
<v Speaker 1>rest of the man, we would we hit it off tremendously,

1:24:08.760 --> 1:24:11.840
<v Speaker 1>all good friends, but I wouldn't go to first go

1:24:11.960 --> 1:24:13.600
<v Speaker 1>to cut them, and they wouldn't come to l A.

1:24:13.720 --> 1:24:15.960
<v Speaker 1>I mean, to to Nashville. So I'm Memphis, I mean,

1:24:16.439 --> 1:24:19.800
<v Speaker 1>and uh that's where we ended it right there. So

1:24:20.000 --> 1:24:26.280
<v Speaker 1>you did Bumps, you did down to the nightclub bump City. Yeah, unbelievable,

1:24:28.120 --> 1:24:35.320
<v Speaker 1>unbelievable records. Okay, So at any point in this game,

1:24:36.040 --> 1:24:38.800
<v Speaker 1>do you feel in the seventies that, hey, you've had

1:24:38.840 --> 1:24:42.280
<v Speaker 1>a lot of success, be you want to walk away?

1:24:43.240 --> 1:24:46.120
<v Speaker 1>See are you still on a roll? You fear where

1:24:46.160 --> 1:24:48.240
<v Speaker 1>you are in the game, Are you thinking about any

1:24:48.280 --> 1:24:52.040
<v Speaker 1>of that stuff. No, the thing is that what I

1:24:52.160 --> 1:24:54.760
<v Speaker 1>look back on my career. I spent over nine years

1:24:54.800 --> 1:24:57.439
<v Speaker 1>in the studio in the fifties up the years on

1:24:57.520 --> 1:25:02.320
<v Speaker 1>the road. So uh, they say, what do you like

1:25:02.439 --> 1:25:04.240
<v Speaker 1>the best? I said, I don't. It didn't matter. If

1:25:04.240 --> 1:25:07.040
<v Speaker 1>I'm on stage, I'm having a great time. If I'm

1:25:07.080 --> 1:25:08.800
<v Speaker 1>in the studio, I'm having a great time. So it

1:25:08.920 --> 1:25:12.200
<v Speaker 1>doesn't matter. But when you can make a living out

1:25:12.240 --> 1:25:15.479
<v Speaker 1>of having fun, that's the best thing. That's now I understand.

1:25:15.560 --> 1:25:19.040
<v Speaker 1>I've always understood why sports guys who get paid a

1:25:19.080 --> 1:25:21.000
<v Speaker 1>lot of money to do to play the same game

1:25:21.040 --> 1:25:23.439
<v Speaker 1>they've been playing since they were kids. And nothing wrong

1:25:23.479 --> 1:25:26.120
<v Speaker 1>with that. No, accept it ends at some point where

1:25:26.160 --> 1:25:28.960
<v Speaker 1>as a musician, if you're good, you can continue to go.

1:25:29.360 --> 1:25:33.920
<v Speaker 1>You have to God takes you away, right, Okay, Now,

1:25:34.040 --> 1:25:37.160
<v Speaker 1>working with all these people, you have a unique guitar style.

1:25:37.760 --> 1:25:41.400
<v Speaker 1>Did it ever change your guitar style being having all

1:25:41.439 --> 1:25:45.479
<v Speaker 1>these other influences? No, I don't think so. But you know,

1:25:45.560 --> 1:25:47.360
<v Speaker 1>I listened to radio every now and then I go, hey,

1:25:47.400 --> 1:25:50.120
<v Speaker 1>I played pretty good on that. I remember half of it?

1:25:50.960 --> 1:25:53.720
<v Speaker 1>I don't. And then at this point you know you're

1:25:54.160 --> 1:25:57.640
<v Speaker 1>you're in the pan theeon in that era? Does it

1:25:57.800 --> 1:26:01.120
<v Speaker 1>end up that you end up meeting everybody like obviously

1:26:01.120 --> 1:26:03.519
<v Speaker 1>you're working with Jeff Beck, do you know? You know

1:26:05.720 --> 1:26:10.599
<v Speaker 1>pretty close? That's the scary part. I think I've met

1:26:11.080 --> 1:26:16.840
<v Speaker 1>almost everybody. There's anybody, whether comedians or actors or whatever.

1:26:16.920 --> 1:26:19.240
<v Speaker 1>I met him all presidents. I played for four of them.

1:26:19.280 --> 1:26:23.200
<v Speaker 1>And you know, and I would like to thank Bill

1:26:23.240 --> 1:26:24.920
<v Speaker 1>Clinton and I were pretty good friends at one time.

1:26:25.360 --> 1:26:28.240
<v Speaker 1>How did you become friends with Bill Clinton? Well, you don't,

1:26:28.240 --> 1:26:30.840
<v Speaker 1>I mean you he takes you on. You don't take

1:26:30.920 --> 1:26:34.000
<v Speaker 1>him on. You might accept him as a person, but

1:26:34.080 --> 1:26:36.200
<v Speaker 1>if if he's standing at the end of the stage

1:26:36.320 --> 1:26:38.160
<v Speaker 1>or an address of Whiting on the restaurant where you

1:26:38.200 --> 1:26:40.920
<v Speaker 1>get up stage, you got a pretty good ata likes

1:26:40.960 --> 1:26:46.040
<v Speaker 1>you and not eously. You know, you come from adjoining states.

1:26:46.560 --> 1:26:52.920
<v Speaker 1>But what would you talk to Bill Clinton about? Music? Really? Yeah?

1:26:53.840 --> 1:26:56.400
<v Speaker 1>And would he ever? Definitely didn't talk about girls or

1:26:56.439 --> 1:26:59.000
<v Speaker 1>the state. We've talked about music. I wasn't fishing for that.

1:26:59.360 --> 1:27:01.200
<v Speaker 1>But would he ever? Did he ever call you on

1:27:01.280 --> 1:27:05.000
<v Speaker 1>the phone and say, hey, Steve, no, no, So what

1:27:05.160 --> 1:27:07.080
<v Speaker 1>did you get in the Oval office? He said? You know,

1:27:07.360 --> 1:27:10.040
<v Speaker 1>I remember where I was the day I heard Grant Onions.

1:27:10.120 --> 1:27:12.680
<v Speaker 1>I mean not Grandos, but Dock of the Bay. He

1:27:12.840 --> 1:27:15.320
<v Speaker 1>was in a pub in England. He told me, as

1:27:15.360 --> 1:27:20.920
<v Speaker 1>I'm walking over, So what did you learn about famous people? Well,

1:27:22.760 --> 1:27:25.479
<v Speaker 1>I'll tell you this. There's only three guys in my

1:27:25.640 --> 1:27:28.040
<v Speaker 1>career that could light up a room just by walking

1:27:28.080 --> 1:27:32.320
<v Speaker 1>into it. Elvis was one of them. Bill Clinton was

1:27:32.360 --> 1:27:36.479
<v Speaker 1>another one, and Roy Oberson was the third one. They

1:27:36.520 --> 1:27:40.080
<v Speaker 1>walk in, every head would turn, every conversation would just stop,

1:27:40.680 --> 1:27:42.960
<v Speaker 1>didn't go back to where it was, And that's what

1:27:43.080 --> 1:27:46.880
<v Speaker 1>they did. And you're making this R and B music

1:27:46.960 --> 1:27:51.559
<v Speaker 1>in Memphis? What did you think about the British Invasion sound,

1:27:51.640 --> 1:27:54.360
<v Speaker 1>the Beatles and who came thereafter then ultimately clapped in

1:27:54.439 --> 1:27:57.719
<v Speaker 1>and back, and then you have to San Francisco sound,

1:27:57.880 --> 1:28:00.479
<v Speaker 1>and then ultimately the folk rock from Los Ange Angelists.

1:28:01.240 --> 1:28:03.439
<v Speaker 1>Was that something that interested you? Or he was saying, well,

1:28:03.520 --> 1:28:07.080
<v Speaker 1>I'm just doing what I'm doing. I would say, I'm

1:28:07.120 --> 1:28:10.920
<v Speaker 1>doing what I'm doing, and I'm okay at that. I'll

1:28:10.920 --> 1:28:13.519
<v Speaker 1>just stick with what I got to successful. Well, I

1:28:13.640 --> 1:28:15.560
<v Speaker 1>venture out and try to do something I don't know

1:28:16.320 --> 1:28:18.760
<v Speaker 1>a lot of people do. Okay, let's let's talk about

1:28:18.760 --> 1:28:22.400
<v Speaker 1>another legendary moment. Okay, I remember going to see Lemmings

1:28:23.120 --> 1:28:27.160
<v Speaker 1>off Broadway, becoming aware of John Belushi and Chevy Chase

1:28:27.280 --> 1:28:31.519
<v Speaker 1>and the fall of seventy. SNL goes on Ackroid and

1:28:31.600 --> 1:28:36.200
<v Speaker 1>Blush start this crazy thing with the Blues brothers you

1:28:36.280 --> 1:28:39.160
<v Speaker 1>know from me and talking to you down a little different.

1:28:39.200 --> 1:28:42.360
<v Speaker 1>It's like, you know, listen, how the fund does you know?

1:28:42.479 --> 1:28:44.920
<v Speaker 1>Steve Cropper half time to say, Okay, I'm gonna pick

1:28:45.000 --> 1:28:46.880
<v Speaker 1>up I'm gonna go on the road with these guys.

1:28:47.320 --> 1:28:49.400
<v Speaker 1>I mean, how did all that happen? What was going

1:28:49.479 --> 1:28:52.800
<v Speaker 1>through your mind? Okay, I don't know. It's kind of weird,

1:28:53.479 --> 1:28:59.519
<v Speaker 1>but I'll tell you the connection. So Belushi happened to

1:28:59.600 --> 1:29:02.320
<v Speaker 1>be the New Year's Eve gig that we played with

1:29:02.520 --> 1:29:06.280
<v Speaker 1>Levon Helm in New York, and he said, if I

1:29:06.360 --> 1:29:09.560
<v Speaker 1>ever put a band together, I wanted that band. And

1:29:09.640 --> 1:29:11.720
<v Speaker 1>then he got the opportunity to Steve Martin asked him

1:29:11.720 --> 1:29:14.920
<v Speaker 1>to open up some shows for him. So Steve said,

1:29:15.280 --> 1:29:18.360
<v Speaker 1>that's when Steve Martin had King Tutt. His connection was

1:29:18.400 --> 1:29:20.280
<v Speaker 1>Sating out Live. Was a writer for Saturday Night Lives,

1:29:20.320 --> 1:29:24.519
<v Speaker 1>so he knew them very well. So he comes to

1:29:24.720 --> 1:29:26.679
<v Speaker 1>John and he says, I want you guys to open

1:29:26.760 --> 1:29:28.920
<v Speaker 1>from me. He said, they insist that I have an

1:29:28.960 --> 1:29:30.519
<v Speaker 1>opening act, and I want you guys to do it

1:29:30.680 --> 1:29:34.040
<v Speaker 1>rather than use some local band, you know. And John says, well,

1:29:34.080 --> 1:29:36.000
<v Speaker 1>you know, Danny and I don't do stand up comedy.

1:29:36.000 --> 1:29:37.240
<v Speaker 1>He said, I don't care what you do, he said.

1:29:37.360 --> 1:29:39.200
<v Speaker 1>John says, good. Can we play music? He said, if

1:29:39.240 --> 1:29:41.360
<v Speaker 1>you want to play music, play music. That's when he

1:29:41.400 --> 1:29:44.720
<v Speaker 1>started putting the band together. So I get a call

1:29:44.840 --> 1:29:48.479
<v Speaker 1>from him. I'm I'm working on Robin Ford's album, Great

1:29:48.479 --> 1:29:52.840
<v Speaker 1>Guitar Player, and I have this thing when I'm mixing

1:29:53.000 --> 1:29:55.439
<v Speaker 1>or working on somebody, and we were mixing the album

1:29:55.439 --> 1:29:59.760
<v Speaker 1>at the time. No calls except one guy who might

1:30:00.120 --> 1:30:02.040
<v Speaker 1>take me to lunch. He was he was worked for

1:30:02.080 --> 1:30:04.720
<v Speaker 1>the publishing company that I was with it. I wasn't

1:30:04.760 --> 1:30:07.439
<v Speaker 1>with them, but they had some of the old songs,

1:30:08.120 --> 1:30:10.760
<v Speaker 1>and uh, I said, if he calls, it's okay. And

1:30:10.840 --> 1:30:12.680
<v Speaker 1>he would always call and say I'm president so on,

1:30:12.800 --> 1:30:14.960
<v Speaker 1>so this is Stevie Wonder or he'd come up with

1:30:15.000 --> 1:30:18.240
<v Speaker 1>a name. So when I said, Belusha's on the phone

1:30:18.320 --> 1:30:22.240
<v Speaker 1>for you, I hung up. On the third time. I

1:30:22.360 --> 1:30:24.120
<v Speaker 1>hung up again the second time on the third time,

1:30:24.160 --> 1:30:26.640
<v Speaker 1>he said, don't hang up. It's really John Belushi. The

1:30:26.760 --> 1:30:29.880
<v Speaker 1>thing is I had met him before at a Paul

1:30:29.920 --> 1:30:33.559
<v Speaker 1>McCartney party and we talked for a long time about music,

1:30:33.640 --> 1:30:37.559
<v Speaker 1>about different things, and he was there Paul had hired

1:30:37.680 --> 1:30:40.200
<v Speaker 1>him to do that Joe Cocker thing that he used

1:30:40.240 --> 1:30:43.680
<v Speaker 1>to do. And uh. Anyway, he said, don't hang up,

1:30:43.760 --> 1:30:45.599
<v Speaker 1>and then he said, I understand you don't get along

1:30:45.640 --> 1:30:49.400
<v Speaker 1>with Duck. Done very well, and so I really left it.

1:30:49.760 --> 1:30:51.439
<v Speaker 1>But I knew that wasn't my friend. That had to

1:30:51.479 --> 1:30:54.280
<v Speaker 1>be John Belushi, and he said no. He said really.

1:30:54.320 --> 1:30:56.280
<v Speaker 1>He said, I've already talked to Duck and Duck's gonna

1:30:56.400 --> 1:30:58.559
<v Speaker 1>come up and play. He said I need you up

1:30:58.600 --> 1:31:00.320
<v Speaker 1>there and said, I'm in the middle of mixing record.

1:31:00.320 --> 1:31:03.560
<v Speaker 1>I can't do it. So he said you can't do it.

1:31:03.600 --> 1:31:04.960
<v Speaker 1>I said, man, I can't do it. I can't be

1:31:05.080 --> 1:31:09.320
<v Speaker 1>up there and tomorrow I can't do it. So when

1:31:09.360 --> 1:31:12.200
<v Speaker 1>I hung up with John, Robin was sitting in the

1:31:12.280 --> 1:31:14.320
<v Speaker 1>couch below the console. He stands up. He says, I'll

1:31:14.360 --> 1:31:18.720
<v Speaker 1>do it. I said, you know you won't. He did.

1:31:18.840 --> 1:31:20.679
<v Speaker 1>He said I'll do it. I said, no, you won't.

1:31:22.080 --> 1:31:24.559
<v Speaker 1>So I talked to Bruce rob who was an engineer

1:31:24.600 --> 1:31:27.040
<v Speaker 1>on the on the job and I said, can we

1:31:27.160 --> 1:31:31.800
<v Speaker 1>do what you've done before with with with what's her

1:31:31.880 --> 1:31:35.760
<v Speaker 1>name from Atlantic, Jerry Wexler, And I said, can you

1:31:35.880 --> 1:31:37.720
<v Speaker 1>mix it? Send me the mixes and all, Okay, I'm

1:31:37.720 --> 1:31:39.320
<v Speaker 1>gonna tell you this and that and he said, yeah,

1:31:40.080 --> 1:31:42.040
<v Speaker 1>So well, I think we had two left was gonna

1:31:42.080 --> 1:31:45.360
<v Speaker 1>be so I call blew you back and I said,

1:31:45.360 --> 1:31:46.840
<v Speaker 1>if you could wait two or three days, I'll be

1:31:46.960 --> 1:31:49.600
<v Speaker 1>up there. And he said, okay, I'll wait on you.

1:31:49.920 --> 1:31:54.040
<v Speaker 1>So he did, and that's how all got started. So

1:31:54.600 --> 1:31:56.439
<v Speaker 1>the other thing, the reason Duck and I are in

1:31:56.479 --> 1:31:59.840
<v Speaker 1>the band at the time, we had done two our

1:32:00.000 --> 1:32:02.600
<v Speaker 1>theoms and two world tours. Will leave on him and

1:32:02.680 --> 1:32:05.240
<v Speaker 1>the Saturday Night Live Horns with a horn back at Horns,

1:32:06.080 --> 1:32:10.400
<v Speaker 1>and uh so Belushi goes to Tom alone, he was

1:32:10.439 --> 1:32:12.400
<v Speaker 1>a trombone player at that time in the director of

1:32:12.479 --> 1:32:15.679
<v Speaker 1>the Saturday Night Live Horns and the band, and he said,

1:32:15.960 --> 1:32:18.200
<v Speaker 1>you know we're gonna open these shows for Steve Martin.

1:32:18.240 --> 1:32:20.040
<v Speaker 1>Do you want to take the whole Saturday Night Live band?

1:32:20.040 --> 1:32:21.680
<v Speaker 1>And what should we do? And he said, you need

1:32:21.760 --> 1:32:23.799
<v Speaker 1>to get done in cropper because they're old Road Dogs.

1:32:24.040 --> 1:32:25.599
<v Speaker 1>I don't know where he got that from it anyway,

1:32:25.680 --> 1:32:27.880
<v Speaker 1>that's how we got to be part of it, thanks

1:32:27.920 --> 1:32:30.240
<v Speaker 1>to Tom alone. Okay, but if that it turns into

1:32:30.280 --> 1:32:34.120
<v Speaker 1>a phenomenon, there ends up being multiple records. You know,

1:32:34.280 --> 1:32:38.120
<v Speaker 1>tours are just the Blues Brothers. There's a movie. You know.

1:32:38.360 --> 1:32:40.960
<v Speaker 1>Was that all a fun ride or did he get older?

1:32:41.160 --> 1:32:43.240
<v Speaker 1>This most fun you didn't have in life? I guess

1:32:43.439 --> 1:32:46.320
<v Speaker 1>it was pretty pretty fun. Yeah, And we had no

1:32:46.479 --> 1:32:49.360
<v Speaker 1>idea that first album doing it ain't what triple platinum

1:32:49.439 --> 1:32:52.400
<v Speaker 1>right off the bat. Now I follow up to quadruple

1:32:52.439 --> 1:32:55.800
<v Speaker 1>platinum for four million sales at the time, it came

1:32:55.840 --> 1:33:00.360
<v Speaker 1>out two and a half three million sales, which I

1:33:00.479 --> 1:33:04.479
<v Speaker 1>think is the stepping stone, the one thing that allowed

1:33:04.520 --> 1:33:06.679
<v Speaker 1>Atlanta to put them a little more pressure on Universal

1:33:06.760 --> 1:33:09.559
<v Speaker 1>do a movie because they had turned Danny down before

1:33:09.600 --> 1:33:13.040
<v Speaker 1>on the idea of doing a Blues Brothers movie. Okay,

1:33:13.439 --> 1:33:16.200
<v Speaker 1>I gotta email from Tivin and he said, you gotta

1:33:16.240 --> 1:33:19.000
<v Speaker 1>ask Steve some questions that no one's ever asked him.

1:33:19.320 --> 1:33:20.840
<v Speaker 1>So he said me, if you and I'm gonna ask

1:33:20.920 --> 1:33:26.479
<v Speaker 1>him what about these phone calls with Bob Dylan? I

1:33:26.520 --> 1:33:29.160
<v Speaker 1>ain't gonna go there. But anyway, I gotta call Bob,

1:33:29.240 --> 1:33:32.160
<v Speaker 1>and I got a call from somebody worked Bob and

1:33:32.200 --> 1:33:34.280
<v Speaker 1>said Bob was gonna call you in ten minutes, and

1:33:34.400 --> 1:33:39.479
<v Speaker 1>he did, and I just assumed he wanted me to

1:33:39.680 --> 1:33:42.320
<v Speaker 1>be in his band. I don't know if I had

1:33:42.320 --> 1:33:44.000
<v Speaker 1>done or not. And he never did say was you

1:33:44.040 --> 1:33:45.920
<v Speaker 1>to be in a band? He never gave me the

1:33:45.960 --> 1:33:49.439
<v Speaker 1>opportunity to turn him down. So, so, did you want

1:33:49.439 --> 1:33:52.560
<v Speaker 1>to talk music or just talk? Well, he got on

1:33:52.600 --> 1:33:54.760
<v Speaker 1>the phone and said, Cropper, I had you in my mind.

1:33:55.160 --> 1:33:57.280
<v Speaker 1>He must say that twenty times. I had you in

1:33:57.400 --> 1:34:02.320
<v Speaker 1>my mind. Okay, what I had him? Man, that's all

1:34:02.400 --> 1:34:04.680
<v Speaker 1>he said. Finally hung up. After about ten minutes, he

1:34:04.800 --> 1:34:06.400
<v Speaker 1>kept saying that and then hung up. And that was

1:34:06.479 --> 1:34:10.400
<v Speaker 1>into that and never heard from him again. No, but

1:34:10.520 --> 1:34:15.400
<v Speaker 1>he's a good friend. And what about working with John Lennon. Well,

1:34:15.840 --> 1:34:18.479
<v Speaker 1>the thing about that is that it was a pretty

1:34:18.520 --> 1:34:23.439
<v Speaker 1>crazy session. But I stayed and so John said, are

1:34:23.439 --> 1:34:25.760
<v Speaker 1>you gonna stay for the next song? I said absolutely?

1:34:26.400 --> 1:34:29.280
<v Speaker 1>He said can you stay after the next song? Because

1:34:29.320 --> 1:34:31.120
<v Speaker 1>I came up with a riff that I always thought

1:34:31.120 --> 1:34:32.160
<v Speaker 1>it would be good for a book of D n

1:34:32.320 --> 1:34:37.080
<v Speaker 1>M cheese. I said sure, so it's after everybody tlearned out.

1:34:37.120 --> 1:34:39.560
<v Speaker 1>It's just John Lennon and myself in the studio and

1:34:39.680 --> 1:34:42.960
<v Speaker 1>he gets a guitar. It passes to be his bottle

1:34:42.960 --> 1:34:45.840
<v Speaker 1>of vodka, which I thought was water holiday long. It

1:34:45.960 --> 1:34:51.240
<v Speaker 1>was really Holy Acrol. He could handle it. So he

1:34:51.280 --> 1:34:53.160
<v Speaker 1>plays me this riff. It's pretty good. So I take

1:34:53.200 --> 1:34:55.519
<v Speaker 1>it back short to my band or Tim, and we've

1:34:55.600 --> 1:34:58.840
<v Speaker 1>made a little record, recorded it, send it to a secretary,

1:34:59.640 --> 1:35:03.400
<v Speaker 1>and one day, by accident, they said John Lennon's new

1:35:03.439 --> 1:35:07.360
<v Speaker 1>record is out. That was imagine. Well, whoever put the

1:35:07.439 --> 1:35:09.840
<v Speaker 1>record on the jew box put in upside down, so

1:35:10.000 --> 1:35:13.280
<v Speaker 1>the B side played first. I said, that's the instrumental,

1:35:13.360 --> 1:35:15.840
<v Speaker 1>I said, riff. So if you want to pick it up,

1:35:15.880 --> 1:35:18.800
<v Speaker 1>it's called beef Jerky. He cut it in New York.

1:35:20.520 --> 1:35:23.800
<v Speaker 1>Now are you yes? I said, you've met essentially everybody

1:35:24.520 --> 1:35:28.080
<v Speaker 1>anybody ever intimidate you? Do you get up tight meeting people?

1:35:28.320 --> 1:35:33.479
<v Speaker 1>Or John Lennon just another musician. Well, John Lennon was

1:35:33.560 --> 1:35:36.439
<v Speaker 1>John Lennon, but you know I had met him before.

1:35:36.520 --> 1:35:39.680
<v Speaker 1>I bet all three, but uh, the only guy that

1:35:39.840 --> 1:35:43.080
<v Speaker 1>wasn't there at the time, and in uh what was

1:35:43.120 --> 1:35:47.240
<v Speaker 1>the seventies, now, sixty six the Stax Fold tour. They

1:35:47.280 --> 1:35:48.639
<v Speaker 1>were at the Bag of Nails and we were down

1:35:48.640 --> 1:35:51.360
<v Speaker 1>there rehearsal for the show, and uh, the only guy

1:35:51.439 --> 1:35:53.960
<v Speaker 1>that wasn't there was George the guitar player is the

1:35:54.000 --> 1:35:57.040
<v Speaker 1>only one who wasn't there. It's crazy, but NDO and

1:35:57.160 --> 1:36:00.760
<v Speaker 1>Paul and and John were there. Pretty crazy. The thing

1:36:00.840 --> 1:36:03.640
<v Speaker 1>about that is that they respected us so much they

1:36:03.960 --> 1:36:08.040
<v Speaker 1>sent a Roles to pick us up in red carpet. Wow,

1:36:10.200 --> 1:36:12.720
<v Speaker 1>that was pretty nice something to do that. And you

1:36:12.880 --> 1:36:20.120
<v Speaker 1>also played with Keith Richards. Yeah, what's the smile and joke?

1:36:20.240 --> 1:36:22.720
<v Speaker 1>Fare Well, it's the same thing you just said a

1:36:22.760 --> 1:36:26.360
<v Speaker 1>while ago. I don't want to admit that. Uh, you know,

1:36:26.439 --> 1:36:29.519
<v Speaker 1>I just treat everybody equal and I've always done that.

1:36:30.000 --> 1:36:32.439
<v Speaker 1>You are who you are. I mean, I ain't taking

1:36:32.439 --> 1:36:34.960
<v Speaker 1>anything away from you. But if you want to be special,

1:36:35.000 --> 1:36:38.720
<v Speaker 1>you're gonna have to be special. Okay. I think I

1:36:38.880 --> 1:36:42.280
<v Speaker 1>understand what you're saying. Yeah, I mean, you know, you

1:36:42.400 --> 1:36:44.160
<v Speaker 1>just take all these people with a grain of salt.

1:36:44.920 --> 1:36:46.960
<v Speaker 1>So you're planning for a president, Well, you just treat

1:36:47.040 --> 1:36:49.320
<v Speaker 1>him like a regor guy, and he loves it. They

1:36:49.360 --> 1:36:52.519
<v Speaker 1>always love it if you bow down to him, right,

1:36:52.560 --> 1:36:55.400
<v Speaker 1>off the bat and treat them like bigger than I know.

1:36:55.520 --> 1:36:56.640
<v Speaker 1>That's what I told me. You want to talk to

1:36:56.720 --> 1:36:59.280
<v Speaker 1>famous people, first thing you do. First rule is don't

1:36:59.280 --> 1:37:02.880
<v Speaker 1>ever talk to him what they're famous about, you know,

1:37:03.240 --> 1:37:06.880
<v Speaker 1>all this other stuff. And you were working with Jeff

1:37:07.000 --> 1:37:13.120
<v Speaker 1>Beck and Stevie Wonder sent a demo. Yeah, so the

1:37:13.200 --> 1:37:19.400
<v Speaker 1>Jeff Beck story superstitious. So they want me to hear

1:37:19.479 --> 1:37:22.000
<v Speaker 1>the song that Stevie Wonder has written for Jeff Beck.

1:37:23.479 --> 1:37:26.880
<v Speaker 1>So we get to Electric Lady Studios and Stevie says,

1:37:26.960 --> 1:37:28.680
<v Speaker 1>put it up, put it up, tells the engine to

1:37:28.680 --> 1:37:30.040
<v Speaker 1>put it up, put it up. He puts it up.

1:37:30.560 --> 1:37:33.640
<v Speaker 1>So while it's playing, it's superstitious. I'll lean over when

1:37:33.680 --> 1:37:39.920
<v Speaker 1>I said, Stevie, put horns on that and put it out. Yeah,

1:37:40.000 --> 1:37:42.560
<v Speaker 1>I did just say that, put horns on it and

1:37:42.640 --> 1:37:45.720
<v Speaker 1>put it up. And that is that the version with

1:37:45.920 --> 1:37:50.960
<v Speaker 1>horns that came out. Yeah, so you're responsible. So you're

1:37:51.000 --> 1:37:56.040
<v Speaker 1>responsible for Beck not getting it. Maybe, but I heard Beck.

1:37:56.960 --> 1:37:58.880
<v Speaker 1>So Stevie calls him up to sit in one night

1:37:58.880 --> 1:38:00.240
<v Speaker 1>and I said, now I find it. It it I

1:38:00.400 --> 1:38:04.840
<v Speaker 1>understand why he wrote that for Jeff Beck. Good got

1:38:04.920 --> 1:38:08.040
<v Speaker 1>the money. Yeah, but that was a couple of years

1:38:08.040 --> 1:38:09.720
<v Speaker 1>ago that I heard it for the first time. I

1:38:09.840 --> 1:38:11.960
<v Speaker 1>heard Jeff play for the first time. Okay, a lot

1:38:12.040 --> 1:38:14.880
<v Speaker 1>of time is going by. You're still eager to go

1:38:15.040 --> 1:38:20.080
<v Speaker 1>on the road, you're still eager to play. Uh, well,

1:38:20.520 --> 1:38:22.479
<v Speaker 1>that's hard to say. If I ever did. I think

1:38:22.520 --> 1:38:26.080
<v Speaker 1>you asked me that similar question before. I'm not sure

1:38:26.160 --> 1:38:29.759
<v Speaker 1>I was ever. I have a longing to go fishing

1:38:29.840 --> 1:38:31.720
<v Speaker 1>and a longing to play golf that I don't have

1:38:31.800 --> 1:38:34.760
<v Speaker 1>a longing to play music. I do that if I'm

1:38:34.840 --> 1:38:37.439
<v Speaker 1>called upon, and I will say this. They don't pay

1:38:37.479 --> 1:38:39.960
<v Speaker 1>you to play. They pay you to carry the luggist

1:38:40.000 --> 1:38:43.240
<v Speaker 1>to an airport. But when about two hours you're on stage, man,

1:38:43.320 --> 1:38:47.200
<v Speaker 1>that's the best fun you can have. And uh, you know,

1:38:47.240 --> 1:38:50.120
<v Speaker 1>I'm also one of those guys. I don't. I enjoyed

1:38:50.200 --> 1:38:52.760
<v Speaker 1>playing to be playing, but I don't enjoy planning for

1:38:52.840 --> 1:38:57.479
<v Speaker 1>two people two thousand. I enjoy two hundred thousand. I

1:38:57.560 --> 1:39:02.760
<v Speaker 1>rooted joy. I understand the concept there too. And uh,

1:39:04.400 --> 1:39:09.840
<v Speaker 1>you keep up with popular music, no because you've been

1:39:09.880 --> 1:39:14.360
<v Speaker 1>through too much or you don't like it. I think

1:39:14.400 --> 1:39:18.320
<v Speaker 1>I know the difference in terms of I know what's

1:39:18.360 --> 1:39:20.240
<v Speaker 1>a hit and what's not. If it's good enough to

1:39:20.320 --> 1:39:22.799
<v Speaker 1>make my hair stand up. It's good. If it doesn't,

1:39:23.000 --> 1:39:26.960
<v Speaker 1>it ain't. What are a few records you were not

1:39:27.120 --> 1:39:32.439
<v Speaker 1>involved with that major here stand up? Mm hmm. That's

1:39:32.439 --> 1:39:34.280
<v Speaker 1>a good question. I never thought of it that way,

1:39:35.280 --> 1:39:39.240
<v Speaker 1>but I'm I can think of you probably, I don't know.

1:39:42.320 --> 1:39:45.240
<v Speaker 1>I really don't know. Okay. And to what to do? You?

1:39:45.240 --> 1:39:48.760
<v Speaker 1>Are you a gearhead? What a gearhead? I'm not a

1:39:48.840 --> 1:39:52.880
<v Speaker 1>gear head? How many? How many guitars you own? Way

1:39:52.960 --> 1:39:54.720
<v Speaker 1>too many? You want to play one at the time,

1:39:55.400 --> 1:39:58.360
<v Speaker 1>So that's why I'm asking how many? How many? On? Well,

1:39:58.520 --> 1:40:00.920
<v Speaker 1>I play the same gitub and playing one. I retired

1:40:00.960 --> 1:40:03.639
<v Speaker 1>one after fourteen years and the one I'm playing presently

1:40:03.640 --> 1:40:06.160
<v Speaker 1>I've been playing close to ten years. Now, why did

1:40:06.200 --> 1:40:13.000
<v Speaker 1>you retire the first one? Uh? It needed to be refretted. Okay?

1:40:13.720 --> 1:40:17.840
<v Speaker 1>And what model is this? Well, it's it's a telecaster,

1:40:18.640 --> 1:40:23.360
<v Speaker 1>but it's made by Pete called a Generation series, very

1:40:23.520 --> 1:40:27.040
<v Speaker 1>versatile guitar. People said, why did you pick up the telecaster?

1:40:27.200 --> 1:40:30.240
<v Speaker 1>Because it's the most personal guitar on the planet. You

1:40:30.320 --> 1:40:32.200
<v Speaker 1>can make it do about anything. If you want to

1:40:32.240 --> 1:40:34.240
<v Speaker 1>play rock, you can hear the switch and make it

1:40:34.280 --> 1:40:35.760
<v Speaker 1>play rock. If you want to play R and B,

1:40:35.880 --> 1:40:38.080
<v Speaker 1>you can play R and B. You want to play chinks,

1:40:38.160 --> 1:40:41.200
<v Speaker 1>just back beats. It's just the only guitar in the

1:40:41.280 --> 1:40:45.360
<v Speaker 1>world is built for back beats, I think, because the

1:40:45.439 --> 1:40:47.360
<v Speaker 1>other one you hit it, you hit a six or

1:40:47.400 --> 1:40:51.479
<v Speaker 1>six do chord. It's going to the store. A telecaster doesn't.

1:40:52.880 --> 1:40:54.799
<v Speaker 1>What about a strato caster. A lot of the English

1:40:54.880 --> 1:40:58.240
<v Speaker 1>musicians played stratocasters. Listen. Yeah, they have a different sound.

1:40:58.320 --> 1:41:01.519
<v Speaker 1>It's a different pickup set up. And and the other

1:41:01.600 --> 1:41:03.920
<v Speaker 1>thing is that I play with my palm of my

1:41:04.040 --> 1:41:06.880
<v Speaker 1>hand muted on the bridge. No matter who makes the guitar,

1:41:07.000 --> 1:41:09.800
<v Speaker 1>that's where it is. So on a strap it will

1:41:10.080 --> 1:41:12.160
<v Speaker 1>take the pick out of my hand in two beats

1:41:13.560 --> 1:41:15.880
<v Speaker 1>because I been'll pick up. So I have several custom

1:41:15.920 --> 1:41:20.760
<v Speaker 1>made straps with a nod midle pick up. Really. Yeah,

1:41:21.560 --> 1:41:27.599
<v Speaker 1>And what about the amps, Well, that's different. I will

1:41:27.640 --> 1:41:30.160
<v Speaker 1>give you a little secret on picking the best electric guitar.

1:41:30.680 --> 1:41:34.360
<v Speaker 1>Play it acoustically. If it sounds good acoustically, you can

1:41:34.400 --> 1:41:36.760
<v Speaker 1>find an amp to marriage with it to make it

1:41:36.800 --> 1:41:40.519
<v Speaker 1>sound really good, even a solid body like the telecaster. Yeah,

1:41:42.400 --> 1:41:46.840
<v Speaker 1>and how about a fact? How about effects? Well, it

1:41:46.920 --> 1:41:49.720
<v Speaker 1>depends I don't use a lot of effects. Never did.

1:41:50.040 --> 1:41:53.760
<v Speaker 1>That's not my sound. And tremorl oh, yeah, book or

1:41:53.800 --> 1:41:57.240
<v Speaker 1>T I have a tremulator similator thing that makes it

1:41:57.400 --> 1:42:02.720
<v Speaker 1>vibrate um. The old super reverbs had one vibrato in it.

1:42:04.080 --> 1:42:05.880
<v Speaker 1>The one I'm planning now the amp does not have

1:42:06.040 --> 1:42:08.080
<v Speaker 1>one in it, so I have to use it outboard,

1:42:09.000 --> 1:42:13.000
<v Speaker 1>just get a little deeper. Fender had tubes, then they

1:42:13.080 --> 1:42:16.880
<v Speaker 1>went to transistors. We have marshals. Are you a guy

1:42:16.880 --> 1:42:19.960
<v Speaker 1>who says, well, transistors tubes totally different sound. You gotta

1:42:20.000 --> 1:42:24.360
<v Speaker 1>have the right amp. Maybe the best amp I ever

1:42:24.479 --> 1:42:30.400
<v Speaker 1>had had both one side was to the other side was,

1:42:30.880 --> 1:42:35.559
<v Speaker 1>you know, just regularly whatever they do the new technology. Uh,

1:42:37.600 --> 1:42:39.720
<v Speaker 1>that amp I don't have any more. What amp was that?

1:42:40.920 --> 1:42:45.320
<v Speaker 1>It was a PDM Okay, do you like when people

1:42:45.400 --> 1:42:50.040
<v Speaker 1>call you the colonel or not like it? It doesn't matter.

1:42:50.160 --> 1:42:56.200
<v Speaker 1>My nickname is crap dog. Let's go back to the beginning.

1:42:56.760 --> 1:42:59.519
<v Speaker 1>Back in the very beginning. Did they call you Steve

1:42:59.680 --> 1:43:04.320
<v Speaker 1>or did they call you a cropper? I think Steve

1:43:04.439 --> 1:43:09.320
<v Speaker 1>in the beginning? How far back you're going? Two stacks?

1:43:11.040 --> 1:43:14.759
<v Speaker 1>Well before that, in high school we had a former

1:43:14.880 --> 1:43:19.320
<v Speaker 1>that we used, so I was Saucy, son of Hollins Cropper.

1:43:20.920 --> 1:43:22.560
<v Speaker 1>Now some of it works, some of it doesn't. But

1:43:22.920 --> 1:43:26.120
<v Speaker 1>Tom dad always called me Saucy s a U see

1:43:26.160 --> 1:43:32.479
<v Speaker 1>why because he thought that's what it was, Saucy. Okay,

1:43:32.520 --> 1:43:37.960
<v Speaker 1>if you were Sauncy, did everybody else have an equivalent nickname? Yeah? Wow,

1:43:38.280 --> 1:43:40.200
<v Speaker 1>that's definitely the man it was. I was the son

1:43:40.280 --> 1:43:43.320
<v Speaker 1>of who whatever their dad was. Some of the works

1:43:43.360 --> 1:43:46.320
<v Speaker 1>and some of it didn't. Okay, So then you get

1:43:46.400 --> 1:43:54.479
<v Speaker 1>the stacks. What's your name creeper? Why is it that?

1:43:55.400 --> 1:43:58.400
<v Speaker 1>I don't know because that's what Eddie Floyd called me?

1:43:59.600 --> 1:44:04.360
<v Speaker 1>Creeps creeper or creepster? Is that because you crept along

1:44:04.520 --> 1:44:08.880
<v Speaker 1>or he creeped? You know that? But he did? You know?

1:44:09.000 --> 1:44:12.400
<v Speaker 1>His nickname is tree from from wood wood of a tree,

1:44:13.040 --> 1:44:16.559
<v Speaker 1>so everybody calls him a tree. And then how did

1:44:16.600 --> 1:44:21.120
<v Speaker 1>you become the colonel? And then uh, I don't know that. Well,

1:44:21.200 --> 1:44:23.479
<v Speaker 1>the horns gave me that in in Japan and they

1:44:23.520 --> 1:44:28.080
<v Speaker 1>don't remember what I did. Uh. So Eddie Floyd called

1:44:28.120 --> 1:44:30.720
<v Speaker 1>me also Stevie instead of Stevie wonder they call me

1:44:30.760 --> 1:44:36.040
<v Speaker 1>Stevie Blunder. Did you make it? And I remember Eddie

1:44:36.080 --> 1:44:38.000
<v Speaker 1>Floyd used to say, you know, if you look at

1:44:38.040 --> 1:44:40.519
<v Speaker 1>the stea, he's one. He said, you can't see him.

1:44:40.520 --> 1:44:41.960
<v Speaker 1>He said, if he turns out of what you can.

1:44:44.240 --> 1:44:46.240
<v Speaker 1>And I was skinny in those days. I guess I

1:44:46.320 --> 1:44:48.920
<v Speaker 1>don't know. And what about crumpster? What's that all about?

1:44:51.000 --> 1:44:55.880
<v Speaker 1>I have no idea. Well do you do your friends

1:44:55.920 --> 1:44:58.640
<v Speaker 1>call your crumpster? I'm trying to think now, since you

1:44:58.680 --> 1:45:02.040
<v Speaker 1>asked me the question, you know they don't. I'm trying

1:45:02.080 --> 1:45:05.920
<v Speaker 1>to think what John belushia called me other than Cropper.

1:45:07.640 --> 1:45:09.639
<v Speaker 1>Most of the guys just say the last name Cropper.

1:45:11.080 --> 1:45:13.240
<v Speaker 1>And then when you were he was Blushi funny in

1:45:13.320 --> 1:45:18.280
<v Speaker 1>real in regular life. Yeah. But the thing about Belushi

1:45:18.479 --> 1:45:21.599
<v Speaker 1>was he never turned down a fan ever. If there

1:45:21.680 --> 1:45:24.320
<v Speaker 1>was two guys or two hundred guys, he would stay

1:45:24.360 --> 1:45:26.000
<v Speaker 1>there till it was over with and that was it.

1:45:26.560 --> 1:45:29.120
<v Speaker 1>And uh, when I was hanging with him in New

1:45:29.200 --> 1:45:31.400
<v Speaker 1>York and l A, people would jump over cars and

1:45:31.920 --> 1:45:33.720
<v Speaker 1>jump in front of cars or whatever. If he was

1:45:33.760 --> 1:45:36.679
<v Speaker 1>across the street hanging out the windows, yelling and screaming

1:45:36.760 --> 1:45:39.519
<v Speaker 1>and all that kind of stuff. And Roy overs and

1:45:39.640 --> 1:45:41.200
<v Speaker 1>they did the same thing with Roy. And I'm going

1:45:42.320 --> 1:45:44.080
<v Speaker 1>I hope I never come in that famous I guess

1:45:44.080 --> 1:45:49.000
<v Speaker 1>I hadn't. And how's your help? So far, so good,

1:45:49.840 --> 1:45:52.439
<v Speaker 1>so hopefully you'll be around for another twenty years, Steve,

1:45:52.560 --> 1:45:55.639
<v Speaker 1>this has been wonderful. There's so many stories I still

1:45:55.680 --> 1:45:57.720
<v Speaker 1>want to hear, but I think we've come to the

1:45:57.840 --> 1:45:59.760
<v Speaker 1>end of the feeling for today. Thanks so much for

1:45:59.840 --> 1:46:03.719
<v Speaker 1>the with this. You better anytime, man, Okay, until next time.

1:46:03.800 --> 1:46:05.080
<v Speaker 1>This is Bob left sets