1 00:00:00,560 --> 00:00:01,320 Speaker 1: Taking a Walk. 2 00:00:01,360 --> 00:00:05,280 Speaker 2: When you listen to Richard a lot, you know, like 3 00:00:05,320 --> 00:00:09,000 Speaker 2: anything like a fingerprint, there's things you feel that like 4 00:00:09,280 --> 00:00:12,799 Speaker 2: are his trademark roles or a little core changes or 5 00:00:12,840 --> 00:00:16,200 Speaker 2: little little melodic plays that he would use. And you 6 00:00:16,280 --> 00:00:18,799 Speaker 2: hear it and you're like, wow, you can't tell. You're like, 7 00:00:19,000 --> 00:00:22,119 Speaker 2: whose song is this? Because it certainly sounds like Richard's. 8 00:00:22,160 --> 00:00:25,040 Speaker 3: I'm buzz night, your host of Taking a Walk. This 9 00:00:25,200 --> 00:00:28,680 Speaker 3: is the podcast where we stroll through the stories behind 10 00:00:28,800 --> 00:00:34,120 Speaker 3: music creativity and the people who shape our culture. Today, 11 00:00:34,440 --> 00:00:37,599 Speaker 3: we're going to have on the acclaimed author Steven t Lewis. 12 00:00:38,000 --> 00:00:41,440 Speaker 3: He's got a biography that shines a long overdue spotlight 13 00:00:41,800 --> 00:00:47,560 Speaker 3: one of rock's most soulful and enigmatic voices, Richard Manuel, 14 00:00:47,760 --> 00:00:53,360 Speaker 3: of the band. Known for his haunting falsetto, heartfelt songwriting 15 00:00:53,479 --> 00:00:58,680 Speaker 3: and unforgettable performances, Richard Manuel helped define the sound of 16 00:00:58,720 --> 00:01:02,640 Speaker 3: an era, but his personal story has often remained in 17 00:01:02,680 --> 00:01:06,920 Speaker 3: the shadows. Stephen t Lewis spent four years delving into 18 00:01:06,959 --> 00:01:12,759 Speaker 3: Manuel's life, interviewing friends, family, and musical legends, and unearthing 19 00:01:13,080 --> 00:01:17,480 Speaker 3: rare photos and stories that reveal the man behind the music. 20 00:01:18,319 --> 00:01:21,920 Speaker 3: In this episode, We're going to explore what drew Stephen 21 00:01:22,000 --> 00:01:26,120 Speaker 3: to Manuel's story, the challenges and joys of capturing a 22 00:01:26,240 --> 00:01:31,240 Speaker 3: complex legacy, and why Richard's music continues to resonate with 23 00:01:31,360 --> 00:01:37,399 Speaker 3: fans and musicians alike. We welcome right now Stephen t 24 00:01:37,560 --> 00:01:40,479 Speaker 3: Lewis to the Taken a Walk Podcast. 25 00:01:42,319 --> 00:01:45,560 Speaker 4: Well, it's nice to sync up with Stephen t Lewis 26 00:01:45,680 --> 00:01:49,160 Speaker 4: on the Taken a Walk Podcast talking about the amazing 27 00:01:49,280 --> 00:01:52,200 Speaker 4: Richard Manuel biography. Thanks for being on. 28 00:01:52,720 --> 00:01:54,600 Speaker 2: Oh, thanks for having me as your guest. I certainly 29 00:01:54,600 --> 00:01:55,240 Speaker 2: appreciate it. 30 00:01:55,920 --> 00:02:01,000 Speaker 4: So I do start out the podcast, It's Taken a Walk, 31 00:02:02,200 --> 00:02:06,000 Speaker 4: asking the question if someone could take a walk with 32 00:02:06,080 --> 00:02:09,959 Speaker 4: someone living or dead, who might it be. I believe 33 00:02:10,080 --> 00:02:14,560 Speaker 4: I know this answer, but let me ask it anyway. 34 00:02:16,760 --> 00:02:20,240 Speaker 2: Well, I think I know you're correct, and the assumption 35 00:02:20,440 --> 00:02:25,359 Speaker 2: it would definitely be be Richard, And especially after delving 36 00:02:25,440 --> 00:02:27,720 Speaker 2: deep into his life and the people that loved him 37 00:02:27,720 --> 00:02:30,080 Speaker 2: and the people who played music with him, nothing has 38 00:02:30,160 --> 00:02:34,120 Speaker 2: changed in that way, and I can only hope that 39 00:02:34,160 --> 00:02:38,200 Speaker 2: he would be honored but probably a little embarrassed about 40 00:02:37,880 --> 00:02:40,320 Speaker 2: about having a book done about him, But I would 41 00:02:40,639 --> 00:02:42,359 Speaker 2: it would be a joy to take a walk with him. 42 00:02:42,560 --> 00:02:44,600 Speaker 2: Somewhere in Woodstock or Stratford, Ontario. 43 00:02:45,639 --> 00:02:50,240 Speaker 4: Yeah, you highlight certainly all aspects of his life, but 44 00:02:51,000 --> 00:02:56,160 Speaker 4: we'll talk about in particular the Stratford, Ontario pieces as well. 45 00:02:56,720 --> 00:03:00,280 Speaker 4: But I want to talk about the genesis and the 46 00:03:00,360 --> 00:03:03,640 Speaker 4: motivation for the book first. What was it about Richard 47 00:03:04,240 --> 00:03:08,480 Speaker 4: that compelled you to devote four years of researching and 48 00:03:08,520 --> 00:03:12,160 Speaker 4: writing his biography, especially, you know, when every member of 49 00:03:12,320 --> 00:03:16,880 Speaker 4: the band certainly has a compelling story. 50 00:03:17,760 --> 00:03:20,840 Speaker 2: Yeah, and to your point, they all are equal of 51 00:03:21,160 --> 00:03:24,640 Speaker 2: a story because that's what made them great. But to 52 00:03:24,720 --> 00:03:28,080 Speaker 2: go back, like anybody, I think my first view of 53 00:03:28,160 --> 00:03:32,240 Speaker 2: Richard was the Last Waltz, and admittedly through his own words, 54 00:03:32,560 --> 00:03:34,880 Speaker 2: he wasn't in the greatest of condition at that point. 55 00:03:35,440 --> 00:03:40,560 Speaker 2: But watching that film and being the kind of rock geek, 56 00:03:40,640 --> 00:03:45,200 Speaker 2: I am something clicked where, you know, like other musicians, 57 00:03:45,360 --> 00:03:47,880 Speaker 2: whether it be Eric Clapton or George Harris, is something 58 00:03:47,920 --> 00:03:50,840 Speaker 2: clicked where I'm like, there's something about this guy that's 59 00:03:50,880 --> 00:03:55,080 Speaker 2: different from other music that I've been listening to or 60 00:03:55,200 --> 00:03:58,240 Speaker 2: you know that's been shown to me. So I think 61 00:03:58,240 --> 00:04:00,760 Speaker 2: the seed was planted there, and this was, you know, 62 00:04:01,120 --> 00:04:04,320 Speaker 2: when I was probably a teenager, and then as I 63 00:04:04,360 --> 00:04:08,640 Speaker 2: started to use my website as a repository for the 64 00:04:08,720 --> 00:04:12,440 Speaker 2: music that I love, whether it's a bootleg or an album. 65 00:04:13,320 --> 00:04:17,599 Speaker 2: I kept coming back to the band, and Richard obviously 66 00:04:17,760 --> 00:04:21,160 Speaker 2: was one of my musical idols. And I kept coming 67 00:04:21,160 --> 00:04:24,360 Speaker 2: back to Richard. And when I saw the film I 68 00:04:24,360 --> 00:04:28,880 Speaker 2: believe it was in twenty nineteen Robbie Robertson's once were Brothers, 69 00:04:29,080 --> 00:04:31,080 Speaker 2: I got the same feeling that I saw that I 70 00:04:31,120 --> 00:04:33,000 Speaker 2: had when I saw The Last Waltz. I was like, 71 00:04:33,839 --> 00:04:37,839 Speaker 2: there's got to be more to Richard. There has to be, 72 00:04:37,960 --> 00:04:41,840 Speaker 2: you know, And I had been in the intervening years, 73 00:04:42,080 --> 00:04:44,400 Speaker 2: you know, I'd listened to so much band music and 74 00:04:44,520 --> 00:04:48,000 Speaker 2: done research, read Levon's book, Robbie's book, Barney Hoskins book, 75 00:04:48,480 --> 00:04:50,320 Speaker 2: and I was like, man, there's got to be more 76 00:04:50,360 --> 00:04:53,280 Speaker 2: to this guy. And because that's what I do, I 77 00:04:53,560 --> 00:04:56,680 Speaker 2: go on the deep dive and I started to find 78 00:04:56,720 --> 00:04:59,880 Speaker 2: that there was a lot and that he was responsible 79 00:04:59,880 --> 00:05:04,360 Speaker 2: for so much, and I wanted to dispel that narrative 80 00:05:04,520 --> 00:05:08,520 Speaker 2: that was created by the Last Waltz, which is one 81 00:05:08,520 --> 00:05:11,680 Speaker 2: of my favorite films. Like everybody, I mean, definitive, but 82 00:05:12,520 --> 00:05:16,000 Speaker 2: I thought that I could shine a brighter light on 83 00:05:16,080 --> 00:05:18,920 Speaker 2: Richard and his contributions, which I didn't think got the 84 00:05:18,920 --> 00:05:23,239 Speaker 2: full spectrum in that film. And once I started digging 85 00:05:23,279 --> 00:05:25,479 Speaker 2: and talking to people, especially up in his hometown, I 86 00:05:25,640 --> 00:05:28,120 Speaker 2: just there was a lot more and it just started 87 00:05:28,120 --> 00:05:30,919 Speaker 2: to pop up. And I started to collect information in 88 00:05:30,960 --> 00:05:34,000 Speaker 2: a meaningful way and compile it with the stuff i'd heard, 89 00:05:34,200 --> 00:05:37,600 Speaker 2: and then it just started getting bigger and bigger and bigger. 90 00:05:38,600 --> 00:05:42,920 Speaker 4: This is your first foray into writing a book so deeply, 91 00:05:44,120 --> 00:05:46,800 Speaker 4: you know, just thorough correct. 92 00:05:46,880 --> 00:05:51,200 Speaker 2: I mean, yes, again, I kind of focused. I would do, 93 00:05:51,400 --> 00:05:55,120 Speaker 2: you know, focused pieces on certain things that I loved, 94 00:05:55,640 --> 00:06:00,680 Speaker 2: but admittedly the Richard story I had told people and 95 00:06:00,760 --> 00:06:02,240 Speaker 2: my wife, I was like, you know, maybe I'll do 96 00:06:02,320 --> 00:06:05,719 Speaker 2: a series of pieces on my website the spotlight different 97 00:06:05,760 --> 00:06:08,240 Speaker 2: parts of his life. And then it was like, well, 98 00:06:08,279 --> 00:06:10,839 Speaker 2: I'm going to self publish a book because I had 99 00:06:10,839 --> 00:06:13,479 Speaker 2: so much material. And then I was working with a 100 00:06:13,480 --> 00:06:16,160 Speaker 2: local editor and she said, you got to put a 101 00:06:16,200 --> 00:06:21,080 Speaker 2: proposal together here. This deserves more than just what you're thinking, 102 00:06:21,080 --> 00:06:23,680 Speaker 2: whether a blog piece or you putting together a self 103 00:06:23,680 --> 00:06:28,040 Speaker 2: published book, and which I would still do, but we 104 00:06:28,080 --> 00:06:32,520 Speaker 2: wanted the right presentation, We wanted the right care taken 105 00:06:32,640 --> 00:06:35,599 Speaker 2: that I probably couldn't provide the book doing it all 106 00:06:35,640 --> 00:06:40,440 Speaker 2: on my own. And once we did that and Schiffer 107 00:06:40,480 --> 00:06:42,880 Speaker 2: Books came back and said we would love to publish 108 00:06:42,880 --> 00:06:45,720 Speaker 2: this book. And I had seen other pieces they had 109 00:06:45,760 --> 00:06:48,320 Speaker 2: done with some of their other authors, and just the 110 00:06:48,400 --> 00:06:52,720 Speaker 2: high craft, a beautiful way that they put their books together. 111 00:06:53,000 --> 00:06:56,719 Speaker 2: I thought, this is what Richard deserves, and it ended 112 00:06:56,800 --> 00:06:59,279 Speaker 2: up working out for the best, and then you know, 113 00:06:59,320 --> 00:06:59,880 Speaker 2: here we are. 114 00:07:00,720 --> 00:07:00,880 Speaker 1: Yeah. 115 00:07:00,920 --> 00:07:04,320 Speaker 4: I have to say for anybody who loves rock music 116 00:07:04,760 --> 00:07:08,880 Speaker 4: and loves you know, biographies and deep dive takes on 117 00:07:09,600 --> 00:07:14,120 Speaker 4: rock musicians, musicians of any type, but particular rock and 118 00:07:14,160 --> 00:07:17,000 Speaker 4: then you know, going deeper into the world of Bob 119 00:07:17,080 --> 00:07:20,960 Speaker 4: Dylan and the band and you're in love with you know, 120 00:07:21,040 --> 00:07:25,600 Speaker 4: those aspects. The book is so beautifully put together. The 121 00:07:26,560 --> 00:07:31,240 Speaker 4: you know, just the look of it, the photos or 122 00:07:31,800 --> 00:07:35,880 Speaker 4: rich every aspect of it really is beautifully done. So 123 00:07:36,160 --> 00:07:39,360 Speaker 4: it's one of the best that you know, I've ever 124 00:07:39,440 --> 00:07:41,960 Speaker 4: taken a look at. And I can't put it down. 125 00:07:42,600 --> 00:07:45,520 Speaker 2: I certainly, I certainly appreciate that, and Buzz I have 126 00:07:45,520 --> 00:07:48,400 Speaker 2: to give full full credit to It's a testament to 127 00:07:48,400 --> 00:07:51,640 Speaker 2: how many people loved Richard. Is all the photographers and 128 00:07:51,680 --> 00:07:55,760 Speaker 2: family members who graciously gave images and contributed to that 129 00:07:56,200 --> 00:07:59,120 Speaker 2: to this help tell the story, and then you know, 130 00:07:59,160 --> 00:08:02,240 Speaker 2: putting it all together with the words and then the presentation, 131 00:08:02,360 --> 00:08:04,840 Speaker 2: like you said, by the design team at Schiffer it 132 00:08:05,240 --> 00:08:08,840 Speaker 2: all you don't like the band, All the components kind 133 00:08:08,880 --> 00:08:11,160 Speaker 2: of came together to build something that was that was 134 00:08:11,200 --> 00:08:12,720 Speaker 2: greater than some of its parts. 135 00:08:13,560 --> 00:08:15,840 Speaker 4: I think one of the amazing things about the band 136 00:08:16,880 --> 00:08:20,160 Speaker 4: when they broke on the scene that I remember was 137 00:08:20,200 --> 00:08:25,200 Speaker 4: the fact that they were this band that we really 138 00:08:25,240 --> 00:08:29,600 Speaker 4: couldn't categorize. We didn't really know what you know, box 139 00:08:29,640 --> 00:08:32,440 Speaker 4: if you will, to put them in uh. They were 140 00:08:32,520 --> 00:08:37,000 Speaker 4: just so unique in their sound and that was one 141 00:08:37,000 --> 00:08:39,360 Speaker 4: of the driving forces. And then the more we all 142 00:08:39,440 --> 00:08:44,319 Speaker 4: learned about them, you know, in terms of their deep 143 00:08:44,360 --> 00:08:48,320 Speaker 4: connection with Bob Dylan, and then of course before that, 144 00:08:48,480 --> 00:08:53,160 Speaker 4: you know, the Hawks. They they were a band that 145 00:08:53,200 --> 00:08:58,000 Speaker 4: we were really fixated on, you know, Beck certainly from 146 00:08:58,000 --> 00:09:02,000 Speaker 4: the beginning, because you couldn't a category on them, really. 147 00:09:02,320 --> 00:09:04,720 Speaker 2: Yeah, and for a period of time no one knew 148 00:09:04,760 --> 00:09:07,520 Speaker 2: even who they were, you know, and making that connection. 149 00:09:07,559 --> 00:09:09,480 Speaker 2: All these were the guys that were on stage with 150 00:09:09,480 --> 00:09:12,880 Speaker 2: with Dylan, you know, and I think part of the 151 00:09:13,480 --> 00:09:17,800 Speaker 2: mystery was part of the attraction, but also the music 152 00:09:17,840 --> 00:09:20,880 Speaker 2: that came out of this, you know, was you can 153 00:09:20,920 --> 00:09:23,880 Speaker 2: see with way Rock went after their debut album, after 154 00:09:23,960 --> 00:09:27,280 Speaker 2: music from Big Pink. It's like it was such a 155 00:09:27,320 --> 00:09:31,720 Speaker 2: specialized form of music from all of the diverse influences 156 00:09:31,720 --> 00:09:35,440 Speaker 2: from each member that it just took everything and moved 157 00:09:35,440 --> 00:09:38,720 Speaker 2: in another direction, which I've always just found completely fascinating. 158 00:09:39,480 --> 00:09:42,600 Speaker 4: I'm grateful for the fact I got to to see 159 00:09:42,600 --> 00:09:48,560 Speaker 4: those boys on three different occasions, which were all very 160 00:09:48,600 --> 00:09:52,439 Speaker 4: different in that regard. I have to ask you, as 161 00:09:52,440 --> 00:09:54,960 Speaker 4: someone as a fan and then someone who's written this 162 00:09:55,000 --> 00:09:57,880 Speaker 4: great book, that must make you I sense you didn't 163 00:09:57,920 --> 00:10:01,040 Speaker 4: get to see them play, and that that fact must 164 00:10:01,080 --> 00:10:05,199 Speaker 4: make you crazy that you never got to experience it. 165 00:10:05,400 --> 00:10:07,280 Speaker 2: No, You're completely right, and that's I think part of 166 00:10:07,320 --> 00:10:12,760 Speaker 2: the reason why I do these these in depth analysis 167 00:10:13,080 --> 00:10:17,440 Speaker 2: analysis of the available recordings and field recordings. I mean, 168 00:10:17,480 --> 00:10:19,920 Speaker 2: that's just something I really really enjoy no matter who 169 00:10:19,920 --> 00:10:24,720 Speaker 2: it is. But with this piece in particular, going back 170 00:10:24,760 --> 00:10:28,720 Speaker 2: to the earliest Revels performance, through the Hawks, through the band, 171 00:10:28,760 --> 00:10:35,199 Speaker 2: and watching Richard's arc becoming this this visionary artist and 172 00:10:35,240 --> 00:10:37,760 Speaker 2: trying to put yourself in that place, you know, through 173 00:10:37,880 --> 00:10:40,920 Speaker 2: the vibes of the tape, putting headphones on even if 174 00:10:40,920 --> 00:10:44,040 Speaker 2: there's the poorous sounding recording, and trying to get to 175 00:10:44,160 --> 00:10:49,120 Speaker 2: that magic, you know, through through the sonics. And that 176 00:10:49,200 --> 00:10:51,400 Speaker 2: was a big part of the book. Was was because 177 00:10:51,440 --> 00:10:56,800 Speaker 2: there wasn't a lot available interviewised from Richard or you know, 178 00:10:56,920 --> 00:11:00,560 Speaker 2: just not a lot of material official. It was nice 179 00:11:00,600 --> 00:11:02,360 Speaker 2: to go in and really find some of these things 180 00:11:02,400 --> 00:11:05,679 Speaker 2: are a little on stage things he would say, and 181 00:11:05,720 --> 00:11:07,840 Speaker 2: just stuff like that and pulling it all together. That 182 00:11:07,960 --> 00:11:10,600 Speaker 2: was really a joyful part of the process for me. 183 00:11:11,640 --> 00:11:14,480 Speaker 4: Among the many things that I learned for the first time, 184 00:11:15,000 --> 00:11:17,560 Speaker 4: I didn't know of the nickname the. 185 00:11:17,400 --> 00:11:22,600 Speaker 2: Beak, and that's that's Stratford, you know. And right up 186 00:11:22,679 --> 00:11:26,840 Speaker 2: until he played Richard played with the Reunited Band at 187 00:11:26,840 --> 00:11:29,480 Speaker 2: the end of eighty five, when he went home and played, 188 00:11:29,920 --> 00:11:31,440 Speaker 2: you know, that was one of the things. You can 189 00:11:31,520 --> 00:11:34,640 Speaker 2: hear the crowd yelling for Beak and it's just I 190 00:11:34,640 --> 00:11:37,240 Speaker 2: had man. That had to be a just a towering 191 00:11:37,600 --> 00:11:41,640 Speaker 2: achievement and fine moment for someone you know is sensitive 192 00:11:41,720 --> 00:11:46,000 Speaker 2: and his feeling is Richard to go home triumphant and 193 00:11:46,120 --> 00:11:48,719 Speaker 2: have his old high you know, his old nickname being 194 00:11:48,800 --> 00:11:52,560 Speaker 2: yelled at him by teachers, friends, family, and I feel 195 00:11:52,600 --> 00:11:55,200 Speaker 2: like that was a really really cool, cool moment for Richard. 196 00:11:55,200 --> 00:11:56,719 Speaker 2: And as you saw, there's a couple of pictures from 197 00:11:56,720 --> 00:12:00,319 Speaker 2: that night which I just treasure because he's glow in 198 00:12:00,920 --> 00:12:01,640 Speaker 2: those photos. 199 00:12:01,679 --> 00:12:01,880 Speaker 1: You know. 200 00:12:02,240 --> 00:12:05,440 Speaker 4: Yeah, you really laid that out beautifully. So you interviewed 201 00:12:05,440 --> 00:12:09,800 Speaker 4: tons of people and family, friends, and then some amazing 202 00:12:10,120 --> 00:12:14,280 Speaker 4: legendary musicians such as Eric Clapton and then Van Morrison. 203 00:12:16,120 --> 00:12:20,400 Speaker 4: What was the most surprising or moving story that you 204 00:12:20,480 --> 00:12:21,800 Speaker 4: heard during your research? 205 00:12:22,720 --> 00:12:26,920 Speaker 2: Well as far as something that really struck me emotionally, 206 00:12:27,600 --> 00:12:31,920 Speaker 2: was speaking to Eric, and Eric being so insightful on 207 00:12:32,000 --> 00:12:35,440 Speaker 2: the on kind of the parallel paths that they Richard 208 00:12:35,520 --> 00:12:40,600 Speaker 2: and himself they traveled together. You know, Richard unfortunately didn't 209 00:12:40,600 --> 00:12:44,680 Speaker 2: make it out. Eric almost didn't make it out, and 210 00:12:45,360 --> 00:12:49,080 Speaker 2: he really kind of laid it out for me to 211 00:12:49,200 --> 00:12:54,800 Speaker 2: kind of understand where Richard was coming from musically and 212 00:12:54,880 --> 00:12:57,840 Speaker 2: emotionally and the things he was dealing with. And really, 213 00:12:58,400 --> 00:13:01,160 Speaker 2: I can honestly say I don't think anybody else could 214 00:13:01,320 --> 00:13:04,880 Speaker 2: really get to that point. And I just feel like 215 00:13:04,920 --> 00:13:08,640 Speaker 2: some of Eric's contributions are just very insightful and understanding 216 00:13:09,720 --> 00:13:12,560 Speaker 2: where Richard was at certain points and where he was going. 217 00:13:13,080 --> 00:13:21,040 Speaker 2: And now as far as surprising, it was Richard was 218 00:13:21,600 --> 00:13:25,160 Speaker 2: the best blue singer around in a pre band. I'm 219 00:13:25,160 --> 00:13:29,560 Speaker 2: talking Revels and Hawks, and I knew that there was 220 00:13:29,600 --> 00:13:33,400 Speaker 2: more from that era, but talking to friends, family, people 221 00:13:33,440 --> 00:13:37,040 Speaker 2: that saw the Hawks, this guy was like something I 222 00:13:37,080 --> 00:13:39,480 Speaker 2: knew you've probably heard where Levon was, like, you know, 223 00:13:39,520 --> 00:13:42,200 Speaker 2: he was our lead singer and he was a show 224 00:13:42,240 --> 00:13:45,840 Speaker 2: to himself, like that was no joke. And that I 225 00:13:45,960 --> 00:13:49,280 Speaker 2: really find one of the more exciting parts and the 226 00:13:49,320 --> 00:13:53,000 Speaker 2: things I love about compiling Richard's story is this guy 227 00:13:53,120 --> 00:13:57,400 Speaker 2: was authentic. He was real, and he could sing the blues. 228 00:13:57,040 --> 00:14:00,000 Speaker 5: As you know, an eighteen year old kid coming from 229 00:14:00,080 --> 00:14:02,640 Speaker 5: Canada and you and you know this as a music 230 00:14:02,679 --> 00:14:04,800 Speaker 5: fan buzz to to be able to to be able 231 00:14:04,800 --> 00:14:07,600 Speaker 5: to sing the blues authentically, you've got to have something there. 232 00:14:07,720 --> 00:14:11,200 Speaker 2: People can can spot if you're not doing it right, 233 00:14:11,760 --> 00:14:15,439 Speaker 2: you know. And the story of him and the Revels 234 00:14:15,480 --> 00:14:19,880 Speaker 2: going down to Arkansas to Ronnie's Club and playing for 235 00:14:20,000 --> 00:14:22,640 Speaker 2: people that were used to hear in real blues music 236 00:14:23,120 --> 00:14:26,920 Speaker 2: and hit Richard blowing him away, and that I thought 237 00:14:27,040 --> 00:14:31,520 Speaker 2: was was really excellent and a real good statement of 238 00:14:31,600 --> 00:14:34,280 Speaker 2: how vital he was. And even though the Hawks weren't 239 00:14:34,680 --> 00:14:38,560 Speaker 2: weren't popular, they were well respected and you can kind 240 00:14:38,600 --> 00:14:40,440 Speaker 2: of see why they took the path they did based 241 00:14:40,440 --> 00:14:41,440 Speaker 2: on those early shows. 242 00:14:42,320 --> 00:14:44,080 Speaker 4: How about the Van Morrison conversation. 243 00:14:45,000 --> 00:14:49,800 Speaker 2: So I spoke with Eric Van was it was he 244 00:14:49,880 --> 00:14:55,240 Speaker 2: was accommodating. We corresponded through email, and it was I 245 00:14:55,320 --> 00:14:58,520 Speaker 2: turned the book in to the publisher because I've been 246 00:14:58,520 --> 00:15:02,240 Speaker 2: trying for a couple of years to get and I mean, 247 00:15:02,480 --> 00:15:06,400 Speaker 2: the day after Vans, people are like, we've got your questions, 248 00:15:06,480 --> 00:15:09,920 Speaker 2: We've looked them over, Van's gonna answer them. I'm like, yes, yes, 249 00:15:10,120 --> 00:15:13,880 Speaker 2: So Shifferd allowed me to assimilate that stuff in back 250 00:15:13,920 --> 00:15:15,800 Speaker 2: in and the same thing. You know, you can just 251 00:15:15,840 --> 00:15:20,560 Speaker 2: tell these guys really respected each other and then they 252 00:15:20,560 --> 00:15:24,320 Speaker 2: had great love for Richard. And I'm just thankful for 253 00:15:24,360 --> 00:15:28,720 Speaker 2: both of those guys for not only adding validity to 254 00:15:28,800 --> 00:15:31,000 Speaker 2: his story, but just showing how important he was to 255 00:15:31,040 --> 00:15:32,880 Speaker 2: the to the band's contemporaries. 256 00:15:33,680 --> 00:15:37,400 Speaker 4: The Dylan pieces are, you know, obviously such an integral 257 00:15:37,800 --> 00:15:43,640 Speaker 4: part on so many levels, especially when Bob was kind 258 00:15:43,640 --> 00:15:46,840 Speaker 4: of you know, scouting out the fact that he would be, 259 00:15:47,160 --> 00:15:50,400 Speaker 4: you know, working with Richard and the boys. I was 260 00:15:50,480 --> 00:15:54,760 Speaker 4: surprised back then Dylan was flying a private plane up 261 00:15:54,840 --> 00:15:59,600 Speaker 4: to Toronto. Yeah, private private even then. And uh, just 262 00:15:59,680 --> 00:16:03,400 Speaker 4: how that all evolved? Can you talk about that? How 263 00:16:03,600 --> 00:16:07,080 Speaker 4: you know it suddenly came together that you know, Bob 264 00:16:07,200 --> 00:16:09,520 Speaker 4: kind of sought him out and wanted him. 265 00:16:10,040 --> 00:16:12,440 Speaker 2: Yeah, And it's weird how all those things, you know, 266 00:16:12,520 --> 00:16:18,360 Speaker 2: the series of coincidences and connections. And first off, I 267 00:16:18,440 --> 00:16:20,920 Speaker 2: have to say, I just think another aspect of richards story, 268 00:16:20,920 --> 00:16:24,240 Speaker 2: which is amazing, is you know, he made his mark 269 00:16:24,280 --> 00:16:27,880 Speaker 2: with his voice, and he had no problem just being 270 00:16:27,920 --> 00:16:30,360 Speaker 2: the piano player once they hooked up with Dylan, and 271 00:16:31,000 --> 00:16:33,600 Speaker 2: you know, for a guy, you know, no ego there 272 00:16:33,720 --> 00:16:36,600 Speaker 2: at all. It's like, we're gonna we just got done 273 00:16:36,640 --> 00:16:39,440 Speaker 2: backing Ronnie Hawkins. Now we're gonna go back a folk singer. 274 00:16:39,600 --> 00:16:41,760 Speaker 2: Richard's like, sure, let's go. What do we gotta do? 275 00:16:42,120 --> 00:16:44,160 Speaker 2: You know? And I just think that's a really cool 276 00:16:44,160 --> 00:16:47,240 Speaker 2: part of his story. And but you know, you have 277 00:16:47,320 --> 00:16:52,760 Speaker 2: to take into account John Hammond, who had seen Richard 278 00:16:52,800 --> 00:16:57,800 Speaker 2: singing the blues in Canada, and obviously the Hawks play 279 00:16:57,800 --> 00:17:04,000 Speaker 2: in the blues authentically and his connection with with with Dylan, 280 00:17:04,760 --> 00:17:08,959 Speaker 2: and then Mary Martin, who worked for Albert Grossman and 281 00:17:09,080 --> 00:17:12,280 Speaker 2: saw the Hawks in Toronto, her getting in Dylan's ear 282 00:17:12,359 --> 00:17:16,000 Speaker 2: constantly once he started looking for an electric band. These guys, 283 00:17:16,160 --> 00:17:18,320 Speaker 2: these guys, and Dylan said and rolling Stone. At one 284 00:17:18,359 --> 00:17:21,159 Speaker 2: point He's like, she just wouldn't stop. She's like, you 285 00:17:21,280 --> 00:17:24,600 Speaker 2: got to see these guys, you know. So finally Dylan's like, okay, 286 00:17:25,160 --> 00:17:28,280 Speaker 2: So what started out as being Robbie and Levon because 287 00:17:28,359 --> 00:17:31,680 Speaker 2: after Dylan went electric at Newport and he wanted to 288 00:17:31,680 --> 00:17:33,800 Speaker 2: take the band on the road, Butterfield Blues Band was 289 00:17:33,840 --> 00:17:36,879 Speaker 2: not gonna They weren't going to take that, you know. 290 00:17:36,960 --> 00:17:40,920 Speaker 2: They had their own thing going on. And it came around. 291 00:17:40,960 --> 00:17:44,639 Speaker 2: They did two shows Forest Hills and Hollywood Bowl with 292 00:17:44,760 --> 00:17:47,159 Speaker 2: Robby and Levon, and then when they came back, you know, 293 00:17:47,200 --> 00:17:49,879 Speaker 2: and they both say this in their respective memoirs, you 294 00:17:49,920 --> 00:17:51,840 Speaker 2: got to take all of us if you want a fuol, 295 00:17:51,840 --> 00:17:53,840 Speaker 2: but you got to take we're a team here. And 296 00:17:55,000 --> 00:17:57,560 Speaker 2: to your point, Dylan went up there. After they did 297 00:17:57,560 --> 00:17:59,760 Speaker 2: a late night at the Friars Club. They'd done you know, 298 00:18:00,040 --> 00:18:02,480 Speaker 2: six hours, three set whatever they did at that night 299 00:18:02,720 --> 00:18:05,359 Speaker 2: and into the late hours, they tried to get it together, 300 00:18:05,640 --> 00:18:08,679 Speaker 2: and from all accounts, you know, it was a little difficult. 301 00:18:09,000 --> 00:18:11,880 Speaker 2: I mean, you've got a solo strummer not playing electric 302 00:18:11,960 --> 00:18:15,639 Speaker 2: music on stage, and then you've got a band that's 303 00:18:15,680 --> 00:18:19,200 Speaker 2: like practiced and tightened down, you know, bank vault tight 304 00:18:19,359 --> 00:18:24,040 Speaker 2: and trying to get these these disparate elements to work together. 305 00:18:24,720 --> 00:18:29,600 Speaker 2: And it ended up happening. And I used a quote 306 00:18:29,600 --> 00:18:32,359 Speaker 2: that I had found in a newspaper in Toronto after 307 00:18:32,440 --> 00:18:34,479 Speaker 2: Dylan left, where he makes the comment that, you know, 308 00:18:34,680 --> 00:18:36,200 Speaker 2: I don't know what my sound is now, but I 309 00:18:36,280 --> 00:18:37,240 Speaker 2: think I found it. 310 00:18:37,800 --> 00:18:38,080 Speaker 3: Yeah. 311 00:18:38,760 --> 00:18:41,359 Speaker 2: It's like, right, well, who else is he talking about. 312 00:18:41,400 --> 00:18:43,520 Speaker 2: He's just just left rehearsals with the Hawks, you know. 313 00:18:43,760 --> 00:18:46,360 Speaker 2: I just think that's really cool, even he knew this 314 00:18:46,400 --> 00:18:47,760 Speaker 2: is this is this is it? 315 00:18:48,920 --> 00:18:52,920 Speaker 4: To your point on Richard's generosity of and open mindedness too, 316 00:18:53,359 --> 00:18:57,000 Speaker 4: Then there was the period certainly where Levon was not 317 00:18:57,680 --> 00:19:02,040 Speaker 4: the drummer during some work and Richard's just like, okay, 318 00:19:02,240 --> 00:19:03,560 Speaker 4: I'll pitch in. 319 00:19:04,040 --> 00:19:06,280 Speaker 2: Yeah, i'll be, I'll be I'll be the drummer. And 320 00:19:06,320 --> 00:19:08,800 Speaker 2: it's funny because I talked to a couple classmates in 321 00:19:08,840 --> 00:19:11,600 Speaker 2: Stratford and they're like, you know, we were playing in 322 00:19:11,880 --> 00:19:14,800 Speaker 2: the kel Musky basement. Ken Kamuskin for those who't know, 323 00:19:14,880 --> 00:19:18,520 Speaker 2: the bass player of Richard's first band, and h Richard 324 00:19:18,320 --> 00:19:20,560 Speaker 2: would hop on the drums once in a while, you know, 325 00:19:20,680 --> 00:19:23,399 Speaker 2: but in typical Richard fashion. It wasn't anything flashy, just 326 00:19:23,840 --> 00:19:25,800 Speaker 2: do his thing. I mean, nobody even knew that he 327 00:19:25,840 --> 00:19:29,840 Speaker 2: played lap steel until he started playing it in front 328 00:19:29,880 --> 00:19:34,920 Speaker 2: of people. So it's funny. He selfless in so many ways, 329 00:19:34,920 --> 00:19:38,800 Speaker 2: but musically completely selfless. You know, whatever it would take 330 00:19:39,440 --> 00:19:42,760 Speaker 2: to take the song to the next level. And again, 331 00:19:42,840 --> 00:19:45,520 Speaker 2: like we talked about earlier, any of the band guys 332 00:19:45,520 --> 00:19:49,159 Speaker 2: you could apply that too, but Richard especially so that 333 00:19:49,720 --> 00:19:52,159 Speaker 2: you know he would he would take his whatever his 334 00:19:52,160 --> 00:19:54,720 Speaker 2: strengths were, it didn't matter. He would just do ever 335 00:19:54,960 --> 00:19:59,200 Speaker 2: the song or the songwriter required. And I think that's 336 00:19:59,280 --> 00:20:01,080 Speaker 2: what part of part what made him a special guy. 337 00:20:02,160 --> 00:20:05,439 Speaker 4: How did you trips to Stratford and your work in 338 00:20:05,520 --> 00:20:12,040 Speaker 4: the Stratford Perth Archives shape your understanding of Richard's early years. 339 00:20:12,800 --> 00:20:18,520 Speaker 2: That was amazing because I felt like I felt kind 340 00:20:18,520 --> 00:20:24,280 Speaker 2: of a kinship with Stratford and everyone there was so welcoming, 341 00:20:24,359 --> 00:20:27,240 Speaker 2: especially Richard's family, and it seemed like every time I 342 00:20:27,280 --> 00:20:29,840 Speaker 2: talk to someone, they'd be like, hey, have you talked 343 00:20:29,840 --> 00:20:32,640 Speaker 2: to this person? And there's still folks around there. I mean, 344 00:20:33,560 --> 00:20:36,920 Speaker 2: the guy's a local legend, you know. And I really 345 00:20:37,040 --> 00:20:42,080 Speaker 2: it was important to me to really focus on how 346 00:20:42,119 --> 00:20:46,720 Speaker 2: important in how the artistic ambience of Stratford shaped Richard 347 00:20:47,080 --> 00:20:51,639 Speaker 2: shaped maybe his dramaticism shaped the way he interacted with 348 00:20:51,760 --> 00:20:54,760 Speaker 2: friends and musicians. And you know, like anybody where you 349 00:20:54,800 --> 00:20:58,360 Speaker 2: grow up, it's part of you, you know, you internalize 350 00:20:58,359 --> 00:21:03,880 Speaker 2: that stuff. And at the Archives, everyone there was absolutely amazing. 351 00:21:04,200 --> 00:21:08,080 Speaker 2: They knew what I was doing, and I made it 352 00:21:08,119 --> 00:21:10,280 Speaker 2: clear that this was going to be a tribute, and 353 00:21:10,320 --> 00:21:13,439 Speaker 2: they made open arms, you know, whatever you need. I 354 00:21:13,520 --> 00:21:17,919 Speaker 2: made four or five trips up there post pandemic, because 355 00:21:17,960 --> 00:21:20,320 Speaker 2: obviously when I really wanted to get up there in 356 00:21:20,359 --> 00:21:23,000 Speaker 2: the early stages of the book, I could not. And 357 00:21:23,280 --> 00:21:25,800 Speaker 2: so I went up there a few times. And Richard's 358 00:21:25,800 --> 00:21:32,680 Speaker 2: sister lawe Catherine, instrumental in not only protecting the family 359 00:21:32,760 --> 00:21:35,720 Speaker 2: legacy and you know, making sure that I was doing 360 00:21:35,720 --> 00:21:39,160 Speaker 2: the right thing the whole way. I needed to make 361 00:21:39,200 --> 00:21:41,679 Speaker 2: sure the family knew what I was doing. And this 362 00:21:41,800 --> 00:21:43,840 Speaker 2: was for me, This wasn't for anyone else. You know, 363 00:21:43,840 --> 00:21:47,040 Speaker 2: if someone was writing story around about my father or someone, 364 00:21:47,119 --> 00:21:49,640 Speaker 2: I want to know what are the intentions for this? 365 00:21:50,400 --> 00:21:52,480 Speaker 2: And I wanted to make it clear to everyone I 366 00:21:52,520 --> 00:21:55,639 Speaker 2: talked to in Stratford this is a tribute and a focus, 367 00:21:55,920 --> 00:21:58,000 Speaker 2: not a whitewash, because there's an elephant in the room 368 00:21:58,000 --> 00:21:59,800 Speaker 2: that you have to talk about when you're talking a 369 00:22:00,000 --> 00:22:02,719 Speaker 2: story like this. But the focus was on the music 370 00:22:03,280 --> 00:22:05,840 Speaker 2: and the biography kind of went around that, if that 371 00:22:05,880 --> 00:22:10,080 Speaker 2: makes sense, you know. But everybody up there that I 372 00:22:10,200 --> 00:22:13,520 Speaker 2: met was just kind, and everybody had a story about Richard. 373 00:22:13,560 --> 00:22:16,000 Speaker 2: It was funny. I'd be walking the streets to see 374 00:22:16,000 --> 00:22:18,639 Speaker 2: where they used to rehearse the revels, and more than 375 00:22:18,680 --> 00:22:20,960 Speaker 2: once I met someone and they'd be like, oh, yeah, 376 00:22:20,960 --> 00:22:23,840 Speaker 2: I saw Richard, you know, playing on a flatbed over 377 00:22:23,840 --> 00:22:26,400 Speaker 2: at Queen's Park. And it was just like all these 378 00:22:26,440 --> 00:22:28,879 Speaker 2: little tidbits were available, so it was cool to go 379 00:22:28,920 --> 00:22:29,520 Speaker 2: to the source. 380 00:22:30,160 --> 00:22:32,320 Speaker 1: We'll be right back with more of the Taking a 381 00:22:32,359 --> 00:22:40,600 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 382 00:22:41,640 --> 00:22:44,080 Speaker 4: I didn't know of that. I almost call it a 383 00:22:44,200 --> 00:22:48,239 Speaker 4: residency of sorts that they did through the summer, the 384 00:22:48,280 --> 00:22:51,600 Speaker 4: New Jersey experience. Can you talk about that. 385 00:22:52,119 --> 00:22:54,280 Speaker 2: Well, I will tell you, Buzz. One of the things, 386 00:22:54,280 --> 00:22:56,560 Speaker 2: you know, if there was something that I out of 387 00:22:56,560 --> 00:22:59,479 Speaker 2: all this that I wish existed, would be recordings of 388 00:22:59,520 --> 00:23:02,760 Speaker 2: those nights on the Jersey Shore, because from all accounts 389 00:23:02,800 --> 00:23:05,240 Speaker 2: and all the people I talked to, there was nothing 390 00:23:05,400 --> 00:23:07,760 Speaker 2: like it, you know, there was nothing at all going 391 00:23:07,840 --> 00:23:10,919 Speaker 2: on Tony Marts. I used this in the book. If 392 00:23:10,960 --> 00:23:13,639 Speaker 2: you've seen the film Eddie and the Cruisers that was 393 00:23:13,720 --> 00:23:17,640 Speaker 2: filmed at Tony Marts, and you see those nights, and 394 00:23:17,680 --> 00:23:20,080 Speaker 2: that's like the closest you can get to the kind 395 00:23:20,160 --> 00:23:24,840 Speaker 2: of mayhem and beautiful chaos that was happening, you know. 396 00:23:25,000 --> 00:23:27,359 Speaker 2: And these guys there were one of the stories I 397 00:23:27,359 --> 00:23:28,960 Speaker 2: talk about in the book, there were guys coming up 398 00:23:28,960 --> 00:23:32,600 Speaker 2: from Atlantic City that had heard about Richard, about him singing, 399 00:23:32,680 --> 00:23:38,679 Speaker 2: James Brown and Robbie's guitar playing was already reaching legendary status, 400 00:23:38,960 --> 00:23:43,359 Speaker 2: you know, and it's like I wanted so much more. 401 00:23:43,440 --> 00:23:46,399 Speaker 2: I had talked to the historical society down there and 402 00:23:46,840 --> 00:23:49,439 Speaker 2: read pulled newspapers and done all that, and talked to 403 00:23:49,440 --> 00:23:52,840 Speaker 2: people who had been to some shows. But man, I 404 00:23:52,880 --> 00:23:56,000 Speaker 2: think for the Hawks, I think that's where they hit it, 405 00:23:56,240 --> 00:23:58,120 Speaker 2: you know, and where they found out like we've got 406 00:23:58,160 --> 00:24:01,240 Speaker 2: something here that we can just take anywhere. And then, 407 00:24:01,400 --> 00:24:04,119 Speaker 2: like you said, then Bob showed up and throw it out, 408 00:24:04,240 --> 00:24:06,880 Speaker 2: threw everything into chaos, but it was it was all 409 00:24:06,920 --> 00:24:07,320 Speaker 2: worth it. 410 00:24:07,600 --> 00:24:12,159 Speaker 4: So great pictures from that that neighborhood too, down in 411 00:24:12,240 --> 00:24:13,520 Speaker 4: the Jersey Shore. My god. 412 00:24:14,080 --> 00:24:18,000 Speaker 2: Yeah. And I have to say that what Richard's Richard's 413 00:24:18,119 --> 00:24:21,840 Speaker 2: first wife, Jane had that beautiful photo of Tony Martz 414 00:24:21,960 --> 00:24:24,879 Speaker 2: with Levan and the Hawks on the Marquee when she 415 00:24:24,920 --> 00:24:26,919 Speaker 2: went down there to visit Richard, and I just was like, 416 00:24:27,040 --> 00:24:30,480 Speaker 2: oh my god, that that just it's like a period piece. 417 00:24:30,520 --> 00:24:32,200 Speaker 2: You just can't you know, I mean, that kind of 418 00:24:32,240 --> 00:24:33,480 Speaker 2: sums it all up right there. 419 00:24:33,760 --> 00:24:38,760 Speaker 4: Sure he does. Another of the many things I learned 420 00:24:38,760 --> 00:24:43,520 Speaker 4: and in the book was the connection with one tiny Tim. 421 00:24:43,880 --> 00:24:45,000 Speaker 4: Can you talk about that? 422 00:24:45,720 --> 00:24:45,880 Speaker 1: Well? 423 00:24:46,000 --> 00:24:48,240 Speaker 2: Yeah, I mean he was hanging around Woodstock, you know, 424 00:24:48,280 --> 00:24:51,800 Speaker 2: and he was kind of hanging around everybody and when 425 00:24:52,680 --> 00:24:56,160 Speaker 2: so we'll jump a little bit past once they got 426 00:24:56,160 --> 00:24:59,720 Speaker 2: with Dylan and they did the Fame sixty six European 427 00:24:59,760 --> 00:25:02,840 Speaker 2: two or when they came back to New York and 428 00:25:02,880 --> 00:25:06,520 Speaker 2: then Dylan had his accident. When the guys started kind 429 00:25:06,560 --> 00:25:09,679 Speaker 2: of making their way up to Woodstock because they were 430 00:25:09,720 --> 00:25:12,360 Speaker 2: on retainer, you know, they needed to do something. Grossman 431 00:25:12,480 --> 00:25:15,000 Speaker 2: was wanted them to do something, and if Bob wasn't 432 00:25:15,000 --> 00:25:16,840 Speaker 2: going to go on the road, so they started to 433 00:25:17,160 --> 00:25:18,399 Speaker 2: go up there to see what he was up to. 434 00:25:18,880 --> 00:25:22,199 Speaker 2: But they started to do cut ins in filming for 435 00:25:22,320 --> 00:25:25,800 Speaker 2: Eat the document, the unreleased nineteen sixty six film, and 436 00:25:25,880 --> 00:25:28,960 Speaker 2: they weren't recording music at that point. They were doing 437 00:25:29,000 --> 00:25:33,399 Speaker 2: these little cool little clips and surreal stuff. And you 438 00:25:33,400 --> 00:25:35,880 Speaker 2: can see some stuff from the Dylan Center on YouTube 439 00:25:35,920 --> 00:25:39,880 Speaker 2: of color footage of Richard just smiling in a snow 440 00:25:39,960 --> 00:25:43,840 Speaker 2: covered ground in Woodstock, beautiful grin and just kind of 441 00:25:44,840 --> 00:25:47,440 Speaker 2: the vibe of the era and what they were getting into. 442 00:25:47,520 --> 00:25:50,960 Speaker 2: So tiny Tim was a part of that, and he'd 443 00:25:50,960 --> 00:25:54,160 Speaker 2: bring his yuke over and play with Bob, and then 444 00:25:54,400 --> 00:25:56,440 Speaker 2: Robbie was up there, and then Richard and Rick showed 445 00:25:56,520 --> 00:25:59,800 Speaker 2: up when Rick found Big Pink, and that's when like 446 00:25:59,840 --> 00:26:04,320 Speaker 2: the music making started. They weren't filmmakers obviously, but that's 447 00:26:04,359 --> 00:26:08,480 Speaker 2: when the organic start of the basement tapes, I suppose, 448 00:26:08,720 --> 00:26:11,000 Speaker 2: you know, like they just started realizing, well, we're all 449 00:26:11,040 --> 00:26:15,200 Speaker 2: here together, let's just start jamming. But everybody liked tiny 450 00:26:15,200 --> 00:26:18,480 Speaker 2: tim and you know that eclectic kind of touched every 451 00:26:18,520 --> 00:26:21,520 Speaker 2: little bit of every genre you possibly could. So it 452 00:26:21,560 --> 00:26:25,679 Speaker 2: was what a what a happening environment right there, you know, 453 00:26:25,880 --> 00:26:29,679 Speaker 2: with everybody in Woodstock, like the true Woodstock spirit in 454 00:26:29,680 --> 00:26:30,720 Speaker 2: that in that era. 455 00:26:30,600 --> 00:26:35,000 Speaker 4: It's just oh yeah, and you really paint what we, 456 00:26:35,240 --> 00:26:39,399 Speaker 4: you know, heard when we first heard the Basement tapes. 457 00:26:39,760 --> 00:26:42,000 Speaker 4: You paint the fact that they were just you know, 458 00:26:42,640 --> 00:26:44,439 Speaker 4: having a blast, and that's. 459 00:26:44,320 --> 00:26:46,280 Speaker 2: Really what it comes down to, you know, And you know, 460 00:26:46,359 --> 00:26:49,000 Speaker 2: I it's funny you say that because I was cognizant 461 00:26:49,000 --> 00:26:51,000 Speaker 2: of this fact. It's like, you don't want to get 462 00:26:51,000 --> 00:26:54,160 Speaker 2: too scientific about this stuff. When it comes down to it, 463 00:26:54,840 --> 00:26:59,080 Speaker 2: they were they were enjoying making music together. They had 464 00:26:59,119 --> 00:27:02,520 Speaker 2: done this Row stuff and been booed but you know 465 00:27:02,680 --> 00:27:05,359 Speaker 2: in Europe and had stuff thrown at them and flown 466 00:27:05,400 --> 00:27:10,080 Speaker 2: in rickety airplanes and the Hawks, I mean Richard in particular, 467 00:27:10,640 --> 00:27:13,800 Speaker 2: nineteen fifty seven, he'd been going and playing music and 468 00:27:13,880 --> 00:27:17,320 Speaker 2: really had never stopped. And they all kind of took 469 00:27:17,359 --> 00:27:22,439 Speaker 2: stock and enjoyed each other's company and just the music 470 00:27:22,680 --> 00:27:27,200 Speaker 2: obviously just came out of everybody, which is really really 471 00:27:27,240 --> 00:27:30,960 Speaker 2: the magical part of the basement tapes is just the 472 00:27:31,040 --> 00:27:33,600 Speaker 2: natural love of each other and love of the music 473 00:27:33,600 --> 00:27:34,240 Speaker 2: they're creating. 474 00:27:35,280 --> 00:27:41,760 Speaker 4: The book addresses Richard's personal struggles with addiction and inner turmoil. 475 00:27:42,840 --> 00:27:46,680 Speaker 4: How did you approach these topics, which are sensitive topics 476 00:27:46,720 --> 00:27:53,359 Speaker 4: while still so brilliantly celebrating his artistry and humanity? 477 00:27:54,560 --> 00:27:59,080 Speaker 2: Thank you for that, buzz was. I struggled at points 478 00:27:59,160 --> 00:28:04,000 Speaker 2: because this was a reality, but I wanted to My 479 00:28:04,200 --> 00:28:06,560 Speaker 2: goal when I started the whole project was to dispel 480 00:28:06,680 --> 00:28:11,040 Speaker 2: the narrative that this is who Richard was, and really 481 00:28:11,400 --> 00:28:14,959 Speaker 2: I wanted to bring out the humanity in him and 482 00:28:15,160 --> 00:28:17,919 Speaker 2: know that it could happen at any of this thing. 483 00:28:18,040 --> 00:28:20,719 Speaker 2: This isn't like, this wasn't a unique thing to Richard, 484 00:28:20,760 --> 00:28:22,239 Speaker 2: and I kind of felt like over the years it 485 00:28:22,280 --> 00:28:24,439 Speaker 2: was like when Richard was brought up, it was like 486 00:28:24,600 --> 00:28:28,760 Speaker 2: this happened because he drank or because he did this, 487 00:28:29,720 --> 00:28:34,040 Speaker 2: and it's part and parcel for who he was. But 488 00:28:34,320 --> 00:28:36,240 Speaker 2: like I had alluded to earlier, I kind of wanted 489 00:28:36,240 --> 00:28:39,680 Speaker 2: to focus on the music and then let his situation 490 00:28:39,920 --> 00:28:43,520 Speaker 2: kind of the biography kind of develop on its own 491 00:28:44,200 --> 00:28:47,440 Speaker 2: without focusing. And as you know, you've read a number 492 00:28:47,480 --> 00:28:50,680 Speaker 2: of rock and roll books. Some of them focus on 493 00:28:52,280 --> 00:28:56,680 Speaker 2: the stuff that's salacious, you know, and that just didn't 494 00:28:57,280 --> 00:28:59,640 Speaker 2: didn't appeal to me. And I think because I backed 495 00:28:59,640 --> 00:29:03,240 Speaker 2: into it Richard's story of like I saw that I 496 00:29:03,320 --> 00:29:05,920 Speaker 2: knew from reading everything that he had had issues. I 497 00:29:05,960 --> 00:29:09,000 Speaker 2: was like, I don't think I needed to belabor that fact. 498 00:29:09,360 --> 00:29:11,640 Speaker 2: So it was a delicate balance. And I told some 499 00:29:11,720 --> 00:29:13,720 Speaker 2: of his family members, I go, obviously, these are things 500 00:29:13,720 --> 00:29:16,760 Speaker 2: that happened, and some of them were very candid about 501 00:29:17,120 --> 00:29:20,200 Speaker 2: things that Richard did. But I didn't feel like I 502 00:29:20,280 --> 00:29:23,200 Speaker 2: needed to pound it into the ground. I really wanted, 503 00:29:23,280 --> 00:29:27,600 Speaker 2: you know, we know what happened. Oddly enough, I thought 504 00:29:27,600 --> 00:29:30,880 Speaker 2: the book would end differently, and I say that part serious, 505 00:29:31,040 --> 00:29:32,440 Speaker 2: you know, when when I got to the end of 506 00:29:32,480 --> 00:29:36,400 Speaker 2: the book, I'm like, really, there's not more, you know. 507 00:29:36,800 --> 00:29:39,800 Speaker 2: And that's one of the that is the heartbreaking thing. 508 00:29:39,800 --> 00:29:41,800 Speaker 2: I've had some people comment to me, you know, it's 509 00:29:41,840 --> 00:29:43,320 Speaker 2: going to be a sad book, and I was like, 510 00:29:43,520 --> 00:29:45,840 Speaker 2: there's a lot of joy in the book, you know. 511 00:29:45,920 --> 00:29:48,040 Speaker 2: I don't want it to be sad. I want it 512 00:29:48,080 --> 00:29:51,640 Speaker 2: to be Wow. What a talented guy who was human 513 00:29:51,760 --> 00:29:54,440 Speaker 2: like all of us and face some issues that he 514 00:29:54,520 --> 00:29:58,360 Speaker 2: could not defeat, and I hope that I balanced those 515 00:29:58,400 --> 00:30:02,000 Speaker 2: things equally. I really really focused on doing that. 516 00:30:02,760 --> 00:30:05,320 Speaker 4: I believe you did. For sure, I really believe you did. 517 00:30:05,960 --> 00:30:09,440 Speaker 4: So let's go to some particular songs. I'll list some 518 00:30:09,480 --> 00:30:13,280 Speaker 4: of my favorites. There's so many favorites, and I'll get 519 00:30:13,320 --> 00:30:18,440 Speaker 4: your reflection on some of these songs that either Richard 520 00:30:18,800 --> 00:30:24,440 Speaker 4: you know, rode or took the singing lead on. So 521 00:30:24,560 --> 00:30:26,760 Speaker 4: one that he didn't write, but it's one of my 522 00:30:26,800 --> 00:30:29,200 Speaker 4: favorites is Rock and Share. 523 00:30:30,000 --> 00:30:34,280 Speaker 2: Yeah, And you know I mentioned in the book that Richard, 524 00:30:35,440 --> 00:30:39,280 Speaker 2: in addition to being a songwriter, in my opinion, is 525 00:30:39,280 --> 00:30:43,200 Speaker 2: one of the best interpreters ever. And you can see 526 00:30:43,200 --> 00:30:47,440 Speaker 2: that from the Hawks all the way through. And he 527 00:30:47,520 --> 00:30:50,040 Speaker 2: easily made songs his and you can see on the 528 00:30:50,040 --> 00:30:53,480 Speaker 2: Festival Express there's a really beautiful performance of rock and 529 00:30:53,520 --> 00:30:57,200 Speaker 2: Share that the band does I believe in Calgary. And 530 00:30:58,640 --> 00:31:03,200 Speaker 2: he takes the words that weren't necessarily his, but you know, 531 00:31:03,560 --> 00:31:06,520 Speaker 2: you believe it. It's like with King Harvest. He could 532 00:31:06,600 --> 00:31:08,600 Speaker 2: slide into character, and I think that comes from his 533 00:31:08,600 --> 00:31:11,320 Speaker 2: immersion into the blues. You can he could slide into 534 00:31:11,360 --> 00:31:16,600 Speaker 2: this character's shoes and you're convinced, you know, and rock 535 00:31:16,680 --> 00:31:20,200 Speaker 2: and share. It's one of those things you really wonder 536 00:31:21,880 --> 00:31:25,239 Speaker 2: as far as melody, what Richard contributed, because when you 537 00:31:25,320 --> 00:31:29,360 Speaker 2: listen to Richard a lot, you know, like anything like 538 00:31:29,360 --> 00:31:33,200 Speaker 2: a fingerprint, there's things you feel that like are his, 539 00:31:33,440 --> 00:31:36,680 Speaker 2: you know, trademark roles or little core changes or little 540 00:31:36,720 --> 00:31:40,040 Speaker 2: little melodic plays that he would use. And you hear 541 00:31:40,080 --> 00:31:42,400 Speaker 2: it and you're like, wow, you can't tell. You're like, 542 00:31:42,760 --> 00:31:45,960 Speaker 2: whose song is this? Because it certainly sounds like Richard's 543 00:31:45,760 --> 00:31:49,640 Speaker 2: in that case, you know, So yeah, I think, I think, 544 00:31:50,160 --> 00:31:52,080 Speaker 2: I think one of Robbie's finest lyrics and one of 545 00:31:52,160 --> 00:31:58,280 Speaker 2: Richard's most incredible vocal vocal approaches of band era for sure. 546 00:31:58,920 --> 00:32:05,800 Speaker 4: For sure another uh impassioned lead vocal performances on the 547 00:32:05,880 --> 00:32:06,960 Speaker 4: song The Shape I'm In. 548 00:32:07,760 --> 00:32:10,360 Speaker 2: Yeah, And that's one you know that it kind of 549 00:32:10,720 --> 00:32:15,960 Speaker 2: the reverse like that became Richard's song, you know, and 550 00:32:16,040 --> 00:32:20,400 Speaker 2: everybody's like, oh man, this this this guy's singing about himself, 551 00:32:21,360 --> 00:32:24,280 Speaker 2: when we all in actuality we know Robbie was writing 552 00:32:24,760 --> 00:32:28,880 Speaker 2: about himself, no matter what he says later. And I'm 553 00:32:28,880 --> 00:32:30,960 Speaker 2: not going to disagree with with Robbie. You know, he 554 00:32:31,000 --> 00:32:34,080 Speaker 2: wrote the song but it wasn't just this is a 555 00:32:34,120 --> 00:32:37,920 Speaker 2: song about Richard. They were all going through the same stuff, 556 00:32:38,080 --> 00:32:40,440 Speaker 2: and that's part of the thing. I also wanted not 557 00:32:40,480 --> 00:32:43,040 Speaker 2: to go off, but I wanted to focus on was 558 00:32:43,120 --> 00:32:45,720 Speaker 2: you know, Richard wasn't the only guy that was having 559 00:32:45,760 --> 00:32:49,560 Speaker 2: issues in that band. They all dealt with issues, and 560 00:32:49,600 --> 00:32:51,840 Speaker 2: I think that song kind of sums it up. But 561 00:32:51,920 --> 00:32:54,719 Speaker 2: by the end of his life, I think Richard was 562 00:32:54,720 --> 00:32:56,880 Speaker 2: was over it, probably reading the book, you know, one 563 00:32:56,880 --> 00:32:59,760 Speaker 2: of the last the last show, he'd said to his wife, 564 00:32:59,800 --> 00:33:01,920 Speaker 2: He's like, I'm I don't want to play it anymore. 565 00:33:02,520 --> 00:33:03,120 Speaker 4: I'm done. 566 00:33:03,520 --> 00:33:06,160 Speaker 2: I need more, you know, there was more that needed 567 00:33:06,200 --> 00:33:12,720 Speaker 2: to happen. So but obviously you can't that song, whether 568 00:33:12,800 --> 00:33:17,000 Speaker 2: it's from Richard's Rhodes Gars Lowry, I mean, it's there's 569 00:33:17,000 --> 00:33:19,440 Speaker 2: nothing like it, you know, there's really nothing else. It's 570 00:33:19,480 --> 00:33:24,000 Speaker 2: like this mo dittily crossed with country funk. There's nothing 571 00:33:24,120 --> 00:33:26,080 Speaker 2: like that song. So you couldn't pick a better one 572 00:33:26,120 --> 00:33:28,600 Speaker 2: to be you know, have Richard attached. 573 00:33:28,160 --> 00:33:32,800 Speaker 4: To and then music from Big Pink, The Quintessential I 574 00:33:32,840 --> 00:33:34,360 Speaker 4: shall be released. 575 00:33:35,360 --> 00:33:39,800 Speaker 2: And if you listen to those basement recordings, you can 576 00:33:40,120 --> 00:33:43,480 Speaker 2: hear the genesis of the band's version, you know, and 577 00:33:44,080 --> 00:33:47,000 Speaker 2: because in the in the basement they're doing three part 578 00:33:47,040 --> 00:33:49,640 Speaker 2: harmonies and you could hear Richard's falsetto on the very 579 00:33:49,720 --> 00:33:52,200 Speaker 2: top of Bob and then all of a sudden, when 580 00:33:52,240 --> 00:33:55,800 Speaker 2: you listen to the studio version, you're like, oh, I mean, 581 00:33:56,560 --> 00:33:59,959 Speaker 2: they just knew that they had something with this guy, 582 00:34:00,280 --> 00:34:03,400 Speaker 2: with these vocals. I mean, and again it's one of 583 00:34:03,400 --> 00:34:05,600 Speaker 2: those songs where you're like, wow, this had to have 584 00:34:05,640 --> 00:34:09,000 Speaker 2: been written for him. But you know, it's a Dylan lyric, 585 00:34:09,320 --> 00:34:13,760 Speaker 2: and it's now it's become like synonymous with so many things, 586 00:34:14,080 --> 00:34:16,759 Speaker 2: you know, so many all star jams, there so many 587 00:34:16,800 --> 00:34:20,359 Speaker 2: performances that close with that, because it's just such an 588 00:34:20,400 --> 00:34:23,440 Speaker 2: amazing song. And again, Richard made it his own, and 589 00:34:23,480 --> 00:34:26,480 Speaker 2: that's really though. He used it to great effect on 590 00:34:26,520 --> 00:34:28,480 Speaker 2: a number of songs on music from Big Pink, his 591 00:34:28,600 --> 00:34:31,120 Speaker 2: falsetto on that It's hard to hear the song with 592 00:34:31,160 --> 00:34:33,880 Speaker 2: anything but that, you know, at least for me anyways. 593 00:34:35,120 --> 00:34:41,200 Speaker 4: Another one music by Richard manual lyrics by Robbie Robertson 594 00:34:41,400 --> 00:34:42,560 Speaker 4: is Whispering Pines. 595 00:34:43,200 --> 00:34:46,200 Speaker 2: Yeah, and I mean, and I say this in the book, 596 00:34:46,680 --> 00:34:49,319 Speaker 2: especially the mid section where Levon and Richard do the 597 00:34:49,320 --> 00:34:54,040 Speaker 2: calm response. I personally feel that's like one of the 598 00:34:54,080 --> 00:35:00,319 Speaker 2: defining moments of the band's entire discography. And Richard he 599 00:35:00,360 --> 00:35:02,799 Speaker 2: wrote that song, and Bellows wrote and would stock in 600 00:35:02,840 --> 00:35:08,080 Speaker 2: George Bellow's old house under under Mountain cat Skills an 601 00:35:08,160 --> 00:35:13,280 Speaker 2: artist home, completely fitting, and that was one of those songs, 602 00:35:13,360 --> 00:35:16,680 Speaker 2: and we could get into the collaboration. The missed opportunities 603 00:35:16,680 --> 00:35:19,120 Speaker 2: for Robbie and Richard to really take their collaboration to 604 00:35:20,480 --> 00:35:24,920 Speaker 2: the highest levels, but that song seemed the perfect marriage. 605 00:35:24,960 --> 00:35:28,360 Speaker 2: You know, Richard was this melodicist who always he just 606 00:35:28,360 --> 00:35:31,240 Speaker 2: had he had, He's just music coming out of him. 607 00:35:31,760 --> 00:35:36,759 Speaker 2: He would get stuck on words. And Robbie one of 608 00:35:36,800 --> 00:35:39,480 Speaker 2: the best lyricists you know, in rock music then and 609 00:35:39,560 --> 00:35:42,200 Speaker 2: I still feel that way today. And when you marry 610 00:35:42,239 --> 00:35:45,160 Speaker 2: those things. And Robbie said in his memoir that you know, 611 00:35:45,320 --> 00:35:48,800 Speaker 2: Richard came in, he was just stuck, couldn't couldn't get 612 00:35:48,840 --> 00:35:51,520 Speaker 2: the theme. Like music he had, he just couldn't get 613 00:35:51,560 --> 00:35:54,399 Speaker 2: the words. So Robbie took took it on vacation, came 614 00:35:54,480 --> 00:35:58,239 Speaker 2: back and there we go. But I mean it kind 615 00:35:58,280 --> 00:36:01,000 Speaker 2: of again, it kind of collaborates. It's the best that 616 00:36:01,120 --> 00:36:03,680 Speaker 2: both of them have to offer. And then you throw 617 00:36:03,760 --> 00:36:07,440 Speaker 2: in Levon singing with Richard, which is one of the 618 00:36:07,520 --> 00:36:11,840 Speaker 2: best things in the world, and Garth tying it all together, 619 00:36:12,360 --> 00:36:15,560 Speaker 2: and it's like, I, you know, people say King Harvest, 620 00:36:15,560 --> 00:36:17,480 Speaker 2: which I agree with, I think with spring Pine's as 621 00:36:17,520 --> 00:36:20,479 Speaker 2: far as for Richard is doesn't get much better. 622 00:36:21,520 --> 00:36:24,000 Speaker 4: And then I could go on and on, of course. 623 00:36:24,080 --> 00:36:27,120 Speaker 4: And then another one which you know, co written with 624 00:36:27,239 --> 00:36:31,200 Speaker 4: Bob Dylan is and then the opening track from Music 625 00:36:31,360 --> 00:36:33,719 Speaker 4: from Big Pink, Tears of Rage. 626 00:36:34,200 --> 00:36:36,880 Speaker 2: Yeah, and another one that was that was you know, 627 00:36:37,360 --> 00:36:42,360 Speaker 2: cultivated from those basement sessions. And I've mentioned this to 628 00:36:42,440 --> 00:36:44,880 Speaker 2: other people, you know, in Robbie's memoir, he says, I 629 00:36:44,880 --> 00:36:47,840 Speaker 2: feel like that was the point where I saw Richard's 630 00:36:47,880 --> 00:36:51,760 Speaker 2: songwriting like a send to this new place. And obviously 631 00:36:51,800 --> 00:36:54,440 Speaker 2: everyone felt that way to have it be the opening 632 00:36:54,520 --> 00:36:58,120 Speaker 2: song on their debut record. And you know, there's the 633 00:36:58,200 --> 00:37:00,560 Speaker 2: Dylan connection there, which Dylan didn't co right at that 634 00:37:00,600 --> 00:37:03,720 Speaker 2: point with very many people wrote with Rick and Richard, 635 00:37:03,719 --> 00:37:09,359 Speaker 2: which is which is great. And I just you you 636 00:37:09,360 --> 00:37:10,919 Speaker 2: may or may not know the story, you know, where 637 00:37:10,920 --> 00:37:14,200 Speaker 2: they had the typewriter on the table at Big Pink 638 00:37:14,200 --> 00:37:16,160 Speaker 2: and Dylan would show up before people got up. He'd 639 00:37:16,160 --> 00:37:19,120 Speaker 2: make coffee and he'd just clicking a clack away. And 640 00:37:20,160 --> 00:37:21,799 Speaker 2: one of those days, Richard was sitting at the panel 641 00:37:21,800 --> 00:37:24,320 Speaker 2: and Bob goes, can you do something of those changes 642 00:37:24,680 --> 00:37:28,520 Speaker 2: for this? And Richard and his interview in nineteen eighty 643 00:37:28,520 --> 00:37:30,080 Speaker 2: four with the Woodstock time and said, you know, well, 644 00:37:30,120 --> 00:37:32,279 Speaker 2: what do you say to Bob Dylan, Like what is 645 00:37:32,320 --> 00:37:35,040 Speaker 2: this about? Like, you don't ask Bob that. So he 646 00:37:35,520 --> 00:37:39,960 Speaker 2: married the two things together and again the melody and 647 00:37:40,000 --> 00:37:44,279 Speaker 2: the words and those regal chord changes. It's like that 648 00:37:45,000 --> 00:37:47,040 Speaker 2: was the first thing that all of these guys that 649 00:37:47,120 --> 00:37:50,560 Speaker 2: loved the band heard. Eric concluded, you know that that 650 00:37:50,600 --> 00:37:53,160 Speaker 2: was it, that was the introduction, and I think that's 651 00:37:53,200 --> 00:37:57,600 Speaker 2: fitting and that that is again, you know, every song 652 00:37:57,640 --> 00:38:00,760 Speaker 2: you say, we're like, wow, how can you beat that? 653 00:38:01,040 --> 00:38:02,920 Speaker 4: Yeah, and then you figure out how to beat it. 654 00:38:03,080 --> 00:38:06,239 Speaker 4: Why the band? That's why he was Richard Manuel, you 655 00:38:06,280 --> 00:38:09,160 Speaker 4: know exactly, And that's why Bob is Bob Dylan, you 656 00:38:09,200 --> 00:38:13,759 Speaker 4: know exactly when you break it down. So in closing, 657 00:38:15,760 --> 00:38:19,279 Speaker 4: I know Richard's family has you know, they supported and 658 00:38:19,800 --> 00:38:22,880 Speaker 4: have endorsed the book, and they were so helpful in 659 00:38:23,160 --> 00:38:26,520 Speaker 4: the process. But and you made reference to this, But 660 00:38:27,000 --> 00:38:29,239 Speaker 4: how do you think Richard would would feel about this 661 00:38:30,000 --> 00:38:32,879 Speaker 4: now that it's you know, out for the world to read. 662 00:38:34,120 --> 00:38:36,759 Speaker 2: I know he would be because he was a self 663 00:38:36,800 --> 00:38:39,960 Speaker 2: deprecating kind of guy. I think he would be embarrassed. 664 00:38:41,040 --> 00:38:43,520 Speaker 2: But I think that I like to think that he 665 00:38:43,520 --> 00:38:47,799 Speaker 2: would be proud of his accomplishments. And I've had a 666 00:38:47,800 --> 00:38:51,479 Speaker 2: couple of his family members, you know, it's it's it's hard. 667 00:38:51,560 --> 00:38:55,200 Speaker 2: It was hard for me personally. I wanted to make 668 00:38:55,239 --> 00:38:57,400 Speaker 2: sure that I could get as close to Richard as 669 00:38:57,400 --> 00:39:00,480 Speaker 2: I possibly could with never meeting the guy. And I 670 00:39:00,520 --> 00:39:03,960 Speaker 2: had a couple family members both say I feel Richard 671 00:39:04,000 --> 00:39:06,759 Speaker 2: in this book, And really, I mean, right now, it 672 00:39:06,800 --> 00:39:10,040 Speaker 2: gives me goosebump stuff because that really, that's all that 673 00:39:10,080 --> 00:39:14,839 Speaker 2: mattered to me, is that this tribute to him gave 674 00:39:15,920 --> 00:39:19,480 Speaker 2: a clear picture and for people down the line, when, 675 00:39:19,840 --> 00:39:21,640 Speaker 2: as we just talked about, someone drops the needle on 676 00:39:21,680 --> 00:39:23,440 Speaker 2: music from Big Pink and here's tears of Rage and 677 00:39:23,480 --> 00:39:27,240 Speaker 2: they're like, who is this singer? Now there's a reference 678 00:39:27,280 --> 00:39:30,320 Speaker 2: for that, you know, there's not just the last Waltz 679 00:39:30,840 --> 00:39:33,920 Speaker 2: or once we're brothers. There's a reference and you can 680 00:39:33,960 --> 00:39:36,960 Speaker 2: go through and say wow, Wow, this guy was responsible 681 00:39:37,000 --> 00:39:41,520 Speaker 2: for so much music and it never stopped, no matter 682 00:39:41,520 --> 00:39:44,560 Speaker 2: the narrative, it never stopped. You know, he had some 683 00:39:44,600 --> 00:39:48,560 Speaker 2: issues getting started, but it was always coming from him 684 00:39:48,560 --> 00:39:50,880 Speaker 2: and he was always doing what he could do to 685 00:39:50,920 --> 00:39:53,120 Speaker 2: make music with friends. 686 00:39:53,680 --> 00:39:58,360 Speaker 4: Stephen T. Lewis, bravo. You did an amazing job than you. 687 00:39:58,360 --> 00:40:01,120 Speaker 4: You poured your heart and soul and it and you 688 00:40:01,600 --> 00:40:04,000 Speaker 4: let us feel the heart and soul of Richard Manuel 689 00:40:04,040 --> 00:40:07,240 Speaker 4: in the book, So everybody ought to check it out seriously. 690 00:40:07,400 --> 00:40:09,800 Speaker 2: I certainly appreciate it and thank you for the kind words. 691 00:40:11,200 --> 00:40:13,640 Speaker 1: Thanks for listening to this episode of the Taking a 692 00:40:13,680 --> 00:40:17,560 Speaker 1: Walk podcast. Share this and other episodes with your friends 693 00:40:17,680 --> 00:40:21,160 Speaker 1: and follow us so you never miss an episode. Taking 694 00:40:21,200 --> 00:40:25,080 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 695 00:40:25,320 --> 00:40:27,600 Speaker 1: and wherever you get your podcasts.