1 00:00:00,960 --> 00:00:01,720 Speaker 1: Taking a Walk. 2 00:00:01,880 --> 00:00:04,440 Speaker 2: The basic connection that I had with someone that was 3 00:00:04,519 --> 00:00:07,960 Speaker 2: great coming out of the whiskey was David Crosby. David 4 00:00:08,080 --> 00:00:11,240 Speaker 2: I met David and Steven and Graham kind of around 5 00:00:11,280 --> 00:00:16,360 Speaker 2: the same time, basically through my wife Leah, who is 6 00:00:16,440 --> 00:00:21,000 Speaker 2: Cass Elliott's sister. So I was privy to being at 7 00:00:21,079 --> 00:00:25,160 Speaker 2: Cass's house and meeting lots of incredible people during that time. 8 00:00:25,320 --> 00:00:29,000 Speaker 1: Welcome to the Taking a Walk podcast, the podcast where 9 00:00:29,000 --> 00:00:32,440 Speaker 1: Buzz Night talks with musicians and gets the inside story 10 00:00:32,440 --> 00:00:36,360 Speaker 1: on their work and creative process. Today, buzz speaks with 11 00:00:36,440 --> 00:00:39,920 Speaker 1: one of rock's great drummers. Russ Kunkle, is known for 12 00:00:39,960 --> 00:00:43,600 Speaker 1: his work with an impressive resume of artists including Bob Dylan, 13 00:00:43,920 --> 00:00:47,880 Speaker 1: Joni Mitchell, James Taylor, and Carol King. He's also part 14 00:00:47,880 --> 00:00:52,000 Speaker 1: of the session supergroup The Immediate Family, which includes Waddi, Wattell, 15 00:00:52,520 --> 00:00:56,440 Speaker 1: Leland Scar and Danny Korchmark. Russ has appeared on some 16 00:00:56,480 --> 00:00:59,600 Speaker 1: of the most iconic albums of our time, and he 17 00:00:59,720 --> 00:01:02,520 Speaker 1: joined Buzz Night next on Taking a Walk. 18 00:01:04,040 --> 00:01:06,720 Speaker 3: Well, the great Russ Kunkle is here on the Taking 19 00:01:06,760 --> 00:01:07,840 Speaker 3: a Walk podcast. 20 00:01:08,319 --> 00:01:10,760 Speaker 4: We're going to take a walk down memory Lane. Russ, 21 00:01:10,800 --> 00:01:11,600 Speaker 4: thanks for being. 22 00:01:11,440 --> 00:01:13,399 Speaker 5: Here my pleasure buzz. 23 00:01:13,920 --> 00:01:17,120 Speaker 4: Did it all start for you with Wipeout? 24 00:01:19,200 --> 00:01:21,800 Speaker 2: No one's ever asked me that question before, but it's 25 00:01:21,880 --> 00:01:22,640 Speaker 2: pretty spot on. 26 00:01:24,040 --> 00:01:27,479 Speaker 5: I mean, it's certainly a song that. 27 00:01:28,880 --> 00:01:32,600 Speaker 2: Inspired me early on because it was such a huge hit. 28 00:01:32,680 --> 00:01:35,320 Speaker 2: I think it was a song was recorded by the Safaris, 29 00:01:35,440 --> 00:01:41,600 Speaker 2: Is that correct? Yes, and it featured a very repetitious 30 00:01:41,680 --> 00:01:44,800 Speaker 2: kind of drum part in it that everybody loved and 31 00:01:44,840 --> 00:01:45,640 Speaker 2: gravitated to. 32 00:01:47,520 --> 00:01:47,960 Speaker 5: Probably. 33 00:01:48,320 --> 00:01:50,520 Speaker 2: I guess that must have come out in nineteen sixty 34 00:01:50,560 --> 00:01:53,560 Speaker 2: three or nineteen sixty four, somewhere around then, because I 35 00:01:53,600 --> 00:01:57,360 Speaker 2: think I was in high school at that time. So yeah, 36 00:01:57,400 --> 00:02:00,720 Speaker 2: and the bands, the early bands that I was in 37 00:02:00,720 --> 00:02:04,640 Speaker 2: in Long Beach, California, we certainly played that song when 38 00:02:04,680 --> 00:02:06,480 Speaker 2: we were in our surf music. 39 00:02:06,280 --> 00:02:09,600 Speaker 5: Craze, and at the same time I was actually surfing. 40 00:02:09,639 --> 00:02:13,600 Speaker 2: I started surfing then, so Wipeout has a double meaning 41 00:02:13,639 --> 00:02:16,320 Speaker 2: for me. It was the name of a song and 42 00:02:16,360 --> 00:02:20,240 Speaker 2: I actually got wiped out many times, so I understood it. 43 00:02:21,040 --> 00:02:25,480 Speaker 3: Did you have someone teaching you and mentoring you similar 44 00:02:25,639 --> 00:02:28,519 Speaker 3: to the movie Whiplash? 45 00:02:28,639 --> 00:02:32,040 Speaker 5: No, not at all. For the most part. 46 00:02:32,080 --> 00:02:36,120 Speaker 2: I'm self taught my brother Gilbert Cunkle My oldest brother 47 00:02:36,200 --> 00:02:40,480 Speaker 2: who's passed on now, was a drummer and he sat 48 00:02:40,520 --> 00:02:42,200 Speaker 2: me on his lap and put the sticks in my 49 00:02:42,280 --> 00:02:44,960 Speaker 2: hand when I was probably about six or seven years old, 50 00:02:45,000 --> 00:02:50,440 Speaker 2: and he introduced me to the drums. He had a band, 51 00:02:50,720 --> 00:02:53,520 Speaker 2: and his band rehearsed in our house from time to time, 52 00:02:53,600 --> 00:02:56,320 Speaker 2: and so, you know, I kind of grew up with 53 00:02:56,360 --> 00:02:59,919 Speaker 2: a little bit of an inclination of what that meant, 54 00:03:00,160 --> 00:03:03,079 Speaker 2: and it was very exciting. So I give him credit 55 00:03:03,160 --> 00:03:05,400 Speaker 2: for certainly setting me off in the right direction. 56 00:03:06,320 --> 00:03:10,520 Speaker 3: And the band that really began things in the big 57 00:03:10,560 --> 00:03:14,600 Speaker 3: way was your band Things to Come that ended up Landing. 58 00:03:14,680 --> 00:03:16,480 Speaker 4: That was it? 59 00:03:16,600 --> 00:03:20,920 Speaker 3: Nineteen week run as the house band at the Whiskey? 60 00:03:21,000 --> 00:03:21,480 Speaker 4: Is that right? 61 00:03:22,400 --> 00:03:24,440 Speaker 5: It was very close to that. 62 00:03:24,480 --> 00:03:27,919 Speaker 2: It was a long period of time, and we were 63 00:03:28,000 --> 00:03:33,760 Speaker 2: taken under Mario and Elmer's wing, and we were just 64 00:03:33,800 --> 00:03:36,480 Speaker 2: the opening act for lots of bands that came through 65 00:03:36,520 --> 00:03:37,080 Speaker 2: at that time. 66 00:03:37,760 --> 00:03:40,400 Speaker 5: It was an eye opening experience. I'll say that. 67 00:03:41,880 --> 00:03:42,760 Speaker 4: More ways than one. 68 00:03:42,800 --> 00:03:45,920 Speaker 5: I bet, yes, it definitely was. 69 00:03:45,960 --> 00:03:49,280 Speaker 2: We don't have to go into detail, but I wouldn't 70 00:03:49,320 --> 00:03:50,800 Speaker 2: trade that time for anything. 71 00:03:51,960 --> 00:03:56,840 Speaker 3: And you saw a few notorious bands come through during 72 00:03:56,840 --> 00:03:57,400 Speaker 3: that period. 73 00:03:57,440 --> 00:03:59,240 Speaker 4: Care to talk about any of those bands. 74 00:04:00,160 --> 00:04:04,280 Speaker 5: Well, one of the bands that came through was. 75 00:04:06,880 --> 00:04:11,520 Speaker 2: The Hourglass, which became the Almond Brothers, and it was 76 00:04:11,560 --> 00:04:13,760 Speaker 2: interesting to see them in that configuration. 77 00:04:13,960 --> 00:04:17,320 Speaker 5: It was pretty much the I can't be certain of this, 78 00:04:17,360 --> 00:04:18,039 Speaker 5: but I think it was the. 79 00:04:18,880 --> 00:04:22,920 Speaker 2: Same personnel and then and of course we know they 80 00:04:22,920 --> 00:04:28,200 Speaker 2: went on to unbelievable greatness. And another band that came 81 00:04:28,240 --> 00:04:32,920 Speaker 2: through there was had a different name. It was CTA, 82 00:04:32,960 --> 00:04:36,920 Speaker 2: which was the Chicago Transit Authority, and I think they 83 00:04:36,960 --> 00:04:39,040 Speaker 2: had a different name at that time before they were 84 00:04:39,080 --> 00:04:39,680 Speaker 2: called Chicago. 85 00:04:39,760 --> 00:04:41,279 Speaker 5: Oh, I forget what they were called. 86 00:04:42,520 --> 00:04:44,400 Speaker 2: Anyway, they had a different name at that time before 87 00:04:44,400 --> 00:04:47,960 Speaker 2: they became Chicago. Got to see them, got to see 88 00:04:47,960 --> 00:04:52,160 Speaker 2: the Holly's opened for them, opened for Cream, opened for 89 00:04:53,000 --> 00:04:59,400 Speaker 2: the Electric Flag, Paul Butterfield, Jean Clark, the Birds. Got 90 00:04:59,400 --> 00:05:02,200 Speaker 2: to see Jimmy Hendrick's play there. We didn't open for him, 91 00:05:02,240 --> 00:05:05,200 Speaker 2: but he did a show at the Whiskey before going 92 00:05:05,279 --> 00:05:06,840 Speaker 2: up to the Monterey Pop Festival. 93 00:05:07,080 --> 00:05:11,400 Speaker 5: Got to see that. It was It was definitely eye opening. 94 00:05:13,600 --> 00:05:16,680 Speaker 3: And you were just in this phase certainly that I 95 00:05:16,720 --> 00:05:20,760 Speaker 3: still believe you are in, which is learning. 96 00:05:20,400 --> 00:05:23,640 Speaker 4: And being a sponge for everything. You were witnessing. Is 97 00:05:23,680 --> 00:05:24,640 Speaker 4: that fair to say? 98 00:05:25,320 --> 00:05:27,520 Speaker 5: Yeah, I don't think I've given that up. I you know, 99 00:05:28,240 --> 00:05:31,240 Speaker 5: I'm being self taught, you know. 100 00:05:31,279 --> 00:05:33,760 Speaker 2: I taught myself to play the guitar enough to write, 101 00:05:33,800 --> 00:05:35,960 Speaker 2: and a little bit of keyboard enough to write, so 102 00:05:36,120 --> 00:05:40,240 Speaker 2: and you know, kind of reinvented myself into a bit 103 00:05:40,240 --> 00:05:42,400 Speaker 2: of a songwriter and a producer, and I've had some 104 00:05:42,640 --> 00:05:47,560 Speaker 2: success doing both. So I'm I guess you could you 105 00:05:47,560 --> 00:05:50,200 Speaker 2: could liken it to being a sponge. I do like 106 00:05:50,279 --> 00:05:53,520 Speaker 2: to learn new things, and I practiced drumming and guitar 107 00:05:53,680 --> 00:05:58,120 Speaker 2: every day, and you know, so it's a I think 108 00:05:58,200 --> 00:06:01,359 Speaker 2: it's a It's a book that you can never finish reading. 109 00:06:02,360 --> 00:06:08,200 Speaker 3: So can you describe what are the traits that go 110 00:06:08,320 --> 00:06:12,360 Speaker 3: into being such an accomplished drummer as you. 111 00:06:12,279 --> 00:06:15,120 Speaker 5: Are when you start out? 112 00:06:15,160 --> 00:06:16,919 Speaker 2: I don't think you have any idea what you're going 113 00:06:17,000 --> 00:06:20,720 Speaker 2: to end up being, so to answer a question like that, 114 00:06:20,760 --> 00:06:25,360 Speaker 2: it's all hindsight, you know. And I just never gave up, 115 00:06:25,520 --> 00:06:26,520 Speaker 2: you know, and I want to. 116 00:06:27,080 --> 00:06:27,760 Speaker 5: I wanted to. 117 00:06:29,600 --> 00:06:34,680 Speaker 2: Not get fired was the main objective, and to listen 118 00:06:34,839 --> 00:06:38,040 Speaker 2: enough to find out what people wanted from me, you know, 119 00:06:38,240 --> 00:06:43,240 Speaker 2: and not get caught up in doing something other than that, 120 00:06:43,520 --> 00:06:47,760 Speaker 2: and more than anything, I wanted to be appreciated and 121 00:06:47,880 --> 00:06:51,960 Speaker 2: hired back, you know, to repeat, you know, I was. 122 00:06:53,360 --> 00:06:55,880 Speaker 5: I was married at a young age. When I was 123 00:06:55,880 --> 00:06:56,440 Speaker 5: twenty one. 124 00:06:56,480 --> 00:06:59,479 Speaker 2: I had my son, Nathaniel, was born when I was 125 00:06:59,480 --> 00:07:02,400 Speaker 2: twenty one, and so I had to make an income. 126 00:07:03,360 --> 00:07:04,720 Speaker 5: My wife worked at the time too. 127 00:07:04,800 --> 00:07:07,560 Speaker 2: But you know, I had to get serious real quick, 128 00:07:07,640 --> 00:07:09,920 Speaker 2: and I think in a lot of ways that kind 129 00:07:09,920 --> 00:07:12,440 Speaker 2: of kept me on the straight and narrow when a 130 00:07:12,440 --> 00:07:16,560 Speaker 2: lot of other people who didn't have those kinds of responsibilities, 131 00:07:16,960 --> 00:07:18,440 Speaker 2: you know, went down a different road. 132 00:07:18,720 --> 00:07:24,200 Speaker 5: So but you have to listen, I guess that's the 133 00:07:24,240 --> 00:07:25,440 Speaker 5: word that I'm coming around to. 134 00:07:25,520 --> 00:07:27,880 Speaker 2: You have to be aware of your surroundings and be 135 00:07:28,720 --> 00:07:30,560 Speaker 2: very aware of what's needed. 136 00:07:30,240 --> 00:07:32,480 Speaker 5: From you and really try to present it. 137 00:07:33,640 --> 00:07:39,000 Speaker 3: How do you balance the intensity of your job with 138 00:07:39,880 --> 00:07:43,960 Speaker 3: the cool, common, collected need to be the glue that 139 00:07:44,000 --> 00:07:45,160 Speaker 3: holds everything together. 140 00:07:48,120 --> 00:07:52,160 Speaker 2: When you walk into a situation where you're either recording 141 00:07:52,240 --> 00:07:57,440 Speaker 2: or you're playing live recording, in particular, you don't necessarily 142 00:07:57,520 --> 00:08:02,880 Speaker 2: know the song all brand new, so there's an unknown 143 00:08:03,000 --> 00:08:06,960 Speaker 2: factor there which can be scary or it can be exciting, 144 00:08:07,200 --> 00:08:12,360 Speaker 2: you know. I try to approach every session that I 145 00:08:12,400 --> 00:08:15,440 Speaker 2: do in a way that I try to play things 146 00:08:15,440 --> 00:08:16,760 Speaker 2: that I've never played before. 147 00:08:16,920 --> 00:08:19,640 Speaker 5: At least I make an attempt to come up with something. 148 00:08:19,360 --> 00:08:23,800 Speaker 2: That I've never done before, and if I'm lucky enough 149 00:08:23,800 --> 00:08:26,560 Speaker 2: it it suits the song and it makes everybody that 150 00:08:26,600 --> 00:08:30,360 Speaker 2: I'm working for happy. Playing live is you know, it's 151 00:08:30,400 --> 00:08:34,200 Speaker 2: about connecting with an audience and really connecting with the 152 00:08:34,200 --> 00:08:37,440 Speaker 2: people that you're playing with. It starts there. You know, 153 00:08:37,440 --> 00:08:39,600 Speaker 2: there has to be a real sympatical with the people 154 00:08:39,640 --> 00:08:43,400 Speaker 2: that you're playing for, and then that magic or that 155 00:08:43,440 --> 00:08:46,680 Speaker 2: feeling or that flow can move on out to the 156 00:08:46,720 --> 00:08:50,600 Speaker 2: audience and you can see it affect an audience one 157 00:08:50,640 --> 00:08:52,559 Speaker 2: way or the other. You can also see it affect 158 00:08:52,600 --> 00:08:55,240 Speaker 2: an audience if they're not happy with. 159 00:08:55,160 --> 00:08:56,000 Speaker 5: What they're hearing. 160 00:08:57,360 --> 00:08:59,800 Speaker 3: One of the things that came out of Things to 161 00:09:00,640 --> 00:09:05,320 Speaker 3: and the Whiskey experience was you got on the radar 162 00:09:06,600 --> 00:09:09,080 Speaker 3: with this great man, Peter Asher. 163 00:09:10,080 --> 00:09:11,679 Speaker 4: Tell me about that experience. 164 00:09:12,200 --> 00:09:15,480 Speaker 5: Yeah, that's that's true. Actually, the Whiskey. 165 00:09:16,520 --> 00:09:19,120 Speaker 2: The basic connection that I had with someone that was 166 00:09:19,160 --> 00:09:23,080 Speaker 2: great coming out of the Whiskey was David Crosby. David, 167 00:09:23,200 --> 00:09:26,360 Speaker 2: I met David and Steven and Graham Kind of around 168 00:09:26,440 --> 00:09:31,480 Speaker 2: the same time, basically through my wife Leah, who was 169 00:09:31,559 --> 00:09:36,120 Speaker 2: Cass Elliott's sister. So I was privy to being at 170 00:09:36,200 --> 00:09:40,400 Speaker 2: Cass's house and meeting lots of incredible people during that time. 171 00:09:41,280 --> 00:09:44,360 Speaker 2: Right after the our student at the Whiskey, and David 172 00:09:44,600 --> 00:09:50,560 Speaker 2: took a took notice of me and he produced the 173 00:09:50,600 --> 00:09:53,880 Speaker 2: Things single for the Things to Come. He produced a 174 00:09:53,920 --> 00:09:59,120 Speaker 2: few things and he was a real champion of me 175 00:09:59,240 --> 00:10:02,440 Speaker 2: and my band at the time. After that, I was 176 00:10:02,440 --> 00:10:06,440 Speaker 2: working for a man named John Stewart who has replaced 177 00:10:06,520 --> 00:10:09,880 Speaker 2: Dave Guard in the Kingston Trio, and he had just 178 00:10:09,920 --> 00:10:12,880 Speaker 2: had an album put out an ALBM on Capitol called 179 00:10:12,920 --> 00:10:16,880 Speaker 2: California Bloodlines. And I had met John through Henry Dilts 180 00:10:17,400 --> 00:10:20,360 Speaker 2: and he asked me to come on the road with 181 00:10:20,480 --> 00:10:24,480 Speaker 2: him to promote his album. And was rehearsing with John 182 00:10:25,440 --> 00:10:29,719 Speaker 2: for some show and Peter Asher came to town and contacted 183 00:10:29,760 --> 00:10:32,560 Speaker 2: his friend Chris Darrow, who was also playing with John 184 00:10:32,600 --> 00:10:36,200 Speaker 2: as a great fiddle player, and he told Chris that 185 00:10:36,240 --> 00:10:39,760 Speaker 2: he was looking for musicians to record with his new artist, 186 00:10:39,880 --> 00:10:43,640 Speaker 2: James Taylor, and he was specifically looking for a drummer, 187 00:10:43,679 --> 00:10:46,120 Speaker 2: and Chris said, come to our rehearsals. There's a great 188 00:10:46,200 --> 00:10:49,160 Speaker 2: drummer playing with us now, and Peter came to the 189 00:10:49,160 --> 00:10:53,480 Speaker 2: rehearsal and liked what he heard, and like you've seen 190 00:10:53,480 --> 00:10:55,800 Speaker 2: the documentary, he asked me. 191 00:10:55,760 --> 00:10:56,640 Speaker 5: To play on the album. 192 00:10:56,679 --> 00:11:00,160 Speaker 2: And he doesn't really think that John ever forgave him that. 193 00:11:00,440 --> 00:11:01,559 Speaker 5: I think he kind of did it. 194 00:11:01,679 --> 00:11:05,960 Speaker 3: So he is such a treasure, isn't he, Peter, Yes, 195 00:11:06,320 --> 00:11:08,080 Speaker 3: absolutely absolutely he. 196 00:11:08,200 --> 00:11:12,600 Speaker 2: Without Without Peter's kind of intervention in my life and 197 00:11:12,679 --> 00:11:15,680 Speaker 2: my career, just you know, kind of being at the 198 00:11:15,720 --> 00:11:17,480 Speaker 2: right place at the right time and a little bit 199 00:11:17,480 --> 00:11:22,720 Speaker 2: of serendipity, my career wouldn't have been anywhere like it 200 00:11:22,800 --> 00:11:23,240 Speaker 2: is today. 201 00:11:23,800 --> 00:11:26,600 Speaker 5: So he was a major factor, and so was Lou Adler. 202 00:11:27,640 --> 00:11:30,000 Speaker 3: Tell me about Lou as a producer and what you 203 00:11:30,120 --> 00:11:32,360 Speaker 3: learned from him, Well, Lou. 204 00:11:32,200 --> 00:11:36,640 Speaker 5: And Peter are very much the same. They knew to 205 00:11:36,679 --> 00:11:39,480 Speaker 5: stay out of the way of the artist and let 206 00:11:39,480 --> 00:11:41,280 Speaker 5: the artists do their art. 207 00:11:41,720 --> 00:11:44,920 Speaker 2: And they were great organizers. You know, you have the 208 00:11:44,960 --> 00:11:49,480 Speaker 2: great producers or cheerleaders. You know, Jimmy Ivien pauls into 209 00:11:49,520 --> 00:11:53,360 Speaker 2: that category as well. So is Jimmy Bowen. You know, 210 00:11:53,480 --> 00:11:55,679 Speaker 2: Richard Perry, A lot of the great producers that I've 211 00:11:55,679 --> 00:11:56,040 Speaker 2: worked with. 212 00:11:56,040 --> 00:11:57,480 Speaker 5: They all have that same quality. 213 00:11:58,360 --> 00:12:02,120 Speaker 2: They're cheerleaders and they stay out of the way of 214 00:12:02,160 --> 00:12:02,520 Speaker 2: the art. 215 00:12:03,480 --> 00:12:09,000 Speaker 3: So tell me how you remember the first sessions with 216 00:12:09,160 --> 00:12:09,880 Speaker 3: James Taylor. 217 00:12:10,920 --> 00:12:15,520 Speaker 2: Well, buzz, I have to say, you know, that period 218 00:12:15,600 --> 00:12:18,480 Speaker 2: of time, there was a lot of invibing going on, 219 00:12:18,640 --> 00:12:22,360 Speaker 2: so I don't remember every single bit of it, but 220 00:12:22,480 --> 00:12:27,520 Speaker 2: I remember that it was an exhilarating experience to play 221 00:12:27,520 --> 00:12:32,480 Speaker 2: those songs with James and Carol and Danny. I think 222 00:12:32,520 --> 00:12:37,760 Speaker 2: we recorded that album inside of a week. Everything was recorded. 223 00:12:37,800 --> 00:12:42,280 Speaker 2: We recorded at Sunset Sound and it was magical, you know, 224 00:12:42,320 --> 00:12:43,280 Speaker 2: it really really was. 225 00:12:43,559 --> 00:12:48,480 Speaker 5: But it's hard to recall just exactly what you. 226 00:12:48,440 --> 00:12:53,760 Speaker 2: Were feeling something that happened over fifty years ago, you know. 227 00:12:53,840 --> 00:12:58,920 Speaker 2: But I know I was there, and I know I 228 00:12:59,679 --> 00:13:02,440 Speaker 2: was thankful. I mean, if there was a word that 229 00:13:02,480 --> 00:13:06,960 Speaker 2: I can use of my dominant emotion, it was gratitude, 230 00:13:07,559 --> 00:13:12,160 Speaker 2: just thankful to be there, you know. And not until many, 231 00:13:12,160 --> 00:13:14,960 Speaker 2: many years later that I realized the impact or the 232 00:13:15,040 --> 00:13:18,840 Speaker 2: significance that that music has had, you know, on the world, 233 00:13:19,559 --> 00:13:22,000 Speaker 2: and I'm eternally grateful for that. 234 00:13:23,679 --> 00:13:27,800 Speaker 3: Then there's the first album that I ever bought and 235 00:13:28,640 --> 00:13:33,800 Speaker 3: wore the grooves off of is this little number called 236 00:13:33,880 --> 00:13:35,480 Speaker 3: Tapestry by Carol King. 237 00:13:36,640 --> 00:13:39,400 Speaker 4: Can you talk about how magical that was? 238 00:13:41,080 --> 00:13:46,800 Speaker 2: Very similar to recording the Sweet Baby James album. It 239 00:13:46,840 --> 00:13:49,640 Speaker 2: didn't take a long time to record Carol. 240 00:13:49,880 --> 00:13:51,160 Speaker 5: It was very prepared. 241 00:13:52,320 --> 00:13:54,760 Speaker 2: She had gone over the songs with Lou at her 242 00:13:54,800 --> 00:13:57,440 Speaker 2: house and all what Lou wanted to do, like he 243 00:13:57,480 --> 00:14:00,080 Speaker 2: says in the documentary, is just recreate what she was 244 00:14:00,200 --> 00:14:03,200 Speaker 2: doing at her house, you know, playing the piano, just 245 00:14:03,280 --> 00:14:08,120 Speaker 2: adding the instruments that they deemed to be necessary around 246 00:14:08,120 --> 00:14:08,760 Speaker 2: the songs. 247 00:14:09,160 --> 00:14:12,600 Speaker 5: I didn't play on the whole album. Joe Bishop O'Brien played. 248 00:14:12,840 --> 00:14:14,760 Speaker 5: I think he actually played on more songs than I 249 00:14:14,840 --> 00:14:15,720 Speaker 5: did on Tapestry. 250 00:14:15,720 --> 00:14:23,160 Speaker 2: But but it was again, it happened very quickly, and 251 00:14:23,440 --> 00:14:25,680 Speaker 2: this was kind of the same group of people. You know, 252 00:14:26,040 --> 00:14:28,720 Speaker 2: James was there playing on some of it. Jonie was there, 253 00:14:28,920 --> 00:14:31,480 Speaker 2: you know, doing some of it. Danny was there, I 254 00:14:31,600 --> 00:14:34,120 Speaker 2: was there. She used She didn't use Leland on that, 255 00:14:34,240 --> 00:14:39,920 Speaker 2: she used Charlie Larky as the bass player, and Ralph 256 00:14:39,920 --> 00:14:43,880 Speaker 2: Schuckett played some other keyboard parts, and lots of lots 257 00:14:43,880 --> 00:14:47,800 Speaker 2: of other wonderful background singers and horn players from La 258 00:14:48,640 --> 00:14:51,800 Speaker 2: But it was very similar to Sweet Baby James. It 259 00:14:52,240 --> 00:14:57,360 Speaker 2: happened quickly and again, you know, in hindsight, when you 260 00:14:57,400 --> 00:14:59,600 Speaker 2: look back, you kind of have an oh my god 261 00:14:59,720 --> 00:15:04,160 Speaker 2: moment that you know that record was so satisfying to 262 00:15:04,200 --> 00:15:04,880 Speaker 2: so many people. 263 00:15:05,560 --> 00:15:07,720 Speaker 1: We'll be right back with more of the Taking a 264 00:15:07,760 --> 00:15:16,000 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 265 00:15:17,200 --> 00:15:17,720 Speaker 4: Is there a. 266 00:15:19,240 --> 00:15:25,840 Speaker 3: Similar zone like athletes talk about that a musician a 267 00:15:25,920 --> 00:15:29,240 Speaker 3: drummer gets into, either in a session or in a 268 00:15:29,280 --> 00:15:30,160 Speaker 3: live performance. 269 00:15:30,280 --> 00:15:32,520 Speaker 4: Is it the zone? 270 00:15:33,320 --> 00:15:37,960 Speaker 2: I refer to it as a flow, and yeah, of course, yeah, 271 00:15:37,960 --> 00:15:40,360 Speaker 2: But you know I try to get into that thing 272 00:15:40,640 --> 00:15:43,320 Speaker 2: in everything that I do, you know, whether I'm surfing 273 00:15:43,400 --> 00:15:46,520 Speaker 2: or swimming, or working out or writing or. 274 00:15:46,840 --> 00:15:48,480 Speaker 5: Playing an playing an instrument. 275 00:15:48,600 --> 00:15:53,080 Speaker 2: Yeah, you definitely want to find that place and stay 276 00:15:53,120 --> 00:15:54,080 Speaker 2: in it for sure. 277 00:15:55,840 --> 00:15:59,520 Speaker 3: Can you talk about the experience that happened in a 278 00:15:59,560 --> 00:16:03,680 Speaker 3: session in New York City that included the likes of 279 00:16:04,360 --> 00:16:06,160 Speaker 3: George Harrison and Bob Dylan. 280 00:16:08,200 --> 00:16:11,640 Speaker 2: I was in New York with Peter. He took me 281 00:16:11,680 --> 00:16:14,200 Speaker 2: to New York to play drums on a Tony Cossen 282 00:16:14,280 --> 00:16:17,520 Speaker 2: Act record, an artist he was producing. This was after 283 00:16:17,600 --> 00:16:22,280 Speaker 2: Sweet Baby James, after the James Taylor albums and we 284 00:16:22,320 --> 00:16:25,480 Speaker 2: had finished recording and I was in my hotel. We 285 00:16:25,480 --> 00:16:29,680 Speaker 2: were leaving the next day and Peter called me and said, 286 00:16:29,720 --> 00:16:32,600 Speaker 2: put your put your drums in a cab and come 287 00:16:32,640 --> 00:16:34,680 Speaker 2: down two CBS studios. 288 00:16:35,320 --> 00:16:38,120 Speaker 5: And I said, what happened? We were cutting more tracks. 289 00:16:38,120 --> 00:16:41,280 Speaker 2: He said, no, you're gonna play with Bob Dylan and 290 00:16:41,320 --> 00:16:42,080 Speaker 2: George Harrison. 291 00:16:42,120 --> 00:16:44,400 Speaker 5: They're in the studio and they need a drummer. So 292 00:16:44,440 --> 00:16:45,040 Speaker 5: they called me. 293 00:16:47,640 --> 00:16:53,600 Speaker 2: So after I composed to myself, I got my drums 294 00:16:53,600 --> 00:16:58,040 Speaker 2: down to the studio and took him inside and sat 295 00:16:58,080 --> 00:17:02,320 Speaker 2: them up, and I'm jamming with Bob Dylan and George Harrison. 296 00:17:03,120 --> 00:17:05,359 Speaker 5: Bob wanted to play Beatles. 297 00:17:04,840 --> 00:17:08,720 Speaker 2: Songs in Elvis Presley songs, and George wanted to play 298 00:17:08,800 --> 00:17:12,320 Speaker 2: Dylan songs, and so they kind of just traded back 299 00:17:12,359 --> 00:17:15,919 Speaker 2: and forth. I think Al Cooper was there playing Oregon. 300 00:17:17,400 --> 00:17:21,320 Speaker 2: Charlie Daniels was there, I think, playing bass at that time. 301 00:17:22,680 --> 00:17:26,720 Speaker 2: And then that same configuration of people were called back 302 00:17:26,800 --> 00:17:32,080 Speaker 2: by Bruce Johnston, who was not Bruce Bruce Johnson, Bob 303 00:17:32,320 --> 00:17:35,720 Speaker 2: who produced Bob Johnson exactly, Bruce Johnson's and the Beach Boys. 304 00:17:35,840 --> 00:17:39,000 Speaker 4: Is it roling Bob, remember, right, exactly. 305 00:17:39,520 --> 00:17:42,040 Speaker 2: He called me two months later to come to New 306 00:17:42,119 --> 00:17:44,639 Speaker 2: York and play on the New Morning album with the 307 00:17:44,680 --> 00:17:50,520 Speaker 2: same group of people. You know, I had the headphones 308 00:17:50,560 --> 00:17:52,399 Speaker 2: on and I have George Harrison in one ear and 309 00:17:52,400 --> 00:17:56,080 Speaker 2: Bob Dylan in the other, and I, you know, if 310 00:17:56,960 --> 00:17:59,080 Speaker 2: I don't know how I kept my head from exploding. 311 00:17:59,280 --> 00:18:03,639 Speaker 2: But it was a magnificent experience, to say the least. 312 00:18:04,280 --> 00:18:06,040 Speaker 2: And I think there's a bootleg of some of that 313 00:18:06,119 --> 00:18:07,679 Speaker 2: stuff that came out at some point. 314 00:18:08,200 --> 00:18:09,960 Speaker 5: I seem to remember hearing some of it. 315 00:18:10,600 --> 00:18:13,040 Speaker 3: I was going to ask you, because over time, Bob 316 00:18:13,160 --> 00:18:18,640 Speaker 3: has continually released you know, treasures that were from sessions 317 00:18:18,680 --> 00:18:22,200 Speaker 3: and whatnot. So I have a feeling some of that 318 00:18:22,480 --> 00:18:25,760 Speaker 3: keeps popping out as well. And it really, you know, 319 00:18:25,840 --> 00:18:30,359 Speaker 3: of course, it showcases his brilliance in so many ways, 320 00:18:30,440 --> 00:18:30,639 Speaker 3: you know. 321 00:18:32,119 --> 00:18:36,560 Speaker 2: You know, as I as I get older, I started 322 00:18:36,560 --> 00:18:39,120 Speaker 2: to realize that I don't like things that are perfect. 323 00:18:40,240 --> 00:18:46,360 Speaker 2: I so much of music today it's perfect. It's absolutely 324 00:18:46,359 --> 00:18:50,320 Speaker 2: in tune, absolutely in time. It's all matched up to 325 00:18:50,359 --> 00:18:54,280 Speaker 2: a grid, and I think there's something lacking in that, 326 00:18:54,560 --> 00:18:58,400 Speaker 2: you know. I think, however far we've gone down that road, 327 00:18:58,440 --> 00:19:04,480 Speaker 2: I hope that will jump off of it. Bob Dylan 328 00:19:04,640 --> 00:19:09,600 Speaker 2: was never that way, and I think that that is 329 00:19:09,680 --> 00:19:14,440 Speaker 2: part of his greatness, is that he didn't want anything 330 00:19:14,480 --> 00:19:17,000 Speaker 2: to be perfect. The only thing that I could say 331 00:19:17,000 --> 00:19:21,639 Speaker 2: that would approach being perfect are the amazing lyrics that 332 00:19:21,680 --> 00:19:25,080 Speaker 2: he's written. You know what he was able to do 333 00:19:25,119 --> 00:19:28,399 Speaker 2: with putting words together to to tell a story or 334 00:19:28,400 --> 00:19:29,960 Speaker 2: create an emotion or a feeling. 335 00:19:30,480 --> 00:19:32,600 Speaker 5: I don't know that anybody's done it any better. 336 00:19:33,880 --> 00:19:37,120 Speaker 2: But doing those sessions with him and playing on New 337 00:19:37,160 --> 00:19:41,200 Speaker 2: Morning and the sessions with Harrison, you only played a 338 00:19:41,240 --> 00:19:45,440 Speaker 2: song one time like he would. He would on the 339 00:19:46,560 --> 00:19:50,560 Speaker 2: New Morning sessions. We would jam something like we would 340 00:19:50,560 --> 00:19:53,520 Speaker 2: be playing a Buddy Holly song or something, and then 341 00:19:53,560 --> 00:19:55,280 Speaker 2: all of a sudden he'd throw in a new song 342 00:19:55,440 --> 00:19:59,080 Speaker 2: like you never saw it coming. He would just go 343 00:19:59,119 --> 00:20:01,840 Speaker 2: over to the piano and he starts playing you know, 344 00:20:02,080 --> 00:20:06,479 Speaker 2: uh winter Loo, you know, and all of a sudden, 345 00:20:06,560 --> 00:20:08,080 Speaker 2: you just you jump in. 346 00:20:08,000 --> 00:20:08,560 Speaker 3: And hang on. 347 00:20:08,840 --> 00:20:10,919 Speaker 5: And every time he did that, I. 348 00:20:10,920 --> 00:20:14,040 Speaker 2: Would just I was going, God, if we could just 349 00:20:14,119 --> 00:20:17,040 Speaker 2: do that one more time? Now, I know what I 350 00:20:17,080 --> 00:20:19,000 Speaker 2: want to play, but he doesn't. He didn't want that, 351 00:20:19,119 --> 00:20:23,240 Speaker 2: and that's I see the genius in that. Now you know, 352 00:20:23,280 --> 00:20:26,040 Speaker 2: there's so many mistakes that I think are mistakes on 353 00:20:26,680 --> 00:20:29,720 Speaker 2: what I played on those songs on that album, but 354 00:20:30,720 --> 00:20:32,200 Speaker 2: apparently no one else thought they were. 355 00:20:32,280 --> 00:20:36,120 Speaker 3: So did you do work on the soundtrack of Peck 356 00:20:36,200 --> 00:20:37,480 Speaker 3: Garrett and Billy the Kid? 357 00:20:38,640 --> 00:20:39,000 Speaker 5: I did. 358 00:20:39,119 --> 00:20:42,800 Speaker 2: Jim Keltner and I both played on that on a 359 00:20:42,880 --> 00:20:46,040 Speaker 2: few songs of that soundtrack. Yeah, that was pretty amazing 360 00:20:46,119 --> 00:20:47,000 Speaker 2: experience as. 361 00:20:46,840 --> 00:20:51,359 Speaker 4: Well amazing seeing Bob acting too, you know. 362 00:20:52,600 --> 00:20:56,119 Speaker 5: Oh yeah, well he's very good, you know, as his 363 00:20:56,240 --> 00:20:56,639 Speaker 5: leve on. 364 00:20:58,440 --> 00:20:59,040 Speaker 4: For sure. 365 00:21:00,240 --> 00:21:00,600 Speaker 5: Yeah. 366 00:21:01,160 --> 00:21:06,159 Speaker 3: Tell me about the Blue Session with Joni, which you know, 367 00:21:06,240 --> 00:21:09,679 Speaker 3: to this day people talk about that, you know, in 368 00:21:09,800 --> 00:21:15,600 Speaker 3: her of course, in reverence. Uh, you know, she's so amazing. 369 00:21:16,040 --> 00:21:18,399 Speaker 3: What do you remember about the Blue Session which you 370 00:21:18,480 --> 00:21:18,960 Speaker 3: played on. 371 00:21:20,560 --> 00:21:25,199 Speaker 2: Well, again, when it was going on, you it was 372 00:21:25,280 --> 00:21:29,040 Speaker 2: just another day, you know. I had been working with James, 373 00:21:29,080 --> 00:21:32,119 Speaker 2: I was friends with Steven and David and Graham and Neil, 374 00:21:32,880 --> 00:21:36,360 Speaker 2: and we were in and out of the same studios. 375 00:21:36,400 --> 00:21:38,040 Speaker 2: And I got a call to come down to A 376 00:21:38,160 --> 00:21:42,360 Speaker 2: and M and and I knew Joan and I had 377 00:21:42,359 --> 00:21:45,240 Speaker 2: to come down and play on some recordings that she 378 00:21:45,720 --> 00:21:48,480 Speaker 2: that she was doing at the time, and I overdubbed 379 00:21:48,520 --> 00:21:51,120 Speaker 2: on some pre existing things, and we played a couple 380 00:21:51,160 --> 00:21:55,440 Speaker 2: of things live, and Steven and I overdubbed together. Steve 381 00:21:55,520 --> 00:21:58,840 Speaker 2: she had Stephen playing bass on on on a couple 382 00:21:58,880 --> 00:22:02,080 Speaker 2: of things, and I was playing counga's and percussion, and 383 00:22:02,119 --> 00:22:04,800 Speaker 2: I think I played drums on one or two songs. 384 00:22:05,119 --> 00:22:08,480 Speaker 2: But the the percussion and the drum accompaniment on Blue 385 00:22:08,520 --> 00:22:13,000 Speaker 2: is very subtle, you know, it's it's it's mixed exactly. 386 00:22:12,600 --> 00:22:13,320 Speaker 5: In the right way. 387 00:22:13,400 --> 00:22:18,000 Speaker 2: And uh again, when you when you look back on 388 00:22:18,040 --> 00:22:20,880 Speaker 2: that time, I had, I had no idea that those songs. 389 00:22:21,440 --> 00:22:23,080 Speaker 2: I've worked on a little bit of Ladies of the 390 00:22:23,119 --> 00:22:25,280 Speaker 2: Canyon as well, but I had no idea that those 391 00:22:25,320 --> 00:22:28,800 Speaker 2: songs were going to the album Blue is going to 392 00:22:28,840 --> 00:22:31,679 Speaker 2: have the significance that it has, you know, and again, 393 00:22:31,920 --> 00:22:36,040 Speaker 2: just unbelievably grateful that I was there, you know, there 394 00:22:36,080 --> 00:22:37,080 Speaker 2: but for fortune. 395 00:22:38,200 --> 00:22:42,439 Speaker 3: Who are the drummers that have impacted you past and 396 00:22:43,000 --> 00:22:48,840 Speaker 3: present and maybe particular work by them that has impacted. 397 00:22:48,280 --> 00:22:55,280 Speaker 2: You, Well, it starts with Ringo, Charlie Watts, Jim Kelton, 398 00:22:56,280 --> 00:23:02,359 Speaker 2: Jeff Picaro, Levon Helm, huge influence, every every drummer that 399 00:23:02,440 --> 00:23:07,480 Speaker 2: you would think, you know, Philly, Joe Jones, Joe Jones, 400 00:23:07,960 --> 00:23:13,560 Speaker 2: Louis Belson, Buddy Rich, Jing Krupa, you know, for all 401 00:23:13,600 --> 00:23:16,040 Speaker 2: the reasons that you would imagine, you know, the body 402 00:23:16,080 --> 00:23:19,200 Speaker 2: of just the body of work that that Charlie and 403 00:23:19,760 --> 00:23:22,719 Speaker 2: Ringo and Jim Keltner and Jeff Pricaro have played on 404 00:23:22,840 --> 00:23:25,480 Speaker 2: is you know, is enough? 405 00:23:27,359 --> 00:23:30,680 Speaker 5: You know, I'm quite fond of Dave Grohl as well. 406 00:23:30,720 --> 00:23:32,800 Speaker 2: But Dave is more than just a drummer, you know, 407 00:23:33,880 --> 00:23:36,840 Speaker 2: He's He's just a He's a great human, a great 408 00:23:36,840 --> 00:23:37,919 Speaker 2: talented individual. 409 00:23:39,119 --> 00:23:45,280 Speaker 3: You obviously observe the brilliance and the tragedy of Jim 410 00:23:45,320 --> 00:23:48,800 Speaker 3: Gordon as someone in your profession. 411 00:23:51,040 --> 00:23:53,200 Speaker 5: I should have mentioned him because he was a huge 412 00:23:53,200 --> 00:23:53,960 Speaker 5: influence on me. 413 00:23:54,960 --> 00:24:00,679 Speaker 3: Talk about his work obviously, which is pretty mind blowing. 414 00:24:01,680 --> 00:24:05,400 Speaker 2: Well, the first time I became really aware of Jim 415 00:24:05,440 --> 00:24:07,760 Speaker 2: Gordon was on Dave Mason song only you know and 416 00:24:07,800 --> 00:24:11,080 Speaker 2: I know, and that rolling snare drum part that he 417 00:24:11,119 --> 00:24:13,439 Speaker 2: decided to play on that no one ever did that before, 418 00:24:14,119 --> 00:24:14,320 Speaker 2: you know. 419 00:24:14,600 --> 00:24:17,040 Speaker 5: And it was that whole period of time of. 420 00:24:17,000 --> 00:24:20,080 Speaker 2: Delaney and Bonnie and all the musicians and Leon Russell 421 00:24:20,160 --> 00:24:22,960 Speaker 2: and everybody that came in and out of that camp. 422 00:24:23,000 --> 00:24:26,120 Speaker 2: And then Delaney and Bonnie, you know then that kind 423 00:24:26,160 --> 00:24:28,600 Speaker 2: of gave birth to mad Dogs and Englishmen and just 424 00:24:28,680 --> 00:24:32,919 Speaker 2: that that whole group of musicians were incredible and I 425 00:24:33,119 --> 00:24:38,040 Speaker 2: loved every bit of it. But Jim Gordon's session work, 426 00:24:38,400 --> 00:24:41,040 Speaker 2: I mean, he's well known for his work with Clapton 427 00:24:41,080 --> 00:24:43,199 Speaker 2: and stuff like that, but he he played on so 428 00:24:43,320 --> 00:24:46,720 Speaker 2: many records. I mean, he was in the studio kind 429 00:24:46,720 --> 00:24:49,359 Speaker 2: of at the same time that Howe was in the studio, 430 00:24:49,440 --> 00:24:51,680 Speaker 2: maybe a little bit after that, and a little bit 431 00:24:51,720 --> 00:24:54,720 Speaker 2: before me before I started working a lot in the studio. 432 00:24:54,800 --> 00:24:57,119 Speaker 5: And he had he had a great groove. He had 433 00:24:57,320 --> 00:24:58,679 Speaker 5: just a great pocket, you know. 434 00:24:59,720 --> 00:25:05,480 Speaker 2: And and it's tragic what happened to him. It almost 435 00:25:05,520 --> 00:25:10,720 Speaker 2: seems like it's like it's a movie instead of reality. 436 00:25:10,840 --> 00:25:13,680 Speaker 5: But because he seemed to be such a nice guy, 437 00:25:14,119 --> 00:25:15,159 Speaker 5: it's like a bad dream. 438 00:25:15,720 --> 00:25:19,720 Speaker 2: But everyone has a gun, yeah, everyone, Everyone potentially can 439 00:25:19,800 --> 00:25:21,160 Speaker 2: have demons, so he's. 440 00:25:20,920 --> 00:25:21,920 Speaker 5: Got the best of them. 441 00:25:22,680 --> 00:25:26,679 Speaker 4: Yeah, that was that story. Just chilling, you know. 442 00:25:27,760 --> 00:25:33,560 Speaker 3: Yeah, absolutely, talk about the joy you're experiencing with immediate family. 443 00:25:34,040 --> 00:25:36,760 Speaker 3: I love the documentary also as well, and I love 444 00:25:37,720 --> 00:25:41,439 Speaker 3: what you guys are up to, the camaraderie, the vibe, 445 00:25:41,520 --> 00:25:42,480 Speaker 3: the spirit of it. 446 00:25:43,119 --> 00:25:44,320 Speaker 4: Talk about how you love it. 447 00:25:45,320 --> 00:25:48,640 Speaker 2: Well, these are guys that I've spent the better part 448 00:25:48,680 --> 00:25:52,200 Speaker 2: of my musical career with in one configuration or another. 449 00:25:53,040 --> 00:25:55,280 Speaker 2: So for us to have a chance to do something 450 00:25:55,359 --> 00:25:58,399 Speaker 2: of our own, it was really it was really great. 451 00:26:00,119 --> 00:26:03,640 Speaker 2: Kind of started right before COVID and having a new 452 00:26:03,720 --> 00:26:06,840 Speaker 2: band during COVID kind of kept us all sane. 453 00:26:07,119 --> 00:26:07,240 Speaker 4: You know. 454 00:26:07,320 --> 00:26:09,960 Speaker 2: We recorded a lot of videos, and we did a 455 00:26:09,960 --> 00:26:13,320 Speaker 2: lot of recording, kind of sending each other bits and pieces, 456 00:26:13,400 --> 00:26:15,639 Speaker 2: and we did a lot of writing during that time. 457 00:26:16,440 --> 00:26:19,280 Speaker 5: And it's it's been a fun journey, it really really has. 458 00:26:20,160 --> 00:26:25,520 Speaker 2: Being fortunate enough to have the documentary documentary made about us, 459 00:26:26,080 --> 00:26:26,879 Speaker 2: it's profound. 460 00:26:27,680 --> 00:26:29,000 Speaker 5: I mean, how lucky are we? 461 00:26:29,440 --> 00:26:32,159 Speaker 2: You know that Denny wanted to do it, that he 462 00:26:32,240 --> 00:26:34,159 Speaker 2: felt that there that was a story that needed to 463 00:26:34,200 --> 00:26:35,000 Speaker 2: be told. 464 00:26:34,760 --> 00:26:34,840 Speaker 5: And. 465 00:26:36,320 --> 00:26:39,159 Speaker 2: In a lot of ways, it's it frightened me the 466 00:26:39,160 --> 00:26:41,480 Speaker 2: first time that I saw it, because I felt like, 467 00:26:42,359 --> 00:26:45,400 Speaker 2: not only was I looking at my life, and when 468 00:26:45,400 --> 00:26:47,520 Speaker 2: you look at something that kind of spans a period 469 00:26:47,560 --> 00:26:50,600 Speaker 2: of time, especially when you get to be my age, 470 00:26:50,720 --> 00:26:53,600 Speaker 2: you're kind of you have less time to look at 471 00:26:53,720 --> 00:26:57,119 Speaker 2: than you do than you've lived. And so it was 472 00:26:57,119 --> 00:27:01,720 Speaker 2: a reminder, I guess our of mind, mortality and the 473 00:27:01,760 --> 00:27:05,080 Speaker 2: mortality of my friends. So that's the thing that hit 474 00:27:05,160 --> 00:27:07,600 Speaker 2: me about it, you know, like, oh, okay, I'm old 475 00:27:07,720 --> 00:27:09,639 Speaker 2: enough now to where somebody thought we should make a 476 00:27:09,680 --> 00:27:14,760 Speaker 2: documentary about the music that you played on. So but yeah, 477 00:27:14,800 --> 00:27:17,719 Speaker 2: it's every time we get a chance to play it's 478 00:27:17,760 --> 00:27:20,520 Speaker 2: it's really fun. We really have a great time doing it, 479 00:27:20,600 --> 00:27:22,840 Speaker 2: and I hope we get to do more in the future. 480 00:27:23,960 --> 00:27:26,840 Speaker 4: Do they all make you a better player? Oh? 481 00:27:26,920 --> 00:27:29,680 Speaker 2: No, you can't get away with anything in this band. No, 482 00:27:30,000 --> 00:27:31,840 Speaker 2: you can't make a mistake. You don't want to make 483 00:27:31,880 --> 00:27:35,000 Speaker 2: a mistake because you're trounced on immediately. 484 00:27:36,680 --> 00:27:40,080 Speaker 5: So yes, they do. They We make each other accountable. 485 00:27:40,800 --> 00:27:46,240 Speaker 2: Who's the toughest, though, Well, Waddie and Danny can be 486 00:27:46,280 --> 00:27:50,199 Speaker 2: a little tough. They're they're particular in the ideas of 487 00:27:50,280 --> 00:27:53,760 Speaker 2: the things that they want, you know, So I let them. 488 00:27:54,200 --> 00:27:56,120 Speaker 5: I let them rant and rave, and then I play 489 00:27:56,160 --> 00:27:56,840 Speaker 5: what I want to play. 490 00:27:56,880 --> 00:28:06,200 Speaker 6: Anyway, Any particular traits that you have taken on from 491 00:28:06,240 --> 00:28:09,680 Speaker 6: anyone in particular you've worked with in your career. 492 00:28:10,840 --> 00:28:12,200 Speaker 4: That you can highlight. 493 00:28:12,920 --> 00:28:15,439 Speaker 2: Traits, Well, I've learned a lot of stuff from a 494 00:28:15,440 --> 00:28:20,040 Speaker 2: lot of people. You know, learned a lot from Stephen Stills, 495 00:28:20,440 --> 00:28:22,480 Speaker 2: learned a lot from David and Graham. 496 00:28:22,840 --> 00:28:26,600 Speaker 5: Learned a lot from Neil. I've learned a lot from 497 00:28:26,600 --> 00:28:28,040 Speaker 5: the producers that I worked with. 498 00:28:28,600 --> 00:28:32,080 Speaker 2: I've learned a lot from Jimmy Bowen, from Jimmy Ivan, 499 00:28:32,240 --> 00:28:37,640 Speaker 2: from Peter, from Lou Adler, and I guess, and I've 500 00:28:37,720 --> 00:28:39,360 Speaker 2: learned a lot. I've learned a lot from my friend 501 00:28:39,440 --> 00:28:43,680 Speaker 2: Danny korchmore about songwriting, you know. And so I guess 502 00:28:43,720 --> 00:28:45,920 Speaker 2: I've taken bits and pieces of the things that I've 503 00:28:46,000 --> 00:28:49,160 Speaker 2: learned from everyone and kind of tried to mold them 504 00:28:49,160 --> 00:28:52,080 Speaker 2: into how I do those things. 505 00:28:52,000 --> 00:28:52,239 Speaker 4: You know. 506 00:28:52,720 --> 00:28:57,080 Speaker 2: And yeah, I definitely picked up stuff. 507 00:28:56,840 --> 00:28:57,480 Speaker 5: Along the way. 508 00:28:58,480 --> 00:28:59,920 Speaker 4: What did you learn from ZeVA? 509 00:29:01,080 --> 00:29:02,640 Speaker 5: What I learned from Warren Zevon? 510 00:29:03,480 --> 00:29:11,480 Speaker 2: Wow, genius comes in all different kinds of colors, Bravo. 511 00:29:12,400 --> 00:29:15,320 Speaker 3: Yeah, Are you going to show up in the new 512 00:29:15,320 --> 00:29:15,960 Speaker 3: spinal top? 513 00:29:16,680 --> 00:29:21,520 Speaker 5: I don't believe so, although I did get. One of 514 00:29:21,520 --> 00:29:22,680 Speaker 5: my dear friends is CJ. 515 00:29:22,880 --> 00:29:26,560 Speaker 2: Vanston, and he's been involved with the guys for many, 516 00:29:26,560 --> 00:29:30,800 Speaker 2: many years, and he was just down in New Orleans 517 00:29:30,840 --> 00:29:33,720 Speaker 2: where they were doing some shooting, and he sent me 518 00:29:33,760 --> 00:29:35,560 Speaker 2: a little video that he made of all the guys 519 00:29:35,600 --> 00:29:37,880 Speaker 2: saying hi to me. So that was and they were 520 00:29:37,880 --> 00:29:40,320 Speaker 2: all in costume, so that was a nice thing to get. 521 00:29:41,040 --> 00:29:44,280 Speaker 2: But no, I don't believe so. 522 00:29:44,960 --> 00:29:47,680 Speaker 4: Was Henry Dilts in New Orleans per chance. 523 00:29:49,160 --> 00:29:52,400 Speaker 5: While they were shooting. I'm not sure. I don't know. 524 00:29:53,720 --> 00:29:57,200 Speaker 4: I think we interviewed him for an upcoming episode. He 525 00:29:57,280 --> 00:29:58,520 Speaker 4: said he was heading down there. 526 00:29:58,520 --> 00:30:00,520 Speaker 3: He wasn't quite sure what was going to to happen, 527 00:30:01,800 --> 00:30:04,080 Speaker 3: whether he would be on the cutting floor or not. 528 00:30:04,280 --> 00:30:08,000 Speaker 3: But needless to say, he was, just as Henry is, 529 00:30:08,120 --> 00:30:10,080 Speaker 3: wild eyed and enthusiastic. 530 00:30:10,160 --> 00:30:11,480 Speaker 4: He was looking forward to it. 531 00:30:11,800 --> 00:30:15,520 Speaker 5: Henry Dilts is a beautiful human being and I'm so 532 00:30:15,760 --> 00:30:21,760 Speaker 5: glad to see him getting the recognition that he so deserves. 533 00:30:23,480 --> 00:30:26,520 Speaker 5: Roona Elliott just sent me a signed copy of his 534 00:30:26,720 --> 00:30:30,200 Speaker 5: cs n Y the book Loved the One You're With, 535 00:30:31,120 --> 00:30:34,640 Speaker 5: which is amazing, amazing stuff. 536 00:30:36,000 --> 00:30:36,720 Speaker 4: He's a treasure. 537 00:30:36,760 --> 00:30:41,440 Speaker 3: What do you think keeps him with that wild eyed enthusiasm. 538 00:30:42,080 --> 00:30:45,480 Speaker 2: You know that he I'm sure started with his spirit. 539 00:30:46,200 --> 00:30:50,040 Speaker 2: He loves life. You know, he's he's a happy man. 540 00:30:51,040 --> 00:30:54,360 Speaker 2: You know he's he's in a good place. 541 00:30:55,600 --> 00:30:59,400 Speaker 3: He's a good man, and he definitely is in closing, 542 00:30:59,520 --> 00:31:03,280 Speaker 3: What do you want to learn that you haven't necessarily 543 00:31:03,560 --> 00:31:06,440 Speaker 3: learned at this point in career, in. 544 00:31:06,360 --> 00:31:11,520 Speaker 2: Life, to not be afraid of the things you don't know, 545 00:31:13,280 --> 00:31:15,520 Speaker 2: you know, to not fear fear. 546 00:31:16,680 --> 00:31:18,880 Speaker 5: You know, there's no way of there's no way of 547 00:31:18,960 --> 00:31:23,000 Speaker 5: knowing what's going to happen the next minute, So I 548 00:31:23,200 --> 00:31:25,480 Speaker 5: just try to concentrate on really enjoying the one that 549 00:31:25,520 --> 00:31:25,920 Speaker 5: I'm in. 550 00:31:27,160 --> 00:31:29,600 Speaker 4: I enjoyed this moment I've been in immensely. 551 00:31:30,400 --> 00:31:32,320 Speaker 5: Well. Thank you, Buzz, thanks for wanting to do this 552 00:31:32,400 --> 00:31:32,680 Speaker 5: with me. 553 00:31:33,840 --> 00:31:37,360 Speaker 4: I'm just grateful that you came on the podcast. 554 00:31:37,880 --> 00:31:39,560 Speaker 5: It's my pleasure, my pleasure. 555 00:31:40,800 --> 00:31:43,240 Speaker 1: Thanks for listening to this episode of the Taking a 556 00:31:43,280 --> 00:31:47,200 Speaker 1: Walk podcast. Share this and other episodes with your friends 557 00:31:47,280 --> 00:31:50,760 Speaker 1: and follow us so you never miss an episode. Taking 558 00:31:50,800 --> 00:31:54,680 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 559 00:31:54,880 --> 00:31:57,160 Speaker 1: and wherever you get your podcasts.