WEBVTT - Tom Johnston

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<v Speaker 1>Welcome, Welcome, Welcome to the Bob Left Sets podcast. Those

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<v Speaker 1>people who follow me in my writing know that I'm

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<v Speaker 1>a huge Doobie Brothers fan. I was not initially, I

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<v Speaker 1>certainly like listen to the music, and then they were everywhere,

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<v Speaker 1>so that any band that's everywhere, it has that many hits,

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<v Speaker 1>maybe doesn't deserve my attention. But I spent the best

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<v Speaker 1>month of my life in nine and a condo and

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<v Speaker 1>Mammoth Mountain, which is a big ski area that you

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<v Speaker 1>can usually skip to July four in California, and the

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<v Speaker 1>guy brought his eight tracks, and he brought this eight

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<v Speaker 1>track was a combination of what were once vices and

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<v Speaker 1>the Captain and me, and it just totally closed me.

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<v Speaker 1>I mean, this morning, I played isaas Silver on my

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<v Speaker 1>Amazon Echo show. So it's a great thrill and an honor.

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<v Speaker 1>And this is not b sing because I'm a huge

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<v Speaker 1>fan to have from the Doobie Brothers, the legendary voice

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<v Speaker 1>Tom Johnston. Thank you glad to be here. Okay, So

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<v Speaker 1>we always started at the beginning. We're you know, like

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<v Speaker 1>that old Cheech and Chong number. Where was your born? Uh?

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<v Speaker 1>Just north of l a At, well not just north,

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<v Speaker 1>but in the Central Valley and by Celia, by Celia

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<v Speaker 1>for those people were not California savvy. Tell them how

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<v Speaker 1>far from Los Angeles? That is probably about two hours

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<v Speaker 1>north of l A. Okay, that's the old day. I

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<v Speaker 1>don't know about now, but that's what he used to be. Okay.

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<v Speaker 1>But when you grow up in Vasilia, what does your

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<v Speaker 1>father do for a living? He had an aircraft shop, untilarry,

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<v Speaker 1>an aircraft shop, well, he worked given an aircraft repair shop,

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<v Speaker 1>made a shop for crop desting and private aircraft. That's

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<v Speaker 1>where I worked my own childhood. That's what. Okay. So

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<v Speaker 1>if he's repairing those things, one would think that was

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<v Speaker 1>he was a pilot too. He was a pilot. And

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<v Speaker 1>are you a pilot? No? Yeah, I never did it.

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<v Speaker 1>I don't know why I thought about it, but I

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<v Speaker 1>didn't give it. I wanted to motorcycle wars. You wanted

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<v Speaker 1>to stay on the ground and have danger on the ground.

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<v Speaker 1>I got flying nuts, so that wasn't a problem. Right.

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<v Speaker 1>But okay, so your father is an airplane mc pchanic

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<v Speaker 1>and your mother worked outside the home. She was a homemaker,

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<v Speaker 1>but she had a degree in teaching and stuff. They

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<v Speaker 1>both came from Little bitty towns in Missouri, and they

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<v Speaker 1>came out in nineteen thirty three and um, him to

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<v Speaker 1>get his degree in aeronautical engineering and her to be

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<v Speaker 1>his wife. I guess I mean. But they met back

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<v Speaker 1>in Missouri. Oh yeah, Soliman and Bourbon to eighty bitty

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<v Speaker 1>little towns right on what used to be Highway sixty six.

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<v Speaker 1>Well you've certainly been there. Oh yeah, Okay, the relatives

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<v Speaker 1>are still there, the ones that are still hanging in Yeah, okay.

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<v Speaker 1>So they come to word, does he get his degree

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<v Speaker 1>in California? You know, I'm a little unclear as to

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<v Speaker 1>where he got it. I was not born yet, and

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<v Speaker 1>this was quite a while ago. Um, I'm not really

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<v Speaker 1>sure where he guys. And they came for opportunity to California,

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<v Speaker 1>well him specifically a good yeah, to get the gig

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<v Speaker 1>with get his degree, and then he went up to work.

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<v Speaker 1>Nobody's gonna know what I'm talking about here, but he

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<v Speaker 1>went up to work. Eventually invited sell at an airport

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<v Speaker 1>called that was run by Tex rank And who was

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<v Speaker 1>a World War two guy. And this was in World

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<v Speaker 1>War two and he was a mechanic for so Okay,

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<v Speaker 1>if you're growing up in Vizilia, and your mother did

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<v Speaker 1>teach or she stayed at home. She didn't teach at

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<v Speaker 1>any time after I was taking air as it were. Okay,

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<v Speaker 1>she sometimes went over and did the books at the

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<v Speaker 1>shop from my dad. Okay, So how many kids in

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<v Speaker 1>your family? Three and you're we're in the hierarchy at

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<v Speaker 1>the bottom. You're the baby of the family. Yeah, I

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<v Speaker 1>think it's more. I think it's more like a mistake

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<v Speaker 1>that wasn't supposed to have any how much older. Your

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<v Speaker 1>other siblings brothers nine years older than me and my

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<v Speaker 1>sister seven years older than me. It does sound like

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<v Speaker 1>you're a mistake. And what are your brother and sister

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<v Speaker 1>if they're still with us, what are they up to?

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<v Speaker 1>My brother took over the shop, and my sister ends

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<v Speaker 1>up in Oregon. She lives over there, close to the coast.

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<v Speaker 1>And Okay, I grew up in Connecticut, fifty miles from

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<v Speaker 1>New York City, so we got New York TV, New

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<v Speaker 1>York radio. But you're living in Vesalea. What were you

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<v Speaker 1>getting your radio from? And your TV? God, Fresno and

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<v Speaker 1>it's I sell you right between Bakersfield and Fresno. So,

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<v Speaker 1>as I recall, it wasn't on radio coming out of Bakersfield,

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<v Speaker 1>but Fresno had a big station and a TV station,

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<v Speaker 1>and so you were listening to that. But there was

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<v Speaker 1>also a period of time when I was in my teens.

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<v Speaker 1>There's a little bit town called Fowler, California, but I

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<v Speaker 1>don't know, he probably wouldn't. Um that had this great

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<v Speaker 1>blue station. That's all he played all day. And the

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<v Speaker 1>guy's name was Happy hair Eld's House of Blues, and

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<v Speaker 1>so I would listen to that a lot. Okay, so

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<v Speaker 1>you're the youngest. Traditionally, the baby gets their way. The parents,

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<v Speaker 1>you know, they're tired for the other two children, they

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<v Speaker 1>give you a little slacked if the other kids didn't

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<v Speaker 1>get is that true. I don't know, because I didn't

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<v Speaker 1>have that. They were so far ahead of no comparison. Yeah,

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<v Speaker 1>and you know I followed my brother around when I

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<v Speaker 1>was young and kind of got away and stuff. But um,

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<v Speaker 1>I have to thank him for turning me on A

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<v Speaker 1>Little Richard. That's how I got now was like nine

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<v Speaker 1>years old, and that that was the first time I

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<v Speaker 1>ever got to hear a Little Richard. And he brought

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<v Speaker 1>the album home and he played it a couple of times.

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<v Speaker 1>I played it every day. So it's kind of like

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<v Speaker 1>the Beatles. The Beatles started with Little Richard. Prior to

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<v Speaker 1>that was their music in the home, there was uh,

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<v Speaker 1>dixie Land, primarily my dad with Dixie Land buff. Okay,

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<v Speaker 1>so until the Little Richard Richard came along, you were

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<v Speaker 1>not a big music radio listener. You were not. I

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<v Speaker 1>listened to whatever was on, but nothing really grabbed me

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<v Speaker 1>until a Little Richard and Bo Diddley and and even

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<v Speaker 1>Elvis press leaders really stuff. Okay, so that is all

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<v Speaker 1>pre Beatles stuff. What at what point do you then

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<v Speaker 1>pick up an instrument? Well, I was playing clarinet and

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<v Speaker 1>stuff all against my will. I did not want to

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<v Speaker 1>do this. This is from age eight. Tell freshman in

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<v Speaker 1>high school, I played that, and I played sax and

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<v Speaker 1>then uh, at age twelve, I started playing guitar. And

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<v Speaker 1>I didn't take lessons on purpose, and I just said,

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<v Speaker 1>I'm gonna do this myself. Okay, let's go back. You

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<v Speaker 1>took saxophone and clarinet in school, so you learned how

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<v Speaker 1>to read music for a while. Yeah, I've asked my questions.

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<v Speaker 1>Could you read music now? Now? Okay, so you pick

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<v Speaker 1>up a guitar your parents bought you of the guitar. No,

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<v Speaker 1>I bought it. You bought it? Where'd you get the money?

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<v Speaker 1>It was only twelve bucks. It wasn't too bad. I

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<v Speaker 1>bought it from a bass player friend of mine, uh

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<v Speaker 1>in high school. I mean we weren't in high school, yeah,

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<v Speaker 1>but I ended up being high school and then we

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<v Speaker 1>were in bands together, and um, twelve bucks for a

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<v Speaker 1>crack in the top old arch back harmony. And the

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<v Speaker 1>dream was what it really wasn't so much of a dream.

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<v Speaker 1>It was just kind of think of a rebellion thing.

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<v Speaker 1>Maybe I just didn't want to be associated with those

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<v Speaker 1>other instruments. Actually I didn't mind the sex so much,

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<v Speaker 1>but I really didn't like the clarinet. So the guitar

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<v Speaker 1>is my thing. Nobody was telling me to do this,

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<v Speaker 1>and this is totally exploration for me. So that's what

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<v Speaker 1>it became. And how did you learn? You said you

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<v Speaker 1>wanted to teach yourself. I listened. I listened. I figured

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<v Speaker 1>it out on and I listened to like Jimmy Reed.

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<v Speaker 1>I started with Jimmy Reid's It's pretty basic and sit

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<v Speaker 1>down and figure it out on the guitar, which really

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<v Speaker 1>wasn't that tough. And then I'd start building on that

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<v Speaker 1>as the years went by, and pretty soon by the

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<v Speaker 1>time he had high school, you're in high school bands

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<v Speaker 1>and you're playing okay, but British Invasion and went ahead. Okay.

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<v Speaker 1>But I just remember because certainly after the Beatles, we

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<v Speaker 1>all got guitars and we all formed bands. And I've

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<v Speaker 1>told this story before. I was in the bedroom of

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<v Speaker 1>a friend of mine and we're playing guitars. He goes, now,

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<v Speaker 1>we're gonna change key and I said, WHOA, I'm out.

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<v Speaker 1>I don't have that patrol ability. So some people have

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<v Speaker 1>natural ability. Would you consider yourself to have that? I

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<v Speaker 1>never really thought about it. I guess out to a point. Um,

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<v Speaker 1>I could hear this stuff. It's nobody explained it to

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<v Speaker 1>me so much. The only thing I ever learned from

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<v Speaker 1>anybody about playing guitar, at least especially in those days,

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<v Speaker 1>with how to make a bar accord, and then after

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<v Speaker 1>everything else, I just kind of figured out, Okay, so

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<v Speaker 1>you had this twelve dollar guitar and you're practicing in

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<v Speaker 1>your room. At what point do you graduate to another

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<v Speaker 1>guitar and start a band. Um, as soon as I

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<v Speaker 1>could afford another guitar, which basically was a single pick

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<v Speaker 1>up electric k and a crumming little lamp from the

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<v Speaker 1>music store in town. Do you remember the brand of

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<v Speaker 1>the app? You know, I don't because whatever it was

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<v Speaker 1>really off brand. It wasn't mainstream. Remember was a Marshal

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<v Speaker 1>right exactly? And oh yeah, you were saying, Um, I

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<v Speaker 1>didn't really started playing with people till I was probably

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<v Speaker 1>a freshman in high school. So freshman in high school?

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<v Speaker 1>What year is that? You mean? What year is like? Okay,

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<v Speaker 1>so probably this is pre Beatles. So you had to

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<v Speaker 1>know how to play Hideaway by Freddie King by that

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<v Speaker 1>That was my question. So you play that? What else?

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<v Speaker 1>I played a lot of blue stuff as best I

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<v Speaker 1>could At that point. I wasn't way a dance but

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<v Speaker 1>um I had also by that time as a freshman

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<v Speaker 1>in high school, I had a kind of a life

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<v Speaker 1>altering experience that buddy of mine I used to hang

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<v Speaker 1>with all the time, who was a senior when I

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<v Speaker 1>was a freshman, was way off into James Brown. And

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<v Speaker 1>so James Brown comes to town on his first Apollo

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<v Speaker 1>Theater album, to ur town being Fresno, and he says,

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<v Speaker 1>we gotta go see him. I said, all right, because

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<v Speaker 1>I already heard the album by then it was pretty amazing.

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<v Speaker 1>So we went up and signed and I never seen

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<v Speaker 1>anything like that in my life. It was amazing. I mean,

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<v Speaker 1>the guy never stopped moving, just constant power, constant um God.

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<v Speaker 1>Besides screaming and the amount of talent he had in

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<v Speaker 1>those days, he was even singing more than he did

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<v Speaker 1>later on when he got into the heavy funk stuff.

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<v Speaker 1>But a huge show. He had like two drummers, bass player,

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<v Speaker 1>two guitar players, chick singers and they would come out

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<v Speaker 1>in layers that like before he even did his show.

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<v Speaker 1>That was like forty five minutes of I think they

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<v Speaker 1>were called the Black Perris came out and sang and

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<v Speaker 1>his band played, and then he came out and played

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<v Speaker 1>organ which was a little questionable. But when he hit

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<v Speaker 1>the stage, it was just like a tornado hit the stage.

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<v Speaker 1>It was insane, and there was people standing on top

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<v Speaker 1>the Civic Center. Then there they were up on top

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<v Speaker 1>of these old wood, wooden, armed ironed like seats just

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<v Speaker 1>and they weren't all you know, it was like black white,

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<v Speaker 1>every everybody going nuts, going absolutely insane. Let's go a

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<v Speaker 1>little bit slower. I've driven through Brazili. I don't really know,

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<v Speaker 1>is it an integrated town. Is it all white? Now?

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<v Speaker 1>Vice Alia was not at that point in time. I

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<v Speaker 1>don't know what it's like. No, I hardly ever go there.

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<v Speaker 1>PACTA basically don't. Um. Hillary had a lot of black center.

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<v Speaker 1>So to get to Fresno and Fresno, how did you

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<v Speaker 1>get to Fresno for that gig? Drive up the highway?

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<v Speaker 1>But somebody had somebody had a license at that point,

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<v Speaker 1>Oh Bobby did. Yeah, Okay, he was a senior. I

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<v Speaker 1>was a freshman. I didn't have a license. That's why

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<v Speaker 1>I figured. That's how I asked you was taking a

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<v Speaker 1>freshman and you're at the Civic Center in Fresno. Exactly

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<v Speaker 1>how integrated is the audience? It was probably three quarters

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<v Speaker 1>to a quarter o. The west side of Fresno is

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<v Speaker 1>basically African American and um, but I there wasn't a

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<v Speaker 1>lady next to me. She must have at that time.

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<v Speaker 1>She seemed old to me looking back on it and said,

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<v Speaker 1>let's define old. But she was probably in her fourties

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<v Speaker 1>and she was standing on her seat just like doing.

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<v Speaker 1>I don't believe that it was amazing, it really was.

0:11:46.840 --> 0:11:50.480
<v Speaker 1>She was into it, man. Okay, So any fear coming

0:11:50.520 --> 0:11:54.760
<v Speaker 1>from Vezilia being in an integrated audience. Never thought about it.

0:11:54.760 --> 0:11:57.040
<v Speaker 1>I never thought about it. The racism was not an issue.

0:11:57.400 --> 0:11:59.160
<v Speaker 1>No one you know what talked to you. Okay, So

0:11:59.200 --> 0:12:01.520
<v Speaker 1>you come home from the big and you say to yourself,

0:12:01.600 --> 0:12:08.320
<v Speaker 1>what that's more of what I was trying to, Um,

0:12:08.520 --> 0:12:10.920
<v Speaker 1>take away from what I just went through. That was amazing.

0:12:10.960 --> 0:12:14.480
<v Speaker 1>I mean, I can't be It was a live faltering event.

0:12:14.559 --> 0:12:16.880
<v Speaker 1>You know if people don't realize the men they talk

0:12:16.920 --> 0:12:19.320
<v Speaker 1>about it. But we used to go see bands. There

0:12:19.320 --> 0:12:22.760
<v Speaker 1>were no video, no internet whatever, and the experience would

0:12:22.760 --> 0:12:25.080
<v Speaker 1>hang with us. We talked to people they wouldn't really

0:12:25.080 --> 0:12:26.800
<v Speaker 1>know I was talking about. It's like you could even

0:12:26.800 --> 0:12:29.160
<v Speaker 1>play the record and get the same experience. Well, they

0:12:29.240 --> 0:12:31.920
<v Speaker 1>were the people that I hung away in school, had

0:12:32.040 --> 0:12:34.360
<v Speaker 1>no idea what I was talking about. They didn't even

0:12:34.360 --> 0:12:38.360
<v Speaker 1>know who James Brown was. So it was I mean,

0:12:38.400 --> 0:12:40.400
<v Speaker 1>other than Bobby, who also went to same high school

0:12:40.440 --> 0:12:43.840
<v Speaker 1>I did. But um, it was kind of a small

0:12:44.320 --> 0:12:46.280
<v Speaker 1>cult if you will, that knew what that was about.

0:12:47.320 --> 0:12:51.280
<v Speaker 1>And as time went on. In high school bands I

0:12:51.280 --> 0:12:56.120
<v Speaker 1>would play little blues, mostly rock and roll, anything from

0:12:56.200 --> 0:12:59.520
<v Speaker 1>Chuck Berry to the Birds to Box Tops two, a

0:12:59.520 --> 0:13:03.240
<v Speaker 1>little bles too, and then we do the other half

0:13:03.240 --> 0:13:05.920
<v Speaker 1>of the gig would be James Brown muth. Really, I'm

0:13:05.960 --> 0:13:07.840
<v Speaker 1>the one that handled that end of it. You could

0:13:07.880 --> 0:13:12.400
<v Speaker 1>give us a little demonstration, now, I don't think so. Okay,

0:13:12.600 --> 0:13:14.880
<v Speaker 1>at what point in your okay, so what kind of

0:13:14.920 --> 0:13:18.200
<v Speaker 1>gigs you playing? Like high school dances and stuff? But

0:13:18.360 --> 0:13:21.480
<v Speaker 1>in your community were you known as like the musician

0:13:21.600 --> 0:13:24.080
<v Speaker 1>the star? Was there any stature or just another guy

0:13:24.080 --> 0:13:26.800
<v Speaker 1>playing music with a lot of musicians playing. I mean

0:13:27.920 --> 0:13:30.880
<v Speaker 1>for that side of community. I mean I was down

0:13:30.920 --> 0:13:33.200
<v Speaker 1>the ladder from other guys that I knew. They were

0:13:33.200 --> 0:13:39.120
<v Speaker 1>the older and had established names in right exactly. But

0:13:39.200 --> 0:13:40.640
<v Speaker 1>it's also an era where you could be a king

0:13:40.720 --> 0:13:44.120
<v Speaker 1>of your own town. And since your mother was a teacher,

0:13:44.400 --> 0:13:47.520
<v Speaker 1>are you doing well in school? I was doing, Okay,

0:13:47.640 --> 0:13:50.400
<v Speaker 1>you've done okay, I was done a big fantasychool. Okay,

0:13:50.400 --> 0:13:53.520
<v Speaker 1>you're not a big fan. But uh, it's not like

0:13:53.559 --> 0:13:55.120
<v Speaker 1>you got into music and then all of a sudden

0:13:55.120 --> 0:13:59.880
<v Speaker 1>you stopped paying attention to school. No, No, I didn't.

0:13:59.880 --> 0:14:02.000
<v Speaker 1>My ear and his best I gave it a good shot. Okay,

0:14:02.040 --> 0:14:06.040
<v Speaker 1>So then, uh, what point do you think it doesn't

0:14:06.040 --> 0:14:08.520
<v Speaker 1>even happen? At that point you say, whoa this could

0:14:08.520 --> 0:14:13.199
<v Speaker 1>be a career. I didn't think that way in those days. Um,

0:14:13.240 --> 0:14:16.599
<v Speaker 1>Although we did cut a record when I was a sophomore,

0:14:16.640 --> 0:14:19.520
<v Speaker 1>but that was just kind of a fluke thing. And

0:14:19.800 --> 0:14:21.840
<v Speaker 1>I cut another one when I was eighteen, and I

0:14:21.840 --> 0:14:23.320
<v Speaker 1>did go down and try and stop it here in

0:14:23.440 --> 0:14:24.720
<v Speaker 1>l A. As a matter of fact, with a friend

0:14:24.720 --> 0:14:27.040
<v Speaker 1>of mine. Nothing came of either one of my Well

0:14:27.080 --> 0:14:28.840
<v Speaker 1>what did you do? Just looked up record companies and

0:14:28.920 --> 0:14:34.520
<v Speaker 1>knocked on the door, well and got total rejection. Absolutely yeah,

0:14:34.560 --> 0:14:38.400
<v Speaker 1>And that didn't discourage you. Not really. I didn't expect

0:14:38.520 --> 0:14:44.360
<v Speaker 1>much to happen. Um. I had nobody representing me whatsoever,

0:14:44.520 --> 0:14:46.080
<v Speaker 1>and I was on my own, and I was with

0:14:46.160 --> 0:14:48.600
<v Speaker 1>this guy that had played drums and bassed on the

0:14:48.760 --> 0:14:52.320
<v Speaker 1>song when I was eighteen. And did you write the song? Yeah? Okay,

0:14:52.360 --> 0:14:57.200
<v Speaker 1>when did you start writing songs? Probably when I was fifteen,

0:14:57.240 --> 0:14:59.520
<v Speaker 1>I guess. And did you take it seriously? Right? One

0:14:59.560 --> 0:15:02.000
<v Speaker 1>after an other? Are just now and again. I would

0:15:02.000 --> 0:15:05.040
<v Speaker 1>write stuff for the band that I was in, you know,

0:15:05.120 --> 0:15:07.320
<v Speaker 1>and we, in essence we kind of all wrote it,

0:15:07.440 --> 0:15:10.080
<v Speaker 1>but I would write the lyrics such as they were,

0:15:10.600 --> 0:15:12.440
<v Speaker 1>and it was kind of an offshoot of a Chuck

0:15:12.480 --> 0:15:16.200
<v Speaker 1>Berry kind of thing, and the other side was kind

0:15:16.200 --> 0:15:20.520
<v Speaker 1>of a quote unquote half soul half rock and roll thing.

0:15:20.880 --> 0:15:24.720
<v Speaker 1>And uh it sounded very amateur, okay, because usually the

0:15:24.720 --> 0:15:26.720
<v Speaker 1>initial songs you think are great, but really they suck.

0:15:26.840 --> 0:15:29.280
<v Speaker 1>Now they were pretty bad, okay. And at what point

0:15:29.280 --> 0:15:31.960
<v Speaker 1>in this history to the Beatles hip sixty two, as

0:15:31.960 --> 0:15:34.440
<v Speaker 1>I recall, Oh, I mean for you at sixty two

0:15:34.480 --> 0:15:37.160
<v Speaker 1>was loved me do. But in the UK the Sullivan

0:15:37.240 --> 0:15:39.560
<v Speaker 1>at sixty four. So in sixty four you're still in

0:15:39.640 --> 0:15:42.920
<v Speaker 1>high school, yeah, I was. So it was this a revelation.

0:15:42.960 --> 0:15:45.400
<v Speaker 1>Did you watch them, mom, ed Sullivan? I did, And

0:15:45.680 --> 0:15:49.160
<v Speaker 1>we had all these kids in school that were following

0:15:49.200 --> 0:15:53.680
<v Speaker 1>the Beatles ardently, um, wearing the paraphernalia that you know,

0:15:53.720 --> 0:15:57.520
<v Speaker 1>the hats, the beetle boots, the frank. I thought it

0:15:57.520 --> 0:16:01.440
<v Speaker 1>was a little hicky, but whatever, I thought they were. Okay.

0:16:01.480 --> 0:16:02.960
<v Speaker 1>I thought they were you know something. You were not

0:16:03.000 --> 0:16:05.160
<v Speaker 1>a big Beatles fan, No, I was more of a

0:16:05.200 --> 0:16:09.080
<v Speaker 1>blues And how about the Stones Stones I liked, okay,

0:16:09.080 --> 0:16:11.440
<v Speaker 1>so they were blues. Yeah, that's why I mentioned back.

0:16:11.440 --> 0:16:12.560
<v Speaker 1>I mean they used to have the Battle of the

0:16:12.560 --> 0:16:16.160
<v Speaker 1>Beans on Saturday night on the radio, Stones versus the Beatles. Well,

0:16:16.280 --> 0:16:20.560
<v Speaker 1>the Beatles developed and I became a serious fan. Oh really,

0:16:20.560 --> 0:16:23.360
<v Speaker 1>when did you become a Beatles fan? Probably by the

0:16:23.440 --> 0:16:27.040
<v Speaker 1>time I was hitting freshman in high school. I mean,

0:16:27.040 --> 0:16:29.120
<v Speaker 1>it's given me a freshman in college, and that would

0:16:29.160 --> 0:16:32.000
<v Speaker 1>be which Beatles songs? Which Beatle albums? If you remember,

0:16:32.760 --> 0:16:35.560
<v Speaker 1>I didn't own any I just listened to him, but

0:16:35.720 --> 0:16:38.840
<v Speaker 1>I wasn't a die hard be What songs did you say? Hey,

0:16:38.840 --> 0:16:44.080
<v Speaker 1>this is pretty good? Uh let me think hard days night?

0:16:44.720 --> 0:16:50.400
<v Speaker 1>Uh eler Rigby Okay, relatively early, but not the initial stuff. Okay.

0:16:50.560 --> 0:16:52.800
<v Speaker 1>And you go to college and you go to college where,

0:16:53.680 --> 0:16:55.880
<v Speaker 1>first of all junior college and vice he had a place,

0:16:56.280 --> 0:16:59.440
<v Speaker 1>c Os College is quas okay, and you stay there

0:16:59.440 --> 0:17:01.800
<v Speaker 1>for how long? Two years? And so you're living at

0:17:01.800 --> 0:17:05.800
<v Speaker 1>home and what's going You're playing music? And are you

0:17:05.960 --> 0:17:09.479
<v Speaker 1>riding motorcycles? Yet? I did buy one finally, after all

0:17:09.480 --> 0:17:12.639
<v Speaker 1>the years of working. My dad shot much, but I

0:17:12.680 --> 0:17:15.399
<v Speaker 1>did buy one. Okay. If that's something that's stuck with

0:17:15.400 --> 0:17:19.280
<v Speaker 1>you forever to this day, write anymore? When did you stop?

0:17:19.359 --> 0:17:21.560
<v Speaker 1>I quit in two thousand and three, and it's a

0:17:21.760 --> 0:17:24.479
<v Speaker 1>it's not because of you know you're gonna break your

0:17:24.520 --> 0:17:27.040
<v Speaker 1>neck or any of that kind of stuff. We had

0:17:27.040 --> 0:17:29.040
<v Speaker 1>to move out of the house for a year to

0:17:29.119 --> 0:17:30.760
<v Speaker 1>have it worked on, and we got back in and

0:17:30.760 --> 0:17:33.280
<v Speaker 1>I looked down and I said, I'm done. Be you're done,

0:17:33.320 --> 0:17:36.760
<v Speaker 1>because you figure you'd beat the odds, And maybe it

0:17:36.800 --> 0:17:38.760
<v Speaker 1>really wasn't. It's like somebody just turned the switch off.

0:17:39.480 --> 0:17:41.680
<v Speaker 1>The interest wasn't there anymore. How much did you ride

0:17:41.720 --> 0:17:45.280
<v Speaker 1>before you? Uh? Did the switch did go off? I

0:17:45.320 --> 0:17:48.239
<v Speaker 1>would call it weekend warrior kind of writing. I mean

0:17:48.280 --> 0:17:50.160
<v Speaker 1>I had various friends guys in the band I would

0:17:50.240 --> 0:17:51.600
<v Speaker 1>ride with, as well as a lot of guys that

0:17:51.640 --> 0:17:56.439
<v Speaker 1>I knew around town and stuff. It's all in northern California, um,

0:17:56.520 --> 0:17:58.119
<v Speaker 1>and we go right up and down the coast and

0:17:58.160 --> 0:18:00.160
<v Speaker 1>stuff like that. But I never took trips across out

0:18:00.160 --> 0:18:01.399
<v Speaker 1>the country or any of that kind of Did you

0:18:01.400 --> 0:18:04.479
<v Speaker 1>ever have an accident? I had a couple. And does

0:18:04.520 --> 0:18:08.399
<v Speaker 1>your body still suffer the consequences? Not that I'm aware of.

0:18:08.480 --> 0:18:16.119
<v Speaker 1>Let we'll take a quick break and come back with

0:18:16.160 --> 0:18:19.280
<v Speaker 1>more of my conversation with Tom Johnston to the Doobie Brothers.

0:18:23.200 --> 0:18:28.240
<v Speaker 1>I love getting people's stories, whether they're a famous performer, manager,

0:18:28.880 --> 0:18:32.439
<v Speaker 1>record label exec or tech star. I want to know

0:18:32.480 --> 0:18:36.520
<v Speaker 1>what makes them tick and how they became successful. This week,

0:18:36.560 --> 0:18:39.520
<v Speaker 1>Tom Johnson tells us about going to college, informing the

0:18:39.560 --> 0:18:42.840
<v Speaker 1>Doobie Brothers, and a fifty year career that came thereafter.

0:18:43.480 --> 0:18:46.119
<v Speaker 1>You can dial up by other conversations with artists like

0:18:46.160 --> 0:18:50.480
<v Speaker 1>Paul Rodgers, Cascade, and Shirley Manson by subscribing to the

0:18:50.520 --> 0:18:54.760
<v Speaker 1>podcast on tune in, Apple or your podcast player of choice.

0:18:55.119 --> 0:18:59.119
<v Speaker 1>While you're there, be sure to rate and review the podcast. Okay,

0:18:59.240 --> 0:19:02.000
<v Speaker 1>let's get back to more of my conversation with Tom Johnston.

0:19:02.800 --> 0:19:05.159
<v Speaker 1>So you're in junior college, you're playing in bands. You

0:19:05.240 --> 0:19:09.800
<v Speaker 1>finished two years of junior college, and then one um,

0:19:09.920 --> 0:19:12.399
<v Speaker 1>I went to San Jose. And why Santa Jose of

0:19:12.400 --> 0:19:14.399
<v Speaker 1>all the other places, well as one of two places

0:19:14.400 --> 0:19:15.840
<v Speaker 1>that got accepted that I had a lot to do

0:19:15.960 --> 0:19:19.240
<v Speaker 1>that they were Sant JOSEVI. What was the other choice? Oregon?

0:19:19.440 --> 0:19:21.200
<v Speaker 1>And Okay, I went up there and and I said,

0:19:21.240 --> 0:19:23.439
<v Speaker 1>I don't think so, because by that time I had

0:19:23.480 --> 0:19:26.560
<v Speaker 1>already met my sister lived in Santose, and I had

0:19:26.560 --> 0:19:30.480
<v Speaker 1>already met this bunch of people up there who lived

0:19:30.520 --> 0:19:34.680
<v Speaker 1>up in Santa Cruz Mountains. And I didn't not skip

0:19:34.800 --> 0:19:38.040
<v Speaker 1>yet but I would not long after that, and um,

0:19:38.320 --> 0:19:42.440
<v Speaker 1>that's Skip Speps the originally for the movie Grape. Yeah.

0:19:42.680 --> 0:19:46.199
<v Speaker 1>I there was this whole community that she knew and

0:19:46.280 --> 0:19:49.520
<v Speaker 1>hung with, which I became involved with before I ever

0:19:49.560 --> 0:19:50.960
<v Speaker 1>moved up to I used to go up there while

0:19:51.000 --> 0:19:52.480
<v Speaker 1>I was in high school. And how far is that

0:19:52.600 --> 0:19:55.399
<v Speaker 1>from Brazilia? That's about what three and a half for

0:19:55.680 --> 0:19:58.720
<v Speaker 1>It's relatively far. Yeah, And we would drive up there

0:19:58.720 --> 0:20:00.760
<v Speaker 1>on on the weekends and he'd let us crash in

0:20:00.800 --> 0:20:03.480
<v Speaker 1>her place and then we go hang out and say hey,

0:20:03.640 --> 0:20:07.320
<v Speaker 1>and go to the film War and watch whoever was playing,

0:20:08.240 --> 0:20:10.399
<v Speaker 1>watch all this stuff in the streets, take it all in,

0:20:10.560 --> 0:20:12.840
<v Speaker 1>go back and be vice for the rest of the week.

0:20:14.320 --> 0:20:16.359
<v Speaker 1>It's a big difference. Yeah, people have no idea what

0:20:16.400 --> 0:20:19.760
<v Speaker 1>you're talking about. So you go to San Jose primarily

0:20:19.800 --> 0:20:21.200
<v Speaker 1>because you get in there and you have a whole

0:20:21.240 --> 0:20:24.560
<v Speaker 1>social scene started. Yeah. And I was a graphic design

0:20:24.600 --> 0:20:27.080
<v Speaker 1>major and they had a good department for all that.

0:20:27.320 --> 0:20:29.800
<v Speaker 1>But then the first question, did you finish the Jose State?

0:20:30.560 --> 0:20:34.080
<v Speaker 1>I finished it time wise. I was a semester short

0:20:34.160 --> 0:20:36.320
<v Speaker 1>of the degree, simply because I got some bad advice

0:20:36.680 --> 0:20:39.159
<v Speaker 1>and I took an industrial design class that did me

0:20:39.200 --> 0:20:41.320
<v Speaker 1>no good at all finishing. I did all the rest

0:20:41.320 --> 0:20:45.280
<v Speaker 1>of the requirements. Okay, bad advice me, And you thought

0:20:45.280 --> 0:20:47.879
<v Speaker 1>this would help you graduating It didn't, meaning I had

0:20:47.920 --> 0:20:50.680
<v Speaker 1>no idea what what I needed to do and what

0:20:50.720 --> 0:20:52.679
<v Speaker 1>was required. This guy says, oh, you should take this,

0:20:53.359 --> 0:20:55.840
<v Speaker 1>my counselor at the point at that time, take this

0:20:55.920 --> 0:20:59.520
<v Speaker 1>industrial design class and you know this is something you're

0:20:59.520 --> 0:21:01.879
<v Speaker 1>gonna need. Well, that turns out it kept me from

0:21:01.920 --> 0:21:04.560
<v Speaker 1>graduating when I was supposed to graduate because it didn't

0:21:04.600 --> 0:21:08.720
<v Speaker 1>fit in the curriculum of graphic design. So did you

0:21:08.760 --> 0:21:12.520
<v Speaker 1>ever get a degree? No? Okay, you guys freaks. Bruce

0:21:12.560 --> 0:21:15.880
<v Speaker 1>Freakstein's mother says, you can still go back everybody back.

0:21:17.680 --> 0:21:19.640
<v Speaker 1>Yeah I can, But I don't think it was tough.

0:21:19.760 --> 0:21:21.600
<v Speaker 1>I gotta say there was a lot of really good

0:21:21.720 --> 0:21:24.280
<v Speaker 1>artists out there, really people that could really draw, I

0:21:24.280 --> 0:21:28.400
<v Speaker 1>mean ragular drawing, you know, like radar type stuff and amazing.

0:21:28.800 --> 0:21:30.280
<v Speaker 1>But they would have been good in the other field

0:21:30.280 --> 0:21:32.280
<v Speaker 1>as well. I probably would ended up doing pay steps.

0:21:32.280 --> 0:21:35.040
<v Speaker 1>I wasn't okay artist, but I wasn't okay. But while

0:21:35.080 --> 0:21:38.520
<v Speaker 1>you're going to San Jose State, are you is your

0:21:38.560 --> 0:21:42.400
<v Speaker 1>then music career? Burgeoning such as you think, well, maybe

0:21:42.400 --> 0:21:45.840
<v Speaker 1>this graphic design, think it is not my future. The

0:21:45.880 --> 0:21:50.080
<v Speaker 1>way that all came about, Um, I went to you know,

0:21:50.119 --> 0:21:53.040
<v Speaker 1>I did the classes, but I was also I was

0:21:53.080 --> 0:21:58.080
<v Speaker 1>like half doing that and half hanging out in the

0:21:58.080 --> 0:22:02.000
<v Speaker 1>Santa Cruz mountains, hang on Santose, playing in a couple

0:22:02.040 --> 0:22:07.880
<v Speaker 1>of bands in Santose. All this is all going on simultaneous. Um.

0:22:07.960 --> 0:22:09.760
<v Speaker 1>I have to say that that's probably one of the

0:22:09.760 --> 0:22:14.240
<v Speaker 1>best times I've read. There's a lot of fun. Um.

0:22:14.280 --> 0:22:16.439
<v Speaker 1>I had a forty dollar room and it was on

0:22:16.520 --> 0:22:19.080
<v Speaker 1>twelve Street where everything started for the band. But it

0:22:19.160 --> 0:22:20.840
<v Speaker 1>was kind of a music center, and there was always

0:22:20.840 --> 0:22:23.879
<v Speaker 1>people in their places in San Jose and Santose. Okay,

0:22:23.920 --> 0:22:26.879
<v Speaker 1>just for those who also don't know how far to

0:22:26.920 --> 0:22:30.760
<v Speaker 1>get from San Jose to Santa Cruz, oh, shooting those days,

0:22:30.800 --> 0:22:36.400
<v Speaker 1>probably twenty five minutes Santa Cruz the town not much

0:22:36.440 --> 0:22:38.080
<v Speaker 1>more than that really, probably half an hour. And then

0:22:38.119 --> 0:22:39.640
<v Speaker 1>if you're not talking about the time, you talk about

0:22:39.640 --> 0:22:42.159
<v Speaker 1>the mountains, I'm talking about Santa Cruz mountains. That's not

0:22:42.320 --> 0:22:43.960
<v Speaker 1>saying in Santa Cruz, I'm not gonna get the same

0:22:44.000 --> 0:22:47.679
<v Speaker 1>ideas there's a ridge of mountains between San Jose and

0:22:47.720 --> 0:22:50.840
<v Speaker 1>then the beach. But I'm not a big expert there either.

0:22:51.359 --> 0:22:54.800
<v Speaker 1>There are certainly roads, but there aren't that many businesses there, right, No,

0:22:55.119 --> 0:22:58.720
<v Speaker 1>there was. It was pretty rustic, okay, but there were

0:22:58.720 --> 0:23:00.680
<v Speaker 1>no gigs that you were doing up in the mountains

0:23:00.760 --> 0:23:03.520
<v Speaker 1>or not at that time. No, okay, So you're living

0:23:03.560 --> 0:23:06.280
<v Speaker 1>the life and you're supporting yourself being a musician, or

0:23:06.280 --> 0:23:10.320
<v Speaker 1>your parents are sending your money. Actually they did help

0:23:10.359 --> 0:23:12.000
<v Speaker 1>support me as long as I was going to school.

0:23:12.600 --> 0:23:15.280
<v Speaker 1>As soon as I stopped going to school, that was gone.

0:23:15.600 --> 0:23:17.479
<v Speaker 1>So what I would do And the other thing is

0:23:17.920 --> 0:23:20.680
<v Speaker 1>after the semester of school, you got this time to

0:23:20.760 --> 0:23:22.680
<v Speaker 1>kill for summer. Well, I said, I'm not going back

0:23:22.720 --> 0:23:25.159
<v Speaker 1>to sell you. When I left that town it was

0:23:25.240 --> 0:23:29.520
<v Speaker 1>review here. I didn't want to go back, and so

0:23:29.680 --> 0:23:32.960
<v Speaker 1>I would either work in cannaries the first time, which

0:23:33.000 --> 0:23:36.480
<v Speaker 1>was well that's hard work. It was hard work. Good

0:23:36.480 --> 0:23:40.120
<v Speaker 1>money though, no, I know, and you know when Alaska

0:23:40.119 --> 0:23:42.640
<v Speaker 1>it's good money, but no, not that kind of cannriies.

0:23:42.680 --> 0:23:45.159
<v Speaker 1>Now this is uh, you know, like I don't know,

0:23:45.280 --> 0:23:48.120
<v Speaker 1>dole or whatever it was. We're processing all this fruit

0:23:48.160 --> 0:23:50.480
<v Speaker 1>and stuff and you had to be there at five

0:23:50.520 --> 0:23:51.919
<v Speaker 1>in the morning and then you'd worked till two in

0:23:51.920 --> 0:23:55.520
<v Speaker 1>the afternoon, and lots of incentive to do something different. Yes,

0:23:55.640 --> 0:23:58.040
<v Speaker 1>here was and then after that I did construction the

0:23:58.080 --> 0:24:01.399
<v Speaker 1>next year, and uh anything, so I didn't have to

0:24:01.400 --> 0:24:04.960
<v Speaker 1>go back too If I say not that I hated

0:24:04.960 --> 0:24:06.919
<v Speaker 1>by saying that much. I just there was nothing for

0:24:07.040 --> 0:24:09.280
<v Speaker 1>me there. So okay, So how much How long did

0:24:09.320 --> 0:24:12.879
<v Speaker 1>you work in construction and at the Canary one summer

0:24:12.880 --> 0:24:17.280
<v Speaker 1>and one one summer and the other. Um, so now

0:24:17.280 --> 0:24:19.960
<v Speaker 1>you're out of school, then what's the next thing after

0:24:19.960 --> 0:24:23.480
<v Speaker 1>when you're out of school. Well, we got we got

0:24:23.480 --> 0:24:27.280
<v Speaker 1>our first album in seventy one. The band got together

0:24:27.320 --> 0:24:31.919
<v Speaker 1>in nineteen seventy. We're talking to Doobie Brothers. Um, I

0:24:32.000 --> 0:24:34.440
<v Speaker 1>was in two bands before that. Well, let's go a

0:24:34.480 --> 0:24:37.480
<v Speaker 1>little bit slower. So how long after college did the

0:24:37.560 --> 0:24:40.479
<v Speaker 1>Doobie Brothers started. Actually I was still in college when

0:24:40.480 --> 0:24:43.520
<v Speaker 1>they do we rather started. Okay, but but you were

0:24:43.520 --> 0:24:45.800
<v Speaker 1>still going to school. So tell us about the two

0:24:45.800 --> 0:24:49.600
<v Speaker 1>bonds before that, they were just local bands. Uh. There

0:24:49.640 --> 0:24:52.520
<v Speaker 1>was an old one called South Bay Experimental Flash. I

0:24:52.600 --> 0:24:56.760
<v Speaker 1>was in for a month and you know, they were

0:24:56.760 --> 0:24:59.000
<v Speaker 1>just passing fancies. There was another one I don't recall

0:24:59.040 --> 0:25:00.960
<v Speaker 1>the name of because it didn't als much longer than that.

0:25:01.040 --> 0:25:02.840
<v Speaker 1>And then there was PUD, which was the band that

0:25:02.960 --> 0:25:06.040
<v Speaker 1>was based in Twelfth Street, in the house on twelve Street,

0:25:06.560 --> 0:25:09.119
<v Speaker 1>and that's what John Hartman who came who was the

0:25:09.119 --> 0:25:12.880
<v Speaker 1>first drummer of the band, came out from Falls Church,

0:25:13.680 --> 0:25:17.280
<v Speaker 1>Virginia along with his buddy who played bass, Greg Murphy,

0:25:17.640 --> 0:25:20.880
<v Speaker 1>and I went and picked them up with a friend

0:25:20.920 --> 0:25:22.920
<v Speaker 1>of mine in a van and Sam. They were living

0:25:22.920 --> 0:25:25.480
<v Speaker 1>in San Francisco, Hay, I would call living. They were

0:25:25.520 --> 0:25:28.560
<v Speaker 1>staying in San Francisco, and we threw him in a van.

0:25:28.680 --> 0:25:31.800
<v Speaker 1>We took him down and they took up residency in

0:25:31.840 --> 0:25:33.560
<v Speaker 1>twelve streets. How did you even know who they were?

0:25:34.760 --> 0:25:38.920
<v Speaker 1>I want to say Skip had something to do with Okay.

0:25:38.920 --> 0:25:44.159
<v Speaker 1>So Skip spends legendarily not rooted to the planet and

0:25:44.600 --> 0:25:48.000
<v Speaker 1>uh in mbi Grape which last for braver. Time you

0:25:48.040 --> 0:25:51.560
<v Speaker 1>meet him? When what is his status? When you meet him?

0:25:51.640 --> 0:25:53.960
<v Speaker 1>He was on his own. He had just finished cutting

0:25:54.000 --> 0:25:59.480
<v Speaker 1>Ore in Nashville solo album. My sister introduced me to him.

0:25:59.600 --> 0:26:03.639
<v Speaker 1>Um just really sisters a hip pivotal. Yeah, she was

0:26:04.560 --> 0:26:09.240
<v Speaker 1>pivotal moment meeting him because because of him, I met

0:26:09.280 --> 0:26:11.600
<v Speaker 1>a lot of other people and and all these players

0:26:12.080 --> 0:26:14.159
<v Speaker 1>that were in the Santa Cruise Mountains and in bands

0:26:14.160 --> 0:26:16.960
<v Speaker 1>like Mountain the Current and Chocolate Watch Band, all of

0:26:16.960 --> 0:26:18.840
<v Speaker 1>the kind of stuff that was around there. Okay, you

0:26:18.920 --> 0:26:22.600
<v Speaker 1>meet him, he's older than you would assume, you're somewhat gnaw.

0:26:23.480 --> 0:26:26.000
<v Speaker 1>I was otter of fact that he was a kind

0:26:26.000 --> 0:26:29.080
<v Speaker 1>of a chrismatic character. Anyway, he went into your average Joe.

0:26:29.240 --> 0:26:32.320
<v Speaker 1>He besides being a little out there and as he said,

0:26:32.400 --> 0:26:34.879
<v Speaker 1>not necessarily in touch with the planet. We didn't know

0:26:35.000 --> 0:26:37.520
<v Speaker 1>that back then. We're younging down and we believe anything,

0:26:37.840 --> 0:26:41.200
<v Speaker 1>but he was. He just had this chrisma like people

0:26:41.200 --> 0:26:43.879
<v Speaker 1>would flock to. This guy was amazing, It really was. Okay,

0:26:44.000 --> 0:26:46.840
<v Speaker 1>was it you asking for things? Or is he the

0:26:46.880 --> 0:26:48.639
<v Speaker 1>type of guy was giving to Hey, you got to

0:26:48.680 --> 0:26:52.320
<v Speaker 1>know this person. It just happened. Like a lot of

0:26:52.359 --> 0:26:54.440
<v Speaker 1>stuff in my life in that period of time, things

0:26:54.480 --> 0:26:57.680
<v Speaker 1>would just happen. It's not really that I asked for anything.

0:26:58.200 --> 0:27:00.400
<v Speaker 1>It's just we would jam together a lot. We played

0:27:00.440 --> 0:27:02.679
<v Speaker 1>him a couple of throw together bands, which is how

0:27:02.720 --> 0:27:07.160
<v Speaker 1>I met Pat. We were I'm sorry I should clear

0:27:07.240 --> 0:27:10.960
<v Speaker 1>that up. Um. He was in a band called Pachuco

0:27:11.119 --> 0:27:13.560
<v Speaker 1>with If I started naming the people out, nobody's gonna.

0:27:14.920 --> 0:27:18.080
<v Speaker 1>I don't bother the um okay, but you're in you go.

0:27:18.280 --> 0:27:20.360
<v Speaker 1>You got to get the two guys from Falls First Church,

0:27:20.480 --> 0:27:23.280
<v Speaker 1>Virginia who you know through Skip Spence. You moved them

0:27:23.280 --> 0:27:26.760
<v Speaker 1>into twelve Street. What is twelve Street? Like twelve Street

0:27:26.800 --> 0:27:29.840
<v Speaker 1>the epicenter of hip hip area of San Jose or

0:27:29.920 --> 0:27:31.560
<v Speaker 1>is that just where you live? It was a student

0:27:31.560 --> 0:27:34.720
<v Speaker 1>get him. It was like what three blocks from the school.

0:27:35.720 --> 0:27:39.040
<v Speaker 1>But for whatever reason it became kind of a musical

0:27:39.119 --> 0:27:41.600
<v Speaker 1>meca for a lot of musicians. I'm not saying everybody

0:27:41.640 --> 0:27:45.560
<v Speaker 1>that played something lived there, they didn't. But we had

0:27:45.600 --> 0:27:47.960
<v Speaker 1>a basement and in that basement there was always a

0:27:48.040 --> 0:27:51.560
<v Speaker 1>jam session. And I could come home from school and

0:27:51.560 --> 0:27:54.960
<v Speaker 1>there'd be one going on. I could, you know, do

0:27:55.000 --> 0:27:57.600
<v Speaker 1>whatever I did for the for the art program. And

0:27:57.640 --> 0:28:00.359
<v Speaker 1>I usually would take whatever it was and would work

0:28:00.400 --> 0:28:02.600
<v Speaker 1>for two or three classes, which freed up my time

0:28:02.600 --> 0:28:06.080
<v Speaker 1>a lot more. This weeat deal, you know, and and

0:28:06.119 --> 0:28:08.480
<v Speaker 1>I would be down to jama and Skip would be

0:28:08.520 --> 0:28:10.399
<v Speaker 1>in the heart of it. Sometimes. Other times we have

0:28:10.520 --> 0:28:13.159
<v Speaker 1>horn players that we had a band, the band I

0:28:13.240 --> 0:28:19.679
<v Speaker 1>mentioned which was PUD was a power rock trio, but

0:28:19.760 --> 0:28:23.520
<v Speaker 1>we also sometimes had some check singers. We also sometimes

0:28:23.600 --> 0:28:25.479
<v Speaker 1>had a horn section, so it would like veer off

0:28:25.520 --> 0:28:28.040
<v Speaker 1>into like R and B land. It was kind of

0:28:28.040 --> 0:28:31.400
<v Speaker 1>a mismash everything. And how much were you gigging? Not

0:28:31.520 --> 0:28:33.480
<v Speaker 1>that much when you stop and thinking that we did.

0:28:33.600 --> 0:28:35.560
<v Speaker 1>We did play, but we didn't play a lot. We

0:28:35.600 --> 0:28:38.920
<v Speaker 1>played you know, Ricardo's Pizza parlier when we played at

0:28:38.920 --> 0:28:42.440
<v Speaker 1>the Student Union at San Jose. We didn't have a

0:28:42.480 --> 0:28:44.800
<v Speaker 1>lot of gigs. And at this point in time, this

0:28:44.880 --> 0:28:48.719
<v Speaker 1>is just an advocation. You're really a student pretty much. Yeah, okay,

0:28:48.760 --> 0:28:51.480
<v Speaker 1>so that you're in PUD at the next trigger moment

0:28:51.600 --> 0:28:55.080
<v Speaker 1>is meeting Pat. Yeah I'm at Pat when we played

0:28:55.160 --> 0:28:57.440
<v Speaker 1>over at the Gaslight Theater in Campbell one night, and

0:28:57.520 --> 0:29:01.800
<v Speaker 1>that we're as Campbell. Keep yeah, I do this, I

0:29:01.880 --> 0:29:04.440
<v Speaker 1>have attendency. Oh you know where I'm talking about. This

0:29:04.560 --> 0:29:07.400
<v Speaker 1>is is just part of Santose really, I mean it's

0:29:07.440 --> 0:29:10.040
<v Speaker 1>all one big city now anyway, But back then San

0:29:10.080 --> 0:29:12.480
<v Speaker 1>Jose was a very small town, or was not small

0:29:12.520 --> 0:29:15.000
<v Speaker 1>tam It was a small city, nothing like it is

0:29:15.040 --> 0:29:17.280
<v Speaker 1>now being the you know, the tech boom and all,

0:29:17.400 --> 0:29:23.280
<v Speaker 1>but um Campbell was out west of downtown Santose where

0:29:23.280 --> 0:29:26.480
<v Speaker 1>I lived, and they had that, but it was just

0:29:26.520 --> 0:29:29.480
<v Speaker 1>a little club slash theater kind of plays more of

0:29:29.520 --> 0:29:32.719
<v Speaker 1>a club. And Pat Simmons was playing with a guy

0:29:32.800 --> 0:29:35.640
<v Speaker 1>named Peter Grant and they were doing uh, what would

0:29:35.640 --> 0:29:37.760
<v Speaker 1>be called americana now what we used to call folk

0:29:37.880 --> 0:29:40.320
<v Speaker 1>music sort of but a lot of fingerpicking, and that's

0:29:40.320 --> 0:29:43.480
<v Speaker 1>pretty much all I was. Peter Green was a banjo

0:29:43.560 --> 0:29:46.360
<v Speaker 1>player and Pat was playing guitar, and they were both

0:29:46.480 --> 0:29:50.000
<v Speaker 1>really really good. And I was there with John Hartman,

0:29:50.240 --> 0:29:54.240
<v Speaker 1>Skip Spence and I think Greg was playing bass, Greg Murphy.

0:29:54.240 --> 0:29:56.720
<v Speaker 1>I should have clarified, I don't know what happened Greg

0:29:56.760 --> 0:30:01.320
<v Speaker 1>Murphy and got a clue. Um. So we're playing rock

0:30:01.360 --> 0:30:04.240
<v Speaker 1>and roll and I was singing. I was doing the singing,

0:30:05.200 --> 0:30:09.560
<v Speaker 1>and and we watched them play. I think they played

0:30:09.600 --> 0:30:11.280
<v Speaker 1>before we did. And then we got up and played

0:30:11.280 --> 0:30:12.959
<v Speaker 1>and we were taking somebody else at the place who

0:30:12.960 --> 0:30:17.680
<v Speaker 1>couldn't make the game. Serendipity, Yeah, And so you know,

0:30:17.720 --> 0:30:19.440
<v Speaker 1>we got to talk and Pat and I got talking

0:30:19.440 --> 0:30:23.360
<v Speaker 1>to John. John was part of that, and we invited

0:30:23.440 --> 0:30:26.040
<v Speaker 1>him to come over. And jam was Pat going to

0:30:26.080 --> 0:30:28.480
<v Speaker 1>school or anything. He was as same as they said, well,

0:30:28.520 --> 0:30:30.880
<v Speaker 1>although I never knew that at the time, I never

0:30:30.920 --> 0:30:33.160
<v Speaker 1>saw him. Everybody's big enough school where that was easily,

0:30:33.400 --> 0:30:35.120
<v Speaker 1>it wasn't hard to do. So you invite him to

0:30:35.120 --> 0:30:37.840
<v Speaker 1>come to jam in the basement, right, and he did,

0:30:38.040 --> 0:30:40.920
<v Speaker 1>and we did that a few times, and eventually we

0:30:40.960 --> 0:30:43.120
<v Speaker 1>all just said, you know, kind of decided let's let's

0:30:43.120 --> 0:30:45.520
<v Speaker 1>start a band. Okay. So it wasn't a light bulb moment,

0:30:46.600 --> 0:30:48.800
<v Speaker 1>just it was it was what i'd call him movement.

0:30:48.800 --> 0:30:50.800
<v Speaker 1>It was another one of those things that just happens,

0:30:51.240 --> 0:30:55.760
<v Speaker 1>no plans, no destination, Let's just do this, okay. And

0:30:55.760 --> 0:30:59.120
<v Speaker 1>at what point you formed the band? At what point

0:30:59.120 --> 0:31:02.480
<v Speaker 1>do you think, well, this this could be something. I

0:31:02.480 --> 0:31:05.360
<v Speaker 1>don't know that I ever really thought that at that point. Really,

0:31:05.440 --> 0:31:07.880
<v Speaker 1>I was so happy to play, and we played quite

0:31:07.880 --> 0:31:09.600
<v Speaker 1>a bit. We played every place around there, and then

0:31:09.600 --> 0:31:12.760
<v Speaker 1>we eventually ended up in the Chateau Libreta, which became

0:31:13.480 --> 0:31:16.240
<v Speaker 1>like the center point for so many bands in the

0:31:16.320 --> 0:31:21.240
<v Speaker 1>area from all over San Jose, Santa Cruz, San Francisco,

0:31:21.280 --> 0:31:24.520
<v Speaker 1>a little bit, not a lot um, and it was

0:31:24.560 --> 0:31:26.280
<v Speaker 1>just so much fun to do that and hang out

0:31:26.320 --> 0:31:29.080
<v Speaker 1>up there. I mean, it was just a lifestyle. I

0:31:29.120 --> 0:31:31.880
<v Speaker 1>didn't owe money for anything. I didn't have any money,

0:31:31.880 --> 0:31:34.360
<v Speaker 1>but it all kind of worked out. I didn't. It

0:31:34.480 --> 0:31:37.240
<v Speaker 1>was probably the freest time in my entire life. But

0:31:37.320 --> 0:31:39.160
<v Speaker 1>you were making money being the band when you did

0:31:39.160 --> 0:31:41.200
<v Speaker 1>play that could pay your bills. Yeah, but not a lot.

0:31:41.480 --> 0:31:43.720
<v Speaker 1>I mean, we weren't getting rich by any means. Man.

0:31:43.760 --> 0:31:46.600
<v Speaker 1>We were just hasn't have to pay the rent and

0:31:46.600 --> 0:31:49.400
<v Speaker 1>and buy food, and that was pretty much. That's a big,

0:31:50.320 --> 0:31:53.440
<v Speaker 1>big change in America today. I mean, you're from California,

0:31:53.480 --> 0:31:56.720
<v Speaker 1>but statistically people don't leave where they grew up because

0:31:56.720 --> 0:31:58.760
<v Speaker 1>I don't have the money. Whereas you know, getting in

0:31:58.760 --> 0:32:01.720
<v Speaker 1>your car and driving places in the sixties seventies was

0:32:01.760 --> 0:32:05.840
<v Speaker 1>a big movement. In addition, it was much cheaper to live. Well, god, yeah,

0:32:06.040 --> 0:32:09.040
<v Speaker 1>I mean today he asked, well, you could go what again?

0:32:10.360 --> 0:32:12.400
<v Speaker 1>I mean today, you know you could have a job

0:32:12.440 --> 0:32:17.560
<v Speaker 1>and you still gotta live at home. I've heard about that. Yeah, So, okay,

0:32:17.840 --> 0:32:20.880
<v Speaker 1>you formed the band. At what point do they become

0:32:20.880 --> 0:32:25.200
<v Speaker 1>the Doobie Brothers. Uh. We had a gig to play

0:32:25.200 --> 0:32:28.960
<v Speaker 1>one night and we were sitting around the breakfast at

0:32:29.000 --> 0:32:30.360
<v Speaker 1>the table in the kitchen. We call it at the

0:32:30.360 --> 0:32:34.480
<v Speaker 1>breakfast table. Whatever the everything table, and I want to

0:32:34.520 --> 0:32:39.120
<v Speaker 1>say there was some combustibles being used, and uh, one

0:32:39.160 --> 0:32:40.720
<v Speaker 1>of the guys that lived in the house, it wasn't

0:32:40.720 --> 0:32:42.280
<v Speaker 1>part of the whole music scene, but just lived in

0:32:42.320 --> 0:32:44.800
<v Speaker 1>the house, came in with his dog, which he was

0:32:44.880 --> 0:32:47.440
<v Speaker 1>wanting to do at any given time, and he said,

0:32:47.480 --> 0:32:49.360
<v Speaker 1>you guys ought to call yourself the Dowey Brothers. You're

0:32:49.360 --> 0:32:52.440
<v Speaker 1>always doing this and we all liked it. And he said,

0:32:52.520 --> 0:32:56.000
<v Speaker 1>that's a really stupid name, man, but we don't have

0:32:56.040 --> 0:32:58.240
<v Speaker 1>a name, and we didn't um, and we had a

0:32:58.240 --> 0:33:00.840
<v Speaker 1>gig that night. All right, we'll use it for tonight.

0:33:02.000 --> 0:33:03.880
<v Speaker 1>And we never got rid of the name. Okay, so

0:33:04.000 --> 0:33:06.640
<v Speaker 1>you become the Dewbie Brothers Drewbie Brothers. At what point

0:33:06.640 --> 0:33:11.160
<v Speaker 1>do you have two drummers that happened god, I would

0:33:11.160 --> 0:33:15.120
<v Speaker 1>say late seventy one. Mike Cossack. We knew from cutting

0:33:15.120 --> 0:33:18.360
<v Speaker 1>our first album up at Pacific Studios in sam Mateo.

0:33:19.080 --> 0:33:22.000
<v Speaker 1>He was in a band called Morning Rain. There's a

0:33:22.000 --> 0:33:24.480
<v Speaker 1>lot of people up there at that studio. Santana cut

0:33:24.480 --> 0:33:28.640
<v Speaker 1>his first album there. Um Keith Canuson, who was a

0:33:28.680 --> 0:33:31.080
<v Speaker 1>drummer later on, was in a band called Mental Bomb.

0:33:31.120 --> 0:33:34.120
<v Speaker 1>They were up there Uh, that's where we ended up.

0:33:34.160 --> 0:33:36.280
<v Speaker 1>Skip turned us onto the guy that owned the studio,

0:33:36.560 --> 0:33:38.880
<v Speaker 1>and we went up there and cut a demo. The

0:33:39.000 --> 0:33:41.880
<v Speaker 1>guy sent it to Warner Brothers. We got sold on

0:33:41.920 --> 0:33:44.520
<v Speaker 1>the basis of that. We got it's a little bit slower.

0:33:44.800 --> 0:33:47.240
<v Speaker 1>How long had the band been together before you cut

0:33:47.240 --> 0:33:53.840
<v Speaker 1>the demo? Probably a year? Okay? And did you have

0:33:53.880 --> 0:33:56.800
<v Speaker 1>a manager at that point? Let's define the word manager.

0:33:56.840 --> 0:33:58.840
<v Speaker 1>We had a guy that hung around, if you want

0:33:58.880 --> 0:34:02.160
<v Speaker 1>to call that a manager. So then Skips advice, you

0:34:02.240 --> 0:34:05.240
<v Speaker 1>go to the studio and you cut how many tracks?

0:34:05.280 --> 0:34:07.080
<v Speaker 1>It wasn't really advice, he just turned us down the

0:34:07.080 --> 0:34:09.360
<v Speaker 1>guy that had the place, Okay. So how many tracks

0:34:09.360 --> 0:34:14.040
<v Speaker 1>did you cut? Jeez? Probably five or six? And any

0:34:14.080 --> 0:34:20.600
<v Speaker 1>of those that appeared on the album? Ultimately, Um, nobody? Okay, nobody,

0:34:20.640 --> 0:34:23.359
<v Speaker 1>which is on the first album and it was so

0:34:23.560 --> 0:34:26.600
<v Speaker 1>Quicksilver Princess might have been on the first album. Okay.

0:34:26.640 --> 0:34:29.439
<v Speaker 1>How do you get it to Warner Brothers? The guy

0:34:29.480 --> 0:34:32.600
<v Speaker 1>that owned the studio sent it okay? And how long

0:34:32.640 --> 0:34:36.400
<v Speaker 1>after he said it did you hear it back? Jeez?

0:34:36.520 --> 0:34:39.360
<v Speaker 1>I don't know, man, it could have been a month.

0:34:40.160 --> 0:34:42.120
<v Speaker 1>I'm not really sure we would be doing that all

0:34:42.120 --> 0:34:44.880
<v Speaker 1>the time, so it was probably about them. You were

0:34:44.880 --> 0:34:48.400
<v Speaker 1>busy doing what sending me. Okay, you're busy playing. But

0:34:48.480 --> 0:34:50.280
<v Speaker 1>in terms of the demo, this is the only demo

0:34:50.360 --> 0:34:53.080
<v Speaker 1>you cut and you only send it to Warner Brothers.

0:34:53.280 --> 0:34:58.879
<v Speaker 1>We didn't send it any uh. And Lenny Wankers and

0:34:58.920 --> 0:35:01.719
<v Speaker 1>Ted Templeman came up to listen to the band in

0:35:01.800 --> 0:35:04.799
<v Speaker 1>the studio just Fast. It was pretty weird, yeah, because

0:35:04.800 --> 0:35:10.080
<v Speaker 1>that doesn't happen. But they liked what they heard and

0:35:10.239 --> 0:35:13.279
<v Speaker 1>it was basically Lenny was running the show. And uh,

0:35:14.360 --> 0:35:17.239
<v Speaker 1>so they came up and watched Just play. And then

0:35:17.440 --> 0:35:19.480
<v Speaker 1>Joe Smith is the one that signed the band, but

0:35:19.680 --> 0:35:21.719
<v Speaker 1>that was his position in the company at that time.

0:35:22.520 --> 0:35:24.440
<v Speaker 1>We didn't know what any of this man. We were

0:35:24.480 --> 0:35:26.680
<v Speaker 1>green as green could be if he had no idea

0:35:27.040 --> 0:35:29.719
<v Speaker 1>and uh, but you must have been very excited. We were.

0:35:30.000 --> 0:35:33.000
<v Speaker 1>We were said, I can't believe this is happening. Um.

0:35:33.080 --> 0:35:35.760
<v Speaker 1>At the same time, partly was going it isn't happening.

0:35:35.800 --> 0:35:38.400
<v Speaker 1>You just think it's happening right right right. If you do,

0:35:38.440 --> 0:35:41.759
<v Speaker 1>you still think maybe it's just happening. No, No, I

0:35:41.840 --> 0:35:45.440
<v Speaker 1>put in too many miles by now. Okay, and the

0:35:45.520 --> 0:35:48.480
<v Speaker 1>guy who owns the studio, he's doing you a solid,

0:35:48.520 --> 0:35:50.239
<v Speaker 1>or he wants a piece of what goes for. He

0:35:50.280 --> 0:35:52.080
<v Speaker 1>definitely got a piece of it, while not at the

0:35:53.800 --> 0:35:55.480
<v Speaker 1>I don't think he got a piece of ya. With

0:35:55.480 --> 0:35:57.560
<v Speaker 1>Wonder Brothers probably wouldn't have allowed that to happen, But

0:35:57.800 --> 0:36:02.440
<v Speaker 1>he did make a boot album off of the demo tape.

0:36:03.200 --> 0:36:05.080
<v Speaker 1>He wasn't a stand up guy. Let's just put it

0:36:05.120 --> 0:36:08.040
<v Speaker 1>that way. And uh, he did that. Santani did it

0:36:08.080 --> 0:36:09.960
<v Speaker 1>as he did it some a couple of other bands

0:36:10.239 --> 0:36:13.680
<v Speaker 1>that had used his studio just to make money. And

0:36:13.960 --> 0:36:15.600
<v Speaker 1>when it came to getting the front money that we

0:36:15.640 --> 0:36:18.399
<v Speaker 1>got from Warner Brothers, I think we got twenty seven

0:36:18.800 --> 0:36:22.000
<v Speaker 1>dollars a piece, and we thought Jesus were rich. So

0:36:22.080 --> 0:36:24.400
<v Speaker 1>we all went straight to Leo's and bought new guitars

0:36:24.400 --> 0:36:27.120
<v Speaker 1>and right right, right, right right. They, on the other hand,

0:36:27.200 --> 0:36:29.839
<v Speaker 1>got the lion's share of whatever the sun was. I'll

0:36:29.920 --> 0:36:32.839
<v Speaker 1>let me know, Uh, one one of the guys, I'm

0:36:32.840 --> 0:36:34.840
<v Speaker 1>not gonna give up names here, but one of the

0:36:34.880 --> 0:36:37.480
<v Speaker 1>guys bought a car which he wrecked within a week

0:36:37.520 --> 0:36:41.880
<v Speaker 1>and a half. The guy that on the studio, he

0:36:42.000 --> 0:36:44.319
<v Speaker 1>just probably bought more gear for the studio. I don't

0:36:44.360 --> 0:36:51.160
<v Speaker 1>know you're listening to my conversation with Tom Johnson of

0:36:51.160 --> 0:36:54.360
<v Speaker 1>the Dubie Brothers, recorded live at the twot In Studios

0:36:54.400 --> 0:37:00.960
<v Speaker 1>in Venice, California. I hope you were joining this episode

0:37:00.960 --> 0:37:03.600
<v Speaker 1>of the Bob Left Sets podcast. If you want to

0:37:03.640 --> 0:37:07.120
<v Speaker 1>see videos and photos and hear sound bites from Tom

0:37:07.120 --> 0:37:09.480
<v Speaker 1>and our other guests as they joined me in the studio,

0:37:10.000 --> 0:37:14.959
<v Speaker 1>visit at tune in on Twitter, Facebook and Instagram. Now

0:37:15.200 --> 0:37:18.120
<v Speaker 1>more of my conversation with Tom Johnston on the Bob

0:37:18.200 --> 0:37:23.720
<v Speaker 1>Left Sets podcast. Okay, so they signed you. The first

0:37:23.760 --> 0:37:27.640
<v Speaker 1>record is cut? Wherewith who? It was cut in that

0:37:27.760 --> 0:37:31.640
<v Speaker 1>same studio in Pacific Studios in San Mateo with Lenny

0:37:31.640 --> 0:37:35.040
<v Speaker 1>warren Cer and Ted Templement. Lenny Warrenker was the head

0:37:35.040 --> 0:37:39.200
<v Speaker 1>producer and Ted was actually under the tutelage. I guess

0:37:39.239 --> 0:37:41.239
<v Speaker 1>you could say of Lenny at that he'd been in

0:37:41.360 --> 0:37:44.200
<v Speaker 1>Harper's Bazaar. Correct with the fifty n st Bridge song?

0:37:44.400 --> 0:37:47.080
<v Speaker 1>You're cutting the album? The album is done? Are you

0:37:47.200 --> 0:37:50.600
<v Speaker 1>happy with the album? We were ecstatic? Okay, we yeah,

0:37:50.640 --> 0:37:52.480
<v Speaker 1>We've never been in the studio first of all, so

0:37:52.640 --> 0:37:56.920
<v Speaker 1>this is all newdad, and we've been playing every place

0:37:57.000 --> 0:37:59.840
<v Speaker 1>you could find for probably more than a year actually,

0:38:00.200 --> 0:38:03.279
<v Speaker 1>and that was our existence. And we were driving around

0:38:03.320 --> 0:38:05.399
<v Speaker 1>in a van, which the bass player at that time,

0:38:05.480 --> 0:38:11.920
<v Speaker 1>Dave Chagrin, his dad bought for him. And that was

0:38:11.960 --> 0:38:13.400
<v Speaker 1>our life. And then the rest of the time of

0:38:13.440 --> 0:38:15.680
<v Speaker 1>the twelve Street and Pat didn't live at twelve Street,

0:38:15.719 --> 0:38:20.440
<v Speaker 1>but um, everything happened around that that that house, and

0:38:20.480 --> 0:38:22.520
<v Speaker 1>we just kept doing. Even after we made the record,

0:38:22.719 --> 0:38:24.239
<v Speaker 1>we went right back to doing what we were doing

0:38:24.320 --> 0:38:27.480
<v Speaker 1>because you can't stop what you're doing. You gotta pay

0:38:27.520 --> 0:38:30.040
<v Speaker 1>the bill, so to speak. Okay, so the record is made,

0:38:30.040 --> 0:38:34.520
<v Speaker 1>how long until it comes out? Um, geez, I don't know.

0:38:34.640 --> 0:38:38.839
<v Speaker 1>Probably a couple of months, three months, honestly, don't know.

0:38:39.480 --> 0:38:41.440
<v Speaker 1>But did you you were happy with a record? Did

0:38:41.440 --> 0:38:44.879
<v Speaker 1>you believe it would be a hit? I think at

0:38:44.880 --> 0:38:46.560
<v Speaker 1>that time in your life being is how you have

0:38:46.640 --> 0:38:50.319
<v Speaker 1>no idea what a hit is? Uh? The first song

0:38:50.360 --> 0:38:53.799
<v Speaker 1>I got put out was nobody answered, oh man, that's great,

0:38:54.000 --> 0:38:58.200
<v Speaker 1>this is gonna do something. Hopefully it didn't. The album

0:38:58.280 --> 0:39:01.600
<v Speaker 1>didn't do anything. Nothing did anything. It was it went

0:39:01.640 --> 0:39:04.960
<v Speaker 1>as I called teflon. Uh. Okay, Well, the funny thing

0:39:05.080 --> 0:39:07.560
<v Speaker 1>is that is a great track. Okay, it was you know,

0:39:07.600 --> 0:39:10.600
<v Speaker 1>on your box set from like twenty years ago. That's

0:39:10.600 --> 0:39:13.520
<v Speaker 1>a leadoff track and it really hooks you. So the

0:39:13.600 --> 0:39:16.360
<v Speaker 1>track was good enough, Why do you think it didn't happen?

0:39:17.040 --> 0:39:21.040
<v Speaker 1>I don't know, um, any one of a number of reasons.

0:39:21.440 --> 0:39:24.799
<v Speaker 1>We re cut that song twice actually I think about

0:39:24.840 --> 0:39:27.320
<v Speaker 1>it once in two thousand ten and then again in

0:39:27.400 --> 0:39:31.360
<v Speaker 1>two thousand and fourteen for the country covers of with

0:39:31.520 --> 0:39:34.640
<v Speaker 1>a bunch of country artists, um, which actually is my

0:39:34.719 --> 0:39:39.319
<v Speaker 1>favorite version of that song. Okay, So the album comes out,

0:39:39.440 --> 0:39:42.720
<v Speaker 1>it's a stiff YEP. What does the label say, because

0:39:42.760 --> 0:39:45.359
<v Speaker 1>theoretically they can say we're due. This is the time

0:39:45.440 --> 0:39:48.040
<v Speaker 1>period when you could get away with that, and um,

0:39:48.440 --> 0:39:50.880
<v Speaker 1>we were allowed to do another album, so we did.

0:39:51.000 --> 0:39:54.760
<v Speaker 1>We started working on our own. We didn't have a producer,

0:39:55.080 --> 0:39:59.279
<v Speaker 1>which was a huge mistake. And why Well, because we

0:39:59.320 --> 0:40:01.839
<v Speaker 1>didn't know what we were doing. Okay. Was there there

0:40:01.960 --> 0:40:05.520
<v Speaker 1>no one to you know, control the catch? Yeah? I

0:40:05.560 --> 0:40:07.440
<v Speaker 1>mean what we'd had on the first album, for instance,

0:40:07.480 --> 0:40:11.320
<v Speaker 1>we had a lot of guidance, uh from Lenny and

0:40:11.520 --> 0:40:15.000
<v Speaker 1>it was we were being cast as an acoustic driven band,

0:40:15.400 --> 0:40:18.200
<v Speaker 1>which really wasn't what we were, but that's what he

0:40:18.360 --> 0:40:20.880
<v Speaker 1>heard and I said, Okay, at least it's a professional.

0:40:20.960 --> 0:40:23.560
<v Speaker 1>We're we're doing something. It's real, let's go do it.

0:40:24.520 --> 0:40:26.400
<v Speaker 1>And we did some electric stuff, but mostly it was

0:40:26.520 --> 0:40:29.200
<v Speaker 1>kind of a lot of acoustic stuff, and everything I

0:40:29.280 --> 0:40:32.040
<v Speaker 1>wrote was kind of based around acoustic guitar and everything

0:40:32.080 --> 0:40:34.000
<v Speaker 1>that pat Rod was kind of based on acoustic guitar

0:40:34.080 --> 0:40:37.319
<v Speaker 1>and more comfortable. He was more comfortable with that than

0:40:37.400 --> 0:40:39.440
<v Speaker 1>I was, not because I didn't play a lot of acoustic,

0:40:40.040 --> 0:40:44.000
<v Speaker 1>but because that was his main instrument where I did.

0:40:44.120 --> 0:40:46.960
<v Speaker 1>I did both, but I wasn't as fluid on acoustic

0:40:47.040 --> 0:40:50.360
<v Speaker 1>as pat was. Mine was all about rhythm, the strumming

0:40:50.400 --> 0:40:53.439
<v Speaker 1>style stuff, and his was fingerpicking, which he was really

0:40:53.520 --> 0:40:57.239
<v Speaker 1>good at and still is really good at, and um

0:40:57.680 --> 0:40:59.800
<v Speaker 1>but I was also way off into the electric blue

0:41:00.360 --> 0:41:02.520
<v Speaker 1>in soul music and R and B and all the

0:41:02.600 --> 0:41:06.320
<v Speaker 1>rest of it, and eventually rock and roll with Cream Hendrix,

0:41:06.719 --> 0:41:08.919
<v Speaker 1>all that kind of stuff. Okay, so you start making

0:41:09.000 --> 0:41:12.040
<v Speaker 1>the second record alone and it's a disaster. Yeah, we

0:41:12.120 --> 0:41:15.480
<v Speaker 1>needed guidance. They did well. We got We kept a

0:41:15.520 --> 0:41:17.400
<v Speaker 1>couple of songs out of the batch of songs we

0:41:17.480 --> 0:41:22.040
<v Speaker 1>started with only a couple, and then one of them,

0:41:22.120 --> 0:41:24.440
<v Speaker 1>White Sun, we kept I can't remember what the other

0:41:24.480 --> 0:41:28.000
<v Speaker 1>one was. At the moment um, they they said, you

0:41:28.080 --> 0:41:29.560
<v Speaker 1>guys are spending a lot of it. We were wally

0:41:29.640 --> 0:41:32.680
<v Speaker 1>Hiders in San Francisco and he says, you guys he

0:41:33.200 --> 0:41:36.879
<v Speaker 1>they Warner Brothers said you're kind of blowing it. You're

0:41:36.920 --> 0:41:39.480
<v Speaker 1>you're spending a lot of money. And we sent him

0:41:39.600 --> 0:41:43.399
<v Speaker 1>tapes and said, no, I don't think so. So they

0:41:44.280 --> 0:41:49.640
<v Speaker 1>gave ted the job of going to corralis get us

0:41:49.680 --> 0:41:52.320
<v Speaker 1>going in the direction. And I gotta say, you know,

0:41:52.480 --> 0:41:54.480
<v Speaker 1>I don't know if we were his first band, because

0:41:54.520 --> 0:41:59.160
<v Speaker 1>I know he did um um, thank you very much.

0:41:59.280 --> 0:42:01.320
<v Speaker 1>Yes he did, and Morrison, I want to say it

0:42:01.360 --> 0:42:03.919
<v Speaker 1>was around that era, but you were his first hint

0:42:05.200 --> 0:42:09.120
<v Speaker 1>as a band. Yeah, and he really helped. He had

0:42:09.280 --> 0:42:12.080
<v Speaker 1>ideas that to this day just blow me away. Give

0:42:12.080 --> 0:42:15.000
<v Speaker 1>me an example of one idea. Well, harmony ideas, although

0:42:15.080 --> 0:42:16.919
<v Speaker 1>we were a big harmony band anyway, but he would

0:42:16.960 --> 0:42:18.640
<v Speaker 1>say when to do it, when not to do it,

0:42:18.719 --> 0:42:20.640
<v Speaker 1>let's say, or maybe that's too much. At that point,

0:42:21.160 --> 0:42:23.880
<v Speaker 1>he being a former drummer himself, would have tons of

0:42:23.960 --> 0:42:27.920
<v Speaker 1>drum ideas, um and just how a song was going

0:42:27.960 --> 0:42:31.359
<v Speaker 1>and says, what if you put the chorus. Here put

0:42:31.400 --> 0:42:36.440
<v Speaker 1>the two verses, then the course and maybe um assault

0:42:36.680 --> 0:42:39.080
<v Speaker 1>this is your basic standard right out here. This is okay,

0:42:39.080 --> 0:42:42.360
<v Speaker 1>you're gonna do verse one. Then you're gonna have the

0:42:43.280 --> 0:42:46.440
<v Speaker 1>the section between verse one of your verse two, and

0:42:46.520 --> 0:42:48.160
<v Speaker 1>then you're gonna have the pre course, and you're gonna

0:42:48.160 --> 0:42:50.120
<v Speaker 1>have the course. Then there is a solo, then you're

0:42:50.120 --> 0:42:51.640
<v Speaker 1>gonna have the course, and this is all the stuff

0:42:51.640 --> 0:42:55.800
<v Speaker 1>that's supposed to hook everybody, right, And we kind of

0:42:55.840 --> 0:42:59.719
<v Speaker 1>had the idea of that mostly, but not the way

0:42:59.800 --> 0:43:01.920
<v Speaker 1>that he would come up with ideas on how to

0:43:02.000 --> 0:43:04.359
<v Speaker 1>do it, and it really helped. It helped a lot,

0:43:04.440 --> 0:43:07.560
<v Speaker 1>and it continued to help progressively as we got more

0:43:07.680 --> 0:43:13.680
<v Speaker 1>into UM writing better songs, more professional songs. I guess

0:43:13.680 --> 0:43:16.840
<v Speaker 1>you could say just from we started touring bang on

0:43:16.920 --> 0:43:20.560
<v Speaker 1>the first album. We started touring and uh we started

0:43:20.640 --> 0:43:23.759
<v Speaker 1>learning stuff about you know, from other guys and other

0:43:23.880 --> 0:43:26.640
<v Speaker 1>bands that we were playing with on the road. Uh.

0:43:26.840 --> 0:43:30.360
<v Speaker 1>First one being Mother Earth UM in nine, which was

0:43:30.400 --> 0:43:34.400
<v Speaker 1>an eye openers first time we'd ever toured, and by

0:43:34.440 --> 0:43:38.239
<v Speaker 1>the time we did to lou Street, UM and Ted

0:43:38.360 --> 0:43:44.800
<v Speaker 1>became involved. For whatever reason, it instigated the writers to

0:43:44.880 --> 0:43:47.600
<v Speaker 1>do better stuff. I have to say that's that is

0:43:47.640 --> 0:43:50.320
<v Speaker 1>a fact. Okay, So the album is called to Louse Street.

0:43:50.560 --> 0:43:52.319
<v Speaker 1>Y Well is the name of one of the songs

0:43:52.360 --> 0:43:54.080
<v Speaker 1>on the album. I know, but I mean, if you know,

0:43:54.200 --> 0:43:56.080
<v Speaker 1>I was stunned. I was in New Orleans and you

0:43:56.120 --> 0:44:00.200
<v Speaker 1>see the sign, but you're living in northern California. Why

0:44:00.560 --> 0:44:05.600
<v Speaker 1>is one of the songs In nine We flew down

0:44:05.760 --> 0:44:13.680
<v Speaker 1>to New Orleans to supposedly play with the Eagles and

0:44:15.280 --> 0:44:19.040
<v Speaker 1>Chuck Berry. I believe it was in some like football

0:44:19.080 --> 0:44:21.360
<v Speaker 1>stadium thing or something, and we got rained out, so

0:44:21.440 --> 0:44:24.040
<v Speaker 1>we didn't play anything, but we did get our first

0:44:24.120 --> 0:44:27.759
<v Speaker 1>dose of New Orleans, which is a very intoxicating thing.

0:44:28.120 --> 0:44:33.000
<v Speaker 1>New Orleans is so picturesque, there's so much history. The

0:44:33.160 --> 0:44:36.200
<v Speaker 1>music of New Orleans is phenomenal. I immediately fell in

0:44:36.280 --> 0:44:39.440
<v Speaker 1>love with all that stuff, and so we kind of

0:44:40.560 --> 0:44:44.239
<v Speaker 1>became a Southern band, if you will. Wow, you know,

0:44:44.640 --> 0:44:46.520
<v Speaker 1>I picked it up, picked up the vibe, if you will,

0:44:46.600 --> 0:44:49.279
<v Speaker 1>and the bands at all would come through that whole area,

0:44:49.360 --> 0:44:54.279
<v Speaker 1>but not just there, but oh Mississippi, New Orleans, um,

0:44:54.640 --> 0:44:57.799
<v Speaker 1>the Carolina is all the Southern rock scene was. Well,

0:44:57.840 --> 0:44:59.640
<v Speaker 1>then you have to ask you do have two drummers?

0:44:59.680 --> 0:45:03.080
<v Speaker 1>Because the Allman Brothers had two drummers. No, we did

0:45:03.160 --> 0:45:06.040
<v Speaker 1>it because we thought we had John. Oddly enough, it

0:45:06.120 --> 0:45:08.480
<v Speaker 1>was John Hartman's idea to bring in another drummer for

0:45:08.560 --> 0:45:14.120
<v Speaker 1>more power. John was always into like Mountain Cream, hendricks Um,

0:45:15.080 --> 0:45:18.799
<v Speaker 1>Jethro Toll, whatever. And I have to say it ended

0:45:18.880 --> 0:45:21.680
<v Speaker 1>up being a really good idea and I wasn't against it.

0:45:21.760 --> 0:45:24.200
<v Speaker 1>I just hadn't thought of it, and we were using

0:45:25.080 --> 0:45:26.840
<v Speaker 1>The first night we ever did that was up at

0:45:26.840 --> 0:45:28.960
<v Speaker 1>the Chateau, which was not a big room. It's a

0:45:29.040 --> 0:45:32.160
<v Speaker 1>tiny little room. Ceiling was right above your head if

0:45:32.200 --> 0:45:36.000
<v Speaker 1>you're standing on the stage, and um, we brought my

0:45:36.120 --> 0:45:39.840
<v Speaker 1>Cossack into play with us and we didn't rehearse with

0:45:39.920 --> 0:45:43.640
<v Speaker 1>it or anything. We just did it and it was

0:45:43.680 --> 0:45:47.520
<v Speaker 1>pretty crazy, but it felt good. So we adopted doing that,

0:45:47.760 --> 0:45:50.120
<v Speaker 1>and then that became part of the whole. When you're

0:45:50.120 --> 0:45:53.200
<v Speaker 1>writing the songs, you would include that whole scene going on.

0:45:53.560 --> 0:45:56.839
<v Speaker 1>And we of course knew who the Almond brothers were.

0:45:56.960 --> 0:45:59.840
<v Speaker 1>We were huge fans, but it wasn't the driving for

0:46:00.040 --> 0:46:02.719
<v Speaker 1>us for having two drummers. Um. And then we continued

0:46:02.760 --> 0:46:07.120
<v Speaker 1>doing that for years and years. So the songwriting was

0:46:07.200 --> 0:46:08.839
<v Speaker 1>it shared by the group. Where the people who wrote

0:46:08.840 --> 0:46:12.160
<v Speaker 1>the songs. The songwriting basically would be a guy comes

0:46:12.200 --> 0:46:14.600
<v Speaker 1>in with an idea. It sounds like it started a

0:46:14.640 --> 0:46:18.560
<v Speaker 1>good jail, right, But this happened before we even went

0:46:18.800 --> 0:46:22.640
<v Speaker 1>up to Pacific Studios. I would write stuff and bring

0:46:22.719 --> 0:46:25.880
<v Speaker 1>it in, and that would bring stuff in. This is

0:46:25.920 --> 0:46:28.000
<v Speaker 1>all before we ever made the demo, and we would

0:46:28.040 --> 0:46:29.919
<v Speaker 1>work it up as a band. You know, the bass

0:46:29.920 --> 0:46:31.720
<v Speaker 1>player would co up with the basse idea, that drums

0:46:31.719 --> 0:46:33.600
<v Speaker 1>would come up with their version of an idea for

0:46:33.680 --> 0:46:36.080
<v Speaker 1>what we unless we had something very specific in mind,

0:46:36.480 --> 0:46:38.120
<v Speaker 1>and it was all trial and air, trial and air,

0:46:38.320 --> 0:46:39.640
<v Speaker 1>and we get it to where we thought it would

0:46:39.680 --> 0:46:43.360
<v Speaker 1>sounded the best. And then that never really changed for

0:46:43.400 --> 0:46:45.840
<v Speaker 1>a very long time. I mean Toalu Stree, Captain and

0:46:45.920 --> 0:46:50.560
<v Speaker 1>me Vices and habits Um. But by then, of course

0:46:50.640 --> 0:46:53.520
<v Speaker 1>you had the direction of a very good producer and

0:46:53.680 --> 0:46:56.560
<v Speaker 1>a very good engineering Don Landy So and then but

0:46:56.680 --> 0:46:58.480
<v Speaker 1>in terms of this late date, because when the hit

0:46:58.560 --> 0:47:04.239
<v Speaker 1>stop credits are important, Okay, so the song credits as

0:47:04.280 --> 0:47:06.200
<v Speaker 1>the money shared as you see on the album, or

0:47:06.239 --> 0:47:08.719
<v Speaker 1>is it shared with everybody who it was from the

0:47:08.760 --> 0:47:10.760
<v Speaker 1>album that south album sales. That sort of thing points

0:47:10.800 --> 0:47:13.960
<v Speaker 1>you mean, I mean the songs, not the album whoever

0:47:14.080 --> 0:47:16.680
<v Speaker 1>wrote it as the one that got the publishing. Okay,

0:47:16.920 --> 0:47:19.200
<v Speaker 1>so now you do to lose street. You've done one

0:47:19.280 --> 0:47:22.840
<v Speaker 1>album that you were happy with that's stiffed the second

0:47:22.880 --> 0:47:26.600
<v Speaker 1>album you've made not. What are your thoughts? Well, I

0:47:26.680 --> 0:47:29.520
<v Speaker 1>think we grew a lot with that album. I don't

0:47:29.520 --> 0:47:31.480
<v Speaker 1>think I know we did. And I think I give

0:47:31.480 --> 0:47:34.120
<v Speaker 1>a lot of the credit uh for that number one,

0:47:34.200 --> 0:47:37.439
<v Speaker 1>to being in a better studio, but mostly from hanging

0:47:37.440 --> 0:47:39.840
<v Speaker 1>out with Ted and hearing his ideas, because he was

0:47:39.960 --> 0:47:42.200
<v Speaker 1>hanging around with some heavyweights in l A and he

0:47:42.320 --> 0:47:44.439
<v Speaker 1>was learning some really good stuff and and he brought

0:47:44.560 --> 0:47:47.000
<v Speaker 1>that in and I think it changed the band, the

0:47:47.120 --> 0:47:49.320
<v Speaker 1>quality of the band. And that's why I said I

0:47:49.360 --> 0:47:51.359
<v Speaker 1>think we upped our game as far as our writing. Okay,

0:47:51.360 --> 0:47:53.359
<v Speaker 1>but when the record is done, do you now say, oh,

0:47:53.480 --> 0:47:55.440
<v Speaker 1>this is gonna be a hitter. You say, I've had

0:47:55.480 --> 0:47:57.720
<v Speaker 1>one stiff? Who the hell knows. I don't think anybody

0:47:57.800 --> 0:48:00.160
<v Speaker 1>really cared that much. I don't mean that in uh,

0:48:00.239 --> 0:48:02.840
<v Speaker 1>I don't care about this thing. I just nobody was

0:48:02.920 --> 0:48:05.960
<v Speaker 1>so uh fixated on the idea we gotta get hit,

0:48:06.040 --> 0:48:08.440
<v Speaker 1>gotta have it, got it, I wouldn't like that. It's yes,

0:48:08.520 --> 0:48:12.799
<v Speaker 1>we we We cut the songs and I wrote one

0:48:12.840 --> 0:48:15.279
<v Speaker 1>song which is listening to music, and I called ted

0:48:15.440 --> 0:48:17.560
<v Speaker 1>up at three in the morning and played fun this is.

0:48:17.960 --> 0:48:20.160
<v Speaker 1>I wrote it in my bedroom on twelve Street, which

0:48:20.239 --> 0:48:22.359
<v Speaker 1>is why I wrote long train runners, where I wrote

0:48:22.640 --> 0:48:24.640
<v Speaker 1>China Growths, where I wrote maybe you got to move

0:48:24.719 --> 0:48:28.560
<v Speaker 1>back there, maybe, well, there's a different time period. What

0:48:28.640 --> 0:48:30.400
<v Speaker 1>you're doing in your life really effects what you're right.

0:48:30.560 --> 0:48:33.200
<v Speaker 1>I gotta say that's that's one thing I've learned. But um,

0:48:33.480 --> 0:48:35.880
<v Speaker 1>I wrote a lot of songs in that room and anyway,

0:48:35.920 --> 0:48:38.399
<v Speaker 1>so I called him, woke him up, which he wasn't

0:48:38.440 --> 0:48:40.919
<v Speaker 1>happy about, and I played it for him over the phone.

0:48:40.960 --> 0:48:42.839
<v Speaker 1>I said, this is a single and it's the only

0:48:42.920 --> 0:48:45.800
<v Speaker 1>thing I've ever called in my life that I did know,

0:48:45.920 --> 0:48:48.319
<v Speaker 1>at least for me, I know. No, I'm a big

0:48:48.360 --> 0:48:50.279
<v Speaker 1>believer in that when it comes to art, when you

0:48:50.400 --> 0:48:52.960
<v Speaker 1>hit it, when you get in eleven, you know, and

0:48:53.040 --> 0:48:54.799
<v Speaker 1>when people you tell you they don't know, either they've

0:48:54.840 --> 0:48:56.960
<v Speaker 1>never had an eleven or they're not a real artist.

0:48:57.440 --> 0:48:59.520
<v Speaker 1>And you wait for those moments you know, you don't

0:48:59.560 --> 0:49:01.600
<v Speaker 1>know where they come from. You don't and that's the

0:49:01.680 --> 0:49:05.680
<v Speaker 1>best ones because you're channeling whatever that energy exactly. How

0:49:05.760 --> 0:49:08.680
<v Speaker 1>spooky that sounded a weird hippie. I totally agree, I

0:49:08.719 --> 0:49:12.279
<v Speaker 1>believe it. Okay, So listen to the music is on

0:49:12.400 --> 0:49:16.480
<v Speaker 1>the album. How long after the album is released do

0:49:16.560 --> 0:49:18.319
<v Speaker 1>you start to realize listen to the music is going

0:49:18.400 --> 0:49:20.360
<v Speaker 1>to be a hit. When I heard it on the radio,

0:49:21.560 --> 0:49:24.879
<v Speaker 1>that's when I knew something that's gonna happen. And um,

0:49:25.400 --> 0:49:27.560
<v Speaker 1>I was in my Volkswagen, which I think you've actually

0:49:27.600 --> 0:49:31.000
<v Speaker 1>written about it. I was in my Voliswagen driving down

0:49:31.040 --> 0:49:35.680
<v Speaker 1>the road somewhere around Santa's and on comes listen to

0:49:35.719 --> 0:49:41.600
<v Speaker 1>the music coming, Holy ship, that's us. Pull the car

0:49:41.760 --> 0:49:44.320
<v Speaker 1>over and you know, turn it off, crank the radio

0:49:44.400 --> 0:49:46.319
<v Speaker 1>and sit there and going, I don't believe it. We're

0:49:46.360 --> 0:49:49.919
<v Speaker 1>on the radio. That was a big deal then, Oh yeah.

0:49:50.680 --> 0:49:53.680
<v Speaker 1>It was also an interesting era because that was the

0:49:53.880 --> 0:49:57.480
<v Speaker 1>FM AM area era, and most of the FM bands

0:49:57.520 --> 0:50:00.279
<v Speaker 1>did not have hits that translated to a M video,

0:50:00.600 --> 0:50:03.440
<v Speaker 1>whereas listening to the music did, and the Dewly Brothers

0:50:03.480 --> 0:50:07.120
<v Speaker 1>were gigantic seemingly overnight. What did it feel like on

0:50:07.239 --> 0:50:11.560
<v Speaker 1>your rend? It really didn't happen overnight for one thing,

0:50:11.680 --> 0:50:16.120
<v Speaker 1>but it was certainly a start. And after that came

0:50:16.800 --> 0:50:19.600
<v Speaker 1>Jesus Just all Right, and also Rocking down the Highway,

0:50:19.680 --> 0:50:22.319
<v Speaker 1>which was not as popular as those two, and Listening

0:50:22.320 --> 0:50:24.200
<v Speaker 1>to Music being the most popular out of that bunch,

0:50:25.480 --> 0:50:29.160
<v Speaker 1>and Um, which led to another album. Okay, before you

0:50:29.160 --> 0:50:30.920
<v Speaker 1>get to the next album. Now you're on the road,

0:50:30.960 --> 0:50:33.520
<v Speaker 1>you're headlining all the time, and your headlining or opening.

0:50:34.080 --> 0:50:38.120
<v Speaker 1>We started out opening and we played with anybody and everybody.

0:50:38.200 --> 0:50:42.239
<v Speaker 1>We played opening for Ronnie Montrose, who at that time

0:50:42.400 --> 0:50:47.239
<v Speaker 1>had Sammy agar re lead vocalist. We played with Rare

0:50:47.320 --> 0:50:50.080
<v Speaker 1>Earth a lot, who I loved out. They were a

0:50:50.080 --> 0:50:52.040
<v Speaker 1>great band. I didn't care if they did coverage. How

0:50:52.080 --> 0:50:56.880
<v Speaker 1>did they killed Red Bone? We played with people may

0:50:56.920 --> 0:51:01.120
<v Speaker 1>not know who I'm talking about something. Um, trying to

0:51:01.160 --> 0:51:03.839
<v Speaker 1>remember some of the other bands we played with, Oh,

0:51:04.360 --> 0:51:07.680
<v Speaker 1>Steely dan Um, they were just getting started at that

0:51:07.760 --> 0:51:12.040
<v Speaker 1>period in time. Um do it again, I think was

0:51:12.080 --> 0:51:14.520
<v Speaker 1>the first thing I heard by him and reeling in

0:51:14.560 --> 0:51:18.200
<v Speaker 1>the years after that, and okay, so you do you

0:51:18.239 --> 0:51:23.640
<v Speaker 1>remember who your agent was? No, you want to know,

0:51:23.719 --> 0:51:26.040
<v Speaker 1>I don't remember because I paid zero attention to that

0:51:26.120 --> 0:51:28.840
<v Speaker 1>kind of stuff. Okay, at the time, we live in

0:51:28.920 --> 0:51:32.800
<v Speaker 1>the life. Yeah, we were. We were kind of the

0:51:32.840 --> 0:51:35.000
<v Speaker 1>low end of it. I'm not saying we were. We were.

0:51:35.920 --> 0:51:37.719
<v Speaker 1>We were getting our feet wet, much more so than

0:51:37.760 --> 0:51:41.000
<v Speaker 1>we had on the first album. But until the Captain

0:51:41.080 --> 0:51:43.759
<v Speaker 1>and Me came around, we didn't really get to the

0:51:44.040 --> 0:51:46.799
<v Speaker 1>stadium scene or the big halls and all that kind

0:51:46.800 --> 0:51:49.440
<v Speaker 1>of stuff. And headlining okay, but for other than the

0:51:49.560 --> 0:51:51.640
<v Speaker 1>money that might come in from that, assuming get trickles

0:51:51.680 --> 0:51:56.080
<v Speaker 1>down to you, there's the drugs, there's the sex, etcetera.

0:51:56.760 --> 0:51:59.600
<v Speaker 1>Are you partaking of those? It was rock and roll

0:52:01.760 --> 0:52:06.200
<v Speaker 1>and you enjoyed it. I did. I have to say that. Um,

0:52:08.000 --> 0:52:10.400
<v Speaker 1>after a while, the way we were touring, which was

0:52:10.480 --> 0:52:12.799
<v Speaker 1>over two Hunter days year around two Hunter days a year,

0:52:13.760 --> 0:52:18.480
<v Speaker 1>happened very rapidly, and when that happens, everything turns into

0:52:18.520 --> 0:52:23.640
<v Speaker 1>a blur. And in that way of living, of doing

0:52:23.880 --> 0:52:26.120
<v Speaker 1>playing that many shows, always being on the road. I

0:52:26.160 --> 0:52:28.880
<v Speaker 1>mean we were in seventy two we were driving Winnebay

0:52:28.920 --> 0:52:32.920
<v Speaker 1>goes around and then that morphed into driving i mean

0:52:33.040 --> 0:52:37.680
<v Speaker 1>skinny into flying on on airlines, which frankly wasn't that

0:52:37.800 --> 0:52:40.960
<v Speaker 1>much fun. And we were touring with people like Mark

0:52:41.080 --> 0:52:44.560
<v Speaker 1>volunteer acts and stuff like that, and and we were,

0:52:44.640 --> 0:52:47.640
<v Speaker 1>you know, getting around some heavier people and because Ringo

0:52:47.760 --> 0:52:53.719
<v Speaker 1>back then are backed Mark Bowling and um. But all

0:52:53.800 --> 0:52:56.960
<v Speaker 1>the same, you were playing constantly and it wasn't two

0:52:57.040 --> 0:53:00.120
<v Speaker 1>on one off like nowadays. It was five and oh.

0:53:00.120 --> 0:53:02.240
<v Speaker 1>And then you get a day off and your voice

0:53:02.320 --> 0:53:04.839
<v Speaker 1>is gone and you're a shot and you're pretty much

0:53:05.960 --> 0:53:10.640
<v Speaker 1>you know, you're pretty tired. And that continued to all

0:53:10.719 --> 0:53:12.719
<v Speaker 1>the rest of the albums that you know, and up

0:53:12.760 --> 0:53:17.439
<v Speaker 1>to up to and including Stampede as far as the life,

0:53:17.480 --> 0:53:21.600
<v Speaker 1>I mean, you you toured for that amount of gigs

0:53:21.719 --> 0:53:24.839
<v Speaker 1>every year, and then when you weren't doing that, you're

0:53:24.880 --> 0:53:27.640
<v Speaker 1>in the studio making another album except for a little

0:53:27.680 --> 0:53:29.719
<v Speaker 1>time at home. So I'm trying to I look back,

0:53:29.760 --> 0:53:31.480
<v Speaker 1>I said, when the hell did we write the songs?

0:53:32.960 --> 0:53:35.640
<v Speaker 1>Because it frankly is a blur. I mean, I don't

0:53:35.719 --> 0:53:38.040
<v Speaker 1>there's a lot of songs that I look back, except

0:53:38.040 --> 0:53:40.960
<v Speaker 1>for a couple that have special stories attached to them.

0:53:42.000 --> 0:53:44.839
<v Speaker 1>I don't remember anything about doing that, about writing that song.

0:53:44.920 --> 0:53:46.560
<v Speaker 1>It's just part of the whole my asthma of what

0:53:46.800 --> 0:53:48.879
<v Speaker 1>was going on. Okay, But you know, people wonder why

0:53:49.000 --> 0:53:52.360
<v Speaker 1>musicians do drugs, and I always say, okay, get off stage.

0:53:52.400 --> 0:53:55.760
<v Speaker 1>We're ten thousand people think you're god. You may even

0:53:56.000 --> 0:53:59.600
<v Speaker 1>you know, have some sexual activity. After that, then you're

0:53:59.600 --> 0:54:01.560
<v Speaker 1>in the v cool with the same assholes you've known

0:54:01.640 --> 0:54:04.800
<v Speaker 1>for years, and you can't come down from the energy.

0:54:05.400 --> 0:54:06.799
<v Speaker 1>And then all of a sudden, it's the next day,

0:54:07.440 --> 0:54:12.560
<v Speaker 1>so you start with drugs just to wind down, uh

0:54:13.719 --> 0:54:17.719
<v Speaker 1>to a point. Um, it was just it was just

0:54:17.840 --> 0:54:20.879
<v Speaker 1>like a scene and whatever was going on is whatever

0:54:20.920 --> 0:54:22.399
<v Speaker 1>it was. You know, It's like he just partly took

0:54:22.440 --> 0:54:26.120
<v Speaker 1>of the scene and sometimes it was pretty nuts, which

0:54:27.280 --> 0:54:30.400
<v Speaker 1>kind of slowed down much later on. And yeah, and

0:54:30.480 --> 0:54:32.280
<v Speaker 1>there was the chicks and it was all that stuff,

0:54:33.040 --> 0:54:35.600
<v Speaker 1>but it was, you know, from one day to the next.

0:54:35.719 --> 0:54:38.920
<v Speaker 1>It really wasn't outstandingly different. It was just all part

0:54:38.960 --> 0:54:41.080
<v Speaker 1>of the same thing. Okay, so tell me about making

0:54:41.160 --> 0:54:44.239
<v Speaker 1>the Captain and me, well, okay, we come off the road,

0:54:44.920 --> 0:54:46.799
<v Speaker 1>we write the songs. I mean, one time, I can

0:54:46.840 --> 0:54:50.840
<v Speaker 1>definitely tell you I remember writing China Growth in the

0:54:50.920 --> 0:54:53.919
<v Speaker 1>same room as the other one. You don't you didn't

0:54:54.000 --> 0:54:56.880
<v Speaker 1>upgrade your digs now since you're a big Tory musician,

0:54:58.120 --> 0:55:01.560
<v Speaker 1>I didn't st we weren't making that much money. Everybody

0:55:01.600 --> 0:55:03.600
<v Speaker 1>seems to think you get instantly rich. That's not the case.

0:55:03.920 --> 0:55:08.480
<v Speaker 1>That's not the case at all. Um. I wrote the

0:55:08.560 --> 0:55:10.879
<v Speaker 1>songs that I mentioned earlier on I think I wrote

0:55:10.960 --> 0:55:13.480
<v Speaker 1>Listen to Me to the China Grove Long Train Running

0:55:13.719 --> 0:55:15.960
<v Speaker 1>wasn't really a song in my book anyway. That was

0:55:16.000 --> 0:55:19.279
<v Speaker 1>a jam, and I questioned ted about putting that on

0:55:19.360 --> 0:55:22.399
<v Speaker 1>a record. I said, we've been playing this is seventy one.

0:55:22.440 --> 0:55:25.120
<v Speaker 1>I make up the words every night. The only thing

0:55:25.200 --> 0:55:29.600
<v Speaker 1>that is uh constant is without where would you be now?

0:55:30.520 --> 0:55:33.719
<v Speaker 1>That's all we got. That's it, And and then we'd

0:55:33.719 --> 0:55:36.000
<v Speaker 1>play it for like twenty minutes, you know, on and

0:55:36.120 --> 0:55:39.120
<v Speaker 1>on on. So I didn't consider that a real song.

0:55:39.200 --> 0:55:41.320
<v Speaker 1>So I didn't consider a real song too either. So

0:55:41.400 --> 0:55:44.440
<v Speaker 1>it's interesting to hear. Yeah, that's really how I went down.

0:55:44.520 --> 0:55:46.279
<v Speaker 1>And I had to be talked into cutting that song.

0:55:46.440 --> 0:55:48.399
<v Speaker 1>He said, I don't know, man, he said, really hits

0:55:48.440 --> 0:55:52.480
<v Speaker 1>me as a jam. He said, well, why don't you go.

0:55:53.200 --> 0:55:55.920
<v Speaker 1>We were working at Amigo Studios, which became Warner Brothers Studios,

0:55:55.960 --> 0:55:59.880
<v Speaker 1>which was on Constant, which is all all that's gone now.

0:56:00.040 --> 0:56:02.840
<v Speaker 1>But that was a real cool studio. This is in

0:56:02.960 --> 0:56:06.440
<v Speaker 1>the valley Valley and of course Harlot Gut We did

0:56:06.480 --> 0:56:09.919
<v Speaker 1>the album called Amiko after cutting the record there well,

0:56:10.000 --> 0:56:12.399
<v Speaker 1>and he played on one of our albums. He really Yeah.

0:56:12.440 --> 0:56:16.000
<v Speaker 1>We toured with Harlo and U j. D. Salad was

0:56:16.080 --> 0:56:18.399
<v Speaker 1>hanging around there right, Couter was hanging around there. Randy

0:56:18.480 --> 0:56:20.600
<v Speaker 1>Human knew I was hanging around there, James Taylor was

0:56:20.680 --> 0:56:23.400
<v Speaker 1>hanging around. Who is all these people? All right? You

0:56:23.440 --> 0:56:25.680
<v Speaker 1>know it sounds like fun? It was. We had a

0:56:25.719 --> 0:56:27.640
<v Speaker 1>really good time. I enjoyed working There was a really

0:56:27.640 --> 0:56:30.640
<v Speaker 1>a lot of So you're cutting Captain and me yep,

0:56:30.960 --> 0:56:35.360
<v Speaker 1>and I talked. Ted liked that song as well. He

0:56:35.680 --> 0:56:38.640
<v Speaker 1>didn't think it but at first I didn't think it

0:56:38.680 --> 0:56:40.920
<v Speaker 1>was a single. Leader and and I wrote it in

0:56:40.960 --> 0:56:43.440
<v Speaker 1>the bedroom and I wrote it on acoustic, and I said, no,

0:56:43.600 --> 0:56:45.480
<v Speaker 1>this is an electric song. So I went and grabbed

0:56:45.560 --> 0:56:48.279
<v Speaker 1>John out of his room. I said, we're going down

0:56:48.320 --> 0:56:50.000
<v Speaker 1>to the basement and we're gonna we're gonna play this

0:56:50.080 --> 0:56:53.000
<v Speaker 1>electrically and we're gonna play really loud. And so we did.

0:56:53.440 --> 0:56:56.480
<v Speaker 1>So I had drums and me John Hartman. I should

0:56:56.880 --> 0:56:59.200
<v Speaker 1>mention his name was a while some people know who

0:56:59.280 --> 0:57:01.520
<v Speaker 1>I'm talking about instead of me. Just going through what

0:57:01.600 --> 0:57:05.880
<v Speaker 1>I'm thinking, um, and we were playing it was probably

0:57:05.920 --> 0:57:07.520
<v Speaker 1>one or two in the morning, and you know, it

0:57:07.640 --> 0:57:10.160
<v Speaker 1>was pretty loose in that area as all students and

0:57:10.239 --> 0:57:12.640
<v Speaker 1>data really didn't care. They weren't bothered by it, and

0:57:14.239 --> 0:57:17.960
<v Speaker 1>it was kind of a wild neighborhood. And uh so

0:57:18.240 --> 0:57:20.440
<v Speaker 1>that was the beginnings of that until we got it

0:57:20.520 --> 0:57:22.760
<v Speaker 1>into the studio, though it didn't come to fruition as

0:57:22.800 --> 0:57:25.600
<v Speaker 1>a song. And as far as the lyrics to that

0:57:26.120 --> 0:57:28.600
<v Speaker 1>after We've been touring in seventy two and Winnebagos. At

0:57:28.640 --> 0:57:31.080
<v Speaker 1>some point in time, we were driving down the road

0:57:31.120 --> 0:57:33.400
<v Speaker 1>that goes into San Antonio, Texas, and there was a

0:57:33.560 --> 0:57:37.040
<v Speaker 1>road sign that said China Grove. I didn't remember it

0:57:37.640 --> 0:57:41.240
<v Speaker 1>at all. I had no memory of that. However, I

0:57:41.440 --> 0:57:44.640
<v Speaker 1>friendly believe that that planet is see That popped out

0:57:44.680 --> 0:57:47.240
<v Speaker 1>later on with Billy Payne, who played the piano on it,

0:57:48.360 --> 0:57:51.040
<v Speaker 1>uh as he did on from Little Feet, who played

0:57:51.080 --> 0:57:54.120
<v Speaker 1>on basically most of our albums. He was a keyboard

0:57:54.160 --> 0:57:57.200
<v Speaker 1>player and he came up with incredible parts, and he

0:57:57.280 --> 0:58:00.960
<v Speaker 1>and table to workout stuff and and so in the

0:58:01.720 --> 0:58:05.400
<v Speaker 1>bridge of that song before it had words, in other words,

0:58:05.440 --> 0:58:07.200
<v Speaker 1>is what I've been saying. I didn't have any lyrics

0:58:07.280 --> 0:58:10.760
<v Speaker 1>for that song. And when that didn't, that didn't, that didn't.

0:58:11.040 --> 0:58:13.600
<v Speaker 1>He did that, I went wow. So I went off

0:58:13.640 --> 0:58:16.000
<v Speaker 1>and wrote all this stuff about the Sheriff's with the

0:58:16.040 --> 0:58:18.880
<v Speaker 1>Samurai soars and I was crazy, little town called China Grow,

0:58:19.680 --> 0:58:22.160
<v Speaker 1>and I thought I was making it up, and uh,

0:58:23.560 --> 0:58:25.320
<v Speaker 1>at that time, I was making it up as you

0:58:25.320 --> 0:58:28.280
<v Speaker 1>would with anything else. But uh, I got told by

0:58:28.360 --> 0:58:31.280
<v Speaker 1>a cab driver in Houston a year later, he says, no,

0:58:31.440 --> 0:58:34.360
<v Speaker 1>there really is a China Grow. I said, get out

0:58:34.400 --> 0:58:36.280
<v Speaker 1>of here. He says, no, I'm serious. It's right down

0:58:36.320 --> 0:58:39.640
<v Speaker 1>there by San Antonio. So that's why I said, it's

0:58:39.680 --> 0:58:41.480
<v Speaker 1>got to be something that I saw on the road

0:58:41.520 --> 0:58:46.080
<v Speaker 1>sign and okay, the album cover you're on the freeway

0:58:46.120 --> 0:58:50.640
<v Speaker 1>that is not finished. I think up near Pasadena or something. Um, yeah,

0:58:50.800 --> 0:58:53.560
<v Speaker 1>see Lamar or something like right, So, how did you

0:58:53.640 --> 0:58:56.960
<v Speaker 1>decide to do that? We didn't. That was Warner's idea. Um,

0:58:57.760 --> 0:58:59.760
<v Speaker 1>and they were I had to say at that point.

0:58:59.800 --> 0:59:02.160
<v Speaker 1>And the record company was your manager, and they did

0:59:02.240 --> 0:59:05.440
<v Speaker 1>everything I did, not only the artwork, but they also

0:59:05.520 --> 0:59:06.920
<v Speaker 1>got you know, a lot. They'd hook you up with

0:59:06.960 --> 0:59:10.200
<v Speaker 1>the with the promoters and and all that kind of stuff,

0:59:11.080 --> 0:59:15.480
<v Speaker 1>totally different scene from what's going on now, and so

0:59:15.560 --> 0:59:17.200
<v Speaker 1>they came up with this idea to go out. This

0:59:17.480 --> 0:59:21.160
<v Speaker 1>was from an earthquake in I think it was left

0:59:21.200 --> 0:59:24.560
<v Speaker 1>over from that and uh, so they wanted to take

0:59:24.640 --> 0:59:28.520
<v Speaker 1>pictures on top of that stretch of road that just

0:59:28.640 --> 0:59:31.160
<v Speaker 1>fell off. And we did that, and they brought out

0:59:31.760 --> 0:59:34.760
<v Speaker 1>from the movie studios. Wondered by thes movie studios. They

0:59:34.800 --> 0:59:37.520
<v Speaker 1>brought out all the clothes we were wearing. They brought

0:59:37.600 --> 0:59:42.160
<v Speaker 1>out the horse team and that stagecoach and we did

0:59:42.240 --> 0:59:46.200
<v Speaker 1>that shot down below the freeways as it is on

0:59:46.240 --> 0:59:47.920
<v Speaker 1>the front of the album cover. But we also did

0:59:48.000 --> 0:59:51.400
<v Speaker 1>the shots on the centerfold whatever you want to call

0:59:51.440 --> 0:59:54.360
<v Speaker 1>at the inside of the album. Um that was up

0:59:54.440 --> 0:59:57.800
<v Speaker 1>on top and this big old table Chalice is and

0:59:57.880 --> 1:00:02.680
<v Speaker 1>all this stuff and top pads and so, uh that

1:00:02.840 --> 1:00:05.160
<v Speaker 1>album comes out. Are you aware it's going to be

1:00:05.240 --> 1:00:09.720
<v Speaker 1>such a monster? You know? People ask you that a lot.

1:00:09.800 --> 1:00:12.560
<v Speaker 1>It's like somebody asking you, did you have a think

1:00:12.800 --> 1:00:16.920
<v Speaker 1>when you wrote whatever that it would still be played

1:00:17.480 --> 1:00:19.880
<v Speaker 1>almost fifty years I said, Hill, No, how could you

1:00:20.000 --> 1:00:24.240
<v Speaker 1>possibly know? There's it's unknowable. That's not something you could say,

1:00:24.240 --> 1:00:27.280
<v Speaker 1>Oh fifty years and now this song is. Nobody knows

1:00:27.320 --> 1:00:29.320
<v Speaker 1>those kind of things. It's impossible to all those kind

1:00:29.360 --> 1:00:32.840
<v Speaker 1>of thing um, so it's always an interesting question when

1:00:32.920 --> 1:00:38.080
<v Speaker 1>people ask you that stuff. So suddenly you are literally everywhere.

1:00:38.320 --> 1:00:40.960
<v Speaker 1>I remember in concert on TV. Seemingly every time you

1:00:41.000 --> 1:00:43.800
<v Speaker 1>turn on the TV, you guys are on. So at

1:00:43.840 --> 1:00:47.000
<v Speaker 1>that point you must feel pretty good. It was me.

1:00:47.360 --> 1:00:49.280
<v Speaker 1>It was a lot of fun. Plus we had gun

1:00:49.360 --> 1:00:51.560
<v Speaker 1>International by then and we were playing, you know, over

1:00:51.640 --> 1:00:54.480
<v Speaker 1>the Pond. We played it at the Rainbow in in

1:00:54.920 --> 1:00:58.040
<v Speaker 1>uh London, which was really the in spot to play

1:00:58.080 --> 1:01:01.640
<v Speaker 1>in that period in time. We also played and a

1:01:01.680 --> 1:01:04.240
<v Speaker 1>lot of other towns in England. We also played in Germany,

1:01:04.320 --> 1:01:07.280
<v Speaker 1>and we played in France. We played in Paris. All

1:01:07.320 --> 1:01:10.400
<v Speaker 1>this stuff like was growing and it it happened really fast.

1:01:11.240 --> 1:01:12.720
<v Speaker 1>You didn't have time to think about it, just all

1:01:12.720 --> 1:01:15.040
<v Speaker 1>of a sudden you're there and you're doing it. And

1:01:15.280 --> 1:01:18.520
<v Speaker 1>that crazy Warner Brothers tour in seventy four with six bands,

1:01:19.800 --> 1:01:23.080
<v Speaker 1>it was really a lot of fun to remember what

1:01:23.760 --> 1:01:27.040
<v Speaker 1>it was called the Warner Brothers Music Tour, and it

1:01:27.200 --> 1:01:29.360
<v Speaker 1>was to promote everybody that was on it. And we

1:01:29.440 --> 1:01:31.560
<v Speaker 1>were supposed to lead a lead band, but Little Feet

1:01:31.640 --> 1:01:33.640
<v Speaker 1>was on it and they were incredible. This is while

1:01:33.680 --> 1:01:37.160
<v Speaker 1>they were really hot. Uh, Tower Power was on it.

1:01:38.200 --> 1:01:42.880
<v Speaker 1>Um Montrose was on it. Uh, Larry Graham's Graham's Simpler

1:01:42.920 --> 1:01:47.320
<v Speaker 1>Stations and a band called Bonarut. And so what we

1:01:47.360 --> 1:01:50.280
<v Speaker 1>would do is each night we would play, they would

1:01:50.560 --> 1:01:53.000
<v Speaker 1>do not a lot everything, but they would change out

1:01:53.000 --> 1:01:55.000
<v Speaker 1>the guys that were going to be the three bands

1:01:55.040 --> 1:01:58.400
<v Speaker 1>were gonna play, and so everybody played with everybody on

1:01:58.520 --> 1:02:00.880
<v Speaker 1>one night or another. And I remember one night we

1:02:00.960 --> 1:02:03.560
<v Speaker 1>played in Leeds and Elton John showed up and he

1:02:03.680 --> 1:02:06.320
<v Speaker 1>played with all three bands that were playing that night,

1:02:06.400 --> 1:02:09.960
<v Speaker 1>which was us, I want to say, maybe Little Feed

1:02:10.320 --> 1:02:15.280
<v Speaker 1>and on Rue kind of unclear because it changed on regularly,

1:02:16.080 --> 1:02:18.000
<v Speaker 1>but he got up on stage with each band and

1:02:18.160 --> 1:02:19.920
<v Speaker 1>then I ended up riding back to London in the

1:02:20.000 --> 1:02:22.360
<v Speaker 1>back of his P five roll along with Jeff Baxter,

1:02:22.680 --> 1:02:26.919
<v Speaker 1>and uh, that was my first time around Alton John.

1:02:27.200 --> 1:02:31.000
<v Speaker 1>And then see you. Stuff like that happened a lot,

1:02:31.280 --> 1:02:36.000
<v Speaker 1>and that tour was insane. It was crazy, but at

1:02:36.080 --> 1:02:40.200
<v Speaker 1>the same time, Uh, you learned stuff doing that and

1:02:40.520 --> 1:02:42.960
<v Speaker 1>songs got written on that tour, not for the Doobies.

1:02:43.360 --> 1:02:46.360
<v Speaker 1>But I remember sitting down with Larry Graham and Butch

1:02:46.480 --> 1:02:49.400
<v Speaker 1>his B three player, and he wrote this Ain't Nothing

1:02:49.440 --> 1:02:52.200
<v Speaker 1>but a Warner Brothers Party, which came out to describe

1:02:52.280 --> 1:02:55.920
<v Speaker 1>that tour. It was a great tune, funky tune, and

1:02:57.160 --> 1:02:59.400
<v Speaker 1>I was I was playing guitar and you know, helping

1:02:59.480 --> 1:03:02.080
<v Speaker 1>with a rhythm of it, and uh, just a lot

1:03:02.120 --> 1:03:04.880
<v Speaker 1>of camaraderie, hanging out with guys that you really respected

1:03:04.880 --> 1:03:07.800
<v Speaker 1>a lot as musicians and really like their music. And uh,

1:03:08.360 --> 1:03:11.520
<v Speaker 1>it's a very cool thing. I really enjoyed it. Okay,

1:03:11.680 --> 1:03:15.200
<v Speaker 1>but it now, is there any blowback from other musicians

1:03:15.200 --> 1:03:18.440
<v Speaker 1>because you're so successful? No, I don't recall that ever,

1:03:18.520 --> 1:03:22.880
<v Speaker 1>Han't you mean other bands? No, not at all. Huh.

1:03:24.080 --> 1:03:26.680
<v Speaker 1>And now that you're so big, you know, I don't

1:03:26.720 --> 1:03:28.520
<v Speaker 1>know that we were as big as you're implying that.

1:03:29.520 --> 1:03:31.600
<v Speaker 1>And listen, you're this is even when I write something

1:03:31.640 --> 1:03:34.000
<v Speaker 1>that I'm not have a you know, a minimal amount

1:03:34.040 --> 1:03:37.000
<v Speaker 1>of reach compared to you. But when you're the creator,

1:03:37.040 --> 1:03:39.520
<v Speaker 1>you're at the eye of the hurricane. People are talking

1:03:39.600 --> 1:03:41.560
<v Speaker 1>about you all the time and there that you have

1:03:41.760 --> 1:03:44.560
<v Speaker 1>no idea of I was just gonna say, you're not

1:03:44.640 --> 1:03:46.600
<v Speaker 1>aware of it. No, you're completely unaware what it is.

1:03:46.680 --> 1:03:48.120
<v Speaker 1>You know, you're just with the same guys. You know

1:03:48.400 --> 1:03:50.640
<v Speaker 1>you're doing playing a gig and you're still going to

1:03:50.680 --> 1:03:52.840
<v Speaker 1>the next time. You didn't change anything. No, I mean

1:03:52.880 --> 1:03:56.080
<v Speaker 1>there was a moment. I very vividly remember when Captain

1:03:56.200 --> 1:03:59.120
<v Speaker 1>Me came out. It was seemingly everywhere, and it was

1:03:59.200 --> 1:04:01.760
<v Speaker 1>one track after or another on the radio on all

1:04:01.880 --> 1:04:05.040
<v Speaker 1>formats and Doobie Brothers, you know, they'd had the hit before.

1:04:05.040 --> 1:04:07.320
<v Speaker 1>We listen to the music, but it was really the tip.

1:04:07.400 --> 1:04:10.200
<v Speaker 1>So then you have another album coming up to follow

1:04:10.280 --> 1:04:13.160
<v Speaker 1>that up, which is what were one Spices are now

1:04:13.240 --> 1:04:16.640
<v Speaker 1>Habits the title they as came up with that title. Okay,

1:04:17.560 --> 1:04:23.480
<v Speaker 1>it was an apt title. Okay, now I love that album,

1:04:24.400 --> 1:04:27.360
<v Speaker 1>But at first the album did not live up to

1:04:27.560 --> 1:04:32.400
<v Speaker 1>its uh financial uh what people thought it might be.

1:04:33.680 --> 1:04:36.640
<v Speaker 1>The first track was another Part Another Sunday, which I

1:04:36.920 --> 1:04:39.840
<v Speaker 1>love I played all the time to this day, but

1:04:40.480 --> 1:04:43.320
<v Speaker 1>that didn't make it as far as the other tracks. Well,

1:04:43.480 --> 1:04:46.400
<v Speaker 1>and the best of my understanding, because it's a little

1:04:46.480 --> 1:04:48.960
<v Speaker 1>unclear to me, but that got yanked off the radio

1:04:49.560 --> 1:04:53.680
<v Speaker 1>by warners. Not it wasn't there I did he yank

1:04:53.680 --> 1:04:56.400
<v Speaker 1>it off the radio. It's supposedly from being under pressure

1:04:56.440 --> 1:04:59.160
<v Speaker 1>by radio stations saying you can't have a song that

1:04:59.240 --> 1:05:01.400
<v Speaker 1>says in the radio. It just seems the radio just

1:05:01.480 --> 1:05:04.120
<v Speaker 1>brings me down. You can't do that. That's what I

1:05:04.200 --> 1:05:05.680
<v Speaker 1>was told. I don't know if that was jib or well,

1:05:05.840 --> 1:05:07.320
<v Speaker 1>but that's what I got. That might have been the party.

1:05:08.560 --> 1:05:12.200
<v Speaker 1>So the flip side of it was Blackwater, which started

1:05:12.240 --> 1:05:15.840
<v Speaker 1>in Rollingo getting spins by a local DJ, and it

1:05:15.920 --> 1:05:19.520
<v Speaker 1>started gaining popularity and getting listens and people liked it,

1:05:20.600 --> 1:05:25.360
<v Speaker 1>and then it's somehow morphed into Minnesota I think it was,

1:05:26.000 --> 1:05:29.040
<v Speaker 1>and started getting real heavy rotation, and the next thing,

1:05:29.120 --> 1:05:31.840
<v Speaker 1>you know, as a nationwide hit. It was our first

1:05:31.920 --> 1:05:35.280
<v Speaker 1>number one record. Okay, I gotta believe you'd never thought

1:05:35.320 --> 1:05:37.919
<v Speaker 1>that was gonna be a hit. I didn't think about

1:05:37.920 --> 1:05:40.800
<v Speaker 1>it one way the other. I didn't. I wasn't choosing singles,

1:05:40.840 --> 1:05:44.280
<v Speaker 1>they were choosing singles. I just wrote songs that I wrote. Okay,

1:05:44.440 --> 1:05:46.320
<v Speaker 1>But all of a sudden, you know, I remember being

1:05:46.960 --> 1:05:49.120
<v Speaker 1>that's when I first moved to l A. Remember, you know,

1:05:49.200 --> 1:05:50.640
<v Speaker 1>the song would come on the radio and the people

1:05:50.680 --> 1:05:54.160
<v Speaker 1>in the car would literally seeing different parts. Yeah, it

1:05:54.320 --> 1:05:57.560
<v Speaker 1>was around. It was an exactly. It was really big

1:05:58.000 --> 1:06:01.360
<v Speaker 1>and did you then see that the band was any

1:06:01.400 --> 1:06:03.120
<v Speaker 1>bigger than it had been, or you already felt you

1:06:03.160 --> 1:06:06.440
<v Speaker 1>were at a certain level. Once again, when you get

1:06:06.480 --> 1:06:08.360
<v Speaker 1>to a certain place, we're on the road all the time.

1:06:08.600 --> 1:06:10.720
<v Speaker 1>Everything is everything. You don't really pay attention to that.

1:06:11.440 --> 1:06:12.919
<v Speaker 1>And at what point did you move out of twelve

1:06:12.960 --> 1:06:17.560
<v Speaker 1>St Okay? And you move where to Marin County, Okay?

1:06:17.840 --> 1:06:21.360
<v Speaker 1>So at this point you have money. I had some money.

1:06:22.400 --> 1:06:25.240
<v Speaker 1>I wasn't wealthy, but I had some money I could pay.

1:06:25.800 --> 1:06:28.640
<v Speaker 1>I bought a house, so I had enough money to

1:06:28.720 --> 1:06:31.480
<v Speaker 1>do that. In those days, it wasn't like buying a

1:06:31.560 --> 1:06:33.640
<v Speaker 1>house would be in Fairfax, which is where I moved,

1:06:34.200 --> 1:06:36.880
<v Speaker 1>would be now right, and you buy a good car.

1:06:38.840 --> 1:06:42.280
<v Speaker 1>I did buy a car, Yes, I bought an Audi

1:06:42.800 --> 1:06:47.960
<v Speaker 1>early AUTI and um. So I had enough money to

1:06:48.000 --> 1:06:51.840
<v Speaker 1>do those kinds of things. And mostly I would spend

1:06:51.840 --> 1:06:55.680
<v Speaker 1>a lot of money on guitars and amps and Okay,

1:06:55.680 --> 1:06:58.120
<v Speaker 1>at this late date, how many guitars do you have then?

1:06:59.080 --> 1:07:01.960
<v Speaker 1>Before I really went's doing that, I probably had five

1:07:02.120 --> 1:07:04.720
<v Speaker 1>times fives. I had probably ten guitars, and how many

1:07:04.760 --> 1:07:10.240
<v Speaker 1>you have now? Ah, I went through the phase where

1:07:10.280 --> 1:07:13.200
<v Speaker 1>I had forty guitars and left behind and got rid

1:07:13.240 --> 1:07:16.080
<v Speaker 1>of most of them. But um, at this point, I

1:07:16.160 --> 1:07:19.280
<v Speaker 1>probably have twenty guitars and now and when you go

1:07:19.400 --> 1:07:22.000
<v Speaker 1>on the road, how many do you bring? And then

1:07:22.240 --> 1:07:26.880
<v Speaker 1>they're already out there. They stay in Nashville where our

1:07:26.920 --> 1:07:31.280
<v Speaker 1>stuff is. All our stuff is drums, keyboards, guitars, amps, everything,

1:07:31.760 --> 1:07:34.040
<v Speaker 1>So it's all sitting in a locker. And when you

1:07:34.120 --> 1:07:37.200
<v Speaker 1>go out, then the stuff gets on you know, it

1:07:37.280 --> 1:07:39.120
<v Speaker 1>is put on the truck and it's driven to wherever

1:07:39.160 --> 1:07:42.320
<v Speaker 1>you're going to practice before you start digging, and then

1:07:42.400 --> 1:07:45.400
<v Speaker 1>you do the rehearsals and you started playing. So your

1:07:45.480 --> 1:07:48.720
<v Speaker 1>home now, which is where I live up in Marine County,

1:07:49.320 --> 1:07:52.120
<v Speaker 1>different town, but but you have guitars in the house now,

1:07:52.360 --> 1:07:55.200
<v Speaker 1>Oh yeah, Okay, I have a studio upstairs at the

1:07:55.280 --> 1:07:58.000
<v Speaker 1>writing studio. It's not a full on studio, but that's

1:07:58.040 --> 1:08:00.720
<v Speaker 1>where I do my writing now. Okay, the next album

1:08:00.840 --> 1:08:04.800
<v Speaker 1>is Stampede. Okay. Jeff Baxtre suddenly of the band. He

1:08:04.880 --> 1:08:07.840
<v Speaker 1>was already in the band. Jeff started hanging around with us.

1:08:07.920 --> 1:08:10.800
<v Speaker 1>We had been playing with Steely Dan and he would

1:08:10.840 --> 1:08:13.320
<v Speaker 1>come over and hang out with us when he wasn't

1:08:13.320 --> 1:08:15.080
<v Speaker 1>doing them. In fact, he would go on are some

1:08:15.240 --> 1:08:17.519
<v Speaker 1>of our tours when they went off the road, which

1:08:17.560 --> 1:08:20.960
<v Speaker 1>I think was probably late seventy three, yearly seventy four,

1:08:21.880 --> 1:08:24.880
<v Speaker 1>and U and he ended up on stage with us playing,

1:08:24.920 --> 1:08:28.320
<v Speaker 1>and he was a phenomenal player. He played pedal steel,

1:08:28.439 --> 1:08:32.400
<v Speaker 1>He played great leads, and he also played polsterring, which

1:08:32.439 --> 1:08:34.400
<v Speaker 1>is something I was unfamiliar at that time, which was

1:08:34.479 --> 1:08:38.439
<v Speaker 1>a telecaster strap was hooked up to a uh like

1:08:38.960 --> 1:08:42.360
<v Speaker 1>a well, I at strap lock, but if you pulled

1:08:42.400 --> 1:08:44.800
<v Speaker 1>on it to change the tones on it. Really yeah,

1:08:44.840 --> 1:08:46.479
<v Speaker 1>it sounded like a pedal steel. It was a really

1:08:46.479 --> 1:08:48.920
<v Speaker 1>an interesting device, and I haven't seen it since it

1:08:49.040 --> 1:08:51.439
<v Speaker 1>was on a telecast. Okay, how come he doesn't play anymore?

1:08:51.479 --> 1:08:54.240
<v Speaker 1>Do you have any contact with him? I played a

1:08:54.360 --> 1:08:58.240
<v Speaker 1>benefit with him about god four months ago. Now he

1:08:58.360 --> 1:09:02.880
<v Speaker 1>still plays, He still play is great. Uh. He's has

1:09:02.960 --> 1:09:05.519
<v Speaker 1>done some things that have been pretty interesting with the

1:09:05.560 --> 1:09:07.680
<v Speaker 1>Pentagon and all the rest of that. But he he

1:09:07.840 --> 1:09:09.919
<v Speaker 1>just finished moving back. I want to say to Virginia

1:09:10.000 --> 1:09:13.560
<v Speaker 1>to be with his daughter and his grandchild. Okay, you

1:09:13.720 --> 1:09:17.280
<v Speaker 1>cut Stampede. Are you as happy with Stampede as you

1:09:17.400 --> 1:09:20.040
<v Speaker 1>are with the previous record? I was you were. I

1:09:20.160 --> 1:09:23.439
<v Speaker 1>was enamored with it because I got to do take

1:09:23.479 --> 1:09:26.960
<v Speaker 1>Me in Your Arms Number one. That was that. That's

1:09:27.000 --> 1:09:28.760
<v Speaker 1>my I take claim for that because I had tried

1:09:28.840 --> 1:09:30.120
<v Speaker 1>for a couple of years to get the band to

1:09:30.160 --> 1:09:33.720
<v Speaker 1>do that and I wasn't getting any takers initially, and

1:09:33.760 --> 1:09:37.080
<v Speaker 1>then eventually I guess Ted came to bad for me

1:09:37.320 --> 1:09:39.479
<v Speaker 1>and they liked It's not they didn't like it that

1:09:39.600 --> 1:09:41.320
<v Speaker 1>he just maybe didn't hear what I heard. I said,

1:09:41.360 --> 1:09:44.240
<v Speaker 1>this would be killer. And then the arrangement, well, the

1:09:44.320 --> 1:09:47.600
<v Speaker 1>arrangement took place in the studio with Ted overseeing the

1:09:47.640 --> 1:09:51.519
<v Speaker 1>whole thing, and he brought in some chick singers who

1:09:51.560 --> 1:09:56.600
<v Speaker 1>were fabulous, um I think it was and out the

1:09:56.680 --> 1:09:59.880
<v Speaker 1>field Shirley Matthews and one other guy wasn't clydie King

1:10:00.080 --> 1:10:01.640
<v Speaker 1>and I can't remember who her name was, but boy,

1:10:01.720 --> 1:10:05.800
<v Speaker 1>they were something else. For that album we had that

1:10:06.520 --> 1:10:09.600
<v Speaker 1>had an exploration song called music Man where I got

1:10:09.680 --> 1:10:12.960
<v Speaker 1>to play backwards solos more than one. So was my

1:10:13.080 --> 1:10:15.160
<v Speaker 1>Hendrix moment, if you well, that was a big deal

1:10:15.240 --> 1:10:16.720
<v Speaker 1>to me. But it was a cool song and it

1:10:16.840 --> 1:10:20.960
<v Speaker 1>also had Curtis Mayfield did the strings on it. Really

1:10:21.080 --> 1:10:23.280
<v Speaker 1>Unfortunately I didn't get to go to that set. It

1:10:23.320 --> 1:10:25.960
<v Speaker 1>was in Chicago, Teddy flew back to Chicago. They did

1:10:26.000 --> 1:10:29.320
<v Speaker 1>the strings and he had his wah wah Watson whoever

1:10:29.400 --> 1:10:33.479
<v Speaker 1>it was guitar player that did the the wa. Uh

1:10:34.160 --> 1:10:36.200
<v Speaker 1>wasn't really strumming, it was more of a sound effect.

1:10:36.280 --> 1:10:38.200
<v Speaker 1>It was really cool. It sounded like, all of a sudden,

1:10:38.200 --> 1:10:40.160
<v Speaker 1>we were doing a Curtis Mayfield song, but rock and

1:10:40.280 --> 1:10:43.759
<v Speaker 1>roll and Uh. I was very enamored with that tune.

1:10:43.760 --> 1:10:45.400
<v Speaker 1>And it was never a single anything. It was just

1:10:45.479 --> 1:10:47.800
<v Speaker 1>fun to do. And then there was another song that

1:10:47.920 --> 1:10:51.800
<v Speaker 1>that we cut just extemporaneously. It was cut in a

1:10:51.920 --> 1:10:57.439
<v Speaker 1>garage in Nashville. We were there a year and a half,

1:10:57.479 --> 1:11:01.439
<v Speaker 1>two years before guy's name was buzz Case On. It

1:11:01.560 --> 1:11:04.519
<v Speaker 1>was out on Murphysboro Road and I was with the

1:11:05.160 --> 1:11:11.160
<v Speaker 1>former drummer of of Mother Earth, Carl Himmel, and he

1:11:11.560 --> 1:11:13.120
<v Speaker 1>he was just hanging out. We were just hanging out

1:11:13.200 --> 1:11:16.080
<v Speaker 1>with nobody's idea to do anything. We ended up a

1:11:16.160 --> 1:11:18.800
<v Speaker 1>buzz Case on studio. He had a sixteen track out there.

1:11:19.439 --> 1:11:21.599
<v Speaker 1>Tyran was with us, and so the three of us

1:11:22.040 --> 1:11:24.360
<v Speaker 1>put this track down that we just made up on

1:11:24.479 --> 1:11:28.200
<v Speaker 1>the spot. I made up the words on the spot,

1:11:28.320 --> 1:11:30.759
<v Speaker 1>which never really got written. So they stayed those words,

1:11:31.400 --> 1:11:34.400
<v Speaker 1>and then we added those check singers. This happened in

1:11:34.439 --> 1:11:37.479
<v Speaker 1>seventy three, by the way, and that two years later

1:11:37.640 --> 1:11:40.519
<v Speaker 1>ended up on Stampede and it was called Working on

1:11:40.680 --> 1:11:42.360
<v Speaker 1>You and it was just a fun song to do,

1:11:42.560 --> 1:11:45.120
<v Speaker 1>and it ended like an old man Assis ending or something.

1:11:45.120 --> 1:11:47.160
<v Speaker 1>Everything just kind of falls apart of That's funny you

1:11:47.280 --> 1:11:49.920
<v Speaker 1>mentioned that the first double album, the Manassa's album. I

1:11:49.960 --> 1:11:53.200
<v Speaker 1>don't exactly you're talking about, great record, Okay, then its

1:11:53.560 --> 1:11:57.400
<v Speaker 1>then it all falls apart, right my ulser he bloomed. Yeah,

1:11:57.479 --> 1:12:01.000
<v Speaker 1>I had an ulcer in high school and due to

1:12:01.080 --> 1:12:03.640
<v Speaker 1>the frantic living pace of you know, being on the

1:12:03.720 --> 1:12:05.519
<v Speaker 1>road all the time and all the crazy stuff that

1:12:05.560 --> 1:12:08.280
<v Speaker 1>went along with that, it got worse and it got

1:12:08.320 --> 1:12:11.280
<v Speaker 1>pretty bad, and so I had Right when the tour

1:12:11.800 --> 1:12:14.960
<v Speaker 1>for Stampede was taken off, I had to leave. And

1:12:15.080 --> 1:12:20.759
<v Speaker 1>that was a drag, but that's what happened. So that's

1:12:21.280 --> 1:12:24.800
<v Speaker 1>when they first they just started doing it on their own,

1:12:24.800 --> 1:12:30.519
<v Speaker 1>and then they Jeff Baxster suggested bring in Michael Donald

1:12:31.200 --> 1:12:34.240
<v Speaker 1>just to play keyboards and sing backgrounds, and that's how

1:12:34.280 --> 1:12:37.719
<v Speaker 1>it was for that tour. Who sang your parts? Pat

1:12:37.800 --> 1:12:39.840
<v Speaker 1>did a lot of it. Pat Simons did a lot

1:12:39.920 --> 1:12:41.840
<v Speaker 1>of the singing and I wasn't there to watch any

1:12:41.880 --> 1:12:45.559
<v Speaker 1>of this, but that's my understanding. And then they started

1:12:45.600 --> 1:12:48.719
<v Speaker 1>working on Taking to the Streets, which is when Michael

1:12:50.240 --> 1:12:55.760
<v Speaker 1>contributed as a songwriter and UM which that song being

1:12:55.800 --> 1:12:57.840
<v Speaker 1>one of them Taking to the Streets. I had one

1:12:57.880 --> 1:13:03.720
<v Speaker 1>song on that album and that's all I contributed. And

1:13:03.920 --> 1:13:05.680
<v Speaker 1>by the so by the time they go out for

1:13:05.720 --> 1:13:08.439
<v Speaker 1>a spring tour, I went out with him. I did,

1:13:08.880 --> 1:13:11.479
<v Speaker 1>and we did this before the album came out. No,

1:13:11.640 --> 1:13:13.479
<v Speaker 1>the album was out, okay, I remember the Spring of

1:13:13.560 --> 1:13:17.240
<v Speaker 1>seventy remember, and it sounded so different from what came before.

1:13:17.760 --> 1:13:21.080
<v Speaker 1>It was very different from what came before. UM on

1:13:21.280 --> 1:13:23.200
<v Speaker 1>the road with him I did. I did that tour

1:13:23.320 --> 1:13:26.920
<v Speaker 1>with him, and then I stayed with the band UH

1:13:27.040 --> 1:13:28.800
<v Speaker 1>and had I think four or five songs for the

1:13:28.880 --> 1:13:31.320
<v Speaker 1>next album, which was Living on the Fall Line, which

1:13:31.400 --> 1:13:35.519
<v Speaker 1>I don't think did that well all things considered, UH,

1:13:36.640 --> 1:13:40.080
<v Speaker 1>especially after Taking to the Streets was pretty successful in

1:13:40.160 --> 1:13:45.400
<v Speaker 1>all the previous albums had been pretty successful. UM, and

1:13:45.479 --> 1:13:48.680
<v Speaker 1>I just decided I'm going to withdraw for right now.

1:13:49.360 --> 1:13:51.639
<v Speaker 1>I'm not sure I feel a part of this musically.

1:13:51.640 --> 1:13:53.600
<v Speaker 1>I don't feel like I'm in the right spot, and

1:13:53.680 --> 1:13:56.840
<v Speaker 1>I just wanted to break. So I left and I

1:13:57.720 --> 1:14:02.280
<v Speaker 1>spent a year playing baseball, lifting way. It's um getting

1:14:02.320 --> 1:14:07.000
<v Speaker 1>healthy again if you will, and um, And then I

1:14:07.080 --> 1:14:09.200
<v Speaker 1>started writing again, and the next thing you know, I'm

1:14:09.240 --> 1:14:12.720
<v Speaker 1>doing a solo album in seventy nine with Ted So

1:14:12.880 --> 1:14:15.360
<v Speaker 1>at all, you know, I didn't stay away very long.

1:14:19.360 --> 1:14:21.960
<v Speaker 1>We'll stop here for a brief moment and get right

1:14:22.000 --> 1:14:28.720
<v Speaker 1>back to my conversation with Tom Johnston. For those who

1:14:28.720 --> 1:14:32.360
<v Speaker 1>are unaware, I'm primarily a writer and have a newsletter

1:14:32.479 --> 1:14:35.160
<v Speaker 1>called the Left Sets Letter. You can sign up and

1:14:35.240 --> 1:14:37.720
<v Speaker 1>read the history of my work at left sets dot

1:14:37.800 --> 1:14:43.560
<v Speaker 1>com in addition to experiencing my commentary on music, business, technology,

1:14:43.920 --> 1:14:46.160
<v Speaker 1>and my life. You'll be the first to find out

1:14:46.200 --> 1:14:48.920
<v Speaker 1>where we've published a new episode of the podcast. Go

1:14:49.080 --> 1:14:51.400
<v Speaker 1>to left sets dot com and sign up for the newsletter.

1:14:51.760 --> 1:14:55.200
<v Speaker 1>I know you'll enjoy it. Now more with Tom Johnston

1:14:55.320 --> 1:14:57.920
<v Speaker 1>of the Doobie Brothers, recorded live at the tune In

1:14:58.040 --> 1:15:02.519
<v Speaker 1>Studios in Venice, California. Okay, so once again, now you

1:15:02.560 --> 1:15:04.800
<v Speaker 1>were sold a walk. What are your expectations and what's

1:15:04.840 --> 1:15:09.000
<v Speaker 1>it like? It's pretty different. Remember, first of all, you're

1:15:09.000 --> 1:15:13.280
<v Speaker 1>in the Driver's Seat and um, it was an exploration

1:15:13.320 --> 1:15:15.000
<v Speaker 1>album as well. I look back at it now that

1:15:15.160 --> 1:15:18.559
<v Speaker 1>they weren't the greatest songs ever, and I hadn't been

1:15:20.320 --> 1:15:22.400
<v Speaker 1>planning on doing it and then I ended up getting

1:15:22.479 --> 1:15:24.839
<v Speaker 1>to do it. So I kind of wrote the songs hastily,

1:15:24.920 --> 1:15:29.280
<v Speaker 1>if you will. Um. But it had one song that

1:15:29.520 --> 1:15:33.400
<v Speaker 1>did fairly well, which was Savannah Knights, and it was

1:15:33.479 --> 1:15:35.360
<v Speaker 1>all kind of an R and B sh album. But

1:15:35.439 --> 1:15:36.720
<v Speaker 1>I got to do a lot of stuff that I

1:15:36.760 --> 1:15:39.960
<v Speaker 1>always wanted to do but never could doobies. I got

1:15:40.040 --> 1:15:42.160
<v Speaker 1>to use towers horn section and like I said, David

1:15:42.160 --> 1:15:46.000
<v Speaker 1>Garibaldi on drums and Cheese Toudakov from a band called

1:15:46.040 --> 1:15:48.160
<v Speaker 1>Crack and played bass, and it sounded sort of like

1:15:48.320 --> 1:15:50.080
<v Speaker 1>rockle So I wanted to be like a Tower Power

1:15:50.160 --> 1:15:54.360
<v Speaker 1>kind of unit. Um. The song started off sounding like

1:15:54.439 --> 1:15:56.960
<v Speaker 1>a Temptation song, ended up sounding like a James Brown.

1:15:59.040 --> 1:16:03.280
<v Speaker 1>Yeah it was I don't how that happened. But none

1:16:03.320 --> 1:16:05.680
<v Speaker 1>of these are singles. They were just fun to do

1:16:06.240 --> 1:16:09.080
<v Speaker 1>and we used so many different players. That's another thing.

1:16:09.120 --> 1:16:10.599
<v Speaker 1>I wasn't you. I mean, we thought we'd had other

1:16:10.640 --> 1:16:13.240
<v Speaker 1>guys come in and on the albums through the period

1:16:13.280 --> 1:16:16.880
<v Speaker 1>of three or four albums in there who were studio guys.

1:16:16.920 --> 1:16:18.880
<v Speaker 1>We had Right Couter play on an on an album.

1:16:19.000 --> 1:16:23.040
<v Speaker 1>We had the Gutty playing an album. We had um Mac,

1:16:23.200 --> 1:16:26.519
<v Speaker 1>Malcolm Cecil and as a Bob margol if I think exactly.

1:16:26.680 --> 1:16:30.160
<v Speaker 1>They came in and said yeah, and they step with

1:16:30.200 --> 1:16:33.840
<v Speaker 1>Stevie wondering right. They set up the synthesizer and I

1:16:33.960 --> 1:16:38.160
<v Speaker 1>played the keyboard horn parts on on Captain and me

1:16:38.880 --> 1:16:43.680
<v Speaker 1>Um for Natural Thing and Yukaya. I love Natural Thing.

1:16:45.760 --> 1:16:48.840
<v Speaker 1>It was fun to do. I had no idea what

1:16:48.920 --> 1:16:51.280
<v Speaker 1>these guys were all about. They just showed up and said,

1:16:51.320 --> 1:16:55.240
<v Speaker 1>up this big monster thing. Okay, I'll play it on keyboards.

1:16:55.240 --> 1:16:56.599
<v Speaker 1>Oh when you're in the heat of the moment, did

1:16:56.600 --> 1:16:59.519
<v Speaker 1>you say, but now suddenly you're out of The Doobie

1:16:59.600 --> 1:17:02.800
<v Speaker 1>brother and the Jubie Brothers have a renaissance and they're

1:17:02.800 --> 1:17:05.880
<v Speaker 1>as successful as you were. You they were very successful.

1:17:05.960 --> 1:17:08.400
<v Speaker 1>Not the same sound, but it's called the Doobie Brothers.

1:17:08.680 --> 1:17:11.759
<v Speaker 1>How do you feel about that? It was pretty different,

1:17:11.840 --> 1:17:13.880
<v Speaker 1>and it's like an adjustment that you have to make.

1:17:15.080 --> 1:17:17.320
<v Speaker 1>But I didn't want to change what I was about

1:17:17.439 --> 1:17:19.880
<v Speaker 1>and what I was musically. Where I came from and

1:17:19.960 --> 1:17:22.519
<v Speaker 1>the interesting part about all that is both Michael and

1:17:22.600 --> 1:17:25.120
<v Speaker 1>I are R and B guys. I have a lot

1:17:25.160 --> 1:17:28.200
<v Speaker 1>of R and B influences. His was a little different

1:17:28.280 --> 1:17:30.479
<v Speaker 1>in mine. Mine was like I started with Little Richard

1:17:30.520 --> 1:17:33.320
<v Speaker 1>and worked my way up through Joe tex and and

1:17:33.840 --> 1:17:36.000
<v Speaker 1>and Wilson Pickett and all those kind of guys. He

1:17:36.160 --> 1:17:38.920
<v Speaker 1>was more into the Ray Charles and the more gospel

1:17:39.080 --> 1:17:42.720
<v Speaker 1>kind of things. So you could have that much variation

1:17:43.040 --> 1:17:46.120
<v Speaker 1>and go in completely different directions. And he was a

1:17:46.200 --> 1:17:49.880
<v Speaker 1>keyboard player. I was a guitar player. UM, So that

1:17:50.040 --> 1:17:54.560
<v Speaker 1>was probably the difference um and stylistically, song wise, it

1:17:54.640 --> 1:17:57.479
<v Speaker 1>was very different because I still had a rock and

1:17:57.600 --> 1:17:59.360
<v Speaker 1>roll edge to a lot of this stuff I did.

1:18:00.520 --> 1:18:05.240
<v Speaker 1>And so when it came time to do solo albums,

1:18:05.720 --> 1:18:08.040
<v Speaker 1>as I said, the first one was an experiment, a

1:18:08.160 --> 1:18:10.120
<v Speaker 1>lot of fun I had. I had a ball doing

1:18:10.160 --> 1:18:11.960
<v Speaker 1>that album. That was so much fun. I got to

1:18:12.000 --> 1:18:14.160
<v Speaker 1>play with guys, some of which I didn't even know it.

1:18:14.560 --> 1:18:21.240
<v Speaker 1>David Page played on it, Um Yeah, a plethora of Dummer's.

1:18:21.280 --> 1:18:23.920
<v Speaker 1>Keith played on it, Michael playing on that album at

1:18:24.000 --> 1:18:30.880
<v Speaker 1>some point, Um Path playing on that album. Um Rick

1:18:30.960 --> 1:18:32.760
<v Speaker 1>Slauser played on a lot of the tracks, I'm not

1:18:32.800 --> 1:18:37.200
<v Speaker 1>sure what happened to Rick Mark, because Mark Jordan was

1:18:37.200 --> 1:18:39.880
<v Speaker 1>a keyboard player. He was really good and he played

1:18:39.880 --> 1:18:44.519
<v Speaker 1>on a lot of stuff. Um Towers Horns used Memphis

1:18:44.560 --> 1:18:47.680
<v Speaker 1>Horns on a couple of the songs. So you've got

1:18:47.800 --> 1:18:53.320
<v Speaker 1>this plethora of really top notch players, and that, to

1:18:53.439 --> 1:18:55.400
<v Speaker 1>me is what that experience was all about. It was

1:18:55.439 --> 1:18:57.400
<v Speaker 1>a growth period, and then we went out. I went

1:18:57.439 --> 1:18:59.840
<v Speaker 1>out and toured on it and did a lot of

1:19:00.280 --> 1:19:06.080
<v Speaker 1>with um various bands. UM Kenny Loggins was one of

1:19:06.240 --> 1:19:08.640
<v Speaker 1>my toured with for a while and it was a

1:19:08.800 --> 1:19:14.559
<v Speaker 1>pretty wild and wooly tour. You got the band such

1:19:14.640 --> 1:19:18.839
<v Speaker 1>as it was, which was me, three Memphis Horns, John Hartman,

1:19:19.160 --> 1:19:24.840
<v Speaker 1>and Um something. Anderson on the other said, we had

1:19:24.840 --> 1:19:29.439
<v Speaker 1>two drummers again, uh, Mike White on bass. Probably nobody's

1:19:29.560 --> 1:19:32.240
<v Speaker 1>not gonna be filming familiar with these names. They were

1:19:32.320 --> 1:19:35.320
<v Speaker 1>in household names. But so we went out and toured,

1:19:36.000 --> 1:19:37.680
<v Speaker 1>so the crew and the band are all on the

1:19:37.760 --> 1:19:43.519
<v Speaker 1>same bus every night, and it was lunacy. That lasted

1:19:43.640 --> 1:19:45.760
<v Speaker 1>for a month and a half and then that was

1:19:45.840 --> 1:19:48.360
<v Speaker 1>the end of the touring for that album, and then

1:19:48.840 --> 1:19:51.920
<v Speaker 1>I did another solo album with a different producer, so

1:19:52.000 --> 1:19:55.080
<v Speaker 1>that's another big step. And those were actually, in a

1:19:55.160 --> 1:19:57.840
<v Speaker 1>sense more commercial songs. But the album didn't do very well,

1:19:58.560 --> 1:20:01.880
<v Speaker 1>and I was told that it sounded too much like

1:20:02.000 --> 1:20:04.640
<v Speaker 1>to Do You Brothers. I said, it was that a

1:20:04.680 --> 1:20:06.680
<v Speaker 1>good thing? I am? I don't know if that is

1:20:06.720 --> 1:20:08.599
<v Speaker 1>good or bad and different. I said, I'm not trying

1:20:08.640 --> 1:20:10.800
<v Speaker 1>to do anything in particular. I'm just writing songs and

1:20:10.840 --> 1:20:16.240
<v Speaker 1>here's what they sound like. And uh so that one

1:20:16.360 --> 1:20:19.360
<v Speaker 1>was produced by Michael o'martin, who did Christopher Cross and

1:20:19.439 --> 1:20:23.800
<v Speaker 1>some other people like that. And then after that I

1:20:24.000 --> 1:20:26.400
<v Speaker 1>just kind of played around Maran and hung out with

1:20:26.439 --> 1:20:28.960
<v Speaker 1>a band called Border Patrol and we did gigs and

1:20:29.040 --> 1:20:33.160
<v Speaker 1>stuff and that lasted until a D seven And then

1:20:33.240 --> 1:20:35.920
<v Speaker 1>in a D seven Keith had this idea. The band

1:20:35.960 --> 1:20:39.000
<v Speaker 1>by the way, they right there, Okay, you make two

1:20:39.080 --> 1:20:41.439
<v Speaker 1>solo records. Then Warner Brothers says they we don't want

1:20:41.439 --> 1:20:46.360
<v Speaker 1>to make anymore. Right, Okay, now you don't have you're

1:20:46.400 --> 1:20:49.599
<v Speaker 1>not at the level you were before without a recording deal.

1:20:49.680 --> 1:20:52.679
<v Speaker 1>You try to get a recording deal with somebody else. No, okay,

1:20:52.920 --> 1:20:56.040
<v Speaker 1>do you have enough money to get you through? I did, Okay,

1:20:56.120 --> 1:20:58.800
<v Speaker 1>I wasn't like large and in charge, but I getn't

1:20:58.800 --> 1:21:02.920
<v Speaker 1>buy and okay, So then get to eighty seven. Okay, Well,

1:21:02.960 --> 1:21:06.599
<v Speaker 1>the band, the Doobie Brothers, they ended. They split up

1:21:06.720 --> 1:21:11.680
<v Speaker 1>in ninety two. They did a farewell tour ascuse me

1:21:13.080 --> 1:21:15.040
<v Speaker 1>and they did a farewell tour which I went and

1:21:15.080 --> 1:21:17.200
<v Speaker 1>played on one of the last gigs with him over

1:21:17.320 --> 1:21:19.840
<v Speaker 1>in Berkeley, and um, which was a lot of fun.

1:21:19.880 --> 1:21:23.960
<v Speaker 1>I really enjoyed. You remain friendly with these guys pretty much? Yeah, yeah,

1:21:24.080 --> 1:21:26.000
<v Speaker 1>I mean I I sad him with him in Seattle

1:21:26.080 --> 1:21:27.760
<v Speaker 1>one night when they were playing with John k and

1:21:28.560 --> 1:21:30.519
<v Speaker 1>he was doing a solo album thing, and you know,

1:21:30.640 --> 1:21:32.120
<v Speaker 1>I didn't sit there with him a lot, but once

1:21:32.160 --> 1:21:33.760
<v Speaker 1>in a while I would show up. And when the

1:21:33.880 --> 1:21:36.920
<v Speaker 1>night they got their first Grammys and stuff, I was

1:21:37.000 --> 1:21:40.840
<v Speaker 1>on that first solo tour and I ended up in Bakersfield,

1:21:40.920 --> 1:21:42.840
<v Speaker 1>drove down to l A And went to the after

1:21:42.960 --> 1:21:44.600
<v Speaker 1>party and hung out with all the guys in the

1:21:44.680 --> 1:21:48.760
<v Speaker 1>band and lost and and everybody else was there. So yeah,

1:21:48.840 --> 1:21:52.120
<v Speaker 1>we stayed on good terms. And then in seven there's

1:21:52.160 --> 1:21:55.720
<v Speaker 1>this idea. There was an idea by Keith Canudson, who

1:21:55.760 --> 1:21:57.800
<v Speaker 1>had read a book which I don't remember the title of,

1:21:58.600 --> 1:22:01.280
<v Speaker 1>about guys who had out in Vietnam and what they

1:22:01.320 --> 1:22:05.519
<v Speaker 1>were going through and the problems they were having health wise,

1:22:06.439 --> 1:22:08.760
<v Speaker 1>housing wide, you name it. They were having all kinds

1:22:08.800 --> 1:22:11.280
<v Speaker 1>of problems. And he called each one of us in

1:22:11.360 --> 1:22:14.479
<v Speaker 1>the band and said, would you be interested in getting

1:22:14.520 --> 1:22:17.800
<v Speaker 1>together and doing a gig to raise money for these guys,

1:22:19.000 --> 1:22:23.120
<v Speaker 1>And everybody said, sure, why not? And that included four

1:22:23.200 --> 1:22:28.000
<v Speaker 1>drummers for a guitar player, one bass player who was

1:22:28.080 --> 1:22:30.760
<v Speaker 1>tyrant because Willie Weeks had been playing bass for the

1:22:30.800 --> 1:22:35.120
<v Speaker 1>band at the end, and Um Michael of course on

1:22:35.240 --> 1:22:38.080
<v Speaker 1>one side and Cornelias Pumpus on the other side playing keyboards,

1:22:38.080 --> 1:22:41.240
<v Speaker 1>and then Cornelias played sax. So we had this huge

1:22:41.960 --> 1:22:44.439
<v Speaker 1>conglomerate on stage, which was insane. So we had to

1:22:44.479 --> 1:22:48.040
<v Speaker 1>rehearse that get the songs together, which is everything from

1:22:48.080 --> 1:22:51.080
<v Speaker 1>nobody to admitute by a minute, all of it one

1:22:51.200 --> 1:22:56.880
<v Speaker 1>night and the first um the first gig was a

1:22:56.960 --> 1:23:01.240
<v Speaker 1>trial gig before we did the Hall with Bowl, which

1:23:01.400 --> 1:23:04.240
<v Speaker 1>was the prize. That was when we wanted to get

1:23:04.280 --> 1:23:08.040
<v Speaker 1>the money for the Vietnam vets from. So we played

1:23:08.960 --> 1:23:10.880
<v Speaker 1>in San Diego, the place we used to play all

1:23:10.920 --> 1:23:12.640
<v Speaker 1>the time. I think it was called a Porratorium if

1:23:12.640 --> 1:23:16.040
<v Speaker 1>I'm not mistaken. And uh so we get there and

1:23:16.200 --> 1:23:19.400
<v Speaker 1>we walk on stage expecting absolutely nothing because we hadn't

1:23:19.720 --> 1:23:23.400
<v Speaker 1>done anything in all the formats at once, for sure,

1:23:23.600 --> 1:23:25.599
<v Speaker 1>and we had never done anything with that many guys

1:23:25.640 --> 1:23:28.920
<v Speaker 1>on stage, and the band had been apart for a while,

1:23:29.000 --> 1:23:31.040
<v Speaker 1>so nobody's really expecting a heck of a lot of anything.

1:23:31.600 --> 1:23:34.280
<v Speaker 1>And we get this standing ovation we had not let

1:23:34.400 --> 1:23:36.920
<v Speaker 1>us start playing. It was a ridiculous. Everybody looking to going,

1:23:37.000 --> 1:23:42.360
<v Speaker 1>what is going on? Man, this is crazy. Nobody hadn't

1:23:42.439 --> 1:23:45.600
<v Speaker 1>inkling anything like that was gonna happen. So apparently the

1:23:45.680 --> 1:23:48.240
<v Speaker 1>band had been missed in its absence, but we didn't

1:23:48.240 --> 1:23:50.880
<v Speaker 1>know it. And uh so we ended up playing the

1:23:50.920 --> 1:23:55.639
<v Speaker 1>show they were The crowd was ecstatic. So we left

1:23:55.720 --> 1:23:59.000
<v Speaker 1>that thinking, wow, that's amazing. I wasn't expecting that, and

1:23:59.040 --> 1:24:02.280
<v Speaker 1>I mean everybody's saying that was something, right. And so

1:24:02.439 --> 1:24:06.680
<v Speaker 1>the next show is probably the next night actually at

1:24:06.720 --> 1:24:09.200
<v Speaker 1>the Hollywood Bowl, and it was the second fastest selling

1:24:10.080 --> 1:24:12.800
<v Speaker 1>show they'd had behind the Beatles. That was the fastest one,

1:24:13.880 --> 1:24:17.320
<v Speaker 1>and it was packed and we played the show made

1:24:17.360 --> 1:24:21.720
<v Speaker 1>a ton of money for the Vietnam debts, and we

1:24:21.880 --> 1:24:25.320
<v Speaker 1>played one more for the Stanford Children's Hospital, which was

1:24:25.439 --> 1:24:30.600
<v Speaker 1>one of our pet charities. After that, and then we

1:24:30.640 --> 1:24:34.080
<v Speaker 1>played ten shows to pay for all this because it

1:24:34.200 --> 1:24:36.799
<v Speaker 1>cost a force to do all the rehearsing and everything

1:24:36.920 --> 1:24:40.080
<v Speaker 1>and everybody, the whole routine, the multiple drummers, Guitarsit went

1:24:40.120 --> 1:24:44.120
<v Speaker 1>on all those gigs and we played them like you

1:24:44.200 --> 1:24:46.040
<v Speaker 1>with a small tour, you know, we played and that

1:24:46.160 --> 1:24:49.400
<v Speaker 1>was no but that's just the way it ended it up.

1:24:49.560 --> 1:24:52.080
<v Speaker 1>And because we had this huge debt, we had incurred

1:24:52.120 --> 1:24:55.320
<v Speaker 1>putting this together. But while we were doing the rehearsals

1:24:56.280 --> 1:24:59.599
<v Speaker 1>putting this together and doing the songs from the early

1:24:59.680 --> 1:25:03.440
<v Speaker 1>do we period, Ted was there for all the rehearsals

1:25:04.080 --> 1:25:06.200
<v Speaker 1>and he came up to all the guys from the

1:25:06.240 --> 1:25:09.960
<v Speaker 1>original band. He said, what would you think about reforming

1:25:10.040 --> 1:25:15.080
<v Speaker 1>the band in this original form and doing an album?

1:25:16.240 --> 1:25:18.479
<v Speaker 1>At that point, none of us were doing anything that

1:25:18.680 --> 1:25:24.120
<v Speaker 1>really added and we all said sure, why not? So

1:25:24.280 --> 1:25:28.439
<v Speaker 1>we did and that was supposed to happen. It didn't

1:25:28.439 --> 1:25:31.439
<v Speaker 1>happen until Lady nine and Ted wasn't the producer and

1:25:31.520 --> 1:25:34.599
<v Speaker 1>we were not Warner Brothers. Stuff changed from the idea

1:25:34.720 --> 1:25:37.200
<v Speaker 1>until it actually happened. By then we were on Capitol.

1:25:37.840 --> 1:25:39.160
<v Speaker 1>Do you think it would have been different if Ted

1:25:39.200 --> 1:25:43.240
<v Speaker 1>had been the producer? I do, I do, um, because

1:25:43.280 --> 1:25:46.439
<v Speaker 1>we started off with a couple of producers at one time,

1:25:46.920 --> 1:25:50.519
<v Speaker 1>Eddie Schwartz and Charlie Midnight, and then that morphed into

1:25:50.600 --> 1:25:52.840
<v Speaker 1>Rodney Mills and then he did the second album that

1:25:52.960 --> 1:25:56.040
<v Speaker 1>was on Capitol and we the first album was Cycles,

1:25:56.080 --> 1:25:58.320
<v Speaker 1>and it did pretty well and it had the Doctor

1:25:58.439 --> 1:26:01.920
<v Speaker 1>on it, which I with those two guys if I

1:26:02.000 --> 1:26:04.439
<v Speaker 1>hadn't written it with those two guys, because I had

1:26:04.439 --> 1:26:06.200
<v Speaker 1>written this song for a band I was playing in

1:26:06.240 --> 1:26:09.479
<v Speaker 1>and Marin, but it didn't have that chorus and it

1:26:09.520 --> 1:26:11.960
<v Speaker 1>didn't have some of those lyrics. Those that had not

1:26:12.120 --> 1:26:14.519
<v Speaker 1>been added, that song wouldn't have been ahead. That was

1:26:14.640 --> 1:26:17.200
<v Speaker 1>the catch the catchy part of it for then. I

1:26:17.240 --> 1:26:20.400
<v Speaker 1>mean they hadn't added that those core structures and stuff,

1:26:20.439 --> 1:26:24.400
<v Speaker 1>which I thought, that's really poppy. It's like almost bubble gum.

1:26:25.360 --> 1:26:28.679
<v Speaker 1>But um, it did well and it served its purpose

1:26:29.720 --> 1:26:32.639
<v Speaker 1>and uh and the band was back, if you will.

1:26:33.200 --> 1:26:35.519
<v Speaker 1>Then we did the second on which was Brotherhood, and

1:26:35.800 --> 1:26:37.880
<v Speaker 1>do so well, and then we just have been on

1:26:37.960 --> 1:26:40.920
<v Speaker 1>the road since. Okay, so a couple of questions. Now,

1:26:41.600 --> 1:26:43.479
<v Speaker 1>let's stay with the recording. Do you make a recording

1:26:43.560 --> 1:26:48.840
<v Speaker 1>sibil sibling rivalry ivalry I believe in and there are

1:26:49.040 --> 1:26:50.720
<v Speaker 1>I believe that record is very good. But there are

1:26:50.800 --> 1:26:53.679
<v Speaker 1>multiple writers. So when you have there was no producer,

1:26:54.640 --> 1:26:56.519
<v Speaker 1>and I was against that. I didn't think that was

1:26:56.520 --> 1:26:58.519
<v Speaker 1>a good idea, but this is what they wanted to do.

1:26:58.600 --> 1:27:01.240
<v Speaker 1>They wanted to try doing it with the producer. I said, Okay,

1:27:02.040 --> 1:27:04.400
<v Speaker 1>so you do get multiple writers, you also get multiple

1:27:04.520 --> 1:27:08.760
<v Speaker 1>sounds because you got four guys singing lead. And I

1:27:08.760 --> 1:27:10.479
<v Speaker 1>didn't think that was a great idea, but I didn't

1:27:10.560 --> 1:27:14.200
<v Speaker 1>raise a ruckus about it too much. Um. So the

1:27:14.280 --> 1:27:16.439
<v Speaker 1>album really didn't do anything, and we weren't really on

1:27:16.520 --> 1:27:19.640
<v Speaker 1>a label. It got put out by Rhino, but we

1:27:20.160 --> 1:27:22.120
<v Speaker 1>were doing it with a guy from Florida was just

1:27:22.240 --> 1:27:27.040
<v Speaker 1>a money guy. Much like what we did. Um ten

1:27:27.120 --> 1:27:29.320
<v Speaker 1>years later, Okay, you make a record ten years later,

1:27:29.320 --> 1:27:31.240
<v Speaker 1>but at this time it is with Ted Templeman. It

1:27:31.439 --> 1:27:34.080
<v Speaker 1>was with Ted Templeman. It was not a Warner Brother,

1:27:34.160 --> 1:27:35.880
<v Speaker 1>it was not any label. It was once again a

1:27:35.920 --> 1:27:40.479
<v Speaker 1>money guy who was from Texas. And uh, we were

1:27:40.800 --> 1:27:43.640
<v Speaker 1>with what they called themselves a record company, but they

1:27:43.680 --> 1:27:46.560
<v Speaker 1>really weren't. And it's too bad because that really was

1:27:46.640 --> 1:27:48.760
<v Speaker 1>a good record. It had good songs on it. They

1:27:48.800 --> 1:27:51.840
<v Speaker 1>were well thought on. Billy came out and Billy Payne

1:27:52.080 --> 1:27:54.479
<v Speaker 1>came out and played on it. I had written four

1:27:54.560 --> 1:27:57.760
<v Speaker 1>songs on keyboards, and so I just said, here, you're

1:27:57.800 --> 1:28:02.200
<v Speaker 1>the guy, you play these. But I had already UH,

1:28:02.640 --> 1:28:05.200
<v Speaker 1>but I'd written him on keyboards and by then I'm

1:28:05.240 --> 1:28:09.080
<v Speaker 1>working with uh digital performer and I could play all

1:28:09.120 --> 1:28:11.639
<v Speaker 1>this stuff because of Mittie allows you to play bass,

1:28:11.720 --> 1:28:14.560
<v Speaker 1>allows you play drums, you play keyboard parts, and you

1:28:14.640 --> 1:28:16.320
<v Speaker 1>could fudge it. And so if you can't really play

1:28:16.400 --> 1:28:18.840
<v Speaker 1>the part you're not fluid or not, you slow it

1:28:19.000 --> 1:28:20.760
<v Speaker 1>down and you play the part and needs speed it

1:28:20.800 --> 1:28:24.160
<v Speaker 1>back up again. So you're down here in l A

1:28:24.280 --> 1:28:29.760
<v Speaker 1>now for writing sessions. What would these songs be for? Uh,

1:28:30.000 --> 1:28:33.719
<v Speaker 1>we'd like very much to put out at this point,

1:28:33.880 --> 1:28:37.439
<v Speaker 1>probably an EP because people don't buy albums anymore. They

1:28:37.479 --> 1:28:42.320
<v Speaker 1>don't care about that and UM, to me, it's important

1:28:42.439 --> 1:28:45.519
<v Speaker 1>to stay valid. To me, if you're a musician, if

1:28:45.560 --> 1:28:48.720
<v Speaker 1>you just sit around and rest on your laurels, you're

1:28:48.760 --> 1:28:51.640
<v Speaker 1>not growing and you're not getting the job done. We

1:28:51.800 --> 1:28:55.679
<v Speaker 1>play plenty of gigs every year and we love playing

1:28:55.720 --> 1:28:58.439
<v Speaker 1>for people. That's what's kept the band thriving and alive.

1:28:59.680 --> 1:29:02.880
<v Speaker 1>But I think there's something as a musician. It's not

1:29:03.000 --> 1:29:04.720
<v Speaker 1>just me that feels this way. We all feel this

1:29:04.800 --> 1:29:08.760
<v Speaker 1>way that in order to be valid you need to

1:29:08.840 --> 1:29:10.599
<v Speaker 1>put out new stuff. It's you know, in this day

1:29:10.640 --> 1:29:12.680
<v Speaker 1>and age, it's probably not gonna do anything per se.

1:29:12.760 --> 1:29:16.400
<v Speaker 1>It's not going to be some humongous hid but people

1:29:16.520 --> 1:29:20.000
<v Speaker 1>know you're still making an attempt to be honest about

1:29:20.040 --> 1:29:22.960
<v Speaker 1>your music, and that to me is important. And on

1:29:23.080 --> 1:29:25.679
<v Speaker 1>one hand you say nothing's gonna happen, but another hand,

1:29:25.760 --> 1:29:28.320
<v Speaker 1>I don't know what. But in the other hand, if

1:29:28.320 --> 1:29:30.599
<v Speaker 1>you're actually doing it, you must have an inner flame

1:29:30.720 --> 1:29:33.120
<v Speaker 1>saying well, I would like alway that yeah, at this

1:29:33.240 --> 1:29:35.519
<v Speaker 1>point in the game, Yes, there's always that hope. And

1:29:35.560 --> 1:29:37.840
<v Speaker 1>then I had that for World Gone Crazy. I thought

1:29:37.840 --> 1:29:40.040
<v Speaker 1>that album was gonna do something. I was really disappointed

1:29:40.040 --> 1:29:42.080
<v Speaker 1>when it did so. In this particular case, since you

1:29:42.080 --> 1:29:44.840
<v Speaker 1>would be doing an EP somewhere between four and six songs,

1:29:45.560 --> 1:29:48.519
<v Speaker 1>is there a desire to hit a certain level of

1:29:48.680 --> 1:29:53.240
<v Speaker 1>quality to give your project a better shot in the marketplace.

1:29:54.080 --> 1:29:56.800
<v Speaker 1>In some ways, I don't think that's ever change. You

1:29:56.880 --> 1:29:59.800
<v Speaker 1>always want to do the best you can do where

1:29:59.840 --> 1:30:02.360
<v Speaker 1>you're at at that time, with the knowledge you have

1:30:02.640 --> 1:30:05.560
<v Speaker 1>with the songs that you're writing, and that's what you know.

1:30:05.600 --> 1:30:07.519
<v Speaker 1>I'm co writing at this point, which is something I've

1:30:07.560 --> 1:30:11.200
<v Speaker 1>never used to do. And uh, I really enjoyed the

1:30:11.280 --> 1:30:12.880
<v Speaker 1>two songs that I've written down here in l A

1:30:12.960 --> 1:30:17.360
<v Speaker 1>with with John and it's it's been just for those

1:30:17.400 --> 1:30:20.880
<v Speaker 1>people who are not up to speed, and um, guys

1:30:21.000 --> 1:30:23.439
<v Speaker 1>got a lot of vision. It reminds me of Ted.

1:30:23.560 --> 1:30:26.000
<v Speaker 1>You didn't have personality, is like night and day from

1:30:26.439 --> 1:30:28.920
<v Speaker 1>not at all like, but he has vision and he

1:30:29.080 --> 1:30:31.439
<v Speaker 1>hears things and it's it's mind blank because you're doing

1:30:31.520 --> 1:30:35.040
<v Speaker 1>it in his studio and he's got an engineer and

1:30:35.400 --> 1:30:38.080
<v Speaker 1>as you're tracking, I mean, as you're writing the song.

1:30:38.680 --> 1:30:42.240
<v Speaker 1>It's kind of what reminds me of my my writings

1:30:43.040 --> 1:30:45.720
<v Speaker 1>sessions in Nashville, and that you've got two or three

1:30:45.760 --> 1:30:48.240
<v Speaker 1>guys in the room all at the same time writing stuff.

1:30:48.600 --> 1:30:51.880
<v Speaker 1>So as you're writing the chords, you're writing the verses.

1:30:51.960 --> 1:30:55.680
<v Speaker 1>That's something I never did before in life. It was

1:30:56.320 --> 1:30:59.320
<v Speaker 1>I would write the songs generally first, the whole damn thing,

1:31:00.040 --> 1:31:03.280
<v Speaker 1>and say, Okay, what's gonna work on this. But that

1:31:03.479 --> 1:31:07.120
<v Speaker 1>type of writing, when you've got more than yourself, you've

1:31:07.160 --> 1:31:09.200
<v Speaker 1>got anywhere from two to three people in the room.

1:31:09.920 --> 1:31:13.200
<v Speaker 1>It's like you get this first stretch of the song, Okay,

1:31:13.240 --> 1:31:15.800
<v Speaker 1>let's write the verse. I said, well, we don't have

1:31:15.880 --> 1:31:19.519
<v Speaker 1>a song. Yeah, this is how we do it back

1:31:19.560 --> 1:31:22.479
<v Speaker 1>here whatever. And so it's a learning it's a learning

1:31:22.520 --> 1:31:25.000
<v Speaker 1>curve for me. And it was really interesting. And that

1:31:25.120 --> 1:31:27.760
<v Speaker 1>was with Jeffrey Steele and who has had a lot

1:31:27.800 --> 1:31:31.920
<v Speaker 1>of success back to l A Boy originally, and um

1:31:33.680 --> 1:31:37.599
<v Speaker 1>Um wrote with Chuck Cannon wrote with Bob d. Pierre.

1:31:37.760 --> 1:31:40.599
<v Speaker 1>You guys are all successful back there in Nashville, most

1:31:40.640 --> 1:31:42.720
<v Speaker 1>of his country. And this is all for the same theoretically.

1:31:42.880 --> 1:31:45.599
<v Speaker 1>P No, this was just for me to go back

1:31:45.680 --> 1:31:48.040
<v Speaker 1>and write with people, just to do it. And what's

1:31:48.080 --> 1:31:53.000
<v Speaker 1>happened to those songs so far? Nothing? They are saying

1:31:53.080 --> 1:31:54.960
<v Speaker 1>one of them might get used. I don't know. Yeah,

1:31:55.000 --> 1:31:59.600
<v Speaker 1>I there's one of my things is a possibility for

1:31:59.680 --> 1:32:04.679
<v Speaker 1>what we're doing, okay. And also you switched managers relatively recently.

1:32:04.720 --> 1:32:07.920
<v Speaker 1>What was that about. We had reached a place with

1:32:08.040 --> 1:32:10.760
<v Speaker 1>our former manager where we just thought it was time

1:32:10.800 --> 1:32:14.479
<v Speaker 1>to cut ties. And actually I had been thinking that

1:32:14.600 --> 1:32:17.080
<v Speaker 1>for a while, and without getting into depth about this,

1:32:18.360 --> 1:32:21.639
<v Speaker 1>some things occurred that convinced other people in the band

1:32:21.720 --> 1:32:24.800
<v Speaker 1>that it was time to do that, and we did,

1:32:25.320 --> 1:32:29.200
<v Speaker 1>and so I took it upon myself to make some

1:32:29.320 --> 1:32:33.479
<v Speaker 1>phone calls. And so the decision to cut ties was

1:32:33.640 --> 1:32:39.400
<v Speaker 1>before you had a new person, okay. And both the

1:32:39.439 --> 1:32:43.320
<v Speaker 1>people that I called were receptive and positive about it.

1:32:43.600 --> 1:32:46.960
<v Speaker 1>And the last person that we spoke with, and the

1:32:47.040 --> 1:32:49.200
<v Speaker 1>last person I called and that we went and sat

1:32:49.240 --> 1:32:52.000
<v Speaker 1>down at a meeting with was Irving. He's off and

1:32:53.760 --> 1:32:57.519
<v Speaker 1>he was great. He knew all about the band. He says,

1:32:57.600 --> 1:33:01.519
<v Speaker 1>I know what you've been doing. Uh Um, I'd like

1:33:01.600 --> 1:33:03.840
<v Speaker 1>you to meet our staff, and which is the same

1:33:03.920 --> 1:33:07.720
<v Speaker 1>thing I did with with another manager in Nashville, and

1:33:08.560 --> 1:33:11.120
<v Speaker 1>he came out to us in in St. Louis and

1:33:11.200 --> 1:33:13.720
<v Speaker 1>we had a big meeting. They were great, They really were,

1:33:13.760 --> 1:33:15.479
<v Speaker 1>I mean, they were first class about the whole thing.

1:33:15.560 --> 1:33:20.560
<v Speaker 1>Both guys um and it just seemed to me that

1:33:20.680 --> 1:33:22.320
<v Speaker 1>it was a better fit. And after I got the

1:33:22.360 --> 1:33:24.960
<v Speaker 1>guys down to l A and they saw what Irving

1:33:25.120 --> 1:33:28.280
<v Speaker 1>was all about and how things were done and his

1:33:28.520 --> 1:33:31.160
<v Speaker 1>people that did online presence and as people who did

1:33:31.240 --> 1:33:35.880
<v Speaker 1>this and did that. Um, they kind of agreed, and

1:33:36.320 --> 1:33:40.479
<v Speaker 1>so we chose Irving. And so since you've been with Irving,

1:33:41.120 --> 1:33:45.040
<v Speaker 1>what operation, how is it different from your previous life? Uh?

1:33:46.040 --> 1:33:48.920
<v Speaker 1>Touring is still touring. That had never changed. But as

1:33:49.000 --> 1:33:51.559
<v Speaker 1>far as the quality of how things are done, it's

1:33:51.680 --> 1:33:56.280
<v Speaker 1>night and day. Uh. From the business standpoint, it's on

1:33:56.360 --> 1:34:00.680
<v Speaker 1>another planet. So and we also changed book agencies. We

1:34:00.720 --> 1:34:03.479
<v Speaker 1>went from Paradigm to C A A, which has also

1:34:03.560 --> 1:34:05.680
<v Speaker 1>been a really neat thing for us to do in

1:34:06.000 --> 1:34:11.240
<v Speaker 1>a very positive jump. And um, so it's all changed, right.

1:34:11.439 --> 1:34:15.559
<v Speaker 1>And then so the band has been back together its

1:34:15.600 --> 1:34:18.000
<v Speaker 1>original format a close there to for a better part

1:34:18.040 --> 1:34:20.720
<v Speaker 1>of thirty years. How many days a year do you

1:34:20.840 --> 1:34:23.400
<v Speaker 1>do gigs? We do about eighty shows a year. And

1:34:23.439 --> 1:34:28.160
<v Speaker 1>how do you come up with that number? Uh? I

1:34:28.200 --> 1:34:31.519
<v Speaker 1>don't know, it's not really we haven't got to a

1:34:31.560 --> 1:34:33.760
<v Speaker 1>point where we sit down, I won't do more than this.

1:34:34.520 --> 1:34:36.960
<v Speaker 1>It's just that's what we've been doing for a while

1:34:37.000 --> 1:34:41.160
<v Speaker 1>and or between eighty two shows up till about five

1:34:41.280 --> 1:34:43.080
<v Speaker 1>years ago, six years ago, and then we were kind

1:34:43.120 --> 1:34:47.479
<v Speaker 1>of trying to keep it down to eighty. UM. At

1:34:47.520 --> 1:34:49.880
<v Speaker 1>one point we talked about seventy and in fact, since

1:34:49.920 --> 1:34:51.920
<v Speaker 1>we've been with everyone. We were talking about with seventy

1:34:52.000 --> 1:34:55.200
<v Speaker 1>but it hasn't happened. Yeah, we're still doing eight because

1:34:55.240 --> 1:34:56.720
<v Speaker 1>shows come up you don't want to say no to.

1:34:56.960 --> 1:35:00.160
<v Speaker 1>That's pretty much. They don't want to say no because, well,

1:35:00.200 --> 1:35:03.320
<v Speaker 1>there there, you want to go play with these people. Perhaps, Um,

1:35:04.200 --> 1:35:06.400
<v Speaker 1>shows come up all the blue that you don't know

1:35:06.439 --> 1:35:08.800
<v Speaker 1>we're gonna happen, like some of the stuff we did,

1:35:08.880 --> 1:35:12.080
<v Speaker 1>like those classic gigs for instance, they got interjected into

1:35:12.120 --> 1:35:15.360
<v Speaker 1>a tour we were doing with Chicago at the time. Um,

1:35:16.160 --> 1:35:19.160
<v Speaker 1>where are you gonna go play with um Steely Dan

1:35:19.280 --> 1:35:22.160
<v Speaker 1>and the Eagles the day that you play, get on

1:35:22.240 --> 1:35:23.920
<v Speaker 1>a plane and fly back to Detroit to play the

1:35:24.000 --> 1:35:28.840
<v Speaker 1>next gig that night after you're done, and and other

1:35:28.920 --> 1:35:31.080
<v Speaker 1>things like going to Europe. Uh. And we played with

1:35:31.240 --> 1:35:33.880
<v Speaker 1>Steely Dan and then we did a European tour by

1:35:33.920 --> 1:35:36.439
<v Speaker 1>ourselves in places of some of the places I'd actually

1:35:36.600 --> 1:35:39.120
<v Speaker 1>never played before. It was kind of hip. Really enjoyed that.

1:35:40.240 --> 1:35:43.280
<v Speaker 1>And then and this now, when you're singing, listen to

1:35:43.360 --> 1:35:46.080
<v Speaker 1>the music. You're singing one of your big hits. What

1:35:46.240 --> 1:35:48.280
<v Speaker 1>you have to sing otherwise the audience is going to

1:35:48.400 --> 1:35:51.200
<v Speaker 1>revolt are you think, are you thinking about doing your

1:35:51.280 --> 1:35:54.040
<v Speaker 1>laundry or you think about other stuff? Are you still

1:35:54.280 --> 1:35:56.719
<v Speaker 1>know it's it's still a thrill to do those songs.

1:35:56.800 --> 1:35:59.280
<v Speaker 1>And I'll tell you why, because it could be exactly

1:35:59.360 --> 1:36:00.960
<v Speaker 1>like you just just gribe. I can see where that

1:36:01.000 --> 1:36:04.559
<v Speaker 1>would happen. It's because of the response the crowd gives

1:36:04.600 --> 1:36:07.719
<v Speaker 1>you when you play those songs. So in essence, every

1:36:07.880 --> 1:36:10.800
<v Speaker 1>night that song takes on a life of its own

1:36:11.000 --> 1:36:13.960
<v Speaker 1>because of the people in front of you, not because

1:36:14.000 --> 1:36:16.000
<v Speaker 1>you're playing it. God, you know the thing and you sleep,

1:36:17.160 --> 1:36:20.600
<v Speaker 1>but when the crowd is singing along with you, and

1:36:21.240 --> 1:36:23.799
<v Speaker 1>in particular a couple of songs, they're anthemic and nature

1:36:23.920 --> 1:36:28.920
<v Speaker 1>for the that very reason. How can you not be

1:36:29.040 --> 1:36:32.240
<v Speaker 1>happy with that? Man? It's pretty hard. Okay, So generally speaking,

1:36:32.320 --> 1:36:34.880
<v Speaker 1>let's talk about when you're playing with another band, how

1:36:34.960 --> 1:36:38.559
<v Speaker 1>far can you stretch it before the audience. I don't

1:36:38.560 --> 1:36:39.880
<v Speaker 1>want to say tunes out, but we all go to

1:36:39.920 --> 1:36:42.680
<v Speaker 1>shows these days, and you're on stage whatever. There's the

1:36:42.760 --> 1:36:45.160
<v Speaker 1>casual fan of knows the hits, and then there's the

1:36:45.240 --> 1:36:48.000
<v Speaker 1>die hard fan. So when you don't play and a

1:36:48.080 --> 1:36:51.599
<v Speaker 1>few people who don't really know any of the hits, right, So, hey,

1:36:51.720 --> 1:36:53.920
<v Speaker 1>to what degree do you feel you want to convince

1:36:54.040 --> 1:36:56.920
<v Speaker 1>the fans bring them along, or to what what's it

1:36:57.040 --> 1:36:59.599
<v Speaker 1>like being on stage when you're not playing the big hits.

1:37:00.520 --> 1:37:03.040
<v Speaker 1>It might be songs that you really dug as album

1:37:03.080 --> 1:37:07.000
<v Speaker 1>cuts in the first place. In particular, things like for me,

1:37:07.680 --> 1:37:09.760
<v Speaker 1>dark Eyed Cajun Woman or something like that meant a

1:37:09.840 --> 1:37:13.519
<v Speaker 1>lot to me alone as a person because it was

1:37:13.600 --> 1:37:15.640
<v Speaker 1>the blues and it was a tip of that had

1:37:15.680 --> 1:37:18.160
<v Speaker 1>to be be king. And it's the only time I

1:37:18.280 --> 1:37:20.760
<v Speaker 1>ever got to write a blue song that was a

1:37:20.880 --> 1:37:22.960
<v Speaker 1>really that really was a blue song. Is there a

1:37:23.080 --> 1:37:25.599
<v Speaker 1>dark eyed Cajun woman? There is a dark eyed Cajun

1:37:25.600 --> 1:37:27.920
<v Speaker 1>woman that really exists. It came off of Captain and me.

1:37:28.200 --> 1:37:30.400
<v Speaker 1>We'll be doing that. I have been doing a lot.

1:37:30.680 --> 1:37:32.560
<v Speaker 1>I mean, is there a woman who? Oh no, it

1:37:32.720 --> 1:37:38.080
<v Speaker 1>was all fictitious, But that was a big seminal moment

1:37:38.160 --> 1:37:40.280
<v Speaker 1>for me in the studio. Not for anybody else probably,

1:37:40.320 --> 1:37:43.120
<v Speaker 1>but for me it was. So you'll enjoy playing that live,

1:37:43.320 --> 1:37:45.320
<v Speaker 1>I do. I mean, there's a lot of songs I

1:37:45.400 --> 1:37:48.120
<v Speaker 1>enjoyed playing live. It's just how you build a set

1:37:48.200 --> 1:37:50.200
<v Speaker 1>in order to how you know, take the crowd on

1:37:50.320 --> 1:37:52.479
<v Speaker 1>there on this little journey with your sot A spirit,

1:37:52.520 --> 1:37:55.200
<v Speaker 1>And do you find if you headline that the fans

1:37:55.240 --> 1:37:57.479
<v Speaker 1>are a little more die hard as opposed to play

1:37:58.400 --> 1:38:02.880
<v Speaker 1>if you're opening Let's say, for uh, when the first

1:38:03.320 --> 1:38:05.600
<v Speaker 1>tour we did when we got with Irving was with

1:38:05.720 --> 1:38:10.280
<v Speaker 1>Journey and um and it was us and and Dave

1:38:10.360 --> 1:38:12.679
<v Speaker 1>Mason played before we did, and we played, the Journey played,

1:38:12.960 --> 1:38:16.719
<v Speaker 1>and so every night to places, which as they always

1:38:16.720 --> 1:38:18.080
<v Speaker 1>are in any of these kind of ship gigs, are

1:38:18.080 --> 1:38:21.559
<v Speaker 1>always packed pretty much, and uh, we were getting really

1:38:21.600 --> 1:38:24.280
<v Speaker 1>great response, so it was it was not you know,

1:38:24.360 --> 1:38:26.240
<v Speaker 1>we were this this is an extension of what we've

1:38:26.240 --> 1:38:28.439
<v Speaker 1>already been doing anyway, so it's more of the same

1:38:28.520 --> 1:38:32.320
<v Speaker 1>but different bands than we had played with before. We'd

1:38:32.320 --> 1:38:34.439
<v Speaker 1>played with Dave before, but we've never played with Journey

1:38:35.040 --> 1:38:40.040
<v Speaker 1>since way back when, and then um, this last year

1:38:40.120 --> 1:38:42.560
<v Speaker 1>we've been with Steely Dan. We just just finished that

1:38:42.600 --> 1:38:44.880
<v Speaker 1>two our month ago. We were out for over two

1:38:44.880 --> 1:38:49.519
<v Speaker 1>and a half months straight and wide swath musically, I mean,

1:38:49.560 --> 1:38:53.120
<v Speaker 1>you've got jazz rock and all these phenomenal players on stage,

1:38:54.120 --> 1:38:59.160
<v Speaker 1>and Donald still sounds great as ever and really a

1:38:59.240 --> 1:39:02.280
<v Speaker 1>killer band, but completely musically different from what we did

1:39:03.000 --> 1:39:05.800
<v Speaker 1>and the crowd loved it, which was very cool. So

1:39:05.920 --> 1:39:08.360
<v Speaker 1>it all works. We had You've had a lot of hits,

1:39:08.439 --> 1:39:10.800
<v Speaker 1>so at this Okay. A couple other questions. How many

1:39:10.840 --> 1:39:13.760
<v Speaker 1>times you've been married? Once? Really? Uh? And I'm still

1:39:13.840 --> 1:39:16.920
<v Speaker 1>married to her now. We've been married for over thirty years. Okay.

1:39:17.000 --> 1:39:19.880
<v Speaker 1>So because most bands, seems the band goes on the road.

1:39:19.920 --> 1:39:22.000
<v Speaker 1>Remember Metallica, They went on the road for extended period

1:39:22.000 --> 1:39:24.800
<v Speaker 1>of time, they came home, everybody got divorced. How did

1:39:24.840 --> 1:39:27.760
<v Speaker 1>you how did you maintain that relationship in the face

1:39:27.840 --> 1:39:31.600
<v Speaker 1>of this crazy lifestyle. Well, it's not that crazy nowadays.

1:39:31.680 --> 1:39:34.080
<v Speaker 1>It's it's work, you know. I mean, you're out making

1:39:34.120 --> 1:39:37.400
<v Speaker 1>a living. It's not the days of the seventies and

1:39:37.439 --> 1:39:39.519
<v Speaker 1>the hey day. You know, sex, drugs and rock and

1:39:39.600 --> 1:39:43.400
<v Speaker 1>roll are gone. Um, it's just it's a job. But

1:39:43.520 --> 1:39:46.639
<v Speaker 1>I enjoyed the job. I love playing music and I love,

1:39:46.840 --> 1:39:49.920
<v Speaker 1>as does everybody else in this band, interacting with the crowd.

1:39:50.640 --> 1:39:53.599
<v Speaker 1>And to me as a musician, when I'm on stage,

1:39:54.600 --> 1:39:57.800
<v Speaker 1>the prenuptialate job that you have is to get that

1:39:57.880 --> 1:40:02.240
<v Speaker 1>crowd up every single night and barring security guys and

1:40:02.360 --> 1:40:04.920
<v Speaker 1>a place that won't allow him to get up even

1:40:04.920 --> 1:40:08.600
<v Speaker 1>and then I still try, but the idea is to

1:40:08.680 --> 1:40:11.880
<v Speaker 1>get him up dancing, say along with you if they

1:40:11.920 --> 1:40:15.519
<v Speaker 1>know the songs, which in a lot of cases they do. Um,

1:40:16.360 --> 1:40:18.960
<v Speaker 1>that's an every night thing. And on that note, what

1:40:19.080 --> 1:40:22.000
<v Speaker 1>a better time to end with the pinnacle moment of

1:40:22.080 --> 1:40:24.519
<v Speaker 1>what's still going on the road. You can certainly see

1:40:24.560 --> 1:40:26.719
<v Speaker 1>the Doobie Brothers on the road, as we said, eighty

1:40:26.800 --> 1:40:29.920
<v Speaker 1>times a year. They come to your marketplace eventually. But

1:40:30.040 --> 1:40:33.040
<v Speaker 1>even so, the records, I really would say go back

1:40:33.080 --> 1:40:37.160
<v Speaker 1>to listen to those early records Vices and to Lose

1:40:37.240 --> 1:40:39.960
<v Speaker 1>Street and the Captain Me. They don't really sound like

1:40:40.040 --> 1:40:42.720
<v Speaker 1>anything else in the marketplace. There's a unique sound and

1:40:42.760 --> 1:40:45.080
<v Speaker 1>as a results are also not dated. It also has

1:40:45.160 --> 1:40:47.160
<v Speaker 1>something to do with the level. They're the high level

1:40:47.200 --> 1:40:50.560
<v Speaker 1>that recorded on but really satisfying music. I mean, I

1:40:50.960 --> 1:40:52.559
<v Speaker 1>literally play them all the time. So it's a thrill

1:40:52.640 --> 1:40:55.880
<v Speaker 1>to have you here. Thanks so much, Tom, appreciate if

1:40:55.920 --> 1:40:58.200
<v Speaker 1>I play here until next time. It's Bob left Sets.

1:40:58.240 --> 1:41:01.080
<v Speaker 1>You're listening to me on my own podcast recorded live

1:41:01.160 --> 1:41:08.479
<v Speaker 1>here at tune In Studios in Venice, California. How great

1:41:08.600 --> 1:41:11.760
<v Speaker 1>was that? Listen? I'm a huge Doobie Brothers fan to

1:41:11.880 --> 1:41:14.200
<v Speaker 1>sit here and get answers to some questions I've had

1:41:14.240 --> 1:41:17.200
<v Speaker 1>for decades and listen to Tom talk about what it's

1:41:17.240 --> 1:41:18.720
<v Speaker 1>like being in the band and being on the road

1:41:19.240 --> 1:41:23.000
<v Speaker 1>was very special and stimulating. I know you loved it too.

1:41:23.560 --> 1:41:42.960
<v Speaker 1>Until next time, I'm Bob. Leff says, don't know