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Speaker 1: Welcome, Welcome, Welcome back to the Bob Lefsnets Podcast. My

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Speaker 1: guest today is that one and only Christopher Cross. Chris,

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Speaker 1: you recently met the Pope.

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Speaker 2: Tell me about that.

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Speaker 3: Well, you know, Bob, it was, I said, I just

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Speaker 3: did a post yesterday about it. And I met a

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Speaker 3: lot of famous people in my life have been very lucky,

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Speaker 3: you know, heroes and presidents and people like that. But

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Speaker 3: I've got to say meeting his holiness was a think

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Speaker 3: to itself. He's a very chrismatic person and I love

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Speaker 3: his outlook on justice and you know, his social you

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Speaker 3: know outlook, and so I was very excited to meet him,

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Speaker 3: and he was just amazing just to be in his presence.

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Speaker 3: And I bought a Rosemary at the gift shop. My

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Speaker 3: girlfriend bought me rose mey. He blessed it and I

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Speaker 3: don't know, He's a very special person. So that was

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Speaker 3: very exciting.

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Speaker 2: Well, give us some of the backstory. How did this happen?

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Speaker 3: Well, they asked me to do this. They do it

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Speaker 3: Christmas show over year in Italy. They filmed on December sixteenth,

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Speaker 3: then then it's aired Christmas Eve all over Italy. It's

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Speaker 3: a big deal. It has it's done with the Vatican

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Speaker 3: in conjuncture with a charity that benefits girls sincere Leone.

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Speaker 3: So uh, normal, I've done a lot of those kind

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Speaker 3: of things. So I'm like, well, I don't know if

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Speaker 3: I want to do that. It's for the orchestra, it's

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Speaker 3: a big show. But then they said, well, there won

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Speaker 3: a lot of money and everything. But they said, but

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Speaker 3: there's a you know, there's a perk. You get to

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Speaker 3: have an audience with Pope. I said, no, wait, okay,

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Speaker 3: So that was because it wasn't being about the show.

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Speaker 3: I've done a lot of those kind of things, so

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Speaker 3: that was really a deciding factor to do it, because

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Speaker 3: you know, how often do you get to meet the pope.

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Speaker 3: So he's eighty seven now and so, and I like

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Speaker 3: him as a pope as popes go, and so it was.

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Speaker 3: It was really really an amazing experience. I feel I'm

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Speaker 3: still kind of walking on air a little bit from it.

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Speaker 2: Now, are you Catholic?

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Speaker 3: I was raised Catholic, Bob, certainly, I'm retired now, but

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Speaker 3: but you know, you never can completely retire from the

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Speaker 3: devil and the fear and all the stuff they teach you.

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Speaker 3: But but no, I'm kind of retired, but you know,

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Speaker 3: you're a doctrinated into that philosophy and that religion, so

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Speaker 3: it's it's there. But so I'm you know, I was

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Speaker 3: raised Catholic. So but I one of the bishops there

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Speaker 3: said well, how can we bring you back? You know,

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Speaker 3: and I said, well, you know, but no, So I

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Speaker 3: was raised Catholic, so I certainly know a lot about

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Speaker 3: the history tradition of the Catholic Church. And I you know,

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Speaker 3: I went away from it and not a big fan

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Speaker 3: of a lot of things about it. But as I said,

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Speaker 3: he seems like he's so gentle and wonderful, and he

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Speaker 3: seems to be trying very hard to get women in

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Speaker 3: the church, and and it'd be inclusive with LGBTQ and

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Speaker 3: all that, and I applaud that. So I think it's great.

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Speaker 2: Okay, you do the show. How do you meet him?

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Speaker 2: What do you do? What's the procedure to actually get

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Speaker 2: one on one with him?

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Speaker 3: Well, you go to the Vatican and you're brought in.

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Speaker 3: You know, it looks like sort of likes I could

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Speaker 3: a you know TV show and black cars and you know,

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Speaker 3: pulling into the Vatican, the Swiss guards are there, and

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Speaker 3: you go into the Vatican where people typically don't go.

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Speaker 3: We went through this beautiful garden it was actually a graveyard,

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Speaker 3: and we went into this really beautiful room that held

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Speaker 3: maybe one hundred people because there were some sponsors and

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Speaker 3: all the artists that were on the show got to

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Speaker 3: meet him as well, and theyve video and you know,

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Speaker 3: they had the whole thing figured out, and he came.

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Speaker 3: You know, we waited for a bit and His Holiness

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Speaker 3: came in and he sat in a big chair and

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Speaker 3: I was in the front row, right across from him,

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Speaker 3: and he read a statement in Italian which I didn't understand,

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Speaker 3: which had to do with the event and just thanking

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Speaker 3: the artists. And then one by one we went up

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Speaker 3: and you introduced ourselves and had a moment with him.

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Speaker 3: I'm not going to say we hung out in a conversation,

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Speaker 3: but you know, I thanked him for his work, and

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Speaker 3: I asked him if he would, you know, bless my Rosary,

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Speaker 3: and he did something kind of cool. Normally, the bishop

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Speaker 3: was telling me he'll just do the sign of the Cross,

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Speaker 3: but he covered my hand with his hand to bless

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Speaker 3: my Rosary. And the bishop later told me that's kind

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Speaker 3: of cool that he doesn't do that all the time,

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Speaker 3: so but it was it was brief. You know, It's

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Speaker 3: not like I said, we didn't hang out and have

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Speaker 3: a beer, but just he has a wonderful smile and

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Speaker 3: his way about him is just he's really really a

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Speaker 3: you know, pretty special person. Obviously don't get to be

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Speaker 3: the Pope without it, but I don't know, it's just

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Speaker 3: one of those things. My girlfriend got to meet him too,

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Speaker 3: and she said, you know, I never thought I would

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Speaker 3: get to meet the Pope. So yeah, it was. And

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Speaker 3: the show was wonderful. There were a lot of great artists,

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Speaker 3: all that kind of thing, and I got to do

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Speaker 3: I played sailing, but then they wanted me to put

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Speaker 3: a traditional Christmas song, but I asked if I could

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Speaker 3: do a song that Rob Muir and I wrote called

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Speaker 3: A Dream of Peace at Christmas Time that has a

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Speaker 3: children's choir, And it took a little wrangling, but the

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Speaker 3: Vatican agreed and so I closed the show with that,

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Speaker 3: and that was very nice. And I think it's because

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Speaker 3: it's about, you know, a dream of peace, and with

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Speaker 3: the war in Ukraine and the Goaza situation, I think

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Speaker 3: Pope Vatican thought it was a good message, you know.

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Speaker 2: Okay, I mean, this is literally the apotheosis or the

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Speaker 2: pope theosis in terms of people you could meet. But

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Speaker 2: I gotta ask in terms of your career. You mentioned

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Speaker 2: you met a lot of famous people. Who else is

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Speaker 2: in the upper echelon?

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Speaker 3: Uh? Well, Joni Uh, Joni Mitchell obviously a huge influence.

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Speaker 3: That was a McCartney, you know, meeting Paul, knowing him

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Speaker 3: a little bit, you know, I do know, I'm want

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Speaker 3: to see him when I see him. Uh, Brian Wilson, certainly,

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Speaker 3: Carl Wilson, because there's such huge influences on me. People

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Speaker 3: like I would say Randy Newman is right up there,

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Speaker 3: two in the top five. You know, I've gotten old

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Speaker 3: Rady cart Well. But you know, those these people that

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Speaker 3: were just you know, on some other planet me when

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Speaker 3: I was starting out music and just following and learning

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Speaker 3: from them and then later to get to meet them

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Speaker 3: or know them or whatever. Yeah, those people, I'd say, Randy, Jony, Paul,

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Speaker 3: you know, never met Tom Waits, but I'd like to.

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Speaker 3: But anyway, Yeah, so I didn't get to meet John unfortunately,

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Speaker 3: but I've kind of read there were some books that

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Speaker 3: came out about John, and apparently he liked my song Sailing.

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Speaker 3: Apparently he liked it, so I act Jack asked Jack Douglas,

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Speaker 3: who produced Double Fantasy. I said, so, if John had lived,

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Speaker 3: I'd be hanging out with him at the Dakota and

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Speaker 3: Jack said, and Jack said, yeah, he really dug your

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Speaker 3: song and he definitely would have hedge over. And so

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Speaker 3: I'm thinking, you know, but anyway, so Barta, you know,

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Speaker 3: when you meet people at heroes like Brian and people

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Speaker 3: like that, it's a it's a out of body experience

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Speaker 3: at first, and then of course, you know, then you

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Speaker 3: spend a bit over time with him, but you never

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Speaker 3: really get completely you know, when I see McCarthy or

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Speaker 3: write or something like that, you never completely get used

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Speaker 3: to it, you know, because there they are, you.

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Speaker 2: Know, okay, being a musician with this level of success,

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Speaker 2: you meet them, you're in a circumstance to meet them.

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Speaker 2: Like with Joni Mitchell, do you talk music with her

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Speaker 2: or just hey you're a great guy, I'm a great woman.

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Speaker 3: Yeah. I learned, uh, I learned pretty early on Bob that,

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Speaker 3: you know, people of this caliber, trying to explain how

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Speaker 3: they do what they do is pretty it's a little

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Speaker 3: bit on a tiny little way, I know, how it is.

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Speaker 3: It's very hard to do to explain like your process

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Speaker 3: and how you do that. So I learned pretty quickly. Two.

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Speaker 3: You know, don't go there. Don't ask those questions because

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Speaker 3: they've been asking them a million times and they kind

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Speaker 3: of don't know what to say other than that, you know,

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Speaker 3: you're either Lebron James or you're not. You know you're

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Speaker 3: Tiger Woodsy, you're not, You're Joni Mitchell, you're not. So No,

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Speaker 3: I don't talk about music, which is I talk about

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Speaker 3: books or you know, other areas of art, like Joni would.

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Speaker 3: She gave me a book of An Sexton's poems to

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Speaker 3: read for inspiration, that sort of thing. But no, I

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Speaker 3: would never just directly ask anybody. Randy Newman told me

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Speaker 3: once I asked him about songwriting came up and Randy said,

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Speaker 3: I don't care if I get any better, as long

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Speaker 3: as it I'll get any worse, which is so Randy.

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Speaker 3: But so no, I tend to not try to ask

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Speaker 3: about process because you know, most people like that. I

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Speaker 3: feel like it's sort of beamed from outer space and

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Speaker 3: you're just the receptacle and how it actually happens. Like

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Speaker 3: you saw the Get Back movie I mean, you know,

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Speaker 3: they're coming up with get Back just sort of improvisationally

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Speaker 3: in the studio, and that's sort of how it is.

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Speaker 3: You know, it just sort of happens and you look

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Speaker 3: around the room and go, wow, what was that? So?

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Speaker 2: Okay, where do you live now?

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Speaker 3: I live in Austin, Texas. I'm from Santa Antonio, Texas,

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Speaker 3: about note miles south, but I live in Austin and

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Speaker 3: I also have an apartment in Manheat.

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Speaker 2: Okay, So you're in Austin, which is a noted music town,

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Speaker 2: although it's burgeoning and the musicians are being squeezed out.

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Speaker 2: Are you integrated into the music community there or it's

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Speaker 2: more like this is where you live.

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Speaker 3: It's really where I live. I'll pay of the truth

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Speaker 3: because you know, throughout my career here, early on, I

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Speaker 3: played cover bands and fraternity parties and that sort of

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Speaker 3: thing to make a living. I chose like Stevie Ray.

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Speaker 3: Stevee used to go play at the Roman for fifty

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Speaker 3: bucks and play his play for his soul, you know I,

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Speaker 3: which I think is fantastic. I don't have that courage.

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Speaker 3: I played clubs and fraternities, playing you know, bos Gua

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Speaker 3: Exton's on the radio to make money, and then I

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Speaker 3: kept my phone music to the side, just the demos

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Speaker 3: and that sort of thing. But also, you know, my

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Speaker 3: music's more of a California sound. South the California sound.

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Speaker 3: It's more harmonic. It's not typical of sort of the

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Speaker 3: the style of music that people think of in Austin,

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Speaker 3: the sort of rock blues, country, uh thing. So I

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Speaker 3: wouldn't say that I really identified too much with the

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Speaker 3: Austin sound, you know, per se, because I was always

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Speaker 3: my brand was always in California with Brian. But interesting

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Speaker 3: trying to tell you, I h when I was doing

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Speaker 3: demos in the studio, I sent I needed to send

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Speaker 3: a demo. So I looked in Billboard magazine, but I

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Speaker 3: didn't know anything about an R or any of that stuff.

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Speaker 3: I looked in Billboard magazine and I really loved Warner Brothers.

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Speaker 3: They had Randy, they had Joni, they had Hindricks, they

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Speaker 3: had a lot of artists that I really like, Van Morrison.

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Speaker 3: So I thought I'd like to be on Warner Brothers.

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Speaker 3: So I looked at the billboard. It said Moe Austin

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Speaker 3: share of the board, who I you know, I think

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Speaker 3: miss him so much. It was an incredible man. Uh so,

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Speaker 3: so I can't get to him. But I knew nothing

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Speaker 3: about an R or anything like that. So I looked

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Speaker 3: below his name and this game David Berson, assistant to

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Speaker 3: Most And I said, okay, well I could send him

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Speaker 3: my tape. It turns out David is an administrative he

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Speaker 3: does anything to do with an R, but he'd never

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Speaker 3: gotten a tape in the mail. And he took the

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Speaker 3: tape and he made Lendy Warner Cuz head of man

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Speaker 3: or listen to it. And that's how the whole they

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Speaker 3: got started. And Lenny told me later, had you just

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Speaker 3: submitted to tape, Dan R, we would have stuff in

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Speaker 3: an envelope sent it back to you because we weren't

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Speaker 3: really accepting submissions. But you sent it to the wrong guy,

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Speaker 3: and that's how we got started talking. So it's serendipity,

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Speaker 3: how about that?

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Speaker 2: Okay, before we leave this topic, I just have to

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Speaker 2: ask non musicians that you've met in addition to the pope.

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Speaker 3: Boy, non musicians mean somebody I've met that I, uh,

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Speaker 3: I was really excited to meet that weren't musicians. Hmm, boy,

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Speaker 3: I that's terrible that no one comes to mind. They

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Speaker 3: should you know, my world is so it's so singular,

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Speaker 3: you know, that's what where I.

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Speaker 2: Well, let me ask you back in the day, did

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Speaker 2: you play for politicians? What was that experience?

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Speaker 3: Like, well, I, I mean watching my album came out

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Speaker 3: and I was got well known. I did go to

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Speaker 3: the White House and I played for Reagan at the

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Speaker 3: Ford's Theater. There was a thing where you every year

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Speaker 3: they did a benefit to refurbish Ford's Theater and I

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Speaker 3: was on a bill with some pretty wonderful George Benson

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Speaker 3: was on the bill, and he and I kind of

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Speaker 3: connected because we're sort of musicians about like Lena Horror

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Speaker 3: and all these great people were on it. And I

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Speaker 3: can't say that I voted for Reagan, but you know,

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Speaker 3: still an opportunity to go to the White House and

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Speaker 3: meet the president and all that. So that was pretty

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Speaker 3: cool going to the White House. I did get to

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Speaker 3: meet him. I did get to meet Bill Clinton at

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Speaker 3: a small event at Carol King's house that Carol had

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Speaker 3: and I went and got to meet Clinton, who I

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Speaker 3: did vote for. So that was pretty great. But so

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Speaker 3: I've got a few politicians. But you know, I'm going

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Speaker 3: to be mad at myself later when I can't think

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Speaker 3: of it as far that's okay, other genre, but you know,

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Speaker 3: you get I'm so singularly passionate to the music, think

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Speaker 3: Bob that it's like, I don't know, I'm kind of boring.

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Speaker 3: That's all I do. That's all I've ever done, you know,

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Speaker 3: dropped out of high school, just went for it.

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Speaker 2: Okay, Just now you're talking about politicians. Do you play privates? No,

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Speaker 2: that seems like a definitive decision. Tell me about that.

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Speaker 3: Well, the only artist I've heard that absolutely does not

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Speaker 3: is so Collins phil apparently just I ever met him,

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Speaker 3: but he just won't do it. I have in my past,

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Speaker 3: I've played him, but I don't anymore. And the reason is,

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Speaker 3: you know, I want to play for fans who've come

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Speaker 3: to a theater and bought a ticket to see me,

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Speaker 3: and hopefully they've had some of them in the audience

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Speaker 3: are familiar with my entire catalog and aren't just there

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Speaker 3: to Arthur's team. But still they came with the explicit

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Speaker 3: purpose of seeing me. It's not because it's some insurance

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Speaker 3: company and they've got a bunch of money to pay

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Speaker 3: a bunch of money. So I you know, I don't

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Speaker 3: enjoy that I don't enjoy that sort of model where

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Speaker 3: you're going. And now it's gotten so commonplace that a

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Speaker 3: lot of these private events they don't really pay attention

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Speaker 3: to you, per say, anyway, because they just got to

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Speaker 3: sing Rod Stewart, you know. And so I find it

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Speaker 3: sort of impersonal and unintentionally disrespectful. So I don't do it.

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Speaker 2: So how do you end up growing up in San Antonio?

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Speaker 3: My father was a physician in the army, pediatrician. I

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Speaker 3: was born in San Antonio. We moved fairly quickly to

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Speaker 3: Tokyo for five years, then to d C for five years.

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Speaker 3: My father was David Julie Eisenhower's pediatrician Ike's grandkids. But

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Speaker 3: then we moved back to San Antonio. My father was

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Speaker 3: sent back to Centronia and I lived there till about

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Speaker 3: sixty nine. And then, as I told you, I dropped out.

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Speaker 3: I came back. I went after the hate the summer

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Speaker 3: of my junior year, heyte Ashbury, and I came back

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Speaker 3: with long hair. I went to my for my senior

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Speaker 3: year at my high school, which was a public high school,

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Speaker 3: and they told me you can't come out with long hair, so,

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Speaker 3: which is ironic, as I have none now, and I said, fine,

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Speaker 3: I'm not coming in. So I dropped out, and shortly

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Speaker 3: after that I moved up to Austin because I just

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Speaker 3: knew that Austin was a more virginy music scene. It

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Speaker 3: was kind of hip for there was a lot more

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Speaker 3: going on. So, uh, some of my compadres and I

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Speaker 3: learned up a truck and moved to Austin. But and

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Speaker 3: it was kind of Mecca compared to Santonio.

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Speaker 2: Wait a second, so San Francisco. I grew up on

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Speaker 2: the East coast, certainly closer to San Antonio than Connecticut.

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Speaker 2: But to actually pick up and go to the Heat,

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Speaker 2: tell me about that.

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Speaker 3: Well, I went out there with a couple of friends

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Speaker 3: and just you know, to see you know, the great work,

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Speaker 3: see the brave new world go out. And so we

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Speaker 3: were in the West coast and so went down to

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Speaker 3: the Hate to sort of see what's going on.

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Speaker 2: And also well a little bit slower, you went by car,

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Speaker 2: you flew there.

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Speaker 3: Yeah, yeah, well I flew there and uh and then

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Speaker 3: you know got around. You know, it's been so long

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Speaker 3: I forget, but uh, and you know, we went down

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Speaker 3: to the Hate and saw what was going on, and

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Speaker 3: then you know, went to Fillmore West, saw a bunch

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Speaker 3: of cool bands and got really you know, it was amazing.

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Speaker 3: So I got all into that let my hair grow out,

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Speaker 3: and I guess I thought it was you know something,

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Speaker 3: and my high school didn't agree. So I was no

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Speaker 3: academic laws, trust me, but uh so let me go.

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Speaker 2: But your father was very successful academically. What did he

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Speaker 2: say when you dropped out of high school?

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Speaker 3: Well, you know two things. I was the fourth of

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Speaker 3: five children, and I have kids, and you know, the

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Speaker 3: first one, you try to keep them real clean and

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Speaker 3: you dote on them, and then as they as you

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Speaker 3: have more of them, you get bad. They're dirty or whatever.

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Speaker 3: They fell down there. So I think he was a

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Speaker 3: little bit kind of whatever. But he also had played

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Speaker 3: bass in college upright base, and he told me those

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Speaker 3: are the best times of life. And he he I think,

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Speaker 3: loved music, and he used to play a lot of

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Speaker 3: music around the house, like Glenn Miller, that sort of thing,

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Speaker 3: and that's how I got exposed to music. When I

334
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Speaker 3: was about twelve. My dad kind of drank too much,

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Speaker 3: but occasionally he'd get out his upright Base to play

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Speaker 3: along with his Glenn Miller records in the dining room,

337
00:17:17,920 --> 00:17:22,040
Speaker 3: and so he was. I think he was. You know,

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Speaker 3: he told my mom he'll manage, he'll figure it out.

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Speaker 3: And he always used to tell me too, He said, look,

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Speaker 3: school is fine, but as long as you read, if

341
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Speaker 3: you read, you'll be fine. But anyway, I went down

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Speaker 3: the music store and I asked the guy I was twelve.

343
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Speaker 3: I said, you got my dad listens to Glenn Miller,

344
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Speaker 3: Pete Fountain, He got any music like like for younger people,

345
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Speaker 3: And he brought out bab Brubek Time Out and that

346
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Speaker 3: that was the first album I got and I took

347
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Speaker 3: it home. Was just asked for set of drums at

348
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Speaker 3: Christmas and the rest is sort of history.

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Speaker 2: Okay, Siana, Antonio very close to the Mexican border. What's

350
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Speaker 2: it like growing up in San Antonio?

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Speaker 3: Well, it's a lovely town. And I will say that musically,

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Speaker 3: I was was very influenced and impressed by the Hispanic

353
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Speaker 3: bands like study Ozuda and the Sunliners. These are big

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Speaker 3: horn bands with percussion and giant production, and I used

355
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Speaker 3: to always go see them when I could. And I

356
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Speaker 3: think rhythmically, you know that sensor rhythm did kind of

357
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Speaker 3: find its wind to my music for sure. But you know,

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Speaker 3: Centuria is a lovely town, but it's you know, it's

359
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Speaker 3: a little sleepy. And so you have these the big

360
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Speaker 3: Hispanic bands that were you know, big stars and everything,

361
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Speaker 3: but there wasn't There was a little teen can play

362
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Speaker 3: thing called teen Canteen that cannamed Sam Kinsey ran all

363
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Speaker 3: the bands and play there, but there wasn't really a

364
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Speaker 3: way out, you know. It just seemed like it was

365
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Speaker 3: just a metre alugnation society of all these musicians that

366
00:18:50,040 --> 00:18:51,760
Speaker 3: were so nice to each other that wasn't competitive. They

367
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Speaker 3: were like, you know, we don't go see each other

368
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Speaker 3: and say you're great, you're you know, you're great, you know.

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Speaker 3: And I kind of figured, well, that ain't gonna get

370
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Speaker 3: me anywhere. So I wanted to go to the dre

371
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Speaker 3: into the pool and I heard about Austin. There was

372
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Speaker 3: luck going on there and that's where it was happening.

373
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Speaker 3: So it was accessible. I could drive up there, and

374
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Speaker 3: we got on a little crappy house and started trying

375
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Speaker 3: to find our wind to the scene, you know again,

376
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Speaker 3: playing cover tunes.

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Speaker 2: Okay, you're in Tokyo, then you're in d C. The

378
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Speaker 2: Beatles hit in sixty four. You're eleven, going to be

379
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Speaker 2: twelve years old. In my group, we were listening to

380
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Speaker 2: the treeransistor for the baseball games, then the Beach Boys

381
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Speaker 2: and the fourth seasons, and then the Beatles hit.

382
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Speaker 3: What was your experience, Well, prior to the Beatles, it

383
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Speaker 3: was the Everly Brothers, Richie Allen's Ray Charles and then

384
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Speaker 3: of course the you know, it was such a singles market.

385
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Speaker 3: I'm seventy two, so you know, you had things like

386
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Speaker 3: a Stranger on the Shore by Acker Bilk. The next

387
00:19:51,240 --> 00:19:54,040
Speaker 3: minute is it's a team able to cap BIKKINI. It

388
00:19:54,119 --> 00:19:56,240
Speaker 3: was so diverse. It was very eclectic, not like it

389
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Speaker 3: is now. You know. Ricky Nelson used to watch the

390
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Speaker 3: Aussie you know you Hear It show, so that was

391
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Speaker 3: a lot of it until the Beatles came out. And

392
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Speaker 3: the minute I heard I guess someone holds your hand?

393
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Speaker 3: That sort of changed my life. And I was playing

394
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Speaker 3: drums for about six years, and I was a singing drummer,

395
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Speaker 3: and I just decided I got to get a guitar,

396
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Speaker 3: and I gotta I gotta do that, you know, So

397
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Speaker 3: I bought a seventeen dollars guitar. I'm left handed, but

398
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Speaker 3: the guitar bought seriars. Cadillac was seventeen dollars. It was

399
00:20:24,040 --> 00:20:25,440
Speaker 3: right handed. I didn't know any better, so I play

400
00:20:25,520 --> 00:20:30,160
Speaker 3: right handed. But the Beatles, it was the songs, of course,

401
00:20:30,200 --> 00:20:33,000
Speaker 3: but the sound of those flat wound strings on those

402
00:20:33,040 --> 00:20:35,920
Speaker 3: gretch guitars through those vox amps. I mean, the whole thing,

403
00:20:36,200 --> 00:20:40,840
Speaker 3: just the experience was transformative. And so that's what really

404
00:20:40,840 --> 00:20:44,720
Speaker 3: got me to want to, you know, try to try

405
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Speaker 3: to do that. And actually the first song I learned

406
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Speaker 3: on guitar, my little Texas country cowboy guitar, was you

407
00:20:51,119 --> 00:20:56,080
Speaker 3: really got me, thinks. So the whole British invasion, you know,

408
00:20:56,080 --> 00:20:58,359
Speaker 3: it was a huge impact for me. I was very

409
00:20:58,440 --> 00:21:01,160
Speaker 3: drawn into that and all that, the Hollies, all that stuff.

410
00:21:01,160 --> 00:21:05,800
Speaker 3: But the Beatles were you know, it was cathartic for sure.

411
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Speaker 2: Okay, so you were playing drums. Were you taking lessons?

412
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Speaker 2: Were you playing in the school orchestra? Was it just

413
00:21:14,560 --> 00:21:15,600
Speaker 2: something you did at home?

414
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Speaker 3: Well, I wanted to be. It's funny because I was

415
00:21:20,680 --> 00:21:23,520
Speaker 3: drawn to Joe Morello, who was the drummer and they

416
00:21:23,560 --> 00:21:27,520
Speaker 3: brew back. But I really had no skills. But uh,

417
00:21:27,600 --> 00:21:31,280
Speaker 3: I did try to take drum lessons from the symphony

418
00:21:31,160 --> 00:21:33,960
Speaker 3: that the guy played the symphony, and I refused to

419
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Speaker 3: hold my sticks in a traditional grip. I wanted to

420
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Speaker 3: hold them like Ringo. And he said, you'll never play

421
00:21:39,119 --> 00:21:42,960
Speaker 3: drums properly hold you sticks like that, and I won't

422
00:21:43,000 --> 00:21:45,200
Speaker 3: teach you if you're going to do that. And I said, well,

423
00:21:45,280 --> 00:21:47,440
Speaker 3: you know, Ringo's the greatest, and he said, Ringo's terrible,

424
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Speaker 3: you know, So I said, I said, well, yeah, f

425
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Speaker 3: off and I left. And so I was just, you know,

426
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Speaker 3: I wasn't. I mean, wipe out was my big moment

427
00:21:57,320 --> 00:22:00,000
Speaker 3: in the show. These little makeout parties and stuff we played,

428
00:22:00,040 --> 00:22:02,000
Speaker 3: because the wipe out this kind of my moment. I

429
00:22:02,080 --> 00:22:05,639
Speaker 3: only had one tom coom, but so, you know, the

430
00:22:05,720 --> 00:22:08,520
Speaker 3: drums were just you don't have to know a lot

431
00:22:08,560 --> 00:22:10,879
Speaker 3: played drum. It's just more of a physical thing. But

432
00:22:10,960 --> 00:22:12,520
Speaker 3: I was the singer because the other two guys are

433
00:22:12,560 --> 00:22:16,360
Speaker 3: too embarrass to sing. But then, you know, getting into

434
00:22:16,400 --> 00:22:18,480
Speaker 3: the guitar was a big, big thing. Like I said,

435
00:22:18,600 --> 00:22:20,280
Speaker 3: I was happy playing the drums. Still, I heard the

436
00:22:20,320 --> 00:22:23,760
Speaker 3: beatles and then I realized, man, you know, all these

437
00:22:23,760 --> 00:22:27,639
Speaker 3: girls screaming. I gotta I gotta figure this out. So

438
00:22:28,200 --> 00:22:30,200
Speaker 3: I got a guitar and left the drums behind, which

439
00:22:30,240 --> 00:22:33,239
Speaker 3: again was no big loss. But and I've always been

440
00:22:33,240 --> 00:22:36,440
Speaker 3: self taught. I never cook any music lessons or anything

441
00:22:36,440 --> 00:22:36,760
Speaker 3: like that.

442
00:22:43,760 --> 00:22:47,119
Speaker 2: Okay, so you get a guitar, how long until you

443
00:22:47,119 --> 00:22:48,119
Speaker 2: get an electric guitar?

444
00:22:49,240 --> 00:22:52,199
Speaker 3: Well, I had acoustic for a year or so, and

445
00:22:52,200 --> 00:22:54,840
Speaker 3: then I bought a guitar seventy dollars. I can't even

446
00:22:54,840 --> 00:22:55,879
Speaker 3: think of the name of it. I don't think you

447
00:22:55,920 --> 00:22:57,960
Speaker 3: had a name. It was just this great piece of crap,

448
00:22:58,960 --> 00:23:02,600
Speaker 3: played terrible. But I got a paunch store and played

449
00:23:02,600 --> 00:23:05,080
Speaker 3: that for quite a while. And then my parents could

450
00:23:05,080 --> 00:23:06,720
Speaker 3: see I was pretty serious about the whole thing. And

451
00:23:06,760 --> 00:23:10,560
Speaker 3: I wanted a Rickenbacker like the little Beatles sounded at the

452
00:23:10,600 --> 00:23:12,639
Speaker 3: beach boys had them too, and I wanted a Rickenbacker.

453
00:23:12,720 --> 00:23:15,359
Speaker 3: So my poor parents, I just tortured the hell out

454
00:23:15,400 --> 00:23:19,840
Speaker 3: him until they bought me this five hundred dollars Rickenbacker guitar.

455
00:23:21,640 --> 00:23:24,000
Speaker 3: That was my first. And I got a super reverb

456
00:23:24,040 --> 00:23:26,000
Speaker 3: Fender ramp, and that was a big, big thing for me.

457
00:23:26,080 --> 00:23:30,679
Speaker 3: You know, I was at actual equipment, so it just

458
00:23:30,840 --> 00:23:32,920
Speaker 3: it grew. But again, you know was my probably was

459
00:23:32,960 --> 00:23:34,480
Speaker 3: in the army. He was a colonel. But you know,

460
00:23:34,520 --> 00:23:36,600
Speaker 3: we lived on the bass. You know, he probably made

461
00:23:36,600 --> 00:23:38,520
Speaker 3: twenty five thousand dollars a year. There wasn't a lot

462
00:23:38,560 --> 00:23:42,760
Speaker 3: of money to throw it, you know, this sort of thing,

463
00:23:42,840 --> 00:23:44,199
Speaker 3: and I would go down to the music store and

464
00:23:44,200 --> 00:23:47,119
Speaker 3: stare at all the cool stuff. But you know, I

465
00:23:47,119 --> 00:23:48,800
Speaker 3: just grew as I could SA. It really wasn't until

466
00:23:48,840 --> 00:23:51,000
Speaker 3: I was thirty years old. Then the album came out

467
00:23:51,000 --> 00:23:52,960
Speaker 3: and I actually had some money to do something, you

468
00:23:53,000 --> 00:23:56,040
Speaker 3: know that I got cool equipment and did all that.

469
00:23:57,000 --> 00:24:00,199
Speaker 2: So after you got the guitar from sears It, what

470
00:24:00,359 --> 00:24:03,200
Speaker 2: point did you start playing out when you were playing

471
00:24:03,240 --> 00:24:03,639
Speaker 2: the guitar.

472
00:24:06,600 --> 00:24:09,560
Speaker 3: Well, that took a little while because in junior high

473
00:24:09,560 --> 00:24:11,120
Speaker 3: I was a drummer and we had our little band.

474
00:24:11,119 --> 00:24:13,920
Speaker 3: We were called the Psychos. I read a lot of

475
00:24:14,040 --> 00:24:16,000
Speaker 3: Ed Growmind Poe, watched Twilights or on that sort of thing.

476
00:24:16,040 --> 00:24:17,600
Speaker 3: So we were the Psychos. So we'd play it. We

477
00:24:17,640 --> 00:24:19,240
Speaker 3: only had four or five songs. We play at these things,

478
00:24:19,280 --> 00:24:21,040
Speaker 3: I say, makeout parties where you go to your friend's

479
00:24:21,080 --> 00:24:22,560
Speaker 3: house and maybe one of their parents had give you

480
00:24:22,600 --> 00:24:24,840
Speaker 3: fifty bucks. You played by the pool. That was as

481
00:24:24,840 --> 00:24:26,800
Speaker 3: a drummer. When I switched to guitar, I took a little.

482
00:24:26,800 --> 00:24:28,119
Speaker 3: There was a break because I had to kind of

483
00:24:28,200 --> 00:24:32,200
Speaker 3: learn what I was doing. Then I went from Catholic school.

484
00:24:32,640 --> 00:24:35,639
Speaker 3: I asked my parents if I could leave Catholic school

485
00:24:35,640 --> 00:24:39,199
Speaker 3: and go to public school, and so I did. But

486
00:24:39,240 --> 00:24:41,439
Speaker 3: it was a very lonely transition because I didn't know anybody.

487
00:24:41,440 --> 00:24:44,800
Speaker 3: Everybody had come from public junior highs. So the first

488
00:24:44,840 --> 00:24:46,760
Speaker 3: couple of years I was kind of a loner and

489
00:24:46,800 --> 00:24:50,840
Speaker 3: I just basically focused on learning the guitar. But there

490
00:24:50,840 --> 00:24:53,400
Speaker 3: were other people in high school trying to do band stuff,

491
00:24:53,440 --> 00:24:55,480
Speaker 3: and I met them and you know, and did things.

492
00:24:55,520 --> 00:24:57,879
Speaker 3: But also in the community of San Antonio, trying to

493
00:24:57,880 --> 00:25:01,760
Speaker 3: reach out to especially older guys who I could possibly

494
00:25:01,800 --> 00:25:05,240
Speaker 3: play with, who teach me something. But that was a

495
00:25:05,240 --> 00:25:07,840
Speaker 3: slow process. I don't think I really played anywhere with

496
00:25:07,880 --> 00:25:09,959
Speaker 3: the band until I was a junior high school, probably

497
00:25:11,200 --> 00:25:11,960
Speaker 3: maybe sophomore.

498
00:25:12,000 --> 00:25:14,879
Speaker 2: But okay, so now you're in high school, you're wood

499
00:25:14,920 --> 00:25:17,800
Speaker 2: shedding at home. At what point do you form bands

500
00:25:17,840 --> 00:25:18,520
Speaker 2: in high school?

501
00:25:19,560 --> 00:25:22,080
Speaker 3: Well, as I said, there were other kids who were

502
00:25:22,080 --> 00:25:26,240
Speaker 3: also interested, you know, and some of them had some money.

503
00:25:26,280 --> 00:25:28,280
Speaker 3: One good kid, I remember he had a stratocaster it's

504
00:25:28,280 --> 00:25:30,520
Speaker 3: pretty cool, and he had some equipment but so you

505
00:25:30,800 --> 00:25:33,520
Speaker 3: meet these kids and you learn you have this like

506
00:25:33,560 --> 00:25:36,560
Speaker 3: mindedness of wanting to do music, and so like, well, look,

507
00:25:36,560 --> 00:25:37,520
Speaker 3: you know, why don't I come over. I'm me and

508
00:25:37,560 --> 00:25:39,600
Speaker 3: my guitar and we'll kind of jam around. And then

509
00:25:39,680 --> 00:25:42,679
Speaker 3: before too long, my parents let me practice in my

510
00:25:42,720 --> 00:25:44,560
Speaker 3: bedroom at our house and we had drums and everything

511
00:25:44,560 --> 00:25:47,440
Speaker 3: set up there. And so I started to you know,

512
00:25:48,640 --> 00:25:50,720
Speaker 3: I said earlier that aren't really a network, but I did.

513
00:25:50,800 --> 00:25:53,640
Speaker 3: I networked for my own purpose. I found guys who

514
00:25:53,680 --> 00:25:56,520
Speaker 3: could play decent and you know, did form a band.

515
00:25:56,560 --> 00:25:58,280
Speaker 3: And so I was networking to that degree, trying to

516
00:25:58,280 --> 00:26:00,440
Speaker 3: find guys that I could put a court to together.

517
00:26:00,520 --> 00:26:02,080
Speaker 3: We could we could try to do something, you know.

518
00:26:02,760 --> 00:26:06,199
Speaker 3: And I was writing songs pretty early on with that

519
00:26:06,240 --> 00:26:08,080
Speaker 3: whole thing. Not that they were any good or doing

520
00:26:08,119 --> 00:26:10,480
Speaker 3: anything with them, but I that was the beatle thing.

521
00:26:10,520 --> 00:26:15,280
Speaker 3: I wanted to do that, you know. And it was

522
00:26:15,320 --> 00:26:20,400
Speaker 3: a long process of experimentation, but so, you know, it

523
00:26:20,440 --> 00:26:24,320
Speaker 3: was but junior year, my band were called Flash and

524
00:26:24,359 --> 00:26:26,640
Speaker 3: we were kind of a big deal in Sentenio. We've

525
00:26:26,720 --> 00:26:28,320
Speaker 3: kind of you know, made a few waves.

526
00:26:29,640 --> 00:26:33,520
Speaker 2: Okay, and the material was and you were the front person.

527
00:26:35,160 --> 00:26:38,800
Speaker 3: I was sort of and it was a quartet. The

528
00:26:38,880 --> 00:26:47,600
Speaker 3: material was original material, and there's songs that I wrote,

529
00:26:48,040 --> 00:26:51,159
Speaker 3: you know, believe it or not. I was a big Zappa

530
00:26:51,240 --> 00:26:53,800
Speaker 3: fand so some of the early music was a bit

531
00:26:53,840 --> 00:26:56,880
Speaker 3: avant Garden terms of time, structure, time things like that.

532
00:26:57,560 --> 00:27:03,199
Speaker 3: Songs like right someone was called a plastic bag on

533
00:27:03,200 --> 00:27:06,280
Speaker 3: the end of the event Coad Hanger, trying to be

534
00:27:06,359 --> 00:27:10,040
Speaker 3: like Frank, you know, weird. But so we played at

535
00:27:10,040 --> 00:27:11,800
Speaker 3: clubs and stuff. We could play your own music. And

536
00:27:12,080 --> 00:27:14,320
Speaker 3: again in San Antonio there was this all the other

537
00:27:14,400 --> 00:27:15,879
Speaker 3: kids that all the other guys had come out and

538
00:27:15,880 --> 00:27:17,680
Speaker 3: see your band, you're great, and then you will see them

539
00:27:17,720 --> 00:27:22,399
Speaker 3: and and so I played my original material and we

540
00:27:22,520 --> 00:27:27,800
Speaker 3: were good. And a local promoter in town, Joe Miller,

541
00:27:28,000 --> 00:27:30,800
Speaker 3: lovely guy, had company called Jam Productions, and he brought

542
00:27:30,840 --> 00:27:34,439
Speaker 3: groups into San Antonio, and he brought led Zeppelin in

543
00:27:35,200 --> 00:27:36,760
Speaker 3: and I think there was a there was a lawn

544
00:27:36,960 --> 00:27:39,320
Speaker 3: in Texas at the time where in concerts they had

545
00:27:39,359 --> 00:27:41,080
Speaker 3: to have a local band play on the show for

546
00:27:41,119 --> 00:27:45,639
Speaker 3: thirty minutes. Yeah, God bless him. That's a great rule,

547
00:27:45,680 --> 00:27:50,240
Speaker 3: you know. So you don't see that now. So Joe

548
00:27:50,400 --> 00:27:52,639
Speaker 3: arranged he kind of believed and we saw something and

549
00:27:52,680 --> 00:27:56,120
Speaker 3: we used to practice at his house, his wife Nancy. Anyway,

550
00:27:56,200 --> 00:27:58,960
Speaker 3: Joe let me open for Zeppelin the first time that

551
00:27:59,000 --> 00:28:01,240
Speaker 3: came up with Jeff Throte and Zeppelin and we opened

552
00:28:01,240 --> 00:28:01,800
Speaker 3: for Zeppelin.

553
00:28:02,320 --> 00:28:03,480
Speaker 2: Were you a Zeppelin fan?

554
00:28:04,200 --> 00:28:06,399
Speaker 3: Well, yeah, of course I you know, a big Jimmy

555
00:28:06,480 --> 00:28:09,919
Speaker 3: So what was like, Well it was trippy because uh

556
00:28:11,040 --> 00:28:15,480
Speaker 3: uh we actually, you know, the things were a lot

557
00:28:15,480 --> 00:28:17,800
Speaker 3: different than you got to realize that there wasn't all

558
00:28:17,800 --> 00:28:19,920
Speaker 3: the security on that stuff and the guy they were new,

559
00:28:20,760 --> 00:28:23,920
Speaker 3: so it was pretty poorous backstage, you know, they weren't

560
00:28:23,960 --> 00:28:27,240
Speaker 3: like they got to be later. So Jimmy and Robert

561
00:28:27,240 --> 00:28:31,040
Speaker 3: plant actually asked me, uh, you know, what do you kids?

562
00:28:31,040 --> 00:28:32,959
Speaker 3: Do your parents have money or something like that. You know,

563
00:28:33,280 --> 00:28:36,840
Speaker 3: we get doing this and uh, I said, no, our

564
00:28:36,880 --> 00:28:39,080
Speaker 3: band were playing. He thought they thought we were just

565
00:28:39,120 --> 00:28:41,960
Speaker 3: hanging out. I said, no, our band is opening the show.

566
00:28:42,360 --> 00:28:44,600
Speaker 3: So that night in the wings, I looked over and

567
00:28:44,600 --> 00:28:47,440
Speaker 3: there was planting page and we were terrible, trust me.

568
00:28:48,320 --> 00:28:51,440
Speaker 3: But the cool thing that happened out of it was

569
00:28:52,880 --> 00:28:56,440
Speaker 3: Jimmy used these great, these really cool lamps called high Watts.

570
00:28:57,200 --> 00:28:58,640
Speaker 3: They were sort of like a Marshall lamp, but they

571
00:28:58,640 --> 00:29:00,680
Speaker 3: were even newer, and they're made by this Dave Reeves

572
00:29:00,720 --> 00:29:03,320
Speaker 3: in a garage in London, and I'd seen him in magazines,

573
00:29:03,320 --> 00:29:05,160
Speaker 3: but Jimmy had him and Pete Townsend Adams. So I

574
00:29:05,160 --> 00:29:08,200
Speaker 3: asked Jimmy about it, and I said, boy, that they're

575
00:29:08,240 --> 00:29:09,800
Speaker 3: just so cool. He said, well, if you want one,

576
00:29:10,240 --> 00:29:13,760
Speaker 3: give Clive and my roadie money and I'll get Dave

577
00:29:13,840 --> 00:29:16,120
Speaker 3: to build you one. So I gave him sent I

578
00:29:16,120 --> 00:29:19,120
Speaker 3: get Clive seven hundred bucks, which was a lot for me,

579
00:29:20,160 --> 00:29:22,800
Speaker 3: and everybody said, I'll never see your money. And a

580
00:29:22,800 --> 00:29:25,080
Speaker 3: couple months later, by boat, I come home from school

581
00:29:25,160 --> 00:29:27,320
Speaker 3: and they're in my living room are two cardboard boxes

582
00:29:27,320 --> 00:29:29,200
Speaker 3: and it was a high, white headed cabinet that I

583
00:29:29,240 --> 00:29:33,280
Speaker 3: got to Jimmy Page. And I was the coolest motherfucker

584
00:29:33,320 --> 00:29:36,240
Speaker 3: in town man, trust me. I mean not only because

585
00:29:36,240 --> 00:29:37,800
Speaker 3: I had a highway, but I got him jim Page.

586
00:29:37,920 --> 00:29:39,920
Speaker 3: Another thing that Joe did. He had brought in Deep

587
00:29:39,960 --> 00:29:43,360
Speaker 3: Purple to the club and there was their first show

588
00:29:43,400 --> 00:29:45,640
Speaker 3: in the US and Richie Blackmore got a flu shot

589
00:29:45,680 --> 00:29:49,280
Speaker 3: and he got quite sick, and they talked about what

590
00:29:49,320 --> 00:29:51,560
Speaker 3: to do, and they decided they didn't want to cancel

591
00:29:51,560 --> 00:29:53,440
Speaker 3: the show because of the very first show in the US,

592
00:29:53,880 --> 00:29:56,120
Speaker 3: and Joe said, look, I've got this kid that I

593
00:29:56,160 --> 00:29:59,240
Speaker 3: know pretty good, Tark Bind He's a big fan of Richie's.

594
00:29:59,240 --> 00:30:01,680
Speaker 3: He could sit in. So I sat in. I played

595
00:30:01,680 --> 00:30:03,600
Speaker 3: for Richie Blackmoorg with deeper.

596
00:30:04,040 --> 00:30:05,760
Speaker 2: What did you know the material?

597
00:30:06,680 --> 00:30:09,320
Speaker 3: Yeah? I knew, you know, the hits and some of

598
00:30:09,320 --> 00:30:11,160
Speaker 3: that stuff. And we played some blues. I mean it

599
00:30:11,160 --> 00:30:13,480
Speaker 3: didn't They told people, if you want to leave, you can.

600
00:30:13,880 --> 00:30:15,720
Speaker 3: You know, my real name's not cross at s Gepherd.

601
00:30:15,800 --> 00:30:18,280
Speaker 3: So they said, Chris Geppert's going to get play and

602
00:30:18,360 --> 00:30:21,680
Speaker 3: people knew me and I had cool equipment. So I

603
00:30:21,720 --> 00:30:23,360
Speaker 3: got up there. I think had a flying V at

604
00:30:23,400 --> 00:30:26,080
Speaker 3: the time, headlong hair. So I got up and played.

605
00:30:26,120 --> 00:30:27,720
Speaker 3: We played, We went over a few things during the

606
00:30:27,800 --> 00:30:30,320
Speaker 3: day and we played some blues and uh, it was

607
00:30:30,400 --> 00:30:34,000
Speaker 3: kind of a mess. But you know what Richie called me.

608
00:30:34,800 --> 00:30:37,040
Speaker 3: Some years, if not too long ago, they did a

609
00:30:37,040 --> 00:30:38,640
Speaker 3: documentary about him and he said, you know, I want

610
00:30:38,680 --> 00:30:40,120
Speaker 3: you to be interviewed because he said, in all the

611
00:30:40,200 --> 00:30:42,640
Speaker 3: years we played, lots of people sat in, but no

612
00:30:42,680 --> 00:30:46,560
Speaker 3: one ever subbed for me. And it was the thrill

613
00:30:46,600 --> 00:30:48,360
Speaker 3: of a lifetime, you kidding. It was like and you

614
00:30:48,400 --> 00:30:51,040
Speaker 3: know what, It's interesting. You know who opened the show

615
00:30:52,080 --> 00:30:56,200
Speaker 3: was Eric Johnson, Wow, the guitarist, and that's how I

616
00:30:56,240 --> 00:30:59,240
Speaker 3: got to meet Eric. So I got to do a

617
00:30:59,240 --> 00:31:01,520
Speaker 3: lot of cool things like that, we open for the Airplane,

618
00:31:01,520 --> 00:31:04,160
Speaker 3: all these things because of Joe Miller, and they were

619
00:31:04,200 --> 00:31:06,560
Speaker 3: really good learning experiences for me, you know, because I

620
00:31:06,600 --> 00:31:09,840
Speaker 3: got to hang out on shows like Blind Faith and

621
00:31:09,880 --> 00:31:12,520
Speaker 3: I got to hang out with It was just different.

622
00:31:12,560 --> 00:31:16,880
Speaker 3: You know, it wasn't much of security, you know, like

623
00:31:17,280 --> 00:31:20,120
Speaker 3: Blind Faith. I wouldn't I sat out during soundcheck, you know,

624
00:31:20,440 --> 00:31:22,920
Speaker 3: So I had access to some pretty cool stuff.

625
00:31:24,480 --> 00:31:29,160
Speaker 2: Okay, you're scene primarily as a singer songwriter for those

626
00:31:29,160 --> 00:31:31,239
Speaker 2: who don't know how hot a guitarist are you?

627
00:31:32,480 --> 00:31:37,680
Speaker 3: Oh, I'm okay, I put it. You know, I'm a

628
00:31:37,720 --> 00:31:40,200
Speaker 3: singer songwriter first, and the guitar is just it. It's

629
00:31:40,240 --> 00:31:42,680
Speaker 3: a vehicle for what I need to do. But playing

630
00:31:42,720 --> 00:31:45,080
Speaker 3: in the cover bands and stuff, we couldn't afford a

631
00:31:45,120 --> 00:31:46,800
Speaker 3: lead guitar player, so I had to play guitar, so

632
00:31:46,800 --> 00:31:49,160
Speaker 3: I had to learn how to play lead. I originally

633
00:31:49,200 --> 00:31:50,520
Speaker 3: was just a rhythm player. I learned how to play

634
00:31:50,560 --> 00:31:53,600
Speaker 3: lead and sort of not by choice. And I remember

635
00:31:53,600 --> 00:31:57,640
Speaker 3: my bass player Andy Sam would always get some bad

636
00:31:57,640 --> 00:32:00,080
Speaker 3: because and he was really fantastic get learning stuff on

637
00:32:00,120 --> 00:32:02,560
Speaker 3: the radio. He could pick out anything. And I never

638
00:32:02,600 --> 00:32:04,240
Speaker 3: played the solo right in any of us. So I

639
00:32:04,240 --> 00:32:05,400
Speaker 3: can show it to you, And I said, I don't care.

640
00:32:05,440 --> 00:32:07,360
Speaker 3: It'll be off the radio in two weeks. I'm writing

641
00:32:07,360 --> 00:32:11,200
Speaker 3: my own songs anyway. You know, it's a hard question

642
00:32:11,240 --> 00:32:13,520
Speaker 3: to answer. I mean you have to ask other players.

643
00:32:13,560 --> 00:32:18,800
Speaker 3: I mean, you know, in Austin you could throw a

644
00:32:18,880 --> 00:32:21,040
Speaker 3: rock and hit a guitar player. So I'm not gonna

645
00:32:21,080 --> 00:32:23,800
Speaker 3: you know, I'm okay. I get by. I mean I

646
00:32:23,840 --> 00:32:27,160
Speaker 3: think when I have someone play on my record, like

647
00:32:27,240 --> 00:32:30,880
Speaker 3: Larry Carlson or Eric Johnson or Steve Luketther from Toto,

648
00:32:32,320 --> 00:32:36,480
Speaker 3: I can't play their solos. I just play some other shit.

649
00:32:36,560 --> 00:32:39,640
Speaker 3: So you know, I'm okay.

650
00:32:39,800 --> 00:32:41,920
Speaker 2: Okay. When did you realize you could sing.

651
00:32:43,680 --> 00:32:46,080
Speaker 3: Well right away? I told you when I was in

652
00:32:46,320 --> 00:32:51,680
Speaker 3: sixth grade, somebody had a sing and and and the

653
00:32:51,680 --> 00:32:54,440
Speaker 3: guys are too embarrassed. You know, I don't want to sing,

654
00:32:54,920 --> 00:32:57,440
Speaker 3: so I was a singing drummer. And then of course

655
00:32:57,480 --> 00:32:59,120
Speaker 3: when the Beatles stuff came out, and I would sing

656
00:32:59,160 --> 00:33:01,480
Speaker 3: like and I love her. I mean the girls, would

657
00:33:01,560 --> 00:33:04,480
Speaker 3: you know, sort of swoon and then Chris. I was

658
00:33:04,480 --> 00:33:08,240
Speaker 3: so into the Beach Boys that I would just I

659
00:33:08,240 --> 00:33:11,400
Speaker 3: remember telling Brian that I used to sit in the

660
00:33:11,480 --> 00:33:13,920
Speaker 3: dark room with a turntable and listen to The Lonely

661
00:33:14,040 --> 00:33:18,440
Speaker 3: See over and over and over again. And Brian was

662
00:33:18,520 --> 00:33:20,400
Speaker 3: kind of faster. He said, really the Lonely Sea and

663
00:33:20,480 --> 00:33:25,520
Speaker 3: he went cool. But I began to emulate them, he

664
00:33:25,600 --> 00:33:28,800
Speaker 3: and Carl, you know, and try to sound like them.

665
00:33:29,000 --> 00:33:30,920
Speaker 3: And that's the thing. I'm not a rock singer, like

666
00:33:31,080 --> 00:33:34,080
Speaker 3: I can't sing like you know, Sammy Hagar, who I

667
00:33:34,080 --> 00:33:37,440
Speaker 3: think is amazing. I wish I could, but or Steve Perry,

668
00:33:37,480 --> 00:33:40,440
Speaker 3: those kind of people. But part of that's just how

669
00:33:40,440 --> 00:33:43,360
Speaker 3: I've trained my voice, because Carl Wilson especially is my

670
00:33:43,480 --> 00:33:45,920
Speaker 3: mentor vocally, and I just tried to learn to sing

671
00:33:45,960 --> 00:33:48,360
Speaker 3: like them.

672
00:33:48,680 --> 00:33:53,400
Speaker 2: Okay, on your web page, you have a whole page

673
00:33:53,440 --> 00:33:56,800
Speaker 2: dedicated to equipment. You said you couldn't afford equipment for

674
00:33:56,840 --> 00:34:00,240
Speaker 2: a long time. Are you like a geek when it

675
00:34:00,240 --> 00:34:01,120
Speaker 2: comes to equipment?

676
00:34:01,680 --> 00:34:04,280
Speaker 3: Oh? Yeah, I'm a I'm a real gearhead. In fact,

677
00:34:04,600 --> 00:34:06,880
Speaker 3: Eric Johnson, I've become who I met him. I was nineteen,

678
00:34:06,960 --> 00:34:09,279
Speaker 3: but we're very very close friends now, and he's incredible

679
00:34:09,320 --> 00:34:12,359
Speaker 3: and one of the grest guitar players alive. And he's

680
00:34:12,400 --> 00:34:15,160
Speaker 3: really into gear too. So yeah, all my guitar friends, uh,

681
00:34:16,440 --> 00:34:18,360
Speaker 3: you know, we're all kind of gear geeks. You know,

682
00:34:18,640 --> 00:34:22,080
Speaker 3: the latest pedals and and you know whatever it is.

683
00:34:22,120 --> 00:34:24,239
Speaker 3: So but you got to be careful because you can

684
00:34:24,239 --> 00:34:26,800
Speaker 3: get lost in that. And at some points I'll stop

685
00:34:26,840 --> 00:34:28,359
Speaker 3: and go, Okay, I got good gear. I just don't

686
00:34:28,360 --> 00:34:29,879
Speaker 3: play music, you know, I don't. I want I want

687
00:34:29,880 --> 00:34:31,640
Speaker 3: to listen to another pedal. I just want to play.

688
00:34:32,080 --> 00:34:34,040
Speaker 3: But yeah, I'm pretty into the gear thing, kind of

689
00:34:34,040 --> 00:34:38,080
Speaker 3: a gearhead for sure. I got signature signature amps and

690
00:34:38,080 --> 00:34:38,600
Speaker 3: all that stuff.

691
00:34:38,640 --> 00:34:40,560
Speaker 2: How many guitars and how many amps do you have?

692
00:34:42,000 --> 00:34:45,279
Speaker 3: Uh? Well, I got about ten amps and I got

693
00:34:45,320 --> 00:34:47,799
Speaker 3: maybe twenty guitars. Not a lot. I mean, I've gotten

694
00:34:47,880 --> 00:34:49,359
Speaker 3: rid of a lot of stuff over the years. In fact,

695
00:34:49,719 --> 00:34:51,879
Speaker 3: people ask me, where's the high watch that Jimmy Page got.

696
00:34:51,960 --> 00:34:55,680
Speaker 3: I don't even know stadly, but I've gotten to I

697
00:34:55,719 --> 00:34:59,239
Speaker 3: don't collect vintage guitars. I've played these guitars called Tom

698
00:34:59,280 --> 00:35:02,719
Speaker 3: Anderson's that are just like gorgeous, like Mercedes type stratocasters,

699
00:35:02,719 --> 00:35:04,480
Speaker 3: and I play Taylor Acausic guitars and they're just so

700
00:35:04,560 --> 00:35:08,280
Speaker 3: well made. I find for myself that the newer guitars

701
00:35:08,320 --> 00:35:10,840
Speaker 3: that are really really well made, stay in tune and

702
00:35:11,680 --> 00:35:14,440
Speaker 3: you know, intonation and stuff are better for me than

703
00:35:14,640 --> 00:35:17,080
Speaker 3: the old guitar that has a lot of character and

704
00:35:17,160 --> 00:35:19,320
Speaker 3: a lot of mojo. Maybe, but they're just not practical

705
00:35:19,360 --> 00:35:21,040
Speaker 3: to take around, you know, on the road.

706
00:35:22,200 --> 00:35:24,520
Speaker 2: And what about you have your own signatury. Tell me

707
00:35:24,520 --> 00:35:24,960
Speaker 2: about that.

708
00:35:25,680 --> 00:35:28,759
Speaker 3: Well that's made by a company called Divided by thirteen

709
00:35:29,480 --> 00:35:32,600
Speaker 3: and they're a small boutique builder in California. And the

710
00:35:32,640 --> 00:35:36,279
Speaker 3: guys that play with McCartney, Rusty and Brian Daisen and

711
00:35:37,239 --> 00:35:40,120
Speaker 3: wonderful amps, and Fred built me one that's kind of

712
00:35:40,160 --> 00:35:41,960
Speaker 3: designed the way I wanted it to be. But it's

713
00:35:41,960 --> 00:35:44,520
Speaker 3: a one twelve combo amp that has two different types

714
00:35:44,520 --> 00:35:46,919
Speaker 3: of tubes in it and stuff, and they're great. It's

715
00:35:46,920 --> 00:35:51,000
Speaker 3: called the nine point fifteen three C. But I said

716
00:35:51,000 --> 00:35:53,120
Speaker 3: I had ten ms. I've got eight of those, eight

717
00:35:53,160 --> 00:35:55,479
Speaker 3: of those combos because I have multiple sets of gear.

718
00:35:56,160 --> 00:36:00,520
Speaker 3: But you know, I don't play real loud bob on stage.

719
00:36:00,600 --> 00:36:03,399
Speaker 3: I use inner monitors. And my whole thing is I'm

720
00:36:03,440 --> 00:36:05,840
Speaker 3: working with jazz musicians, so it's all about, you know,

721
00:36:06,360 --> 00:36:13,520
Speaker 3: really clean and musical, you know, So we don't play loud.

722
00:36:13,600 --> 00:36:16,279
Speaker 3: It's about, you know, I really try to show off

723
00:36:16,280 --> 00:36:18,279
Speaker 3: the virtuosity of the guys I play with because they're

724
00:36:18,320 --> 00:36:21,840
Speaker 3: just unbelievable. And that's comes from the Asia model, you know.

725
00:36:23,160 --> 00:36:26,160
Speaker 2: So what's the theory with two different types of tubes.

726
00:36:26,920 --> 00:36:30,120
Speaker 3: Well, the divided by thirteen it has two six V

727
00:36:30,280 --> 00:36:32,640
Speaker 3: six's in it, which are what's in a Deluxe Finder Deluxe,

728
00:36:32,640 --> 00:36:34,440
Speaker 3: and has two El eighty fours in it, which are

729
00:36:34,480 --> 00:36:39,239
Speaker 3: what's in a vox Ac thirty. So I it's getting free.

730
00:36:39,600 --> 00:36:41,839
Speaker 3: I have three amps on stage and I use what's

731
00:36:41,880 --> 00:36:45,000
Speaker 3: called a wet dry rig. In the center is my

732
00:36:45,360 --> 00:36:47,480
Speaker 3: dry amp. It's just dry, and it's on the EL

733
00:36:47,520 --> 00:36:50,400
Speaker 3: eighty four settings more aggressive. The side amps are on

734
00:36:50,440 --> 00:36:53,920
Speaker 3: the sixty six settings and they're eighty percent wet, so

735
00:36:55,160 --> 00:36:57,319
Speaker 3: out front the guy can really control the amount of

736
00:36:57,400 --> 00:36:59,600
Speaker 3: effects and stuff like that. And what's great about you

737
00:36:59,600 --> 00:37:02,680
Speaker 3: get a lot focused because the cineramp is dry. It's

738
00:37:02,680 --> 00:37:05,120
Speaker 3: like being in the studio. The delay and stuff is

739
00:37:05,160 --> 00:37:06,960
Speaker 3: not mixed in with the dry but on the sides

740
00:37:07,040 --> 00:37:09,560
Speaker 3: it's like eighty percent wet. So it creates this incredible

741
00:37:09,600 --> 00:37:12,879
Speaker 3: wall of sound, which the front of house guy's got

742
00:37:12,880 --> 00:37:15,200
Speaker 3: to be good, but he has a lot of control.

743
00:37:15,320 --> 00:37:17,279
Speaker 3: Then over I can play with as much delay as

744
00:37:17,320 --> 00:37:19,439
Speaker 3: I want on stage, but out front he could dial

745
00:37:19,480 --> 00:37:21,840
Speaker 3: it back. But it's a huge sound in stereo, and

746
00:37:21,880 --> 00:37:26,440
Speaker 3: it's it's pretty massive. I mean, some guys, I'll say

747
00:37:26,480 --> 00:37:27,759
Speaker 3: you should hear my rig and they go, I don't

748
00:37:27,760 --> 00:37:28,200
Speaker 3: want to hear it.

749
00:37:28,920 --> 00:37:29,400
Speaker 2: I don't want to.

750
00:37:29,840 --> 00:37:31,279
Speaker 3: I don't want to. I don't want to drag that

751
00:37:31,360 --> 00:37:33,000
Speaker 3: around the church, you know, I don't want to do that.

752
00:37:34,200 --> 00:37:36,640
Speaker 3: Tom Anderson builds my guitars. I think Tom said that.

753
00:37:37,560 --> 00:37:40,239
Speaker 2: So to what degree are the same people with you

754
00:37:40,320 --> 00:37:41,600
Speaker 2: over the last few years.

755
00:37:43,040 --> 00:37:47,560
Speaker 3: Well, I have musicians that are New York, Austin, La Paris,

756
00:37:48,520 --> 00:37:52,560
Speaker 3: and they're all, uh, I got chose the Asian model

757
00:37:52,600 --> 00:37:56,239
Speaker 3: after Asia, I really kind of started emulating everything Dan

758
00:37:56,320 --> 00:37:58,640
Speaker 3: did and as far as the style of production of

759
00:37:58,640 --> 00:38:03,080
Speaker 3: records and on stage, these guys are all jazz trained,

760
00:38:03,239 --> 00:38:07,279
Speaker 3: you know, seriously jazz trained musicians, and they bring that

761
00:38:09,000 --> 00:38:12,320
Speaker 3: you know, nuance to the music. So it's not jazz,

762
00:38:12,400 --> 00:38:15,960
Speaker 3: but they're bringing their jazz style into it. And my

763
00:38:16,120 --> 00:38:20,640
Speaker 3: show is all charted music charts and they're all on

764
00:38:20,680 --> 00:38:23,520
Speaker 3: a server. So the guys have iPads and I'll bring

765
00:38:23,640 --> 00:38:25,560
Speaker 3: up a set list and so basically working for me,

766
00:38:25,600 --> 00:38:29,800
Speaker 3: it's all reading music. I haven't rehearsed in twenty five years.

767
00:38:29,840 --> 00:38:34,279
Speaker 3: Everything's on charts, and every to work in my band,

768
00:38:34,280 --> 00:38:36,440
Speaker 3: he got to be a really good reader. So I'm

769
00:38:36,440 --> 00:38:39,520
Speaker 3: working with guys from New York, LA. It just depends

770
00:38:39,520 --> 00:38:43,719
Speaker 3: who I who I you know, what I'm doing, who's available.

771
00:38:44,520 --> 00:38:47,160
Speaker 3: Lately I've been working with an ensemble out of Paris, Trio,

772
00:38:47,239 --> 00:38:49,759
Speaker 3: which just amazing guys out of Paris that I work with.

773
00:38:49,800 --> 00:38:52,160
Speaker 3: But I work with us guys like I play with

774
00:38:52,280 --> 00:38:54,680
Speaker 3: Keith Carlock, who plays of Steely Dan. Keith works with

775
00:38:54,719 --> 00:38:59,959
Speaker 3: me when he can, Travis Carlton, Larry Carlton, some plays

776
00:39:00,000 --> 00:39:02,120
Speaker 3: Basement when you can. But it's a lot of who's available,

777
00:39:02,280 --> 00:39:04,520
Speaker 3: you know. But I have a nice network of people

778
00:39:04,840 --> 00:39:06,600
Speaker 3: in four or five places that I can call on,

779
00:39:06,680 --> 00:39:10,759
Speaker 3: and because we don't rehearse, it's easy. I just they

780
00:39:10,800 --> 00:39:11,760
Speaker 3: show up and play.

781
00:39:12,200 --> 00:39:18,080
Speaker 2: Okay, they have charts yourself taught? Can you read music?

782
00:39:19,120 --> 00:39:22,239
Speaker 3: I can read charts, meaning you know chord charts and

783
00:39:22,280 --> 00:39:25,480
Speaker 3: things like that, but I'm not great with notation. Those

784
00:39:25,520 --> 00:39:29,720
Speaker 3: guys are. But uh, and I have what are called MRLs,

785
00:39:29,719 --> 00:39:32,920
Speaker 3: which are music Master Rhythm lyric charts, so they have

786
00:39:33,840 --> 00:39:37,040
Speaker 3: the chords and everything and the lyric because I'll be

787
00:39:37,040 --> 00:39:39,239
Speaker 3: honest with you, you know my age. I mean, I

788
00:39:39,280 --> 00:39:41,279
Speaker 3: have over one hundred songs. I mean sometimes I need

789
00:39:41,320 --> 00:39:44,040
Speaker 3: a little cheat sheet too. It's just really forms for security.

790
00:39:44,040 --> 00:39:46,719
Speaker 3: That's kind of a teleproctor. So I have the I

791
00:39:46,719 --> 00:39:49,399
Speaker 3: have the chord chart and the lyrics, so I can.

792
00:39:49,560 --> 00:39:51,160
Speaker 3: I can read those kinds of charts, but no, I

793
00:39:51,160 --> 00:39:55,040
Speaker 3: cannot read like a violin chart or something. Those guys can,

794
00:39:55,280 --> 00:39:59,000
Speaker 3: but so I can. I can exist in their world enough.

795
00:39:59,000 --> 00:40:01,520
Speaker 3: But of course I wrote this song, so I know.

796
00:40:02,800 --> 00:40:05,120
Speaker 3: But there's so many of them that the guys, yeah,

797
00:40:05,160 --> 00:40:07,239
Speaker 3: they know sailing probably without looking at the chart, but

798
00:40:07,400 --> 00:40:09,279
Speaker 3: most of the stuff they need to have a chart

799
00:40:09,440 --> 00:40:11,799
Speaker 3: to play it. But I'm playing with them because they're

800
00:40:12,600 --> 00:40:16,239
Speaker 3: it's like Asia, you know. Donald Walter started bringing in

801
00:40:17,040 --> 00:40:20,719
Speaker 3: guys like Michael Lomartian and Greg Fillingates, these incredible jazz

802
00:40:20,760 --> 00:40:23,080
Speaker 3: players to interpret that music, and it brought it to

803
00:40:23,120 --> 00:40:23,839
Speaker 3: a home to the level.

804
00:40:25,880 --> 00:40:29,080
Speaker 2: You know, I once saw Steely Dan and Walter Becker

805
00:40:29,239 --> 00:40:32,120
Speaker 2: was ill, and Larry Carlton came in and played off

806
00:40:32,160 --> 00:40:35,799
Speaker 2: the charts. It was mind blowing fact that he could

807
00:40:35,880 --> 00:40:37,080
Speaker 2: just do that instantly.

808
00:40:38,040 --> 00:40:41,440
Speaker 3: Oh yeah, well, you know my biggest When I got

809
00:40:41,520 --> 00:40:45,880
Speaker 3: my deal with Warner Brothers, they assigned me Michael Lomartian

810
00:40:45,920 --> 00:40:47,880
Speaker 3: as a producer. He had just been signed as a producer,

811
00:40:47,920 --> 00:40:49,799
Speaker 3: and I was I didn't really know who he was.

812
00:40:49,840 --> 00:40:51,359
Speaker 3: I was looking. I was really at the for Gary

813
00:40:51,440 --> 00:40:53,719
Speaker 3: Katz or Ted Temple, one of these guys. And I

814
00:40:53,760 --> 00:40:55,279
Speaker 3: was at the Water Brother's office, and I was not

815
00:40:55,280 --> 00:40:58,840
Speaker 3: being terribly perceptive to Michael Lomartian, who's a genius. But

816
00:41:00,080 --> 00:41:04,360
Speaker 3: so I said to him the Wonder Brothers Rep. Michael Austin,

817
00:41:04,360 --> 00:41:06,360
Speaker 3: who was most son who signed me, said, you know,

818
00:41:06,440 --> 00:41:09,120
Speaker 3: Michael plays with Steely Dan. I said, oh really, like

819
00:41:09,360 --> 00:41:13,200
Speaker 3: what did you play on? Michael said, humbly, he said everything.

820
00:41:15,160 --> 00:41:18,120
Speaker 3: So I said, you know, Larry Carlton, this is a

821
00:41:18,120 --> 00:41:19,879
Speaker 3: true store. I said, you know Larry Carlton. He goes yes.

822
00:41:19,960 --> 00:41:21,920
Speaker 3: I said can you get him to plan my record?

823
00:41:22,360 --> 00:41:24,040
Speaker 3: And he said yes, And I said he doesn't do

824
00:41:24,120 --> 00:41:26,719
Speaker 3: sessions anymore. He's like a star he's like, you know,

825
00:41:27,320 --> 00:41:28,800
Speaker 3: because I was a huge fan of Larry's and so

826
00:41:28,840 --> 00:41:30,239
Speaker 3: Michael said, well, I know, Larry, I think I can

827
00:41:30,440 --> 00:41:32,120
Speaker 3: do it. I said, well, here's the deal. If you

828
00:41:32,160 --> 00:41:34,000
Speaker 3: can get Larry Carlton to plan my record, you can

829
00:41:34,000 --> 00:41:37,439
Speaker 3: produce record. And that was that was the deal we made.

830
00:41:37,840 --> 00:41:40,040
Speaker 3: And I finally told Carlton this story a few years

831
00:41:40,080 --> 00:41:41,840
Speaker 3: ago and he said, man, I should have been getting points.

832
00:41:44,239 --> 00:41:47,000
Speaker 3: But true to form, Michael Hamardine got Larry Carlton to

833
00:41:47,040 --> 00:41:48,680
Speaker 3: planed my record. He played on two tracks, and it

834
00:41:48,760 --> 00:41:52,640
Speaker 3: was just it was the thrill of a lifetime, one

835
00:41:52,640 --> 00:41:54,360
Speaker 3: of those times like the Pope, you know, sitting with

836
00:41:54,440 --> 00:41:59,600
Speaker 3: Larry Carlton because he's he's you know, a huge, huge

837
00:41:59,600 --> 00:42:03,480
Speaker 3: hero mine and so many players you know. So but yeah,

838
00:42:03,640 --> 00:42:06,440
Speaker 3: that whole model. Even back then, I was into that.

839
00:42:06,640 --> 00:42:09,799
Speaker 3: Having these guys that could play like that bring that

840
00:42:09,880 --> 00:42:14,279
Speaker 3: sensibility to my songwriting and so and I think my

841
00:42:14,360 --> 00:42:17,839
Speaker 3: songwriter has got more sophisticated over the years, but they

842
00:42:17,840 --> 00:42:19,799
Speaker 3: bring it to home toother level. These guys.

843
00:42:20,360 --> 00:42:23,520
Speaker 2: Okay, you drop out of high school, you moved to

844
00:42:23,560 --> 00:42:27,640
Speaker 2: San Antonio alone or with other band members.

845
00:42:28,200 --> 00:42:32,040
Speaker 3: Yeah, I moved up up to Austin with Rock Austin.

846
00:42:33,160 --> 00:42:35,319
Speaker 3: I believe Rob me or I think you You may

847
00:42:35,360 --> 00:42:37,279
Speaker 3: not remember, but he used to have exchange letters of

848
00:42:37,320 --> 00:42:42,040
Speaker 3: the occasion. Rob Yeah, yeah, So Rob and Andy Salomon

849
00:42:42,280 --> 00:42:45,359
Speaker 3: bass player. We've moved up in a truck, you know,

850
00:42:45,760 --> 00:42:48,680
Speaker 3: and moved all the crap into a house. You're paying

851
00:42:48,760 --> 00:42:53,120
Speaker 3: forty bucks a month rent, and we started playing in

852
00:42:53,520 --> 00:42:56,279
Speaker 3: cover bands. There's an agent in town, Llawyer and Charlie

853
00:42:56,320 --> 00:42:58,640
Speaker 3: Hatchett that booked everybody. And we just started playing fraternity

854
00:42:58,680 --> 00:43:01,200
Speaker 3: parties and clubs, anything we could play, just to make

855
00:43:01,239 --> 00:43:05,319
Speaker 3: a living, you know. And so we did that for

856
00:43:05,360 --> 00:43:07,440
Speaker 3: quite a while. But I was always writing, but I

857
00:43:07,520 --> 00:43:10,759
Speaker 3: just didn't see any point, you know, the people that,

858
00:43:10,880 --> 00:43:13,200
Speaker 3: like I said, Stevie, who is true artist. You know,

859
00:43:13,560 --> 00:43:15,840
Speaker 3: he wasn't making much money doing that. He's playing for

860
00:43:15,840 --> 00:43:22,799
Speaker 3: his soul and that's wonderful. But you know, Austin, but

861
00:43:23,000 --> 00:43:25,399
Speaker 3: there wasn't a town yet where you could really get

862
00:43:25,440 --> 00:43:27,759
Speaker 3: appreciation for playing around music at my level at least,

863
00:43:27,800 --> 00:43:31,520
Speaker 3: So I just kept my head down and played cover

864
00:43:31,600 --> 00:43:35,399
Speaker 3: tunes and made money. I could play make fifteen hundred

865
00:43:35,400 --> 00:43:38,920
Speaker 3: bucks a nights for the band at the fraternity party.

866
00:43:38,960 --> 00:43:42,200
Speaker 3: But I'd never really bothered playing my tunes out. I

867
00:43:42,280 --> 00:43:48,920
Speaker 3: just made demos and I sent them for Warner Brothers.

868
00:43:51,239 --> 00:43:55,000
Speaker 2: Okay, you moved to Austin, you've dropped out of high school,

869
00:43:55,480 --> 00:43:59,719
Speaker 2: totally self supporting or does your father send you any money?

870
00:44:00,520 --> 00:44:03,480
Speaker 3: I had a car and they paid my gas. I

871
00:44:03,560 --> 00:44:05,640
Speaker 3: had a gas card and they paid my gas in shirts.

872
00:44:05,640 --> 00:44:07,919
Speaker 3: But otherwise though we made a living. We were living

873
00:44:07,920 --> 00:44:10,640
Speaker 3: at a house. You just paid forty bucks. Let the rent.

874
00:44:11,000 --> 00:44:14,279
Speaker 3: We lived off you know, Big Lone Stars and Peanut

875
00:44:14,400 --> 00:44:17,840
Speaker 3: M and M's probably, but uh we just you know,

876
00:44:17,840 --> 00:44:20,840
Speaker 3: it was all about you know, the dream. You know,

877
00:44:20,880 --> 00:44:22,879
Speaker 3: we're just living that dream. But it was fine. We

878
00:44:24,040 --> 00:44:26,240
Speaker 3: didn't need much and you know those when you're young,

879
00:44:26,280 --> 00:44:30,279
Speaker 3: you don't care what your surroundings are like. But uh so, yeah,

880
00:44:30,320 --> 00:44:32,600
Speaker 3: we lived in that house and played tunes like you know,

881
00:44:32,640 --> 00:44:35,359
Speaker 3: played cover tunes and stuff that did. I I had

882
00:44:35,400 --> 00:44:37,960
Speaker 3: an arrangement with a studio there in Austin, and I

883
00:44:38,000 --> 00:44:40,359
Speaker 3: could go in at night and record. I invested some

884
00:44:40,400 --> 00:44:44,680
Speaker 3: money in uh in some equipment and set up their

885
00:44:44,680 --> 00:44:46,400
Speaker 3: B studio so I could go in and record in

886
00:44:46,440 --> 00:44:48,960
Speaker 3: the twenty four tracks studio and start doing demos and

887
00:44:49,040 --> 00:44:52,800
Speaker 3: I sit sent two sets of fork song demos to warners.

888
00:44:52,840 --> 00:44:56,080
Speaker 2: You know, oh okay, a little bit slower you move

889
00:44:56,520 --> 00:44:59,919
Speaker 2: when you're not even twenty. You don't get a deal

890
00:45:00,200 --> 00:45:03,400
Speaker 2: until your late twenties. What goes on in that ten.

891
00:45:03,280 --> 00:45:11,480
Speaker 3: Years playing playing, like I said, fraternity parties, clubs, I mean,

892
00:45:11,520 --> 00:45:13,799
Speaker 3: Austin was I told you it was really happening. As

893
00:45:13,840 --> 00:45:16,920
Speaker 3: far as there was there were clubs. There were the

894
00:45:17,000 --> 00:45:19,040
Speaker 3: University of Texas coll They's fraternity parties, but all these

895
00:45:19,040 --> 00:45:21,719
Speaker 3: college students going out, so there there were places to

896
00:45:21,760 --> 00:45:26,400
Speaker 3: play and make good money playing cover tunes. It's just

897
00:45:26,400 --> 00:45:29,640
Speaker 3: that to be an original band was pretty hard, and

898
00:45:29,719 --> 00:45:31,960
Speaker 3: it was only people that were really really special like

899
00:45:32,000 --> 00:45:34,839
Speaker 3: Stevie who you know, it was just a prodigy who

900
00:45:34,840 --> 00:45:36,279
Speaker 3: went out and people did go to hear them. But

901
00:45:36,320 --> 00:45:38,719
Speaker 3: even at that level, you know, playing these places that

902
00:45:38,960 --> 00:45:40,440
Speaker 3: artists like that played, they didn't get paid a lot

903
00:45:40,480 --> 00:45:42,000
Speaker 3: of money. They did it for the love of it,

904
00:45:42,520 --> 00:45:44,000
Speaker 3: and there's a lot of integrity there, and I have

905
00:45:44,280 --> 00:45:46,880
Speaker 3: incredible respect for those people. But for me, I had

906
00:45:46,920 --> 00:45:49,080
Speaker 3: a child at the time, you know, I'd gotten married

907
00:45:49,120 --> 00:45:51,080
Speaker 3: at a child that I just I felt it was

908
00:45:51,120 --> 00:45:54,400
Speaker 3: a better plan just to keep hacking out the radio tunes.

909
00:45:55,000 --> 00:45:56,960
Speaker 3: Plus all that music had an influence on me too,

910
00:45:57,040 --> 00:45:59,759
Speaker 3: you know, learning those songs and singing and playing beach

911
00:45:59,760 --> 00:46:03,319
Speaker 3: Boys and that sort of thing. But that was just

912
00:46:03,400 --> 00:46:06,080
Speaker 3: my model. That's what the way I did it. And again,

913
00:46:06,160 --> 00:46:08,600
Speaker 3: through this strange quirk of fate with warners, I got

914
00:46:08,640 --> 00:46:10,520
Speaker 3: a deal. When I was, like you said, twenty eight,

915
00:46:10,560 --> 00:46:11,960
Speaker 3: twenty nine, how.

916
00:46:11,920 --> 00:46:13,080
Speaker 2: Did you end up getting married?

917
00:46:15,320 --> 00:46:17,359
Speaker 3: Well, I was in Houston, Texas, playing in a cover

918
00:46:17,440 --> 00:46:21,319
Speaker 3: band called Heather Black and Good Band, and you know,

919
00:46:22,680 --> 00:46:25,440
Speaker 3: young girl, pretty girl came back of the club and

920
00:46:26,360 --> 00:46:28,359
Speaker 3: she was at eighteen. I was twenty two or something,

921
00:46:28,400 --> 00:46:30,000
Speaker 3: and I think she was trying to just piss off

922
00:46:30,000 --> 00:46:32,040
Speaker 3: her father. But we ran off from the lobe after

923
00:46:32,080 --> 00:46:35,240
Speaker 3: two weeks and it didn't go well. In fact, Rob,

924
00:46:36,280 --> 00:46:39,279
Speaker 3: Rob Muhir, he went to the courthouse for us to

925
00:46:39,280 --> 00:46:41,919
Speaker 3: get married, and it was so impetuous and I didn't

926
00:46:41,960 --> 00:46:48,719
Speaker 3: you know, Rob was standing behind us when they stood

927
00:46:48,800 --> 00:46:51,120
Speaker 3: up for us at the courthouse. And I'll never forget

928
00:46:51,360 --> 00:46:53,480
Speaker 3: as soon as a female judge a sin as, she said,

929
00:46:53,480 --> 00:46:55,319
Speaker 3: I pronounce you met her wife. I heard Rob under

930
00:46:55,320 --> 00:46:57,399
Speaker 3: his breath go, this is not going to end well.

931
00:47:02,440 --> 00:47:03,880
Speaker 2: But you ended up having a child.

932
00:47:04,840 --> 00:47:07,120
Speaker 3: Well we did, but we were only married seven years,

933
00:47:07,120 --> 00:47:09,400
Speaker 3: but we had a child, and it was it was

934
00:47:09,440 --> 00:47:11,879
Speaker 3: just doomed, doom to failure. I only knew the girl

935
00:47:11,880 --> 00:47:14,000
Speaker 3: two weeks I married. It was listen, I was just

936
00:47:14,040 --> 00:47:18,080
Speaker 3: some horny guitar player who you know. You know. So

937
00:47:18,440 --> 00:47:21,200
Speaker 3: that was my first failed experience as a matrimony. But

938
00:47:21,520 --> 00:47:25,000
Speaker 3: I'll never forget Rob saying that was pretty funny. But so,

939
00:47:25,160 --> 00:47:27,680
Speaker 3: you know, I got married and kid, I just I

940
00:47:27,719 --> 00:47:35,120
Speaker 3: felt like I responsibility to you know, Justin was literally

941
00:47:35,120 --> 00:47:36,719
Speaker 3: he was, you know, two or three, and I had

942
00:47:36,719 --> 00:47:40,160
Speaker 3: to support these people in an apartment, and so I

943
00:47:40,200 --> 00:47:42,279
Speaker 3: needed to go out and make money. And I said,

944
00:47:42,320 --> 00:47:44,520
Speaker 3: we get paid fifteen hundred bucks to play Attorney party.

945
00:47:45,400 --> 00:47:47,719
Speaker 3: And that was a lot of money than Bob, it was,

946
00:47:48,440 --> 00:47:48,719
Speaker 3: you know.

947
00:47:48,920 --> 00:47:52,040
Speaker 2: And it was cash, no tax cash.

948
00:47:53,000 --> 00:47:54,840
Speaker 3: You know. It was just it was just the plan.

949
00:47:55,000 --> 00:47:57,760
Speaker 3: I had a plan, you know, and and it seemed

950
00:47:57,800 --> 00:48:00,960
Speaker 3: to be more practical. I never could have supported my

951
00:48:00,960 --> 00:48:03,480
Speaker 3: family Bob trying to play my tunes around town. And

952
00:48:03,520 --> 00:48:06,640
Speaker 3: then when my album came out, everybody was so surprised, Wow,

953
00:48:06,760 --> 00:48:08,719
Speaker 3: where you been? What these songs and all that real, Well,

954
00:48:09,160 --> 00:48:10,719
Speaker 3: I don't know. I just tad them under my hat.

955
00:48:11,640 --> 00:48:15,360
Speaker 2: Okay, you made the demos, you send them to Warner Brothers.

956
00:48:15,760 --> 00:48:19,839
Speaker 2: But how long had you been working on songs and

957
00:48:19,880 --> 00:48:21,040
Speaker 2: recording them at home?

958
00:48:23,120 --> 00:48:26,200
Speaker 3: Well, I mean, I've been writing songs since the very

959
00:48:26,200 --> 00:48:28,400
Speaker 3: beginning when I got that cowboy guitar. That was, you know,

960
00:48:29,000 --> 00:48:31,920
Speaker 3: a junior high. But the oldest song on the first

961
00:48:32,000 --> 00:48:34,080
Speaker 3: record is a song called Poor Shirley, and it was

962
00:48:34,080 --> 00:48:37,240
Speaker 3: about four years old to the release of the record.

963
00:48:37,560 --> 00:48:41,080
Speaker 3: So most of those songs were you know, fairly recent

964
00:48:41,920 --> 00:48:44,920
Speaker 3: in terms of my historical path as far as the

965
00:48:44,960 --> 00:48:46,160
Speaker 3: ones that ended up on that record.

966
00:48:46,200 --> 00:48:48,759
Speaker 2: You know, Okay, you were making a living as a

967
00:48:48,800 --> 00:48:51,480
Speaker 2: working musician. You know, the Beatles made it in their

968
00:48:51,600 --> 00:48:54,480
Speaker 2: very early twenties. At this point, most people in the

969
00:48:54,560 --> 00:48:57,359
Speaker 2: rock world had made it by their mid twenties. Did

970
00:48:57,360 --> 00:48:59,680
Speaker 2: you ever waiver in the dream? Did you always think

971
00:48:59,680 --> 00:49:01,600
Speaker 2: you were to make it? Did you even think you

972
00:49:01,640 --> 00:49:02,319
Speaker 2: were going to make it?

973
00:49:05,000 --> 00:49:08,160
Speaker 3: Well, your musicians have a strange way of believing, believing

974
00:49:08,160 --> 00:49:10,759
Speaker 3: in themselves, you know, in spite of all things of

975
00:49:10,800 --> 00:49:13,600
Speaker 3: the contrary. But and answer your question, you've hit on

976
00:49:13,600 --> 00:49:15,239
Speaker 3: something here, because no, Because I'll tell you the truth.

977
00:49:15,320 --> 00:49:18,160
Speaker 3: The last six months or so, when I was trying

978
00:49:18,160 --> 00:49:19,680
Speaker 3: to get my deal with Warners and all that stuff,

979
00:49:19,760 --> 00:49:21,759
Speaker 3: I kind of told myself, look, I can't keep doing this.

980
00:49:21,960 --> 00:49:24,719
Speaker 3: You know, I got a family. If if I don't

981
00:49:24,760 --> 00:49:26,960
Speaker 3: get something going pretty soon, I'm just going to call

982
00:49:27,040 --> 00:49:30,000
Speaker 3: it and just you know, go get a job and

983
00:49:30,040 --> 00:49:33,120
Speaker 3: do something we after school or whatever. And so I

984
00:49:33,160 --> 00:49:36,600
Speaker 3: gave myself sort of a six month window to see

985
00:49:36,640 --> 00:49:38,040
Speaker 3: what was see what was going to come of it,

986
00:49:38,320 --> 00:49:41,360
Speaker 3: if anything should come to fruition, And then fortunately I

987
00:49:41,400 --> 00:49:44,640
Speaker 3: got signed. Yeah, but I was, I was going to,

988
00:49:44,719 --> 00:49:46,759
Speaker 3: you know, pretty much call it today. I was because

989
00:49:46,760 --> 00:49:48,440
Speaker 3: I've been trying for a long long time, and like

990
00:49:48,480 --> 00:49:52,360
Speaker 3: you said, I was older. Most people had deals by then,

991
00:49:52,800 --> 00:49:56,359
Speaker 3: and so uh and that was part of the problem too.

992
00:49:56,360 --> 00:49:58,239
Speaker 3: You know when I when all this happened, it was

993
00:49:58,239 --> 00:50:02,200
Speaker 3: so medioric. I didn't have a regular art to my

994
00:50:02,280 --> 00:50:04,600
Speaker 3: career like someone like the police and those people. You know,

995
00:50:04,640 --> 00:50:08,319
Speaker 3: I just it just I went from playing in fraternities

996
00:50:08,480 --> 00:50:11,520
Speaker 3: back we finished their record in seventy nine, I went

997
00:50:11,560 --> 00:50:13,640
Speaker 3: back to Austin and went back to playing clubs until

998
00:50:13,640 --> 00:50:16,000
Speaker 3: the album was released, playing Eagles songs. And then the

999
00:50:16,040 --> 00:50:17,759
Speaker 3: next thing had happened. The album comes out and I'm

1000
00:50:17,800 --> 00:50:22,360
Speaker 3: opening for the Eagles. So it was overwhelming. And I

1001
00:50:22,440 --> 00:50:24,759
Speaker 3: wish very much that I could go back and play

1002
00:50:24,800 --> 00:50:28,080
Speaker 3: those early shows with the kind of confidence and professionalism

1003
00:50:28,120 --> 00:50:30,600
Speaker 3: I have now, because I was just up there, you know,

1004
00:50:32,160 --> 00:50:35,360
Speaker 3: totally out of my element. No I from playing a

1005
00:50:35,400 --> 00:50:37,600
Speaker 3: little club, playing twenty thousand seediter, I had no business

1006
00:50:37,680 --> 00:50:37,960
Speaker 3: doing that.

1007
00:50:38,920 --> 00:50:43,160
Speaker 2: Okay, you sent the tapes off. How did you actually

1008
00:50:43,239 --> 00:50:45,120
Speaker 2: hear from Warner Brothers and what they say?

1009
00:50:46,239 --> 00:50:51,520
Speaker 3: Well, when David Berson, he got the tape and he

1010
00:50:51,719 --> 00:50:53,840
Speaker 3: liked it, and he went to lunch with Lenny Warnker

1011
00:50:53,840 --> 00:50:55,839
Speaker 3: that day and he said, Lenny, I got a tape,

1012
00:50:55,920 --> 00:50:57,600
Speaker 3: let me play for And this is the story they

1013
00:50:57,600 --> 00:50:59,319
Speaker 3: told me. Lindy said, give me a break. I meant

1014
00:50:59,400 --> 00:51:01,160
Speaker 3: lunch all I do listen to the tapes all day long.

1015
00:51:02,400 --> 00:51:04,839
Speaker 3: But did David insisted they put it in, And this

1016
00:51:04,880 --> 00:51:07,640
Speaker 3: is what they told me later. Lenny said he really

1017
00:51:07,719 --> 00:51:10,560
Speaker 3: liked my voice. He thought it was radio friendly, and

1018
00:51:10,600 --> 00:51:11,960
Speaker 3: so he said, I give it a damn tape. So

1019
00:51:11,960 --> 00:51:13,400
Speaker 3: you got the tape and they reached out to me

1020
00:51:13,440 --> 00:51:17,160
Speaker 3: and said, listen, you know, we really like your voices

1021
00:51:17,160 --> 00:51:19,040
Speaker 3: through a radio friendly, and they did what they all

1022
00:51:19,080 --> 00:51:20,960
Speaker 3: do at the time, So send us some more material.

1023
00:51:21,040 --> 00:51:23,840
Speaker 3: We're interested, and they keep stringing you along. So I

1024
00:51:23,840 --> 00:51:28,800
Speaker 3: did another set of demos and sent those and Michael Austin,

1025
00:51:28,840 --> 00:51:33,399
Speaker 3: who was Most's son, he was new to the an

1026
00:51:33,400 --> 00:51:35,560
Speaker 3: Are but fortunately he believed in me, you know, and

1027
00:51:37,239 --> 00:51:40,080
Speaker 3: kind of put his influence behind it. But they still

1028
00:51:40,280 --> 00:51:42,719
Speaker 3: didn't believe in the songs. I remember them saying, your

1029
00:51:42,800 --> 00:51:44,839
Speaker 3: voice is great, but we may have to feature other

1030
00:51:44,880 --> 00:51:49,120
Speaker 3: songs to record. Not too sure about these songs. And

1031
00:51:49,840 --> 00:51:52,000
Speaker 3: they had heard sailing and I'd like to win in

1032
00:51:52,040 --> 00:51:56,919
Speaker 3: all those songs, and the demos were, you know, real

1033
00:51:57,040 --> 00:52:01,120
Speaker 3: good representations of what you hear on the record later.

1034
00:52:01,440 --> 00:52:03,359
Speaker 3: But so Michael Lomarty and the producer, was the one

1035
00:52:03,360 --> 00:52:05,439
Speaker 3: who said, listen, let us go in the studio see

1036
00:52:05,520 --> 00:52:07,120
Speaker 3: because I think there's something here. And so then we

1037
00:52:07,160 --> 00:52:11,680
Speaker 3: went in and you know, and recorded. But and Michael

1038
00:52:11,680 --> 00:52:13,600
Speaker 3: did a great job of making the record, you know,

1039
00:52:13,800 --> 00:52:16,680
Speaker 3: enhancing with the strings and all that. But initially they

1040
00:52:16,880 --> 00:52:19,399
Speaker 3: just were focused on my voice. They said, your voice

1041
00:52:19,400 --> 00:52:21,480
Speaker 3: is like James, you know, it's like James Taylor, as

1042
00:52:21,520 --> 00:52:23,279
Speaker 3: good as James. But it just that when you hear

1043
00:52:23,320 --> 00:52:25,440
Speaker 3: James Taler on the radio, you know James Taylor, and

1044
00:52:25,480 --> 00:52:27,960
Speaker 3: they said that there's a uniqueness to that that's important

1045
00:52:28,000 --> 00:52:30,920
Speaker 3: at radio. So we liked that about your voice. And

1046
00:52:31,000 --> 00:52:33,879
Speaker 3: so then it's funny because I want to say, really,

1047
00:52:33,880 --> 00:52:37,040
Speaker 3: I was just trying to sound like Crol Wilson. But

1048
00:52:37,800 --> 00:52:40,319
Speaker 3: eventually they signed me, and I made the record.

1049
00:52:40,080 --> 00:52:43,320
Speaker 2: Okay, a little bit slower from the time you sent

1050
00:52:43,640 --> 00:52:48,560
Speaker 2: the demos to them. How much longer did it take

1051
00:52:48,920 --> 00:52:50,000
Speaker 2: till you got signed?

1052
00:52:50,680 --> 00:52:54,120
Speaker 3: The first demo went out about seventy six, nineteen seventy six. Wow,

1053
00:52:55,920 --> 00:52:56,640
Speaker 3: for four years.

1054
00:52:57,760 --> 00:52:59,960
Speaker 2: And in that four years did you go into the studio?

1055
00:53:00,200 --> 00:53:02,680
Speaker 2: Was a Martian or was that after the deal was signed?

1056
00:53:03,120 --> 00:53:05,160
Speaker 3: After the deal was signed, I mean Martin was a

1057
00:53:05,160 --> 00:53:08,279
Speaker 3: big deal. I mean that was when Michael Austin brought

1058
00:53:08,360 --> 00:53:10,440
Speaker 3: us out, brought me up to California with my manager

1059
00:53:10,560 --> 00:53:13,880
Speaker 3: and we met and I had no idea that was

1060
00:53:13,920 --> 00:53:15,880
Speaker 3: actually really close to a deal, but he met. He

1061
00:53:15,920 --> 00:53:17,239
Speaker 3: was just wanting me to meet with one of their

1062
00:53:17,239 --> 00:53:20,880
Speaker 3: producers and they recommended Michael. But no about four years,

1063
00:53:20,920 --> 00:53:23,520
Speaker 3: I I you know, hung in there with him. But

1064
00:53:23,560 --> 00:53:26,719
Speaker 3: I also I did try bob along the way like

1065
00:53:26,719 --> 00:53:27,920
Speaker 3: I went to A and M and a couple of

1066
00:53:27,920 --> 00:53:32,360
Speaker 3: other labels who passed. But I always really wanted to

1067
00:53:32,400 --> 00:53:33,719
Speaker 3: be on one of us, like I told you, so

1068
00:53:34,239 --> 00:53:36,800
Speaker 3: it was like, you know, your first choice at a

1069
00:53:36,840 --> 00:53:38,880
Speaker 3: college or something. So but I did go to a

1070
00:53:38,920 --> 00:53:40,960
Speaker 3: couple of labels and got passed on, and M passed

1071
00:53:40,960 --> 00:53:45,399
Speaker 3: on me. They had just signed Captain and Taneil kick Cohen,

1072
00:53:45,400 --> 00:53:47,440
Speaker 3: the head of van Ar, said, we don't need another

1073
00:53:47,480 --> 00:53:49,280
Speaker 3: act like that. We just signed Captain a Tanil.

1074
00:53:49,920 --> 00:53:51,680
Speaker 2: So how'd you get a manager and a lawyer?

1075
00:53:53,400 --> 00:53:58,080
Speaker 3: Well, my manager at the time was a local guy

1076
00:53:58,840 --> 00:54:00,680
Speaker 3: who'd played in bands early got into the management. They

1077
00:54:00,680 --> 00:54:02,359
Speaker 3: got him Tim Nie, a really a nice guy. Managed

1078
00:54:02,400 --> 00:54:05,279
Speaker 3: Bruce Hornsby as well. And Tim was great and he

1079
00:54:05,640 --> 00:54:08,799
Speaker 3: kind of, you know, maneuvered this whole thing, you know,

1080
00:54:11,200 --> 00:54:14,000
Speaker 3: once we had something going, you know, he kind of

1081
00:54:14,160 --> 00:54:17,560
Speaker 3: massaged the deal and stepped in and worked with Water Brothers.

1082
00:54:17,560 --> 00:54:19,319
Speaker 3: Because I didn't have any idea of what to do.

1083
00:54:19,400 --> 00:54:23,440
Speaker 3: And so Tim went out to LA and he represented me,

1084
00:54:23,480 --> 00:54:27,799
Speaker 3: and then later after my ALBM came out not too

1085
00:54:27,880 --> 00:54:31,759
Speaker 3: long left that later, Tim went in with Irving and

1086
00:54:31,840 --> 00:54:34,279
Speaker 3: they co managed me for a while. Then eventually I

1087
00:54:34,400 --> 00:54:40,280
Speaker 3: just was managed by Irving. But right away Irving said,

1088
00:54:41,080 --> 00:54:45,359
Speaker 3: you need a lawyer, and so I got Michael Roosevelt

1089
00:54:45,560 --> 00:54:47,319
Speaker 3: and so right off the VAT I had a really

1090
00:54:47,320 --> 00:54:50,840
Speaker 3: good law firm. Can't across Michael Roosevelt. But you know

1091
00:54:51,880 --> 00:54:55,200
Speaker 3: with Irving, he don't. I mean, Irving came in, so

1092
00:54:55,400 --> 00:54:57,200
Speaker 3: that to the first record. But what I got to

1093
00:54:57,239 --> 00:54:59,759
Speaker 3: do was doing another record. That's when Irving, you know,

1094
00:55:01,160 --> 00:55:04,800
Speaker 3: really stepped up, because you know, he was like, Okay,

1095
00:55:04,800 --> 00:55:07,280
Speaker 3: hold on a second. You know, this guy just sold

1096
00:55:07,280 --> 00:55:09,600
Speaker 3: his AID records and he has a standard record deal.

1097
00:55:09,719 --> 00:55:11,120
Speaker 3: Let's I'm not gonna do that again, you know, in

1098
00:55:11,239 --> 00:55:15,080
Speaker 3: that cause so I was at Therevy for a long time,

1099
00:55:15,160 --> 00:55:17,719
Speaker 3: long time. In fact, I think chronologically I was within

1100
00:55:18,880 --> 00:55:21,000
Speaker 3: longer than any other artists at the time other than Hindley,

1101
00:55:21,280 --> 00:55:24,560
Speaker 3: you know. But you know, as time went on, Irving

1102
00:55:24,600 --> 00:55:26,880
Speaker 3: gets so big. You know, he's with Christina and all

1103
00:55:26,880 --> 00:55:29,640
Speaker 3: the stuff he does, and so I just I felt

1104
00:55:29,680 --> 00:55:32,320
Speaker 3: I needed someone who was waking up more day to

1105
00:55:32,400 --> 00:55:34,960
Speaker 3: day and trying to make me a buck. And nothing

1106
00:55:34,960 --> 00:55:37,279
Speaker 3: against Serving, but I left and went with a guy.

1107
00:55:37,360 --> 00:55:39,319
Speaker 3: Now he's managed me for about fifteen years. Then Toby

1108
00:55:39,400 --> 00:55:42,239
Speaker 3: Ludwig it's great because you know, Irving is a ruler

1109
00:55:42,239 --> 00:55:44,080
Speaker 3: of the world. I mean he's you know, he's busy

1110
00:55:44,960 --> 00:55:48,719
Speaker 3: and understandably with you know, managing you two and the

1111
00:55:48,719 --> 00:55:50,960
Speaker 3: Eagles and all those people. But there were some great

1112
00:55:50,960 --> 00:55:53,680
Speaker 3: things that happened. I mean, Don Henley I'd known because

1113
00:55:53,719 --> 00:55:57,160
Speaker 3: he's from Lyndon, Texas, and so I knew Don. Don

1114
00:55:57,320 --> 00:55:59,560
Speaker 3: sang on the record, which was huge. P and JD.

1115
00:55:59,640 --> 00:56:02,800
Speaker 3: Salder's sang on the first record. But then Don arranged

1116
00:56:02,800 --> 00:56:05,040
Speaker 3: for me to go open for the Eagles, which was

1117
00:56:05,080 --> 00:56:10,600
Speaker 3: a real big moment. And then Don gave my record

1118
00:56:10,719 --> 00:56:13,160
Speaker 3: or induce very to Stevie Nickson. I ended up opening

1119
00:56:13,160 --> 00:56:15,200
Speaker 3: for Fleetwood for a long time. So both those things

1120
00:56:15,200 --> 00:56:18,799
Speaker 3: were real big catalysts too. But having Michael McDonald on

1121
00:56:18,800 --> 00:56:21,720
Speaker 3: my record and Alderry Carlton, all these people at radio,

1122
00:56:23,160 --> 00:56:26,719
Speaker 3: that's undeniable that that gave me a leg up because

1123
00:56:26,760 --> 00:56:29,719
Speaker 3: you know, these DJs get fifty albums a day and

1124
00:56:29,719 --> 00:56:31,759
Speaker 3: they're reading the credits and they're like, who's this kid.

1125
00:56:31,840 --> 00:56:36,680
Speaker 3: You know, I'm McDonald, Barry Carlton, what's going on? Put

1126
00:56:36,680 --> 00:56:40,160
Speaker 3: it on, listen to it. So I really believe that

1127
00:56:41,360 --> 00:56:43,360
Speaker 3: having Michael on Brodac. The wind was huge.

1128
00:56:44,560 --> 00:56:47,040
Speaker 2: So how did all those people end up on the record.

1129
00:56:47,080 --> 00:56:50,120
Speaker 2: Were those Michael o'martian's choices or did you say I

1130
00:56:50,160 --> 00:56:51,040
Speaker 2: want this person?

1131
00:56:52,760 --> 00:56:58,080
Speaker 3: Well, Henley, I said, he's a Texan, so Texans, you know,

1132
00:56:58,120 --> 00:57:00,840
Speaker 3: they stick by each other. So Don would supportive of

1133
00:57:00,960 --> 00:57:02,440
Speaker 3: beginning it, you know deal. He said, well, you get

1134
00:57:02,480 --> 00:57:03,680
Speaker 3: a deal to sing on your record, you know? And

1135
00:57:03,840 --> 00:57:05,799
Speaker 3: I was like, okay, you said, just because he doesn't

1136
00:57:05,840 --> 00:57:08,200
Speaker 3: do that very much. So I got Henley and Don

1137
00:57:08,239 --> 00:57:12,880
Speaker 3: brought Jade in. But uh, we were at Warner Brothers Studios,

1138
00:57:12,920 --> 00:57:15,080
Speaker 3: which is no longer there on Compston in the Valley.

1139
00:57:15,760 --> 00:57:17,320
Speaker 3: I was a studio I and the Doobies are in

1140
00:57:17,320 --> 00:57:19,640
Speaker 3: the studio a doing Take It to the Streets and

1141
00:57:19,640 --> 00:57:23,480
Speaker 3: Omartyan knew McDonald from Steely Dan, so he went over

1142
00:57:23,520 --> 00:57:25,320
Speaker 3: and brought Michael over to listen to what we were doing

1143
00:57:25,360 --> 00:57:29,000
Speaker 3: McDonald and McDonald thought it was cool and he said, hey,

1144
00:57:29,000 --> 00:57:30,600
Speaker 3: if you want a background bugs, let me know. So

1145
00:57:31,120 --> 00:57:32,720
Speaker 3: we stuck on Mike in his face and he's sang,

1146
00:57:32,760 --> 00:57:34,720
Speaker 3: I really don't know anymore first, and then we brought

1147
00:57:34,760 --> 00:57:36,760
Speaker 3: him back letter for I'd like to win. But that

1148
00:57:36,920 --> 00:57:39,960
Speaker 3: was through Marty and Martin got Larry Carlton. I was

1149
00:57:40,000 --> 00:57:42,680
Speaker 3: a huge Valerie Carter Van and Lenny Waterker made it

1150
00:57:42,760 --> 00:57:46,160
Speaker 3: called the Valerie, and she liked the song Ted Tempelm

1151
00:57:46,240 --> 00:57:49,760
Speaker 3: was pretty snical let Larsen and so that came together

1152
00:57:49,800 --> 00:57:51,840
Speaker 3: with NICKI, which I'm so thrilled since we lost her

1153
00:57:52,120 --> 00:57:58,880
Speaker 3: boss Valerie too. Who else? Uh? Yeah, so and Eric

1154
00:57:58,960 --> 00:58:02,600
Speaker 3: Johnson of course played on my track, which nobody really

1155
00:58:02,680 --> 00:58:04,360
Speaker 3: knew who he was at the time, but I was

1156
00:58:04,400 --> 00:58:06,760
Speaker 3: determined to make sure that changed, and so he played

1157
00:58:06,800 --> 00:58:11,200
Speaker 3: on Mitchell Jiggelow and that kind of helped people find

1158
00:58:11,200 --> 00:58:13,840
Speaker 3: out about him and subsequently he got a deal on orders.

1159
00:58:13,880 --> 00:58:17,040
Speaker 3: But yeah, so the people came different ways. But it

1160
00:58:17,040 --> 00:58:19,960
Speaker 3: was a pretty star studed record for nobody.

1161
00:58:20,360 --> 00:58:23,400
Speaker 2: Okay, people always say, hey, my first record, I went

1162
00:58:23,440 --> 00:58:26,760
Speaker 2: in there, I was green, I was manipulated. What was

1163
00:58:26,800 --> 00:58:29,320
Speaker 2: your experience in making the record and how long did

1164
00:58:29,320 --> 00:58:30,200
Speaker 2: it ultimately take?

1165
00:58:31,760 --> 00:58:35,640
Speaker 3: It took us a six weeks or so, maybe tiple months.

1166
00:58:37,960 --> 00:58:41,120
Speaker 3: It was a great experience because you know, Michael Elmarty

1167
00:58:41,160 --> 00:58:44,320
Speaker 3: and he was new as sort of a producer, but

1168
00:58:44,440 --> 00:58:46,160
Speaker 3: not as he'd played with log and Somebsceni did all

1169
00:58:46,200 --> 00:58:48,720
Speaker 3: the Seely Dance stuff. So for me, it was the

1170
00:58:48,840 --> 00:58:51,400
Speaker 3: perfect thing. I had this guide through this process who

1171
00:58:51,480 --> 00:58:53,200
Speaker 3: worked with Seely Dan, because I just wanted to be

1172
00:58:53,320 --> 00:58:59,480
Speaker 3: Steely Dan. So you know, Michael knew the process inside

1173
00:58:59,480 --> 00:59:01,760
Speaker 3: and out. We just sort of followed him and he

1174
00:59:02,160 --> 00:59:05,480
Speaker 3: initiated us me into that world. And as we went

1175
00:59:05,520 --> 00:59:07,560
Speaker 3: on and I started using more session players as I

1176
00:59:07,600 --> 00:59:10,560
Speaker 3: went on later that was something Michael was very comfortable

1177
00:59:10,600 --> 00:59:12,720
Speaker 3: with because you know, I used to gab people like that,

1178
00:59:13,440 --> 00:59:17,120
Speaker 3: but now the record was we were kind of for us.

1179
00:59:17,280 --> 00:59:20,040
Speaker 3: We were just remaking our demos and then Michael was

1180
00:59:20,360 --> 00:59:22,760
Speaker 3: playing on it, which is brilliant. Robert play Roads, Michael

1181
00:59:22,760 --> 00:59:25,120
Speaker 3: played Grant and then of course some already did the strings,

1182
00:59:25,160 --> 00:59:29,960
Speaker 3: which were fabulous, you know, on those songs. So we

1183
00:59:29,960 --> 00:59:35,000
Speaker 3: were I would say it was pretty easy and seamless

1184
00:59:35,000 --> 00:59:36,120
Speaker 3: because we had a great producer.

1185
00:59:37,240 --> 00:59:41,120
Speaker 2: Okay, just a couple of little backfill You left with

1186
00:59:41,360 --> 00:59:47,360
Speaker 2: players from San Antonio to Austin. To what degree were

1187
00:59:47,400 --> 00:59:50,360
Speaker 2: these the same players and what degree did the members

1188
00:59:50,440 --> 00:59:53,040
Speaker 2: feel as was a band as opposed to a solo act.

1189
00:59:55,000 --> 00:59:58,760
Speaker 3: Well, I can't speak to it. I mean, at the time,

1190
00:59:59,400 --> 01:00:01,200
Speaker 3: you know, I was signed to Warner Brothers as a

1191
01:00:01,240 --> 01:00:04,800
Speaker 3: solo artist. I mean they I wrote the songs, I

1192
01:00:04,840 --> 01:00:08,280
Speaker 3: sang the songs, and I think from their view that

1193
01:00:08,400 --> 01:00:10,480
Speaker 3: was the entity that they wanted to sign, you know,

1194
01:00:10,520 --> 01:00:12,680
Speaker 3: because I was responsible. I sang all the songs. I

1195
01:00:12,680 --> 01:00:17,040
Speaker 3: wrote all the songs, So you know, there wasn't any

1196
01:00:18,520 --> 01:00:20,600
Speaker 3: in their mind that you know, I wasn't a band.

1197
01:00:20,640 --> 01:00:23,480
Speaker 3: I was a solo artist. Now what was in the players,

1198
01:00:23,560 --> 01:00:25,400
Speaker 3: I don't know. But we made that record together and

1199
01:00:25,440 --> 01:00:28,040
Speaker 3: they did plans and tracks on the second record. But

1200
01:00:28,600 --> 01:00:32,360
Speaker 3: OMARTI and you know, was used to work with studio musicians,

1201
01:00:33,040 --> 01:00:36,160
Speaker 3: and I had this burning desire to you know, up

1202
01:00:36,160 --> 01:00:38,920
Speaker 3: my game and work with those kind of people. And

1203
01:00:39,000 --> 01:00:44,400
Speaker 3: so Michael, you know, understood that. So with the second record,

1204
01:00:44,640 --> 01:00:48,000
Speaker 3: I started using some studio players like Steve gabb Ablueberry

1205
01:00:48,000 --> 01:00:50,400
Speaker 3: El Senior, people like that, because I said, from the

1206
01:00:50,520 --> 01:00:53,000
Speaker 3: very onset, I always wanted to make records like Steely

1207
01:00:53,080 --> 01:00:55,320
Speaker 3: Dan and the best way to do that is to

1208
01:00:55,320 --> 01:00:58,240
Speaker 3: get those kind of guys. But the band toured with

1209
01:00:58,280 --> 01:01:02,880
Speaker 3: me initially, you know, even to the second record. But

1210
01:01:03,560 --> 01:01:06,120
Speaker 3: I think it's just a natural evolution, at least from

1211
01:01:06,120 --> 01:01:08,680
Speaker 3: my standpoint as an artist, as a singer songwriter. You

1212
01:01:08,720 --> 01:01:10,640
Speaker 3: know what's best for my music?

1213
01:01:11,400 --> 01:01:14,160
Speaker 2: Okay, how did it become Christopher Cross? As you say,

1214
01:01:14,200 --> 01:01:15,720
Speaker 2: that's not your birth name.

1215
01:01:18,720 --> 01:01:21,240
Speaker 3: The studio in Austin was called Pecan Street Studios. I

1216
01:01:21,240 --> 01:01:23,480
Speaker 3: think it was called that anyway. Steve Shield's really great

1217
01:01:23,480 --> 01:01:25,520
Speaker 3: guy who owned the studio. He was dating this girl

1218
01:01:25,560 --> 01:01:29,080
Speaker 3: named DeVaughn and we released a little single called Talking

1219
01:01:29,120 --> 01:01:32,320
Speaker 3: about Her in seventy six on Steve's Little Starbars label.

1220
01:01:32,360 --> 01:01:34,720
Speaker 3: Eric Johnson played on it and it was a real

1221
01:01:34,840 --> 01:01:37,440
Speaker 3: rock and roll song. And we were at dinner one

1222
01:01:37,520 --> 01:01:38,960
Speaker 3: night and I was trying to think of some name

1223
01:01:39,000 --> 01:01:41,560
Speaker 3: I could use to, you know, go under. This was

1224
01:01:41,640 --> 01:01:45,400
Speaker 3: just a release of mine, and Devon said, why don't

1225
01:01:45,400 --> 01:01:47,439
Speaker 3: you try yourself Christopher Cross, and the DJ still sorting

1226
01:01:47,440 --> 01:01:50,600
Speaker 3: it to Criss Cross, and so I went okay, And

1227
01:01:50,640 --> 01:01:52,800
Speaker 3: that's how it became. She just suggested. I said okay,

1228
01:01:52,840 --> 01:01:57,200
Speaker 3: because I just figured Geffert wasn't very memorable, and I

1229
01:01:57,240 --> 01:01:59,400
Speaker 3: also thought there could be some privacy advantage to it.

1230
01:01:59,480 --> 01:02:01,560
Speaker 3: So that's how the name came out. Devon to suggest

1231
01:02:01,600 --> 01:02:03,120
Speaker 3: that we went with it, and we released this little

1232
01:02:03,160 --> 01:02:05,760
Speaker 3: single that was Christopher Cross. It was really me in

1233
01:02:05,800 --> 01:02:07,680
Speaker 3: the studio with Eric Johnson and some of the people.

1234
01:02:07,720 --> 01:02:10,040
Speaker 3: And it didn't do anything, but that's kind of how

1235
01:02:10,080 --> 01:02:10,880
Speaker 3: the name came about.

1236
01:02:12,120 --> 01:02:14,320
Speaker 2: And if I look at your passport, what does it

1237
01:02:14,440 --> 01:02:16,440
Speaker 2: say Cross.

1238
01:02:17,320 --> 01:02:20,200
Speaker 3: I did a DBA pretty quickly, much to my mother's chagrin.

1239
01:02:21,480 --> 01:02:22,680
Speaker 3: She was not happy about it.

1240
01:02:23,160 --> 01:02:26,880
Speaker 2: But you never changed it legally, or did you? Yeah?

1241
01:02:27,160 --> 01:02:30,240
Speaker 3: I think it's I mean, I don't know. I'm not

1242
01:02:30,280 --> 01:02:32,040
Speaker 3: a lawyer, but I mean my past words as Cross

1243
01:02:32,080 --> 01:02:35,720
Speaker 3: a DBA voice. I've done business this Cross since you know,

1244
01:02:38,480 --> 01:02:43,320
Speaker 3: my justin my son by my first marriage goes by

1245
01:02:43,360 --> 01:02:46,840
Speaker 3: Getfert but Raydon Madison, my kids by my second marriage

1246
01:02:46,880 --> 01:02:47,440
Speaker 3: got by Cross.

1247
01:02:48,600 --> 01:02:51,040
Speaker 2: Do your friends call you Christopher or Chris?

1248
01:02:52,920 --> 01:02:55,080
Speaker 3: New friends call me Christopher, and that's what I prefer.

1249
01:02:55,160 --> 01:02:57,160
Speaker 3: Old friends and my brother and people like that. The

1250
01:02:57,280 --> 01:02:59,920
Speaker 3: brother they call me Chris. My girlfriend calls me Chris.

1251
01:03:00,360 --> 01:03:05,160
Speaker 3: But uh, I prefer Christopher. I think it's a really

1252
01:03:05,160 --> 01:03:06,960
Speaker 3: pretty name and I like it. But growing up it

1253
01:03:06,960 --> 01:03:09,720
Speaker 3: was Chris. But the Criss Cross thing, you know, I

1254
01:03:09,760 --> 01:03:12,480
Speaker 3: get mistaken for those two rapper kids too, you know,

1255
01:03:12,600 --> 01:03:16,720
Speaker 3: But I don't know. I like, I think Christoph's pretty named,

1256
01:03:16,760 --> 01:03:19,120
Speaker 3: so I prefer Christopher. But people that know me a

1257
01:03:19,160 --> 01:03:20,280
Speaker 3: long time just can't do it.

1258
01:03:22,080 --> 01:03:25,120
Speaker 2: Okay, So how long after the album was finished did

1259
01:03:25,200 --> 01:03:25,720
Speaker 2: it come out?

1260
01:03:27,480 --> 01:03:32,560
Speaker 3: Well, it was supposed to come out I think before

1261
01:03:32,640 --> 01:03:36,840
Speaker 3: the first of the year and eighty. But Eddie Rosenblatt,

1262
01:03:36,840 --> 01:03:38,959
Speaker 3: who was one of the vps at Warners, said, look,

1263
01:03:39,040 --> 01:03:41,040
Speaker 3: this record's just going to get lost in the Christmas mess.

1264
01:03:41,080 --> 01:03:43,560
Speaker 3: Let's hold it. And it was brilliant on his part

1265
01:03:43,560 --> 01:03:45,520
Speaker 3: because they held it till after January. It was released

1266
01:03:45,520 --> 01:03:47,000
Speaker 3: in January and then we got a little bit of

1267
01:03:47,000 --> 01:03:50,360
Speaker 3: a hearing and so it came out and boom. You know,

1268
01:03:51,000 --> 01:03:53,160
Speaker 3: I'd like to win, would have it never made its

1269
01:03:53,280 --> 01:03:56,320
Speaker 3: number one because Blondie had called me and it was

1270
01:03:56,360 --> 01:03:58,920
Speaker 3: only a single, so it kept us out of the

1271
01:03:58,920 --> 01:04:02,680
Speaker 3: singles charts being number one. But then Sailing, which I

1272
01:04:02,800 --> 01:04:06,200
Speaker 3: was not in favor of releasing MO released it then

1273
01:04:06,280 --> 01:04:10,720
Speaker 3: went to number one. But so yeah, about three months

1274
01:04:10,720 --> 01:04:13,200
Speaker 3: after we went back to Austin. We were planning more

1275
01:04:13,200 --> 01:04:16,200
Speaker 3: cover gigs and stuff, and it came out in January

1276
01:04:16,280 --> 01:04:20,600
Speaker 3: and then the very first tour, I did you know

1277
01:04:20,640 --> 01:04:22,840
Speaker 3: my chronology made I'd be perfect. I apologize this so

1278
01:04:22,920 --> 01:04:25,240
Speaker 3: long ago. You know, it's like asking Rango if he

1279
01:04:25,320 --> 01:04:28,320
Speaker 3: used a te towel on tax Man, you know, can't.

1280
01:04:28,640 --> 01:04:30,440
Speaker 3: People asked me, did you just a click on your record?

1281
01:04:30,480 --> 01:04:31,919
Speaker 3: And he was like, I don't know, I don't think.

1282
01:04:31,960 --> 01:04:36,560
Speaker 3: So my first tour was I got to open for

1283
01:04:36,640 --> 01:04:39,240
Speaker 3: Bonnie Raid because Bonnie was on Warders, and so they

1284
01:04:39,440 --> 01:04:41,960
Speaker 3: sent me out for six weeks with Bonnie, which was

1285
01:04:42,000 --> 01:04:46,160
Speaker 3: the perfect indoctrination into the world of touring because she's

1286
01:04:46,240 --> 01:04:49,880
Speaker 3: just fantastic and so and she was so sweet and

1287
01:04:51,160 --> 01:04:53,680
Speaker 3: you know, it was it was great. So I got

1288
01:04:53,680 --> 01:04:56,520
Speaker 3: to do that. And then shortly after that this went down,

1289
01:04:56,560 --> 01:04:58,400
Speaker 3: took me out with the Eagles, and that I did

1290
01:04:58,480 --> 01:05:09,000
Speaker 3: quite a few things with him. So it's all pretty heady, Okay.

1291
01:05:09,760 --> 01:05:13,400
Speaker 2: How did the painting become the cover? And of course

1292
01:05:13,480 --> 01:05:16,920
Speaker 2: many people felt that it was a painting because you

1293
01:05:17,040 --> 01:05:21,560
Speaker 2: weren't photogenic? Was that even an issue? What went on there?

1294
01:05:23,400 --> 01:05:28,120
Speaker 3: Well? Through all these incarnations and musicians that group in Houston,

1295
01:05:28,200 --> 01:05:30,520
Speaker 3: where I met my first wife. Our drummer's name is

1296
01:05:30,600 --> 01:05:34,360
Speaker 3: Jimmy Newhouse, great drummer. He didn't continue playing, but he

1297
01:05:34,440 --> 01:05:37,520
Speaker 3: was incredible. He was also a painter and one day

1298
01:05:37,560 --> 01:05:41,760
Speaker 3: he brought in this album shaped watercolor of the Lagunsium

1299
01:05:41,800 --> 01:05:43,640
Speaker 3: of Flamingo. Now, I didn't have the green, it was

1300
01:05:43,720 --> 01:05:47,080
Speaker 3: just all the watercoating. And he said, I think this

1301
01:05:47,600 --> 01:05:50,400
Speaker 3: looks like your music, and so put it on the wall,

1302
01:05:50,520 --> 01:05:52,880
Speaker 3: kind of like a focal point, you know, in a

1303
01:05:53,000 --> 01:05:55,640
Speaker 3: delivery of a baby or something. He just that was like, hey,

1304
01:05:55,640 --> 01:05:59,320
Speaker 3: that's our album cover. And when we went to Warner Brothers,

1305
01:05:59,360 --> 01:06:01,320
Speaker 3: we showed it to him, and you know, we were

1306
01:06:01,520 --> 01:06:03,760
Speaker 3: one of fifty new acts, so like, yeah, okay, that

1307
01:06:03,840 --> 01:06:05,680
Speaker 3: looks okay. And they sent it to a guy Naed

1308
01:06:05,680 --> 01:06:07,760
Speaker 3: Floroid Holmes in Atlanta, who put the green around it

1309
01:06:07,800 --> 01:06:09,960
Speaker 3: and all that, but the initial and he did the

1310
01:06:10,000 --> 01:06:14,280
Speaker 3: back nighttime scene. But that initial image was was created

1311
01:06:14,280 --> 01:06:20,320
Speaker 3: by Jimmy Newhouse. And yes, I would say that my

1312
01:06:20,360 --> 01:06:25,800
Speaker 3: physical insecurities, It's not so much that I requested that

1313
01:06:25,840 --> 01:06:28,919
Speaker 3: I not be on the record, but I was relieved,

1314
01:06:29,320 --> 01:06:32,520
Speaker 3: you know, because I didn't feel terrible. I felt self

1315
01:06:32,520 --> 01:06:34,680
Speaker 3: conscious about my weight. I've lost a lot of weight now,

1316
01:06:34,720 --> 01:06:38,160
Speaker 3: but you know, at the time I didn't feel particularly

1317
01:06:39,160 --> 01:06:40,880
Speaker 3: like sex simple. So I was happy to have the

1318
01:06:40,880 --> 01:06:44,040
Speaker 3: album be kind of anonymous. But Warners seemed fine with it,

1319
01:06:44,120 --> 01:06:45,480
Speaker 3: and of course maybe they were fine with it because

1320
01:06:45,480 --> 01:06:48,320
Speaker 3: they didn't feel I was pootogenic. Whatever the case it's.

1321
01:06:48,400 --> 01:06:52,440
Speaker 3: You know, it's become pretty iconic, and it stayed because

1322
01:06:52,800 --> 01:06:55,760
Speaker 3: like Linda Ronstadt's heart, I mean, Flamingo's just carried through

1323
01:06:55,760 --> 01:06:58,320
Speaker 3: now and everybody wants to read all the significance of it,

1324
01:06:58,320 --> 01:07:00,800
Speaker 3: and there really isn't any other than it, just a

1325
01:07:00,880 --> 01:07:03,160
Speaker 3: corp of fate. But but yeah, I would say that's

1326
01:07:03,160 --> 01:07:05,680
Speaker 3: all true. And I think that I'm much more comfortable now.

1327
01:07:05,720 --> 01:07:11,680
Speaker 3: But you know, and I did Howard Stern Robin said something.

1328
01:07:11,800 --> 01:07:13,880
Speaker 3: Howard was being so nice to me that Robin had

1329
01:07:13,880 --> 01:07:16,240
Speaker 3: to mix it up, so she said, I was I

1330
01:07:16,320 --> 01:07:18,080
Speaker 3: was so disappointed when I saw you, because she said

1331
01:07:18,080 --> 01:07:20,360
Speaker 3: I loved your voice, but you didn't look like Kenny Loggins.

1332
01:07:21,640 --> 01:07:24,640
Speaker 3: And Howard proceeded to jump in and defend me. They

1333
01:07:24,680 --> 01:07:26,120
Speaker 3: wait till there's a good looking man, Riddy, what are

1334
01:07:26,120 --> 01:07:28,600
Speaker 3: you talking about? He said, Well, listen his hair, I mean,

1335
01:07:28,640 --> 01:07:30,160
Speaker 3: he said, what is he supposed to go get plugs

1336
01:07:30,160 --> 01:07:31,680
Speaker 3: in his head? And looked like somebody shot him in

1337
01:07:31,680 --> 01:07:33,680
Speaker 3: the name of the head as shot in there with

1338
01:07:33,760 --> 01:07:38,280
Speaker 3: a head with a nail gun. And I always joked

1339
01:07:38,280 --> 01:07:41,600
Speaker 3: with people that you know, if I look like Brad Pitt,

1340
01:07:41,760 --> 01:07:43,800
Speaker 3: forget it, I'd be like bigger than the Beatles, you know.

1341
01:07:44,400 --> 01:07:47,919
Speaker 3: But that's all probably true, and that's why the MTV thing.

1342
01:07:48,560 --> 01:07:50,240
Speaker 3: I did make a few videos, but it was very

1343
01:07:50,280 --> 01:07:52,320
Speaker 3: It was very reluctant on my part because I wasn't

1344
01:07:52,400 --> 01:07:54,360
Speaker 3: used to the visual visual medium. And I think the

1345
01:07:54,880 --> 01:07:58,360
Speaker 3: Buggles radio video killed the radio stars is very was

1346
01:07:58,440 --> 01:08:00,920
Speaker 3: very prophetic and true.

1347
01:08:01,160 --> 01:08:03,280
Speaker 2: So when did you first hear yourself on the radio?

1348
01:08:05,200 --> 01:08:08,200
Speaker 3: Well, you know, the album popped pretty quick. So I

1349
01:08:08,280 --> 01:08:10,920
Speaker 3: was in the car and rode like the wind came

1350
01:08:10,960 --> 01:08:14,680
Speaker 3: on and it's it's a little like hearing your voice

1351
01:08:14,680 --> 01:08:17,160
Speaker 3: on an answering machine, you know. It's a little strange

1352
01:08:17,280 --> 01:08:19,760
Speaker 3: in the beginning, but I don't know. And then I

1353
01:08:19,760 --> 01:08:22,000
Speaker 3: started hearing it everywhere, so it was it was pretty

1354
01:08:22,000 --> 01:08:24,920
Speaker 3: fantastic that it all happened so fast. Bub when right

1355
01:08:24,920 --> 01:08:27,800
Speaker 3: out the wind came out, and then suddenly with these

1356
01:08:27,880 --> 01:08:30,080
Speaker 3: multiple singles and pretty we had never be the same.

1357
01:08:30,120 --> 01:08:31,960
Speaker 3: And then pretty soon people were buying the record, the

1358
01:08:32,000 --> 01:08:33,960
Speaker 3: album because there were so many singles. They just bought

1359
01:08:33,960 --> 01:08:37,960
Speaker 3: the record that it was just all happening, you know,

1360
01:08:38,000 --> 01:08:41,000
Speaker 3: And then I was playing these big shows and playing

1361
01:08:41,000 --> 01:08:43,400
Speaker 3: at the super Dome with the Eagles for seventy thousand people.

1362
01:08:43,439 --> 01:08:48,639
Speaker 3: It was overwhelming, so you know, I heard on the radio.

1363
01:08:48,680 --> 01:08:50,920
Speaker 3: But then it didn't take too long before the train

1364
01:08:51,000 --> 01:08:52,800
Speaker 3: sped up, and it was I was just kind of

1365
01:08:52,800 --> 01:08:56,000
Speaker 3: hanging on to pay the truth because my personal life

1366
01:08:56,080 --> 01:08:58,439
Speaker 3: was falling apart, and you know, my marriage was falling apart,

1367
01:08:58,479 --> 01:08:59,800
Speaker 3: and you know, there's a lot going on.

1368
01:09:00,120 --> 01:09:02,880
Speaker 2: Why is your marriage falling apart?

1369
01:09:03,200 --> 01:09:06,360
Speaker 3: Uh? Well, I knew the girl two weeks before I

1370
01:09:06,400 --> 01:09:08,680
Speaker 3: met her, and as Rob said, this is not going

1371
01:09:08,720 --> 01:09:10,920
Speaker 3: to end well. So I won't drag it through all

1372
01:09:10,960 --> 01:09:13,080
Speaker 3: the tales, but it was. It was destined to fail

1373
01:09:13,080 --> 01:09:16,280
Speaker 3: from the beginning, probably, but I think you know uh

1374
01:09:17,439 --> 01:09:22,160
Speaker 3: that you know, it's it's probably scary for my ex

1375
01:09:22,160 --> 01:09:24,400
Speaker 3: wife at the time that everything was happening so fast

1376
01:09:24,479 --> 01:09:26,519
Speaker 3: and maybe shouldn't feel like she was a part of

1377
01:09:26,520 --> 01:09:29,320
Speaker 3: it or whatever. I really don't know, but like a

1378
01:09:29,320 --> 01:09:31,000
Speaker 3: lot of marriages, that was falling apart, So I was

1379
01:09:31,040 --> 01:09:33,760
Speaker 3: dealing with that at the same time I'm dealing with

1380
01:09:34,320 --> 01:09:37,120
Speaker 3: all this stuff. You know, that was demands, people wanting

1381
01:09:37,160 --> 01:09:39,720
Speaker 3: me to do everything, and you know, I took my

1382
01:09:39,760 --> 01:09:41,519
Speaker 3: son to Disneyland and we had to leave because there

1383
01:09:41,520 --> 01:09:44,920
Speaker 3: were too many people. Bugget, you know, it's crazy, and

1384
01:09:45,000 --> 01:09:46,120
Speaker 3: I was just an army brat.

1385
01:09:46,120 --> 01:09:51,559
Speaker 2: So so when the album was finished, forget what anybody

1386
01:09:51,560 --> 01:09:54,080
Speaker 2: else says, did you feel that it was going to

1387
01:09:54,120 --> 01:09:55,160
Speaker 2: be successful?

1388
01:10:00,680 --> 01:10:03,760
Speaker 3: No, Warners. I'd heard from people at Warners that if

1389
01:10:03,760 --> 01:10:06,880
Speaker 3: you make or if you sell fifty thousand records, they'll

1390
01:10:06,960 --> 01:10:09,760
Speaker 3: let you do another record. So my attitude was if

1391
01:10:09,800 --> 01:10:13,439
Speaker 3: I can, if I can sell fifty thousand records and

1392
01:10:13,479 --> 01:10:15,800
Speaker 3: get them to let me do another record. By my

1393
01:10:15,960 --> 01:10:18,160
Speaker 3: third record, I think I can have something on the radio.

1394
01:10:18,320 --> 01:10:22,360
Speaker 3: That's what I thought. I had no idea that this stuff.

1395
01:10:23,439 --> 01:10:26,519
Speaker 3: In fact, Warners, even the an Ar department were unsure

1396
01:10:26,560 --> 01:10:29,479
Speaker 3: about the songs, as I told you, and they said,

1397
01:10:29,479 --> 01:10:33,240
Speaker 3: we still don't hear a hit. So I heard on

1398
01:10:33,280 --> 01:10:35,760
Speaker 3: the radio this boss Gag song. I'm a big fan

1399
01:10:35,840 --> 01:10:39,280
Speaker 3: of Bozz Camera Action do it Again. And it starts

1400
01:10:39,320 --> 01:10:42,280
Speaker 3: with the chorus. And my song form had always been

1401
01:10:42,280 --> 01:10:46,280
Speaker 3: the Beatles, you know, verse, chorus, verse, chorus bridge. I said,

1402
01:10:46,280 --> 01:10:48,320
Speaker 3: that's what's I gotta start a song with the chorus.

1403
01:10:48,560 --> 01:10:50,400
Speaker 3: If I wrote this song, say of the Mine, which

1404
01:10:50,479 --> 01:10:53,400
Speaker 3: Nico Lets sang on and Lenny Mordakers said that's a hit,

1405
01:10:54,360 --> 01:10:58,360
Speaker 3: that's a radio record. Well, Amarty and with all respect

1406
01:10:58,400 --> 01:11:00,120
Speaker 3: went against that and said, I think right, like the

1407
01:11:00,120 --> 01:11:02,040
Speaker 3: Wind's got four on the floor coming out of disco

1408
01:11:02,080 --> 01:11:04,600
Speaker 3: and all that, I think it's that's what we go

1409
01:11:04,680 --> 01:11:08,200
Speaker 3: with that. He was right, but either way, no, I

1410
01:11:08,280 --> 01:11:11,240
Speaker 3: had no inclination that anything would happen. I was just

1411
01:11:11,320 --> 01:11:13,160
Speaker 3: hoping to sell fifty thousand records and get to make

1412
01:11:13,160 --> 01:11:13,679
Speaker 3: out of the record.

1413
01:11:14,200 --> 01:11:17,479
Speaker 2: Okay, so you're opening for Bonnie Raid. At what point

1414
01:11:17,600 --> 01:11:21,599
Speaker 2: are people there to see you and reacting to your

1415
01:11:21,720 --> 01:11:26,120
Speaker 2: music with Bonnie Raid they knew with the Eagles, at

1416
01:11:26,160 --> 01:11:29,040
Speaker 2: what point were you not just the opening act but

1417
01:11:29,080 --> 01:11:30,560
Speaker 2: people were fans?

1418
01:11:31,960 --> 01:11:35,040
Speaker 3: Well, you know, I'm sure there were. I think I

1419
01:11:35,160 --> 01:11:37,519
Speaker 3: have some memory of we're at some point but brought

1420
01:11:37,560 --> 01:11:39,160
Speaker 3: out The Wind was up in the charts, and Bond

1421
01:11:39,280 --> 01:11:40,559
Speaker 3: came to me and said, I think I should open

1422
01:11:40,600 --> 01:11:45,519
Speaker 3: for you because she's so funny like that. But you know,

1423
01:11:46,280 --> 01:11:48,519
Speaker 3: I'm sure there were people. But you know, when you open,

1424
01:11:48,600 --> 01:11:50,719
Speaker 3: when you're playing with people like Bonnie Ray and the Eagles,

1425
01:11:51,280 --> 01:11:56,280
Speaker 3: I mean, these are incredibly popular, you know, they're rock stars.

1426
01:11:56,280 --> 01:12:00,519
Speaker 3: So I don't know I mean, I think I always

1427
01:12:00,560 --> 01:12:02,679
Speaker 3: got the feeling, like, especially when we're out with Fleetwood,

1428
01:12:02,680 --> 01:12:04,720
Speaker 3: that you know, they just people would just wanted us

1429
01:12:04,720 --> 01:12:06,320
Speaker 3: to get off the stage so they could see Fleetwood.

1430
01:12:06,479 --> 01:12:09,160
Speaker 3: You know, they just because they're they're Fleetwood back and

1431
01:12:09,200 --> 01:12:10,640
Speaker 3: they're the Eagles all that. So I didn't get a

1432
01:12:10,680 --> 01:12:14,160
Speaker 3: sense that, as I said Bob, at the time I

1433
01:12:14,200 --> 01:12:16,280
Speaker 3: walked out on stage, I had nine songs to play,

1434
01:12:16,360 --> 01:12:19,320
Speaker 3: It's all I had. And it was just overwhelming for me,

1435
01:12:19,560 --> 01:12:22,280
Speaker 3: you know, just to see all these people and to

1436
01:12:22,360 --> 01:12:24,840
Speaker 3: try to somehow step up my game from being a

1437
01:12:24,840 --> 01:12:29,400
Speaker 3: local club guy to being this successful pop entity or

1438
01:12:29,439 --> 01:12:32,200
Speaker 3: whatever that I was clearly not prepared, you know for it.

1439
01:12:32,600 --> 01:12:36,120
Speaker 3: I did my best, but I don't know that anybody

1440
01:12:36,120 --> 01:12:37,920
Speaker 3: could do a whole lot, you know. It's just what

1441
01:12:38,000 --> 01:12:41,080
Speaker 3: happened to me is very unusual. It was so meteoric,

1442
01:12:41,240 --> 01:12:44,360
Speaker 3: so quick that you just could barely capt your breath,

1443
01:12:44,360 --> 01:12:44,559
Speaker 3: you know.

1444
01:12:45,200 --> 01:12:45,400
Speaker 2: Yeah.

1445
01:12:45,439 --> 01:12:46,800
Speaker 3: The Grammy, So I had no idea I was going

1446
01:12:46,880 --> 01:12:49,200
Speaker 3: to win anything. I mean, they told me you might

1447
01:12:49,240 --> 01:12:51,719
Speaker 3: win Best New Artists, And after I got that Grammy,

1448
01:12:51,760 --> 01:12:54,840
Speaker 3: I'm like, I am upset for life.

1449
01:12:56,880 --> 01:13:00,680
Speaker 2: Going back, you talk about being green, was it just

1450
01:13:00,840 --> 01:13:03,880
Speaker 2: raw experience or did you learn certain things how to

1451
01:13:03,920 --> 01:13:04,920
Speaker 2: be a better performer.

1452
01:13:06,120 --> 01:13:09,840
Speaker 3: Well, they're being very kind calling me a performer. I

1453
01:13:09,880 --> 01:13:12,840
Speaker 3: don't think I'm an entertainer. I'm a singer songwriter and

1454
01:13:12,880 --> 01:13:16,800
Speaker 3: I think that that's what I do, and I come

1455
01:13:16,880 --> 01:13:19,640
Speaker 3: out and play my songs and represent them with the

1456
01:13:19,640 --> 01:13:21,720
Speaker 3: best musicians I can, the best production I can. I

1457
01:13:21,720 --> 01:13:24,639
Speaker 3: think that's gotten better and better and better over the years.

1458
01:13:25,240 --> 01:13:32,800
Speaker 3: But you know, I never I was always too shy

1459
01:13:32,840 --> 01:13:35,200
Speaker 3: and everything, like I could never be Hendrick's or you know,

1460
01:13:36,400 --> 01:13:40,160
Speaker 3: jump around, and it just wasn't. My physicality wasn't. I

1461
01:13:40,160 --> 01:13:42,639
Speaker 3: had this really lilting voice coming out as a big guy,

1462
01:13:42,680 --> 01:13:46,120
Speaker 3: and I just I don't know, I never so performing stretch.

1463
01:13:47,479 --> 01:13:49,360
Speaker 3: I think what I do is I'm a singer songwriter

1464
01:13:49,439 --> 01:13:53,559
Speaker 3: that tries to present his material in the most you know, professional,

1465
01:13:53,640 --> 01:13:55,799
Speaker 3: respectful way I can. But I wouldn't really call myself

1466
01:13:55,800 --> 01:13:58,360
Speaker 3: a performer entertainer, you know what I mean. That's for

1467
01:13:58,439 --> 01:14:00,960
Speaker 3: guys like you know, Freddie Mercury. You know.

1468
01:14:01,880 --> 01:14:07,320
Speaker 2: Okay, so you're a local working musician, your songs on

1469
01:14:07,360 --> 01:14:11,559
Speaker 2: the radio, you're opening for Household, amnach Day, Max. What

1470
01:14:11,680 --> 01:14:14,679
Speaker 2: point do you start thinking about money, how much money

1471
01:14:14,680 --> 01:14:15,320
Speaker 2: you're going to make.

1472
01:14:18,439 --> 01:14:22,880
Speaker 3: Well, it takes a little while because you know, it's

1473
01:14:22,880 --> 01:14:24,800
Speaker 3: not like right after it's the hit, Sunday's a pack

1474
01:14:24,840 --> 01:14:29,720
Speaker 3: a pile of money. I mean it, uh, it kind

1475
01:14:29,720 --> 01:14:32,120
Speaker 3: of creeps up on you, you know, and then you'll

1476
01:14:33,800 --> 01:14:37,439
Speaker 3: like I heard that. I read in Clapton's book that

1477
01:14:37,520 --> 01:14:40,599
Speaker 3: he saw George Harrison's house and he Clapton and Cream

1478
01:14:40,680 --> 01:14:42,719
Speaker 3: they had apartments in London. They were on a stipend

1479
01:14:42,720 --> 01:14:46,000
Speaker 3: from Robert Stigwood. And Eric's book he said that he

1480
01:14:46,080 --> 01:14:47,720
Speaker 3: came back from going to George's house and said to

1481
01:14:47,800 --> 01:14:49,519
Speaker 3: Robert Stigbot, well, I hope someday I can have a

1482
01:14:49,560 --> 01:14:51,960
Speaker 3: house like that. You know, I saw one on the

1483
01:14:52,000 --> 01:14:54,320
Speaker 3: way back to It was for sales like six hundred pounds,

1484
01:14:54,360 --> 01:14:57,519
Speaker 3: and maybe some day Robert stigwould said, you can afford that,

1485
01:14:57,560 --> 01:14:59,439
Speaker 3: no problem. I just put you guys on a stipend

1486
01:14:59,479 --> 01:15:01,080
Speaker 3: to keep your and blow on your money. But you

1487
01:15:01,080 --> 01:15:03,280
Speaker 3: want to go buy that house and George's they went

1488
01:15:03,320 --> 01:15:06,360
Speaker 3: for six grand, go ahead. But Eric had no idea

1489
01:15:06,439 --> 01:15:08,760
Speaker 3: that he could afford that. So I think it's the

1490
01:15:08,760 --> 01:15:10,960
Speaker 3: same with me. So I think it struck me when

1491
01:15:10,960 --> 01:15:13,559
Speaker 3: I bought a house. We lived in an apartment, and

1492
01:15:13,640 --> 01:15:17,200
Speaker 3: I talked to my people and said, you know, kind

1493
01:15:17,200 --> 01:15:19,920
Speaker 3: of buy a house. And I said, sure. It wasn't

1494
01:15:20,120 --> 01:15:22,839
Speaker 3: anything fancy, but you know, and then I bought a Porsche.

1495
01:15:22,920 --> 01:15:25,080
Speaker 3: You know, all the usual things that people do. But

1496
01:15:27,240 --> 01:15:29,000
Speaker 3: you know, you acclimated that pretty quickly.

1497
01:15:30,840 --> 01:15:34,559
Speaker 2: Okay, the album is a huge success. I buy the albums,

1498
01:15:34,600 --> 01:15:38,000
Speaker 2: got all these signals on it. You win the Grammys.

1499
01:15:38,160 --> 01:15:43,360
Speaker 2: At the time, the Grammys didn't have quite the impact

1500
01:15:43,439 --> 01:15:47,320
Speaker 2: across the industry amongst pit people. So someone like me,

1501
01:15:47,439 --> 01:15:50,320
Speaker 2: what happens at the Grammys, I pay attention, but I'm

1502
01:15:50,360 --> 01:15:53,400
Speaker 2: not reacting. The reason I bring all this up was

1503
01:15:53,840 --> 01:15:57,519
Speaker 2: there's a perception that there was a backlash of you

1504
01:15:57,680 --> 01:16:03,040
Speaker 2: having all this success. Did you feel a backlash?

1505
01:16:03,479 --> 01:16:08,160
Speaker 3: Uh? No, not really. I mean I think for me,

1506
01:16:09,560 --> 01:16:12,400
Speaker 3: the Grammys. The thing that I love about the Grammys

1507
01:16:12,400 --> 01:16:14,400
Speaker 3: and the Oscars and Imans and Tony's or they're voted

1508
01:16:14,439 --> 01:16:17,479
Speaker 3: by members of the community, your peers, you know, And

1509
01:16:17,520 --> 01:16:20,519
Speaker 3: so for me, that's what meant the most to me

1510
01:16:20,640 --> 01:16:24,800
Speaker 3: is that the other artists, musicians and producers voted my

1511
01:16:24,840 --> 01:16:26,640
Speaker 3: record the best record of the year, you know, And

1512
01:16:26,760 --> 01:16:30,439
Speaker 3: so you know, I didn't beat Sergeant Pepper. I mean,

1513
01:16:31,200 --> 01:16:32,680
Speaker 3: there were some good albums up that year, but I

1514
01:16:32,680 --> 01:16:36,280
Speaker 3: mean so I just sort of accepted that as validations

1515
01:16:36,280 --> 01:16:38,960
Speaker 3: that these that year. You know, I made a good

1516
01:16:38,960 --> 01:16:43,800
Speaker 3: record and people rewarded me with it. But I think that,

1517
01:16:45,520 --> 01:16:51,519
Speaker 3: you know, there maybe at times you'd hear things other

1518
01:16:51,640 --> 01:16:54,240
Speaker 3: artists would make comments, but it was rare, you know,

1519
01:16:54,360 --> 01:16:56,280
Speaker 3: somebody would say, oh, I don't get that, you know,

1520
01:16:56,320 --> 01:17:00,920
Speaker 3: what's the big deal with him or whatever. You know,

1521
01:17:01,479 --> 01:17:05,720
Speaker 3: there's no I never I don't think I really felt that.

1522
01:17:05,800 --> 01:17:08,200
Speaker 3: I think that I was just kind of I accepted it.

1523
01:17:08,200 --> 01:17:11,000
Speaker 3: And what meant so much to me, as I said it,

1524
01:17:11,080 --> 01:17:13,759
Speaker 3: was that the way the voting is now, the Grammys

1525
01:17:13,760 --> 01:17:15,800
Speaker 3: have changed a lot, it's gotten to be this huge spectacle,

1526
01:17:15,840 --> 01:17:19,439
Speaker 3: but at the time it was sort of a reward

1527
01:17:19,720 --> 01:17:21,640
Speaker 3: for your work, where your peers said you did the

1528
01:17:21,640 --> 01:17:23,200
Speaker 3: best work of the year. And I really took that

1529
01:17:23,280 --> 01:17:23,679
Speaker 3: to heart.

1530
01:17:24,439 --> 01:17:27,000
Speaker 2: So what point in this art do you start thinking

1531
01:17:27,040 --> 01:17:28,559
Speaker 2: about the follow up record?

1532
01:17:31,400 --> 01:17:35,880
Speaker 3: I'm always writing, but you know, the sophomore jinks is

1533
01:17:36,200 --> 01:17:40,040
Speaker 3: it's tough. I think it's tough for anybody who goes

1534
01:17:40,080 --> 01:17:41,800
Speaker 3: to the best New Artist syndrome, you know, you've got

1535
01:17:41,800 --> 01:17:44,719
Speaker 3: people like Hornsby and Rickie Lee Jones, Tracy Chapman, anybody

1536
01:17:44,800 --> 01:17:47,800
Speaker 3: that wins it. You know, it's it's a tough You're

1537
01:17:47,880 --> 01:17:50,680
Speaker 3: you're a tough act to follow. And so I did

1538
01:17:50,800 --> 01:17:53,240
Speaker 3: have that on my mouth. But I was writing, and

1539
01:17:53,600 --> 01:17:55,840
Speaker 3: I was in sort of a romantic period of my life.

1540
01:17:55,840 --> 01:17:58,880
Speaker 3: And so the second album, Another Page, had a lot

1541
01:17:58,880 --> 01:18:03,800
Speaker 3: of ballots on it. And I suppose if I had

1542
01:18:03,840 --> 01:18:06,680
Speaker 3: released a record like Doctor Faith, which is one of

1543
01:18:06,680 --> 01:18:10,360
Speaker 3: my later albums that's more eclectic like the first record,

1544
01:18:10,360 --> 01:18:12,920
Speaker 3: that probably would have been better. But you don't control

1545
01:18:12,960 --> 01:18:15,160
Speaker 3: your process. I wrote the songs I wrote at the time.

1546
01:18:15,400 --> 01:18:17,439
Speaker 3: You know, it sounds like Word's a Wisdom and talking

1547
01:18:17,479 --> 01:18:20,800
Speaker 3: my sleep and you uh. In fact, you know all

1548
01:18:20,880 --> 01:18:22,280
Speaker 3: right was the last song I wrote, because it was

1549
01:18:22,320 --> 01:18:24,679
Speaker 3: sort of an attempt at, you know, having a radio song.

1550
01:18:24,720 --> 01:18:26,960
Speaker 3: But so the album maybe it was a little mellow,

1551
01:18:27,000 --> 01:18:29,360
Speaker 3: but their fans of mine, that's their favorite record, my

1552
01:18:29,400 --> 01:18:33,439
Speaker 3: second record. So but I couldn't have controlled it anyway, Bob,

1553
01:18:33,439 --> 01:18:38,240
Speaker 3: because I wasn't writing purposely, trying to write hits or anything.

1554
01:18:38,400 --> 01:18:41,000
Speaker 3: I was just doing what I'd always done, you know,

1555
01:18:41,240 --> 01:18:43,120
Speaker 3: just make make songs.

1556
01:18:43,760 --> 01:18:46,599
Speaker 2: So you didn't feel self conscious, you didn't feel under

1557
01:18:46,600 --> 01:18:50,200
Speaker 2: the gun. You just felt new album, new songs, that's it.

1558
01:18:51,600 --> 01:18:54,559
Speaker 3: Yeah, I just, I mean I was too stupid and

1559
01:18:54,600 --> 01:18:57,240
Speaker 3: I even, you know, to realize it. But yeah, I

1560
01:18:57,280 --> 01:18:59,280
Speaker 3: was just excited to get back in the studio, and

1561
01:18:59,360 --> 01:19:02,679
Speaker 3: especially after working with Steve Gad and these kind of people,

1562
01:19:02,760 --> 01:19:05,400
Speaker 3: So that was very exciting for me. But also I

1563
01:19:05,439 --> 01:19:07,960
Speaker 3: was on the road. I mean, I wasn't even in

1564
01:19:08,000 --> 01:19:09,920
Speaker 3: the studio when they mixed Arthur's theme. I was on

1565
01:19:09,960 --> 01:19:11,760
Speaker 3: the road. I mean, I was trying to figure out

1566
01:19:11,840 --> 01:19:13,400
Speaker 3: how can I get in the studio and spend a

1567
01:19:13,400 --> 01:19:16,080
Speaker 3: couple of weeks doing that with all these other demands.

1568
01:19:15,760 --> 01:19:16,320
Speaker 2: On my time.

1569
01:19:17,080 --> 01:19:20,000
Speaker 3: So it was again like a whirlwind. So I didn't

1570
01:19:20,000 --> 01:19:21,719
Speaker 3: have a whole lot of time to sit around and ponder.

1571
01:19:22,680 --> 01:19:25,840
Speaker 3: For me, I just was kind of it was a

1572
01:19:25,920 --> 01:19:28,360
Speaker 3: rushing river, and I was just kind of hanging off

1573
01:19:28,360 --> 01:19:30,719
Speaker 3: for dear life. Like I said so, But writing wise,

1574
01:19:30,760 --> 01:19:33,360
Speaker 3: I just I've always these twelve albums that I've made.

1575
01:19:33,840 --> 01:19:37,920
Speaker 3: They're sincere, They're just that's what. That's when Rob Boys

1576
01:19:38,000 --> 01:19:39,800
Speaker 3: used to say, even when the later records didn't get

1577
01:19:39,800 --> 01:19:42,160
Speaker 3: as much attention, he'd say, we do this because it's

1578
01:19:42,160 --> 01:19:42,839
Speaker 3: what we do.

1579
01:19:44,240 --> 01:19:46,559
Speaker 2: Now. My favorite song of yours period is on the

1580
01:19:46,600 --> 01:19:50,639
Speaker 2: second album Think of Laura, which ultimately is blown up

1581
01:19:50,920 --> 01:19:53,559
Speaker 2: when it's on General Hospital. Tell me about that.

1582
01:19:55,439 --> 01:19:59,840
Speaker 3: Well, Laura Carter was a really good friend of my

1583
01:20:00,320 --> 01:20:08,600
Speaker 3: at the time, and Laura was tragically killed by a

1584
01:20:08,640 --> 01:20:11,959
Speaker 3: really terrible random shooting at her college, Dennisen in Ohio,

1585
01:20:12,520 --> 01:20:16,080
Speaker 3: and so I really they were all East coast and

1586
01:20:16,120 --> 01:20:18,280
Speaker 3: I was West coast, and I was, you know, after

1587
01:20:18,280 --> 01:20:19,960
Speaker 3: I got the news about Lura being killed, I was

1588
01:20:20,280 --> 01:20:22,439
Speaker 3: obviously very emotional, and I don't know, I just sat

1589
01:20:22,439 --> 01:20:24,080
Speaker 3: on my bed at my rent, I had a house

1590
01:20:24,120 --> 01:20:27,920
Speaker 3: in Palisades in California, and just wrote the song. Came

1591
01:20:27,920 --> 01:20:31,960
Speaker 3: out pretty quickly, and I think kind of the good

1592
01:20:31,960 --> 01:20:35,960
Speaker 3: ones generally do that. So I recorded it and then

1593
01:20:37,840 --> 01:20:40,000
Speaker 3: I asked her parents if it's okay if I put

1594
01:20:40,000 --> 01:20:42,360
Speaker 3: it on the record, because I really wrote it for her,

1595
01:20:42,960 --> 01:20:45,120
Speaker 3: and her parents were really gracious and said, well, maybe

1596
01:20:45,120 --> 01:20:46,840
Speaker 3: you can bring some solace to someone else, because she

1597
01:20:46,880 --> 01:20:50,640
Speaker 3: was their only child. And so I released it. And

1598
01:20:50,680 --> 01:20:53,480
Speaker 3: then Tony Geary, who was on was Luke on the

1599
01:20:53,520 --> 01:20:58,280
Speaker 3: soap opera The Genie Francis that played the Laura character

1600
01:20:58,360 --> 01:21:02,080
Speaker 3: had left to go pursued acting career in films and

1601
01:21:02,160 --> 01:21:04,920
Speaker 3: they rady suffered stuff. So Tony was a big fan

1602
01:21:04,960 --> 01:21:06,599
Speaker 3: of that record and got the idea to bring her

1603
01:21:06,640 --> 01:21:13,960
Speaker 3: back using the song. Unfortunately, I wasn't I wouldn't have

1604
01:21:14,000 --> 01:21:14,680
Speaker 3: been a favor of that.

1605
01:21:14,840 --> 01:21:16,679
Speaker 2: But there's a rule.

1606
01:21:16,760 --> 01:21:18,360
Speaker 3: Maybe it's different now, but at the time, if they

1607
01:21:18,360 --> 01:21:20,120
Speaker 3: don't play enough of it, they don't need a license.

1608
01:21:20,439 --> 01:21:22,479
Speaker 3: So they would just play the Hey Law, you know,

1609
01:21:22,920 --> 01:21:25,719
Speaker 3: and just ghosted in and they brought the Genie Francis

1610
01:21:25,760 --> 01:21:28,400
Speaker 3: character back. But I had no control. I couldn't stop

1611
01:21:28,439 --> 01:21:31,519
Speaker 3: it because I felt particularly bad for Laura's parents, who

1612
01:21:31,600 --> 01:21:34,280
Speaker 3: I'd just trying to honor their daughter, and then suddenly

1613
01:21:34,320 --> 01:21:37,679
Speaker 3: it's become this you know, but you know, it certainly

1614
01:21:37,680 --> 01:21:40,640
Speaker 3: helped the song get a lot of attention, but stupidly,

1615
01:21:40,720 --> 01:21:42,200
Speaker 3: if I could have stopped it, I would have because

1616
01:21:42,200 --> 01:21:44,800
Speaker 3: I just felt this a very personal thing and it

1617
01:21:44,840 --> 01:21:47,160
Speaker 3: wasn't meant to be, you know, a prop at a

1618
01:21:47,160 --> 01:21:47,719
Speaker 3: TV show.

1619
01:21:49,520 --> 01:21:53,120
Speaker 2: So you continue to make records, they're all get a

1620
01:21:53,120 --> 01:21:57,960
Speaker 2: lot of publicity marketing, but commercially they're less successful. What

1621
01:21:58,040 --> 01:22:02,400
Speaker 2: did that feel like on the inside.

1622
01:22:02,680 --> 01:22:07,080
Speaker 3: Well, it's disappointing, but at the same time, I had

1623
01:22:07,080 --> 01:22:11,040
Speaker 3: to remind myself that, you know, this kind of meteoric

1624
01:22:11,120 --> 01:22:13,320
Speaker 3: success I had, it's incredibly rare, So how do you

1625
01:22:13,320 --> 01:22:18,880
Speaker 3: sustain that. It's very hard to sustain. So the Beatles

1626
01:22:18,880 --> 01:22:20,760
Speaker 3: did it. People do it. But you know, I just

1627
01:22:21,160 --> 01:22:23,240
Speaker 3: I felt that, you know, I was very blessed to

1628
01:22:23,280 --> 01:22:26,240
Speaker 3: have happened to be what happened and gave me a foundation.

1629
01:22:26,360 --> 01:22:28,280
Speaker 3: I'm still turning. I'm talking to Bob Left. That's a

1630
01:22:28,320 --> 01:22:30,479
Speaker 3: meet up. Come on, It's like I'm out turing. So

1631
01:22:30,600 --> 01:22:35,720
Speaker 3: I met the Pope. So I don't know. I just

1632
01:22:35,880 --> 01:22:37,720
Speaker 3: it was it's again, it's all about the work. And

1633
01:22:37,760 --> 01:22:39,360
Speaker 3: I said at one point I did have this sort

1634
01:22:39,360 --> 01:22:42,200
Speaker 3: of self doubt and I asked Rob, why do we

1635
01:22:42,280 --> 01:22:44,400
Speaker 3: keep doing this? We keep making these records that are

1636
01:22:44,560 --> 01:22:46,800
Speaker 3: I think better than that We've done it yet he said,

1637
01:22:46,840 --> 01:22:49,080
Speaker 3: it's because it's what we do, you know, And that's true.

1638
01:22:49,400 --> 01:22:54,120
Speaker 3: So we were always doing them again back to joy

1639
01:22:54,479 --> 01:22:56,439
Speaker 3: as the soundhole on my knee, you know, doing it

1640
01:22:56,439 --> 01:22:58,280
Speaker 3: because that's what we do. So we did them, and

1641
01:22:58,360 --> 01:23:00,160
Speaker 3: I think the records have gotten better and better. Had

1642
01:23:00,320 --> 01:23:02,400
Speaker 3: an now like doctor Faith or secret Lout of these

1643
01:23:02,439 --> 01:23:05,719
Speaker 3: later ones that I made. You know, there I think

1644
01:23:05,720 --> 01:23:07,960
Speaker 3: to me as good as anything I've done better, probably

1645
01:23:07,960 --> 01:23:09,680
Speaker 3: as far as the number of good songs on there

1646
01:23:09,720 --> 01:23:11,320
Speaker 3: and the quality of the production and all that stuff.

1647
01:23:11,320 --> 01:23:14,400
Speaker 3: I've I've gotten better with age. But and the people

1648
01:23:14,400 --> 01:23:16,439
Speaker 3: that discover those records and like them would say that,

1649
01:23:16,479 --> 01:23:18,760
Speaker 3: but you know, on a on a bigger scale, No,

1650
01:23:18,920 --> 01:23:22,880
Speaker 3: But it's okay because I've you know, I had my

1651
01:23:23,240 --> 01:23:26,840
Speaker 3: turn at the trough and I'm doing fine. You know,

1652
01:23:26,880 --> 01:23:28,840
Speaker 3: I've been able to support my family and have a

1653
01:23:28,840 --> 01:23:30,760
Speaker 3: good life and do what I love to do.

1654
01:23:30,800 --> 01:23:34,000
Speaker 2: You know, how did it end with Warner Brothers? What

1655
01:23:34,000 --> 01:23:34,599
Speaker 2: did they say?

1656
01:23:36,120 --> 01:23:41,439
Speaker 3: Well, the you know, one last thing I was gonna

1657
01:23:41,439 --> 01:23:43,240
Speaker 3: say about but no, somebody like Stinging. He came from

1658
01:23:43,240 --> 01:23:45,120
Speaker 3: the police, he came from a rock background. So he

1659
01:23:45,200 --> 01:23:47,200
Speaker 3: built a foundation with that, and those kind of fans

1660
01:23:47,200 --> 01:23:50,000
Speaker 3: are very loyal, you know, and it's totally deserved. And

1661
01:23:50,000 --> 01:23:52,640
Speaker 3: then he created this amazing career on his own. That

1662
01:23:52,680 --> 01:23:54,400
Speaker 3: one in the case, Alvo was more of a pop

1663
01:23:54,560 --> 01:23:56,439
Speaker 3: kind of idle kind of person, and they tend to

1664
01:23:56,479 --> 01:23:59,519
Speaker 3: be more more. I think it's it's hard to sustay

1665
01:23:59,600 --> 01:24:03,360
Speaker 3: something like that. Well, Warners After the second record, we

1666
01:24:03,520 --> 01:24:05,120
Speaker 3: did well, but not as well as the first record.

1667
01:24:06,439 --> 01:24:08,720
Speaker 3: I had changed management because irving with GMCA, and I

1668
01:24:08,840 --> 01:24:10,760
Speaker 3: started being managed by Sandy Gallen, and one of the

1669
01:24:10,800 --> 01:24:13,120
Speaker 3: guys in his office said, you need to make a

1670
01:24:13,120 --> 01:24:15,080
Speaker 3: more rock record, show your guitar playing and do that

1671
01:24:15,120 --> 01:24:17,559
Speaker 3: kind of thing. So it made Every Turn of the

1672
01:24:17,560 --> 01:24:19,519
Speaker 3: World my third record that didn't have a flamingo on.

1673
01:24:19,560 --> 01:24:21,000
Speaker 3: It had me in a race car because I raced

1674
01:24:21,040 --> 01:24:23,400
Speaker 3: cards for a while. It was a very edgy kind

1675
01:24:23,400 --> 01:24:27,840
Speaker 3: of more rock record, and the single rush I reat

1676
01:24:27,880 --> 01:24:29,920
Speaker 3: with Warner's wonted release Every Turn of the World, which

1677
01:24:29,960 --> 01:24:33,240
Speaker 3: is more of a rock pop tie track. But Sandy's

1678
01:24:33,240 --> 01:24:35,200
Speaker 3: people want to release Charmed the Snake, which is this

1679
01:24:35,479 --> 01:24:41,280
Speaker 3: very aggressive kind of avant garde record, and pop radio

1680
01:24:41,280 --> 01:24:43,240
Speaker 3: couldn't play it because it was too heavy for them.

1681
01:24:43,560 --> 01:24:45,920
Speaker 3: Rock radio wouldn't play it because it's some Christopher Cross,

1682
01:24:45,960 --> 01:24:49,720
Speaker 3: and so the record didn't do anything. Then finally Lenny said,

1683
01:24:49,840 --> 01:24:52,000
Speaker 3: Lady Walker, so just go make a Christopher Cross record.

1684
01:24:52,000 --> 01:24:53,320
Speaker 3: So then I made Back on My Mind, which I

1685
01:24:53,320 --> 01:24:55,920
Speaker 3: think is actually quite a good record, but the love

1686
01:24:55,960 --> 01:24:59,360
Speaker 3: and feeling was gone by then. They just, you know,

1687
01:24:59,720 --> 01:25:02,519
Speaker 3: it was too long. After that, I think that possibly

1688
01:25:02,560 --> 01:25:05,080
Speaker 3: that things started to transition and it became DreamWorks and

1689
01:25:05,120 --> 01:25:07,920
Speaker 3: all that anyway, But it was just sort of Bonnie

1690
01:25:08,000 --> 01:25:10,960
Speaker 3: left and went to Capital and where she had a

1691
01:25:11,000 --> 01:25:15,040
Speaker 3: massive hit, and so it was just sort of agreed that,

1692
01:25:15,120 --> 01:25:18,240
Speaker 3: you know, it was over, like a marriage or anything else.

1693
01:25:18,280 --> 01:25:20,680
Speaker 3: It'd been a good run, but probably the best time

1694
01:25:20,720 --> 01:25:23,200
Speaker 3: I move on. And I couldn't really argue with it,

1695
01:25:23,240 --> 01:25:25,760
Speaker 3: because you know, part of me, I suppose you always

1696
01:25:25,800 --> 01:25:30,519
Speaker 3: blame the record company. Wasn't their fault. But so I

1697
01:25:30,520 --> 01:25:33,559
Speaker 3: I left, and I moved up to Santa Barbara and

1698
01:25:34,240 --> 01:25:35,720
Speaker 3: was not doing anything for quite a while. And then

1699
01:25:35,880 --> 01:25:37,640
Speaker 3: I got a call from my attorney who had some

1700
01:25:37,680 --> 01:25:40,080
Speaker 3: money from Japan. Some Japanese label wanted me to make

1701
01:25:40,080 --> 01:25:43,080
Speaker 3: a record. So I made a record called Window, and

1702
01:25:43,160 --> 01:25:47,320
Speaker 3: I just you know, kept doing that. Every few years,

1703
01:25:47,360 --> 01:25:49,800
Speaker 3: I'd make another record. Somehow got money and found money

1704
01:25:49,800 --> 01:25:54,240
Speaker 3: and made a record, and as I said, you know,

1705
01:25:55,640 --> 01:25:57,640
Speaker 3: humility aside. I think the records have gotten better and

1706
01:25:57,680 --> 01:26:00,400
Speaker 3: better over the years, and I think this real good

1707
01:26:00,439 --> 01:26:04,240
Speaker 3: work there. But you know, most people come to my

1708
01:26:04,280 --> 01:26:06,160
Speaker 3: show's probably come for those five or six songs that

1709
01:26:06,200 --> 01:26:09,639
Speaker 3: they know, but there's always a few out there, they'll

1710
01:26:09,720 --> 01:26:12,200
Speaker 3: yell out some obscure in fact, really funny. There's a

1711
01:26:12,200 --> 01:26:15,160
Speaker 3: song on Doctor Fifn called Dreamers, which I think is

1712
01:26:15,200 --> 01:26:19,160
Speaker 3: a Robin I wrote. It's a good song, and I'll

1713
01:26:19,160 --> 01:26:21,080
Speaker 3: admit in the concerts I'm with them and secure when

1714
01:26:21,080 --> 01:26:22,960
Speaker 3: I play the deep cuts, because I've got my hits.

1715
01:26:23,000 --> 01:26:24,800
Speaker 3: But when I'm playing the deep cuts, I realize a

1716
01:26:24,800 --> 01:26:27,280
Speaker 3: lot of people are waiting for Arthur or whatever. In fact,

1717
01:26:27,560 --> 01:26:30,320
Speaker 3: some night's second song right like they'll win. I'm like, hey,

1718
01:26:30,479 --> 01:26:34,240
Speaker 3: delay gratification, you know, hang on a second. But so

1719
01:26:34,520 --> 01:26:37,280
Speaker 3: one night recently at a show, some guy yells out

1720
01:26:37,320 --> 01:26:40,000
Speaker 3: something and I thought he said free bird, and so

1721
01:26:40,080 --> 01:26:41,759
Speaker 3: I said, hey, look scattered and I have an agreement.

1722
01:26:41,760 --> 01:26:43,280
Speaker 3: I don't play their songs that are playing my songs.

1723
01:26:43,320 --> 01:26:45,639
Speaker 3: But he actually said dreamers. He wrote it on social

1724
01:26:45,640 --> 01:26:49,240
Speaker 3: media and said no, I said dreamers. So I'm so

1725
01:26:49,479 --> 01:26:52,400
Speaker 3: kind of, you know, a shell shocked by that that

1726
01:26:52,479 --> 01:26:55,360
Speaker 3: I couldn't even imagine that someone would yell out an

1727
01:26:55,360 --> 01:26:58,000
Speaker 3: obscure deep track, but I did. I did a couple

1728
01:26:58,000 --> 01:27:00,040
Speaker 3: of shows in Austin some years ago called the No

1729
01:27:00,160 --> 01:27:04,439
Speaker 3: Hits Show. Tony Bucks, come hear me play unplugged but

1730
01:27:04,560 --> 01:27:08,200
Speaker 3: no hits, and now I got one hundred people, small club.

1731
01:27:08,360 --> 01:27:13,680
Speaker 3: It was great, just played inside tracks, you know, but

1732
01:27:14,439 --> 01:27:19,640
Speaker 3: all artists want that, you know, all artists want, you know,

1733
01:27:20,040 --> 01:27:22,240
Speaker 3: people to embrace their obscure material.

1734
01:27:22,280 --> 01:27:25,200
Speaker 2: You know, if I come to your show and I

1735
01:27:25,360 --> 01:27:28,519
Speaker 2: call out an obscure track, will you play.

1736
01:27:28,320 --> 01:27:33,880
Speaker 3: It if we can? Sometimes I'll start it and kind

1737
01:27:33,880 --> 01:27:35,719
Speaker 3: of play a little bit of it. But the guys

1738
01:27:35,720 --> 01:27:39,800
Speaker 3: are always in charts, so you know, they used to

1739
01:27:39,800 --> 01:27:43,200
Speaker 3: have that thing. I saw Bowie do it once where

1740
01:27:43,200 --> 01:27:45,720
Speaker 3: it was people called out songs and I realized later

1741
01:27:45,760 --> 01:27:48,600
Speaker 3: it was sort of staged. But I've wanted to have

1742
01:27:48,640 --> 01:27:50,439
Speaker 3: the balls to do that and just go anybody want

1743
01:27:50,439 --> 01:27:52,439
Speaker 3: to hear something, and I probably should do it, but

1744
01:27:52,600 --> 01:27:54,679
Speaker 3: having one hundred songs, it'd be a little tough even

1745
01:27:54,720 --> 01:27:58,400
Speaker 3: for me. I can't remember my own some of my

1746
01:27:58,439 --> 01:28:02,800
Speaker 3: own songs, I you know, so it would be an

1747
01:28:02,800 --> 01:28:06,040
Speaker 3: interesting experiment, you know. But people yell out things sometimes

1748
01:28:06,080 --> 01:28:08,400
Speaker 3: and I'll go, oh, thanks so much for that. You know,

1749
01:28:08,439 --> 01:28:10,120
Speaker 3: We're not playing that tonight, but thank you. And then

1750
01:28:10,160 --> 01:28:11,880
Speaker 3: sometimes people are going to say, hey, could you play

1751
01:28:12,920 --> 01:28:14,880
Speaker 3: this tune at the show in San Diego? They will

1752
01:28:14,960 --> 01:28:15,840
Speaker 3: learn it, you will play it.

1753
01:28:22,360 --> 01:28:23,920
Speaker 2: How did you end up getting married again?

1754
01:28:25,520 --> 01:28:29,479
Speaker 3: Well, I was looking at California and uh, I've been

1755
01:28:29,840 --> 01:28:34,160
Speaker 3: stinkled for twelve years or so, and you know, met

1756
01:28:34,200 --> 01:28:39,240
Speaker 3: somebody and I guess you know, people from a family,

1757
01:28:39,320 --> 01:28:42,000
Speaker 3: you know you somehow, especially live in somech Texas, you

1758
01:28:42,000 --> 01:28:43,640
Speaker 3: grow up with those kind of traditional values and you

1759
01:28:43,680 --> 01:28:48,519
Speaker 3: sort of want that duality. So in juxtaposition of my career,

1760
01:28:48,560 --> 01:28:50,000
Speaker 3: I thought, hey, I should have this too, you know,

1761
01:28:50,000 --> 01:28:52,920
Speaker 3: I should have like a regular life, you know. And

1762
01:28:52,960 --> 01:28:55,120
Speaker 3: like Michael McDonald, he and Aby have been married for

1763
01:28:55,160 --> 01:28:57,559
Speaker 3: thirty five years or whatever, and you know, our kids

1764
01:28:57,600 --> 01:28:59,840
Speaker 3: grow up together. So I had other role models that

1765
01:28:59,840 --> 01:29:03,880
Speaker 3: have successful marriag just so try again. So met Jane

1766
01:29:03,920 --> 01:29:05,880
Speaker 3: and we got married. We were married for eighteen years.

1767
01:29:06,240 --> 01:29:12,240
Speaker 3: So that was a good run. But you know, it

1768
01:29:12,439 --> 01:29:15,200
Speaker 3: just ran itself out, you know. And I don't know.

1769
01:29:15,200 --> 01:29:17,000
Speaker 3: Maybe it's my fault. Maybe I'm difficult to live with.

1770
01:29:17,000 --> 01:29:19,599
Speaker 3: I don't know, but I think one thing is when

1771
01:29:19,600 --> 01:29:22,519
Speaker 3: I got married the first time, I eloped, and when

1772
01:29:22,520 --> 01:29:24,760
Speaker 3: my father got I called my parents to tell him

1773
01:29:24,760 --> 01:29:28,160
Speaker 3: I was getting married. I never met her. My mother

1774
01:29:28,200 --> 01:29:32,920
Speaker 3: got on the phone and tried to be welcoming, but

1775
01:29:33,040 --> 01:29:35,400
Speaker 3: my father at one point he groffly grabbed the phone

1776
01:29:35,400 --> 01:29:40,280
Speaker 3: so let me talk to her, and he said, hey, listen,

1777
01:29:40,560 --> 01:29:42,559
Speaker 3: my dad was you know, he was a brilliant man,

1778
01:29:42,600 --> 01:29:46,160
Speaker 3: but alcoholic and you know, didn't have the best bedside matter.

1779
01:29:46,240 --> 01:29:48,280
Speaker 3: But he said, I want you to listen to me

1780
01:29:48,680 --> 01:29:52,360
Speaker 3: very closely. And you know my wife first wife said yeah.

1781
01:29:52,640 --> 01:29:54,760
Speaker 3: He said, you're marrying a musician. Do you know what

1782
01:29:54,760 --> 01:29:58,479
Speaker 3: that means? And she said, yeah, it's very exciting because no,

1783
01:29:58,560 --> 01:30:00,800
Speaker 3: I'm not talking about all that crack. You're marrying a

1784
01:30:00,840 --> 01:30:04,519
Speaker 3: musician and they are a different breed, so just be

1785
01:30:04,560 --> 01:30:07,760
Speaker 3: sure you know what you're getting into. And he gave

1786
01:30:07,760 --> 01:30:09,720
Speaker 3: a come back to my mom, and I thought that

1787
01:30:09,760 --> 01:30:12,080
Speaker 3: was one of the most insightful things I'd ever experienced

1788
01:30:12,080 --> 01:30:15,519
Speaker 3: when I thought about it later, because musicians are a

1789
01:30:15,560 --> 01:30:19,400
Speaker 3: different breed artist, and you're married to not just them,

1790
01:30:19,439 --> 01:30:21,680
Speaker 3: but you're married to their career and their work, and

1791
01:30:21,720 --> 01:30:25,720
Speaker 3: if you get jealous of it, it's over. And I

1792
01:30:25,720 --> 01:30:28,720
Speaker 3: don't care what the gender is. You know, you know,

1793
01:30:29,880 --> 01:30:33,080
Speaker 3: Larry Klein Graham Nast there with Joni Mitchell, so they

1794
01:30:33,080 --> 01:30:34,519
Speaker 3: did fine. But I'm just saying, you.

1795
01:30:34,479 --> 01:30:38,040
Speaker 2: Know, so, how do you end up going out with Ringo.

1796
01:30:39,320 --> 01:30:39,880
Speaker 3: Oh I didn't.

1797
01:30:40,280 --> 01:30:42,600
Speaker 2: I thought you did Ringo's All Star Band.

1798
01:30:43,160 --> 01:30:45,599
Speaker 3: No got from your mouth to God's Ear. No. I've

1799
01:30:45,640 --> 01:30:48,639
Speaker 3: tried and tried and tried, and of course Luke, Todd,

1800
01:30:49,320 --> 01:30:52,920
Speaker 3: Greg Listinette, they've all thrown my name in the fire,

1801
01:30:52,960 --> 01:30:56,880
Speaker 3: you know, to Ringo, and I've met Ringo. But I think,

1802
01:30:57,479 --> 01:30:59,439
Speaker 3: and I think personally i'd be perfect for it because

1803
01:30:59,439 --> 01:31:01,280
Speaker 3: they've got a couple of hits and I play and sing.

1804
01:31:01,280 --> 01:31:04,639
Speaker 3: But at the time they were really pitching me to Ringo.

1805
01:31:04,760 --> 01:31:08,559
Speaker 3: He was he'd had Colin hay and some different heat

1806
01:31:08,600 --> 01:31:10,040
Speaker 3: people play with him, and he said, look, I don't

1807
01:31:10,040 --> 01:31:12,639
Speaker 3: want to reinvent the Wheel. I just want to get people.

1808
01:31:12,720 --> 01:31:15,559
Speaker 3: And when Todd left, he got Colin Hay back. I

1809
01:31:15,560 --> 01:31:17,000
Speaker 3: think he said, I just want to get somebody I've

1810
01:31:17,000 --> 01:31:19,360
Speaker 3: already gott I've already used because I know what I'm doing.

1811
01:31:19,400 --> 01:31:20,720
Speaker 3: I'm not going to do this that much longer. So

1812
01:31:20,760 --> 01:31:24,560
Speaker 3: it never worked out, but everybody tried, and it was

1813
01:31:24,600 --> 01:31:26,120
Speaker 3: certainly a big dream of mine, but I never got

1814
01:31:26,120 --> 01:31:27,559
Speaker 3: to do it. I've done a lot of these Beatles

1815
01:31:27,600 --> 01:31:30,000
Speaker 3: shows with Todd run Gren where we go out and

1816
01:31:30,000 --> 01:31:30,760
Speaker 3: play and any like.

1817
01:31:30,920 --> 01:31:32,400
Speaker 2: So that was I was going to ask you about next.

1818
01:31:32,439 --> 01:31:34,960
Speaker 2: I don't know why I thought you did All Star band?

1819
01:31:34,960 --> 01:31:35,479
Speaker 2: How did you do that?

1820
01:31:35,680 --> 01:31:38,599
Speaker 3: Ringo calls? I've got to get off this call. Uh. Well,

1821
01:31:38,840 --> 01:31:42,400
Speaker 3: my manager, Toby Lidwig does a lot of concert promotion.

1822
01:31:42,520 --> 01:31:44,200
Speaker 3: He's got the Abba shows and all that stuff, and

1823
01:31:44,240 --> 01:31:46,040
Speaker 3: so he came up with this concept of doing Beetle

1824
01:31:46,040 --> 01:31:48,479
Speaker 3: tribute shows. We've done about seven of them, you know,

1825
01:31:48,600 --> 01:31:52,960
Speaker 3: themes Sergeant Pepper whatever it is. And the very first

1826
01:31:52,960 --> 01:31:54,959
Speaker 3: one he did I wasn't on. That was Alan Parsons

1827
01:31:54,960 --> 01:31:58,800
Speaker 3: and David Pack and Wilson John Outwhistle from Who. So

1828
01:31:58,880 --> 01:32:01,519
Speaker 3: then the next time Todd and I started doing them

1829
01:32:01,520 --> 01:32:04,800
Speaker 3: with Denny Lane, and we've done a whole bunch of them,

1830
01:32:04,800 --> 01:32:08,599
Speaker 3: and we just last time Todd picked Revolver in River Solim.

1831
01:32:08,600 --> 01:32:11,559
Speaker 3: We chose to songs from that. So put a band together.

1832
01:32:11,640 --> 01:32:12,680
Speaker 3: We just go out and do a few of our

1833
01:32:12,760 --> 01:32:14,640
Speaker 3: hits and do the deal things and they're very successful.

1834
01:32:14,680 --> 01:32:17,040
Speaker 3: People really love it and it's fun, you know, because

1835
01:32:17,800 --> 01:32:22,599
Speaker 3: the songs are timeless, and h Todd's really brilliant and

1836
01:32:22,880 --> 01:32:23,519
Speaker 3: fun to work with.

1837
01:32:23,600 --> 01:32:25,439
Speaker 2: So I do that.

1838
01:32:25,560 --> 01:32:28,880
Speaker 3: But it's Chris Todd Werker Bringo, but it's it's not

1839
01:32:29,240 --> 01:32:30,360
Speaker 3: like playing in the All Star band.

1840
01:32:31,040 --> 01:32:34,120
Speaker 2: And then what's it like working with Todd, who's a

1841
01:32:34,200 --> 01:32:37,720
Speaker 2: unique character, who's both a performer and a producer and

1842
01:32:37,800 --> 01:32:39,080
Speaker 2: an engineer to boot.

1843
01:32:40,960 --> 01:32:44,040
Speaker 3: Well, you know, I've always said genius is a term

1844
01:32:44,080 --> 01:32:45,880
Speaker 3: I don't like to throw him out. I think it's

1845
01:32:45,880 --> 01:32:48,240
Speaker 3: true of Brian Joni you know there their son, but

1846
01:32:48,320 --> 01:32:55,360
Speaker 3: I will Todd's brilliant for sure, really really a unique,

1847
01:32:55,360 --> 01:33:02,080
Speaker 3: interesting guy, really really brilliant. And so he's I love Todd.

1848
01:33:02,120 --> 01:33:04,040
Speaker 3: I think he's great. And I think the key with

1849
01:33:04,160 --> 01:33:06,720
Speaker 3: Todd is if you can play and sing and you've

1850
01:33:06,720 --> 01:33:09,240
Speaker 3: got command to your instrument, you're okay with him, you know,

1851
01:33:09,960 --> 01:33:12,040
Speaker 3: if you're faking it or whatever. He doesn't have much

1852
01:33:12,080 --> 01:33:17,400
Speaker 3: patience for that. But he's funny as hell and uh,

1853
01:33:17,760 --> 01:33:21,080
Speaker 3: you know, really well read and a very clever guy.

1854
01:33:21,240 --> 01:33:23,760
Speaker 3: And so I was a huge fan. I mean the

1855
01:33:23,800 --> 01:33:25,959
Speaker 3: ballad the second record that Todd made.

1856
01:33:25,880 --> 01:33:26,840
Speaker 2: Was that's the best line.

1857
01:33:29,800 --> 01:33:33,479
Speaker 3: Okay, Todd, listen to this, this is well less. That's

1858
01:33:33,479 --> 01:33:36,640
Speaker 3: saying that. Whenever I talked to him about I say,

1859
01:33:36,680 --> 01:33:38,759
Speaker 3: why don't you play more things? In Beninni and Jean

1860
01:33:38,920 --> 01:33:40,840
Speaker 3: Or whaling wall those things. He said, oh you like

1861
01:33:40,920 --> 01:33:43,960
Speaker 3: all that shit? And he said what song? Todd said,

1862
01:33:44,600 --> 01:33:46,120
Speaker 3: what do you want me to play off that? And

1863
01:33:46,160 --> 01:33:47,840
Speaker 3: I said, well, how about be nice to me? And

1864
01:33:47,880 --> 01:33:50,120
Speaker 3: he said, oh, it's so whiney, you know. And that's

1865
01:33:50,160 --> 01:33:52,880
Speaker 3: that's perfect of Todd. You know, he can also be

1866
01:33:53,000 --> 01:33:55,800
Speaker 3: very self deprecating. But I've I've considered it to be

1867
01:33:55,920 --> 01:33:57,519
Speaker 3: real honored to get to work with him because he's

1868
01:33:57,520 --> 01:33:59,960
Speaker 3: a big influence on me in terms of my I

1869
01:34:00,080 --> 01:34:02,880
Speaker 3: used to play those tunes and bars and Quarterly the

1870
01:34:02,880 --> 01:34:06,080
Speaker 3: structures and all that stuff. He's incredibly brilliant, So I

1871
01:34:07,400 --> 01:34:09,960
Speaker 3: love having the opportunity I can to work with him.

1872
01:34:10,640 --> 01:34:13,200
Speaker 2: Now, you had a bad experience with COVID. Tell us

1873
01:34:13,200 --> 01:34:13,720
Speaker 2: about that.

1874
01:34:15,280 --> 01:34:18,080
Speaker 3: Yeah. Todd sent me a birthday message when I turned

1875
01:34:18,120 --> 01:34:20,439
Speaker 3: seventy and said, get a vaccine and get the fuck

1876
01:34:20,479 --> 01:34:27,040
Speaker 3: out of Texas because he lives in Kawaii, you know. Yeah,

1877
01:34:27,080 --> 01:34:30,760
Speaker 3: So twenty twenty, I got COVID Alpha, which is the

1878
01:34:30,800 --> 01:34:34,040
Speaker 3: original strain. My girlfriend Joey and I got very sick.

1879
01:34:34,320 --> 01:34:37,920
Speaker 2: Do you have any idea how you got it? Well?

1880
01:34:38,360 --> 01:34:40,720
Speaker 3: I went down to Mexico with Pat Benatar to play

1881
01:34:40,760 --> 01:34:44,439
Speaker 3: a show and nothing, nothing at all to do with Mexico.

1882
01:34:44,520 --> 01:34:46,639
Speaker 3: But at the time, you know, we weren't warned about

1883
01:34:46,680 --> 01:34:48,280
Speaker 3: masks and all that stuff. So I went down to

1884
01:34:48,320 --> 01:34:52,080
Speaker 3: Mexico when I looked at fans and different things, and

1885
01:34:52,080 --> 01:34:56,040
Speaker 3: pat nobody was wearing masks, Neil Nanemore. So I'm pretty

1886
01:34:56,080 --> 01:34:58,479
Speaker 3: sure I got it there, maybe from a fan or whatever,

1887
01:34:58,479 --> 01:35:00,240
Speaker 3: but I'm not blaming anybody. But I came back and

1888
01:35:00,280 --> 01:35:02,519
Speaker 3: I think probably gave it a joy and I think

1889
01:35:02,560 --> 01:35:04,240
Speaker 3: I got it mixed goo. I don't know. But at again,

1890
01:35:04,360 --> 01:35:07,200
Speaker 3: there was no you know, the government wasn't telling us

1891
01:35:07,200 --> 01:35:08,600
Speaker 3: a lot. You know, there was not a lot of

1892
01:35:09,200 --> 01:35:11,960
Speaker 3: information about it. So I got very, very sick, and

1893
01:35:12,000 --> 01:35:15,320
Speaker 3: I started getting over. I started feeling better for a

1894
01:35:15,360 --> 01:35:17,880
Speaker 3: couple of days, and then I was sitting at my

1895
01:35:17,960 --> 01:35:20,880
Speaker 3: couch at home and I suddenly said to Joy, I

1896
01:35:20,880 --> 01:35:25,240
Speaker 3: can't I can't move my legs. I'm paralyzed. And we

1897
01:35:25,320 --> 01:35:28,320
Speaker 3: called the doctor and he said, you have gallambarre syndrome.

1898
01:35:28,520 --> 01:35:30,080
Speaker 3: Get to the get to the ear right away. So

1899
01:35:30,080 --> 01:35:31,840
Speaker 3: I went down there. By that time, my hands were

1900
01:35:31,880 --> 01:35:36,479
Speaker 3: also paralyzed. On my face kind of like I had. Ah.

1901
01:35:38,120 --> 01:35:41,519
Speaker 3: I mean, what's that disease? Uh? People get anyway. Uh,

1902
01:35:41,720 --> 01:35:44,599
Speaker 3: the bill's point to Bell's policy, it's kind of like that.

1903
01:35:44,640 --> 01:35:47,439
Speaker 3: But it was from my hands from paralyzed, couldn't walk,

1904
01:35:48,320 --> 01:35:50,320
Speaker 3: went to the hospital. I was in ar about a month,

1905
01:35:51,240 --> 01:35:55,599
Speaker 3: got treatment. Uh. It was tough because during COVID protocol,

1906
01:35:55,600 --> 01:35:57,800
Speaker 3: people couldn't visit me. I was alone in the in

1907
01:35:57,880 --> 01:36:01,400
Speaker 3: this room, alone day after day of pain because it's

1908
01:36:01,400 --> 01:36:04,320
Speaker 3: a spinal thing, and so it was very painful. But

1909
01:36:04,360 --> 01:36:07,320
Speaker 3: I finally got out of hospital. I got good treatment quickly,

1910
01:36:07,360 --> 01:36:10,360
Speaker 3: and most most of the symptoms abated over the next year.

1911
01:36:11,320 --> 01:36:13,200
Speaker 3: They say all the damage happens in the first two

1912
01:36:13,200 --> 01:36:14,800
Speaker 3: weeks and then all the healings in the next year.

1913
01:36:14,840 --> 01:36:17,920
Speaker 3: So over the next year, my legs through therapy physical therapy,

1914
01:36:17,960 --> 01:36:19,960
Speaker 3: I got used to my legs about eighty percent back,

1915
01:36:20,120 --> 01:36:23,400
Speaker 3: my hands, relaxed my face, and so I kind of

1916
01:36:23,400 --> 01:36:25,800
Speaker 3: came out of it. My legs are still compromised a bit.

1917
01:36:25,920 --> 01:36:27,800
Speaker 3: Stairs are hard to climb and that sort of thing,

1918
01:36:28,000 --> 01:36:31,120
Speaker 3: but I can get around. But that was tough. It

1919
01:36:31,160 --> 01:36:32,840
Speaker 3: was a very tough time for me in my life.

1920
01:36:32,840 --> 01:36:37,080
Speaker 3: It was very humbling and really gave me a window

1921
01:36:37,120 --> 01:36:40,640
Speaker 3: into people with disabilities that I've never had it's not

1922
01:36:40,760 --> 01:36:43,040
Speaker 3: a fair world to those people, I mean, trying to

1923
01:36:43,040 --> 01:36:46,599
Speaker 3: get around in a wheelchair. It's just we've done better,

1924
01:36:46,640 --> 01:36:48,360
Speaker 3: but we had a long way to go making the

1925
01:36:48,400 --> 01:36:53,200
Speaker 3: world accessible, you know. So that was a real, you know,

1926
01:36:54,439 --> 01:36:56,880
Speaker 3: taste of character. But I think I you know, my

1927
01:36:56,880 --> 01:36:59,080
Speaker 3: girlfriend was incredibly supportive, and friends who were in My

1928
01:36:59,080 --> 01:37:01,640
Speaker 3: friend jeff Foscuett, we haven't talked about yet, Jeffrey. He

1929
01:37:01,680 --> 01:37:03,920
Speaker 3: would stay on the phone with me at night, three

1930
01:37:03,920 --> 01:37:06,120
Speaker 3: in the morning, just talking me through just you know,

1931
01:37:06,320 --> 01:37:09,840
Speaker 3: my experience with this thing. It was just terrible. So

1932
01:37:10,760 --> 01:37:13,280
Speaker 3: I got through it and h thanks to the doctors

1933
01:37:13,280 --> 01:37:17,640
Speaker 3: and everything and nobody. Lot of people don't die from it.

1934
01:37:17,680 --> 01:37:20,080
Speaker 3: The guy Joseph Heller who wrote Catch twenty two, he

1935
01:37:20,120 --> 01:37:22,000
Speaker 3: got it. He was in a coma for two years

1936
01:37:22,000 --> 01:37:24,800
Speaker 3: on a ventilator. I fortunately was treated quick enough to

1937
01:37:24,800 --> 01:37:27,639
Speaker 3: where I never had pulmonary involvement. But MIMA is all scalable.

1938
01:37:27,640 --> 01:37:32,120
Speaker 3: But it was a real eye opening thing, Bob, for sure,

1939
01:37:32,439 --> 01:37:34,519
Speaker 3: I feel very blessed to have gotten through it, but

1940
01:37:34,560 --> 01:37:36,720
Speaker 3: also to have it happen when I was younger, I

1941
01:37:36,760 --> 01:37:38,479
Speaker 3: mean older, because if I'd been like twenty, I think

1942
01:37:38,520 --> 01:37:41,920
Speaker 3: it would have been rough. Now you know, I get

1943
01:37:41,920 --> 01:37:44,439
Speaker 3: a run fine, and I'm not trying to ski anymore anyway,

1944
01:37:44,439 --> 01:37:45,000
Speaker 3: So that's okay.

1945
01:37:45,680 --> 01:37:48,760
Speaker 2: Were you a skier before I was well?

1946
01:37:48,800 --> 01:37:51,080
Speaker 3: I never skied until I was thirty, when I got

1947
01:37:51,080 --> 01:37:54,679
Speaker 3: some of that money and I went out and learned

1948
01:37:54,680 --> 01:37:56,320
Speaker 3: how to skik because you know Army Bratt. We never

1949
01:37:56,360 --> 01:38:00,400
Speaker 3: went anywhere. Actually I remember I went skiing Don Henley

1950
01:38:00,400 --> 01:38:01,960
Speaker 3: and has a place in ask But I would skal

1951
01:38:02,000 --> 01:38:05,280
Speaker 3: with Henley in Eskmen. But so yeah, I skied, and

1952
01:38:05,280 --> 01:38:07,519
Speaker 3: I race cars and all that stuff. But none of

1953
01:38:07,520 --> 01:38:10,080
Speaker 3: that anymore, but it's appropriate. I'm too old anyway.

1954
01:38:10,120 --> 01:38:13,760
Speaker 2: So are you done recovering or will you regain any

1955
01:38:13,840 --> 01:38:15,719
Speaker 2: more use of your legs?

1956
01:38:18,720 --> 01:38:21,519
Speaker 3: No? No, All the recovering happens in the first year.

1957
01:38:21,640 --> 01:38:23,479
Speaker 3: So I've healed as much as I can. I have.

1958
01:38:23,720 --> 01:38:26,160
Speaker 3: They do these tests and so all the healing is done.

1959
01:38:26,320 --> 01:38:30,040
Speaker 3: I can walk fine. It's just that like when I'm

1960
01:38:30,040 --> 01:38:32,599
Speaker 3: in Manhattan, if I walk three or four blocks, it's

1961
01:38:32,640 --> 01:38:34,320
Speaker 3: like I walk kein blocks. You know, my legs are

1962
01:38:34,400 --> 01:38:39,320
Speaker 3: very inefficient and stairs are difficult. But I'm doing okay.

1963
01:38:39,360 --> 01:38:42,240
Speaker 3: I can I can get around and walking and stuff.

1964
01:38:42,240 --> 01:38:45,479
Speaker 3: It helps aerobically, but None of that's going to ever

1965
01:38:45,760 --> 01:38:49,160
Speaker 3: change my leg the way my legs are because it's

1966
01:38:49,200 --> 01:38:51,759
Speaker 3: spinal damage. It's not musk, it's not you know, muscular.

1967
01:38:51,800 --> 01:38:54,679
Speaker 3: But I'm doing fine. I can get around okay. I

1968
01:38:54,680 --> 01:38:56,439
Speaker 3: worked with a walker for a long time after the

1969
01:38:56,520 --> 01:38:58,439
Speaker 3: chair and that it came, but I can. I have

1970
01:38:58,520 --> 01:39:00,439
Speaker 3: to be super careful, like on stairs and stuff. But

1971
01:39:00,520 --> 01:39:03,000
Speaker 3: I'm I'm doing okay and I'm not playing. I rest

1972
01:39:03,040 --> 01:39:04,519
Speaker 3: a lot during the day on the bus so I

1973
01:39:04,520 --> 01:39:08,320
Speaker 3: can stand the ninety minutes. But yeah, I'm very lucky.

1974
01:39:09,160 --> 01:39:14,080
Speaker 2: So you mentioned Jeffrey Jeffrey Fasquett, guitarist, key member of

1975
01:39:14,120 --> 01:39:17,400
Speaker 2: the Latter Day Beach Boys and Brian Wilson tour. Tell

1976
01:39:17,479 --> 01:39:20,559
Speaker 2: us about how you met Jeffrey in your experience with him.

1977
01:39:20,600 --> 01:39:21,759
Speaker 2: He recently passed.

1978
01:39:23,320 --> 01:39:25,240
Speaker 3: Yeah. You know what's really funny, I was thinking about this.

1979
01:39:26,200 --> 01:39:30,439
Speaker 3: I always called Jeffrey Jeffrey Foscuett, and it's a British name,

1980
01:39:31,000 --> 01:39:35,960
Speaker 3: And one day Jerry Beckley from America called Foskett and

1981
01:39:36,000 --> 01:39:39,240
Speaker 3: I said, but Fuskett, that's how his name is really pronounced.

1982
01:39:39,240 --> 01:39:42,040
Speaker 3: And I asked jeff Jeffrey about he said, well, yes,

1983
01:39:42,680 --> 01:39:44,760
Speaker 3: it's pronounce Fuskett, and I said, I've been calling you

1984
01:39:44,760 --> 01:39:46,840
Speaker 3: Fosquette all this time, and he goes, it's okay, I

1985
01:39:46,880 --> 01:39:50,240
Speaker 3: don't care. And I said, well, how the hell did

1986
01:39:50,240 --> 01:39:53,599
Speaker 3: I get calling you Foskett anyway? And he goes, Carl,

1987
01:39:54,120 --> 01:39:57,599
Speaker 3: Carl called me Fosquett, and I said, oh, so all

1988
01:39:57,640 --> 01:40:01,720
Speaker 3: comes back to Carl. So in nineteen one, they when

1989
01:40:01,720 --> 01:40:04,320
Speaker 3: I was starting to another page the album with Laura

1990
01:40:04,400 --> 01:40:07,760
Speaker 3: on it, The World that Open was my oyster because

1991
01:40:07,760 --> 01:40:10,479
Speaker 3: I'd had this big record, so I could call anybody,

1992
01:40:10,520 --> 01:40:12,840
Speaker 3: you know. I called Art, Garfuncle, and I helled these people,

1993
01:40:12,880 --> 01:40:14,839
Speaker 3: and of course my dream was to have Carl Wilson

1994
01:40:14,880 --> 01:40:17,960
Speaker 3: sang on my record. So I called Carl as he

1995
01:40:18,080 --> 01:40:20,080
Speaker 3: was it said so gracious, and he came down and

1996
01:40:20,880 --> 01:40:23,760
Speaker 3: sang with me, and it was just, you know, unbelievable

1997
01:40:23,800 --> 01:40:26,840
Speaker 3: dream come true for me. But through that connection, Carl

1998
01:40:26,880 --> 01:40:28,920
Speaker 3: and it became fast friends, and I started getting involved

1999
01:40:28,960 --> 01:40:30,680
Speaker 3: with the Beach Boys, but I opened for them a lot.

2000
01:40:30,720 --> 01:40:33,880
Speaker 3: Sometimes I would sit in and sing tunes of Brian's

2001
01:40:33,880 --> 01:40:35,960
Speaker 3: and that sort of thing, And of course Jeffrey was

2002
01:40:36,000 --> 01:40:38,519
Speaker 3: in the band, and then he also later transitioned to

2003
01:40:38,560 --> 01:40:42,800
Speaker 3: being Brian's MD and so I got into that whole

2004
01:40:42,840 --> 01:40:44,880
Speaker 3: beach boy world and Jeffrey was in the middle of

2005
01:40:44,920 --> 01:40:47,799
Speaker 3: all that. So we just became again fast friends through Carl,

2006
01:40:48,120 --> 01:40:51,720
Speaker 3: and that friendship sustained till the day died. You know,

2007
01:40:51,760 --> 01:40:55,560
Speaker 3: and great amazing singer. He and I always joked that

2008
01:40:55,640 --> 01:40:58,320
Speaker 3: the two of us together made one Carl. You know

2009
01:40:58,360 --> 01:41:05,120
Speaker 3: what we sang, but you know, skilled harmonic musician, guitarist, producer,

2010
01:41:05,880 --> 01:41:12,280
Speaker 3: amazing singer and one of these guys networks. He knew everybody.

2011
01:41:12,680 --> 01:41:16,040
Speaker 3: He knows everybody you know he and but a lot

2012
01:41:16,040 --> 01:41:18,639
Speaker 3: of that was he would admit through Brian because because

2013
01:41:18,680 --> 01:41:20,559
Speaker 3: he had such access to Brian, and he was sort

2014
01:41:20,560 --> 01:41:23,760
Speaker 3: of Brian's guy. You know, he'd be hanging out with

2015
01:41:23,800 --> 01:41:27,840
Speaker 3: McCartney or hanging out with whoever because of Brian. But

2016
01:41:27,960 --> 01:41:31,000
Speaker 3: so you know, he always had he always knew everything

2017
01:41:31,000 --> 01:41:33,000
Speaker 3: before anybody else. Like if you try to scoop him

2018
01:41:33,040 --> 01:41:34,600
Speaker 3: by saying, hey I heard, he said, yeah, I know.

2019
01:41:36,439 --> 01:41:40,360
Speaker 3: He was that way. But he was an incredibly good

2020
01:41:40,360 --> 01:41:42,439
Speaker 3: friend and we had a lot of fun playing that

2021
01:41:42,520 --> 01:41:46,320
Speaker 3: music too. I went to London to Albert Hall and

2022
01:41:46,360 --> 01:41:49,200
Speaker 3: played with them and did some songs with the band.

2023
01:41:50,000 --> 01:41:54,840
Speaker 3: Brian wasn't there. But and through that all association, when

2024
01:41:54,880 --> 01:41:58,400
Speaker 3: Brian first started trying to come out, he did an

2025
01:41:58,400 --> 01:42:01,920
Speaker 3: album called Imagination that was sort of a constructed record

2026
01:42:01,960 --> 01:42:05,360
Speaker 3: by this guy, Joe Thomas. But they wanted a band, yeah,

2027
01:42:06,040 --> 01:42:09,519
Speaker 3: and they formed this band. It was Paul Schaeffer, myself,

2028
01:42:09,600 --> 01:42:12,880
Speaker 3: Timmy Schmidt, and a couple of national guys and we

2029
01:42:12,880 --> 01:42:16,040
Speaker 3: were Brian's band and we did Letterman and we did

2030
01:42:16,040 --> 01:42:19,640
Speaker 3: Farm Made Medity, things like that where we we you know.

2031
01:42:19,920 --> 01:42:22,000
Speaker 3: But it was and Brian was first coming back and

2032
01:42:22,120 --> 01:42:25,760
Speaker 3: it was tough because he was very uncomfortable. You know,

2033
01:42:25,960 --> 01:42:28,719
Speaker 3: he's gotten much much more comfortable, but at that point

2034
01:42:28,720 --> 01:42:31,759
Speaker 3: it was really terrifying for him to suddenly be thrust

2035
01:42:31,760 --> 01:42:32,599
Speaker 3: out on stage again.

2036
01:42:35,040 --> 01:42:37,840
Speaker 2: Well, I certainly know that album that really sounds like

2037
01:42:37,880 --> 01:42:41,200
Speaker 2: the Beach Boys. I saw that tour Lonely See You,

2038
01:42:41,360 --> 01:42:45,680
Speaker 2: phenomenal record. You're a big Beach Boys fan. What's your

2039
01:42:45,720 --> 01:42:48,280
Speaker 2: favorite Beach Boys album or a couple of songs?

2040
01:42:50,120 --> 01:42:52,680
Speaker 3: Well, pet sounds, I mean, you know, that's that's the

2041
01:42:52,680 --> 01:42:59,080
Speaker 3: one McCartney and Lennon that blew their mind. I think,

2042
01:43:00,600 --> 01:43:02,840
Speaker 3: I mean, God only knows. Paul says, the greatest song

2043
01:43:02,880 --> 01:43:06,160
Speaker 3: ever written and I would agree they had a poll

2044
01:43:06,200 --> 01:43:09,680
Speaker 3: at some point and the greatest song was Somewhere with

2045
01:43:09,720 --> 01:43:12,960
Speaker 3: the Rainbow, which I wouldn't argue either. But so God

2046
01:43:13,000 --> 01:43:15,320
Speaker 3: only knows because the way it's it's the songwritings he

2047
01:43:15,360 --> 01:43:19,360
Speaker 3: and Tony ash are amazing. But if Carl sang it,

2048
01:43:19,960 --> 01:43:22,760
Speaker 3: you know, and I have I have a handwritten lyric

2049
01:43:22,800 --> 01:43:25,240
Speaker 3: here in my house that Brian sent me. This handwritten

2050
01:43:25,240 --> 01:43:27,519
Speaker 3: God only knows, signed by Brian because he said, you

2051
01:43:27,560 --> 01:43:29,400
Speaker 3: know you love Carl, so I thought you'd like to

2052
01:43:29,439 --> 01:43:32,920
Speaker 3: have that. But so God only knows. But there's a

2053
01:43:32,920 --> 01:43:35,320
Speaker 3: tune that Mike and Al wrote called all This is That,

2054
01:43:36,439 --> 01:43:39,040
Speaker 3: which I love too. But then I just did a cover.

2055
01:43:39,880 --> 01:43:43,040
Speaker 3: Uh everybody says, watch you do a Carl cover record.

2056
01:43:43,439 --> 01:43:45,080
Speaker 3: I'm not, you know, I'm gonna touch that stuff, but

2057
01:43:45,120 --> 01:43:48,400
Speaker 3: I did. Recently I did a cover of this two

2058
01:43:48,439 --> 01:43:52,400
Speaker 3: Field Flows, which is on I think it's on Holland.

2059
01:43:52,520 --> 01:43:55,679
Speaker 3: But anyway, I did it completely different than Carl would

2060
01:43:55,720 --> 01:43:58,320
Speaker 3: do it. But so I'd say God only knows that certainly.

2061
01:43:58,560 --> 01:44:00,360
Speaker 3: And you know I wasn't made for these times. I mean,

2062
01:44:00,840 --> 01:44:02,120
Speaker 3: you know, the warmth of the sun. I mean, I

2063
01:44:02,200 --> 01:44:04,000
Speaker 3: just go on and on and on. I mean his

2064
01:44:04,120 --> 01:44:07,120
Speaker 3: catalog is crazy, but I do love that tune. All

2065
01:44:07,200 --> 01:44:11,040
Speaker 3: this is that but there and of course surfs up.

2066
01:44:11,080 --> 01:44:12,639
Speaker 3: You know pet sounds me. This serfs up a whole

2067
01:44:12,680 --> 01:44:14,800
Speaker 3: other level. It's kind of like Asia or something. It's

2068
01:44:14,920 --> 01:44:19,240
Speaker 3: just uh. I love the work as much as some

2069
01:44:19,280 --> 01:44:21,760
Speaker 3: people didn't like the collaboration with Van Dyke. I did.

2070
01:44:22,240 --> 01:44:28,360
Speaker 3: I love those obscure, heaty lyrics that Van Dyke used

2071
01:44:28,800 --> 01:44:29,479
Speaker 3: about music.

2072
01:44:29,960 --> 01:44:32,120
Speaker 2: Now, Carl had a great voice. I love what he

2073
01:44:32,160 --> 01:44:34,600
Speaker 2: did with I was made to love her. But my

2074
01:44:34,720 --> 01:44:38,559
Speaker 2: favorite Carl song his girl Don't Tell Me from Summer

2075
01:44:38,640 --> 01:44:39,719
Speaker 2: Days and Summer Nights.

2076
01:44:41,520 --> 01:44:46,280
Speaker 3: I met you last sun Kennos Day. Yeah, it's fantastic.

2077
01:44:46,439 --> 01:44:48,759
Speaker 3: I love that song and it's one of my faves.

2078
01:44:49,800 --> 01:44:54,840
Speaker 3: Carl his voice, Brian's Brian. But I really think Carl

2079
01:44:54,920 --> 01:44:57,599
Speaker 3: was the strongest of all those singers. I mean, oh Darl,

2080
01:44:57,720 --> 01:45:01,200
Speaker 3: I mean not Darling. With the song of the Beach

2081
01:45:01,240 --> 01:45:03,760
Speaker 3: boy was I've had to sing that on stage and

2082
01:45:04,360 --> 01:45:07,160
Speaker 3: forget about it. I mean it's so hard to sing,

2083
01:45:07,280 --> 01:45:09,120
Speaker 3: and I would watch him just belt it out. The

2084
01:45:09,200 --> 01:45:12,840
Speaker 3: guy had an incredible instrument, So yeah, lonely see I

2085
01:45:12,880 --> 01:45:14,640
Speaker 3: would sit around and just listen to the dark, to

2086
01:45:14,720 --> 01:45:16,920
Speaker 3: them and emulate them. And so Carl was definitely my

2087
01:45:17,040 --> 01:45:20,240
Speaker 3: vocal hero, and Brian's certainly a major writing hero. And

2088
01:45:22,120 --> 01:45:24,519
Speaker 3: it's funny. I went to dinner with Brian and Jeffrey

2089
01:45:26,160 --> 01:45:27,880
Speaker 3: and we went to McCormick miss or something, and so

2090
01:45:28,120 --> 01:45:31,080
Speaker 3: I picked up the check and Brian said, you buying

2091
01:45:31,160 --> 01:45:34,160
Speaker 3: my dinner? And I said yeah. He goes why and

2092
01:45:34,280 --> 01:45:36,080
Speaker 3: I said, well, I just want to somehow say thank

2093
01:45:36,120 --> 01:45:39,400
Speaker 3: you for all that you've done for me. Brian said,

2094
01:45:39,439 --> 01:45:41,639
Speaker 3: what did I do? I said, I don't know. It's

2095
01:45:41,960 --> 01:45:45,560
Speaker 3: taught me everything I know. But he's so humble, you know,

2096
01:45:46,200 --> 01:45:50,200
Speaker 3: he kind of just kind of shrugged. It was cute,

2097
01:45:50,240 --> 01:45:55,040
Speaker 3: but yeah, I learned a lot from those guys, all

2098
01:45:55,080 --> 01:45:58,120
Speaker 3: of them, you know, even Dennis. I mean that song

2099
01:45:58,200 --> 01:46:03,320
Speaker 3: Forever that didnist saying oh nomenal, yeah, unbelievable and Brian.

2100
01:46:03,880 --> 01:46:05,920
Speaker 3: Dennis brought Brian that and he had the song, but

2101
01:46:06,000 --> 01:46:08,280
Speaker 3: he needed a bridge. And the bridge song is so

2102
01:46:08,479 --> 01:46:13,080
Speaker 3: Brian because it's a you know, in my huhever and

2103
01:46:13,200 --> 01:46:15,800
Speaker 3: then it goes into this bridge that goes to a

2104
01:46:15,880 --> 01:46:18,439
Speaker 3: whole nother planet, and that's so Brian, and Brian sort

2105
01:46:18,479 --> 01:46:22,800
Speaker 3: of helped Dennis you know, write that, But I love

2106
01:46:22,880 --> 01:46:24,920
Speaker 3: that song, love it, you know, on.

2107
01:46:24,960 --> 01:46:29,120
Speaker 2: The same album It's about time. You know that song

2108
01:46:29,280 --> 01:46:34,000
Speaker 2: open Sunflower or second song. Okay, I used to blow

2109
01:46:34,120 --> 01:46:38,360
Speaker 2: my mind sky high looking for that. Okay, your songs

2110
01:46:38,600 --> 01:46:40,800
Speaker 2: in your royalty stream, do you still own those?

2111
01:46:41,640 --> 01:46:46,320
Speaker 3: Yeah? You know. Actually your assistant Margaret was telling me

2112
01:46:46,400 --> 01:46:47,880
Speaker 3: she works for BMG for a while, and I did

2113
01:46:47,960 --> 01:46:52,040
Speaker 3: sell my catalog early on the first four records to BMCH.

2114
01:46:52,320 --> 01:46:54,880
Speaker 3: But there's a reversion thing that you can file these

2115
01:46:54,920 --> 01:46:57,680
Speaker 3: reversions after thirty five years, there's a law that all

2116
01:46:57,760 --> 01:46:59,280
Speaker 3: that reverts back to you. And so I was very

2117
01:46:59,320 --> 01:47:02,240
Speaker 3: cautious and out all that because I quickly learned that

2118
01:47:02,360 --> 01:47:06,799
Speaker 3: was a mistake and nothing against BMG. But my advice

2119
01:47:06,880 --> 01:47:09,840
Speaker 3: to wrong writers is usually don't sell your cattle. Don't

2120
01:47:09,840 --> 01:47:13,240
Speaker 3: say you're publishing. But so I was able to get

2121
01:47:13,240 --> 01:47:15,479
Speaker 3: it back because after thirty five years you can do that.

2122
01:47:15,600 --> 01:47:17,320
Speaker 3: You got to be do it right, figure out how

2123
01:47:17,320 --> 01:47:18,640
Speaker 3: to do it, but you can do it. And the

2124
01:47:18,680 --> 01:47:19,519
Speaker 3: same with the masters.

2125
01:47:20,640 --> 01:47:24,439
Speaker 2: Okay, just because you regret it, why did you regret

2126
01:47:24,520 --> 01:47:25,840
Speaker 2: it and would you sell it again?

2127
01:47:27,760 --> 01:47:30,160
Speaker 3: Well, the reason at the time was, you know, I

2128
01:47:30,240 --> 01:47:32,320
Speaker 3: got some money, but nothing like the dollars we're seeing

2129
01:47:32,360 --> 01:47:37,800
Speaker 3: float around now. These multiples are crazy. But the real

2130
01:47:37,880 --> 01:47:41,519
Speaker 3: reason was I signed and I got this money, which

2131
01:47:41,600 --> 01:47:44,360
Speaker 3: was some money. But right after I signed with BMG,

2132
01:47:44,640 --> 01:47:48,000
Speaker 3: in Sync recorded Sailing on their first record, but nothing

2133
01:47:48,040 --> 01:47:50,000
Speaker 3: to do with was BMG said we're gonna get you

2134
01:47:50,040 --> 01:47:52,880
Speaker 3: all these commercials and all this great stuff. BMG had nothing.

2135
01:47:52,960 --> 01:47:55,600
Speaker 3: Johnny Wright, who produced and managed in Sink, got the

2136
01:47:55,720 --> 01:47:58,920
Speaker 3: idea and used his Florida people to construct this R

2137
01:47:58,920 --> 01:48:00,599
Speaker 3: and B pop version of sal It was on their

2138
01:48:00,640 --> 01:48:03,280
Speaker 3: first record. The record was massive. BMG made all their

2139
01:48:03,280 --> 01:48:06,880
Speaker 3: money back in one feel smooth. So had I just

2140
01:48:07,200 --> 01:48:08,800
Speaker 3: not done it, I couldn't. I would all lend it

2141
01:48:08,800 --> 01:48:14,519
Speaker 3: come myself. I mean, you know, McCartney's a big collector

2142
01:48:14,560 --> 01:48:16,320
Speaker 3: of catalogs and it's a smart thing to do from

2143
01:48:16,360 --> 01:48:20,679
Speaker 3: a business decision. But uh, and on these these these

2144
01:48:20,720 --> 01:48:23,400
Speaker 3: three sixty five deals and stuff, I'm a big fan

2145
01:48:23,439 --> 01:48:25,519
Speaker 3: of all that. You know, royalties have always been too low.

2146
01:48:25,600 --> 01:48:29,600
Speaker 3: I mean my first royalty rate was twelve percent, you know,

2147
01:48:30,280 --> 01:48:33,240
Speaker 3: So yeah, I uh, I've been around long enough. I

2148
01:48:33,280 --> 01:48:35,439
Speaker 3: could get it back, but you got to you got

2149
01:48:35,520 --> 01:48:37,240
Speaker 3: to make a concerted effort to hire a good lawyer

2150
01:48:37,360 --> 01:48:39,080
Speaker 3: to do that. But there's a law now that it

2151
01:48:39,160 --> 01:48:41,840
Speaker 3: reverts back, just like there was a law seven years

2152
01:48:41,920 --> 01:48:44,800
Speaker 3: after the seven years after you record your record, you

2153
01:48:44,840 --> 01:48:46,920
Speaker 3: can re record it. That used to be a lot

2154
01:48:47,000 --> 01:48:49,280
Speaker 3: that the labels are changing that you know they're going

2155
01:48:49,360 --> 01:48:51,720
Speaker 3: to say now you can't do that anymore, because you know,

2156
01:48:51,760 --> 01:48:54,320
Speaker 3: Taylor Swift just did that. She recorded all her stuff again.

2157
01:48:54,400 --> 01:48:59,240
Speaker 3: But you know these are all just turns of the road,

2158
01:48:59,320 --> 01:49:01,960
Speaker 3: you know, bread less traveled or whatever. I mean, it's

2159
01:49:02,000 --> 01:49:06,400
Speaker 3: all good. I mean, you live and learn. And again

2160
01:49:06,560 --> 01:49:08,840
Speaker 3: I'm sitting here talking to you getting ready. I just

2161
01:49:08,880 --> 01:49:10,800
Speaker 3: got tough with the seven week term. I just got

2162
01:49:10,840 --> 01:49:12,040
Speaker 3: the pope. I'm going to be going out in the

2163
01:49:12,040 --> 01:49:14,519
Speaker 3: summer again. I get ready to go to Lincoln Center

2164
01:49:15,360 --> 01:49:17,400
Speaker 3: and do a benefit for Michael Brecker, the great Jess

2165
01:49:17,439 --> 01:49:20,880
Speaker 3: sax player. So you know, I'm I'm doing lots of

2166
01:49:20,920 --> 01:49:23,000
Speaker 3: fun stuff and life is good.

2167
01:49:24,000 --> 01:49:25,880
Speaker 2: So how much do you work and how much do

2168
01:49:25,920 --> 01:49:26,639
Speaker 2: you want to work?

2169
01:49:29,000 --> 01:49:31,639
Speaker 3: Well, I want to work all the time. I mean,

2170
01:49:32,200 --> 01:49:35,000
Speaker 3: seventy two after what I went through, I want to

2171
01:49:35,040 --> 01:49:36,840
Speaker 3: make able of sunshine. So I'd like to work as

2172
01:49:36,920 --> 01:49:38,479
Speaker 3: much as I can these like four or five years.

2173
01:49:38,520 --> 01:49:40,360
Speaker 3: So I want to be out there doing Beetle shows

2174
01:49:40,400 --> 01:49:42,400
Speaker 3: with Todd or doing my own thing or whatever I

2175
01:49:42,439 --> 01:49:46,400
Speaker 3: can do, so playing Ringers All Star band, whatever it is.

2176
01:49:47,439 --> 01:49:49,200
Speaker 3: I love being on the road. I love being on

2177
01:49:49,240 --> 01:49:52,280
Speaker 3: the bus. I live on the bus and so I

2178
01:49:53,320 --> 01:49:55,240
Speaker 3: I love that. And that's where this thing gets. Like

2179
01:49:55,360 --> 01:49:57,320
Speaker 3: my girlfriend Joy is so fantastic because she gets it.

2180
01:49:57,439 --> 01:50:00,360
Speaker 3: She gets me, She gets all that and she that

2181
01:50:00,560 --> 01:50:02,479
Speaker 3: that's where I want to be. But she doesn't take

2182
01:50:02,520 --> 01:50:04,560
Speaker 3: it personally and she gets that that's part of the

2183
01:50:04,640 --> 01:50:07,799
Speaker 3: animal I am. But yeah, you can ask my manager.

2184
01:50:07,840 --> 01:50:10,040
Speaker 3: I'm like, when are we going back out? But i mean,

2185
01:50:10,320 --> 01:50:12,200
Speaker 3: after seven weeks, I'm fatigued a little bit and a

2186
01:50:12,320 --> 01:50:14,720
Speaker 3: little break, but I'm I'm definitely ready to go out again.

2187
01:50:15,320 --> 01:50:17,959
Speaker 2: So where did you meet this woman who can understand

2188
01:50:18,040 --> 01:50:18,679
Speaker 2: your lifestyle?

2189
01:50:20,960 --> 01:50:23,000
Speaker 3: I met her here in Austin at a dinner party.

2190
01:50:23,920 --> 01:50:26,360
Speaker 3: I went actually with Eric Johnson and she was there

2191
01:50:27,400 --> 01:50:31,800
Speaker 3: and we were introduced. And I was by myself at

2192
01:50:31,840 --> 01:50:35,240
Speaker 3: the time and she was as well, and we were introduced,

2193
01:50:35,240 --> 01:50:36,720
Speaker 3: and so I just kind of reached out to her

2194
01:50:36,800 --> 01:50:42,920
Speaker 3: and we you know, connected, and so you know how

2195
01:50:43,040 --> 01:50:47,000
Speaker 3: things work out. But she's wonderful. Him's joy and she

2196
01:50:48,240 --> 01:50:50,760
Speaker 3: works in nonprofit healthcare, which is a very rewarding and

2197
01:50:51,080 --> 01:50:53,000
Speaker 3: a career that I really have so much respect for

2198
01:50:53,280 --> 01:50:56,880
Speaker 3: helping people with health care needs. But she's you know,

2199
01:50:57,360 --> 01:50:59,840
Speaker 3: we got together. We've been together around ten years or so,

2200
01:51:00,080 --> 01:51:03,280
Speaker 3: so it's later in life. So she's just and not

2201
01:51:03,439 --> 01:51:06,560
Speaker 3: that you know, this thing with not understanding artist is

2202
01:51:06,880 --> 01:51:08,719
Speaker 3: that pervasive. It's just that it can be a problem

2203
01:51:08,800 --> 01:51:11,400
Speaker 3: you've got to understand. And Joe laughs about it. She

2204
01:51:11,479 --> 01:51:14,000
Speaker 3: thinks it's funny that you know. But maybe she loves

2205
01:51:14,080 --> 01:51:15,720
Speaker 3: the break too. Maybe she can't wait for me to leave.

2206
01:51:15,720 --> 01:51:20,439
Speaker 3: I don't know. But I'm really enjoying what I'm doing

2207
01:51:20,520 --> 01:51:22,600
Speaker 3: more than ever, and partly above because that all that

2208
01:51:22,760 --> 01:51:25,559
Speaker 3: early in security. You know, I've lost a lot of weight.

2209
01:51:25,600 --> 01:51:28,000
Speaker 3: I lost fifty pounds. I used to weigh too eighty

2210
01:51:28,040 --> 01:51:30,320
Speaker 3: five and now I weighed to twenty. I lost fifty

2211
01:51:30,360 --> 01:51:36,200
Speaker 3: pounds because of gambret and I've Type two diabetes. So

2212
01:51:36,320 --> 01:51:38,559
Speaker 3: I'm really conscious about my eating of it so now,

2213
01:51:38,960 --> 01:51:40,439
Speaker 3: and I want to lose a little bit more about

2214
01:51:40,520 --> 01:51:43,000
Speaker 3: lost love with So I'm feeling more confident physically but

2215
01:51:43,160 --> 01:51:46,439
Speaker 3: also musically. I feel much much more confident in my

2216
01:51:46,560 --> 01:51:49,240
Speaker 3: skills and what I'm able to do. And now I'm

2217
01:51:49,280 --> 01:51:52,240
Speaker 3: surrounded by these amazing musicians on stage that are just

2218
01:51:52,960 --> 01:51:56,280
Speaker 3: world class, and so every night they bring stuff to

2219
01:51:56,320 --> 01:52:01,720
Speaker 3: the stage that's just inspiring. So it's really fun for

2220
01:52:01,800 --> 01:52:03,240
Speaker 3: me to step out there and you know, see what's

2221
01:52:03,240 --> 01:52:04,040
Speaker 3: going to happen each night.

2222
01:52:04,080 --> 01:52:09,720
Speaker 2: You know, you've been fantastic, very forthcoming. I really have

2223
01:52:09,920 --> 01:52:11,760
Speaker 2: to thank you. I could talk to you all day.

2224
01:52:11,800 --> 01:52:14,280
Speaker 2: It's we're from the same areas, so many similarities. You

2225
01:52:14,360 --> 01:52:16,559
Speaker 2: have the success, but you tell such a great story.

2226
01:52:17,160 --> 01:52:19,160
Speaker 2: I want to thank you for taking this time to

2227
01:52:19,200 --> 01:52:20,280
Speaker 2: speak to my audience.

2228
01:52:21,040 --> 01:52:23,800
Speaker 3: Well, I'm a huge fan. I told you that in

2229
01:52:23,880 --> 01:52:25,519
Speaker 3: the email, but I'm a huge fan. I have so

2230
01:52:25,640 --> 01:52:28,479
Speaker 3: much respect for what you do and say. I think

2231
01:52:28,520 --> 01:52:30,840
Speaker 3: you're incredibly honest and you say a lot of things

2232
01:52:30,880 --> 01:52:34,760
Speaker 3: that need to be said. I think to the world

2233
01:52:34,800 --> 01:52:38,920
Speaker 3: about music and you know, and you tell it like

2234
01:52:39,000 --> 01:52:40,479
Speaker 3: it is, and I think we need that right now.

2235
01:52:40,600 --> 01:52:43,040
Speaker 3: So and I was saying, you know, I don't know

2236
01:52:43,120 --> 01:52:44,840
Speaker 3: a lot inviies anywhere, but I gotta say it's been

2237
01:52:44,880 --> 01:52:47,519
Speaker 3: a lot of fun. I was nervous, you know, uh,

2238
01:52:48,280 --> 01:52:50,439
Speaker 3: talking to you today. But you know you did tell me,

2239
01:52:51,320 --> 01:52:53,519
Speaker 3: you said it's not a gotcha, you know, and you're

2240
01:52:53,600 --> 01:52:55,560
Speaker 3: you're you're true to your word. You know.

2241
01:52:55,960 --> 01:52:58,960
Speaker 2: Well, as I say, you know, you were somewhat reluctant

2242
01:52:59,400 --> 01:53:01,559
Speaker 2: and then you were so great. I mean, you never

2243
01:53:01,680 --> 01:53:04,360
Speaker 2: know what to expect. I'm not blowing smoke. Well, you

2244
01:53:04,439 --> 01:53:08,400
Speaker 2: were really great, very forthcoming. The story issues. I say,

2245
01:53:08,479 --> 01:53:11,040
Speaker 2: I could have gone down a million more avenues, So

2246
01:53:11,360 --> 01:53:11,920
Speaker 2: thanks again.

2247
01:53:12,160 --> 01:53:14,439
Speaker 3: Well yeah, I really enjoyed it. Thank you, Bob.

2248
01:53:15,120 --> 01:53:18,840
Speaker 2: Listen till next time. This is Bob left Sex