1 00:00:00,760 --> 00:00:01,480 Speaker 1: Taking a Walk. 2 00:00:01,520 --> 00:00:03,760 Speaker 2: I think it's pretty timeless. So some of those songs 3 00:00:03,760 --> 00:00:09,120 Speaker 2: are have that already, you know, withstood the test of generations. 4 00:00:09,440 --> 00:00:15,040 Speaker 2: Great songs endure. I'm very proud and happy to know 5 00:00:15,120 --> 00:00:18,520 Speaker 2: that I was part of something that will endure, and 6 00:00:19,000 --> 00:00:21,239 Speaker 2: you know, which is fabulous, and you know it's a 7 00:00:21,480 --> 00:00:24,840 Speaker 2: it's a blessing. It's something that most musicians and songwriters 8 00:00:24,840 --> 00:00:27,440 Speaker 2: would hope that they would have one much less than 9 00:00:27,480 --> 00:00:30,560 Speaker 2: you know, multiple songs that fit that description. 10 00:00:30,720 --> 00:00:30,880 Speaker 1: Well. 11 00:00:30,920 --> 00:00:35,080 Speaker 3: Welcome to our top five Taking a Walk Podcast holiday countdown, 12 00:00:35,200 --> 00:00:38,880 Speaker 3: the top five most downloaded episodes of Taking a Walk 13 00:00:38,920 --> 00:00:39,920 Speaker 3: for twenty twenty four. 14 00:00:40,000 --> 00:00:41,280 Speaker 4: I'm buzznight, your host. 15 00:00:41,400 --> 00:00:45,920 Speaker 3: It's my pleasure to welcome for the reveal on the countdown, 16 00:00:46,680 --> 00:00:49,560 Speaker 3: Harry Jacobs from the Taking a Walk Music History Desk. 17 00:00:49,640 --> 00:00:52,280 Speaker 4: Healo, Harry, Well, it's pleasure to be here again for this. 18 00:00:52,880 --> 00:00:56,760 Speaker 3: So number four was a super cool one to get 19 00:00:56,840 --> 00:01:02,200 Speaker 3: as well. He was revealed information about a new album 20 00:01:02,360 --> 00:01:04,840 Speaker 3: that he was putting out. It was off limits to 21 00:01:04,959 --> 00:01:08,080 Speaker 3: kind of talk about the most obvious thing which he 22 00:01:08,120 --> 00:01:11,200 Speaker 3: had already talked about, and that was the split with 23 00:01:11,280 --> 00:01:15,440 Speaker 3: his longtime partner. But nevertheless, it was super cool to 24 00:01:15,520 --> 00:01:18,480 Speaker 3: be able to have on Taking a Walk John Oates 25 00:01:18,520 --> 00:01:19,559 Speaker 3: of Hall and Oates fame. 26 00:01:20,400 --> 00:01:24,640 Speaker 5: Yeah, I you know, to me, the fact that you 27 00:01:24,680 --> 00:01:28,520 Speaker 5: had Daryl Hall and John Oates separately, there was really 28 00:01:28,600 --> 00:01:32,240 Speaker 5: something kind of special and very quickly during that split too, 29 00:01:32,319 --> 00:01:34,960 Speaker 5: there's a you know, to me, this is a big 30 00:01:35,000 --> 00:01:37,800 Speaker 5: get for Taking a Walk to have Hall and Oates 31 00:01:37,840 --> 00:01:41,360 Speaker 5: basically within a very short period of time together. And 32 00:01:41,400 --> 00:01:44,080 Speaker 5: certainly we all would have had questions about about the split, 33 00:01:44,200 --> 00:01:47,480 Speaker 5: but but I'm glad that you did it without doing 34 00:01:47,480 --> 00:01:50,600 Speaker 5: anything related to the split. He's a he's a great, 35 00:01:51,240 --> 00:01:52,880 Speaker 5: great another great guitar player. 36 00:01:53,000 --> 00:01:53,160 Speaker 4: Right. 37 00:01:53,240 --> 00:01:55,440 Speaker 5: You featured a lot of wonderful guitar players and he's 38 00:01:55,520 --> 00:01:56,400 Speaker 5: up there on that list. 39 00:01:56,760 --> 00:02:00,840 Speaker 3: And he's got tremendous respect for America on our roots 40 00:02:00,880 --> 00:02:04,080 Speaker 3: and sort of roots music in his own regard, really 41 00:02:04,960 --> 00:02:08,280 Speaker 3: intelligent about that and respectful to that past in a 42 00:02:08,280 --> 00:02:08,760 Speaker 3: big way. 43 00:02:09,280 --> 00:02:12,640 Speaker 5: And he's also very positive and respectful of Daryl. 44 00:02:13,480 --> 00:02:13,679 Speaker 4: Right. 45 00:02:13,720 --> 00:02:16,679 Speaker 5: I saw him on an interview. I've seen him a 46 00:02:16,680 --> 00:02:19,440 Speaker 5: couple of times subsequent to the Taking a Walk interview 47 00:02:19,480 --> 00:02:23,320 Speaker 5: we're about to hear, and he's very respectful of Daryl, 48 00:02:23,440 --> 00:02:27,040 Speaker 5: and it's to me their history, you know, they found 49 00:02:27,080 --> 00:02:30,000 Speaker 5: each other when John was a folk guitar player basically 50 00:02:30,000 --> 00:02:33,280 Speaker 5: and Daryl was into soul. And so the history that 51 00:02:33,360 --> 00:02:36,600 Speaker 5: got them together, and certainly those first few albums that 52 00:02:37,280 --> 00:02:40,440 Speaker 5: before they hit it big before MTV, right the second 53 00:02:40,480 --> 00:02:45,240 Speaker 5: iteration of that band, Sarah Smile and Rich Girl. You know, 54 00:02:45,280 --> 00:02:48,639 Speaker 5: those songs were are particularly meaningful to me, and he 55 00:02:48,840 --> 00:02:51,119 Speaker 5: had obviously he had a huge role in those. 56 00:02:51,440 --> 00:02:52,600 Speaker 4: I love this one as a guest. 57 00:02:52,880 --> 00:02:55,400 Speaker 3: Well, but you know what was also funny so in 58 00:02:55,440 --> 00:02:58,720 Speaker 3: his own way though he did kind of talk about 59 00:02:59,200 --> 00:03:02,880 Speaker 3: the split as aspect of Hall and Oates and here's 60 00:03:02,960 --> 00:03:06,040 Speaker 3: how there was a song. There is a song on 61 00:03:06,120 --> 00:03:12,000 Speaker 3: his latest album. I believe it's called Sonny Terry and 62 00:03:12,040 --> 00:03:18,640 Speaker 3: Brownie McGhee or Sonny Sonny and Brownie. And the truth 63 00:03:18,680 --> 00:03:23,000 Speaker 3: of that story about Sonny Terry and Brownie McGhee great, 64 00:03:23,440 --> 00:03:28,360 Speaker 3: you know, longtime sort of classic blues players who were 65 00:03:28,400 --> 00:03:32,200 Speaker 3: out on the road for many, many years into the 66 00:03:32,280 --> 00:03:37,080 Speaker 3: nineteen seventies, I think maybe early nineteen eighties possibly. So 67 00:03:38,120 --> 00:03:40,600 Speaker 3: the thing that we all knew about Sonny Terry and 68 00:03:40,640 --> 00:03:44,160 Speaker 3: Brownie McGee in those days is they didn't. 69 00:03:43,880 --> 00:03:46,320 Speaker 4: Speak to each other. They just performed. 70 00:03:46,960 --> 00:03:51,480 Speaker 3: So that interesting really, So, I think in his own way, 71 00:03:52,040 --> 00:03:56,200 Speaker 3: as John sort of wrote that song and sort of 72 00:03:56,560 --> 00:03:58,960 Speaker 3: touched on it a little bit, that was his way 73 00:03:59,000 --> 00:04:01,640 Speaker 3: I think of talking a little bit about the past 74 00:04:01,760 --> 00:04:03,520 Speaker 3: while staying in the present and in the. 75 00:04:03,480 --> 00:04:05,840 Speaker 5: Future, kind of like Greg Alman and Dicky Betts, Right, 76 00:04:05,880 --> 00:04:08,400 Speaker 5: there was someone that ran in between those two guys. 77 00:04:08,640 --> 00:04:12,520 Speaker 3: Absolutely, Yeah, But I love talking to John Oates. It's 78 00:04:12,560 --> 00:04:16,080 Speaker 3: the number four most downloaded podcast for Taking a Walk 79 00:04:16,240 --> 00:04:17,520 Speaker 3: of twenty twenty four. 80 00:04:17,800 --> 00:04:18,960 Speaker 4: Let's listen to it now. 81 00:04:20,400 --> 00:04:23,280 Speaker 3: Well, John Oates, it is a terrific honor to have 82 00:04:23,360 --> 00:04:25,840 Speaker 3: you on this virtual edition of Taking a Walk. We're 83 00:04:25,839 --> 00:04:27,680 Speaker 3: going to take a walk down memory lane a bit. 84 00:04:27,720 --> 00:04:30,240 Speaker 3: We're going to talk about your new project, Reunion. But 85 00:04:30,400 --> 00:04:32,080 Speaker 3: I'm grateful to have you on. 86 00:04:32,800 --> 00:04:34,239 Speaker 2: Thanks, Thanks, nice to be here. 87 00:04:35,200 --> 00:04:40,560 Speaker 3: So Reunion is the new project the singles out. We 88 00:04:40,600 --> 00:04:43,240 Speaker 3: want to get into a lot about that project, but 89 00:04:43,640 --> 00:04:47,599 Speaker 3: can you just talk about how the creative process worked 90 00:04:47,640 --> 00:04:52,040 Speaker 3: for you for this new Reunion project and any differences 91 00:04:52,080 --> 00:04:55,320 Speaker 3: in the creative project to the way you've done it 92 00:04:55,320 --> 00:04:55,880 Speaker 3: in the past. 93 00:04:56,800 --> 00:05:00,000 Speaker 2: Well, this particular project, I think is in a sense 94 00:05:00,120 --> 00:05:05,919 Speaker 2: a culmination of my Nashville experience moving here, being embraced 95 00:05:05,920 --> 00:05:11,320 Speaker 2: and participating in a lot of the Americana music, you 96 00:05:11,360 --> 00:05:15,680 Speaker 2: know communities, not only in terms of musical relationship or 97 00:05:15,680 --> 00:05:18,480 Speaker 2: friendships and all sorts of things like that. So in 98 00:05:18,520 --> 00:05:22,080 Speaker 2: a way, I think this record really kind of crystallizes 99 00:05:22,720 --> 00:05:27,960 Speaker 2: all those things. There's there's many many of my amazing 100 00:05:28,040 --> 00:05:30,800 Speaker 2: musicians who have become my good friends over the years, 101 00:05:30,800 --> 00:05:35,000 Speaker 2: who we've recorded and toured together with. You know, people 102 00:05:35,080 --> 00:05:39,359 Speaker 2: like Sam Bush, Jerry Douglass, Bayli Fleck, Jim Lauderdale, you 103 00:05:39,360 --> 00:05:44,120 Speaker 2: know some great amazing also players like Guthrie Trapped, Tom Bukavac. 104 00:05:45,160 --> 00:05:47,920 Speaker 2: So it's really chock full of this kind of all 105 00:05:47,960 --> 00:05:53,359 Speaker 2: star cast, Sierra Hall on mandolin, just more recently, Russ Paul, 106 00:05:53,600 --> 00:05:55,880 Speaker 2: you know, people like that. I could go on and on, 107 00:05:56,000 --> 00:05:59,200 Speaker 2: but it's really and a lot of I think what 108 00:05:59,279 --> 00:06:02,040 Speaker 2: makes this record unique too is there's songs on this 109 00:06:02,080 --> 00:06:04,640 Speaker 2: record that are that were written a long long time ago, 110 00:06:04,800 --> 00:06:08,880 Speaker 2: some some as early as the early nineties and on 111 00:06:09,000 --> 00:06:11,920 Speaker 2: up to songs that I knew that someday would see 112 00:06:11,960 --> 00:06:15,200 Speaker 2: the light of day, but I didn't have a project 113 00:06:15,200 --> 00:06:17,920 Speaker 2: that they seemed to fit. And finally I had this 114 00:06:18,320 --> 00:06:21,720 Speaker 2: body of work that seemed to embrace some of these 115 00:06:21,760 --> 00:06:24,760 Speaker 2: other songs that have just been sitting around in the 116 00:06:25,040 --> 00:06:28,080 Speaker 2: in the archives. So really it's it's I think in 117 00:06:28,120 --> 00:06:30,440 Speaker 2: a way, it's a little bit of a retrospective on 118 00:06:30,480 --> 00:06:35,760 Speaker 2: my on my singer songwriter side, on my folk acoustic side, 119 00:06:36,880 --> 00:06:41,280 Speaker 2: all of which are very important in my in my background, 120 00:06:41,360 --> 00:06:42,920 Speaker 2: in my musical DNA. 121 00:06:43,720 --> 00:06:46,840 Speaker 3: And back here you can't quite see it, but there's 122 00:06:46,920 --> 00:06:50,720 Speaker 3: a photo of the great John Prime back there from 123 00:06:50,760 --> 00:06:56,000 Speaker 3: an album cover, and you do an absolutely beautiful, beautiful 124 00:06:56,080 --> 00:07:01,080 Speaker 3: rendition of the song long Monday congratulates on that. Tell 125 00:07:01,120 --> 00:07:04,840 Speaker 3: me about what John Prime, that song and his music 126 00:07:05,200 --> 00:07:05,719 Speaker 3: means to you. 127 00:07:06,440 --> 00:07:08,760 Speaker 2: Well, I think there's a you know, probably you know 128 00:07:09,400 --> 00:07:13,920 Speaker 2: a fact, a hidden unknown fact that John was doing, 129 00:07:14,760 --> 00:07:17,000 Speaker 2: if not his first album, one of his first albums 130 00:07:17,360 --> 00:07:21,640 Speaker 2: at Atlantic Records Atlantic Recording Studios in New York City 131 00:07:22,160 --> 00:07:26,520 Speaker 2: in the early seventies with the producer Aarif Martin at 132 00:07:26,520 --> 00:07:28,840 Speaker 2: the exact same time that Darryl and I were doing 133 00:07:28,880 --> 00:07:32,200 Speaker 2: our first albums in the same studio with the same producer. 134 00:07:32,680 --> 00:07:36,720 Speaker 2: So there's a lot lot of synergy there in terms of, 135 00:07:36,760 --> 00:07:38,880 Speaker 2: you know, we'd be passing each other in the hallways, 136 00:07:39,680 --> 00:07:42,119 Speaker 2: as you know him going to his session or coming 137 00:07:42,160 --> 00:07:45,680 Speaker 2: out and vice versa. So, you know, even though I 138 00:07:45,760 --> 00:07:48,520 Speaker 2: wasn't super close with John in the later years, we 139 00:07:48,600 --> 00:07:53,880 Speaker 2: did play together once or twice, just casually. And I've 140 00:07:53,960 --> 00:07:55,560 Speaker 2: just been a huge fan, you know, one of the 141 00:07:55,560 --> 00:07:59,360 Speaker 2: great American songwriters. And when I was asked to celebrate 142 00:07:59,600 --> 00:08:02,240 Speaker 2: his birth they at the Ryman Auditorium in Nashville a 143 00:08:02,240 --> 00:08:05,400 Speaker 2: few months ago. They asked me if I would participate, 144 00:08:05,440 --> 00:08:07,480 Speaker 2: and I said, of course, and you know, I picked 145 00:08:07,520 --> 00:08:09,960 Speaker 2: long Monday. And then I thought about it, you know, 146 00:08:10,000 --> 00:08:12,240 Speaker 2: and I thought, well, here's a challenge, you know, because 147 00:08:12,680 --> 00:08:15,280 Speaker 2: I have a great respect for songwriters, so I wouldn't 148 00:08:15,320 --> 00:08:18,280 Speaker 2: want to mess with the beauty of his lyrics and 149 00:08:18,320 --> 00:08:21,000 Speaker 2: his melody for that matter. So I thought, well, the 150 00:08:21,000 --> 00:08:22,840 Speaker 2: only way I can make this my own is by 151 00:08:23,280 --> 00:08:26,120 Speaker 2: in terms of the arrangement. So I dug into the arrangement, 152 00:08:26,160 --> 00:08:28,000 Speaker 2: and I tried to make the arrangement a little bit 153 00:08:28,040 --> 00:08:30,240 Speaker 2: more personal and a little bit more comfortable for me. 154 00:08:31,240 --> 00:08:33,680 Speaker 2: And then when I played it live on stage, everyone 155 00:08:33,679 --> 00:08:35,760 Speaker 2: seemed to really like it. Then I said, well, I 156 00:08:35,760 --> 00:08:37,720 Speaker 2: guess I should record it, So I did, and of 157 00:08:37,720 --> 00:08:39,400 Speaker 2: course I included it on the album. 158 00:08:39,720 --> 00:08:41,000 Speaker 4: It really is beautiful. 159 00:08:41,760 --> 00:08:43,040 Speaker 2: Thanks. Yeah. 160 00:08:43,440 --> 00:08:48,040 Speaker 3: Tell me about collaborating with the AJ Crochy Well, it's 161 00:08:48,040 --> 00:08:52,080 Speaker 3: a perfect segue because I met AJ Crochey at that 162 00:08:52,200 --> 00:08:55,640 Speaker 3: exact John Prime event at the Ryman Auditorium. 163 00:08:56,040 --> 00:08:57,840 Speaker 2: We were put into the same we were assigned the 164 00:08:57,840 --> 00:09:01,080 Speaker 2: same dressing room, and of course I I knew of him, 165 00:09:01,080 --> 00:09:04,359 Speaker 2: but we had never met, and we hit it off immediately. 166 00:09:04,400 --> 00:09:07,240 Speaker 2: He's just got a very very He's a really warm, 167 00:09:07,320 --> 00:09:11,160 Speaker 2: engaging guy, and and I could tell from immediately that 168 00:09:11,640 --> 00:09:14,920 Speaker 2: there was something going on. We had a reel, you know, 169 00:09:15,400 --> 00:09:18,800 Speaker 2: it was very compatible, and I could just sense that 170 00:09:18,840 --> 00:09:20,640 Speaker 2: we could do something together. I didn't know what that 171 00:09:20,720 --> 00:09:23,680 Speaker 2: was going to be, but we did talk about, you know, 172 00:09:23,679 --> 00:09:25,840 Speaker 2: getting together to write. And when we did, I had 173 00:09:25,840 --> 00:09:29,640 Speaker 2: this idea for a reunion. I had the concept, I 174 00:09:29,720 --> 00:09:33,240 Speaker 2: had the part of the chorus, and I had a 175 00:09:33,320 --> 00:09:36,720 Speaker 2: key line. The lights at the party burned bright, but 176 00:09:36,760 --> 00:09:39,400 Speaker 2: I'm leaving early tonight, and to me that that kind 177 00:09:39,440 --> 00:09:43,720 Speaker 2: of symbolizes the spirit of the whole song. We talked 178 00:09:43,760 --> 00:09:45,960 Speaker 2: about it. I told him about my hundred year old 179 00:09:45,960 --> 00:09:49,240 Speaker 2: father who gave me the inspiration for this song. We 180 00:09:49,280 --> 00:09:52,680 Speaker 2: start discussing, you know, what it's like to really find 181 00:09:52,800 --> 00:09:55,640 Speaker 2: the essence of yourself, and of course he related I 182 00:09:55,640 --> 00:09:57,280 Speaker 2: think in a lot of ways. Due to the fact 183 00:09:57,280 --> 00:09:59,720 Speaker 2: that his father was such a famous and well known 184 00:10:00,320 --> 00:10:03,040 Speaker 2: songwriter and he was in the midst of doing a 185 00:10:03,040 --> 00:10:06,040 Speaker 2: tour Croachy Sings Crochy, there was a lot going on 186 00:10:06,160 --> 00:10:10,040 Speaker 2: that really we were both able to relate to the 187 00:10:10,080 --> 00:10:14,160 Speaker 2: idea of the song in our own personal way, and 188 00:10:15,360 --> 00:10:18,360 Speaker 2: it really it was beautiful. It flowed really quickly. I 189 00:10:18,400 --> 00:10:19,920 Speaker 2: think we wrote the song in a few hours. 190 00:10:20,400 --> 00:10:22,520 Speaker 4: Had you encountered his father through your. 191 00:10:22,400 --> 00:10:25,560 Speaker 2: Career, No, not personally, no, but of course I was 192 00:10:25,559 --> 00:10:25,920 Speaker 2: a fan. 193 00:10:26,400 --> 00:10:27,960 Speaker 4: What a legacy, right, my god? 194 00:10:28,640 --> 00:10:32,360 Speaker 3: Yeah, I think really in a way it's sad, but 195 00:10:32,480 --> 00:10:36,960 Speaker 3: many times people's legacy is more appreciated after they pass away, 196 00:10:37,040 --> 00:10:39,600 Speaker 3: and it feels like that was the case with his father. 197 00:10:40,320 --> 00:10:42,880 Speaker 2: Well, you know, I think he was also appreciated, you know, 198 00:10:42,960 --> 00:10:45,800 Speaker 2: in his own time this you know, he had big hits. 199 00:10:46,000 --> 00:10:48,679 Speaker 2: He had big hits with a very kind of acoustic, 200 00:10:48,800 --> 00:10:53,320 Speaker 2: folky kind of recording style and which was unusual for 201 00:10:53,400 --> 00:10:55,480 Speaker 2: the time, which was great. It made him stand out 202 00:10:55,520 --> 00:10:55,880 Speaker 2: for sure. 203 00:10:56,679 --> 00:10:59,160 Speaker 3: So I'll put you on the spot here and ask 204 00:10:59,240 --> 00:11:03,840 Speaker 3: you maybe five quintessential albums that have really mattered to 205 00:11:03,960 --> 00:11:06,400 Speaker 3: you and had an influence on you. 206 00:11:07,400 --> 00:11:11,560 Speaker 2: Well, I don't know where to begin, Okay, Sure, I 207 00:11:11,600 --> 00:11:15,200 Speaker 2: would say, you know, going back, the first the first 208 00:11:15,600 --> 00:11:19,800 Speaker 2: long playing album LP that I ever heard, other than 209 00:11:20,040 --> 00:11:23,600 Speaker 2: early rock and roll single forty five's was Ray Charles, 210 00:11:23,920 --> 00:11:28,560 Speaker 2: Ray Charles' greatest hits. And I did not have a 211 00:11:28,600 --> 00:11:32,520 Speaker 2: long playing record player at home. I had only had 212 00:11:32,559 --> 00:11:35,280 Speaker 2: a little forty five recording record player, and this was 213 00:11:35,320 --> 00:11:39,280 Speaker 2: probably late fifties. And I remember a friend of mine's 214 00:11:39,320 --> 00:11:44,960 Speaker 2: parents had a console record player and they had this 215 00:11:45,080 --> 00:11:48,080 Speaker 2: Rach Charles record and I just absorbed it. You know, 216 00:11:48,120 --> 00:11:50,720 Speaker 2: it had what I say, and it had you know, 217 00:11:51,080 --> 00:11:53,400 Speaker 2: you know, all some of his early classics, and it 218 00:11:53,440 --> 00:11:56,120 Speaker 2: was just it just grabbed me immediately. So I would 219 00:11:56,160 --> 00:11:58,480 Speaker 2: definitely say Ray Charles was a huge influence on me. 220 00:11:59,480 --> 00:12:01,760 Speaker 2: And then you know, when the folk movement either folk 221 00:12:01,880 --> 00:12:05,880 Speaker 2: revival hit in the early sixties, I was exposed to 222 00:12:06,120 --> 00:12:08,920 Speaker 2: music that I had never heard from, never heard before, 223 00:12:09,360 --> 00:12:14,200 Speaker 2: roots music that was being rediscovered and spread around the 224 00:12:14,200 --> 00:12:17,240 Speaker 2: college campuses in the early sixties. So I would say 225 00:12:18,240 --> 00:12:20,720 Speaker 2: Dave Van Ronk, who was a big, big influence on 226 00:12:20,760 --> 00:12:24,360 Speaker 2: me because I loved his voice. It was so gritty 227 00:12:24,440 --> 00:12:29,240 Speaker 2: and he had this powerful personality. Also, the first Doc 228 00:12:29,280 --> 00:12:35,080 Speaker 2: Watson record on Vanguard was a real touchdown for me 229 00:12:35,120 --> 00:12:39,040 Speaker 2: because it was the first time I heard virtuosic acoustic 230 00:12:39,080 --> 00:12:42,439 Speaker 2: guitar playing. So I absorbed that record. I try to learn, 231 00:12:42,480 --> 00:12:44,920 Speaker 2: as you know. Eventually over the years I learned all 232 00:12:44,920 --> 00:12:47,600 Speaker 2: the songs on the record, but you know, that was 233 00:12:48,000 --> 00:12:51,360 Speaker 2: a challenge and a real inspiration for me. And then 234 00:12:51,520 --> 00:12:55,720 Speaker 2: you know, you know, there's so many more. The Temptations, 235 00:12:56,160 --> 00:12:59,200 Speaker 2: they had a particular live album that was incredible that 236 00:12:59,240 --> 00:13:03,079 Speaker 2: they recorded at club somewhere, which was amazing. And then 237 00:13:03,120 --> 00:13:05,760 Speaker 2: of course the classic James Brown Live at the Apollo, 238 00:13:05,840 --> 00:13:10,280 Speaker 2: which was probably the most kinetic and exciting recording that 239 00:13:10,320 --> 00:13:12,600 Speaker 2: I had ever heard. The tempos were all jacked up. 240 00:13:12,880 --> 00:13:16,080 Speaker 2: It was it's just James Brown at his best at 241 00:13:16,080 --> 00:13:19,400 Speaker 2: the Apollo Theater. And then moving on later on in 242 00:13:19,400 --> 00:13:21,600 Speaker 2: the sixties, you know, the band. The band was a 243 00:13:21,600 --> 00:13:24,920 Speaker 2: big influence on me and I, you know, and I 244 00:13:25,000 --> 00:13:27,000 Speaker 2: just thought that it was music that I had never 245 00:13:27,040 --> 00:13:29,520 Speaker 2: heard before. It was a style of music, but I 246 00:13:29,640 --> 00:13:33,360 Speaker 2: understood the roots of it, I understood where the influences were, 247 00:13:33,679 --> 00:13:37,480 Speaker 2: but their unique take on it and their unique well 248 00:13:37,520 --> 00:13:40,000 Speaker 2: not only the songwriting, but they're playing and singing was 249 00:13:40,080 --> 00:13:43,000 Speaker 2: so unique. There was no one that ever sounded like them. 250 00:13:43,280 --> 00:13:45,960 Speaker 2: So that was highly influential to me. And then the 251 00:13:46,000 --> 00:13:48,520 Speaker 2: record that I consider the classic of all time is 252 00:13:48,559 --> 00:13:52,080 Speaker 2: Blue by Joni Mitchell. I think that's the perfect album. 253 00:13:52,160 --> 00:13:55,800 Speaker 2: I think on every level, there's nothing I've never heard 254 00:13:55,800 --> 00:14:00,839 Speaker 2: anything better. Her singing, her playing, the production, the engineering, 255 00:14:01,200 --> 00:14:04,760 Speaker 2: the songs themselves, even down to the album cover. It's 256 00:14:04,840 --> 00:14:15,560 Speaker 2: the perfect the perfect combination of sensitivity, sensibility, music, lyrics, creativity, 257 00:14:15,720 --> 00:14:18,800 Speaker 2: all all wrapped into one perfect album. 258 00:14:19,240 --> 00:14:21,040 Speaker 4: Brilliant list, brilliant list. 259 00:14:21,680 --> 00:14:25,960 Speaker 3: How did you feel watching Joni at that Newport Folk 260 00:14:26,000 --> 00:14:26,880 Speaker 3: Festival event? 261 00:14:27,640 --> 00:14:28,480 Speaker 4: Wasn't it beautiful? 262 00:14:28,800 --> 00:14:33,360 Speaker 2: You mean most recently? Yes, yeah, Well, you know, congrats 263 00:14:33,400 --> 00:14:36,720 Speaker 2: to her, kudos to her. I'm really you know, I'm 264 00:14:36,760 --> 00:14:39,960 Speaker 2: just glad that she she left her house and decided 265 00:14:40,040 --> 00:14:43,440 Speaker 2: to make that step. You know, a very good friend 266 00:14:43,480 --> 00:14:46,080 Speaker 2: of mine who was my guitar tech during the eighties 267 00:14:46,960 --> 00:14:49,480 Speaker 2: and also who's the current currently the guitar tech for 268 00:14:49,600 --> 00:14:53,760 Speaker 2: the Edge and you two, he was asked to go 269 00:14:53,800 --> 00:14:57,040 Speaker 2: to her house and help her with her acoustic guitars 270 00:14:57,040 --> 00:14:59,800 Speaker 2: and help her kind of prepare for that show. So 271 00:14:59,800 --> 00:15:02,600 Speaker 2: he gave me a lot of inside scoop on what 272 00:15:03,040 --> 00:15:05,160 Speaker 2: she was like and the and the you know, I'm 273 00:15:05,160 --> 00:15:08,880 Speaker 2: sure the the you know, she was concerned and I'm 274 00:15:08,920 --> 00:15:11,520 Speaker 2: sure she had a lot of trepidation about what she 275 00:15:11,640 --> 00:15:12,960 Speaker 2: was going to do and how she was going to 276 00:15:12,960 --> 00:15:16,160 Speaker 2: do it. As you age, you have certain limitations to 277 00:15:16,280 --> 00:15:20,720 Speaker 2: your to your skill set, whether that be vocally or instrumentally. 278 00:15:21,080 --> 00:15:23,520 Speaker 2: And I think, you know, she was concerned, but she 279 00:15:23,600 --> 00:15:26,560 Speaker 2: had an amazing group of people to support her, and 280 00:15:27,320 --> 00:15:30,800 Speaker 2: it was great to see her honored and appreciated by 281 00:15:30,840 --> 00:15:31,680 Speaker 2: a newer generation. 282 00:15:32,600 --> 00:15:36,600 Speaker 3: Yeah, it was a magical moment for sure. Speaking of 283 00:15:36,640 --> 00:15:42,200 Speaker 3: magical moments, first concert that you experienced as a fan, 284 00:15:42,960 --> 00:15:45,720 Speaker 3: what was it? 285 00:15:45,920 --> 00:15:49,560 Speaker 2: When I was four years old? It was Bill Haley 286 00:15:49,600 --> 00:15:52,520 Speaker 2: in the Comments. I saw them play at wille Grove 287 00:15:52,560 --> 00:15:57,160 Speaker 2: Amusement Park in Pennsylvania in a bandshell, and I had 288 00:15:57,240 --> 00:15:59,600 Speaker 2: just my family had just moved us from New York 289 00:15:59,600 --> 00:16:02,200 Speaker 2: City to Pennsylvania, and it was one of my first 290 00:16:02,240 --> 00:16:05,800 Speaker 2: memories of Pennsylvania to go to the amusement park and 291 00:16:05,960 --> 00:16:10,200 Speaker 2: hear this band. I had never heard live music before. Well, 292 00:16:10,240 --> 00:16:11,960 Speaker 2: of course, I was four years old, four or five, 293 00:16:12,360 --> 00:16:15,920 Speaker 2: maybe four and a half, and I remember running down 294 00:16:16,000 --> 00:16:20,520 Speaker 2: to the bandshell, down to the stage, and the stage 295 00:16:20,600 --> 00:16:23,440 Speaker 2: was probably only, you know, two feet high, so I 296 00:16:23,520 --> 00:16:25,200 Speaker 2: was even as a little kid, I was able to 297 00:16:25,360 --> 00:16:27,880 Speaker 2: stand there. And I remember standing right in front of 298 00:16:27,920 --> 00:16:30,600 Speaker 2: the upright bass player. And then when at a certain 299 00:16:30,640 --> 00:16:32,320 Speaker 2: point in the show, which was a kind of a 300 00:16:32,400 --> 00:16:35,000 Speaker 2: rockabilly tradition, which of course I didn't know at the time, 301 00:16:35,440 --> 00:16:37,600 Speaker 2: you know, he put it on its side and rode 302 00:16:37,600 --> 00:16:39,200 Speaker 2: it like a horse while he was playing. And of 303 00:16:39,200 --> 00:16:41,240 Speaker 2: course to a four year old, that was big. That 304 00:16:41,320 --> 00:16:45,040 Speaker 2: was that was that was the the apagee of a 305 00:16:45,120 --> 00:16:45,840 Speaker 2: show business. 306 00:16:45,840 --> 00:16:48,600 Speaker 3: There right there, did that cement you for life that 307 00:16:48,680 --> 00:16:49,680 Speaker 3: you'd be a musician. 308 00:16:51,280 --> 00:16:53,880 Speaker 2: I was already a musician, believe it or not. I 309 00:16:54,000 --> 00:16:56,560 Speaker 2: have recordings of me at four years old singing songs 310 00:16:57,520 --> 00:17:00,320 Speaker 2: that we did at the Coney Island Amusement Park little 311 00:17:00,360 --> 00:17:02,880 Speaker 2: booth in the record booth where you put a coin 312 00:17:02,960 --> 00:17:05,920 Speaker 2: in and you go in and sing. So for some reason, 313 00:17:05,960 --> 00:17:09,360 Speaker 2: I just had this ability to sing. And my parents, 314 00:17:09,440 --> 00:17:12,320 Speaker 2: my mother in particular, was you know, she really pushed 315 00:17:12,320 --> 00:17:13,960 Speaker 2: me and supported me about that. 316 00:17:14,080 --> 00:17:15,840 Speaker 4: So do those recordings still exist? 317 00:17:17,560 --> 00:17:22,400 Speaker 2: I got them yep, wow, that's amazing. First one first, 318 00:17:22,560 --> 00:17:26,080 Speaker 2: The first one was Here Comes Peter Cottontail when I 319 00:17:26,160 --> 00:17:29,240 Speaker 2: was about three or four, and then the second one 320 00:17:29,680 --> 00:17:32,160 Speaker 2: was later a few years later. It was all shook 321 00:17:32,240 --> 00:17:34,919 Speaker 2: up by Elvis tremendous. 322 00:17:36,160 --> 00:17:39,399 Speaker 3: Who were some of the mentors in your career that 323 00:17:39,440 --> 00:17:41,120 Speaker 3: have really mattered to you. 324 00:17:42,000 --> 00:17:47,280 Speaker 2: Well a few. I had an English teacher in seventh 325 00:17:47,320 --> 00:17:52,640 Speaker 2: grade who gave us an assignment to write a poem. 326 00:17:53,480 --> 00:17:56,360 Speaker 2: And it was at the time of the Cuban missile crisis, 327 00:17:57,760 --> 00:18:03,240 Speaker 2: and I I was kind of aware of the kind 328 00:18:03,280 --> 00:18:06,399 Speaker 2: of the early days of the protest song a movement 329 00:18:06,480 --> 00:18:10,040 Speaker 2: with phil Oaks, people like that Bob Dylan Phillips. So 330 00:18:10,119 --> 00:18:12,359 Speaker 2: I wrote this poem about the Cuban missile crisis and 331 00:18:12,440 --> 00:18:16,320 Speaker 2: the teacher knew that I played guitar and said, you know, 332 00:18:16,400 --> 00:18:20,560 Speaker 2: you should put this to music. And I never I 333 00:18:20,680 --> 00:18:23,320 Speaker 2: never thought of the idea that I could write a song, 334 00:18:24,480 --> 00:18:26,439 Speaker 2: and that was the that was kind of an you know, 335 00:18:26,480 --> 00:18:30,280 Speaker 2: that was an incentive to try it. So I would 336 00:18:30,280 --> 00:18:34,639 Speaker 2: have to count that English teachers as an early mentor. 337 00:18:34,640 --> 00:18:37,359 Speaker 2: But my real mentor was a guy named Jerry Rix, 338 00:18:37,520 --> 00:18:45,280 Speaker 2: who I met in Philadelphia in nineteen sixty seven. He 339 00:18:46,240 --> 00:18:51,040 Speaker 2: or sixty six. I can't sprise sixty six. I had 340 00:18:51,160 --> 00:18:55,200 Speaker 2: my first year of college. I was I needed a job. 341 00:18:55,240 --> 00:18:57,159 Speaker 2: I needed a part time job. Of course, I'm too 342 00:18:57,240 --> 00:19:00,880 Speaker 2: lazy to work. So I went to a place called 343 00:19:00,960 --> 00:19:06,240 Speaker 2: Esther Halpern's Folk Music School in Philadelphia, and I applied 344 00:19:06,240 --> 00:19:10,000 Speaker 2: for a job as a guitar teacher. And she auditioned me, 345 00:19:10,119 --> 00:19:12,280 Speaker 2: and I played her a few things, and she said, okay, 346 00:19:12,440 --> 00:19:14,560 Speaker 2: you'll be You'll be good to teach like the beginners 347 00:19:14,560 --> 00:19:16,760 Speaker 2: in the intermediates. And I said, okay, fine, I just 348 00:19:16,800 --> 00:19:19,520 Speaker 2: needed a job. The guy who was teaching the advanced 349 00:19:19,600 --> 00:19:23,399 Speaker 2: lessons was a guy named Jerry Rix, and he he 350 00:19:23,560 --> 00:19:28,760 Speaker 2: was unbelievable. And he also had been involved with helping 351 00:19:29,280 --> 00:19:32,520 Speaker 2: a guy named Dick Waterman. Dick Waterman was the manager 352 00:19:32,600 --> 00:19:36,440 Speaker 2: to a lot of the early blues men, people like Sunhouse, 353 00:19:36,520 --> 00:19:43,520 Speaker 2: Sonny Terry Brownie McGhee, Robert Pete Williams, Mississippi John Hurt, 354 00:19:44,160 --> 00:19:47,679 Speaker 2: Doc Watson, people like that kind of helping them because 355 00:19:47,720 --> 00:19:52,000 Speaker 2: when a lot of these these performers, rural performers, came 356 00:19:52,040 --> 00:19:54,640 Speaker 2: to the big cities and were performing for the first 357 00:19:54,680 --> 00:19:57,359 Speaker 2: time at these folk festivals, and things. They had no 358 00:19:57,480 --> 00:19:59,520 Speaker 2: clue on what to do. They had no money, they 359 00:19:59,520 --> 00:20:01,639 Speaker 2: couldn't stay in a hotel, so they would stay at 360 00:20:01,720 --> 00:20:04,439 Speaker 2: Jerry's house because Jerry lived right across the street from 361 00:20:04,480 --> 00:20:09,080 Speaker 2: Dick Waterman. And a little fun fact sidebar, Bonnie Ray 362 00:20:09,240 --> 00:20:12,280 Speaker 2: was Dick Waterman's girlfriend. So if anyone ever wonders why 363 00:20:12,280 --> 00:20:14,680 Speaker 2: Bonnie Raid is so good and why she's so authentic, 364 00:20:14,880 --> 00:20:17,000 Speaker 2: it's because she sat in the living room with some 365 00:20:17,080 --> 00:20:21,520 Speaker 2: of these great authentic performers and learned directly from them. 366 00:20:21,760 --> 00:20:25,480 Speaker 2: But anyway, and actually, one day Bonnie and I had 367 00:20:25,520 --> 00:20:28,080 Speaker 2: to drag Robert Williams out of a bar in South 368 00:20:28,119 --> 00:20:30,880 Speaker 2: Philly and bring him back because no one could find him. 369 00:20:31,760 --> 00:20:34,840 Speaker 2: These guys didn't know it. They did tend to like 370 00:20:34,880 --> 00:20:40,119 Speaker 2: to drink. But anyway, Jerry became my Initially, when I 371 00:20:40,160 --> 00:20:42,280 Speaker 2: realized how good he was, I asked him if he 372 00:20:42,320 --> 00:20:45,160 Speaker 2: could teach me some things. So I became his guitar student, 373 00:20:45,400 --> 00:20:48,920 Speaker 2: and eventually we played together. In fact, Jerry is playing 374 00:20:49,000 --> 00:20:50,720 Speaker 2: Jerry Rix is playing on the first two Hall and 375 00:20:50,800 --> 00:20:53,840 Speaker 2: Oates albums with me on acoustic guitar on some of 376 00:20:53,880 --> 00:20:59,240 Speaker 2: their songs. And interestingly enough, here's another sidebar. After Mississippi 377 00:20:59,320 --> 00:21:02,000 Speaker 2: John hurt died, I'd hit His guitar that he played 378 00:21:02,000 --> 00:21:05,119 Speaker 2: at Newport Folk Festival in sixty three was given to Jerry. 379 00:21:05,600 --> 00:21:07,520 Speaker 2: And when I asked Jerry to come to New York 380 00:21:07,560 --> 00:21:09,119 Speaker 2: in the early seventies and play on the Whole of 381 00:21:09,119 --> 00:21:10,840 Speaker 2: Notes albums, he asked me, he said, you want me 382 00:21:10,880 --> 00:21:13,680 Speaker 2: to bring Misssippi John's guitar so you can play it? 383 00:21:13,720 --> 00:21:16,520 Speaker 2: And I said, absolutely, So the guitar I'm playing on 384 00:21:16,560 --> 00:21:18,720 Speaker 2: the first two Hole of Notes albums is Mississippi John 385 00:21:18,800 --> 00:21:23,680 Speaker 2: Hurts acoustic guitar, which I now own, by the way, Wow, 386 00:21:24,280 --> 00:21:27,159 Speaker 2: I know it's crazy, and it's on display at the 387 00:21:27,200 --> 00:21:32,600 Speaker 2: Phoenix Musical Instrument Museum as we speak, and I'm playing 388 00:21:32,640 --> 00:21:36,040 Speaker 2: there as well in a week or so. But so, 389 00:21:36,920 --> 00:21:39,400 Speaker 2: Jerry was incredible, and not only you know, he became 390 00:21:39,400 --> 00:21:42,359 Speaker 2: a good friend, a teacher, a mentor, and I really 391 00:21:42,440 --> 00:21:45,800 Speaker 2: learned so much from him, not only about actually how 392 00:21:45,800 --> 00:21:48,800 Speaker 2: to play some of these songs and how to authentically 393 00:21:48,800 --> 00:21:51,520 Speaker 2: finger the finger picking in the styles, but also just 394 00:21:51,600 --> 00:21:57,600 Speaker 2: some basic, just basic learning about musicianship and listening and 395 00:21:57,840 --> 00:22:01,679 Speaker 2: a more sophisticated way of of He may be a 396 00:22:01,680 --> 00:22:05,880 Speaker 2: more sophisticated musician in a way. So so I would 397 00:22:05,920 --> 00:22:07,520 Speaker 2: say they're they're my real mentors. 398 00:22:08,000 --> 00:22:10,159 Speaker 1: We'll be right back with more of the Taking a 399 00:22:10,200 --> 00:22:18,119 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 400 00:22:18,960 --> 00:22:21,480 Speaker 3: Well, throughout your career, you've always had an eye on, 401 00:22:21,760 --> 00:22:25,359 Speaker 3: you know, rising talent and how to help them and 402 00:22:25,600 --> 00:22:30,120 Speaker 3: work with them. We had one of those talents on 403 00:22:30,320 --> 00:22:34,919 Speaker 3: this podcast named Honorly, who was a delightful person for 404 00:22:35,000 --> 00:22:38,480 Speaker 3: us to encounter and very talented. Tell us about how 405 00:22:38,480 --> 00:22:41,280 Speaker 3: that collaboration came about with Honorly. 406 00:22:42,359 --> 00:22:47,359 Speaker 2: Well, she's my niece, all right, she said, yes, she's 407 00:22:47,760 --> 00:22:52,720 Speaker 2: my wife's brother's daughter. And she was always a very 408 00:22:53,000 --> 00:22:54,640 Speaker 2: you know, I watched her grow up from the time 409 00:22:54,680 --> 00:22:58,080 Speaker 2: she was a baby, and she's always very outgoing. She 410 00:22:58,119 --> 00:23:01,800 Speaker 2: had always had a real big person out and she 411 00:23:03,000 --> 00:23:05,240 Speaker 2: began to sing. And I when I first heard her sing, 412 00:23:05,600 --> 00:23:09,080 Speaker 2: you know, I knew that she could really sing. And 413 00:23:09,960 --> 00:23:13,439 Speaker 2: I remember she came she came to Nashville quite a 414 00:23:13,440 --> 00:23:16,000 Speaker 2: while ago when she was just maybe in high school 415 00:23:16,280 --> 00:23:18,640 Speaker 2: or just in college, and she really wanted to come 416 00:23:18,640 --> 00:23:20,760 Speaker 2: to Nashville, and she said she wanted to make it 417 00:23:20,840 --> 00:23:23,480 Speaker 2: and all this stuff. And I remember we went to 418 00:23:23,520 --> 00:23:25,920 Speaker 2: a restaurant with her parents, and we were sitting there 419 00:23:25,920 --> 00:23:29,680 Speaker 2: and I said to her, look, I said, you see 420 00:23:29,680 --> 00:23:33,320 Speaker 2: all these waitresses. They're all trying to do exactly what 421 00:23:33,359 --> 00:23:35,639 Speaker 2: you're dying to do. I said, so, if you're going 422 00:23:35,720 --> 00:23:38,600 Speaker 2: to come here, you better be prepared because the bar 423 00:23:38,720 --> 00:23:42,399 Speaker 2: is set very high and it is not easy. And 424 00:23:42,480 --> 00:23:45,080 Speaker 2: I thought maybe she would get scared off or maybe 425 00:23:45,160 --> 00:23:49,439 Speaker 2: just lose the vibe. But she came and she worked 426 00:23:49,440 --> 00:23:52,720 Speaker 2: her butt off. She went down on Lower Broadways, she 427 00:23:52,840 --> 00:23:55,840 Speaker 2: sang in the bars, she did all the cover songs. 428 00:23:56,320 --> 00:23:59,720 Speaker 2: She really really worked hard. I didn't help her very much, 429 00:23:59,720 --> 00:24:02,199 Speaker 2: to be honest with you, but I did help her 430 00:24:02,240 --> 00:24:05,200 Speaker 2: when she needed it, and we wrote a song together. 431 00:24:05,280 --> 00:24:08,480 Speaker 2: I put her with the great Nathan Chapman who produced 432 00:24:08,560 --> 00:24:14,040 Speaker 2: Taylor Swift, and Nathan, myself and Anna Lee. We wrote 433 00:24:14,040 --> 00:24:15,960 Speaker 2: a song together, and I think that was the first 434 00:24:16,000 --> 00:24:18,640 Speaker 2: time she got a chance to write with professional songwriters. 435 00:24:18,880 --> 00:24:21,679 Speaker 2: And we wrote a really cool song called Hey There Walls, 436 00:24:22,080 --> 00:24:25,320 Speaker 2: which I believe she recorded. So I mean, I didn't, 437 00:24:25,400 --> 00:24:27,639 Speaker 2: you know, I just I've always there for her, But 438 00:24:27,760 --> 00:24:30,240 Speaker 2: it didn't really want to be, you know, like kind 439 00:24:30,240 --> 00:24:33,480 Speaker 2: of pushy, and it was really her career, and I 440 00:24:33,600 --> 00:24:35,879 Speaker 2: just I'm so proud of her for really doing it 441 00:24:35,880 --> 00:24:39,400 Speaker 2: herself and really finding her way. She's making some new 442 00:24:39,520 --> 00:24:42,840 Speaker 2: music now out in California. She's found some producers who 443 00:24:42,920 --> 00:24:45,199 Speaker 2: she's working with, and she runs things by me. I 444 00:24:45,200 --> 00:24:47,840 Speaker 2: give her my two cents, but she knows what she's 445 00:24:47,840 --> 00:24:49,280 Speaker 2: doing and she's amazing. 446 00:24:49,760 --> 00:24:50,400 Speaker 4: Is a good soul. 447 00:24:51,000 --> 00:24:54,440 Speaker 3: Good tell yeah, good, tell Tell me about the Nashville community. 448 00:24:54,440 --> 00:24:57,960 Speaker 3: You've been there a while and it is a unique 449 00:24:58,000 --> 00:25:01,680 Speaker 3: and I think special community. Talk about what it means 450 00:25:01,720 --> 00:25:04,840 Speaker 3: being part of that community in the way that you are. 451 00:25:05,560 --> 00:25:05,760 Speaker 1: Well. 452 00:25:05,760 --> 00:25:08,200 Speaker 2: In the nineties, when Daryl and I weren't doing very much, 453 00:25:08,280 --> 00:25:12,359 Speaker 2: I started going to Nashville and meeting some people. I 454 00:25:12,359 --> 00:25:15,000 Speaker 2: did a few demo sessions and things like that, and 455 00:25:15,119 --> 00:25:18,880 Speaker 2: immediately the first thing that struck me was the caliber 456 00:25:18,920 --> 00:25:23,159 Speaker 2: and quality of the players, the musicians. I realized that 457 00:25:23,600 --> 00:25:26,320 Speaker 2: they were really, really good. And you know, I had 458 00:25:26,359 --> 00:25:29,000 Speaker 2: spent my whole basically my old you know, I was 459 00:25:29,000 --> 00:25:32,760 Speaker 2: in bands and playing playing by myself prior to meeting Darryl. 460 00:25:32,840 --> 00:25:35,159 Speaker 2: But once Darryl and I started, you know, it was 461 00:25:35,240 --> 00:25:37,280 Speaker 2: all Hall and Oates all the time. Twenty four to 462 00:25:37,280 --> 00:25:41,080 Speaker 2: seven for you know, for fifteen twenty years whatever. So 463 00:25:41,160 --> 00:25:43,399 Speaker 2: I was used to playing with a certain in a 464 00:25:43,440 --> 00:25:46,200 Speaker 2: certain style, with a certain band, with a certain ensemble. 465 00:25:46,680 --> 00:25:48,399 Speaker 2: So all of a sudden, I was playing with different 466 00:25:48,440 --> 00:25:52,160 Speaker 2: people in different settings, and I was really impressed. And 467 00:25:52,200 --> 00:25:56,240 Speaker 2: I also realized that that I couldn't kind of kind 468 00:25:56,280 --> 00:25:59,919 Speaker 2: of skate and kind of I couldn't make it on 469 00:26:00,119 --> 00:26:02,800 Speaker 2: my reputation. I really had to up my game. So, 470 00:26:02,880 --> 00:26:05,480 Speaker 2: to be honest with you, I started practicing really hard, 471 00:26:06,520 --> 00:26:08,840 Speaker 2: you know, in the late nineties early two thousands. I 472 00:26:09,240 --> 00:26:12,040 Speaker 2: realized that I needed to really up my game and 473 00:26:12,119 --> 00:26:16,119 Speaker 2: if I wanted to be in that caliber player. So 474 00:26:16,359 --> 00:26:19,040 Speaker 2: it's really been an incredible incentive to me to get 475 00:26:19,080 --> 00:26:22,720 Speaker 2: better and to really realize my full potential. 476 00:26:23,560 --> 00:26:25,320 Speaker 4: You know, there's a couple of. 477 00:26:25,400 --> 00:26:28,640 Speaker 3: Historic moments in your career that I wanted to get 478 00:26:28,680 --> 00:26:33,600 Speaker 3: your memory of Live Aid and the We Are the 479 00:26:33,600 --> 00:26:38,680 Speaker 3: World sessions, those two in particular. Any reflections you could 480 00:26:39,240 --> 00:26:41,840 Speaker 3: share with us about those two historic events. 481 00:26:42,560 --> 00:26:46,440 Speaker 2: I don't think you have enough time, But okay, where 482 00:26:46,480 --> 00:26:47,960 Speaker 2: you want to start with Live AID, I guess we 483 00:26:47,960 --> 00:26:51,119 Speaker 2: can start there. Yeah, well, you know, the American version 484 00:26:51,280 --> 00:26:54,040 Speaker 2: was going to be in Philadelphia, of course, Darren I 485 00:26:54,119 --> 00:26:57,119 Speaker 2: being from Philadelphia and being of course at almost you know, 486 00:26:57,200 --> 00:27:00,639 Speaker 2: at the top of our commercial you know, we were 487 00:27:00,640 --> 00:27:02,560 Speaker 2: at the top of the pop pyramid at the time, 488 00:27:03,800 --> 00:27:08,920 Speaker 2: so we were we were asked to basically close the show, 489 00:27:09,200 --> 00:27:11,480 Speaker 2: and we wanted to do something really special and something 490 00:27:12,000 --> 00:27:14,960 Speaker 2: you know, above and beyond. We had just played the 491 00:27:14,960 --> 00:27:18,359 Speaker 2: Apollo Theater with Eddie Kendrick and David Ruffin who with 492 00:27:18,440 --> 00:27:20,960 Speaker 2: the lead singers and the Temptations, and we did a 493 00:27:21,000 --> 00:27:26,479 Speaker 2: Temptations you know, kind of retrospective of songs Metley and 494 00:27:26,520 --> 00:27:28,800 Speaker 2: it was great. So we thought, well, why not bring 495 00:27:28,880 --> 00:27:32,239 Speaker 2: Eddie and David and we'll do some Temptations songs in 496 00:27:32,240 --> 00:27:34,840 Speaker 2: addition to our own set of course, and then Mick 497 00:27:34,920 --> 00:27:37,960 Speaker 2: Chagger reached out and he was doing a solo album 498 00:27:38,000 --> 00:27:40,280 Speaker 2: at the time and he didn't have a band, so 499 00:27:40,680 --> 00:27:44,320 Speaker 2: he asked if our band were backing, So of course, 500 00:27:44,400 --> 00:27:47,520 Speaker 2: you know, we said, yeah, of course. And I remember, 501 00:27:47,760 --> 00:27:50,879 Speaker 2: you know, one anecdote it's really amazing to me, is 502 00:27:50,960 --> 00:27:54,800 Speaker 2: we were rehearsing at SIR, which was studio instrument rentals 503 00:27:54,840 --> 00:27:56,600 Speaker 2: in New York City, so you know where they have 504 00:27:56,640 --> 00:27:58,880 Speaker 2: a sound stage and you can rehearse and all that, 505 00:28:00,160 --> 00:28:02,720 Speaker 2: and we had rehearsed the songs that Mick wanted to play, 506 00:28:03,119 --> 00:28:05,000 Speaker 2: and so we knew the songs. We had learned them, 507 00:28:05,240 --> 00:28:06,879 Speaker 2: and then Mick was going to come in and just 508 00:28:06,920 --> 00:28:09,520 Speaker 2: go over them with us. And I thought, you know, well, 509 00:28:09,520 --> 00:28:11,720 Speaker 2: he'll just come in and you know, we'll go through 510 00:28:11,760 --> 00:28:14,280 Speaker 2: the motions and we'll play the songs and he'll say 511 00:28:14,359 --> 00:28:17,520 Speaker 2: yes or no or change whatever. But what I didn't 512 00:28:17,560 --> 00:28:22,240 Speaker 2: expect was for him to literally jump on stage, grab 513 00:28:22,320 --> 00:28:25,399 Speaker 2: the mic and count the song off and go into 514 00:28:25,440 --> 00:28:29,480 Speaker 2: his full mic Jagger routine in rehearsal with nobody in 515 00:28:29,480 --> 00:28:32,040 Speaker 2: the room except us. I mean, I'm talking about the 516 00:28:32,040 --> 00:28:36,360 Speaker 2: full thing, the chicken wings, you know, the jumping around 517 00:28:36,560 --> 00:28:39,520 Speaker 2: doing He did it as if he was playing you know, 518 00:28:39,680 --> 00:28:44,800 Speaker 2: Madison Square Garden. It was unbelievable and you know, and 519 00:28:44,840 --> 00:28:48,960 Speaker 2: it was incredible and it was exciting and I immediately said, okay, 520 00:28:49,000 --> 00:28:51,320 Speaker 2: well this is why this guy is who he is. 521 00:28:52,520 --> 00:28:54,440 Speaker 2: And then, of course he didn't tell us. We didn't 522 00:28:54,440 --> 00:28:56,120 Speaker 2: know that he was going to bring that Tina Turner 523 00:28:56,160 --> 00:28:58,840 Speaker 2: out on stage. That was a surprise, and literally he 524 00:28:58,880 --> 00:29:00,920 Speaker 2: didn't we didn't know. And when he brought her out 525 00:29:00,920 --> 00:29:03,240 Speaker 2: on stage and then of course he ripped her leather 526 00:29:03,280 --> 00:29:05,720 Speaker 2: skirt off, which was kind of cool too. I guess 527 00:29:05,760 --> 00:29:08,200 Speaker 2: they had it all planned, but you know, but it 528 00:29:08,280 --> 00:29:10,680 Speaker 2: just made it so exciting because it was like it 529 00:29:10,760 --> 00:29:14,400 Speaker 2: was happening all, you know, for the first time. So 530 00:29:14,480 --> 00:29:16,720 Speaker 2: that was that. That was an amazing night. And I 531 00:29:16,760 --> 00:29:18,960 Speaker 2: believe that was the biggest rock concert to ever be 532 00:29:20,000 --> 00:29:22,400 Speaker 2: a simulcast around the world, you know, at the time. 533 00:29:23,880 --> 00:29:26,640 Speaker 2: And then you know, on We Are the World. That 534 00:29:26,760 --> 00:29:29,920 Speaker 2: was that was scheduled to be done after the American 535 00:29:30,000 --> 00:29:31,960 Speaker 2: Music Awards, and back in those days, you know, there 536 00:29:32,000 --> 00:29:34,480 Speaker 2: was really only the American Music Awards and the Grammys, 537 00:29:35,120 --> 00:29:37,720 Speaker 2: so everybody who was anybody in pop was pretty much 538 00:29:37,760 --> 00:29:41,400 Speaker 2: at that show. And they carted us all over to 539 00:29:41,560 --> 00:29:45,240 Speaker 2: the studio and put us, you know, on those things. 540 00:29:45,240 --> 00:29:47,240 Speaker 2: And there I was standing next to Bob Dylan and 541 00:29:47,280 --> 00:29:50,040 Speaker 2: Ray Charles, to my heroes. So I thought, hey, this 542 00:29:50,080 --> 00:29:54,200 Speaker 2: is pretty good, pretty good spot to be, uh and yeah, 543 00:29:54,240 --> 00:29:56,120 Speaker 2: and then I went around and got everyone to sign 544 00:29:56,200 --> 00:29:59,640 Speaker 2: my manuscript, my music, the music lea the lead sheet 545 00:29:59,680 --> 00:30:03,200 Speaker 2: the sheet music which they handed us. I got everyone 546 00:30:03,200 --> 00:30:05,520 Speaker 2: to sign it and I have that frame now, so 547 00:30:05,560 --> 00:30:08,320 Speaker 2: it's a it's a definitely one of my prize positions. 548 00:30:09,000 --> 00:30:09,400 Speaker 4: Love it. 549 00:30:10,360 --> 00:30:12,320 Speaker 3: How do you think the musical Hall and Notes will 550 00:30:12,360 --> 00:30:14,000 Speaker 3: be viewed for years to come? 551 00:30:14,920 --> 00:30:17,480 Speaker 2: I think I think it would be. Uh. I think 552 00:30:17,480 --> 00:30:20,959 Speaker 2: it's pretty timeless. So some of those songs are have 553 00:30:21,240 --> 00:30:25,240 Speaker 2: that already, you know, withstood the test of generations, so 554 00:30:25,840 --> 00:30:29,560 Speaker 2: I don't see that they're going to go away. Great 555 00:30:29,600 --> 00:30:35,880 Speaker 2: songs endure, and I'm very proud and happy to know 556 00:30:35,960 --> 00:30:39,760 Speaker 2: that I was part of something that will endure. Uh. 557 00:30:39,800 --> 00:30:42,280 Speaker 2: And uh, you know which is it is fabulous and 558 00:30:42,320 --> 00:30:45,200 Speaker 2: you know, it's a it's a blessing. It's something that people, 559 00:30:45,760 --> 00:30:48,600 Speaker 2: you know, people would you know, most musicians and songwriters 560 00:30:48,600 --> 00:30:51,160 Speaker 2: would hope that they would have one much less than 561 00:30:51,240 --> 00:30:55,520 Speaker 2: you know, multiple songs that fit that description. So I'm 562 00:30:55,560 --> 00:30:58,520 Speaker 2: proud of it. At the same time, I feel like 563 00:30:58,640 --> 00:31:03,400 Speaker 2: I I I think those songs should be respected and 564 00:31:03,480 --> 00:31:08,000 Speaker 2: heard in the in the context of the records that 565 00:31:08,040 --> 00:31:11,040 Speaker 2: were made in the seventies and eighties, and I really 566 00:31:11,120 --> 00:31:14,320 Speaker 2: don't feel like I've moved beyond it now. I'd rather 567 00:31:14,360 --> 00:31:16,680 Speaker 2: hear those songs the way they should sound, as opposed 568 00:31:16,680 --> 00:31:20,600 Speaker 2: to kind of a you know, a live reproduction of them. 569 00:31:20,640 --> 00:31:22,440 Speaker 2: At this point in my life, I've kind of moved 570 00:31:22,440 --> 00:31:23,080 Speaker 2: away from that. 571 00:31:24,000 --> 00:31:27,120 Speaker 3: You moved to Colorado to just sort of change the 572 00:31:27,160 --> 00:31:29,760 Speaker 3: pace of your life a bit and sort of go 573 00:31:29,880 --> 00:31:32,640 Speaker 3: into a different mode. And as part of that move, 574 00:31:33,240 --> 00:31:37,960 Speaker 3: I think you did encounter the great Hunter Thompson while 575 00:31:38,000 --> 00:31:43,120 Speaker 3: you were out there. Can you share anything about an 576 00:31:43,160 --> 00:31:45,400 Speaker 3: experience with Hunter? 577 00:31:46,440 --> 00:31:51,920 Speaker 2: Many, many, some of which I can't tell you, But well, 578 00:31:52,160 --> 00:31:55,520 Speaker 2: you know, I had been going to Colorado since the 579 00:31:55,600 --> 00:31:58,479 Speaker 2: late sixties when I was in college, and I finally 580 00:31:58,840 --> 00:32:01,520 Speaker 2: finally moved there in the late eighties nearly nineties. I 581 00:32:01,560 --> 00:32:03,800 Speaker 2: met my future wife and we were looking for a 582 00:32:03,800 --> 00:32:07,040 Speaker 2: place to live. She she found a little piece of 583 00:32:07,120 --> 00:32:11,440 Speaker 2: land in place called Woody Creek outside of Aspen, Colorado, 584 00:32:11,880 --> 00:32:14,840 Speaker 2: and it was like a little little farm, a little ranch. 585 00:32:14,960 --> 00:32:18,320 Speaker 2: And I remember the first time we went to see 586 00:32:18,360 --> 00:32:22,160 Speaker 2: it with the real estate agent. We're standing there on 587 00:32:22,160 --> 00:32:24,360 Speaker 2: this kind of there was only a horse barn and 588 00:32:24,400 --> 00:32:27,880 Speaker 2: a little log cabin, and we're standing there and all 589 00:32:27,920 --> 00:32:30,360 Speaker 2: of a sudden we heard, you know, boom boom, and 590 00:32:30,400 --> 00:32:33,640 Speaker 2: then we heard shotgun pellets all on the metal roof 591 00:32:33,680 --> 00:32:37,400 Speaker 2: of this little barn, like you know, and I was like, whoa, 592 00:32:37,520 --> 00:32:40,440 Speaker 2: what's that go? And then real estate agent was like, Oh, 593 00:32:40,440 --> 00:32:43,800 Speaker 2: that's your neighbors. That's on her, that's your neighbor. And 594 00:32:43,840 --> 00:32:45,960 Speaker 2: I said, well, is this something we should be concerned about? 595 00:32:46,480 --> 00:32:49,000 Speaker 2: And he said no, no, he's fine. He's fine. He's 596 00:32:49,000 --> 00:32:53,000 Speaker 2: just sending a warning shot, you know. So I thought 597 00:32:53,040 --> 00:32:55,760 Speaker 2: to myself, well, this is either really good or really terrible. 598 00:32:56,440 --> 00:32:58,840 Speaker 2: As it turned out, it was really good because he 599 00:32:58,920 --> 00:33:01,720 Speaker 2: slept during the day and worked at night. I did. 600 00:33:01,880 --> 00:33:04,480 Speaker 2: I worked during the day and slept at night, so 601 00:33:04,600 --> 00:33:07,120 Speaker 2: that worked out pretty well. The interesting thing that I 602 00:33:07,240 --> 00:33:10,360 Speaker 2: noticed immediately in the little log cabin there was the 603 00:33:10,400 --> 00:33:12,800 Speaker 2: big There was a big red convertible, which was that 604 00:33:13,000 --> 00:33:15,520 Speaker 2: land shark that he used in fear and loathing his 605 00:33:16,160 --> 00:33:19,800 Speaker 2: car because no one had been on the property for years, 606 00:33:20,080 --> 00:33:22,000 Speaker 2: so he even though he didn't own the property, he 607 00:33:22,120 --> 00:33:24,240 Speaker 2: just put his car in the cabin and put a 608 00:33:24,240 --> 00:33:28,200 Speaker 2: padlock on the door. And I said, what are we 609 00:33:28,200 --> 00:33:30,600 Speaker 2: going to do with this guy's car? Because we wanted 610 00:33:30,600 --> 00:33:33,760 Speaker 2: to turn the cabin into a into a a little 611 00:33:33,800 --> 00:33:36,280 Speaker 2: apartment where we could live while we built the rest 612 00:33:36,320 --> 00:33:38,600 Speaker 2: of our house. So I would go and knock on 613 00:33:38,680 --> 00:33:41,600 Speaker 2: his door and he never answered. Then I'd go again, 614 00:33:41,640 --> 00:33:44,880 Speaker 2: I knock, I didn't even note because I because we 615 00:33:44,920 --> 00:33:48,840 Speaker 2: wanted to, you know, we wanted to have the carpenters 616 00:33:48,880 --> 00:33:52,200 Speaker 2: come in and start rebuilding this cabin. So the keys 617 00:33:52,200 --> 00:33:54,520 Speaker 2: were in it. I jumped started it, I backed it out, 618 00:33:55,080 --> 00:33:56,800 Speaker 2: I drove it up on his lawn. I put it 619 00:33:56,840 --> 00:33:59,400 Speaker 2: directly in front of his door, and I just left 620 00:33:59,400 --> 00:34:02,800 Speaker 2: it there. And I knew him for twenty five years, 621 00:34:02,840 --> 00:34:04,239 Speaker 2: and he never said a word to me about it. 622 00:34:05,000 --> 00:34:07,520 Speaker 2: I guess he just thought the car just appeared one day, 623 00:34:07,840 --> 00:34:11,000 Speaker 2: you know. So we went to his funeral that Johnny 624 00:34:11,000 --> 00:34:13,440 Speaker 2: Depp organized and it was amazing. We played at his 625 00:34:13,480 --> 00:34:17,239 Speaker 2: funeral with Lyle Loved and Johnny Depp and it was 626 00:34:17,360 --> 00:34:20,520 Speaker 2: just absolutely amazing. He was an amazing guy and one 627 00:34:20,560 --> 00:34:23,120 Speaker 2: of the great, you know, a classic journalists, you know, 628 00:34:23,640 --> 00:34:27,120 Speaker 2: who invented a style of journalism. Really, you know, he 629 00:34:27,160 --> 00:34:30,240 Speaker 2: loved being Hunter Thompson. He loved the image of himself. 630 00:34:30,320 --> 00:34:32,359 Speaker 2: And I think what happened when he broke his hip 631 00:34:32,400 --> 00:34:35,560 Speaker 2: in his leg and he couldn't really be that guy anymore, 632 00:34:35,560 --> 00:34:38,919 Speaker 2: I don't. I think that's when he decided to pack 633 00:34:38,960 --> 00:34:42,040 Speaker 2: it all in. But he we still go up there 634 00:34:42,080 --> 00:34:45,319 Speaker 2: and watch Monday night football with the sheriff, and we like, 635 00:34:46,280 --> 00:34:47,280 Speaker 2: it's just kind of crazy. 636 00:34:49,080 --> 00:34:51,600 Speaker 3: Let's come back to Reunion here. I want to get 637 00:34:51,680 --> 00:34:55,160 Speaker 3: your take on a couple of the specific songs here. 638 00:34:55,200 --> 00:34:59,719 Speaker 3: We've already touched on Long Monday and Reunion. I want 639 00:34:59,719 --> 00:35:02,319 Speaker 3: to talk about Sonny Terry and Brownie McGee, who you 640 00:35:02,360 --> 00:35:07,600 Speaker 3: mentioned earlier in the conversation, So talk about them and 641 00:35:07,800 --> 00:35:08,360 Speaker 3: that song. 642 00:35:08,840 --> 00:35:10,840 Speaker 2: That song was written during the pandemic when I was 643 00:35:10,880 --> 00:35:13,640 Speaker 2: out in Colorado. I'm spending more time in Colorado during 644 00:35:13,640 --> 00:35:16,000 Speaker 2: the pandemic, just to get out of the city, breathe 645 00:35:16,040 --> 00:35:19,919 Speaker 2: some fresh air and all that. And I ran into 646 00:35:19,920 --> 00:35:22,960 Speaker 2: a guy who was his neighbor who I knew for 647 00:35:23,080 --> 00:35:25,600 Speaker 2: years and years, but we never did anything together. His 648 00:35:25,680 --> 00:35:28,920 Speaker 2: guy named Joe Henry, who has written lyrics. He's an author, 649 00:35:29,280 --> 00:35:33,680 Speaker 2: he's written books. And we were just shooting the breeze 650 00:35:33,719 --> 00:35:36,480 Speaker 2: and he said, you know, we should write a song. 651 00:35:37,080 --> 00:35:39,480 Speaker 2: I said, yeah, we should. And so he came up 652 00:35:39,600 --> 00:35:42,520 Speaker 2: to my little cabin and the cabin where that car 653 00:35:42,760 --> 00:35:47,759 Speaker 2: was by the way, and we'd start talking about, you know, 654 00:35:47,840 --> 00:35:51,040 Speaker 2: ideas for songs, and he told me he related this 655 00:35:51,080 --> 00:35:53,879 Speaker 2: story about Sunny Terry and Brownie McGee. How as time 656 00:35:53,920 --> 00:35:57,239 Speaker 2: went on in their career. They were together for over 657 00:35:57,320 --> 00:36:00,080 Speaker 2: forty years, they began to really dislike each other and 658 00:36:00,080 --> 00:36:03,040 Speaker 2: they didn't want to play together anymore. So obviously there 659 00:36:03,080 --> 00:36:07,200 Speaker 2: was something going on that resonated with me. But he 660 00:36:07,280 --> 00:36:09,600 Speaker 2: said that the interesting part was that one of them 661 00:36:10,040 --> 00:36:12,359 Speaker 2: lost this ability to see and the other one lost 662 00:36:12,360 --> 00:36:16,080 Speaker 2: his ability to walk, and it brought them together in 663 00:36:16,440 --> 00:36:19,160 Speaker 2: a way, and they needed each other to get on stage. 664 00:36:19,160 --> 00:36:21,360 Speaker 2: And when I thought about it, I said, well, you know, 665 00:36:21,360 --> 00:36:26,200 Speaker 2: we could write about them specifically, or we could use 666 00:36:26,360 --> 00:36:30,600 Speaker 2: their story and their experience as a metaphor for highness 667 00:36:30,680 --> 00:36:33,120 Speaker 2: and lending a helping hand and helping your fellow man 668 00:36:33,239 --> 00:36:36,160 Speaker 2: so speaking. I thought that was a more broad subject. 669 00:36:36,320 --> 00:36:39,240 Speaker 2: So in the end, Sunny Terry and Brownie McGhee became 670 00:36:39,280 --> 00:36:42,399 Speaker 2: more of a metaphor for the meaning of the song. 671 00:36:43,120 --> 00:36:46,799 Speaker 3: How about the song All I Am that you co 672 00:36:46,840 --> 00:36:47,960 Speaker 3: wrote with Adam Ezra. 673 00:36:48,880 --> 00:36:51,879 Speaker 2: Yeah, Adam's great. He and I just did a song 674 00:36:51,920 --> 00:36:54,320 Speaker 2: that we just played together in New York just a 675 00:36:54,400 --> 00:36:58,600 Speaker 2: couple of weeks ago. He's great. He's from the Boston area, 676 00:36:58,960 --> 00:37:04,480 Speaker 2: a really good soul, talented guy, and we played We've 677 00:37:04,480 --> 00:37:07,560 Speaker 2: done shows together over the years. We've written a few 678 00:37:07,600 --> 00:37:09,800 Speaker 2: songs together, and All I Am is probably my favorite 679 00:37:09,840 --> 00:37:12,080 Speaker 2: of the ones we've written. It's just a song. He 680 00:37:12,120 --> 00:37:16,560 Speaker 2: came to Nashville, we sat down and we wrote it. 681 00:37:15,160 --> 00:37:18,640 Speaker 2: It just worked, and I love that song. We played 682 00:37:18,719 --> 00:37:19,240 Speaker 2: all the time. 683 00:37:20,280 --> 00:37:22,720 Speaker 3: And how about the song that this Field Is Mine? 684 00:37:23,360 --> 00:37:26,439 Speaker 3: Which is just wonderful to talk about that one? 685 00:37:26,840 --> 00:37:29,400 Speaker 2: Thank you. That song was supposed to be included on 686 00:37:29,440 --> 00:37:32,799 Speaker 2: the Arkansas album, which came out in twenty eighteen, but 687 00:37:34,000 --> 00:37:36,839 Speaker 2: it just didn't There was something about it that I 688 00:37:36,880 --> 00:37:39,719 Speaker 2: didn't think it was right for that album, so I 689 00:37:39,800 --> 00:37:41,520 Speaker 2: held it, but I knew that I was going to 690 00:37:41,600 --> 00:37:44,720 Speaker 2: release it someday. That song was inspired by my wife's 691 00:37:44,760 --> 00:37:49,600 Speaker 2: family who they own a farm in southern Illinois and 692 00:37:49,640 --> 00:37:54,080 Speaker 2: they're very, very passionate about keeping the farm as the 693 00:37:54,200 --> 00:37:59,880 Speaker 2: surrounding area gets developed by suburbs and housing developments. And 694 00:38:00,480 --> 00:38:03,120 Speaker 2: when I know the passion that they have for their 695 00:38:03,200 --> 00:38:05,319 Speaker 2: land because it's a you know, it's been in their 696 00:38:05,360 --> 00:38:09,120 Speaker 2: farm family for generations. So I thought about it and 697 00:38:09,160 --> 00:38:11,839 Speaker 2: I just thought about what that really means. I thought 698 00:38:11,840 --> 00:38:14,399 Speaker 2: about what owning a piece of land, Do you really 699 00:38:14,400 --> 00:38:16,279 Speaker 2: really own it or are you're just the caretaker for 700 00:38:16,320 --> 00:38:19,520 Speaker 2: a while, you know, and so that was the impetus 701 00:38:19,560 --> 00:38:23,160 Speaker 2: for it, and I I ran the idea by Sam 702 00:38:23,200 --> 00:38:26,760 Speaker 2: Bush and the great Jeff Black, who's an incredible Nashville songwriter, 703 00:38:27,680 --> 00:38:30,000 Speaker 2: and we wanted to try to write something together. So 704 00:38:30,080 --> 00:38:32,239 Speaker 2: the three of us got together and we wrote that 705 00:38:32,320 --> 00:38:35,600 Speaker 2: song together. Yeah, So that was that was that was 706 00:38:35,600 --> 00:38:37,720 Speaker 2: really great to be able to. I had never written 707 00:38:37,719 --> 00:38:40,000 Speaker 2: anything with Sam and it was first time, and I 708 00:38:40,000 --> 00:38:41,920 Speaker 2: think we did pretty good. 709 00:38:42,840 --> 00:38:43,440 Speaker 4: Did awesome. 710 00:38:44,600 --> 00:38:50,440 Speaker 3: And closing, You've always explored diverse influences in your career 711 00:38:50,719 --> 00:38:55,480 Speaker 3: and you continue to do that. Are there some influences 712 00:38:55,560 --> 00:38:58,759 Speaker 3: that you have not explored that you'd still like to explore. 713 00:39:01,239 --> 00:39:05,759 Speaker 2: I wouldn't say there's any particular influence like style, but 714 00:39:05,840 --> 00:39:08,520 Speaker 2: I still have a lot of interest. You know. I 715 00:39:09,440 --> 00:39:12,560 Speaker 2: just wrote a song with a young artist named Devin Gilfillan, 716 00:39:13,719 --> 00:39:18,920 Speaker 2: who's fantastic. He's an R and B singer from Philadelphia 717 00:39:19,080 --> 00:39:21,960 Speaker 2: and once saw him live and he's great, and I 718 00:39:22,000 --> 00:39:24,879 Speaker 2: introduced myself and we hit it off and wrote a song. 719 00:39:24,920 --> 00:39:28,640 Speaker 2: It sounds like a vintage soul song. And so I'm 720 00:39:28,640 --> 00:39:32,640 Speaker 2: not going to be stuck in any particular style. I'm 721 00:39:32,640 --> 00:39:34,879 Speaker 2: just going to, you know, do whatever it feels right 722 00:39:34,960 --> 00:39:37,239 Speaker 2: at the time. That's a song that I want to 723 00:39:37,280 --> 00:39:40,759 Speaker 2: release this coming fall, and it's a really cool song. 724 00:39:41,120 --> 00:39:43,840 Speaker 2: So and then you know, I just recently I was 725 00:39:43,840 --> 00:39:47,239 Speaker 2: on the Joe Bonamassa Blues Cruise and I got a 726 00:39:47,320 --> 00:39:49,520 Speaker 2: chance to sit in with a band called Robert John 727 00:39:49,560 --> 00:39:53,000 Speaker 2: and the Reck They're a California based rock band and 728 00:39:53,040 --> 00:39:56,879 Speaker 2: they're really, really good and I really like them and 729 00:39:58,000 --> 00:39:59,719 Speaker 2: got together and wrote a song just a few days 730 00:39:59,719 --> 00:40:03,040 Speaker 2: ago with him and Dave Cobb is producing him. Hopefully 731 00:40:03,840 --> 00:40:06,120 Speaker 2: it'll make it onto the album. And so you know, 732 00:40:06,160 --> 00:40:09,399 Speaker 2: I'm I'm just open to interesting ideas. 733 00:40:10,120 --> 00:40:13,719 Speaker 3: Congratulations on reunion. I'm so grateful that you took the 734 00:40:13,760 --> 00:40:15,680 Speaker 3: time to be on Taking a Walk. I've been a 735 00:40:15,719 --> 00:40:18,840 Speaker 3: fan forever and thank you for the music that you 736 00:40:19,000 --> 00:40:20,239 Speaker 3: continued to give us. 737 00:40:20,320 --> 00:40:23,200 Speaker 2: John Thanks, it was a good interview. I like talking 738 00:40:23,239 --> 00:40:24,680 Speaker 2: about that stuff, so thanks. 739 00:40:26,000 --> 00:40:28,480 Speaker 1: Thanks for listening to this episode of the Taking a 740 00:40:28,520 --> 00:40:32,400 Speaker 1: Walk podcast. Share this and other episodes with your friends 741 00:40:32,480 --> 00:40:35,959 Speaker 1: and follow us so you never miss an episode. Taking 742 00:40:36,000 --> 00:40:39,879 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 743 00:40:40,120 --> 00:40:42,399 Speaker 1: and wherever you get your podcasts.