1 00:00:00,600 --> 00:00:01,320 Speaker 1: Taking a Walk. 2 00:00:01,440 --> 00:00:05,160 Speaker 2: So music and art are they're not benign. They're there 3 00:00:05,280 --> 00:00:09,080 Speaker 2: to help, They're they're there to guide. I don't mean 4 00:00:09,160 --> 00:00:10,840 Speaker 2: just the people that have to write it. I mean 5 00:00:11,400 --> 00:00:13,880 Speaker 2: we lock out on a lot of things that we do. 6 00:00:14,720 --> 00:00:19,080 Speaker 2: But you mentioned it before too, Buzz, which is it 7 00:00:19,200 --> 00:00:21,680 Speaker 2: enables an enacts the spirit of community. 8 00:00:21,800 --> 00:00:25,480 Speaker 3: Hi, I'm Buzznight and welcome to the Taking a Walk Podcast. 9 00:00:25,560 --> 00:00:28,800 Speaker 3: This is the podcast where we love talking with musicians. 10 00:00:28,840 --> 00:00:30,600 Speaker 4: We get the inside. 11 00:00:30,000 --> 00:00:33,760 Speaker 3: Scoop about what they're up to and how they got 12 00:00:33,800 --> 00:00:37,920 Speaker 3: there with their latest project and all other fun high 13 00:00:38,000 --> 00:00:42,280 Speaker 3: jinks along the way. I'm very pleased on this episode 14 00:00:42,320 --> 00:00:46,360 Speaker 3: to have a returning guest. We were able to take 15 00:00:46,400 --> 00:00:50,640 Speaker 3: a walk in person together pretty early on in the podcast, 16 00:00:50,960 --> 00:00:54,560 Speaker 3: and it was a delight in person. But if it 17 00:00:54,600 --> 00:00:58,920 Speaker 3: can't be in person, it's a delight to welcome back 18 00:00:59,400 --> 00:01:02,440 Speaker 3: the one and only Bill Payne from Little Feet to 19 00:01:02,520 --> 00:01:05,039 Speaker 3: the Taken Off Podcast. Bill, it's so great to be 20 00:01:05,120 --> 00:01:05,479 Speaker 3: with you. 21 00:01:06,640 --> 00:01:10,000 Speaker 2: Save here and yeah, what an honor to be invited back. 22 00:01:10,080 --> 00:01:14,240 Speaker 2: I mean, I've been keeping track of the various people 23 00:01:14,319 --> 00:01:17,119 Speaker 2: you've had on. It's it's an amazing array of artists 24 00:01:17,160 --> 00:01:22,280 Speaker 2: and thinkers and just good people, so creators to all 25 00:01:22,319 --> 00:01:23,800 Speaker 2: you're doing mans, it's. 26 00:01:23,600 --> 00:01:28,160 Speaker 3: Great having a blast, and you know, for me, it's 27 00:01:28,200 --> 00:01:31,920 Speaker 3: so amazing because I get to talk to people that 28 00:01:32,400 --> 00:01:38,320 Speaker 3: I've followed and cross paths with or admired over the years, 29 00:01:38,480 --> 00:01:40,760 Speaker 3: and you are certainly one of those people. And the 30 00:01:40,800 --> 00:01:43,759 Speaker 3: band Little Feet also is very near and dear as 31 00:01:43,800 --> 00:01:47,720 Speaker 3: are you to my heart, so thank you for being on. 32 00:01:48,000 --> 00:01:49,280 Speaker 4: It's really tremendous. 33 00:01:49,560 --> 00:01:51,160 Speaker 2: Thank you so much, rn Bill. 34 00:01:51,240 --> 00:01:54,360 Speaker 3: Since the podcast is called taking a Walk, I do 35 00:01:54,440 --> 00:01:58,120 Speaker 3: want to ask you if if you had the opportunity 36 00:01:58,200 --> 00:02:02,760 Speaker 3: to take a walk or a saunter with somebody living 37 00:02:02,880 --> 00:02:08,520 Speaker 3: or dead, they could be certainly affiliated in and around music, 38 00:02:08,600 --> 00:02:11,520 Speaker 3: but doesn't have to be. There's no rules to what 39 00:02:11,639 --> 00:02:14,720 Speaker 3: we're doing here. Who would you take a walk with 40 00:02:14,960 --> 00:02:17,359 Speaker 3: and where would you take a walk with them? 41 00:02:18,200 --> 00:02:25,800 Speaker 2: Oh my gosh, that's well. I mean, I'm thinking this 42 00:02:25,919 --> 00:02:28,560 Speaker 2: book I'm writing, called Carnival Ghost, I've got a huge 43 00:02:29,120 --> 00:02:34,160 Speaker 2: section it on surfing for a number of reasons. I 44 00:02:34,160 --> 00:02:38,640 Speaker 2: mean not only the art and act of surfing, but 45 00:02:38,760 --> 00:02:42,239 Speaker 2: the music that surrounded it, the films that I went 46 00:02:42,280 --> 00:02:48,200 Speaker 2: to and watched people on stage narrate their movies. Well, 47 00:02:48,639 --> 00:02:51,440 Speaker 2: one of those guys was Bruce Brown, who also did 48 00:02:51,480 --> 00:02:58,079 Speaker 2: movies on motorcycles. Bruce had Barefoot Adventure. He went to 49 00:02:58,120 --> 00:03:01,480 Speaker 2: South Africa with a couple of different people in another film, 50 00:03:02,960 --> 00:03:08,720 Speaker 2: but he had a soundtrack to Barefoot Adventure, which featured 51 00:03:08,760 --> 00:03:13,359 Speaker 2: Bud Powell. Let's see I've got Thad Jones, I think 52 00:03:13,480 --> 00:03:17,679 Speaker 2: was on trumpet man. Are some great great jazz musicians. 53 00:03:18,040 --> 00:03:20,959 Speaker 2: Dennis Budenmeyer was on there. Who I got a chance 54 00:03:21,000 --> 00:03:24,680 Speaker 2: to tell me I was aware of this record. I'd 55 00:03:24,720 --> 00:03:27,720 Speaker 2: love to take a walk with Bruce Brown. He passed 56 00:03:27,720 --> 00:03:30,120 Speaker 2: away a few years ago, and I'd probably do it 57 00:03:30,240 --> 00:03:32,400 Speaker 2: up in the Santa Barbara area, on one of those 58 00:03:33,120 --> 00:03:36,720 Speaker 2: those beaches up there, maybe even along the cliffs of 59 00:03:37,440 --> 00:03:41,120 Speaker 2: a further north of Santa Barbara, between Santa Barbara and 60 00:03:41,160 --> 00:03:45,119 Speaker 2: the Gaviota Pass, some lovely territory up there. I spent 61 00:03:45,160 --> 00:03:48,880 Speaker 2: a lot of time surfing and just trying to think 62 00:03:48,920 --> 00:03:53,400 Speaker 2: out my next moves, and it is a good contemplative area. 63 00:03:53,640 --> 00:03:56,160 Speaker 2: I think it'd be wonderful to talk with him up there. 64 00:03:56,960 --> 00:03:58,680 Speaker 3: I love it, I love it. We have a lot 65 00:03:58,680 --> 00:04:01,680 Speaker 3: to catch up on. We want to talk about the book. 66 00:04:01,720 --> 00:04:05,720 Speaker 3: We'll come back to that. Certainly your photography as well. 67 00:04:05,760 --> 00:04:09,840 Speaker 3: I want to hear if you've been continuing to dabble 68 00:04:09,920 --> 00:04:14,360 Speaker 3: at that. But the exciting news too that we want 69 00:04:14,400 --> 00:04:17,880 Speaker 3: to talk about is Strike up the band, the brand 70 00:04:17,960 --> 00:04:24,159 Speaker 3: new Little Feet release which has got some amazing folks 71 00:04:24,200 --> 00:04:28,599 Speaker 3: on it. You've got Lark and Poe and Molly Tuttle 72 00:04:28,680 --> 00:04:31,720 Speaker 3: and Larry Campbell. I want to hear how that all 73 00:04:31,760 --> 00:04:35,159 Speaker 3: came together, how this new project came together for you 74 00:04:35,279 --> 00:04:36,320 Speaker 3: and the band. 75 00:04:36,200 --> 00:04:41,640 Speaker 2: Well, from the inception of putting the band back together 76 00:04:41,839 --> 00:04:46,480 Speaker 2: after Paul Brer passed away in twenty nineteen. Scott Gerard 77 00:04:46,600 --> 00:04:52,320 Speaker 2: was on the Very Show the very date in October 78 00:04:52,360 --> 00:04:56,359 Speaker 2: that Paul passed away. They joined us. Lynn, Larry Campbell 79 00:04:56,400 --> 00:04:59,840 Speaker 2: and Teresa Williams had been on the tour up until 80 00:05:00,920 --> 00:05:03,799 Speaker 2: they had a couple of other obligations they had to fill, 81 00:05:03,880 --> 00:05:07,880 Speaker 2: so we brought in Scott. I had met him during 82 00:05:07,920 --> 00:05:10,200 Speaker 2: the tour with the Dbie Brothers and he was the 83 00:05:10,279 --> 00:05:13,800 Speaker 2: musical director for Greg Alman. We had a gig coming 84 00:05:13,839 --> 00:05:16,720 Speaker 2: up also in Jamaica. Where are we going to do it? 85 00:05:16,760 --> 00:05:20,479 Speaker 2: Are we? We decided, with the way Scott was playing, 86 00:05:20,520 --> 00:05:22,480 Speaker 2: the way we all felt about it, that we should 87 00:05:22,560 --> 00:05:27,480 Speaker 2: definitely do that a cemented relationship with Scott, which we did, 88 00:05:27,760 --> 00:05:32,760 Speaker 2: and a few months later we brought in Tony Leoni 89 00:05:32,839 --> 00:05:36,960 Speaker 2: on drums, so everything was set and in COVID hit 90 00:05:38,120 --> 00:05:41,880 Speaker 2: so we were communicating the well exactly what you and 91 00:05:41,960 --> 00:05:47,919 Speaker 2: I are doing now over the Internet and sitting tracks 92 00:05:47,960 --> 00:05:52,159 Speaker 2: back and forth and recording and whatnot, but no get togethers. 93 00:05:52,360 --> 00:05:57,520 Speaker 2: That didn't happen until tomorrow, November twenty twenty one. When 94 00:05:57,520 --> 00:06:00,840 Speaker 2: we did get together, we had this agenda which management 95 00:06:00,880 --> 00:06:05,160 Speaker 2: helped figure out, which was let's go and take song 96 00:06:05,240 --> 00:06:09,040 Speaker 2: requests from fans, which we did, which opened a whole 97 00:06:09,080 --> 00:06:12,560 Speaker 2: catalog that we hadn't played in a long time, songs 98 00:06:12,680 --> 00:06:16,760 Speaker 2: like Strawberry Flats for example, off the very first album. 99 00:06:17,560 --> 00:06:21,080 Speaker 2: But it's shortly to follow that. Bud was there the 100 00:06:21,160 --> 00:06:24,160 Speaker 2: notion of going out and playing Waiting for Columbus, which 101 00:06:24,200 --> 00:06:26,440 Speaker 2: I had always sort of balked at, to be honest 102 00:06:26,480 --> 00:06:30,080 Speaker 2: with you, but it made perfect sense now that we 103 00:06:30,160 --> 00:06:33,720 Speaker 2: had this band that could play anything. It was a 104 00:06:33,800 --> 00:06:39,000 Speaker 2: gutsy move to try and replicate a record, if not replicated, 105 00:06:39,040 --> 00:06:41,680 Speaker 2: at least play songs in order and then put our 106 00:06:41,680 --> 00:06:44,360 Speaker 2: spin on it. I thought it was a necessary thing 107 00:06:44,400 --> 00:06:48,240 Speaker 2: to do. But even so, the notion of putting in 108 00:06:48,240 --> 00:06:52,679 Speaker 2: a record together was deeply planned. I'd written twenty songs 109 00:06:53,120 --> 00:06:57,160 Speaker 2: with Robert Hunter, for example, four of which had been 110 00:06:57,160 --> 00:07:03,159 Speaker 2: recorded in twenty twelve on Richter ragg I just thowt like, 111 00:07:03,320 --> 00:07:05,799 Speaker 2: we don't have to prove we can play Dixie Chicken. 112 00:07:06,480 --> 00:07:08,799 Speaker 2: Somebody asked me how to keep that song so fresh? 113 00:07:08,800 --> 00:07:10,640 Speaker 2: And I said, well, what do you do when you 114 00:07:10,640 --> 00:07:13,920 Speaker 2: sing happy birthday to someone? You see it from the heart. 115 00:07:14,040 --> 00:07:17,800 Speaker 4: I hope, yeah, that's wonderful. 116 00:07:17,680 --> 00:07:21,200 Speaker 2: That kind of thing. That's what we do. So this 117 00:07:21,360 --> 00:07:25,120 Speaker 2: was a long, securitious answer to a project that was 118 00:07:25,440 --> 00:07:29,119 Speaker 2: the inception was in the beginning of the band coming 119 00:07:29,120 --> 00:07:32,960 Speaker 2: back Together, which was in twenty twenty. But we brought 120 00:07:33,000 --> 00:07:37,800 Speaker 2: Advance Powell, who works with Christa Ableton. He's engineer and 121 00:07:38,560 --> 00:07:41,520 Speaker 2: worked with Fish. He was one of those guys. Honestly, 122 00:07:42,000 --> 00:07:44,640 Speaker 2: we recorded at Blackbird Studios in Nashville, which he helped 123 00:07:44,680 --> 00:07:47,880 Speaker 2: put together with George Massenberg was also involved in that, 124 00:07:47,920 --> 00:07:51,400 Speaker 2: who was also one of our engineers for many, many years. 125 00:07:52,240 --> 00:07:55,560 Speaker 2: Advance is one of those guys a buzz that can 126 00:07:55,680 --> 00:07:59,120 Speaker 2: just before you even think of what you're going to 127 00:07:59,160 --> 00:08:03,520 Speaker 2: say to him. He's already there, or when I contemplate saying, hey, listen, 128 00:08:03,880 --> 00:08:06,800 Speaker 2: when we oh, no, you've already got that. Okay, God, 129 00:08:07,360 --> 00:08:10,200 Speaker 2: he was ten steps ahead of me almost the entire way. 130 00:08:10,640 --> 00:08:15,640 Speaker 2: He brought in Christian Rodgers to sing backgrounds on some vocals. 131 00:08:15,680 --> 00:08:19,840 Speaker 2: She's out now with Post Malone, so I mean his 132 00:08:20,360 --> 00:08:24,880 Speaker 2: taste are great. He solidified that by choosing Littleviedt I 133 00:08:24,920 --> 00:08:29,000 Speaker 2: thought to work with. But he and I as a 134 00:08:29,040 --> 00:08:35,040 Speaker 2: production team also fell into line very well with any 135 00:08:35,520 --> 00:08:37,400 Speaker 2: kind of scene like that. It takes a while for 136 00:08:37,440 --> 00:08:40,920 Speaker 2: people to sort of acclimate to one another, which was 137 00:08:40,920 --> 00:08:45,280 Speaker 2: the case with the band and with Vance. But he 138 00:08:45,360 --> 00:08:49,400 Speaker 2: was so adapt at making people feel comfortable, and we 139 00:08:49,480 --> 00:08:51,880 Speaker 2: had a couple of all ramps we could take with 140 00:08:51,960 --> 00:08:55,080 Speaker 2: Scott Grard, who wanted to work with our engineer who 141 00:08:55,080 --> 00:08:59,920 Speaker 2: he also brought in, which is Charles A. Martinez turn 142 00:09:00,080 --> 00:09:03,480 Speaker 2: Els or Charlie as we call him. That work with 143 00:09:03,520 --> 00:09:08,040 Speaker 2: Steely Dan, with with Donald Fagan, those credittions alone the 144 00:09:08,160 --> 00:09:10,360 Speaker 2: doors wide open for him as far as I'm concerned. 145 00:09:11,040 --> 00:09:13,600 Speaker 2: So then it was a matter of songs. I started 146 00:09:13,600 --> 00:09:16,000 Speaker 2: writing songs with with I went back to New York 147 00:09:16,000 --> 00:09:19,320 Speaker 2: to write with Tony and with Scott. We came up 148 00:09:19,360 --> 00:09:21,200 Speaker 2: with a couple of things there. One of them was 149 00:09:21,880 --> 00:09:24,640 Speaker 2: the very first track on the record, which is a 150 00:09:24,720 --> 00:09:26,880 Speaker 2: title that I'd come up with and actually had to 151 00:09:26,880 --> 00:09:29,480 Speaker 2: start to some music with as well, and some lyrics. 152 00:09:30,040 --> 00:09:32,880 Speaker 2: Four days of having three days of work. And when 153 00:09:32,920 --> 00:09:35,679 Speaker 2: people hear that, I mean, I'll literally be in an 154 00:09:35,800 --> 00:09:40,240 Speaker 2: uber in Denver, in New York and Saint Louis, wherever 155 00:09:40,240 --> 00:09:43,000 Speaker 2: the heck I am, and I'll ask the drive where 156 00:09:43,000 --> 00:09:45,000 Speaker 2: are you from? And do you sally? They're from Africa, 157 00:09:45,920 --> 00:09:50,800 Speaker 2: sometimes Guatemala. Wherever I'll play them, I'll play first, I'll 158 00:09:50,800 --> 00:09:53,880 Speaker 2: play some where they're from. I'll play that music where 159 00:09:53,880 --> 00:09:56,679 Speaker 2: they're from. Oh you're from the Congo. Here's some Congolese 160 00:09:56,760 --> 00:09:59,760 Speaker 2: roombaut for you. And I say, well, now here's a 161 00:09:59,800 --> 00:10:02,679 Speaker 2: big I play with, and I'll play that track and 162 00:10:02,720 --> 00:10:05,040 Speaker 2: they're like, oh that's. 163 00:10:04,840 --> 00:10:09,240 Speaker 4: Good, Oh that's awesome. Those are like many focus groups, 164 00:10:09,280 --> 00:10:09,840 Speaker 4: you don't. 165 00:10:09,679 --> 00:10:12,120 Speaker 2: And honestly answer. I mean to throw it out in 166 00:10:12,200 --> 00:10:15,120 Speaker 2: people like that. It's you know what it's like, It's 167 00:10:17,000 --> 00:10:21,280 Speaker 2: you get honest reactions from people sometimes strike up. The 168 00:10:21,320 --> 00:10:24,880 Speaker 2: band reminds me greatly of of of Let It Roll. 169 00:10:25,960 --> 00:10:29,040 Speaker 2: For one main reason is that Letter Roll we were 170 00:10:29,080 --> 00:10:32,880 Speaker 2: we were reintroducing the band to people. We were in 171 00:10:32,920 --> 00:10:36,880 Speaker 2: a very similar position this time, and when things are 172 00:10:36,960 --> 00:10:41,240 Speaker 2: running smoothly with Letter Roll, we had at the Helm 173 00:10:41,360 --> 00:10:45,920 Speaker 2: Peter Asher management. This time we have Ken Levitan Brian 174 00:10:45,960 --> 00:10:50,160 Speaker 2: Pennox at Vector. When things are going smoothly, as I said, Uh, 175 00:10:51,400 --> 00:10:54,839 Speaker 2: you can almost script what's going to happen. I'm pretty 176 00:10:54,840 --> 00:10:58,080 Speaker 2: good at that. And I just was not surprised at 177 00:10:58,080 --> 00:11:00,440 Speaker 2: the reaction we've been getting. I knew it would be good. 178 00:11:01,320 --> 00:11:05,439 Speaker 2: It's still that the old adage when you're playing, you 179 00:11:05,480 --> 00:11:09,800 Speaker 2: put your mask on first. So I'm there, I have 180 00:11:09,920 --> 00:11:12,840 Speaker 2: my mask on, I'm ready. I just think it's a 181 00:11:13,040 --> 00:11:17,280 Speaker 2: really the portraitures that are on that record are are 182 00:11:17,400 --> 00:11:21,319 Speaker 2: well framed. I enjoyed the writing process, not in wiscont 183 00:11:21,360 --> 00:11:24,680 Speaker 2: and Tony, but but with Charlie Starr from BlackBerry Smoke, 184 00:11:25,120 --> 00:11:29,439 Speaker 2: John levinthal is a good friend in New York, Vince Herman, 185 00:11:29,480 --> 00:11:32,320 Speaker 2: who I just worked with that Red Rocks, who's in 186 00:11:32,360 --> 00:11:34,600 Speaker 2: a band called Leftover Salmon. We did the last song 187 00:11:34,640 --> 00:11:37,840 Speaker 2: on the record, which was New Orleans Cries When She Sings, 188 00:11:38,440 --> 00:11:42,120 Speaker 2: which is an ode to UH to New Orleans, a 189 00:11:42,200 --> 00:11:46,120 Speaker 2: dangerous place, but a wonderful place. Nonetheless, life is pretty 190 00:11:46,120 --> 00:11:46,640 Speaker 2: good right. 191 00:11:46,520 --> 00:11:49,000 Speaker 4: Now, it's tremendous. 192 00:11:49,040 --> 00:11:53,760 Speaker 3: And thinking about really the uh, the added collaborators too, 193 00:11:53,760 --> 00:11:57,240 Speaker 3: I'm just so fascinated by that that group. Big fans 194 00:11:57,440 --> 00:12:01,840 Speaker 3: of all of them, for of all talk about your 195 00:12:01,920 --> 00:12:05,559 Speaker 3: opportunity to connect with and work with Larkin Poe. 196 00:12:06,400 --> 00:12:10,880 Speaker 2: If I'm not mistaken, that was an idea that Scott 197 00:12:10,920 --> 00:12:13,680 Speaker 2: Gerard might have had. But it was also an idea 198 00:12:13,800 --> 00:12:17,400 Speaker 2: for sure that that Vance Powell brought to the table 199 00:12:18,040 --> 00:12:21,080 Speaker 2: because they live in town. They live in Nashville, so 200 00:12:21,200 --> 00:12:24,960 Speaker 2: he felt he could contact them and wheeld them in 201 00:12:25,080 --> 00:12:28,360 Speaker 2: and Scott I had a song and form as well, 202 00:12:28,440 --> 00:12:33,480 Speaker 2: but I deferred to Scott, and I'm glad I did 203 00:12:33,520 --> 00:12:38,640 Speaker 2: because I think they worked out beautifully on the title. 204 00:12:38,679 --> 00:12:40,240 Speaker 2: Trucks struck up the band. 205 00:12:41,000 --> 00:12:44,640 Speaker 3: And then there's the phenomenal Molly Tuttele connecting with her. 206 00:12:44,800 --> 00:12:45,560 Speaker 4: What was that? 207 00:12:47,120 --> 00:12:51,160 Speaker 2: I told Molly before we went to the studio, I said, listen, 208 00:12:51,840 --> 00:12:54,160 Speaker 2: the only thing this bluegrass about this song that you're 209 00:12:54,160 --> 00:12:57,240 Speaker 2: going to play and was called Bluegrass Pines by Robert 210 00:12:57,320 --> 00:13:01,160 Speaker 2: hundred myself, is the title. Other than that, it's a 211 00:13:01,160 --> 00:13:04,720 Speaker 2: long securitis song and if you need any help, let 212 00:13:04,760 --> 00:13:07,920 Speaker 2: me know, but I'm turning you loose on it. I'll 213 00:13:07,960 --> 00:13:10,200 Speaker 2: be there to help guide it. But I want to 214 00:13:10,200 --> 00:13:13,760 Speaker 2: play acoustic guitar and just to feel comfortable to try 215 00:13:13,840 --> 00:13:17,600 Speaker 2: things and let's see what fits. So she said exactly that, 216 00:13:18,000 --> 00:13:25,920 Speaker 2: And it's just an extraordinary, extraordinarily warm person, which I 217 00:13:25,920 --> 00:13:28,959 Speaker 2: would have expected nothing less, but sometimes you don't know 218 00:13:29,040 --> 00:13:31,800 Speaker 2: until you actually meet people. So that was a thrill 219 00:13:31,840 --> 00:13:33,400 Speaker 2: to to've had her on this record. 220 00:13:34,320 --> 00:13:36,160 Speaker 3: I mean, I think it's so brilliant, you know, once 221 00:13:36,200 --> 00:13:39,960 Speaker 3: again for fans of the band for a long time 222 00:13:40,600 --> 00:13:44,800 Speaker 3: to get what they you know, always will expect at 223 00:13:44,840 --> 00:13:48,480 Speaker 3: a Little Feet as as a band and the great playing, 224 00:13:48,920 --> 00:13:52,400 Speaker 3: but then adding these these these new voices which are 225 00:13:52,640 --> 00:13:59,000 Speaker 3: really emerging brilliantly out of places like Nashville, and and 226 00:13:59,040 --> 00:14:02,640 Speaker 3: they're just these phenomenal players that are just just a 227 00:14:02,679 --> 00:14:07,720 Speaker 3: whole different generation. And what's so cool about that generation 228 00:14:08,800 --> 00:14:13,000 Speaker 3: is that they have such great respect for certainly the 229 00:14:13,960 --> 00:14:14,920 Speaker 3: past as well. 230 00:14:15,559 --> 00:14:20,160 Speaker 2: Yeah, well well said of Uzz and Little Feet is 231 00:14:20,280 --> 00:14:22,800 Speaker 2: known and has been known for a long long time 232 00:14:22,880 --> 00:14:27,800 Speaker 2: as a musician's musicians group, which we still are and 233 00:14:28,680 --> 00:14:32,600 Speaker 2: we're not pop stars or rock stars. Some people try 234 00:14:32,600 --> 00:14:36,120 Speaker 2: and put that label on I've tried to put on 235 00:14:36,160 --> 00:14:37,600 Speaker 2: me a couple of times, and I said, look, if 236 00:14:37,600 --> 00:14:39,280 Speaker 2: you want to think of you a rock star, go ahead. 237 00:14:39,880 --> 00:14:46,560 Speaker 2: I think of myself as a rockhead mainly, but mainly 238 00:14:46,960 --> 00:14:50,800 Speaker 2: I am undoubtedly a musician. So that's what when those 239 00:14:50,840 --> 00:14:53,720 Speaker 2: doors are open, that's that's who we're inviting in our people. 240 00:14:54,840 --> 00:14:58,520 Speaker 2: We're in the same club. And the club, ironically is 241 00:14:58,760 --> 00:15:01,320 Speaker 2: for most of us as Breator Mark used to say, 242 00:15:01,600 --> 00:15:03,440 Speaker 2: I would never join a club that would accept me 243 00:15:03,440 --> 00:15:08,880 Speaker 2: as a member. They're pretty much of that mindset too. 244 00:15:08,960 --> 00:15:12,600 Speaker 2: But we are a rather exclusive club. As a musician, 245 00:15:13,240 --> 00:15:17,720 Speaker 2: and the trials and errors and tribulations that come with 246 00:15:18,000 --> 00:15:20,440 Speaker 2: taking your arts seriously but having trying to have fun 247 00:15:20,480 --> 00:15:25,040 Speaker 2: with it is those are the past we've chosen over 248 00:15:25,040 --> 00:15:28,080 Speaker 2: the years when we have very similar stories to tell 249 00:15:28,080 --> 00:15:31,680 Speaker 2: along those lines, which is which is great. So when 250 00:15:31,720 --> 00:15:34,600 Speaker 2: I meet people, and I've done this for a long time, 251 00:15:34,680 --> 00:15:37,960 Speaker 2: is it's not always a musician within little Feet who 252 00:15:37,960 --> 00:15:42,680 Speaker 2: already had the mantle of being a band's band and 253 00:15:42,720 --> 00:15:44,960 Speaker 2: that kind of thing. Or when Eric Clapton came to 254 00:15:45,000 --> 00:15:47,240 Speaker 2: see us, I said, man, you saw us week a 255 00:15:47,240 --> 00:15:50,320 Speaker 2: week or two ago. What's going on? He goes, I 256 00:15:50,400 --> 00:15:52,800 Speaker 2: brought my band here. I want to I want to 257 00:15:52,800 --> 00:15:57,240 Speaker 2: hear a proper band. I go, oh, okay, good, thank you. 258 00:15:58,080 --> 00:16:01,920 Speaker 2: So as a proper band, that's that's a pretty good 259 00:16:02,080 --> 00:16:05,600 Speaker 2: high compliment from Eric. But we we are, I mean, 260 00:16:05,680 --> 00:16:08,800 Speaker 2: that's that's what we do. And being part of a 261 00:16:08,800 --> 00:16:12,880 Speaker 2: proper band for me is what platform are you using 262 00:16:13,560 --> 00:16:16,920 Speaker 2: to tell the story? Are you writing your own songs? 263 00:16:17,320 --> 00:16:20,080 Speaker 2: That's not necessary. You don't have to. There are plenty 264 00:16:20,160 --> 00:16:23,880 Speaker 2: great writers. There's plenty of great songs out there. How 265 00:16:23,920 --> 00:16:26,600 Speaker 2: do you treat it with it within regard to not 266 00:16:26,680 --> 00:16:29,240 Speaker 2: only your instrument, but how you blend with others? How 267 00:16:29,240 --> 00:16:34,040 Speaker 2: do you play with others? There's so much that's involved, 268 00:16:34,080 --> 00:16:37,840 Speaker 2: and so much that like being an athlete where they 269 00:16:37,880 --> 00:16:41,440 Speaker 2: have great peripheral vision, whether it's on the basketball court 270 00:16:41,520 --> 00:16:45,320 Speaker 2: or the hockey or whatever they're doing. Within music, you 271 00:16:45,360 --> 00:16:49,080 Speaker 2: have great, or should have pretty wide and great peripheral 272 00:16:49,320 --> 00:16:54,200 Speaker 2: hearing as well. So it's what you hear and what 273 00:16:54,240 --> 00:16:55,680 Speaker 2: you react against. 274 00:16:55,680 --> 00:17:00,680 Speaker 4: It's like our conversation, Yeah, natural flow, which is you. 275 00:17:00,680 --> 00:17:04,080 Speaker 3: You guys have always made it look so easy, but 276 00:17:04,119 --> 00:17:08,159 Speaker 3: there's nothing easy about what you're what you're doing. It's complicated, 277 00:17:08,320 --> 00:17:13,119 Speaker 3: it's intricate, it's it brings you to different places, and 278 00:17:13,200 --> 00:17:17,800 Speaker 3: it blends all different genres. Now it's it's very popular 279 00:17:17,960 --> 00:17:22,080 Speaker 3: for artists to go, well, yeah, I'm blending genres. I 280 00:17:22,200 --> 00:17:26,480 Speaker 3: find my own, you know, particular niche there between this 281 00:17:26,720 --> 00:17:31,440 Speaker 3: genre and that genre. But in my opinion, when I 282 00:17:31,600 --> 00:17:35,560 Speaker 3: first discovered little Feet a few years back, that's everything 283 00:17:35,560 --> 00:17:39,280 Speaker 3: little Feet was about. It wasn't really genre defined in 284 00:17:39,359 --> 00:17:39,840 Speaker 3: my opinion. 285 00:17:39,920 --> 00:17:43,639 Speaker 2: Yeah, I'm with you, and I think that. Fortunately, for 286 00:17:43,960 --> 00:17:47,480 Speaker 2: most of the stuff we play, it sounds easy. In 287 00:17:47,480 --> 00:17:49,879 Speaker 2: other words, it sounds like falling off logs, so you're 288 00:17:50,400 --> 00:17:53,520 Speaker 2: you're not struggling to I mean, you might not struggle, 289 00:17:53,520 --> 00:17:55,520 Speaker 2: but you might have to hear a song a few 290 00:17:55,560 --> 00:17:59,920 Speaker 2: times to get a craft around your head. But the 291 00:18:00,160 --> 00:18:04,040 Speaker 2: water is pretty warm. It's a warm dive as a 292 00:18:04,080 --> 00:18:07,200 Speaker 2: musician when you try and play it, though, it's the 293 00:18:07,320 --> 00:18:11,480 Speaker 2: people come up to me, I mean, gosh, and they'll say, 294 00:18:11,520 --> 00:18:13,240 Speaker 2: well it was, and I go harder you thought, and 295 00:18:13,240 --> 00:18:16,119 Speaker 2: they go, yeah, I was thinking. Because I'm writing a 296 00:18:16,160 --> 00:18:22,200 Speaker 2: chapter now in this book Horrible Ghosts about songwriting, and 297 00:18:22,640 --> 00:18:25,560 Speaker 2: I want to take people through the process, and one 298 00:18:25,600 --> 00:18:28,919 Speaker 2: of the things I'm discovering about that process is is 299 00:18:28,920 --> 00:18:32,560 Speaker 2: that in trying, for my part, trying to keep the 300 00:18:32,680 --> 00:18:37,719 Speaker 2: music is interesting as the lyrics. Depending on what the 301 00:18:37,760 --> 00:18:43,720 Speaker 2: song is, the lyrics oftentimes will take precedent precedence only 302 00:18:43,760 --> 00:18:49,119 Speaker 2: in the cadence that I'm following. So if it's everything 303 00:18:49,160 --> 00:18:53,280 Speaker 2: four to four, like one two three four, but a 304 00:18:53,280 --> 00:18:55,200 Speaker 2: lot of my songs have like one two three four 305 00:18:55,240 --> 00:18:58,639 Speaker 2: and then boom, boom doom again, like two more extra 306 00:18:58,680 --> 00:19:02,439 Speaker 2: beats in a certain in section to accommodate lyrics or 307 00:19:02,480 --> 00:19:06,760 Speaker 2: to commodate a musical phrase. So I've never ever shied 308 00:19:06,800 --> 00:19:09,399 Speaker 2: away from that. It used to to confuse Richie Hayward 309 00:19:09,480 --> 00:19:13,119 Speaker 2: sometimes because he'd go, look, the one is here, and 310 00:19:13,160 --> 00:19:15,200 Speaker 2: it would but I said, no, Richie, when I'm going 311 00:19:15,240 --> 00:19:19,560 Speaker 2: one two three, and then I'm feeling the beats happening there, 312 00:19:19,600 --> 00:19:22,160 Speaker 2: and then it's one two three, one two three four, 313 00:19:22,440 --> 00:19:27,040 Speaker 2: so it's a seven beat phrase rather than four. But 314 00:19:27,240 --> 00:19:30,200 Speaker 2: he'd laugh and go, Okay. I said, as long as 315 00:19:30,200 --> 00:19:32,440 Speaker 2: you know what you're doing, you counted any way you want. 316 00:19:33,040 --> 00:19:35,840 Speaker 2: But what I'm feeling is when the accent hits hard. 317 00:19:36,440 --> 00:19:39,720 Speaker 2: That's where I start to recount. That's where one starts 318 00:19:39,720 --> 00:19:44,000 Speaker 2: for me, much like in Tom Wolfe's book The Right Stuff, 319 00:19:44,720 --> 00:19:48,600 Speaker 2: where the astronauts didn't they didn't want to evalue it 320 00:19:48,640 --> 00:19:50,600 Speaker 2: too heavily what they were doing back in the day 321 00:19:51,119 --> 00:19:55,000 Speaker 2: because they were basically, I don't they were human beings, 322 00:19:55,200 --> 00:19:57,879 Speaker 2: but they didn't feel they were much better than the 323 00:19:57,880 --> 00:20:00,159 Speaker 2: monkeys that were crawling in some of those capsules, this 324 00:20:01,160 --> 00:20:05,679 Speaker 2: popping them off into the air. In the beginning, for me, 325 00:20:05,800 --> 00:20:08,840 Speaker 2: I didn't really think about whether something was in a 326 00:20:08,880 --> 00:20:13,280 Speaker 2: certain time signature or didn't have three eight beats before 327 00:20:13,320 --> 00:20:16,080 Speaker 2: we talk took off on something I just I didn't 328 00:20:16,080 --> 00:20:18,600 Speaker 2: want to know. And then later I thought, well, why 329 00:20:18,640 --> 00:20:21,240 Speaker 2: am I I don't need to remain ignorant of this. 330 00:20:22,359 --> 00:20:27,240 Speaker 2: Let's uh if the proposition of learning, where it's learning scales, 331 00:20:27,840 --> 00:20:31,600 Speaker 2: or learning more chords, or listening to a broader context 332 00:20:31,640 --> 00:20:36,560 Speaker 2: of music, UH and or reading maybe literature or books 333 00:20:36,560 --> 00:20:38,399 Speaker 2: that are a little over your head and you have 334 00:20:38,440 --> 00:20:40,439 Speaker 2: to look at a dictionary every now and then, what 335 00:20:40,560 --> 00:20:44,480 Speaker 2: you're doing is expanding your vocabulary. I don't see how 336 00:20:44,480 --> 00:20:47,840 Speaker 2: that hurts anyone or anything, So I've I then began 337 00:20:47,920 --> 00:20:52,400 Speaker 2: to take that approach and go a little more consciously 338 00:20:52,440 --> 00:20:55,720 Speaker 2: into what I was doing and why, and without fear 339 00:20:55,720 --> 00:21:00,280 Speaker 2: of interrupting or hurting my creativity, which is the way 340 00:21:00,280 --> 00:21:02,880 Speaker 2: a lot of people think it does well. 341 00:21:02,880 --> 00:21:06,359 Speaker 3: When I think about working with you know, Lark and 342 00:21:06,440 --> 00:21:10,240 Speaker 3: Poe and Molly Tuttle and of course you know Larry 343 00:21:10,280 --> 00:21:13,439 Speaker 3: Campbell on the new project, and then I sort of 344 00:21:14,119 --> 00:21:19,199 Speaker 3: reflect with with your work beyond Little Feet, which to 345 00:21:19,320 --> 00:21:22,920 Speaker 3: name a few, I mean, I think of certainly your 346 00:21:22,920 --> 00:21:27,280 Speaker 3: work with Bonnie Rait and James Taylor. But then I 347 00:21:27,440 --> 00:21:31,320 Speaker 3: go off to thinking about your work you know that 348 00:21:31,400 --> 00:21:35,040 Speaker 3: you did with Pink Floyd and and uh, and then 349 00:21:35,080 --> 00:21:38,920 Speaker 3: of course the longstanding work with the Doobie Brothers. It's 350 00:21:38,920 --> 00:21:44,560 Speaker 3: always covered, you know, different territory for for sure. Is 351 00:21:44,600 --> 00:21:48,880 Speaker 3: there any territory that you haven't covered that you would 352 00:21:48,960 --> 00:21:50,120 Speaker 3: still like to cover? 353 00:21:50,280 --> 00:21:53,919 Speaker 2: Well, that's an excellent question, and uh, I guess the 354 00:21:53,960 --> 00:21:57,560 Speaker 2: short answers is no. But there's a song I've I've 355 00:21:57,680 --> 00:22:00,159 Speaker 2: I've got that I help will up here on the 356 00:22:00,160 --> 00:22:03,680 Speaker 2: next record. We have done some jazz, but we haven't 357 00:22:04,840 --> 00:22:07,320 Speaker 2: I've embraced jazz in the last few years more than 358 00:22:07,320 --> 00:22:11,400 Speaker 2: I've ever done in my life. Become more cognizant of things, 359 00:22:11,440 --> 00:22:14,760 Speaker 2: listening to a lot more of Herbie Hancock, who might 360 00:22:14,800 --> 00:22:17,960 Speaker 2: have also been a person to take a walk with, 361 00:22:18,200 --> 00:22:20,359 Speaker 2: to be honest with you, he's one of those guys. 362 00:22:21,240 --> 00:22:25,960 Speaker 2: Wayne Shorter, so Wayne Shorter and Herbie Hancock with their 363 00:22:26,000 --> 00:22:31,720 Speaker 2: collective work. I've got a song called Train's Blues, which 364 00:22:31,720 --> 00:22:34,840 Speaker 2: I might change because I didn't come up with the title. 365 00:22:35,320 --> 00:22:39,720 Speaker 2: But Train's Blues is also an album that John Coltrane did. 366 00:22:40,000 --> 00:22:42,920 Speaker 2: There's a couple of books called that, so the title 367 00:22:43,000 --> 00:22:47,280 Speaker 2: might shift, but the music's pretty interesting and it takes 368 00:22:47,359 --> 00:22:50,960 Speaker 2: us to Paris, the book that starts to really open, 369 00:22:51,080 --> 00:22:54,639 Speaker 2: not only musically but lyrically. Neon Park helped shape some 370 00:22:54,680 --> 00:22:58,000 Speaker 2: of the songs Paul Breer did. It's it's not an 371 00:22:58,000 --> 00:23:01,320 Speaker 2: easy song to play, but I think it's going to 372 00:23:01,400 --> 00:23:03,600 Speaker 2: sound really, really good. I got a couple of people 373 00:23:04,160 --> 00:23:09,680 Speaker 2: for the horn section that I'm contemplating for that. But yeah, 374 00:23:09,920 --> 00:23:12,680 Speaker 2: I think what happens is when we listen to or 375 00:23:12,720 --> 00:23:15,320 Speaker 2: when I listen to music. I'm going to listen to 376 00:23:15,400 --> 00:23:19,560 Speaker 2: something in the next two weeks, two years, whatever, and 377 00:23:19,600 --> 00:23:23,399 Speaker 2: I'm going to go, well, I'd like to have that 378 00:23:23,560 --> 00:23:27,320 Speaker 2: perform some part of my writing. So I guess in 379 00:23:27,320 --> 00:23:30,280 Speaker 2: that sense it was difficult for me to answer your question, 380 00:23:31,359 --> 00:23:33,639 Speaker 2: what have I not tackled yet that i'd like to. 381 00:23:34,680 --> 00:23:37,880 Speaker 2: I think that door is always open, though, and it's 382 00:23:38,000 --> 00:23:41,760 Speaker 2: increasingly open, not only on the level of music, but 383 00:23:41,920 --> 00:23:46,760 Speaker 2: on the level of the expansion of ideas through lyrics. 384 00:23:47,400 --> 00:23:51,240 Speaker 2: In describing a section or a part of my writing yesterday, 385 00:23:51,560 --> 00:23:56,119 Speaker 2: I was suggesting that having the music be as important 386 00:23:56,640 --> 00:23:59,879 Speaker 2: as the lyrics. I caught myself and I went, you 387 00:23:59,880 --> 00:24:02,560 Speaker 2: know what, wait a second. When I used to set 388 00:24:02,600 --> 00:24:06,520 Speaker 2: myself in the room to play piano, the piano for 389 00:24:06,640 --> 00:24:14,040 Speaker 2: me was an instrument to exploit visualization, sometimes at the 390 00:24:14,040 --> 00:24:17,439 Speaker 2: beach and hearing the waves break, or the seagulls, the 391 00:24:17,480 --> 00:24:21,600 Speaker 2: wind heading the surf. I come home and play for 392 00:24:21,720 --> 00:24:25,199 Speaker 2: my mother or my parents. This is what I saw today, 393 00:24:25,840 --> 00:24:29,320 Speaker 2: that kind of thing, And I thought, well, so that 394 00:24:29,480 --> 00:24:34,280 Speaker 2: was already ingrained in my ethic as a musician from 395 00:24:34,320 --> 00:24:37,920 Speaker 2: the very get go. But now as a guy who's 396 00:24:37,920 --> 00:24:41,000 Speaker 2: seventy six years old and writing about it, I went, well, no, 397 00:24:41,119 --> 00:24:45,000 Speaker 2: don't discount that. Just admit that, you like the Chinese 398 00:24:45,040 --> 00:24:49,879 Speaker 2: where they keep burying their past, you forgot about it, 399 00:24:49,960 --> 00:24:53,520 Speaker 2: You forgot about the importance of it. But that importance 400 00:24:53,640 --> 00:24:59,680 Speaker 2: is being visual, is what created songs like Gringo, Red, Streamliner, 401 00:25:00,440 --> 00:25:02,200 Speaker 2: the Time Loves a Hero. I mean there's a lot 402 00:25:02,240 --> 00:25:05,800 Speaker 2: of them. I mean that meld the visual and it 403 00:25:05,880 --> 00:25:08,920 Speaker 2: puts the person right there, which is what great writing 404 00:25:09,000 --> 00:25:12,919 Speaker 2: does obviously, and I think songs obviously do that too. 405 00:25:13,040 --> 00:25:14,359 Speaker 2: I mean you've done it for a long time. 406 00:25:15,200 --> 00:25:18,520 Speaker 3: Yes, cinematic right, They're just they bring you to a place, 407 00:25:19,880 --> 00:25:23,879 Speaker 3: which is why as a non musician, I think about 408 00:25:23,920 --> 00:25:28,080 Speaker 3: this often. Talked to my wife who's a photographer, about 409 00:25:28,080 --> 00:25:32,480 Speaker 3: this as well. We think about where the heck would 410 00:25:32,520 --> 00:25:36,359 Speaker 3: we be in our life without music. 411 00:25:37,400 --> 00:25:43,000 Speaker 2: Yes, well, I you know, I just signed somebody sent 412 00:25:43,080 --> 00:25:47,760 Speaker 2: me a letter, Drives twenty two years old, sins I 413 00:25:47,760 --> 00:25:52,639 Speaker 2: suffered from depression and anxiety. And what I do is 414 00:25:52,680 --> 00:25:54,800 Speaker 2: when I when I feel that coming on, I put 415 00:25:54,800 --> 00:25:58,480 Speaker 2: on your music, little feats music, and it helps, it 416 00:25:58,520 --> 00:26:00,560 Speaker 2: helps calm me down, helps draw me out of it. 417 00:26:02,040 --> 00:26:04,240 Speaker 2: And I wrote him back and I signed this stuff 418 00:26:04,240 --> 00:26:07,359 Speaker 2: for him as he requested. But I said, look, first 419 00:26:07,400 --> 00:26:09,639 Speaker 2: of all, thank you for sharing your story with me. 420 00:26:11,119 --> 00:26:15,879 Speaker 2: Music is obviously, it has power, not just ours, but 421 00:26:16,520 --> 00:26:18,520 Speaker 2: a lot of music out there has that kind of 422 00:26:18,560 --> 00:26:24,760 Speaker 2: power to shape our emotions, our feelings and whatnot. And 423 00:26:24,840 --> 00:26:30,040 Speaker 2: it's just important. I mean we try, Like I might 424 00:26:30,040 --> 00:26:32,920 Speaker 2: have told this on our first walk we did in 425 00:26:32,960 --> 00:26:36,760 Speaker 2: New Jersey. The people try and bury music about the 426 00:26:36,800 --> 00:26:40,440 Speaker 2: amount of times they try and marry God. And I'm 427 00:26:40,480 --> 00:26:42,800 Speaker 2: not a believer in much of anything, to be honest 428 00:26:42,840 --> 00:26:48,200 Speaker 2: with you, but I just think people go to great 429 00:26:48,280 --> 00:26:52,159 Speaker 2: links to deny things. They deny it based on a 430 00:26:52,240 --> 00:26:57,040 Speaker 2: very slim view of what's going on generally speaking, but 431 00:26:57,160 --> 00:26:59,719 Speaker 2: ana doubtly. I mean, I've run into far more people 432 00:26:59,760 --> 00:27:02,919 Speaker 2: that have told me that. Look, I was in a 433 00:27:02,960 --> 00:27:06,359 Speaker 2: common and somebody put some of your music on and 434 00:27:06,600 --> 00:27:09,280 Speaker 2: it brought me out of it. You know, we're not 435 00:27:09,400 --> 00:27:13,280 Speaker 2: here to cure cancer. I'm not saying suggesting that, but 436 00:27:13,400 --> 00:27:16,959 Speaker 2: this has been told me at least twice, if not 437 00:27:17,000 --> 00:27:21,439 Speaker 2: three times, where people were in dire straits. And I 438 00:27:21,480 --> 00:27:26,800 Speaker 2: mean the playt Mozart has the ability to to up 439 00:27:26,840 --> 00:27:31,639 Speaker 2: the ante with one's intellectual prowess, they say, And I 440 00:27:31,680 --> 00:27:32,280 Speaker 2: don't thought that. 441 00:27:32,960 --> 00:27:35,119 Speaker 1: We'll be right back with more of the Taking a 442 00:27:35,160 --> 00:27:43,399 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 443 00:27:44,480 --> 00:27:46,919 Speaker 4: I think I might have told you in you know. 444 00:27:46,960 --> 00:27:50,240 Speaker 3: One of our offline conversations about this other podcast that 445 00:27:50,720 --> 00:27:55,000 Speaker 3: I'm producing, Len Hoffman hosted it's called His Music Saved Me, 446 00:27:55,600 --> 00:28:01,920 Speaker 3: and it's exactly exploring that premise there of the healing 447 00:28:02,080 --> 00:28:07,960 Speaker 3: and therapeutic powers that music has for certainly the musician benefit, 448 00:28:08,000 --> 00:28:13,360 Speaker 3: but really from the fan benefit. Lynn interviewed a gentleman 449 00:28:13,400 --> 00:28:17,680 Speaker 3: by the name of Brian Harris, who is the CEO 450 00:28:18,320 --> 00:28:23,640 Speaker 3: and founder of this company called med Rhythms, and they're 451 00:28:23,680 --> 00:28:30,479 Speaker 3: the first FDA approved product that really is a music 452 00:28:30,640 --> 00:28:36,119 Speaker 3: based product that is a form of therapy for I 453 00:28:36,160 --> 00:28:40,680 Speaker 3: believe stroke victims. And so he's just at the beginning 454 00:28:40,760 --> 00:28:46,600 Speaker 3: of this powerful medical journey. That really highlights it from 455 00:28:46,600 --> 00:28:51,160 Speaker 3: that standpoint. But it's just the stories out there are 456 00:28:51,640 --> 00:28:54,440 Speaker 3: many of them in terms of what music really really 457 00:28:54,520 --> 00:28:58,560 Speaker 3: means and how it lifts us up and can bring 458 00:28:58,640 --> 00:29:02,960 Speaker 3: us together, and just the communal feeling of being together. 459 00:29:03,480 --> 00:29:05,080 Speaker 4: I feel like Strike Up the. 460 00:29:05,040 --> 00:29:09,760 Speaker 3: Band as an overall vibe really is celebratory. 461 00:29:09,880 --> 00:29:10,840 Speaker 4: Is that fair to say? 462 00:29:11,240 --> 00:29:14,040 Speaker 2: I think he is, even with a song like New 463 00:29:14,160 --> 00:29:18,560 Speaker 2: Orleans Prize when she sings it's contemplative in the beginning 464 00:29:18,920 --> 00:29:21,640 Speaker 2: that talks about you know, I've seen your dark side, 465 00:29:21,640 --> 00:29:24,520 Speaker 2: have seen your sunrise. I mean New Orleans is a 466 00:29:24,560 --> 00:29:28,160 Speaker 2: rough place, and we know that from the news and 467 00:29:28,240 --> 00:29:31,920 Speaker 2: from perhaps having traveled there. You go to watch yourself, 468 00:29:31,960 --> 00:29:37,080 Speaker 2: you know. But it's also a city full of life 469 00:29:37,280 --> 00:29:43,960 Speaker 2: and of an attachment to heritage that celebrates life and 470 00:29:44,640 --> 00:29:48,000 Speaker 2: a mixture of music from the Caribbean and what professor 471 00:29:48,080 --> 00:29:52,600 Speaker 2: long Hair, you know what he played here in the Calliope. 472 00:29:52,640 --> 00:29:55,000 Speaker 2: I was just there for Piano Night a few weeks ago, 473 00:29:55,680 --> 00:29:58,320 Speaker 2: playing with twenty six out of youd pianists at the 474 00:29:58,360 --> 00:30:00,640 Speaker 2: House of Blues. It's my second you're doing it? 475 00:30:01,040 --> 00:30:01,520 Speaker 4: Oh wow? 476 00:30:01,680 --> 00:30:03,440 Speaker 2: I had a ball. I mean, I'm not used to 477 00:30:03,440 --> 00:30:06,800 Speaker 2: being on stage just by myself and playing and singing, 478 00:30:06,880 --> 00:30:11,479 Speaker 2: but I played that song for everybody, and the city's rising. 479 00:30:12,040 --> 00:30:16,000 Speaker 2: Nobody ain't nobody can keep us down. So yeah, it's celebratory. 480 00:30:16,120 --> 00:30:19,360 Speaker 2: And I love the song that John Levinthal I wrote 481 00:30:20,240 --> 00:30:24,480 Speaker 2: when Heart's Fall, same kind of thing. He had this 482 00:30:24,600 --> 00:30:28,600 Speaker 2: beautiful music that was had that had a good edge 483 00:30:28,600 --> 00:30:31,960 Speaker 2: to it, but it was also I enjoyed taking people 484 00:30:32,000 --> 00:30:35,360 Speaker 2: on a journey. I think what we're talking about earlier, guys, 485 00:30:35,520 --> 00:30:39,040 Speaker 2: was the way music affects us, the way it hits 486 00:30:39,040 --> 00:30:43,040 Speaker 2: the synopsis, the synopsis in our brain, you know those 487 00:30:43,040 --> 00:30:47,400 Speaker 2: things that click. It's almost like when you exercise and 488 00:30:48,360 --> 00:30:51,320 Speaker 2: the endorphins hit and that gives you a feeling of 489 00:30:52,080 --> 00:30:57,040 Speaker 2: uplift and whatnot. It's music is it's very similar. It's 490 00:30:57,120 --> 00:31:00,400 Speaker 2: it's not doing the same thing, but it's similar. And 491 00:31:00,400 --> 00:31:04,080 Speaker 2: what that says is our bodies are are these vessels 492 00:31:04,160 --> 00:31:10,880 Speaker 2: of They're open. They're open to so many suggestions from 493 00:31:11,040 --> 00:31:13,800 Speaker 2: things that that that freak us out, that that give 494 00:31:13,880 --> 00:31:18,920 Speaker 2: us comfort, that that cause us to retreat to ourselves 495 00:31:19,480 --> 00:31:24,000 Speaker 2: and allow things like we're experiencing today to overwhelm the 496 00:31:24,120 --> 00:31:28,560 Speaker 2: landscape and the dialogue. It doesn't happen to everybody, thankfully, 497 00:31:29,160 --> 00:31:31,920 Speaker 2: but for those that it does, it's almost like they're 498 00:31:32,480 --> 00:31:37,000 Speaker 2: they're as ambulic state. It's just easier for them to go, well, 499 00:31:37,760 --> 00:31:43,280 Speaker 2: I'm not responsible for all this nonsense. Well great, but 500 00:31:43,320 --> 00:31:46,160 Speaker 2: it's not a great attitude to have, and historically it 501 00:31:46,240 --> 00:31:50,800 Speaker 2: never has been. So music and art are. They're not benign. 502 00:31:51,400 --> 00:31:55,160 Speaker 2: They're there to help, they're there, they're there to guide. 503 00:31:55,200 --> 00:31:57,360 Speaker 2: I don't mean just the people that write it. I 504 00:31:57,400 --> 00:32:00,239 Speaker 2: mean we luck out on a lot of things that 505 00:32:00,240 --> 00:32:04,960 Speaker 2: we do. But you mentioned it before too abuzz, which 506 00:32:05,000 --> 00:32:10,080 Speaker 2: is it enables and enacts the spirit of community. I 507 00:32:10,080 --> 00:32:13,320 Speaker 2: think that's what great art does. And even if that 508 00:32:14,520 --> 00:32:19,520 Speaker 2: spirited community is it is not a wholesale large swath 509 00:32:19,600 --> 00:32:23,760 Speaker 2: of people. It's people in general that that are able 510 00:32:23,800 --> 00:32:26,920 Speaker 2: to think, that that are that are attuned to the 511 00:32:27,000 --> 00:32:30,480 Speaker 2: fact that there's things that when when they read, when 512 00:32:30,520 --> 00:32:34,400 Speaker 2: they when they listen, when they communicate with people. Who 513 00:32:34,400 --> 00:32:37,400 Speaker 2: do you surround yourself with, for example, who friends do 514 00:32:37,440 --> 00:32:41,600 Speaker 2: you have, Who's feeding that fire that you have in yourself? 515 00:32:42,400 --> 00:32:46,360 Speaker 2: Those things are all just critical to to what it 516 00:32:46,440 --> 00:32:49,560 Speaker 2: is to be a human being. And the more we 517 00:32:49,560 --> 00:32:54,200 Speaker 2: we understand and absorb absorb those lessons, I think in 518 00:32:54,240 --> 00:32:56,320 Speaker 2: the long run it's still going to be complicated, because 519 00:32:56,400 --> 00:33:00,000 Speaker 2: human beings are complicated, but I think we'll have more 520 00:33:00,040 --> 00:33:03,959 Speaker 2: more and more reason to to agree on things and 521 00:33:04,040 --> 00:33:05,000 Speaker 2: to disagree. 522 00:33:06,200 --> 00:33:08,600 Speaker 3: So how far along are you on the book? I 523 00:33:08,640 --> 00:33:09,960 Speaker 3: know you're pretty far along. 524 00:33:10,760 --> 00:33:13,320 Speaker 2: I'm about a word wise, I'm about one hundred and 525 00:33:13,360 --> 00:33:14,840 Speaker 2: fifteen thousand words into it. 526 00:33:16,080 --> 00:33:17,560 Speaker 4: Okay, you're pretty far along. 527 00:33:17,880 --> 00:33:21,960 Speaker 2: Sorry far along. I have a great editor. The people 528 00:33:22,000 --> 00:33:27,400 Speaker 2: who don't have released this book are called Llo Rigalo Press, 529 00:33:28,120 --> 00:33:33,160 Speaker 2: Gratchen Young is a part of that system. She helped 530 00:33:33,160 --> 00:33:37,320 Speaker 2: write a book by interviewing Senator John Lewis some years back. 531 00:33:38,520 --> 00:33:42,320 Speaker 2: She's her help added a book with a fellow that 532 00:33:42,360 --> 00:33:45,400 Speaker 2: wrote a book on Tiger Woods. I mean, she's got 533 00:33:45,480 --> 00:33:50,880 Speaker 2: sports books, she's put She's a heavyweight, great, great person. 534 00:33:51,120 --> 00:33:55,880 Speaker 2: I absolutely adore her and her husband. John Baxter is 535 00:33:57,040 --> 00:33:59,560 Speaker 2: my editor, along with a guy named Gary Bays, who 536 00:33:59,560 --> 00:34:02,600 Speaker 2: I've had for the last twenty years. Look over my stuff. 537 00:34:03,440 --> 00:34:06,080 Speaker 2: I just just what I said, you know, who do 538 00:34:06,080 --> 00:34:09,200 Speaker 2: you surround yourself with for this book? I've surrounded myself 539 00:34:09,239 --> 00:34:12,319 Speaker 2: with some people that are Little Feet fans and that 540 00:34:14,480 --> 00:34:20,239 Speaker 2: know the English language, and they also have inspired and 541 00:34:21,440 --> 00:34:26,200 Speaker 2: got me to just relax into writing and and doing 542 00:34:26,239 --> 00:34:28,799 Speaker 2: what I do. They're not there as ghost writers. I'm 543 00:34:28,840 --> 00:34:32,560 Speaker 2: a pretty good writer on my own, but they helped 544 00:34:32,600 --> 00:34:35,280 Speaker 2: shape things like when I wrote something about Lowell. Lowell's 545 00:34:35,280 --> 00:34:41,000 Speaker 2: birthday was I think it was August excuse me, April thirteenth. 546 00:34:41,719 --> 00:34:46,320 Speaker 2: I'd said, oh, Lowell's going to be eighty. And John Baxter, 547 00:34:46,400 --> 00:34:48,640 Speaker 2: who's written several books on Walt Disney, by the way, 548 00:34:48,920 --> 00:34:53,640 Speaker 2: he said, now Lowell would be would have been eighty. Oh, yes, right, 549 00:34:55,000 --> 00:34:59,799 Speaker 2: you know that that kind of thing I didn't grow 550 00:34:59,880 --> 00:35:02,840 Speaker 2: up was a songwriter. I mean, I thought Lowell was 551 00:35:02,960 --> 00:35:07,320 Speaker 2: very accomplished, and I've taken care too in this book. 552 00:35:07,360 --> 00:35:12,960 Speaker 2: Also not to detegrate Lowell George. His demise and death 553 00:35:13,840 --> 00:35:18,560 Speaker 2: is not unlike Janis job and Jimmy Hendrix, Brian Jones, 554 00:35:19,320 --> 00:35:22,720 Speaker 2: Jim Morrison, I mean, greor Garcia a lot of them. 555 00:35:23,160 --> 00:35:26,320 Speaker 2: That doesn't define who he is. It defines how he passed. 556 00:35:27,640 --> 00:35:31,280 Speaker 2: So I want to write about the person that was complicated, 557 00:35:31,520 --> 00:35:34,200 Speaker 2: that could irritate the hell out of you, that was 558 00:35:34,239 --> 00:35:38,479 Speaker 2: two steps forward, one step back, but was also even 559 00:35:38,480 --> 00:35:40,680 Speaker 2: if he was only producing one or two songs, they 560 00:35:40,719 --> 00:35:44,319 Speaker 2: were brilliant. I also addressed the fact that when Paul 561 00:35:44,320 --> 00:35:46,719 Speaker 2: and I were Paul Breyn and I were accused of 562 00:35:46,760 --> 00:35:49,319 Speaker 2: taking over the band back in the day. I said, look, 563 00:35:49,360 --> 00:35:52,440 Speaker 2: if we took over his little feet by the way 564 00:35:52,480 --> 00:35:55,520 Speaker 2: of Lowell's muse, why are there a few Lowell George 565 00:35:55,520 --> 00:35:58,439 Speaker 2: songs on his solo record that took five years to make, 566 00:35:59,400 --> 00:36:02,200 Speaker 2: And people go, oh, I don't know. I go oh, 567 00:36:02,520 --> 00:36:05,759 Speaker 2: I don't either. He evidently wasn't writing, That's what I 568 00:36:05,760 --> 00:36:10,239 Speaker 2: would say, So he got his own way but it's 569 00:36:10,280 --> 00:36:14,560 Speaker 2: not a crime to be vulnerable, and he wasn't. I 570 00:36:14,560 --> 00:36:17,319 Speaker 2: think that's that's what made Hina, That's what added to 571 00:36:17,400 --> 00:36:23,120 Speaker 2: his humanness and his humanity was that vulnerability, because like 572 00:36:23,160 --> 00:36:26,479 Speaker 2: a lot of people in that shape, he was trying 573 00:36:26,520 --> 00:36:29,319 Speaker 2: to break through that and come out on the other 574 00:36:29,400 --> 00:36:33,239 Speaker 2: side and get back to some form where he could 575 00:36:33,280 --> 00:36:35,920 Speaker 2: feel comfortable in his own skin. Which is why I 576 00:36:35,920 --> 00:36:38,920 Speaker 2: wrote back to that kid today to say, hey, I'm 577 00:36:38,960 --> 00:36:42,520 Speaker 2: glad our music's helped you and just you know, keep 578 00:36:42,560 --> 00:36:43,239 Speaker 2: it going here. 579 00:36:44,560 --> 00:36:46,640 Speaker 4: So I do want to I want to. 580 00:36:46,760 --> 00:36:49,080 Speaker 3: I want to close with asking about something I saw 581 00:36:49,640 --> 00:36:51,400 Speaker 3: the great Jerry Douglas. 582 00:36:53,000 --> 00:36:55,799 Speaker 4: Post something beautiful. 583 00:36:57,120 --> 00:37:01,640 Speaker 3: About the fact that the Great Little Feet Band deserves 584 00:37:01,680 --> 00:37:04,080 Speaker 3: to be in the Rock and Roll Hall of Fame. 585 00:37:05,120 --> 00:37:11,560 Speaker 3: And he wrote this eloquent from a musician's heart speech. 586 00:37:11,719 --> 00:37:15,040 Speaker 3: And I know your feelings on Jerry and how you've 587 00:37:15,080 --> 00:37:17,360 Speaker 3: collaborated with him and what you think of him, and 588 00:37:17,440 --> 00:37:21,280 Speaker 3: obviously I see what he thinks of you and the band, 589 00:37:21,400 --> 00:37:24,160 Speaker 3: but I guess I really wanted to get your take 590 00:37:24,200 --> 00:37:27,960 Speaker 3: on how that made you feel when you saw him 591 00:37:28,360 --> 00:37:31,400 Speaker 3: lay this out publicly saying, hey, come on, you know 592 00:37:31,560 --> 00:37:33,400 Speaker 3: this band deserves that recognition. 593 00:37:33,680 --> 00:37:34,400 Speaker 4: Let's just do it. 594 00:37:34,640 --> 00:37:36,319 Speaker 2: I'll tell you it's truth. This is the first I've 595 00:37:36,360 --> 00:37:40,200 Speaker 2: heard of it, and I'm thrilled to you that he 596 00:37:40,280 --> 00:37:43,880 Speaker 2: weighed in. For years, I thought, well, I don't care 597 00:37:43,880 --> 00:37:46,319 Speaker 2: if we're in there or not. But then a few 598 00:37:46,400 --> 00:37:50,520 Speaker 2: years ago I kind of flipped my stance on it. 599 00:37:50,600 --> 00:37:52,399 Speaker 2: I thought, you know, I think we should be in it, 600 00:37:53,360 --> 00:37:56,080 Speaker 2: and for all the right reasons too, because of our legacy, 601 00:37:56,160 --> 00:38:00,600 Speaker 2: because of Lowell, because of Sean Murphy, because of Gregg Fuller, 602 00:38:01,000 --> 00:38:04,799 Speaker 2: Paul breverchie Hayward, because of the fact that we're influenced 603 00:38:05,320 --> 00:38:09,200 Speaker 2: by who we grew up listening to, which is this 604 00:38:09,280 --> 00:38:13,080 Speaker 2: great catalog of music starting with Little Richard. Do you 605 00:38:13,160 --> 00:38:15,480 Speaker 2: want to listen to chety fruity by Little Richard or 606 00:38:15,480 --> 00:38:19,239 Speaker 2: by Pat Boone? I mean, Little Richard won my heart, 607 00:38:19,600 --> 00:38:21,600 Speaker 2: That's all I can say. And I have nothing against 608 00:38:21,600 --> 00:38:24,480 Speaker 2: Pat bone I'm madam. He's a decent, decent man and 609 00:38:25,280 --> 00:38:28,840 Speaker 2: great just room for everybody. I'm not knocking to anybody 610 00:38:29,520 --> 00:38:32,319 Speaker 2: either that's already in the Hall of Fame. I mean, 611 00:38:32,320 --> 00:38:35,280 Speaker 2: that's that's an easy target for a lot of people 612 00:38:35,320 --> 00:38:39,719 Speaker 2: that to get riled up about. Look, rock and roll 613 00:38:39,760 --> 00:38:46,560 Speaker 2: is a very wide term. The terminology is wide. It 614 00:38:46,719 --> 00:38:50,439 Speaker 2: encompasses so much and it should. I mean, it's it's 615 00:38:50,520 --> 00:38:54,480 Speaker 2: R and B. It's it's the breakdown of things. And 616 00:38:54,600 --> 00:38:56,400 Speaker 2: so what do you want to attach to this huge 617 00:38:56,400 --> 00:39:01,239 Speaker 2: whale of swimming through the ocean with barnacle and planktonight 618 00:39:01,280 --> 00:39:07,480 Speaker 2: attached to it. That's that's rotten. It's moving. It may 619 00:39:07,600 --> 00:39:11,040 Speaker 2: move slow at times, but it never slows down. It doesn't. 620 00:39:11,280 --> 00:39:16,160 Speaker 2: It's not going to disappear overnight. It's it's an attitude. 621 00:39:16,280 --> 00:39:21,160 Speaker 2: It's little feet. Is the reason we can call it 622 00:39:21,200 --> 00:39:25,600 Speaker 2: little feet in twenty twenty five is because of the 623 00:39:25,800 --> 00:39:29,799 Speaker 2: the attachment of the legacy is is still there. When 624 00:39:29,840 --> 00:39:32,279 Speaker 2: you hear that first track four days a half and 625 00:39:32,320 --> 00:39:35,120 Speaker 2: three days of work, if you know the band at all, 626 00:39:35,160 --> 00:39:38,000 Speaker 2: you're gonna go, my gosh, that sounds like little feet, 627 00:39:38,640 --> 00:39:42,680 Speaker 2: And how is that possible? If you know? Well, I 628 00:39:42,800 --> 00:39:45,480 Speaker 2: found that out when I went to hear well was 629 00:39:45,520 --> 00:39:48,319 Speaker 2: actually I wound up here in Jimmy page. I'll cut 630 00:39:48,360 --> 00:39:51,359 Speaker 2: to the chase, but I was there to hear those 631 00:39:51,360 --> 00:39:55,720 Speaker 2: of the yardbirds were playing Jeff Pack Chrismal Beach, Rose Gardens. 632 00:39:56,120 --> 00:40:00,160 Speaker 2: Jeff wasn't there, and we're Jeff come on, and then 633 00:40:01,160 --> 00:40:04,239 Speaker 2: we start hearing this other fellow play and it was 634 00:40:04,320 --> 00:40:07,359 Speaker 2: Jimmy Page. We go we didn't forget about Jeff back, 635 00:40:07,960 --> 00:40:12,000 Speaker 2: but we went, well, this guy's really good too. That 636 00:40:12,080 --> 00:40:14,799 Speaker 2: was the impetus I had, and to put Little Feet 637 00:40:14,800 --> 00:40:19,120 Speaker 2: back together in nineteen eighty eight was just that that 638 00:40:19,239 --> 00:40:24,480 Speaker 2: experience with the Artbirds. You're not gonna you're gonna miss Lowell. 639 00:40:24,560 --> 00:40:27,279 Speaker 2: Some people are gonna put up a wall and say 640 00:40:27,320 --> 00:40:31,239 Speaker 2: without Lulls, not Little Feet. That's their prerogative. I think 641 00:40:31,239 --> 00:40:34,919 Speaker 2: it's a narrow view. I think that we're inviting more 642 00:40:34,960 --> 00:40:38,400 Speaker 2: people to come in and find out who Lowell George 643 00:40:38,520 --> 00:40:42,440 Speaker 2: is because he's not always on the radar, especially with 644 00:40:42,480 --> 00:40:47,440 Speaker 2: new generations. So by keeping Little Feet alive, by keeping 645 00:40:47,480 --> 00:40:50,080 Speaker 2: a band alive that would take ten bands to play 646 00:40:50,080 --> 00:40:53,640 Speaker 2: and to play the music that we play, it's a 647 00:40:53,680 --> 00:40:56,160 Speaker 2: selfish reason. I do it because I love the band. 648 00:40:56,239 --> 00:40:59,759 Speaker 2: I love being able to write without thinking of what 649 00:41:00,719 --> 00:41:03,640 Speaker 2: I mean. I just want musicians that can play it, 650 00:41:04,040 --> 00:41:07,479 Speaker 2: sing it, and provide their own material to expand on 651 00:41:07,480 --> 00:41:10,360 Speaker 2: on the legacy. But that legacy is always going to 652 00:41:10,440 --> 00:41:13,640 Speaker 2: point to Lowell George, to Richie Hayward, to Paul Preyer, 653 00:41:14,160 --> 00:41:17,919 Speaker 2: to Sam Clayton, Kenny Fred Tacking myself and on and on. 654 00:41:18,520 --> 00:41:20,479 Speaker 2: It's it's bigger than any of us at this point. 655 00:41:20,680 --> 00:41:21,759 Speaker 2: I think it's a wonderful thing. 656 00:41:22,800 --> 00:41:26,680 Speaker 4: And I think the fact of still out playing. 657 00:41:26,360 --> 00:41:29,160 Speaker 3: You're going to be hitting the road for another long 658 00:41:29,440 --> 00:41:33,480 Speaker 3: run as you always do, and creating. In terms of 659 00:41:33,600 --> 00:41:37,160 Speaker 3: the new project, I think, for whatever it means for me, 660 00:41:37,440 --> 00:41:42,160 Speaker 3: I believe that carries even a greater positive aspect of 661 00:41:42,480 --> 00:41:45,160 Speaker 3: why you guys should be in the Rock and Roll 662 00:41:45,200 --> 00:41:49,080 Speaker 3: Hall of Fame. You're you're still vibrant and kicking some ass, 663 00:41:49,120 --> 00:41:49,759 Speaker 3: so thank you. 664 00:41:50,280 --> 00:41:53,760 Speaker 2: I think it'll happen, and for all the right reasons. 665 00:41:54,320 --> 00:41:56,640 Speaker 4: Well, you got Jerry Douglass on your side. It can't 666 00:41:56,719 --> 00:41:57,600 Speaker 4: hurt either, right. 667 00:41:58,160 --> 00:42:00,239 Speaker 2: Can't love it then on her side too, these h 668 00:42:00,760 --> 00:42:04,360 Speaker 2: We got a lot of people, and I think that's great, 669 00:42:04,440 --> 00:42:07,640 Speaker 2: and we're we're going to continue doing what we do 670 00:42:07,719 --> 00:42:12,839 Speaker 2: and expanding on on the notion of of of who 671 00:42:12,920 --> 00:42:16,480 Speaker 2: we bring into play with. I think that's part and 672 00:42:16,520 --> 00:42:19,160 Speaker 2: parcel for me over the next few years, or what 673 00:42:19,239 --> 00:42:23,040 Speaker 2: do we have left to do this of who we 674 00:42:23,120 --> 00:42:28,800 Speaker 2: extend the the the invite of joining us in this 675 00:42:28,800 --> 00:42:31,640 Speaker 2: this journey that we are collectively on, not just that 676 00:42:31,719 --> 00:42:34,399 Speaker 2: Little Feet is on, but as musicians what we do, 677 00:42:35,160 --> 00:42:38,920 Speaker 2: celebrate what we do. Let's let's take our art seriously, 678 00:42:39,040 --> 00:42:43,640 Speaker 2: as I've said earlier, but let's have fun in the process. 679 00:42:44,560 --> 00:42:45,560 Speaker 4: You played any golf? 680 00:42:45,920 --> 00:42:49,719 Speaker 2: I played yesterday and they had arad the greens and 681 00:42:49,760 --> 00:42:54,359 Speaker 2: I by my wife and Polly were there. I'm my gosh, 682 00:42:54,440 --> 00:42:56,359 Speaker 2: maybe I shouldn't play for another three and a half weeks. 683 00:42:56,400 --> 00:43:03,840 Speaker 2: I'm really hitting the ball well, which I adore. Little Feet. 684 00:43:03,960 --> 00:43:06,960 Speaker 4: I adore you, Bill Payne. It's great to be with you. 685 00:43:07,000 --> 00:43:09,319 Speaker 3: I take it a walk and congrats on the new 686 00:43:09,400 --> 00:43:12,680 Speaker 3: release and enjoy the tour as night. 687 00:43:12,760 --> 00:43:15,560 Speaker 2: Thank you so much, man, You're a treasure. I appreciate it. 688 00:43:16,960 --> 00:43:19,400 Speaker 1: Thanks for listening to this episode of the Taking a 689 00:43:19,440 --> 00:43:23,320 Speaker 1: Walk podcast. Share this and other episodes with your friends 690 00:43:23,440 --> 00:43:26,920 Speaker 1: and follow us so you never miss an episode. Taking 691 00:43:26,960 --> 00:43:30,839 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 692 00:43:31,080 --> 00:43:33,359 Speaker 1: and wherever you get your podcasts.