1 00:00:00,760 --> 00:00:03,720 Speaker 1: Taking a Walk, you know, to think for us, we 2 00:00:03,880 --> 00:00:08,560 Speaker 1: really revered that music. We're just, you know, kind of 3 00:00:09,039 --> 00:00:13,520 Speaker 1: fans and fairly knowledgeable about the kind of music, so 4 00:00:13,600 --> 00:00:17,160 Speaker 1: it probably resonates with us quite a bit. It's almost 5 00:00:17,200 --> 00:00:19,759 Speaker 1: like I look at it a little bit as a conversation. 6 00:00:20,000 --> 00:00:22,520 Speaker 1: You know, the studio is one thing, but then the 7 00:00:22,560 --> 00:00:26,360 Speaker 1: studio meets your heart or your knowledge, and you're being 8 00:00:26,520 --> 00:00:29,440 Speaker 1: in a certain way. And I think when the person 9 00:00:29,840 --> 00:00:32,720 Speaker 1: enters the studio, that's when the magic cap. 10 00:00:32,960 --> 00:00:36,080 Speaker 2: Welcome to this episode of the Taking a Walk podcast, 11 00:00:36,560 --> 00:00:40,519 Speaker 2: the podcast where Buzz Night talks with musicians, songwriters, and 12 00:00:40,520 --> 00:00:45,440 Speaker 2: even producers like Andreas Werner, Buzz's guest on this episode. 13 00:00:45,920 --> 00:00:49,159 Speaker 2: Andreas has worked with many of the South's great country 14 00:00:49,159 --> 00:00:52,960 Speaker 2: and Americana roots performers like the Blind Boys of Alabama, 15 00:00:53,159 --> 00:00:58,160 Speaker 2: Jason Isbel and many others. Joined Buzz Now with Andreas Warner. 16 00:01:00,200 --> 00:01:02,720 Speaker 3: Is Werner, thanks for being on the Ticket of Walk podcast, 17 00:01:02,760 --> 00:01:06,360 Speaker 3: and thanks for ticket as inside your unique world as 18 00:01:06,440 --> 00:01:09,920 Speaker 3: a musician, songwriter, producer. 19 00:01:11,040 --> 00:01:13,679 Speaker 4: I want to hear how a man. 20 00:01:14,000 --> 00:01:17,480 Speaker 3: From Switzerland who's still in Switzerland at this moment but 21 00:01:17,680 --> 00:01:24,160 Speaker 3: also has roots in Nashville and Alabama and muscle shoals 22 00:01:24,880 --> 00:01:26,480 Speaker 3: and a love of roots music. 23 00:01:26,880 --> 00:01:30,399 Speaker 4: Tell me about your journey and how it all happened. 24 00:01:30,920 --> 00:01:35,360 Speaker 1: Well, I grew up in Switzerland and fell in love 25 00:01:35,440 --> 00:01:40,280 Speaker 1: with American music. I guess in the very beginning it 26 00:01:40,360 --> 00:01:44,920 Speaker 1: was just whatever music you know, you would hear. In 27 00:01:44,959 --> 00:01:47,960 Speaker 1: my case, it was MTV. You know, that was the 28 00:01:48,080 --> 00:01:52,440 Speaker 1: very early nineties. I guess when I really got interested 29 00:01:52,440 --> 00:01:55,960 Speaker 1: in music, and from there I will go down rabbit hole. 30 00:01:56,160 --> 00:02:01,560 Speaker 1: So maybe there was like an Aerosmith video where they're like, oh, well, 31 00:02:01,600 --> 00:02:07,280 Speaker 1: Aerosmith also recorded this old like Beatles b cy call 32 00:02:07,840 --> 00:02:09,919 Speaker 1: I'm down and like, oh, I got to check out 33 00:02:09,960 --> 00:02:13,919 Speaker 1: the Beatles, And then Beatles did Chuck Berrying Little Rich 34 00:02:13,960 --> 00:02:17,480 Speaker 1: and I'm like, oh, it's even better. So that's how 35 00:02:17,520 --> 00:02:20,799 Speaker 1: it started out for me. And then I just tried 36 00:02:20,840 --> 00:02:25,200 Speaker 1: to digest all sorts of books that were available. It 37 00:02:25,240 --> 00:02:28,440 Speaker 1: was a different time. Now it's everything seems to be available. 38 00:02:28,480 --> 00:02:31,320 Speaker 1: There's a lot of books and documentaries, but for me 39 00:02:31,400 --> 00:02:35,560 Speaker 1: it was not that much. But somehow all my roads 40 00:02:35,639 --> 00:02:38,800 Speaker 1: led to muscle shows. And there was a great book 41 00:02:38,840 --> 00:02:42,280 Speaker 1: called Sweet Soul Music by Peter Gerolnik that was kind 42 00:02:42,320 --> 00:02:46,960 Speaker 1: of my bible. And I guess that's kind of how 43 00:02:47,000 --> 00:02:50,880 Speaker 1: the whole universe of you know, southern soul opened up 44 00:02:50,919 --> 00:02:51,160 Speaker 1: for me. 45 00:02:52,040 --> 00:02:53,840 Speaker 4: And Peter's a Boston guy, I know. 46 00:02:54,960 --> 00:02:57,880 Speaker 1: Yes, he's been spending a lot of time in Nashville too, 47 00:02:58,000 --> 00:02:59,840 Speaker 1: teaching there, but he's. 48 00:02:59,680 --> 00:03:05,440 Speaker 3: About Yeah, I know, he's friends with another friend, this 49 00:03:05,480 --> 00:03:09,120 Speaker 3: guy Peter Wolf from the Jay Giles band, who happens 50 00:03:09,160 --> 00:03:10,720 Speaker 3: to be from this area. 51 00:03:10,880 --> 00:03:12,640 Speaker 4: Well, lives in this area as well. 52 00:03:12,800 --> 00:03:18,800 Speaker 3: But all roads connect back to everybody being connected through music. 53 00:03:18,880 --> 00:03:20,800 Speaker 4: That's the beautiful thing, right Andreas? 54 00:03:21,720 --> 00:03:24,480 Speaker 1: Yeah, absolutely, And I mean I didn't even know what 55 00:03:24,600 --> 00:03:26,519 Speaker 1: was in store for me when I just kind of 56 00:03:26,560 --> 00:03:29,360 Speaker 1: fell in love with it. I would, you know, would 57 00:03:29,360 --> 00:03:32,640 Speaker 1: have never thought that it actually would lead to me 58 00:03:32,880 --> 00:03:38,200 Speaker 1: being collaborators with these people, because that seemed so far 59 00:03:38,320 --> 00:03:42,000 Speaker 1: out of the possible that I wouldn't even dream that. 60 00:03:43,880 --> 00:03:48,400 Speaker 3: So You've worked with this amazing roster of people deep 61 00:03:48,440 --> 00:03:55,480 Speaker 3: into roots and country and Americana and rock, and it's 62 00:03:55,640 --> 00:03:59,520 Speaker 3: just this really incredible group. We could probably talk for 63 00:04:00,320 --> 00:04:04,000 Speaker 3: hours on them, and there's an interesting group of characters 64 00:04:04,040 --> 00:04:08,400 Speaker 3: that you've been with in this process. But I've got 65 00:04:08,440 --> 00:04:11,800 Speaker 3: a couple I wanted to focus on to start, certainly, 66 00:04:12,640 --> 00:04:15,920 Speaker 3: tell me about how you came upon working with and 67 00:04:15,960 --> 00:04:18,520 Speaker 3: what it was like to work with the Blind Boys 68 00:04:18,520 --> 00:04:19,240 Speaker 3: of Alabama. 69 00:04:20,400 --> 00:04:24,080 Speaker 1: Okay, So the first time I worked with the Blind 70 00:04:24,120 --> 00:04:27,560 Speaker 1: Boys was for a show I put together for the 71 00:04:27,640 --> 00:04:31,599 Speaker 1: bi centennial of the State of Alabama. They commissioned me 72 00:04:31,720 --> 00:04:34,440 Speaker 1: to put a show on in front of the Capitol 73 00:04:34,480 --> 00:04:39,840 Speaker 1: Building in Montgomery at the end of twenty nineteen, and 74 00:04:39,960 --> 00:04:43,640 Speaker 1: I contracted all sorts of artists to be part of 75 00:04:43,680 --> 00:04:48,200 Speaker 1: it that had a significant Alabama connection, including the Blind 76 00:04:48,240 --> 00:04:51,840 Speaker 1: Boys of Alabama. So that's the first time I worked 77 00:04:51,839 --> 00:04:55,360 Speaker 1: with them. And then I used them on a Sherman 78 00:04:55,400 --> 00:04:59,039 Speaker 1: Homes of the Holmes Brothers album to sing in harmony. 79 00:05:00,120 --> 00:05:06,400 Speaker 1: The next project was some Blind Boys tracks for different 80 00:05:06,440 --> 00:05:10,800 Speaker 1: projects of mine, and I hope I can keep it going. 81 00:05:10,920 --> 00:05:14,479 Speaker 1: It's they are in a very transitional phase right now too, 82 00:05:14,640 --> 00:05:19,440 Speaker 1: with the last of their longtime members retiring, so I 83 00:05:19,440 --> 00:05:22,320 Speaker 1: don't quite know what their future is gonna hold, but 84 00:05:22,400 --> 00:05:23,799 Speaker 1: I think they'll keep it going. 85 00:05:25,240 --> 00:05:29,280 Speaker 3: So will they be bringing in different members in that process? 86 00:05:29,400 --> 00:05:31,040 Speaker 3: Is that what you think is going on? 87 00:05:31,200 --> 00:05:35,599 Speaker 1: Or well, that's what they've been doing forever. I mean, 88 00:05:35,800 --> 00:05:39,719 Speaker 1: I think the original like quartet and quintet, there was 89 00:05:39,839 --> 00:05:43,599 Speaker 1: like they started nineteen I don't know, you know, in 90 00:05:43,600 --> 00:05:49,520 Speaker 1: the forties. So even Jimmy Carter that's been singing with 91 00:05:49,560 --> 00:05:53,080 Speaker 1: them since last year, he went to School of the 92 00:05:53,160 --> 00:05:56,240 Speaker 1: Blind with those guys, but he was one year too 93 00:05:56,320 --> 00:05:59,760 Speaker 1: young to be an original member, so he sang with 94 00:05:59,800 --> 00:06:02,040 Speaker 1: them in school, but as soon as they started recording, 95 00:06:02,080 --> 00:06:04,159 Speaker 1: they couldn't use him because he was not old enough. 96 00:06:04,600 --> 00:06:06,919 Speaker 1: But then he joined later and he was like the 97 00:06:07,040 --> 00:06:11,760 Speaker 1: last original era member. And whenever one of the guys 98 00:06:11,800 --> 00:06:15,320 Speaker 1: passed away, I think it was usually passing away unfortunately, 99 00:06:16,080 --> 00:06:19,520 Speaker 1: so they have to bring in somebody, know, like you know, 100 00:06:19,600 --> 00:06:23,160 Speaker 1: like the Temptations, would you know, because out of necessity 101 00:06:23,240 --> 00:06:24,720 Speaker 1: really right? 102 00:06:25,080 --> 00:06:27,880 Speaker 3: And so who do you think the youngest of the 103 00:06:27,920 --> 00:06:29,400 Speaker 3: Blind Boys is? 104 00:06:30,320 --> 00:06:34,000 Speaker 1: Well, right now, the youngest is probably in their fifties. 105 00:06:35,040 --> 00:06:37,960 Speaker 1: I mean Jimmy is I think ninety two. He's still around. 106 00:06:38,040 --> 00:06:41,840 Speaker 1: He lives in Atlanta, but he retired from the from 107 00:06:41,839 --> 00:06:42,920 Speaker 1: the touring lineup. 108 00:06:43,520 --> 00:06:47,000 Speaker 3: So there must be a very special aura when you 109 00:06:47,120 --> 00:06:48,400 Speaker 3: work with somebody like that. 110 00:06:49,560 --> 00:06:52,040 Speaker 1: Oh yeah, I mean for me as a as a 111 00:06:52,080 --> 00:06:56,360 Speaker 1: fan and really you know, appreciating that kind of music. 112 00:06:56,400 --> 00:06:59,080 Speaker 1: It's just like when you hear him sing there's a 113 00:06:59,080 --> 00:07:01,760 Speaker 1: lot of depth to it. There's a lot of like 114 00:07:02,040 --> 00:07:06,880 Speaker 1: the whole spiritual element is it's heavy, it's beautiful. But 115 00:07:07,440 --> 00:07:11,360 Speaker 1: even besides it, they're just like great guys. I mean, 116 00:07:11,440 --> 00:07:15,040 Speaker 1: that's like the beautiful thing about this. It's like they're 117 00:07:15,080 --> 00:07:18,000 Speaker 1: just all my friends and all even if they were 118 00:07:18,000 --> 00:07:20,800 Speaker 1: not my friends, they're just like really beautiful people. And 119 00:07:20,880 --> 00:07:23,320 Speaker 1: I love making good music with beautiful people. 120 00:07:24,120 --> 00:07:28,000 Speaker 3: Well, there's another one who has made some great music 121 00:07:28,040 --> 00:07:31,000 Speaker 3: and continues to make great music. I'd love to hear 122 00:07:31,080 --> 00:07:34,440 Speaker 3: your experience working with Jason Isbel. 123 00:07:35,640 --> 00:07:39,960 Speaker 1: Okay, So that's also kind of goes back a little 124 00:07:40,000 --> 00:07:44,520 Speaker 1: bit to the earlier generation, because I really got my 125 00:07:44,800 --> 00:07:47,720 Speaker 1: footing in Muscle Shows working with members of the Muscle 126 00:07:47,720 --> 00:07:51,680 Speaker 1: Shows Rhythm section and the Muscle Shows Horn Section, and 127 00:07:52,120 --> 00:07:55,320 Speaker 1: the songwriters coming out of there like Dan Penn and 128 00:07:55,400 --> 00:08:00,440 Speaker 1: Donny Fritz and Spooner Roldam, And then the next generation, 129 00:08:00,680 --> 00:08:04,239 Speaker 1: if you will, is to Jason Isbel's or David Hood 130 00:08:04,440 --> 00:08:06,800 Speaker 1: was the bass player in the Muscle Show's rhythm section. 131 00:08:06,960 --> 00:08:10,160 Speaker 1: His son, his name is Patterson Hood, who has a 132 00:08:10,160 --> 00:08:13,800 Speaker 1: band called the Drive By Truckers, and Jason Isbel was 133 00:08:13,840 --> 00:08:17,040 Speaker 1: a member of the Drive by Truckers before he started 134 00:08:17,080 --> 00:08:20,440 Speaker 1: his solo career, and so the way it came about 135 00:08:20,480 --> 00:08:24,280 Speaker 1: with Jason was he wanted to put together a show 136 00:08:26,000 --> 00:08:29,320 Speaker 1: that is basically him and his band, the four hundred Unit, 137 00:08:30,120 --> 00:08:34,800 Speaker 1: but he wanted to have his musical heroes like David 138 00:08:34,840 --> 00:08:38,320 Speaker 1: Hood and other like muscle shows type people be part 139 00:08:38,400 --> 00:08:41,120 Speaker 1: of the show and seeing some kind of known as 140 00:08:41,160 --> 00:08:45,360 Speaker 1: the guy who hurts cats, because making a live record 141 00:08:45,480 --> 00:08:47,600 Speaker 1: is kind of like making a record in the studio 142 00:08:48,360 --> 00:08:53,000 Speaker 1: or producing a show for PBS is also very similar. 143 00:08:54,080 --> 00:08:57,160 Speaker 1: So they reached out to me and asked me if 144 00:08:57,160 --> 00:09:01,280 Speaker 1: I would help produce it, and then that show we 145 00:09:01,360 --> 00:09:06,440 Speaker 1: put on became a live album as well. 146 00:09:06,480 --> 00:09:07,719 Speaker 4: What makes your. 147 00:09:08,960 --> 00:09:13,320 Speaker 3: Specialness in hurting cats and bringing musicians together? What is 148 00:09:13,360 --> 00:09:17,080 Speaker 3: your special X factor that makes you good at that? 149 00:09:18,240 --> 00:09:23,800 Speaker 1: Well, maybe I'm like a check of all trades, master 150 00:09:23,920 --> 00:09:29,960 Speaker 1: of non time person. I think I'm very organized. Also, 151 00:09:30,040 --> 00:09:33,760 Speaker 1: like growing up in Switzerland and having a lot of 152 00:09:33,760 --> 00:09:37,360 Speaker 1: different interests, and like graduating from a college is not 153 00:09:37,640 --> 00:09:42,800 Speaker 1: music necessarily. It's like I'm I think I'm quite versatile 154 00:09:43,320 --> 00:09:47,160 Speaker 1: and a lot of us musicians are our great specialists, 155 00:09:47,160 --> 00:09:52,880 Speaker 1: but maybe it's not necessarily Therefore, tee to like organize, 156 00:09:54,400 --> 00:09:57,720 Speaker 1: but somehow I just always done that, and that's kind 157 00:09:57,720 --> 00:10:01,120 Speaker 1: of part of my role around Muscle Show. Whenever we 158 00:10:01,200 --> 00:10:04,800 Speaker 1: get asked to put a show together or or you know, 159 00:10:04,920 --> 00:10:07,440 Speaker 1: play in Italy or something like that, I'm just always 160 00:10:07,480 --> 00:10:10,240 Speaker 1: the guy who kind of puts it all together on 161 00:10:10,320 --> 00:10:10,680 Speaker 1: our end. 162 00:10:11,640 --> 00:10:14,080 Speaker 3: Well, I see behind you, you've got a poster there 163 00:10:14,240 --> 00:10:19,439 Speaker 3: of Little Steven and the Disciples of Soul, a like a. 164 00:10:19,400 --> 00:10:20,720 Speaker 4: Tour poster there. 165 00:10:21,240 --> 00:10:26,520 Speaker 3: And I know from our communication via email too, you 166 00:10:26,640 --> 00:10:30,840 Speaker 3: had sought out the episode with Mark Ribbler, who is 167 00:10:30,920 --> 00:10:36,080 Speaker 3: the musical director of the Disciples of Soul, among other things, 168 00:10:36,760 --> 00:10:41,400 Speaker 3: And so I just wondered, do you know Mark? And 169 00:10:42,440 --> 00:10:46,319 Speaker 3: because I sort of feel like you have. You guys 170 00:10:46,320 --> 00:10:49,320 Speaker 3: are kind of synced up in common in very many 171 00:10:49,400 --> 00:10:52,480 Speaker 3: regards in terms of the way you bring people together 172 00:10:52,840 --> 00:10:56,240 Speaker 3: and your abilities to kind of, you know, hear the music. 173 00:10:57,040 --> 00:11:01,440 Speaker 1: No, unfortunately not. I met him briefly actually at this show. 174 00:11:02,160 --> 00:11:05,600 Speaker 1: But there's a few other, you know, guys in that 175 00:11:05,679 --> 00:11:11,400 Speaker 1: band that's that I'm more directly contacted with. But you 176 00:11:11,559 --> 00:11:15,840 Speaker 1: bringing up Steve van sand He's somebody else kind of 177 00:11:15,920 --> 00:11:18,280 Speaker 1: like me, and not that I want to compare myself 178 00:11:18,320 --> 00:11:21,520 Speaker 1: to him, but it's like the people that do a 179 00:11:21,559 --> 00:11:24,280 Speaker 1: lot of different things. Another one that comes to mind 180 00:11:24,400 --> 00:11:33,320 Speaker 1: is Alan Tucson. That's just like you know, they're rather producer, engineer, performer, arranger, 181 00:11:34,040 --> 00:11:36,760 Speaker 1: and growing up, I kind of thought you have to 182 00:11:36,760 --> 00:11:39,760 Speaker 1: be great at everything, and it took me a long 183 00:11:39,800 --> 00:11:42,280 Speaker 1: time to find out that it's not really what it's 184 00:11:42,360 --> 00:11:45,120 Speaker 1: Usually it's like, you do one or two things well. 185 00:11:45,720 --> 00:11:48,840 Speaker 1: But then when you're Stevie Wonder or Prince or Brian 186 00:11:48,880 --> 00:11:52,080 Speaker 1: Wilson or some of these get there are your heroes 187 00:11:52,120 --> 00:11:54,600 Speaker 1: are like, well, I guess you have to do everything well. 188 00:11:55,120 --> 00:11:58,320 Speaker 1: And maybe that's kind of a little bit why I 189 00:11:58,360 --> 00:12:02,360 Speaker 1: started doing all the things, because I thought that's what 190 00:12:02,440 --> 00:12:03,040 Speaker 1: you have to do. 191 00:12:04,000 --> 00:12:08,960 Speaker 3: So take us inside the nuthouse recording. 192 00:12:08,480 --> 00:12:12,280 Speaker 4: Studio in Muscle Shoals. What is that like? 193 00:12:12,760 --> 00:12:15,880 Speaker 3: How would that experience be if we were walking in 194 00:12:15,920 --> 00:12:19,000 Speaker 3: there to the nuthouse recording studio? 195 00:12:20,000 --> 00:12:22,600 Speaker 1: All right, well, let me just preface it a little bit, 196 00:12:22,640 --> 00:12:26,439 Speaker 1: but you know that there's a whole lot of recording 197 00:12:26,559 --> 00:12:30,520 Speaker 1: history in Muscle Showals, mainly coming out of two studios 198 00:12:31,800 --> 00:12:36,600 Speaker 1: called Fame and Muscle Shows Sound. And then the nuthouse 199 00:12:36,720 --> 00:12:41,360 Speaker 1: is like the natural successor if you will of that. 200 00:12:42,240 --> 00:12:46,480 Speaker 1: So now when we go down there, that's where we 201 00:12:46,679 --> 00:12:49,640 Speaker 1: like to work. It's a great studio. It's owned and 202 00:12:49,800 --> 00:12:53,880 Speaker 1: operated by Jimmy Nutt, who is a Grammy winning engineer 203 00:12:53,920 --> 00:12:57,880 Speaker 1: who I love working with. It was in an old 204 00:12:58,000 --> 00:13:01,280 Speaker 1: bank building. It's quite a large tracking room. Still has 205 00:13:01,320 --> 00:13:04,360 Speaker 1: to save in there, which is a great booth we 206 00:13:04,440 --> 00:13:07,440 Speaker 1: can use. We can even put one hundred people in 207 00:13:07,520 --> 00:13:10,560 Speaker 1: there and record a live album if we want to, 208 00:13:10,720 --> 00:13:14,560 Speaker 1: or if you want to film something for TV. I 209 00:13:14,640 --> 00:13:18,280 Speaker 1: love it vibe. And now when you know the Chasing 210 00:13:18,480 --> 00:13:22,520 Speaker 1: Isbel's and the Blind Boys and the Britney Howards and 211 00:13:22,640 --> 00:13:26,280 Speaker 1: John Paul White, those kind of people, you know it's 212 00:13:26,320 --> 00:13:28,959 Speaker 1: one of their favorite studios in the area for sure. 213 00:13:30,360 --> 00:13:34,000 Speaker 4: And then tell us about the Creative Workshop in Nashville. 214 00:13:34,040 --> 00:13:38,959 Speaker 1: What is that like, Well, that's a time machine. It 215 00:13:39,120 --> 00:13:46,079 Speaker 1: was opened in nineteen seventy till just now, still owned 216 00:13:46,120 --> 00:13:50,839 Speaker 1: and operated by your namesake Buzz Casin, who's best known 217 00:13:50,960 --> 00:13:56,040 Speaker 1: for writing the classic song Everlasting Love. And it was 218 00:13:56,160 --> 00:13:59,840 Speaker 1: kind of the counterculture in the seventies to the Pauly 219 00:14:00,360 --> 00:14:03,760 Speaker 1: Nashville country sound. So you have to imagine this that 220 00:14:03,800 --> 00:14:06,560 Speaker 1: there's a lot of like wood and bark and how 221 00:14:06,600 --> 00:14:10,200 Speaker 1: you would, you know, imagine an old recording studio a 222 00:14:10,360 --> 00:14:14,640 Speaker 1: very like warm sound. And back in the seventies, the 223 00:14:14,720 --> 00:14:18,160 Speaker 1: Doobie Brothers recorded there, Jimmy Buffett got his started there 224 00:14:18,240 --> 00:14:25,680 Speaker 1: pretty much, Elvis the Faces and Leon Russell and many others, 225 00:14:26,000 --> 00:14:28,040 Speaker 1: you know, And so it has a lot of those 226 00:14:28,680 --> 00:14:32,840 Speaker 1: vintage vibes and it's a great piano. That was the 227 00:14:32,880 --> 00:14:35,480 Speaker 1: piano it was on the Johnny Cash TV show when 228 00:14:35,480 --> 00:14:38,239 Speaker 1: they filmed that the rhyme and in the early seventies, 229 00:14:38,640 --> 00:14:42,200 Speaker 1: so even before the piano was there, it was you know, 230 00:14:42,360 --> 00:14:46,720 Speaker 1: played by Ray Charles and Jerry Lee Lewis. And there's 231 00:14:46,720 --> 00:14:48,920 Speaker 1: some some ghosts in there somehow. 232 00:14:49,040 --> 00:14:50,000 Speaker 4: Oh that's amazing. 233 00:14:50,600 --> 00:14:52,800 Speaker 2: We'll be right back with more of the Taking a 234 00:14:52,840 --> 00:15:01,040 Speaker 2: Walk podcast. Welcome back to the Ta A Walk Podcast. 235 00:15:01,640 --> 00:15:05,560 Speaker 3: I recorded an episode of Taking a Walk at two 236 00:15:05,600 --> 00:15:10,400 Speaker 3: of the studios in Nashville. One was the Curb Studio, 237 00:15:10,480 --> 00:15:16,080 Speaker 3: the old Curb Studio, and the other with Mike Porter 238 00:15:16,240 --> 00:15:20,960 Speaker 3: there over at the quantct Hut Studio. Yeah, so two 239 00:15:21,120 --> 00:15:25,400 Speaker 3: legendary places, both of them. But when you first stepped 240 00:15:25,440 --> 00:15:31,640 Speaker 3: into the quantcet Hut, what was that experience like for you, well. 241 00:15:31,520 --> 00:15:35,160 Speaker 1: Same thing. You know, it's like whoa, hello, Halls. 242 00:15:35,240 --> 00:15:35,440 Speaker 4: You know. 243 00:15:36,080 --> 00:15:40,040 Speaker 1: It's unfortunately the outside looks very different now because they 244 00:15:40,160 --> 00:15:43,720 Speaker 1: basically built you know, new building around it. But on 245 00:15:43,760 --> 00:15:48,360 Speaker 1: the inside the structure is largely unchanged, so you can 246 00:15:48,440 --> 00:15:52,080 Speaker 1: make out a lot of the you know, grooves and 247 00:15:52,200 --> 00:15:55,840 Speaker 1: a lot of the just kind of the picturesque quality 248 00:15:55,920 --> 00:15:59,040 Speaker 1: to it like it used to be when they opened it. 249 00:16:00,200 --> 00:16:04,560 Speaker 3: You definitely feel something of another world there, you know. 250 00:16:04,920 --> 00:16:06,560 Speaker 4: Yeah, I don't know if it's. 251 00:16:07,920 --> 00:16:13,000 Speaker 3: The spirit of Patsy Clined getting aggravated at somebody in 252 00:16:13,040 --> 00:16:18,240 Speaker 3: a session or Bob Dylan coming in there at the 253 00:16:18,280 --> 00:16:21,720 Speaker 3: wee hours of the morning to start recording. 254 00:16:21,240 --> 00:16:22,920 Speaker 4: But you definitely feel something. 255 00:16:23,080 --> 00:16:26,200 Speaker 3: I mean, Bob's alive, so I mean very much alive, 256 00:16:26,360 --> 00:16:29,400 Speaker 3: but Patsy isn't. But you definitely feel something at the 257 00:16:29,480 --> 00:16:32,600 Speaker 3: quantt Hut and I think the Kurb Studios as well. 258 00:16:33,320 --> 00:16:33,560 Speaker 4: You know. 259 00:16:33,720 --> 00:16:38,200 Speaker 1: Also to think for us, we really revered that music. 260 00:16:38,240 --> 00:16:43,200 Speaker 1: We're just you know, kind of fans and fairly knowledgeable 261 00:16:43,240 --> 00:16:47,120 Speaker 1: about the kind of music, so it probably resonates with 262 00:16:47,320 --> 00:16:49,320 Speaker 1: us quite a bit. It's almost like I look at 263 00:16:49,360 --> 00:16:52,040 Speaker 1: it a little bit as a conversation. You know, the 264 00:16:52,080 --> 00:16:55,400 Speaker 1: studio is one thing, but then the studio meets your 265 00:16:55,480 --> 00:16:59,040 Speaker 1: heart or your knowledge, and you're being in a certain way. 266 00:16:59,040 --> 00:17:03,200 Speaker 1: And I think when the person enters the studio, that's 267 00:17:03,280 --> 00:17:05,520 Speaker 1: when the magic happens. 268 00:17:05,680 --> 00:17:10,359 Speaker 3: Yes, sir, so you did a production of the fortieth 269 00:17:10,400 --> 00:17:16,240 Speaker 3: anniversary of The Last Waltz, the Great Concert by the Band. 270 00:17:16,960 --> 00:17:19,720 Speaker 3: I think what twenty seventeen is that when you did that? 271 00:17:20,600 --> 00:17:21,440 Speaker 4: Am I correct? 272 00:17:22,560 --> 00:17:25,879 Speaker 1: Sixteen? I believe? I think. Let me see, it's a 273 00:17:26,480 --> 00:17:31,680 Speaker 1: Thanksgiving I think of sixteen, I believe, or seventeen. But anyway, 274 00:17:31,680 --> 00:17:35,520 Speaker 1: whatever the fortieth anniversary was, I know the movie came 275 00:17:35,560 --> 00:17:37,840 Speaker 1: out in seventy eight, I think, but they did it 276 00:17:37,960 --> 00:17:39,080 Speaker 1: like a year or two before. 277 00:17:39,600 --> 00:17:44,080 Speaker 3: Yeah, so what was that production like of the fortieth anniversary? 278 00:17:44,920 --> 00:17:47,760 Speaker 1: So what I didn't quite want to do is just 279 00:17:47,960 --> 00:17:51,480 Speaker 1: like play all the songs. But I wanted to get 280 00:17:51,520 --> 00:17:54,560 Speaker 1: a band together first of all that could do it justice. 281 00:17:56,040 --> 00:18:00,560 Speaker 1: So I asked my friend Bones Malone to the horn 282 00:18:00,680 --> 00:18:03,560 Speaker 1: section basically lead the muscle shows horns and bring the 283 00:18:03,600 --> 00:18:07,680 Speaker 1: original charts because he was on the Last Walltz. So 284 00:18:07,720 --> 00:18:11,600 Speaker 1: we had that. My rhythm section was Paula Sola, who 285 00:18:11,720 --> 00:18:16,280 Speaker 1: was Levon Helmspace player towards the end of Levan's career. 286 00:18:16,960 --> 00:18:19,000 Speaker 1: So we had a really good band and then all 287 00:18:19,080 --> 00:18:22,679 Speaker 1: the guests had a connection to Levon or the band 288 00:18:22,840 --> 00:18:26,040 Speaker 1: because Levon went down to muscle shows to record quite 289 00:18:26,040 --> 00:18:29,480 Speaker 1: a bit in the eighties and nineties. He did one 290 00:18:29,520 --> 00:18:31,760 Speaker 1: and a half of his albums, and then he played 291 00:18:31,800 --> 00:18:36,199 Speaker 1: on other people's albums as well and became friends with 292 00:18:36,280 --> 00:18:40,920 Speaker 1: some of the muscle shows guys. Colin Linden who somebody 293 00:18:41,000 --> 00:18:43,520 Speaker 1: we had. He was kind of part of the extended 294 00:18:43,720 --> 00:18:47,320 Speaker 1: band and he worked with Garth and Rick and Levon 295 00:18:47,520 --> 00:18:52,320 Speaker 1: in the nineties. Jimmy Hall was singer of Billy and 296 00:18:53,280 --> 00:18:58,680 Speaker 1: Jeff Beck's band, and just we had all that connection, 297 00:18:58,840 --> 00:19:00,760 Speaker 1: and then we did some of the songs that Levon 298 00:19:00,960 --> 00:19:04,680 Speaker 1: recorded in muscle shows as well as part of the show. 299 00:19:05,720 --> 00:19:08,960 Speaker 4: Did he have the RSO All Stars? 300 00:19:09,000 --> 00:19:12,439 Speaker 3: I think there was that session that came out of 301 00:19:12,480 --> 00:19:14,320 Speaker 3: some of the muscle shows connection. 302 00:19:14,359 --> 00:19:15,520 Speaker 4: Am I correct about that? 303 00:19:15,840 --> 00:19:22,480 Speaker 1: Well? That actually even predate most of that. But then 304 00:19:22,760 --> 00:19:25,680 Speaker 1: he funny enough, it's a little convoluted because he had 305 00:19:25,720 --> 00:19:30,720 Speaker 1: two albums titled lev On Helm I don't ask me why, 306 00:19:31,440 --> 00:19:35,159 Speaker 1: but like so the one leave On helm album was 307 00:19:35,200 --> 00:19:38,800 Speaker 1: co produced by Doc Dunn, and some of that was 308 00:19:38,800 --> 00:19:42,080 Speaker 1: done in Muscle Shows, and then the next one half 309 00:19:42,080 --> 00:19:46,000 Speaker 1: of that was also done in Muscle shows with largely 310 00:19:46,040 --> 00:19:51,400 Speaker 1: the Muscle Shows Rhythm Section, and then they went on 311 00:19:51,440 --> 00:19:55,480 Speaker 1: the road for a little while in eighty two as 312 00:19:55,840 --> 00:19:59,639 Speaker 1: Levon Hellman the Muscle Shows All Stars, and that was 313 00:19:59,680 --> 00:20:04,960 Speaker 1: based him members Randall Bramlett and a couple three members 314 00:20:05,000 --> 00:20:09,120 Speaker 1: of the Amazing Rhythm Aces and the Rhythm Section who 315 00:20:09,200 --> 00:20:14,439 Speaker 1: later became the Garth Brooks Rhythm section on all of 316 00:20:14,680 --> 00:20:19,200 Speaker 1: Garth's hits, which is Milton's Sledge and Mike Chapman, and 317 00:20:20,400 --> 00:20:24,119 Speaker 1: so they just did like West Coast date and the 318 00:20:24,160 --> 00:20:27,359 Speaker 1: one gig in Alaska, and Jimmy Johnson of the Muscle 319 00:20:27,400 --> 00:20:30,359 Speaker 1: Show's Rhythm Section did their front of Hound's House sound. 320 00:20:31,040 --> 00:20:35,760 Speaker 1: There's a great bootleg I have somewhere, but I think 321 00:20:35,800 --> 00:20:39,720 Speaker 1: that's about all that's still like around from that particular era. 322 00:20:40,160 --> 00:20:44,119 Speaker 1: But then he came back because he was a was 323 00:20:44,160 --> 00:20:47,080 Speaker 1: a friend and he just fell in love with the 324 00:20:47,119 --> 00:20:50,119 Speaker 1: Muscle Shows guys. So he would drive down from Woodstock 325 00:20:50,560 --> 00:20:55,359 Speaker 1: and somewhere in Virginia. He had this smoked ham guy 326 00:20:55,560 --> 00:20:58,960 Speaker 1: that he would always buy a ton of smoked hams 327 00:20:59,000 --> 00:21:03,320 Speaker 1: and bring him to a small for Schols friends and 328 00:21:03,440 --> 00:21:06,239 Speaker 1: just put the drums in his in his back and 329 00:21:06,920 --> 00:21:09,720 Speaker 1: come down and drum on a record or sing on 330 00:21:09,760 --> 00:21:13,080 Speaker 1: a record, or double drum with Joe Roger Hawkins because 331 00:21:13,119 --> 00:21:14,000 Speaker 1: he loved doing that. 332 00:21:14,840 --> 00:21:15,560 Speaker 4: Oh I love it. 333 00:21:16,240 --> 00:21:16,440 Speaker 1: Well. 334 00:21:16,480 --> 00:21:19,440 Speaker 3: I got to put you on the spot here as 335 00:21:19,480 --> 00:21:25,600 Speaker 3: a fan of the band myself, and we've certainly talked 336 00:21:25,600 --> 00:21:28,720 Speaker 3: of the band on this this podcast with other guests. 337 00:21:28,800 --> 00:21:30,840 Speaker 4: So I think two of. 338 00:21:30,800 --> 00:21:37,320 Speaker 3: The most you know, quintessential albums, you know, most influential 339 00:21:37,400 --> 00:21:41,840 Speaker 3: albums and music history would have to be Music from 340 00:21:41,840 --> 00:21:45,560 Speaker 3: Big Pink, the first band album, and then the second 341 00:21:45,640 --> 00:21:48,520 Speaker 3: band album, you know, self titled the Band. 342 00:21:48,600 --> 00:21:49,760 Speaker 4: I don't know if. 343 00:21:49,640 --> 00:21:53,000 Speaker 3: I would think you would disagree on that first, but 344 00:21:53,840 --> 00:21:57,080 Speaker 3: I think you'd agree, right, Oh, I would you would 345 00:21:57,080 --> 00:21:58,879 Speaker 3: agree right wholeheartedly. 346 00:21:59,160 --> 00:21:59,520 Speaker 4: Yeah. 347 00:21:59,800 --> 00:22:02,800 Speaker 3: So, so from I'd love to hear from a producer's 348 00:22:03,200 --> 00:22:08,200 Speaker 3: bird'seye view the way you listen to something and sort 349 00:22:08,200 --> 00:22:12,080 Speaker 3: of imagine how a session was and how things came 350 00:22:12,160 --> 00:22:17,920 Speaker 3: together and were created and then became these two brilliant masterpieces, 351 00:22:18,600 --> 00:22:22,240 Speaker 3: if you would, can you first with music from Big Pink, 352 00:22:22,280 --> 00:22:25,680 Speaker 3: and then the second album sort of take us inside 353 00:22:25,760 --> 00:22:28,399 Speaker 3: your view as an expert in this field. 354 00:22:29,240 --> 00:22:33,680 Speaker 1: Well, I don't know about that, but my take on it, 355 00:22:33,680 --> 00:22:36,199 Speaker 1: it's kind of two things. First of all, it was 356 00:22:36,480 --> 00:22:41,320 Speaker 1: very anti climactic, if you will, if you compare it 357 00:22:41,359 --> 00:22:43,760 Speaker 1: with anything else that was really put out at the 358 00:22:43,800 --> 00:22:48,760 Speaker 1: same time. So that's what's amazing about it. That's like, well, 359 00:22:49,280 --> 00:22:52,520 Speaker 1: that's not really a precedent, although the music sounds very 360 00:22:52,560 --> 00:22:55,560 Speaker 1: old in many ways and just kind of the bravery 361 00:22:55,640 --> 00:22:59,639 Speaker 1: that comes with putting something out like it. And I 362 00:22:59,640 --> 00:23:04,920 Speaker 1: think from a creative standpoint that time, like coming off 363 00:23:05,000 --> 00:23:09,560 Speaker 1: that Bob Dylan tour and just kind of hunkering down 364 00:23:09,640 --> 00:23:12,920 Speaker 1: a big pink and just kind of becoming a unit 365 00:23:13,000 --> 00:23:17,399 Speaker 1: as a band around Bob Dylan. I think Bob Dylan 366 00:23:17,520 --> 00:23:22,000 Speaker 1: was in many ways kind of a accelerator, and I 367 00:23:22,000 --> 00:23:25,320 Speaker 1: think mostly because he was like the driving force in 368 00:23:25,400 --> 00:23:29,359 Speaker 1: many ways in the beginning as far as the song ideas, 369 00:23:30,240 --> 00:23:32,800 Speaker 1: and I think they all learned a lot from Bob, 370 00:23:33,720 --> 00:23:36,439 Speaker 1: but then they brought all their influences to it, and 371 00:23:36,480 --> 00:23:39,520 Speaker 1: I think it's kind of a perfect storm of all 372 00:23:39,600 --> 00:23:45,320 Speaker 1: these talents in one room. You know, the band wouldn't 373 00:23:45,359 --> 00:23:48,440 Speaker 1: be the band without Robbie Robertson that kind of had 374 00:23:48,440 --> 00:23:51,919 Speaker 1: the ability to kind of lead the charge to a 375 00:23:51,960 --> 00:23:57,440 Speaker 1: certain degree. He needed like the joyful spirit of Rick Danko, 376 00:23:57,600 --> 00:24:00,280 Speaker 1: he needed the soul of a Richard Manuel, and he 377 00:24:00,320 --> 00:24:04,240 Speaker 1: needed the musical excellence of Garth Hudson for it to 378 00:24:04,280 --> 00:24:08,800 Speaker 1: all come together. And we must not forget that during 379 00:24:08,840 --> 00:24:13,080 Speaker 1: the basement tapes, Levon Helm wasn't really there because he 380 00:24:13,200 --> 00:24:16,320 Speaker 1: left the band, went on an oil rig in the 381 00:24:16,320 --> 00:24:20,040 Speaker 1: Gulf of Mexico, and then they finally kind of had 382 00:24:20,119 --> 00:24:23,240 Speaker 1: him back, and I think he was like the missing piece. 383 00:24:23,320 --> 00:24:25,359 Speaker 1: He was kind of the heart of the whole thing 384 00:24:25,440 --> 00:24:28,680 Speaker 1: and the gravel in his voice. So as soon as 385 00:24:28,680 --> 00:24:33,199 Speaker 1: the five of them were together, magic started happened. But 386 00:24:33,359 --> 00:24:38,520 Speaker 1: even then there was one link that was extremely important, 387 00:24:38,560 --> 00:24:42,760 Speaker 1: and that was the presence of John Sime And I 388 00:24:42,760 --> 00:24:46,320 Speaker 1: don't think we should ever, ever, ever underestimate his role 389 00:24:46,760 --> 00:24:53,200 Speaker 1: as a kind of a facilitator and a auxiliary player. 390 00:24:53,440 --> 00:24:56,240 Speaker 1: You know, they needed a horn. He could play the horn, 391 00:24:56,280 --> 00:24:59,000 Speaker 1: they needed another keyboard. He could play it. But he 392 00:24:59,080 --> 00:25:03,640 Speaker 1: also had like the mellow personality that would not clash 393 00:25:03,760 --> 00:25:06,800 Speaker 1: with the others. And I think the six of them 394 00:25:07,320 --> 00:25:11,000 Speaker 1: they made those two albums, and without any one of 395 00:25:11,040 --> 00:25:14,880 Speaker 1: those it would have never happened the way it did 396 00:25:14,920 --> 00:25:15,800 Speaker 1: so beautifully. 397 00:25:16,480 --> 00:25:21,840 Speaker 3: So the first album, it's some impossible to answer this, 398 00:25:22,000 --> 00:25:25,120 Speaker 3: but what are your favorite songs off of music from 399 00:25:25,119 --> 00:25:25,680 Speaker 3: Big Pink? 400 00:25:26,200 --> 00:25:28,480 Speaker 4: My answer would be every one of them, but. 401 00:25:31,280 --> 00:25:35,520 Speaker 3: Talk in some specifics of some of your favorites, if 402 00:25:35,800 --> 00:25:36,440 Speaker 3: or all of them. 403 00:25:36,480 --> 00:25:37,040 Speaker 4: It's fine. 404 00:25:38,160 --> 00:25:41,960 Speaker 1: Well yeah, I mean I agree, but it's like there's 405 00:25:42,000 --> 00:25:44,320 Speaker 1: a lot of variety. But also as an album it 406 00:25:44,440 --> 00:25:47,920 Speaker 1: really works. I mean, we talked about it being very 407 00:25:47,960 --> 00:25:51,600 Speaker 1: different for the times, just to starting a record was 408 00:25:51,640 --> 00:25:54,679 Speaker 1: a slow song that was pretty much unheard of, and 409 00:25:54,760 --> 00:25:59,800 Speaker 1: I mean Tears of Rage is heartbreakingly beautiful. That's what 410 00:25:59,840 --> 00:26:05,640 Speaker 1: I'm my favorites. I don't know chest Fever, this Wheels 411 00:26:05,640 --> 00:26:09,320 Speaker 1: on Fire. I love the Weight, but it's not my 412 00:26:09,359 --> 00:26:14,159 Speaker 1: favorite version of the Weight on this album. Actually, I 413 00:26:14,160 --> 00:26:18,280 Speaker 1: don't know. You know, it's kind of its whole album 414 00:26:18,359 --> 00:26:22,400 Speaker 1: that's bigger than its parts for me, anyway. 415 00:26:22,880 --> 00:26:25,840 Speaker 4: What is your favorite version besides that version of the Weight? 416 00:26:26,119 --> 00:26:28,240 Speaker 1: Oh, one with the staple singers. 417 00:26:28,560 --> 00:26:32,760 Speaker 3: Off of the Last Walls, Yeah yeah, oh yeah, for me. 418 00:26:32,760 --> 00:26:36,800 Speaker 1: It is maybe maybe this is probably about my favorite 419 00:26:36,800 --> 00:26:40,879 Speaker 1: singer too. So for them to come together, it was 420 00:26:41,400 --> 00:26:43,760 Speaker 1: just another perfect storm for me. And we all know 421 00:26:43,840 --> 00:26:45,840 Speaker 1: it was not even part of The Last Walls. It 422 00:26:45,880 --> 00:26:49,080 Speaker 1: was filmed on the soundstage, but still it's the climbax 423 00:26:49,119 --> 00:26:49,800 Speaker 1: of the movie. 424 00:26:51,040 --> 00:26:55,520 Speaker 3: So then the second album comes along and they do 425 00:26:55,600 --> 00:27:02,879 Speaker 3: it so effortlessly again with the same amazing cover to 426 00:27:03,000 --> 00:27:10,200 Speaker 3: cover excellence. It flows brilliantly. But feelings on the second 427 00:27:10,560 --> 00:27:12,800 Speaker 3: band album. 428 00:27:12,320 --> 00:27:14,639 Speaker 1: Well, I have to agree with you that it really 429 00:27:14,680 --> 00:27:20,000 Speaker 1: feels organic again, and there's one but knowing what went 430 00:27:20,119 --> 00:27:24,280 Speaker 1: into actually it's putting together. It wasn't quite that way 431 00:27:24,359 --> 00:27:28,320 Speaker 1: because they started it at different studios. They rented Sammy 432 00:27:28,400 --> 00:27:32,520 Speaker 1: Davis's poolhouse in LA and then finished it out there. 433 00:27:33,000 --> 00:27:36,960 Speaker 1: And you know, you wouldn't necessarily think that when you 434 00:27:37,080 --> 00:27:39,159 Speaker 1: just listen to that album, because to me, it feels 435 00:27:39,200 --> 00:27:41,960 Speaker 1: like you just kind of, you know, peeping in for 436 00:27:42,040 --> 00:27:45,400 Speaker 1: an afternoon and that's it. You see, what you see 437 00:27:45,440 --> 00:27:47,960 Speaker 1: is what you get. And I think that's another beautiful 438 00:27:48,000 --> 00:27:52,160 Speaker 1: thing about it. It's so organic and it sounds so live, 439 00:27:52,359 --> 00:27:54,320 Speaker 1: and a lot of it was cut life, don't get 440 00:27:54,320 --> 00:27:58,240 Speaker 1: me wrong, But still to me, it feels like, you know, 441 00:27:58,640 --> 00:28:02,080 Speaker 1: there's no production now when you look into it. There's 442 00:28:02,119 --> 00:28:05,199 Speaker 1: actually a lot, you know, that needs to work and 443 00:28:05,240 --> 00:28:07,920 Speaker 1: a lot of arrangement that goes into it to get 444 00:28:07,920 --> 00:28:10,800 Speaker 1: it to where it needs to be. But what's great 445 00:28:10,800 --> 00:28:13,960 Speaker 1: about it is it sounds so effortless that you would 446 00:28:13,960 --> 00:28:17,320 Speaker 1: never know unless you really dig in and analyze. 447 00:28:18,160 --> 00:28:21,520 Speaker 3: And just like music from Big Pink, it's still you 448 00:28:21,560 --> 00:28:26,119 Speaker 3: know today holds up so brilliantly every song on it. 449 00:28:26,160 --> 00:28:29,080 Speaker 3: Once again, so many favorites. What are some of your 450 00:28:29,119 --> 00:28:29,840 Speaker 3: favorites there? 451 00:28:30,680 --> 00:28:35,639 Speaker 1: All right? Well, for me, I really love Rag Mama 452 00:28:35,760 --> 00:28:41,040 Speaker 1: Rag for its energy, and I love King Harvest look 453 00:28:41,080 --> 00:28:47,360 Speaker 1: Out Cleveland, But my favorite is Cripple Creek. Maybe that's 454 00:28:47,360 --> 00:28:48,200 Speaker 1: the best groove. 455 00:28:49,120 --> 00:28:52,760 Speaker 3: I love all of those And in fact, a confession 456 00:28:52,800 --> 00:28:59,360 Speaker 3: to make when that came out, somehow I can my 457 00:28:59,520 --> 00:29:03,760 Speaker 3: parents into the fact that they would let me go 458 00:29:03,880 --> 00:29:10,680 Speaker 3: to the Woolworth's store and get a jaw harp, which 459 00:29:10,720 --> 00:29:15,320 Speaker 3: probably yielded dental problems to this day that I probably 460 00:29:15,840 --> 00:29:19,520 Speaker 3: still have as a result of the band. 461 00:29:20,600 --> 00:29:22,880 Speaker 1: Well it was worth it, right. 462 00:29:23,400 --> 00:29:25,360 Speaker 4: Darn right, darn right. 463 00:29:25,560 --> 00:29:29,360 Speaker 3: You know another one that off of that second one 464 00:29:29,400 --> 00:29:33,320 Speaker 3: that I just absolutely love is when You Awake. 465 00:29:33,440 --> 00:29:39,200 Speaker 1: You know, Oh yeah, Rick Danko amazing it is. Yeah, 466 00:29:39,240 --> 00:29:41,720 Speaker 1: well again, it's just such a great album. You know, 467 00:29:41,880 --> 00:29:45,680 Speaker 1: it's almost hard for me again to sing a loud songs, 468 00:29:46,320 --> 00:29:48,840 Speaker 1: but yeah, I couldn't agree more. 469 00:29:49,520 --> 00:29:53,600 Speaker 3: And what's interesting too, we had Elliott Landeon who did 470 00:29:53,840 --> 00:29:58,000 Speaker 3: the photographs you know, for the band and Dylan and yeah, 471 00:29:58,040 --> 00:30:03,520 Speaker 3: I hear, and during that period the band was so 472 00:30:04,360 --> 00:30:09,760 Speaker 3: in a groove and jiving together and those photos that 473 00:30:09,840 --> 00:30:13,400 Speaker 3: Elliott took were just so innocent and so natural as well, 474 00:30:14,720 --> 00:30:18,840 Speaker 3: and you know, just made you know, such beautiful accompaniment 475 00:30:19,480 --> 00:30:20,640 Speaker 3: you know to the music. 476 00:30:22,280 --> 00:30:25,520 Speaker 4: And then as we know, after those first. 477 00:30:25,240 --> 00:30:29,840 Speaker 3: Two then even though they produced great music, after that, 478 00:30:30,520 --> 00:30:33,880 Speaker 3: things started getting a little gnarly with the band, you know. 479 00:30:35,000 --> 00:30:38,360 Speaker 1: Yeah, and that's that's really too bad, I guess. But 480 00:30:38,480 --> 00:30:41,000 Speaker 1: it was just like almost too good to be true, 481 00:30:41,080 --> 00:30:43,960 Speaker 1: you know. And it's a lot has been talked about, 482 00:30:44,120 --> 00:30:47,239 Speaker 1: you know, why it went south, but the fact that 483 00:30:47,320 --> 00:30:51,800 Speaker 1: it actually kind of was balanced for a couple three 484 00:30:51,880 --> 00:30:55,560 Speaker 1: years there, that's probably what we have to celebrate. And 485 00:30:55,600 --> 00:31:00,320 Speaker 1: that's probably quite unique that it was possible at all. 486 00:31:01,520 --> 00:31:05,040 Speaker 4: Well, I agree. Listen. 487 00:31:05,240 --> 00:31:09,800 Speaker 3: In wrapping up, I wanted to ask you would you 488 00:31:09,880 --> 00:31:12,959 Speaker 3: come back and do an episode where maybe we could 489 00:31:14,000 --> 00:31:18,480 Speaker 3: dig into five in your mind of the most influential 490 00:31:18,520 --> 00:31:22,800 Speaker 3: albums and music history. Would you come back for an 491 00:31:22,840 --> 00:31:23,640 Speaker 3: episode with that? 492 00:31:24,360 --> 00:31:27,840 Speaker 1: Oh, I would love to do that. In fact, you 493 00:31:27,840 --> 00:31:30,920 Speaker 1: know we talked about two of my favorite albums, Bob, 494 00:31:30,960 --> 00:31:33,280 Speaker 1: we have not even mentioned my favorite band album. 495 00:31:33,920 --> 00:31:38,240 Speaker 4: Okay, a good teaser that for that episode. Good, well, 496 00:31:37,960 --> 00:31:39,400 Speaker 4: we'll get you back. 497 00:31:39,440 --> 00:31:43,000 Speaker 3: Andreas Werner, Thanks for being on Taking a Walk, sharing 498 00:31:43,120 --> 00:31:45,800 Speaker 3: your your story, your love of. 499 00:31:45,840 --> 00:31:49,800 Speaker 4: Music, and your your deep appreciation for the history. 500 00:31:50,680 --> 00:31:53,960 Speaker 1: Thank you so much and I thoroughly and joy talking 501 00:31:54,000 --> 00:31:54,680 Speaker 1: to you today. 502 00:31:56,200 --> 00:31:58,640 Speaker 2: Thanks for listening to this episode of the Taking a 503 00:31:58,680 --> 00:32:02,560 Speaker 2: Walk podcast. Share this and other episodes with your friends 504 00:32:02,680 --> 00:32:06,120 Speaker 2: and follow us so you never miss an episode. Taking 505 00:32:06,200 --> 00:32:10,080 Speaker 2: a Walk is available on the iHeartRadio app, Apple Podcasts, 506 00:32:10,280 --> 00:32:12,600 Speaker 2: and wherever you get your podcasts.