1 00:00:00,560 --> 00:00:01,360 Speaker 1: Taking a Walk. 2 00:00:01,480 --> 00:00:04,280 Speaker 2: I have had a lot of great friends and people 3 00:00:04,320 --> 00:00:08,879 Speaker 2: that were benefactors and advocates for me, and helpers and mentors, 4 00:00:09,039 --> 00:00:11,639 Speaker 2: and I'm just really grateful to all of them. You know, 5 00:00:11,880 --> 00:00:13,680 Speaker 2: nobody progresses without help. 6 00:00:13,800 --> 00:00:15,800 Speaker 3: Really, what do you get when you mix a banjo, 7 00:00:16,239 --> 00:00:20,239 Speaker 3: a stratocaster, and a restless spirit of musical adventure. You 8 00:00:20,320 --> 00:00:22,880 Speaker 3: get a career that helps set the foundation for one 9 00:00:22,920 --> 00:00:25,799 Speaker 3: of the biggest bands in rock history, and a musical 10 00:00:25,880 --> 00:00:30,320 Speaker 3: journey that spans folk clubs, country stages in the California 11 00:00:30,400 --> 00:00:33,840 Speaker 3: Sound of the seventies. I'm buzznight, and on this Taking 12 00:00:33,880 --> 00:00:37,600 Speaker 3: a Walk episode, I'm joined by guitar as songwriter and 13 00:00:37,760 --> 00:00:42,199 Speaker 3: original Eagle Bernie Ledden. Bernie has always been a seeker, 14 00:00:42,560 --> 00:00:45,559 Speaker 3: never content to stay in one lane, always looking for 15 00:00:45,600 --> 00:00:50,000 Speaker 3: the crossroads where tradition and innovation meet. From his days 16 00:00:50,200 --> 00:00:53,800 Speaker 3: shaping bluegrass and country rock with the Flying Burrito Brothers 17 00:00:54,040 --> 00:00:57,640 Speaker 3: to co founding the Eagles and writing classics that still 18 00:00:57,680 --> 00:01:01,640 Speaker 3: echo through the airwaves, history is one of quiet but 19 00:01:01,960 --> 00:01:06,640 Speaker 3: undeniable impact. So join me on this episode through the 20 00:01:06,720 --> 00:01:10,559 Speaker 3: life and music of a true pioneer, Bernie Ledden. Coming 21 00:01:10,640 --> 00:01:13,400 Speaker 3: up after these words. 22 00:01:14,680 --> 00:01:16,679 Speaker 2: Taking a Walk, well, Bernie. 23 00:01:16,319 --> 00:01:19,160 Speaker 3: It's an honor havenue on the Taking a Walk Podcast, 24 00:01:19,760 --> 00:01:23,160 Speaker 3: It's an honor to be here. So since we call 25 00:01:23,240 --> 00:01:26,600 Speaker 3: this podcast Taking a Walk, Before we get into the 26 00:01:27,040 --> 00:01:30,319 Speaker 3: brand new Too Late to Be Cool release and everything 27 00:01:30,360 --> 00:01:33,559 Speaker 3: that's been going on, I'd like to ask this little 28 00:01:33,640 --> 00:01:36,360 Speaker 3: opening question here. If you could take a walk with 29 00:01:36,400 --> 00:01:40,520 Speaker 3: someone living or dead, who would you take a walk with? Then? 30 00:01:40,560 --> 00:01:43,000 Speaker 3: Where would you take that walk with them? 31 00:01:43,640 --> 00:01:47,560 Speaker 2: Jesus Christ, and wherever it was would be up to him, 32 00:01:48,040 --> 00:01:49,560 Speaker 2: And if you wanted to be somewhere else, you could 33 00:01:49,600 --> 00:01:50,320 Speaker 2: just take us there. 34 00:01:51,800 --> 00:01:57,080 Speaker 3: I love that wonderful. Well, Bernie, congratulations on the brand 35 00:01:57,160 --> 00:01:59,960 Speaker 3: new music. First of all, too Late to Be Cool. 36 00:02:00,960 --> 00:02:04,160 Speaker 3: You must be so excited to get this out to 37 00:02:04,240 --> 00:02:04,680 Speaker 3: the world. 38 00:02:05,760 --> 00:02:10,799 Speaker 2: Yeah, it's I really am. It's I'm actually extremely happy 39 00:02:10,840 --> 00:02:14,880 Speaker 2: with the record. You know, I haven't released anything for 40 00:02:14,960 --> 00:02:18,440 Speaker 2: I think somebody said twenty three heres or something. But 41 00:02:18,919 --> 00:02:20,480 Speaker 2: I went out of the road with the Eagles in 42 00:02:20,560 --> 00:02:23,120 Speaker 2: twenty thirteen through twenty fifteen in the History of the 43 00:02:23,120 --> 00:02:28,200 Speaker 2: Eagles tour and just got excited about playing and singing 44 00:02:29,120 --> 00:02:31,480 Speaker 2: every day again. And so when the touring ended, I 45 00:02:32,800 --> 00:02:35,919 Speaker 2: decided to spend more time writing and so I built 46 00:02:35,960 --> 00:02:37,960 Speaker 2: up a pile of songs, and then of course you 47 00:02:38,040 --> 00:02:41,520 Speaker 2: want to record them. And I built a new building 48 00:02:41,560 --> 00:02:44,960 Speaker 2: for my recording year. And then my old friend Glynn Johns, 49 00:02:44,960 --> 00:02:47,200 Speaker 2: who produced the first two and a half Eagles albums, 50 00:02:47,240 --> 00:02:51,280 Speaker 2: came over from England and we did two batches of 51 00:02:51,360 --> 00:02:56,400 Speaker 2: recording last year in early January this year. And so anyway, 52 00:02:56,800 --> 00:02:59,280 Speaker 2: he's so experienced that we're such good friends. We know 53 00:02:59,360 --> 00:03:02,079 Speaker 2: each other so well, but he just works so fast 54 00:03:02,080 --> 00:03:07,000 Speaker 2: and smoothly. He makes decisions on the fly. And we 55 00:03:07,080 --> 00:03:10,840 Speaker 2: recorded the two inch sixteen track analog tape, so you 56 00:03:10,919 --> 00:03:14,120 Speaker 2: have to make decisions right because there's no room for 57 00:03:14,120 --> 00:03:18,520 Speaker 2: forty three guitar parts or seventeen vocals or whatever. So 58 00:03:18,560 --> 00:03:20,280 Speaker 2: we got on with it the whole thing. You know. 59 00:03:20,320 --> 00:03:22,920 Speaker 2: It took about three weeks maybe four to mix it 60 00:03:22,960 --> 00:03:27,079 Speaker 2: and everything, but it sounds fresh to me still, and 61 00:03:27,160 --> 00:03:28,840 Speaker 2: so I'm just so happy about that, you know. 62 00:03:30,160 --> 00:03:33,000 Speaker 3: And you had stayed in contact with Glenn over the years, 63 00:03:33,040 --> 00:03:33,440 Speaker 3: hadn't you. 64 00:03:34,400 --> 00:03:36,960 Speaker 2: Yeah, he started after I left the Eagles in seventy five. 65 00:03:37,080 --> 00:03:40,800 Speaker 2: He began using me on reporting sessions in England and 66 00:03:40,880 --> 00:03:44,680 Speaker 2: also and mostly Los Angeles. A lot of different people 67 00:03:44,760 --> 00:03:49,600 Speaker 2: Nancy Griffith, Landa Rotstadt again, you know, some different bands, 68 00:03:49,680 --> 00:03:53,480 Speaker 2: John Hyatt, and it's always fun to work with Glenn. 69 00:03:53,920 --> 00:03:56,360 Speaker 2: He's just a dear friend and he's so good at 70 00:03:56,360 --> 00:03:59,760 Speaker 2: what he does. I'm just always trying to understand it better. 71 00:04:00,520 --> 00:04:01,560 Speaker 2: So it was a lot of fun. 72 00:04:02,840 --> 00:04:06,160 Speaker 3: I want to come back to the new music, but 73 00:04:06,240 --> 00:04:08,880 Speaker 3: I do want to ask you about Nashville because you're 74 00:04:09,080 --> 00:04:13,480 Speaker 3: outside of Nashville and the Nashville community is a pretty 75 00:04:13,520 --> 00:04:18,159 Speaker 3: amazing place to be. How does that community inspire you. 76 00:04:19,640 --> 00:04:23,840 Speaker 2: Well, it's you know, they have a catchphrase that they 77 00:04:23,920 --> 00:04:26,520 Speaker 2: use around here. It all begins with a song. So 78 00:04:26,640 --> 00:04:30,520 Speaker 2: that's nice that they give the songwriter kind of prominence 79 00:04:30,560 --> 00:04:34,040 Speaker 2: in the food chain of making music, you know. And 80 00:04:34,920 --> 00:04:36,839 Speaker 2: you probably know that in New York back in the 81 00:04:36,880 --> 00:04:39,720 Speaker 2: fifties and sixties, there was a place called the Brill Building, 82 00:04:40,400 --> 00:04:42,960 Speaker 2: and it was a building in which all the songwriters 83 00:04:42,960 --> 00:04:45,640 Speaker 2: and all the publishers pretty much all had offices. So 84 00:04:45,760 --> 00:04:48,479 Speaker 2: again it was music brow was a little bit like 85 00:04:48,520 --> 00:04:51,039 Speaker 2: that where the community was literally bumping into each other 86 00:04:51,120 --> 00:04:55,360 Speaker 2: on the stairs in the hallway, and serendipity would put 87 00:04:55,400 --> 00:04:59,520 Speaker 2: people together and stuff would happen, you know, So Nashville 88 00:04:59,600 --> 00:05:03,440 Speaker 2: always was like that as a songwriting community, and there's 89 00:05:03,480 --> 00:05:08,040 Speaker 2: some funny stories about well, Harlan Howard is this infamous 90 00:05:08,160 --> 00:05:10,880 Speaker 2: Nashville songwriter who wrote just I don't know one, hundreds 91 00:05:10,920 --> 00:05:14,599 Speaker 2: and hundreds of hits. But their story was he would 92 00:05:14,640 --> 00:05:16,920 Speaker 2: write have some fresh songs, and he'd dropped by some 93 00:05:17,040 --> 00:05:18,960 Speaker 2: of the session at ten in the morning and they 94 00:05:19,000 --> 00:05:22,240 Speaker 2: had three other songs ready to record on somebody and 95 00:05:22,279 --> 00:05:25,680 Speaker 2: they'd say, well, Harland, you got anything today, and they 96 00:05:25,720 --> 00:05:27,719 Speaker 2: he'd play them a song and they go, oh, it's face, 97 00:05:27,760 --> 00:05:29,560 Speaker 2: so we're going to cut that right now. And they'd 98 00:05:29,600 --> 00:05:31,800 Speaker 2: bump the first song and then they'd ask him you 99 00:05:31,839 --> 00:05:33,960 Speaker 2: got anything else, and that you play them something. They 100 00:05:34,080 --> 00:05:36,560 Speaker 2: bump all three songs from this artist. They will record 101 00:05:36,600 --> 00:05:40,000 Speaker 2: for me and record three Harlan Howard songs and usually 102 00:05:40,040 --> 00:05:41,960 Speaker 2: there'd be a hits. I mean, he was so good 103 00:05:42,000 --> 00:05:46,120 Speaker 2: at it. But it's really a great community and everybody 104 00:05:46,120 --> 00:05:48,680 Speaker 2: supports each other and everybody cheers for one another, and 105 00:05:48,720 --> 00:05:49,400 Speaker 2: it's really cool. 106 00:05:50,839 --> 00:05:53,240 Speaker 3: So when you look back at your musical journey from 107 00:05:53,320 --> 00:05:58,400 Speaker 3: the Eagles to the Flying Burrito Brothers and beyond, what 108 00:05:58,480 --> 00:06:04,400 Speaker 3: moments do you feel like with the biggest crossroad moments. 109 00:06:04,839 --> 00:06:10,960 Speaker 2: Well, I wouldn't actually pick you know, a musical event. 110 00:06:12,160 --> 00:06:14,159 Speaker 2: I would actually I just went out to LA to 111 00:06:14,160 --> 00:06:16,520 Speaker 2: go to the memorial service of the dear friends that 112 00:06:16,600 --> 00:06:21,760 Speaker 2: I met in nineteen sixty three, let's say, in San Diego, 113 00:06:21,839 --> 00:06:25,760 Speaker 2: and he was ex Navy diver, and they owned a 114 00:06:25,760 --> 00:06:27,960 Speaker 2: little music store and they had a bluegrass band called 115 00:06:28,000 --> 00:06:30,960 Speaker 2: the Scottsville s war Barkers. Chris Hillman later of the 116 00:06:30,960 --> 00:06:34,760 Speaker 2: Birds was the man Lenklller. But I've traced back my 117 00:06:35,080 --> 00:06:39,080 Speaker 2: career from the Eagles backwards and it all goes back 118 00:06:39,080 --> 00:06:42,560 Speaker 2: to this guy Larry Murray in San Diego, because he 119 00:06:42,640 --> 00:06:45,600 Speaker 2: invited me later to come out to LA and join 120 00:06:45,680 --> 00:06:48,520 Speaker 2: him on a singing group on Capitol Records in nineteen 121 00:06:48,520 --> 00:06:53,760 Speaker 2: seventy sixty seven, and he also produced and was responsible 122 00:06:53,800 --> 00:06:57,920 Speaker 2: for Linda Ronstock, so he started using me on sessions. 123 00:06:57,920 --> 00:06:59,920 Speaker 2: But again, it all goes back to this guy Larry, 124 00:07:00,400 --> 00:07:06,000 Speaker 2: and every thing positive connection in my career was you 125 00:07:06,080 --> 00:07:09,720 Speaker 2: can trace it all the way through it. So I'm 126 00:07:09,800 --> 00:07:13,200 Speaker 2: really glad to realize that. And I have had a 127 00:07:13,200 --> 00:07:16,440 Speaker 2: lot of great friends and people that were benefactors and 128 00:07:16,520 --> 00:07:20,400 Speaker 2: advocates for me and helpers and mentors, and I'm just 129 00:07:20,440 --> 00:07:23,840 Speaker 2: really grateful to all of them. You know, nobody progresses 130 00:07:23,880 --> 00:07:26,800 Speaker 2: without help. Really, What was. 131 00:07:26,760 --> 00:07:31,120 Speaker 3: It like being a friend and a collaborator with the 132 00:07:31,160 --> 00:07:32,800 Speaker 3: great Graham Parsons. 133 00:07:33,400 --> 00:07:37,840 Speaker 2: Graham with a lot of fun, you know. One of 134 00:07:37,880 --> 00:07:40,360 Speaker 2: the things people don't talk about it. So for those 135 00:07:40,400 --> 00:07:45,800 Speaker 2: who don't know, Graham Parsons was from he was from Waycross, Georgia. 136 00:07:45,880 --> 00:07:49,560 Speaker 2: He was from a well to do family. He was 137 00:07:49,600 --> 00:07:51,840 Speaker 2: a trust fund kid. He went to Harvard for a 138 00:07:51,960 --> 00:07:57,800 Speaker 2: minute and left, started a bandon International Submarine band in Boston, 139 00:07:58,920 --> 00:08:03,000 Speaker 2: ended up in La got in the Birds later in 140 00:08:03,040 --> 00:08:06,840 Speaker 2: the birds career. He left the Birds before the Swootheart 141 00:08:06,880 --> 00:08:10,000 Speaker 2: the Radio album was released. A lot of his vocals 142 00:08:10,000 --> 00:08:13,200 Speaker 2: were replaced, but he then Chris Hillman left the Birds 143 00:08:13,200 --> 00:08:15,360 Speaker 2: and the two of them formed the Flying Burrito Brothers. 144 00:08:16,360 --> 00:08:18,680 Speaker 2: I was on the second Brido album. The first Brio 145 00:08:18,720 --> 00:08:22,880 Speaker 2: album is actually brilliant and genius And one of the 146 00:08:22,880 --> 00:08:26,200 Speaker 2: things people don't mention about Graham because he's credited with 147 00:08:26,880 --> 00:08:29,520 Speaker 2: people call him the father of country rock, and the 148 00:08:29,560 --> 00:08:34,200 Speaker 2: Eagles ebulated that model, but he added R and B 149 00:08:34,760 --> 00:08:39,240 Speaker 2: influences also to the mix that he called cosmic American music. 150 00:08:39,960 --> 00:08:42,719 Speaker 2: You know, the Eagles also mixed in R and B 151 00:08:42,840 --> 00:08:47,440 Speaker 2: with country and folk and rock and pop. Graham was 152 00:08:47,480 --> 00:08:51,199 Speaker 2: just a lot of fun. Unfortunately he was an alcoholic 153 00:08:51,440 --> 00:08:55,120 Speaker 2: and he hung out with He quit the Britos who 154 00:08:55,160 --> 00:08:57,120 Speaker 2: went to live with the Rolling Starns in the south 155 00:08:57,120 --> 00:08:59,080 Speaker 2: of France when they're like, I'm not sure what album 156 00:08:59,080 --> 00:09:01,240 Speaker 2: they were making. But he tried to keep up with 157 00:09:01,360 --> 00:09:04,320 Speaker 2: Keith Richards. And the truth is, nobody has ever kept 158 00:09:04,400 --> 00:09:06,360 Speaker 2: up with Keith Richards as far as staying up in 159 00:09:07,640 --> 00:09:11,440 Speaker 2: doing things that perhaps would be advisable to do for 160 00:09:11,559 --> 00:09:16,160 Speaker 2: very long. So Keith's still with us. And Graham died 161 00:09:16,160 --> 00:09:21,240 Speaker 2: at twenty six, you know, and tragically, but brilliant guy. 162 00:09:22,280 --> 00:09:28,440 Speaker 3: And it's so important, I think is generations advance to 163 00:09:28,600 --> 00:09:32,400 Speaker 3: keep you know, folks like Graham's name and his music 164 00:09:32,480 --> 00:09:36,000 Speaker 3: and his influence alive, don't you think I do? 165 00:09:36,120 --> 00:09:38,400 Speaker 2: And I have to give credits to Amy Lou Harris, 166 00:09:38,400 --> 00:09:41,920 Speaker 2: who pretty much took on that the mantle of doing that. 167 00:09:42,040 --> 00:09:44,600 Speaker 2: You know, she's kind of been the curator of Graham's 168 00:09:45,080 --> 00:09:49,079 Speaker 2: legacy by recording every song pretty much that he wrote 169 00:09:49,120 --> 00:09:52,440 Speaker 2: that you know she liked, and I mean she recorded 170 00:09:52,480 --> 00:09:56,160 Speaker 2: almost all his stuff and so she's definitely one. And 171 00:09:57,040 --> 00:10:00,480 Speaker 2: there's there's a lot of bands that have emulated in 172 00:10:00,520 --> 00:10:05,640 Speaker 2: some way, but Ammy has kept his actual catalog and 173 00:10:05,760 --> 00:10:08,600 Speaker 2: actual songs alive, you know. And I just saw her 174 00:10:08,600 --> 00:10:11,559 Speaker 2: the other day at Linda Ronstatt tribute and she's still 175 00:10:12,360 --> 00:10:14,400 Speaker 2: she's still doing that. God bless her. 176 00:10:15,480 --> 00:10:19,559 Speaker 3: Well, you mentioned Linda Ronstadt, so obviously your career and 177 00:10:19,679 --> 00:10:26,840 Speaker 3: the Eagles were so intertwined with Linda. Talk about those moments, which, 178 00:10:26,840 --> 00:10:29,160 Speaker 3: as I'm asking you the question, I'm such a fan 179 00:10:29,320 --> 00:10:32,280 Speaker 3: of yours and your music and Linda's music, I have 180 00:10:32,400 --> 00:10:36,840 Speaker 3: chills asking you the question. What was it like being 181 00:10:36,880 --> 00:10:38,760 Speaker 3: with Linda and collaborating with her? 182 00:10:39,760 --> 00:10:44,440 Speaker 2: Well, it's been great. So, as I said, I've joined 183 00:10:44,440 --> 00:10:48,200 Speaker 2: the group that was already on Capitol Records in late 184 00:10:48,280 --> 00:10:51,000 Speaker 2: nineteen sixty seven, and Linda Ronstatt was signed to the 185 00:10:51,040 --> 00:10:55,280 Speaker 2: same label, same producer, same a and Argyll and so 186 00:10:55,320 --> 00:10:59,120 Speaker 2: he's that producer started using me on Linda's sessions, which 187 00:10:59,240 --> 00:11:01,960 Speaker 2: was the Stonempone, Linda ro Onnsett and the Stone Ponies. 188 00:11:02,280 --> 00:11:04,880 Speaker 2: So I played on Stone Ponies Records actually in nineteen 189 00:11:04,920 --> 00:11:10,040 Speaker 2: sixty eight, and then she started doing well as a 190 00:11:09,679 --> 00:11:13,559 Speaker 2: solo artist, and I was in her touring band and 191 00:11:14,400 --> 00:11:16,800 Speaker 2: continued recording with her. But I was in a touring band. 192 00:11:16,840 --> 00:11:21,080 Speaker 2: We were actually living in hotels in New York City 193 00:11:21,120 --> 00:11:24,960 Speaker 2: the summer of sixty nine when Woodstock was happening, and 194 00:11:25,000 --> 00:11:29,840 Speaker 2: we're playing clubs in French Village and surrounding areas. And 195 00:11:29,880 --> 00:11:33,760 Speaker 2: then I left and joined the Flying Brido Brothers, and 196 00:11:33,840 --> 00:11:37,560 Speaker 2: then the other soon to be Eagles, Don Hanling, Glen 197 00:11:37,559 --> 00:11:42,280 Speaker 2: Fry and I think Randy also were then in Linda's 198 00:11:42,320 --> 00:11:45,160 Speaker 2: band after me. So some say we all came from 199 00:11:45,240 --> 00:11:47,079 Speaker 2: Lindi's band, and we did, but not all at the 200 00:11:47,160 --> 00:11:49,079 Speaker 2: same time, you know, But we were all in the 201 00:11:49,120 --> 00:11:53,760 Speaker 2: same musical community in LA, which actually was very similar 202 00:11:53,800 --> 00:11:58,360 Speaker 2: to the Nashville community back then, you know, West La. 203 00:11:58,559 --> 00:12:03,160 Speaker 2: The Trouevia or Club, the Ashbury Club, and all the 204 00:12:03,200 --> 00:12:05,800 Speaker 2: other clubs around that had been folk clubs and they 205 00:12:05,840 --> 00:12:09,640 Speaker 2: became kind of a little bit electrified, but they still were, 206 00:12:10,360 --> 00:12:15,320 Speaker 2: you know, two hundred, two hundred and fifty seat showrooms, 207 00:12:15,480 --> 00:12:20,200 Speaker 2: showcase rooms, little mini theaters. It served drinks, you know, 208 00:12:21,000 --> 00:12:22,840 Speaker 2: and there was a whole bunch of them. It was 209 00:12:23,040 --> 00:12:26,160 Speaker 2: just a network of clubs you could play in the 210 00:12:26,240 --> 00:12:29,240 Speaker 2: local area. Of la, which of course is huge, but 211 00:12:29,400 --> 00:12:32,720 Speaker 2: you could hone your craft, and some people had a 212 00:12:32,760 --> 00:12:35,280 Speaker 2: record deal, some people had a publishing deal, and we 213 00:12:35,400 --> 00:12:37,640 Speaker 2: all just in her rocket, you know, And that's how 214 00:12:37,679 --> 00:12:40,880 Speaker 2: the world there was at that time, and in Ronstatt 215 00:12:40,920 --> 00:12:42,800 Speaker 2: was always Linda was always part of it. 216 00:12:43,960 --> 00:12:46,560 Speaker 3: What a what a gem she is? Huh my god? 217 00:12:46,760 --> 00:12:51,120 Speaker 2: Yeah, amazing. I mean actually, when I first started playing 218 00:12:51,200 --> 00:12:55,640 Speaker 2: with her doing shows, I was the main harmony singer, 219 00:12:55,840 --> 00:13:00,880 Speaker 2: and she sings so full voice and loud, like no 220 00:13:01,000 --> 00:13:04,960 Speaker 2: restraint that I had to let my voice open up 221 00:13:05,400 --> 00:13:08,440 Speaker 2: or I would have said it like a pipsqueak mouse 222 00:13:08,600 --> 00:13:14,040 Speaker 2: next to her. And so it was really wonderful to 223 00:13:14,120 --> 00:13:17,800 Speaker 2: sing with her, you know. And she was unrestrained with 224 00:13:17,840 --> 00:13:20,480 Speaker 2: her voice and just such a natural talent, you know. 225 00:13:20,520 --> 00:13:22,719 Speaker 2: But what a what a gift to be able to 226 00:13:22,760 --> 00:13:23,280 Speaker 2: sing with her. 227 00:13:23,880 --> 00:13:26,199 Speaker 3: I love it. I love it. I love how everything 228 00:13:26,240 --> 00:13:31,280 Speaker 3: has come full circle in that Henry Dilts is part 229 00:13:31,280 --> 00:13:36,240 Speaker 3: of your new work here in terms of his brilliance. 230 00:13:36,280 --> 00:13:39,160 Speaker 3: I love Henry. He's been on the podcast a couple 231 00:13:39,200 --> 00:13:43,320 Speaker 3: of times and he's one of my favorites. Obviously. He 232 00:13:43,400 --> 00:13:47,280 Speaker 3: goes back to some Eagles history there in terms of 233 00:13:47,320 --> 00:13:51,280 Speaker 3: his work and cover art and everything. Can you take 234 00:13:51,320 --> 00:13:54,640 Speaker 3: me back to some of that work that he did 235 00:13:54,679 --> 00:13:58,520 Speaker 3: with the Eagles and what that was like then? Sure? 236 00:13:58,600 --> 00:14:03,080 Speaker 2: Okay, So Henry was not a studio photographer. His whole 237 00:14:03,120 --> 00:14:08,040 Speaker 2: thing was to go on location, whether that was in 238 00:14:08,240 --> 00:14:11,319 Speaker 2: la but to go somewhere that there was some background 239 00:14:11,320 --> 00:14:14,040 Speaker 2: that was interesting, and he put the people in front 240 00:14:14,040 --> 00:14:16,720 Speaker 2: of that. But in the case of the first Eagles album, 241 00:14:17,600 --> 00:14:19,960 Speaker 2: So I got to tell you, this was the business 242 00:14:20,040 --> 00:14:22,480 Speaker 2: plan for that photo shoot. Okay, We're going to go 243 00:14:22,520 --> 00:14:25,080 Speaker 2: to the Troubadour Club and we're going to close it down. 244 00:14:25,200 --> 00:14:27,480 Speaker 2: We're going to wait till they close it one point 245 00:14:27,480 --> 00:14:29,520 Speaker 2: thirty in the morning. Then we're going to get in 246 00:14:29,600 --> 00:14:33,360 Speaker 2: our cars and drive one hundred plus miles through Palm 247 00:14:33,400 --> 00:14:37,320 Speaker 2: Springs to the Upper Desert to Joshua Tree National Mania. 248 00:14:37,400 --> 00:14:39,440 Speaker 2: But we're not going to go in the front gate. 249 00:14:39,480 --> 00:14:42,000 Speaker 2: We're going to go in this backway through this neighborhood 250 00:14:42,560 --> 00:14:45,640 Speaker 2: that goes out in this that leads to a little 251 00:14:45,720 --> 00:14:49,320 Speaker 2: mountain about ten miles in that had an old barber 252 00:14:49,400 --> 00:14:52,120 Speaker 2: chair sitting on the top of it. Okay, So we 253 00:14:52,200 --> 00:14:54,280 Speaker 2: get there and then we light a fire and it's 254 00:14:55,080 --> 00:14:58,400 Speaker 2: high desert. It's cold. We're at five thousand feet and 255 00:14:58,480 --> 00:15:01,680 Speaker 2: nobody had winter calt or anything. So we're just we're 256 00:15:01,800 --> 00:15:05,320 Speaker 2: like freezing, and they light a fire and then the 257 00:15:06,160 --> 00:15:10,000 Speaker 2: art director who was with us, not Henry, but he 258 00:15:10,120 --> 00:15:12,400 Speaker 2: just he had brought some payoti buttons, so he just 259 00:15:12,440 --> 00:15:16,320 Speaker 2: started started making payot tea. So we sat up the 260 00:15:16,320 --> 00:15:19,160 Speaker 2: rest of the night trying to stay warm by the fire, 261 00:15:19,280 --> 00:15:23,040 Speaker 2: drinking payot tea. And then the sun started coming up, 262 00:15:23,440 --> 00:15:25,600 Speaker 2: and you know, in photography, there's a golden hour in 263 00:15:25,640 --> 00:15:29,560 Speaker 2: the sunset time for maybe ten fifteen twenty minutes, also 264 00:15:29,680 --> 00:15:32,560 Speaker 2: in the morning, so we're using the golden hour at 265 00:15:32,600 --> 00:15:34,960 Speaker 2: first light at five point thirty in the morning. They 266 00:15:35,000 --> 00:15:38,280 Speaker 2: stand us in a group huddling together and we all 267 00:15:38,280 --> 00:15:41,680 Speaker 2: work like this because we're freezy, and you know, like this, 268 00:15:42,680 --> 00:15:46,120 Speaker 2: and that's the photo of us. That was the That 269 00:15:46,240 --> 00:15:48,320 Speaker 2: was the business plan of how to get a great 270 00:15:48,960 --> 00:15:50,760 Speaker 2: a quick hopping fut. 271 00:15:52,480 --> 00:15:54,480 Speaker 3: Everything happens for a reason, doesn't it. 272 00:15:55,080 --> 00:15:55,840 Speaker 2: Yeah? Apparently. 273 00:15:57,000 --> 00:15:59,280 Speaker 3: So what was it like? Had you had you stayed 274 00:15:59,280 --> 00:16:01,000 Speaker 3: in touch with the ny over the years. 275 00:16:01,080 --> 00:16:02,800 Speaker 2: Yeah, I talked to him, I don't know, a few 276 00:16:02,840 --> 00:16:07,720 Speaker 2: years ago. Of course, there's been documentaries so the art 277 00:16:08,000 --> 00:16:12,280 Speaker 2: so the photo that's the cover of this album, we 278 00:16:12,320 --> 00:16:16,320 Speaker 2: actually did it was Henry and the art director Gary Burton, 279 00:16:16,360 --> 00:16:21,360 Speaker 2: who did all the Eagles stuff too, so album covers together. 280 00:16:22,680 --> 00:16:26,880 Speaker 2: Henry the photographer, Gary the art directory. Anyway, he also 281 00:16:26,960 --> 00:16:29,680 Speaker 2: participated in this and we I had the idea of 282 00:16:29,760 --> 00:16:33,960 Speaker 2: doing a photo after dark with the city lights of 283 00:16:34,080 --> 00:16:37,400 Speaker 2: La down below. But we started out in Malibu and 284 00:16:37,440 --> 00:16:41,600 Speaker 2: the city lights looked about this big, so we went 285 00:16:41,640 --> 00:16:44,080 Speaker 2: farther into town. We went on an expedition that night 286 00:16:44,120 --> 00:16:47,520 Speaker 2: too to find a spot where city lights were really bright, 287 00:16:47,560 --> 00:16:49,360 Speaker 2: and we had to go all the way into Hollywood 288 00:16:50,800 --> 00:16:53,240 Speaker 2: a point of the canyons onto a lookout spot and 289 00:16:53,800 --> 00:16:57,600 Speaker 2: did that. So anyway, but I made that cover for 290 00:16:57,640 --> 00:16:59,960 Speaker 2: an album that was to come out forty five year 291 00:17:00,040 --> 00:17:03,360 Speaker 2: years ago, and it never did. We didn't finish the album, 292 00:17:03,600 --> 00:17:06,560 Speaker 2: so hey, I paid for it back then, so we're 293 00:17:06,640 --> 00:17:07,080 Speaker 2: using it. 294 00:17:08,000 --> 00:17:10,000 Speaker 3: I love that. That's fantastic. 295 00:17:10,640 --> 00:17:12,800 Speaker 1: We'll be right back with more of the Taking a 296 00:17:12,840 --> 00:17:21,080 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 297 00:17:22,280 --> 00:17:29,160 Speaker 3: So you've always had tremendous musical curiosity and diverse tastes. 298 00:17:29,840 --> 00:17:33,879 Speaker 3: Is there anything new that you've just discovered that you 299 00:17:33,960 --> 00:17:36,440 Speaker 3: want to share from this curiosity. 300 00:17:37,600 --> 00:17:39,520 Speaker 2: Well, there's a lot of different styles I think on 301 00:17:39,560 --> 00:17:43,760 Speaker 2: the record, and the only criteria was I was trying 302 00:17:43,760 --> 00:17:48,200 Speaker 2: to write good songs, you know. So there are a 303 00:17:48,240 --> 00:17:51,880 Speaker 2: lot of styles I've played and studied, and so they 304 00:17:51,920 --> 00:17:55,800 Speaker 2: seem to come out when they're needed based on, you know, 305 00:17:55,840 --> 00:17:58,760 Speaker 2: what the idea for the song is. And sometimes I 306 00:17:58,800 --> 00:18:01,359 Speaker 2: start a song with the guitar riff and you know, 307 00:18:01,440 --> 00:18:03,840 Speaker 2: progression and it's kind of like an instrumental almost with 308 00:18:03,880 --> 00:18:06,800 Speaker 2: a melody and plug words, and other times that you know, 309 00:18:06,840 --> 00:18:10,360 Speaker 2: I started with words, but I just kind of pull 310 00:18:10,440 --> 00:18:12,960 Speaker 2: something out of my head that fits with it. There's 311 00:18:13,000 --> 00:18:15,280 Speaker 2: a lot of different styles, you know that sigle this 312 00:18:15,400 --> 00:18:17,520 Speaker 2: out now now too late to be cool, I mean 313 00:18:18,240 --> 00:18:22,560 Speaker 2: just a little. It's a rocker, kind of stoneesy. But 314 00:18:22,720 --> 00:18:25,520 Speaker 2: there's a couple of ballads, you know, and there's an 315 00:18:25,600 --> 00:18:30,600 Speaker 2: acoustic jazz song on there called Everyone's Quirky with upright 316 00:18:30,640 --> 00:18:34,520 Speaker 2: bass on it and just and there's a national steal 317 00:18:34,600 --> 00:18:38,399 Speaker 2: body guitar, you know, kind of acoustic blues. There's a 318 00:18:38,440 --> 00:18:43,480 Speaker 2: lot of different feels and flavors and you know, vibes. 319 00:18:44,119 --> 00:18:46,600 Speaker 2: So that's who I love that, you know, it's like 320 00:18:47,680 --> 00:18:50,680 Speaker 2: the central theme is you know, it's it's just it's 321 00:18:50,760 --> 00:18:54,080 Speaker 2: me doing it. And there's songs I wrote and in 322 00:18:54,160 --> 00:18:58,679 Speaker 2: one side larked. You know, that's it. That's the only criteria. 323 00:18:58,040 --> 00:18:59,880 Speaker 3: Tell me about the song, too many memories. 324 00:19:00,880 --> 00:19:04,720 Speaker 2: Well yeah, people seem to have related it to be 325 00:19:05,280 --> 00:19:08,480 Speaker 2: mostly about the Eagles, and that that's because that's what 326 00:19:08,520 --> 00:19:10,919 Speaker 2: they know about my life. But I wrapped the Eagles 327 00:19:10,920 --> 00:19:14,120 Speaker 2: in nineteen seventy five, and I you know, I've had 328 00:19:14,119 --> 00:19:16,960 Speaker 2: a whole full life doing all kinds of things. You know, 329 00:19:17,320 --> 00:19:20,240 Speaker 2: I have a forty five year old son, I'm happily 330 00:19:20,320 --> 00:19:27,879 Speaker 2: married now and I've gosh, I've done so much traveling 331 00:19:27,960 --> 00:19:32,120 Speaker 2: to all the places in America and Canada that are 332 00:19:32,160 --> 00:19:34,760 Speaker 2: in between all the big cities that the tours go to. 333 00:19:34,880 --> 00:19:36,919 Speaker 2: Because when you get to a certain level of touring, 334 00:19:37,840 --> 00:19:40,000 Speaker 2: you go it's this big circuit around the country. You 335 00:19:40,000 --> 00:19:46,040 Speaker 2: play all the arenas and same hotels, same airport, same venue, backstage, 336 00:19:46,040 --> 00:19:49,560 Speaker 2: and you go, wow, I've been here, you know, thirty times. 337 00:19:50,000 --> 00:19:51,919 Speaker 2: So it was great to get out and go to 338 00:19:51,920 --> 00:19:56,880 Speaker 2: all the places up in New England and you know, Montana, 339 00:19:57,119 --> 00:20:01,600 Speaker 2: end up in the Yukon territory, Alaska. I've traveled a 340 00:20:01,680 --> 00:20:04,159 Speaker 2: lot and done a lot of different things, and so 341 00:20:05,400 --> 00:20:07,639 Speaker 2: when it says too many memories, I was just the 342 00:20:07,680 --> 00:20:11,080 Speaker 2: second versus I've lived many lifetimes in a single go, 343 00:20:11,280 --> 00:20:13,679 Speaker 2: you know, in a single lifetime. I've lived a lot 344 00:20:13,680 --> 00:20:16,840 Speaker 2: of different places, done a lot of different things, and 345 00:20:17,680 --> 00:20:20,119 Speaker 2: warn different hats in a way, you know. And so 346 00:20:21,119 --> 00:20:23,040 Speaker 2: it's not that there are too many memories, but there's 347 00:20:23,080 --> 00:20:26,760 Speaker 2: things that It's probably more that there's still some things 348 00:20:26,760 --> 00:20:30,879 Speaker 2: that have that bothered me or that bothers a person, 349 00:20:30,920 --> 00:20:32,919 Speaker 2: and then you know, we need to we need to 350 00:20:32,920 --> 00:20:34,600 Speaker 2: take care of that and clean it up, you know. 351 00:20:34,880 --> 00:20:37,639 Speaker 2: And so the song, the conclusion of the song is 352 00:20:38,720 --> 00:20:41,840 Speaker 2: just finally, just face all the shadows and let it 353 00:20:41,880 --> 00:20:44,720 Speaker 2: all go like melt like fog in the meadow, you know, 354 00:20:44,880 --> 00:20:48,479 Speaker 2: just let it go, just let it dissolve. Focus on today, 355 00:20:49,240 --> 00:20:51,879 Speaker 2: be happy, don't forget to smile. You know. 356 00:20:54,640 --> 00:20:58,000 Speaker 3: I get a sense of real contentment though when I 357 00:20:58,560 --> 00:21:01,760 Speaker 3: listened to the music you know from. 358 00:21:01,520 --> 00:21:05,080 Speaker 2: You, Well, that's that's good. I think that's good. There's 359 00:21:05,320 --> 00:21:08,760 Speaker 2: enough people that are full of angst and expressing that 360 00:21:08,960 --> 00:21:10,879 Speaker 2: and I don't know that the world needs to be 361 00:21:10,960 --> 00:21:14,320 Speaker 2: encouraged to have more X so you know, I mean 362 00:21:14,359 --> 00:21:18,480 Speaker 2: simple things like let's enjoy today, be present here, get 363 00:21:18,480 --> 00:21:20,239 Speaker 2: out of the past, get out of the future, and 364 00:21:20,440 --> 00:21:23,560 Speaker 2: you know, just live today and don't forget to smile 365 00:21:23,600 --> 00:21:24,960 Speaker 2: because it doesn't cost anything. 366 00:21:26,560 --> 00:21:32,320 Speaker 3: You'll be playing at Americana Fest in September, which is 367 00:21:32,359 --> 00:21:36,040 Speaker 3: an amazing event. I'm told I've never been to Americana Fest. 368 00:21:36,600 --> 00:21:40,639 Speaker 3: Is this your first time ever attending Americanafest and playing? 369 00:21:40,720 --> 00:21:45,399 Speaker 2: Of course, yeah, formally, but as the Americana Music Association began, 370 00:21:46,640 --> 00:21:49,480 Speaker 2: it started small at most things too, it's it's it 371 00:21:49,520 --> 00:21:53,360 Speaker 2: seems like most styles of music now are called Americana 372 00:21:53,560 --> 00:21:55,960 Speaker 2: if they don't know what else they call it. Lots 373 00:21:56,000 --> 00:21:58,800 Speaker 2: of styles that were called something else before, country rock 374 00:21:59,000 --> 00:22:05,200 Speaker 2: or whatever, folk rock, bluegrass, you know, many things are 375 00:22:05,200 --> 00:22:08,440 Speaker 2: now just limped in the Americana umbrella. And that's fun. 376 00:22:08,520 --> 00:22:13,560 Speaker 2: It's probably good for everybody. Yeah, So the Americana Music 377 00:22:13,560 --> 00:22:16,840 Speaker 2: Association has been part of that has grown up in Nashville, 378 00:22:16,880 --> 00:22:19,199 Speaker 2: and so I've been around it and you know, the 379 00:22:19,240 --> 00:22:23,879 Speaker 2: people involved with it from the beginning. I've not attended 380 00:22:23,880 --> 00:22:26,679 Speaker 2: it before formally, Like now you buy a pass for 381 00:22:26,720 --> 00:22:28,640 Speaker 2: the whole week. We used to just be a night 382 00:22:28,720 --> 00:22:32,280 Speaker 2: or two, but I'm really looking forward to it. It 383 00:22:32,720 --> 00:22:35,119 Speaker 2: is kind of home base, anarogous. 384 00:22:35,720 --> 00:22:38,719 Speaker 3: And you'll be taking people through not only the new music, 385 00:22:39,160 --> 00:22:41,320 Speaker 3: but also through your career, won't you. 386 00:22:41,760 --> 00:22:46,480 Speaker 2: Yes, the show's relatively short, it's like less than an hour, 387 00:22:46,560 --> 00:22:49,720 Speaker 2: a little less than an hour. But yes, I'm going 388 00:22:49,760 --> 00:22:52,479 Speaker 2: to play at least three Eagle songs, and I'm going 389 00:22:52,520 --> 00:22:56,879 Speaker 2: to do one that I wrote with my brother Tom Leden, 390 00:22:57,359 --> 00:23:00,880 Speaker 2: and then we show it Tone Helely and gwn Fry 391 00:23:00,960 --> 00:23:03,119 Speaker 2: and they completely re rub the lyrics except for the 392 00:23:03,200 --> 00:23:06,640 Speaker 2: opening line, so it's still it still starts the same 393 00:23:06,680 --> 00:23:10,359 Speaker 2: as my brother and my song did, but it's called 394 00:23:10,359 --> 00:23:16,000 Speaker 2: Hollywood Waltz. And and what happened after the Eagles record 395 00:23:16,080 --> 00:23:18,760 Speaker 2: is buck Ownes recorded it. So it's like, how do 396 00:23:18,800 --> 00:23:21,560 Speaker 2: you get a cut with buck Owns? You have the 397 00:23:21,600 --> 00:23:22,320 Speaker 2: Eagles record it? 398 00:23:22,440 --> 00:23:27,719 Speaker 3: First train leaves here this morning. Yes, will that be 399 00:23:27,760 --> 00:23:30,000 Speaker 3: something that will people will get to hear? 400 00:23:30,160 --> 00:23:33,440 Speaker 2: Yeah, But I've just I've dropped the key one whole 401 00:23:33,440 --> 00:23:36,680 Speaker 2: step two half steps from E, D and D because 402 00:23:37,560 --> 00:23:40,560 Speaker 2: it's it's more comfortable down there. I did. I did 403 00:23:40,600 --> 00:23:43,560 Speaker 2: it every night in the history of the Eagles tour 404 00:23:43,800 --> 00:23:46,840 Speaker 2: and you know, ten years ago, but that was in 405 00:23:46,880 --> 00:23:50,480 Speaker 2: the key of E and I decided D is more relaxed, 406 00:23:50,520 --> 00:23:54,359 Speaker 2: and so it's in DNAW and I got a version 407 00:23:54,400 --> 00:23:56,760 Speaker 2: to take it easy. That also is, you know, in 408 00:23:56,840 --> 00:23:59,920 Speaker 2: a key that suits my voice. It's like my take 409 00:24:00,119 --> 00:24:03,399 Speaker 2: on it. So yeah, those songs for the moment, and 410 00:24:03,400 --> 00:24:06,240 Speaker 2: then later maybe some stuff from Dillard and Park or 411 00:24:06,400 --> 00:24:09,600 Speaker 2: Flyin Burrieder Brothers later when I can do a longer show. 412 00:24:09,720 --> 00:24:13,320 Speaker 3: You know, what was it like bringing that song Train 413 00:24:14,000 --> 00:24:17,520 Speaker 3: to the Eagles, because obviously it had its own life 414 00:24:17,560 --> 00:24:20,439 Speaker 3: before it was a song from the Eagles and. 415 00:24:20,520 --> 00:24:23,760 Speaker 2: You right, So I was in this group called Dirt, 416 00:24:23,880 --> 00:24:27,040 Speaker 2: Dillard and Clark with Doug Dillert, great banjo player, and 417 00:24:27,359 --> 00:24:30,399 Speaker 2: Gene Clark, who had been really the main writer in 418 00:24:30,440 --> 00:24:34,240 Speaker 2: the early verbs. And Gene was a brilliant songwriter. He 419 00:24:34,320 --> 00:24:37,959 Speaker 2: could he could do it. Few people can. Which has 420 00:24:38,320 --> 00:24:42,840 Speaker 2: come to rehearsal one day, here's something that wasn't finished, 421 00:24:43,320 --> 00:24:45,280 Speaker 2: and come back the next day with a complete song, 422 00:24:45,320 --> 00:24:48,000 Speaker 2: and you could sometimes you come back the next day 423 00:24:48,040 --> 00:24:51,159 Speaker 2: with a couple songs. So anyway, I'm credited with co 424 00:24:51,280 --> 00:24:55,879 Speaker 2: writing Train. I think all I did was contribute the 425 00:24:55,960 --> 00:24:59,080 Speaker 2: chords for the B section or the chorus. So when 426 00:24:59,080 --> 00:25:01,240 Speaker 2: they came to the early the Eagles, actually we weren't 427 00:25:01,280 --> 00:25:04,399 Speaker 2: writing that much yet and so the first album we 428 00:25:04,400 --> 00:25:07,800 Speaker 2: were all wanting to contribute something and Don Henley and 429 00:25:07,840 --> 00:25:11,040 Speaker 2: I were a witchy woman for that album. But I 430 00:25:11,080 --> 00:25:13,760 Speaker 2: can I offer trainer you shure this morning for me 431 00:25:13,800 --> 00:25:18,119 Speaker 2: to sing and they were, yeah, it's cool. So that's 432 00:25:18,160 --> 00:25:22,040 Speaker 2: how it happened. But it's probably my favorite song off 433 00:25:22,040 --> 00:25:24,400 Speaker 2: of that Jordan Clark album that we had done earlier. 434 00:25:25,280 --> 00:25:28,400 Speaker 3: Oh, it's such a great song. What do you think 435 00:25:28,440 --> 00:25:31,760 Speaker 3: of this revolution that's going on right now in terms 436 00:25:31,760 --> 00:25:38,240 Speaker 3: of these young guns of bluegrass that are on the scene, 437 00:25:38,720 --> 00:25:42,240 Speaker 3: And who are some of your favorites of that group 438 00:25:42,320 --> 00:25:47,760 Speaker 3: that has kind of emerged and brought bluegrass into the mainstream. 439 00:25:48,840 --> 00:25:54,639 Speaker 2: Well, Chris Stapleton notably, who's transition right out to become 440 00:25:55,160 --> 00:25:59,040 Speaker 2: basically a superstar. I mean, and Chris Stapleton is such 441 00:25:59,080 --> 00:26:02,159 Speaker 2: a great singer, but he was the lead singer of 442 00:26:02,160 --> 00:26:05,960 Speaker 2: a bluegrass group heared called the Steel Vibers in Town. 443 00:26:06,840 --> 00:26:09,679 Speaker 2: Billy Strings is, like, I guess, the latest phenomenon, and 444 00:26:10,359 --> 00:26:15,000 Speaker 2: he's a uniquely gifted guitar player, and he's expanding fast 445 00:26:15,480 --> 00:26:19,040 Speaker 2: remarkably a guitar player. So a lot of respect for 446 00:26:19,119 --> 00:26:22,240 Speaker 2: those guys. You know, I'm not sure I know the 447 00:26:22,320 --> 00:26:25,720 Speaker 2: names of all the people who are exploring that minding 448 00:26:25,840 --> 00:26:29,359 Speaker 2: that vein right now, but bluegrass is a really good 449 00:26:29,880 --> 00:26:35,199 Speaker 2: training ground for singers, songwriters, you know, players. Obviously, you 450 00:26:35,240 --> 00:26:38,359 Speaker 2: have to learn to play your instrument really well, and 451 00:26:38,440 --> 00:26:41,480 Speaker 2: a lot of people, if they keep progressing with their instrument, 452 00:26:41,840 --> 00:26:44,240 Speaker 2: they go kind of beyond blue grass and start blending 453 00:26:44,280 --> 00:26:47,920 Speaker 2: it with other stuff jazz, Marc O'Connor and fiddle, did 454 00:26:47,920 --> 00:26:51,560 Speaker 2: that bail of fleck on banjo thirty years ago or more? 455 00:26:52,240 --> 00:26:54,520 Speaker 2: You know, there's there's a really it's a really rich 456 00:26:55,200 --> 00:26:59,000 Speaker 2: vein of of American music to explore, and you can 457 00:26:59,040 --> 00:27:03,920 Speaker 2: cross pollinate it with wherever you want. So it's cool. 458 00:27:05,000 --> 00:27:07,760 Speaker 3: Bernie. I'm so grateful that you took the time to 459 00:27:08,480 --> 00:27:11,119 Speaker 3: be on taking a walk, and I'm so grateful for 460 00:27:11,160 --> 00:27:15,440 Speaker 3: the music that you continue to give us that makes 461 00:27:15,520 --> 00:27:19,280 Speaker 3: us feel so special and so great, and it's just 462 00:27:19,359 --> 00:27:21,520 Speaker 3: amazing and an honor to be with you. 463 00:27:21,800 --> 00:27:23,959 Speaker 2: Was it very kind word, Scus. It's been a pleasure 464 00:27:23,960 --> 00:27:24,680 Speaker 2: to be with you too. 465 00:27:26,520 --> 00:27:28,960 Speaker 1: Thanks for listening to this episode of the Taking a 466 00:27:29,000 --> 00:27:32,920 Speaker 1: Walk podcast. Share this and other episodes with your friends 467 00:27:33,000 --> 00:27:36,480 Speaker 1: and follow us so you never miss an episode. Taking 468 00:27:36,520 --> 00:27:40,400 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 469 00:27:40,640 --> 00:27:42,920 Speaker 1: and wherever you get your podcasts.