1 00:00:00,560 --> 00:00:01,400 Speaker 1: Taking a Walk. 2 00:00:01,560 --> 00:00:06,080 Speaker 2: I've lived my life with very little planning as far 3 00:00:06,120 --> 00:00:09,520 Speaker 2: as you know, or intention Actually even you know, I 4 00:00:09,520 --> 00:00:12,800 Speaker 2: would say that all I've done in my whole life 5 00:00:12,880 --> 00:00:15,040 Speaker 2: is just steeing doors open. 6 00:00:14,800 --> 00:00:17,760 Speaker 3: And walking through them. And that's basically what it is. 7 00:00:17,840 --> 00:00:20,960 Speaker 1: Welcome to the Taking a Walk Podcast with your host 8 00:00:21,079 --> 00:00:25,160 Speaker 1: Buzz Night. Buzz speaks with musicians talking about their latest 9 00:00:25,200 --> 00:00:29,920 Speaker 1: projects and their inspirations and their stories behind the music. Today, 10 00:00:30,120 --> 00:00:33,520 Speaker 1: Buzz speaks with the legendary guitarist for Blue Oyster Calf 11 00:00:33,920 --> 00:00:37,680 Speaker 1: Buck Dharma. Buzz Night speaks with Buck about his latest 12 00:00:37,680 --> 00:00:41,200 Speaker 1: work and walk down memory lane with his great career. 13 00:00:42,000 --> 00:00:46,440 Speaker 1: Here's Buzz Night with Buck Dharma now on Taking a Walk. 14 00:00:47,640 --> 00:00:50,040 Speaker 4: Well, thanks for being on Taking a Walk, Buck Dharma, 15 00:00:50,240 --> 00:00:52,000 Speaker 4: I want to ask you out of the gate, did 16 00:00:52,040 --> 00:00:55,000 Speaker 4: you ever have a plan b if you weren't going 17 00:00:55,040 --> 00:00:55,880 Speaker 4: to be a musician. 18 00:00:56,800 --> 00:00:58,400 Speaker 3: I wasn't taking that far ahead. 19 00:00:58,520 --> 00:01:03,639 Speaker 2: I assumed when we got a recording contract that if 20 00:01:03,680 --> 00:01:07,959 Speaker 2: you follow the arc of most artists careers, you know, 21 00:01:08,000 --> 00:01:11,120 Speaker 2: they make two or three albums and then they do 22 00:01:11,200 --> 00:01:12,640 Speaker 2: something else for the rest of their life. 23 00:01:12,680 --> 00:01:16,199 Speaker 3: And at least that was my impression, you know, and. 24 00:01:17,560 --> 00:01:22,199 Speaker 2: At every increment of Blue Oyster cults history, the record 25 00:01:22,280 --> 00:01:27,440 Speaker 2: company would make allow us to make another record, So, 26 00:01:27,800 --> 00:01:30,160 Speaker 2: you know, we made the first record, we made the 27 00:01:30,200 --> 00:01:34,160 Speaker 2: second record, a third record, and the fourth that was 28 00:01:34,200 --> 00:01:37,080 Speaker 2: our first goal record, on your Feet around your Knees 29 00:01:37,240 --> 00:01:41,000 Speaker 2: live record, and then we made Agents of Fortune and Specters, 30 00:01:41,040 --> 00:01:47,640 Speaker 2: which went platinum. And so I didn't really think about it, 31 00:01:47,760 --> 00:01:50,520 Speaker 2: you know, in the in the eighties, when we stopped 32 00:01:51,200 --> 00:01:53,840 Speaker 2: playing arenas and things like that, you know, I thought 33 00:01:53,840 --> 00:01:58,080 Speaker 2: about doing other stuff, but we were doing very well 34 00:01:58,440 --> 00:02:02,400 Speaker 2: just performing live, so it didn't occur to me to 35 00:02:02,720 --> 00:02:04,000 Speaker 2: really change gears. 36 00:02:04,720 --> 00:02:09,760 Speaker 3: I think if if I. 37 00:02:07,920 --> 00:02:14,720 Speaker 2: Failed early on, I would have gone into recording engineering 38 00:02:14,800 --> 00:02:17,840 Speaker 2: and production, because I've always enjoyed that part of it, 39 00:02:17,919 --> 00:02:21,760 Speaker 2: you know, and I know a lot of artists did. 40 00:02:21,800 --> 00:02:24,800 Speaker 2: In fact, if you talked to a lot of record producers, 41 00:02:24,840 --> 00:02:29,440 Speaker 2: they were originally artists themselves and got into the production side. 42 00:02:30,080 --> 00:02:32,919 Speaker 4: Can you take us inside the audition that you did 43 00:02:32,960 --> 00:02:33,919 Speaker 4: for Clive Davis? 44 00:02:34,240 --> 00:02:34,440 Speaker 1: Yeah? 45 00:02:34,480 --> 00:02:35,320 Speaker 3: Have you heard about that. 46 00:02:37,000 --> 00:02:41,520 Speaker 4: I think there's a little bit of a notorious story involved. 47 00:02:41,600 --> 00:02:41,840 Speaker 3: Yeah. 48 00:02:41,919 --> 00:02:46,800 Speaker 2: Yeah, you know, we made demos for several companies in 49 00:02:46,840 --> 00:02:51,200 Speaker 2: New York. A band was New York based and we 50 00:02:51,320 --> 00:02:54,600 Speaker 2: made one for Columbia, and when it came time to 51 00:02:55,919 --> 00:02:59,600 Speaker 2: make a decision on signing us, we auditioned for Clive 52 00:02:59,840 --> 00:03:05,519 Speaker 2: in the then CBS office building on sixth Avenue and 53 00:03:05,720 --> 00:03:07,360 Speaker 2: forty and fifty second Street. 54 00:03:08,080 --> 00:03:09,480 Speaker 3: Actually it was like forty eighth Street. 55 00:03:09,560 --> 00:03:12,600 Speaker 2: Forty yeah, forty eighth Street, it was fifty second was 56 00:03:12,600 --> 00:03:15,880 Speaker 2: what the studios were. And they call it black Rock. 57 00:03:16,000 --> 00:03:21,040 Speaker 2: And because it was a black granite building in a 58 00:03:21,080 --> 00:03:24,000 Speaker 2: conference room which is not really that big, you know, 59 00:03:24,080 --> 00:03:27,040 Speaker 2: had a big table in it which was moved to 60 00:03:27,560 --> 00:03:32,000 Speaker 2: the side on its edge, and the band set up 61 00:03:32,000 --> 00:03:35,240 Speaker 2: at one end and there were some chairs at the 62 00:03:35,280 --> 00:03:39,560 Speaker 2: other end, and Clive came in and he brought with 63 00:03:39,720 --> 00:03:44,080 Speaker 2: him Harry Nilsen and Bobby Columbie, the drummer of Blood, 64 00:03:44,080 --> 00:03:49,160 Speaker 2: Sweat and Tears, and we played four songs I think 65 00:03:49,840 --> 00:03:55,000 Speaker 2: for them, you know, And you know this, I wouldn't 66 00:03:55,000 --> 00:04:02,280 Speaker 2: say that they were an enthusiastic audience, you know, I 67 00:04:02,320 --> 00:04:04,800 Speaker 2: think you know, we were we were going over, I guess, 68 00:04:04,840 --> 00:04:07,560 Speaker 2: but again, you know, they weren't jumping up and down. 69 00:04:07,720 --> 00:04:09,800 Speaker 2: And at one point Harry Nielsen gets up and he 70 00:04:09,880 --> 00:04:11,720 Speaker 2: walks out of the room, and we're. 71 00:04:11,480 --> 00:04:13,400 Speaker 3: Thinking that he doesn't like it. 72 00:04:16,920 --> 00:04:17,760 Speaker 1: So when it was. 73 00:04:17,720 --> 00:04:20,200 Speaker 2: Over and he said, oh, thanks very much, boys, we'll 74 00:04:20,240 --> 00:04:23,440 Speaker 2: get back to you, you know, And we had a 75 00:04:23,480 --> 00:04:26,320 Speaker 2: conversation with Harry later on. He said, no, no, I 76 00:04:26,400 --> 00:04:29,120 Speaker 2: liked you guys. I told Clive to sign you. I 77 00:04:29,240 --> 00:04:30,839 Speaker 2: just why does this have to have a cigarette? 78 00:04:30,880 --> 00:04:31,240 Speaker 1: That's all? 79 00:04:34,240 --> 00:04:35,719 Speaker 4: How nerve wracking? 80 00:04:35,839 --> 00:04:37,880 Speaker 3: Yeah, it was, you know, it was a little tactic, 81 00:04:37,960 --> 00:04:39,240 Speaker 3: but you know he did. 82 00:04:39,440 --> 00:04:41,960 Speaker 2: He did sign us, you know, and he never brags 83 00:04:41,960 --> 00:04:44,679 Speaker 2: about us when he talks about the artists he science. 84 00:04:44,760 --> 00:04:47,200 Speaker 2: But that's okay, you know, he can he can talk 85 00:04:47,200 --> 00:04:48,120 Speaker 2: about Whitney Houston. 86 00:04:48,200 --> 00:04:50,479 Speaker 3: You know, Lorisa called that. That's so munch. 87 00:04:51,680 --> 00:04:53,800 Speaker 4: I mean, I wonder if he really knew though that 88 00:04:53,880 --> 00:04:57,039 Speaker 4: he was signing a piece of you know, music history, right. 89 00:04:57,880 --> 00:05:00,440 Speaker 2: I think probably everything he did is just oracle in 90 00:05:00,480 --> 00:05:01,320 Speaker 2: one way or another. 91 00:05:01,440 --> 00:05:02,520 Speaker 3: But no, I. 92 00:05:04,279 --> 00:05:10,840 Speaker 2: You know, I applaud Columbia for sticking with us and 93 00:05:11,279 --> 00:05:13,560 Speaker 2: letting us build our audience. And I think at that 94 00:05:13,680 --> 00:05:15,960 Speaker 2: time that was the way they did business. You know, 95 00:05:16,040 --> 00:05:21,080 Speaker 2: they they signed artists to like seven record deals, you know, 96 00:05:21,520 --> 00:05:23,760 Speaker 2: out of the gate, you know, they kept it tied up. 97 00:05:24,240 --> 00:05:26,440 Speaker 2: But on the other side of that coin is that 98 00:05:26,560 --> 00:05:30,760 Speaker 2: if they believed in you, they would continue to back you, 99 00:05:30,760 --> 00:05:33,960 Speaker 2: you know, even even if you didn't go platinum the 100 00:05:34,000 --> 00:05:37,800 Speaker 2: first time. And obviously later on the business changed to 101 00:05:37,880 --> 00:05:40,040 Speaker 2: the point where you know, you had one shot to 102 00:05:40,040 --> 00:05:42,080 Speaker 2: succeed and then you'd be gone if you didn't. 103 00:05:42,120 --> 00:05:45,960 Speaker 4: You know, was Clide hands on after the signing. 104 00:05:46,720 --> 00:05:47,680 Speaker 3: Uh, not so much. 105 00:05:49,320 --> 00:05:52,400 Speaker 2: It might have been better if you was, but but no, 106 00:05:53,680 --> 00:05:58,279 Speaker 2: we had real, real autonomy with the with the record company. 107 00:05:58,320 --> 00:05:59,520 Speaker 3: They let us do what we wanted to. 108 00:06:00,360 --> 00:06:03,040 Speaker 4: And I remember, as somebody who was on the radio side, 109 00:06:03,040 --> 00:06:07,480 Speaker 4: they always had a really tremendous promotion staff that worked, 110 00:06:07,600 --> 00:06:11,800 Speaker 4: you know, rock music. I think they really knew their 111 00:06:12,440 --> 00:06:14,599 Speaker 4: craft and they were passionate about. 112 00:06:14,279 --> 00:06:14,680 Speaker 1: It, you know. 113 00:06:15,640 --> 00:06:19,760 Speaker 2: Yes, that was demonstrated by when Don't Fit the Reaper 114 00:06:19,880 --> 00:06:23,040 Speaker 2: broke out at radio and it sort of just bubbled up. 115 00:06:23,080 --> 00:06:27,400 Speaker 2: It wasn't even a single, you know, became a single. 116 00:06:27,920 --> 00:06:33,159 Speaker 2: But when that happened, the Columbia muscle was evident. You know, 117 00:06:33,200 --> 00:06:37,120 Speaker 2: they could get the albums into record stores and move 118 00:06:37,160 --> 00:06:41,360 Speaker 2: them through retail, you know, so that was impressive. 119 00:06:42,160 --> 00:06:46,120 Speaker 4: Was it a geographic breakout? First? It was its first 120 00:06:46,120 --> 00:06:48,400 Speaker 4: East Coast and then it sort of worked its way 121 00:06:48,440 --> 00:06:51,200 Speaker 4: across the country in terms of popularity for the. 122 00:06:51,160 --> 00:06:52,920 Speaker 3: Band, not to my recollection. 123 00:06:53,080 --> 00:06:57,800 Speaker 2: I think once the song was added at aoor radio 124 00:06:57,920 --> 00:07:02,440 Speaker 2: album radio, FM radio, and it just sort of was 125 00:07:02,480 --> 00:07:05,280 Speaker 2: an organic thing that everybody picked up on. And then 126 00:07:06,240 --> 00:07:09,880 Speaker 2: the single got to be It got to be nine 127 00:07:09,960 --> 00:07:14,320 Speaker 2: on cash Box and I think eleven on Billboard, eleven 128 00:07:14,360 --> 00:07:18,000 Speaker 2: or twelve, you know, so, and it didn't get higher 129 00:07:18,040 --> 00:07:20,880 Speaker 2: because it never got added on New York radio of 130 00:07:20,920 --> 00:07:24,000 Speaker 2: all places. We were a New York band, and you know, 131 00:07:24,880 --> 00:07:27,400 Speaker 2: to BYBC said, nah, I we're not playing that song. 132 00:07:27,520 --> 00:07:29,280 Speaker 4: How fascinating that would have been. 133 00:07:29,320 --> 00:07:31,000 Speaker 3: You know, that would have been top ten if it 134 00:07:31,040 --> 00:07:33,920 Speaker 3: would have done that. You know, yeah, that's crazy. 135 00:07:33,960 --> 00:07:35,080 Speaker 4: I didn't realize that. 136 00:07:35,760 --> 00:07:36,040 Speaker 3: Yeah. 137 00:07:36,240 --> 00:07:41,679 Speaker 2: I think the programmer was Rick Square, if I remember anyway, 138 00:07:42,080 --> 00:07:44,880 Speaker 2: you know, I is a song about a reaper. 139 00:07:44,920 --> 00:07:45,480 Speaker 3: I don't think so. 140 00:07:45,720 --> 00:07:50,880 Speaker 4: You know, So, what was the first moment you realized 141 00:07:50,920 --> 00:07:55,120 Speaker 4: that you were hooked on music in your life? 142 00:07:56,680 --> 00:08:00,280 Speaker 2: I always liked music as a kid. My dad was 143 00:08:01,640 --> 00:08:05,640 Speaker 2: a horn player. He played sax and clarinet and a flute, 144 00:08:06,360 --> 00:08:11,840 Speaker 2: and he always worked weekends and he played in combo bands, 145 00:08:11,880 --> 00:08:15,280 Speaker 2: you know, four piece, five piece. He worked clubs and 146 00:08:15,360 --> 00:08:17,760 Speaker 2: he played weddings and did things like that. You know, 147 00:08:17,760 --> 00:08:20,080 Speaker 2: he had a day job. He was in the defense industry. 148 00:08:21,680 --> 00:08:24,840 Speaker 2: But he used to take me on gigs when I 149 00:08:24,880 --> 00:08:27,880 Speaker 2: was a kid. You know, I would just sit there 150 00:08:27,880 --> 00:08:30,320 Speaker 2: and drink a ginger ale and really really, you know, 151 00:08:30,960 --> 00:08:35,000 Speaker 2: listen to the music and dig it. And I played 152 00:08:35,000 --> 00:08:37,599 Speaker 2: accordion when I was nine years old. Took it for 153 00:08:37,640 --> 00:08:41,360 Speaker 2: about a year, and then I didn't really think I 154 00:08:41,440 --> 00:08:46,160 Speaker 2: was the according was that cool? So techo I was 155 00:08:46,200 --> 00:08:49,760 Speaker 2: a drummer later on when as a teenager. And I 156 00:08:49,800 --> 00:08:52,559 Speaker 2: started playing guitar when I was about fifteen. And when 157 00:08:52,600 --> 00:08:54,280 Speaker 2: I started guitar, I didn't look back. 158 00:08:55,200 --> 00:08:56,640 Speaker 4: What was the first guitar you bought? 159 00:08:57,160 --> 00:09:01,280 Speaker 2: First guitar I had was a freemire to pick up, 160 00:09:02,000 --> 00:09:06,240 Speaker 2: no cutaway sort of jazz box that my dad had found, 161 00:09:06,600 --> 00:09:08,640 Speaker 2: you know, one of his compadres had it, you know, 162 00:09:08,679 --> 00:09:12,760 Speaker 2: and it was not really a rock instrument, and it 163 00:09:12,800 --> 00:09:15,800 Speaker 2: looked to me like you know, you know the Mexican 164 00:09:15,880 --> 00:09:18,719 Speaker 2: guitar owns that based the bass guitar or the big 165 00:09:18,760 --> 00:09:20,560 Speaker 2: thick body that sort of looked like on me because 166 00:09:20,559 --> 00:09:22,880 Speaker 2: I'm a little guy, you know. So I played that 167 00:09:22,960 --> 00:09:25,679 Speaker 2: for a while and then my second guitar was a 168 00:09:25,840 --> 00:09:28,800 Speaker 2: hackst Frum Fender stratocaster copy. 169 00:09:29,840 --> 00:09:32,520 Speaker 4: And who then were the guitarists that you looked up to? 170 00:09:33,760 --> 00:09:37,480 Speaker 2: I was playing surf music, so it was all the 171 00:09:37,520 --> 00:09:43,079 Speaker 2: surf bands, you know, the Safaris, the Chanteys, the Beach Boys. 172 00:09:44,240 --> 00:09:48,240 Speaker 2: But we're playing instrumentals pretty much, not not a little 173 00:09:48,280 --> 00:09:49,880 Speaker 2: bit of vocals, but in my high. 174 00:09:49,760 --> 00:09:51,480 Speaker 3: School band, you know, but that's what we're doing. 175 00:09:52,320 --> 00:09:56,000 Speaker 2: So anybody with you know, the ventures a huge influence, 176 00:09:56,040 --> 00:09:59,920 Speaker 2: you know, anybody that played Fender guitars and then Fender 177 00:10:00,440 --> 00:10:02,200 Speaker 2: you know, that was where we're at. 178 00:10:03,200 --> 00:10:07,000 Speaker 4: And what was the first concert that you ever attended? 179 00:10:07,960 --> 00:10:12,040 Speaker 2: The first one I ever went to was rather late 180 00:10:12,080 --> 00:10:14,200 Speaker 2: in my life. It must have been it must have 181 00:10:14,200 --> 00:10:17,120 Speaker 2: been eighteen at the time. It never occurred to me 182 00:10:17,160 --> 00:10:20,520 Speaker 2: to go see music live. I was very much into recordings. 183 00:10:21,320 --> 00:10:22,560 Speaker 3: But it was. 184 00:10:24,040 --> 00:10:28,640 Speaker 2: It was the Young Rascals and the Beau Brummels and 185 00:10:29,960 --> 00:10:34,480 Speaker 2: the Seeds, Sky's Accent and the Seeds. 186 00:10:34,280 --> 00:10:36,800 Speaker 4: And Pushing too hard, Pushing too hard. 187 00:10:36,880 --> 00:10:39,160 Speaker 2: Yeah, And that was the bill. It was all three 188 00:10:39,160 --> 00:10:41,400 Speaker 2: of those acts. And then they were all great, you know, 189 00:10:42,200 --> 00:10:46,720 Speaker 2: And it was in it was in a large club. 190 00:10:46,840 --> 00:10:50,120 Speaker 2: It was like a dance hall in Suffolk County, So 191 00:10:50,200 --> 00:10:54,880 Speaker 2: that was and of course seeing bands live just opened my. 192 00:10:54,880 --> 00:10:57,000 Speaker 3: Mind to that. And after that I became a big 193 00:10:57,040 --> 00:10:58,080 Speaker 3: fan of live music. 194 00:10:58,840 --> 00:11:02,200 Speaker 4: And what was the first album that you remember ever buying? 195 00:11:02,840 --> 00:11:05,840 Speaker 3: The Ventures? Walke Don't Run the Ventures? Yeah? I bought 196 00:11:05,840 --> 00:11:07,880 Speaker 3: the single and the LP. Yeah. 197 00:11:08,720 --> 00:11:11,960 Speaker 4: So when you think of your hall of fame of 198 00:11:12,080 --> 00:11:17,440 Speaker 4: guitarists that really made an impact and still impact you 199 00:11:17,559 --> 00:11:20,960 Speaker 4: to this day. Who is in Buck Dharmer's guitar Hall 200 00:11:21,000 --> 00:11:21,400 Speaker 4: of Fame? 201 00:11:22,840 --> 00:11:25,200 Speaker 2: Well, first of all, more than you can mention many, 202 00:11:25,280 --> 00:11:31,760 Speaker 2: many many, you know, certainly the when I was learning 203 00:11:31,920 --> 00:11:34,960 Speaker 2: it was it was the Surface Tomentalists. 204 00:11:35,440 --> 00:11:35,640 Speaker 1: You know. 205 00:11:35,800 --> 00:11:38,760 Speaker 3: It's funny. Dick Dale was not big on on the 206 00:11:38,800 --> 00:11:41,319 Speaker 3: East Coast like he was on the West coast. But 207 00:11:41,920 --> 00:11:42,640 Speaker 3: you know, he would have. 208 00:11:42,679 --> 00:11:46,040 Speaker 2: Been mentioned if if I had heard him. But it 209 00:11:46,240 --> 00:11:48,040 Speaker 2: was you know, who was ever playing on the Beach 210 00:11:48,120 --> 00:11:50,079 Speaker 2: Boys record? I thought it was Carl Wilson, but it 211 00:11:50,200 --> 00:11:53,360 Speaker 2: was probably Tommy Didsco or somebody like that, or even 212 00:11:53,520 --> 00:11:54,240 Speaker 2: Glenn Campbell. 213 00:11:54,280 --> 00:11:55,480 Speaker 3: It could have been. You know, I don't know who 214 00:11:55,559 --> 00:11:56,679 Speaker 3: played those parts. 215 00:11:56,440 --> 00:11:59,920 Speaker 2: But you know, but it was sort of like Chuck 216 00:12:00,040 --> 00:12:02,719 Speaker 2: Berry has filtered through the Beach Boys, you know that 217 00:12:03,000 --> 00:12:07,200 Speaker 2: that kind of stuff. So obviously, Chuck Berry, we were 218 00:12:07,640 --> 00:12:12,680 Speaker 2: very influenced by the early psychedelic bands. 219 00:12:13,200 --> 00:12:13,360 Speaker 1: You know. 220 00:12:13,559 --> 00:12:15,319 Speaker 3: Robbie Krieger's a big influence on me. 221 00:12:15,520 --> 00:12:19,959 Speaker 2: You know, the Jerry Garcia very big, you know, through 222 00:12:20,040 --> 00:12:25,280 Speaker 2: the Grateful Ded and of course Jefferson Airplane and Quicksilver 223 00:12:25,360 --> 00:12:29,480 Speaker 2: Messenger Service, all those guys, you know, and all the 224 00:12:29,600 --> 00:12:35,520 Speaker 2: English guitar players which are playing the American Chicago blues players. 225 00:12:35,640 --> 00:12:39,400 Speaker 2: You know, so sort of got around to the Chicago 226 00:12:39,520 --> 00:12:43,400 Speaker 2: blues men through the early English guys who were covering 227 00:12:43,480 --> 00:12:46,480 Speaker 2: that stuff, the Stones and Jeff Beck and you know 228 00:12:46,559 --> 00:12:52,319 Speaker 2: all those guys. Clapton, Richie Blackmore, very important stylist, you know, 229 00:12:52,480 --> 00:12:54,719 Speaker 2: I mean, all of There's so many great players, you know, 230 00:12:54,880 --> 00:12:59,160 Speaker 2: it's it's one of my favorite players now is Robin Ford. 231 00:12:59,280 --> 00:13:02,800 Speaker 3: You know, I think he's awesome. Tommy Emmanuel is. 232 00:13:02,840 --> 00:13:06,280 Speaker 2: An acoustic player, but he plays a great electric too. 233 00:13:06,679 --> 00:13:10,160 Speaker 2: You know, there's there's too many great players to mention. 234 00:13:10,320 --> 00:13:12,720 Speaker 2: You just feel bad for leaving anybody out, but. 235 00:13:14,200 --> 00:13:14,800 Speaker 3: They're all good. 236 00:13:15,840 --> 00:13:20,400 Speaker 4: I think. What's amazing thinking about the soft white underbelly, 237 00:13:20,640 --> 00:13:25,240 Speaker 4: which was obviously you know before Blue Oyster Cult. It 238 00:13:25,400 --> 00:13:28,559 Speaker 4: was really like a like a psychedelic jam band, wasn't it. 239 00:13:29,040 --> 00:13:32,000 Speaker 2: Yeah, I would say we would be called a jam band, 240 00:13:32,240 --> 00:13:35,520 Speaker 2: you know, if if we could be transported to you know, 241 00:13:35,960 --> 00:13:36,400 Speaker 2: that era. 242 00:13:37,080 --> 00:13:39,240 Speaker 1: We'll be right back with more of the Taking a 243 00:13:39,280 --> 00:13:47,480 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk podcast. 244 00:13:48,400 --> 00:13:51,800 Speaker 4: So take us inside a couple of sessions if you can. 245 00:13:52,040 --> 00:13:54,640 Speaker 4: First of all, don't fear the reaper. What do you 246 00:13:54,720 --> 00:13:58,160 Speaker 4: remember about that session? I know there was a lot 247 00:13:58,200 --> 00:14:01,560 Speaker 4: of prep beforehand that into it, so you didn't really 248 00:14:01,640 --> 00:14:04,720 Speaker 4: waste studio time and we're really you know, on top 249 00:14:04,800 --> 00:14:08,079 Speaker 4: of it. But bring us inside what you remember of 250 00:14:08,160 --> 00:14:11,640 Speaker 4: that session with the kind of guitar you used, and 251 00:14:11,880 --> 00:14:13,360 Speaker 4: what it was like creating that. 252 00:14:14,920 --> 00:14:17,520 Speaker 2: We were always pretty prepared before we went the studio, 253 00:14:18,240 --> 00:14:22,360 Speaker 2: and the Age of Fortune record was the first one 254 00:14:22,520 --> 00:14:28,360 Speaker 2: where the band members had made pretty advanced or evolved 255 00:14:28,400 --> 00:14:31,800 Speaker 2: demos of the song as a writer before bringing it 256 00:14:31,880 --> 00:14:37,000 Speaker 2: to the band, because we had just gotten home four 257 00:14:37,080 --> 00:14:40,440 Speaker 2: track recorders, which previous to that no one could afford. 258 00:14:41,280 --> 00:14:44,920 Speaker 2: But when T came out with Theirs, we all had 259 00:14:45,040 --> 00:14:49,040 Speaker 2: gotten four track recorders. So the demo that I brought 260 00:14:49,080 --> 00:14:51,960 Speaker 2: in for the Reaper was was pretty well arranged so 261 00:14:52,120 --> 00:14:55,240 Speaker 2: that it was not too different than what the band recorded. 262 00:14:55,280 --> 00:14:57,600 Speaker 2: Of course, the band, you know, did its own thing 263 00:14:57,720 --> 00:15:02,600 Speaker 2: on it, but it's essentially this. The demo was out 264 00:15:02,680 --> 00:15:08,320 Speaker 2: on one of the box set type compilations of BOC, 265 00:15:08,520 --> 00:15:11,240 Speaker 2: so you could compare him if you wanted to. The 266 00:15:11,800 --> 00:15:15,920 Speaker 2: iconic riff of the Reaper was recorded on Murray Krugman's 267 00:15:16,400 --> 00:15:21,160 Speaker 2: ES one seventy five Gibson, which is again a hollow 268 00:15:21,240 --> 00:15:27,360 Speaker 2: body with one cutaway two pickups, and it sounds unique 269 00:15:27,480 --> 00:15:29,680 Speaker 2: in that in the sense that that's not the guitar 270 00:15:29,760 --> 00:15:32,640 Speaker 2: I play it live and never have, so it's it 271 00:15:32,760 --> 00:15:36,000 Speaker 2: doesn't sound exactly like the record, but you get close. 272 00:15:38,600 --> 00:15:41,280 Speaker 4: Sorry, Elmer's barking in the background there. There must be 273 00:15:41,360 --> 00:15:44,960 Speaker 4: a delivery guy coming to the house, so I'll try 274 00:15:45,560 --> 00:15:49,600 Speaker 4: I'll try to ignore his big vocal cords down there. 275 00:15:49,760 --> 00:15:52,440 Speaker 3: So, yeah, we all work from home, now, don't we. 276 00:15:53,800 --> 00:15:56,120 Speaker 4: Yeah, it's got to be a delivery. He thinks he's 277 00:15:56,240 --> 00:15:57,760 Speaker 4: the watchdog here. 278 00:15:57,960 --> 00:15:58,160 Speaker 3: Yeah. 279 00:15:59,000 --> 00:16:02,200 Speaker 4: Yeah, So how about taking us inside the session that 280 00:16:02,360 --> 00:16:04,600 Speaker 4: produced the great song Burning for You? 281 00:16:04,760 --> 00:16:06,360 Speaker 1: What was that like? Now? 282 00:16:06,440 --> 00:16:07,080 Speaker 3: Burnard for You? 283 00:16:07,880 --> 00:16:10,840 Speaker 2: It was a song that I wrote intending to put 284 00:16:10,880 --> 00:16:14,040 Speaker 2: it on my nineteen eighty one solo record flat out, 285 00:16:15,400 --> 00:16:20,360 Speaker 2: And obviously it's Sandy Pelman, who has managed us at 286 00:16:20,400 --> 00:16:23,840 Speaker 2: the time and of course as our mentor and chief 287 00:16:23,960 --> 00:16:27,320 Speaker 2: lyricists for a lot of years. He convinced me to 288 00:16:27,440 --> 00:16:29,960 Speaker 2: let Blue Oyster Call recorded because he thought it would 289 00:16:30,000 --> 00:16:34,520 Speaker 2: be better served as a BOC song, and he was 290 00:16:34,560 --> 00:16:41,040 Speaker 2: probably right. So we made that recording with Martin Birch. 291 00:16:41,120 --> 00:16:43,240 Speaker 2: It was the second record we did with Martin Birch 292 00:16:43,360 --> 00:16:47,000 Speaker 2: producing and engineering, and I think he did a great 293 00:16:47,120 --> 00:16:52,320 Speaker 2: job of taking the taking the tune and really bringing 294 00:16:52,360 --> 00:16:55,479 Speaker 2: it home, you know, with the sound and the performance. 295 00:16:56,720 --> 00:16:59,040 Speaker 4: It must really make you feel great when you still 296 00:16:59,560 --> 00:17:03,720 Speaker 4: know those two songs in particular of course Godzilla too, 297 00:17:03,880 --> 00:17:07,919 Speaker 4: that they're you know, still part of our music culture today. 298 00:17:09,160 --> 00:17:12,560 Speaker 2: Yeah, that's that's that's that's been gratifying as I see 299 00:17:13,000 --> 00:17:15,520 Speaker 2: what Bloor is, the call stun ripple out into the 300 00:17:15,640 --> 00:17:16,359 Speaker 2: larger culture. 301 00:17:16,440 --> 00:17:18,800 Speaker 3: You know, it's you know, it makes you feel good. 302 00:17:19,240 --> 00:17:22,119 Speaker 4: How many times a week does somebody come up to 303 00:17:22,240 --> 00:17:25,480 Speaker 4: you and say, hey, buck more cow bell? 304 00:17:26,920 --> 00:17:29,359 Speaker 3: It's I think that's peaked. But there was a time 305 00:17:29,480 --> 00:17:31,639 Speaker 3: when when you couldn't get away from the Cowboy, And. 306 00:17:35,400 --> 00:17:37,040 Speaker 4: Did you see that in real time? 307 00:17:37,640 --> 00:17:39,600 Speaker 3: Not as not exactly. 308 00:17:40,680 --> 00:17:43,760 Speaker 2: My wife's mom called us up when it was on, 309 00:17:44,040 --> 00:17:46,159 Speaker 2: saying because she was watching Hoturday night, you know. 310 00:17:46,320 --> 00:17:48,800 Speaker 3: And she said, turn on Saturday right now. 311 00:17:50,119 --> 00:17:53,560 Speaker 2: Of course I saw it pretty shortly thereafter. I don't 312 00:17:53,600 --> 00:17:56,280 Speaker 2: know who had it recorded. It was really the beginning 313 00:17:56,359 --> 00:17:58,000 Speaker 2: of the VHS era. 314 00:17:58,880 --> 00:18:02,640 Speaker 4: I promise anybody, if you're ever in a bad mood 315 00:18:02,720 --> 00:18:04,560 Speaker 4: and you want to put yourself in a good mood, 316 00:18:04,720 --> 00:18:07,879 Speaker 4: just watch that because it's it's guaranteed to lift your 317 00:18:07,920 --> 00:18:09,240 Speaker 4: spirits every time. 318 00:18:10,080 --> 00:18:13,119 Speaker 3: It's it's still funny, you know, and for that I'm grateful. 319 00:18:13,320 --> 00:18:13,480 Speaker 4: You know. 320 00:18:13,760 --> 00:18:17,960 Speaker 2: We just did an interview with the Peacock Channel that's 321 00:18:18,000 --> 00:18:23,320 Speaker 2: doing a special on SNL this summer, and it's going 322 00:18:23,400 --> 00:18:26,440 Speaker 2: to be four episodes and one episode is devoted to 323 00:18:26,520 --> 00:18:27,840 Speaker 2: the Cabo. 324 00:18:27,680 --> 00:18:28,240 Speaker 3: Sketch, you know. 325 00:18:28,880 --> 00:18:33,120 Speaker 2: So it's amazing that it has endured because it's been 326 00:18:33,440 --> 00:18:35,639 Speaker 2: a lot of years since that was aired. 327 00:18:36,640 --> 00:18:41,640 Speaker 4: So throughout the touring career, the robust years of touring 328 00:18:41,800 --> 00:18:44,639 Speaker 4: that were part of that grind. What were some of 329 00:18:44,760 --> 00:18:46,680 Speaker 4: your favorite concert venues to play? 330 00:18:48,520 --> 00:18:52,000 Speaker 2: We were very popular up and down the West coast, 331 00:18:52,160 --> 00:18:53,760 Speaker 2: like from Seattle to San Diego. 332 00:18:54,080 --> 00:18:54,679 Speaker 3: That's sort of. 333 00:18:54,760 --> 00:18:59,680 Speaker 2: Where we you know, had our arena era and once 334 00:18:59,760 --> 00:19:01,840 Speaker 2: one the Reaper was a head. You know, we went 335 00:19:01,920 --> 00:19:05,160 Speaker 2: into the big rooms, and the Midwest is always good 336 00:19:05,200 --> 00:19:08,879 Speaker 2: for us. Ironically, we did okay in New York, but 337 00:19:09,080 --> 00:19:11,879 Speaker 2: being a New York band was never an advantage, you know, 338 00:19:12,040 --> 00:19:12,320 Speaker 2: for us. 339 00:19:12,720 --> 00:19:17,119 Speaker 3: I would say, you know, and I just like to 340 00:19:17,160 --> 00:19:19,520 Speaker 3: go to places that are nice places. I enjoy that, 341 00:19:19,840 --> 00:19:20,000 Speaker 3: you know. 342 00:19:20,640 --> 00:19:23,800 Speaker 2: I like going overseas, like going to Hawaii, like going 343 00:19:23,880 --> 00:19:29,120 Speaker 2: to New Orleans, and like Chicago, and you know, it's 344 00:19:29,200 --> 00:19:31,480 Speaker 2: not really that much different one place or another. 345 00:19:32,480 --> 00:19:34,960 Speaker 4: And how about some of the favorite bands that you 346 00:19:35,160 --> 00:19:38,880 Speaker 4: toured with over the years that you really enjoyed either 347 00:19:39,200 --> 00:19:43,480 Speaker 4: just you know, being with or you know, sharing audiences with. 348 00:19:43,640 --> 00:19:44,720 Speaker 4: Who were some of the bands? 349 00:19:45,800 --> 00:19:48,520 Speaker 2: Yeah, you know, in those days, I think the bands 350 00:19:48,560 --> 00:19:51,240 Speaker 2: are a lot more competitive with each other in terms 351 00:19:51,280 --> 00:19:56,879 Speaker 2: of personal relationships. Nowadays, everybody's good buddies, you know. I 352 00:19:57,000 --> 00:19:59,680 Speaker 2: think anyone who's survived and is still out there is 353 00:20:00,280 --> 00:20:05,160 Speaker 2: very cordial and friendly, and of course anyone that's still 354 00:20:05,240 --> 00:20:07,080 Speaker 2: doing it, you know, I pretty much know at this 355 00:20:07,240 --> 00:20:10,560 Speaker 2: point and at the time, I think we had the 356 00:20:10,640 --> 00:20:15,080 Speaker 2: best time and closest personal relationship with Nazareth. Nazareth and 357 00:20:15,080 --> 00:20:18,399 Speaker 2: the Scottish band. You know, they were great guys, still are. 358 00:20:18,480 --> 00:20:21,399 Speaker 2: There's only one original left now but pte Agne, But 359 00:20:22,320 --> 00:20:23,600 Speaker 2: there were great fellaws. 360 00:20:23,680 --> 00:20:25,280 Speaker 3: We had to some wonderful times together. 361 00:20:26,400 --> 00:20:29,000 Speaker 4: So I know, with some stuff that you've been involved 362 00:20:29,040 --> 00:20:32,879 Speaker 4: with and the band's been involved with, the use of 363 00:20:33,040 --> 00:20:38,560 Speaker 4: artificial intelligence was involved to sort of, you know, help 364 00:20:38,640 --> 00:20:41,440 Speaker 4: in the process there. Maybe you can talk about that 365 00:20:42,320 --> 00:20:47,400 Speaker 4: a little bit, how that benefited that process and overall 366 00:20:48,040 --> 00:20:50,959 Speaker 4: what your feelings are on AI and music. 367 00:20:54,240 --> 00:20:58,280 Speaker 2: I think you're specifically talking about the Ghost Stories record, 368 00:20:58,320 --> 00:21:02,400 Speaker 2: which is our latest release, and the AI tools were 369 00:21:02,560 --> 00:21:07,080 Speaker 2: used to deconstruct stereo mixes of pre production sessions that 370 00:21:07,560 --> 00:21:12,880 Speaker 2: enabled us to augment and add to recordings that were 371 00:21:13,000 --> 00:21:15,840 Speaker 2: basically done in the time period nineteen seventy nine to 372 00:21:16,280 --> 00:21:21,320 Speaker 2: about eighty four. That's the same tools that Peter Jackson 373 00:21:21,480 --> 00:21:27,480 Speaker 2: used on the Beatles recordings. And of course it's amazing 374 00:21:27,880 --> 00:21:31,640 Speaker 2: what AI can do in just about every field. Now 375 00:21:31,880 --> 00:21:35,920 Speaker 2: it's inescapable. You know, that's another horse you have to 376 00:21:36,040 --> 00:21:39,320 Speaker 2: ride in the direction it's going. I think, I think 377 00:21:40,480 --> 00:21:47,680 Speaker 2: the ability to construct music instantly in any genre or 378 00:21:48,680 --> 00:21:54,280 Speaker 2: whatever is. It's going to probably make obsolete a lot 379 00:21:54,920 --> 00:21:58,679 Speaker 2: a lot of the incidental music for videos, that kind 380 00:21:58,720 --> 00:21:59,000 Speaker 2: of thing. 381 00:22:00,240 --> 00:22:02,560 Speaker 3: As far as creativity, I don't. 382 00:22:02,760 --> 00:22:07,240 Speaker 2: I think it's it could be useful to humans, you know, 383 00:22:07,560 --> 00:22:13,320 Speaker 2: and cut down a lot of the the grunt work 384 00:22:13,400 --> 00:22:16,959 Speaker 2: of making music. But I don't think that computers are 385 00:22:17,000 --> 00:22:22,679 Speaker 2: going to create stuff that's that really nails what people 386 00:22:23,400 --> 00:22:27,800 Speaker 2: identify with in a song that that's popular. You know, 387 00:22:28,240 --> 00:22:30,240 Speaker 2: I could be wrong, but I have yet to see it. 388 00:22:30,400 --> 00:22:32,760 Speaker 2: You know, everything sounds generic. 389 00:22:33,520 --> 00:22:33,760 Speaker 4: I know. 390 00:22:34,040 --> 00:22:39,200 Speaker 2: I asked chat Gpt sort of early on to write 391 00:22:39,200 --> 00:22:42,080 Speaker 2: a Blueyster Cullt lyric and what it came up with, 392 00:22:42,480 --> 00:22:44,879 Speaker 2: I mean, had some of the vernacular and some of 393 00:22:44,960 --> 00:22:48,600 Speaker 2: the some of the basic themes, but it was nothing 394 00:22:48,760 --> 00:22:50,280 Speaker 2: like any Bloyster Cullt lyric. 395 00:22:50,400 --> 00:22:54,080 Speaker 3: You know, just it wouldn't have made made the. 396 00:22:54,119 --> 00:22:56,840 Speaker 2: Cut, you know, if that song had been brought in, 397 00:22:57,119 --> 00:23:01,280 Speaker 2: you know, to the band, now, that's terrible. So again, 398 00:23:01,359 --> 00:23:04,000 Speaker 2: it's maybe as possible, but I've yet to see it. 399 00:23:04,240 --> 00:23:07,320 Speaker 2: And I think that you know, real real you know, 400 00:23:07,480 --> 00:23:10,960 Speaker 2: feeling humans at the helm will will endure, you know, 401 00:23:11,080 --> 00:23:12,840 Speaker 2: when it comes to creative stuff. 402 00:23:12,760 --> 00:23:15,119 Speaker 4: A human touch, a human connection. Right. 403 00:23:16,480 --> 00:23:19,920 Speaker 2: Yeah, well, you know, I don't know if you know, 404 00:23:20,640 --> 00:23:25,080 Speaker 2: if the large language model AI is. You know, just 405 00:23:26,040 --> 00:23:31,760 Speaker 2: are trained on what has been in terms of songs, language, 406 00:23:33,280 --> 00:23:38,399 Speaker 2: you know, musical phrases, chord progressions. You know, as it is, 407 00:23:38,720 --> 00:23:42,360 Speaker 2: popular music is really narrow in terms of how many 408 00:23:42,440 --> 00:23:44,800 Speaker 2: chords get used and in what order. You know, most 409 00:23:44,880 --> 00:23:47,560 Speaker 2: of the most of the big hits, you know, follow 410 00:23:47,680 --> 00:23:53,000 Speaker 2: those same four chords that you know Journey used twenty 411 00:23:53,080 --> 00:23:53,960 Speaker 2: five thirty years ago. 412 00:23:54,080 --> 00:23:57,760 Speaker 4: You know. So let's talk about some new music of yours. 413 00:23:57,920 --> 00:24:01,480 Speaker 4: The new song, the end of every song, great video, 414 00:24:01,720 --> 00:24:06,440 Speaker 4: great song. How did that song come about? And let's 415 00:24:06,520 --> 00:24:10,600 Speaker 4: sort of talk about it in today's terms of you know, 416 00:24:11,000 --> 00:24:15,439 Speaker 4: I think the starkness of the song that really struck 417 00:24:15,560 --> 00:24:16,399 Speaker 4: me emotionally. 418 00:24:17,560 --> 00:24:21,800 Speaker 2: I was commissioned to write this song from a lyric 419 00:24:22,080 --> 00:24:28,720 Speaker 2: that was based on a poem by English poet Ernest 420 00:24:28,920 --> 00:24:29,920 Speaker 2: Christopher Dowson. 421 00:24:30,400 --> 00:24:33,920 Speaker 3: He wrote. He only lived thirty two years. 422 00:24:34,440 --> 00:24:37,200 Speaker 2: He was not in good health, but he had a 423 00:24:37,520 --> 00:24:42,480 Speaker 2: fairly prolific output at that time. He was known for 424 00:24:42,680 --> 00:24:46,960 Speaker 2: coining the phrase gone with the wind and days of 425 00:24:47,040 --> 00:24:50,480 Speaker 2: wine and roses. So it's you know, his phrases anyway, 426 00:24:50,560 --> 00:24:54,680 Speaker 2: have been lifted by other creators for other stuff. The 427 00:24:54,960 --> 00:24:58,840 Speaker 2: poem is called Dregs and it was a forward in 428 00:24:58,920 --> 00:25:02,960 Speaker 2: a book written by Michael Moorcock. And Michael Moorcock is 429 00:25:03,119 --> 00:25:07,600 Speaker 2: a writer in mostly in the sci fi fantasy realm, 430 00:25:07,880 --> 00:25:13,200 Speaker 2: and he has provided lyrics for Us previously. Veteran of 431 00:25:13,240 --> 00:25:17,840 Speaker 2: the Psychic Wars is his words, and he's also written 432 00:25:17,880 --> 00:25:23,200 Speaker 2: for Hawkwind and currently he's his books are set to 433 00:25:23,359 --> 00:25:27,920 Speaker 2: music by a project called The Spirits Burning, and they've 434 00:25:28,080 --> 00:25:36,200 Speaker 2: done several records of based on Morcock's writing. And I 435 00:25:36,320 --> 00:25:40,480 Speaker 2: wrote the song with the intention of The Spirits Burning 436 00:25:40,840 --> 00:25:43,880 Speaker 2: releasing it, and there's a version of my song. 437 00:25:44,160 --> 00:25:46,760 Speaker 3: Of course. I wrote the song that The Spirits Burning 438 00:25:46,960 --> 00:25:47,680 Speaker 3: have completed. 439 00:25:47,960 --> 00:25:53,399 Speaker 2: And at the time I began this, I intended to 440 00:25:53,520 --> 00:25:56,800 Speaker 2: do my own version of it because I was I 441 00:25:56,920 --> 00:25:59,080 Speaker 2: thought that I had something to say here, you know, 442 00:25:59,240 --> 00:26:04,640 Speaker 2: through the through the words of Ernest Dowson. And that's 443 00:26:05,160 --> 00:26:08,000 Speaker 2: taken a few years to come to fruition, and here 444 00:26:08,080 --> 00:26:11,720 Speaker 2: it is. I just completed a video. I think that 445 00:26:12,359 --> 00:26:16,720 Speaker 2: what Dallison says here is it just strikes a chord 446 00:26:16,880 --> 00:26:20,160 Speaker 2: with the way people are feeling. In twenty twenty four, 447 00:26:20,960 --> 00:26:25,600 Speaker 2: and I think it's I think the video touches on that. 448 00:26:25,880 --> 00:26:29,439 Speaker 2: And it's also sort of an overview of the arc 449 00:26:29,560 --> 00:26:32,680 Speaker 2: of my career from the beginning, the beginning of the 450 00:26:32,760 --> 00:26:37,960 Speaker 2: band till present day and looking forward. And there's a 451 00:26:38,000 --> 00:26:40,920 Speaker 2: lot to it, and I'm quite proud of it and 452 00:26:41,359 --> 00:26:43,480 Speaker 2: glad to see it out. It's the first thing that 453 00:26:43,600 --> 00:26:47,760 Speaker 2: I've done just my own since the Flat Out Record, 454 00:26:48,359 --> 00:26:50,080 Speaker 2: which is several decades ago. 455 00:26:50,200 --> 00:26:54,480 Speaker 4: Now, congratulations on it. It's really it's profound work. 456 00:26:55,119 --> 00:26:55,639 Speaker 3: Well, thank you. 457 00:26:55,800 --> 00:26:58,879 Speaker 2: I'm glad you great it struck you, because it certainly 458 00:26:58,920 --> 00:27:03,040 Speaker 2: struck me. So far, the the jukebox jury on it 459 00:27:03,119 --> 00:27:04,639 Speaker 2: has been very strong. 460 00:27:05,640 --> 00:27:09,680 Speaker 4: So fucking closing, knowing that collaboration is so critical for 461 00:27:09,840 --> 00:27:16,040 Speaker 4: bands to thrive and survive. Is there anything about collaboration 462 00:27:16,920 --> 00:27:19,520 Speaker 4: as you sort of think back on it that you 463 00:27:19,640 --> 00:27:22,120 Speaker 4: wish you learned or did differently. 464 00:27:23,359 --> 00:27:27,840 Speaker 2: I've lived my life with very little planning as far 465 00:27:27,960 --> 00:27:31,280 Speaker 2: as you know, or intention Actually even you know, I 466 00:27:31,359 --> 00:27:34,720 Speaker 2: would say that all I've done my whole life is 467 00:27:34,960 --> 00:27:37,520 Speaker 2: just seeing doors open and walking through them. 468 00:27:38,160 --> 00:27:39,560 Speaker 3: That's basically what it is. 469 00:27:41,400 --> 00:27:45,240 Speaker 2: I think if I'd been geographically closer to some of 470 00:27:45,320 --> 00:27:50,600 Speaker 2: the music cities, like Los Angeles and the seventies or 471 00:27:51,040 --> 00:27:54,320 Speaker 2: you know, maybe Nashville in the nineties or something. I 472 00:27:54,400 --> 00:27:58,240 Speaker 2: would have, you know, collaborated with more people, but I'm 473 00:27:58,280 --> 00:28:02,880 Speaker 2: still open to it. I I enjoy working with everybody. 474 00:28:03,000 --> 00:28:05,600 Speaker 2: I enjoy playing with different people, even though I haven't 475 00:28:05,600 --> 00:28:06,280 Speaker 2: done too much of it. 476 00:28:07,560 --> 00:28:10,040 Speaker 3: I'm good with the I'm good with music. You know 477 00:28:10,240 --> 00:28:10,920 Speaker 3: what can I say? 478 00:28:13,000 --> 00:28:15,399 Speaker 4: Thanks for the music you continue to give us and 479 00:28:15,520 --> 00:28:18,440 Speaker 4: that you have given us. And thanks Buck for being 480 00:28:18,520 --> 00:28:21,200 Speaker 4: on Taking a Walk and walking down Memory Lane. 481 00:28:21,880 --> 00:28:24,320 Speaker 2: Okay, I just want to just plug the end of 482 00:28:24,440 --> 00:28:27,320 Speaker 2: every song again. There's there's a website the end of 483 00:28:27,400 --> 00:28:30,520 Speaker 2: everysong dot com. If you go there, you could see 484 00:28:31,160 --> 00:28:34,680 Speaker 2: the a story of the song, the entire credits. You know, 485 00:28:34,800 --> 00:28:36,840 Speaker 2: usually when you see a rock video, you don't really 486 00:28:36,960 --> 00:28:39,720 Speaker 2: know who did what, but you can find everything out there, 487 00:28:40,200 --> 00:28:44,560 Speaker 2: and it's it also has uh there's a lot of 488 00:28:44,680 --> 00:28:47,200 Speaker 2: personalities in the song, in the song, in the video 489 00:28:47,480 --> 00:28:49,000 Speaker 2: that you know you want to know who it is. 490 00:28:49,200 --> 00:28:51,000 Speaker 3: They're all listed there. 491 00:28:51,640 --> 00:28:53,200 Speaker 4: Awesome. Thank you Buck. 492 00:28:55,080 --> 00:28:57,480 Speaker 1: Thanks for listening to this episode of the Taking a 493 00:28:57,560 --> 00:29:02,080 Speaker 1: Walk podcast. Share this episodes with your friends and follow 494 00:29:02,200 --> 00:29:05,400 Speaker 1: us so you never miss an episode. Taking a Walk 495 00:29:05,520 --> 00:29:10,040 Speaker 1: is available on the iHeartRadio app, Apple Podcasts, and wherever 496 00:29:10,160 --> 00:29:11,400 Speaker 1: you get your podcasts.