1 00:00:00,400 --> 00:00:01,200 Speaker 1: Taking a Walk. 2 00:00:01,320 --> 00:00:05,559 Speaker 2: I think that you know, we're hardwired to being comforted 3 00:00:05,600 --> 00:00:09,920 Speaker 2: by music or excited by music since the beginning of time, 4 00:00:10,560 --> 00:00:13,800 Speaker 2: but lyric content it can be healing as well. We've 5 00:00:13,840 --> 00:00:16,960 Speaker 2: received so many letters that the purpose that Lewin on 6 00:00:17,079 --> 00:00:19,639 Speaker 2: a Prayer got them through cancer, got them through the 7 00:00:19,760 --> 00:00:21,440 Speaker 2: death of a family member. 8 00:00:21,680 --> 00:00:25,040 Speaker 1: On this episode of the Taking a Walk podcast, Buzz 9 00:00:25,120 --> 00:00:28,280 Speaker 1: interviews one of the most influential figures in music history. 10 00:00:28,560 --> 00:00:31,960 Speaker 1: This musician is a prolific pop hitmaker known for so 11 00:00:32,080 --> 00:00:34,680 Speaker 1: many songs that have been the soundtrack of our lives. 12 00:00:34,840 --> 00:00:37,400 Speaker 1: Bon Joby hits like You Give Love a Bad Name, 13 00:00:37,560 --> 00:00:40,920 Speaker 1: Aerosmith hits like What It Takes and Crazy. The list 14 00:00:41,000 --> 00:00:44,080 Speaker 1: goes on and on. Desmond Child is the author of 15 00:00:44,159 --> 00:00:47,480 Speaker 1: Living on a Prayer, Big Songs, Big Life, and he's 16 00:00:47,560 --> 00:00:48,760 Speaker 1: next on Taking a. 17 00:00:48,720 --> 00:00:54,360 Speaker 3: Walk Bears Maestro th thanks for having me on, thank 18 00:00:54,400 --> 00:00:57,480 Speaker 3: you for being on a virtual Taking a Walk, and 19 00:00:57,800 --> 00:01:02,840 Speaker 3: congratulations on Living on Prayer, Big Songs, Big Life. 20 00:01:03,840 --> 00:01:07,000 Speaker 2: Well, thank you. I had some big songs, but actually 21 00:01:07,560 --> 00:01:09,600 Speaker 2: my life is the bigger than my songs. 22 00:01:10,319 --> 00:01:13,360 Speaker 4: How different was the writing process for you compared to 23 00:01:13,520 --> 00:01:15,160 Speaker 4: the songwriting process. 24 00:01:15,959 --> 00:01:18,640 Speaker 2: Well, you know, a song can be written in nur 25 00:01:18,680 --> 00:01:22,920 Speaker 2: and half. This what I call my seven year Joe 26 00:01:23,040 --> 00:01:26,759 Speaker 2: House Confession. You know, it took a really long time 27 00:01:27,360 --> 00:01:31,479 Speaker 2: to you know, to write because you know, I've lived 28 00:01:31,520 --> 00:01:35,360 Speaker 2: a long time, and so I'm going to be I'm 29 00:01:35,400 --> 00:01:37,720 Speaker 2: actually going to be seventy at the end of the month, 30 00:01:37,760 --> 00:01:43,000 Speaker 2: which is like really scary, but you know it. It 31 00:01:43,880 --> 00:01:46,440 Speaker 2: had to be written because you know, I had to 32 00:01:46,480 --> 00:01:48,680 Speaker 2: set the record straight on a lot of stuff that 33 00:01:48,800 --> 00:01:51,320 Speaker 2: you know, I had been out there. You know, sometimes 34 00:01:51,360 --> 00:01:53,520 Speaker 2: the artists, you know, kind of changed the story a 35 00:01:53,520 --> 00:01:58,160 Speaker 2: little bit to suit you know them. But I had 36 00:01:58,160 --> 00:02:00,880 Speaker 2: to tell my side of the story but also take 37 00:02:01,000 --> 00:02:03,760 Speaker 2: responsibility for a lot of stuff that I didn't do right. 38 00:02:04,440 --> 00:02:09,600 Speaker 2: And my motivation was my sons were getting older, and 39 00:02:10,000 --> 00:02:13,160 Speaker 2: they're twenty one years old now, but when I started 40 00:02:13,160 --> 00:02:15,880 Speaker 2: the book they were they were a lot younger, but 41 00:02:15,960 --> 00:02:19,320 Speaker 2: still I wanted to have something that they would remember 42 00:02:19,360 --> 00:02:22,919 Speaker 2: me by as not just Dotty with the big checkbook 43 00:02:24,360 --> 00:02:29,360 Speaker 2: een check book. It's like, wow, now they decided roman 44 00:02:29,440 --> 00:02:32,519 Speaker 2: in there in their last year at NYU. Now they're 45 00:02:32,520 --> 00:02:34,920 Speaker 2: deciding to go to law school. So that means the 46 00:02:34,960 --> 00:02:39,280 Speaker 2: party doesn't stop, and they're right, They're not just going 47 00:02:39,360 --> 00:02:41,440 Speaker 2: to go out and get jobs. They're going to just 48 00:02:41,440 --> 00:02:46,840 Speaker 2: like keep going, keep rocking. So you know, it's like, okay, 49 00:02:46,919 --> 00:02:48,440 Speaker 2: as long as you're learning, it's all good. 50 00:02:50,080 --> 00:02:53,040 Speaker 4: Was the process of writing the book therapeutic for you? 51 00:02:54,400 --> 00:02:57,600 Speaker 2: It was because well, you know what, I don't know. 52 00:02:58,320 --> 00:03:02,000 Speaker 2: It's like I've been doing the audiobook and it's like 53 00:03:02,120 --> 00:03:04,880 Speaker 2: reliving all those stories again. I mean sometimes I just 54 00:03:04,880 --> 00:03:08,280 Speaker 2: can't even get through it. You know. It was therapeutic 55 00:03:08,280 --> 00:03:12,079 Speaker 2: in that, But it's also like kicking over a hornet's 56 00:03:12,120 --> 00:03:15,639 Speaker 2: mess too. I like stuff, you know, it starts to 57 00:03:15,720 --> 00:03:18,760 Speaker 2: hurt again, and then I obsess about it. So I 58 00:03:18,760 --> 00:03:20,679 Speaker 2: don't know if that's a good thing or a bad thing. 59 00:03:20,919 --> 00:03:23,840 Speaker 2: It's just like it's my life and I have to, 60 00:03:24,600 --> 00:03:26,880 Speaker 2: you know, like put it out there. 61 00:03:27,919 --> 00:03:30,680 Speaker 4: You've been in Nashville a long time. Do you consider 62 00:03:30,720 --> 00:03:33,639 Speaker 4: yourself an insider now? Because I don't think you were 63 00:03:33,680 --> 00:03:35,960 Speaker 4: an insider obviously at the beginning. 64 00:03:36,680 --> 00:03:39,600 Speaker 2: Well, you know what, I my husband and I got 65 00:03:39,680 --> 00:03:43,320 Speaker 2: there in ninety two where we rented a cabin and 66 00:03:43,360 --> 00:03:46,160 Speaker 2: then by ninety five we built our own on the 67 00:03:46,320 --> 00:03:49,480 Speaker 2: hilltop and all that we call it broke Backrack Mountain. 68 00:03:52,160 --> 00:03:56,600 Speaker 2: And you know, I'm still an outsider. I mean, even 69 00:03:56,640 --> 00:03:58,680 Speaker 2: though you know, we have a lot of friends and 70 00:03:58,720 --> 00:04:02,800 Speaker 2: all that, people that came like decades after me, you know, 71 00:04:02,960 --> 00:04:06,000 Speaker 2: are more insider than I am because I'm not really 72 00:04:06,040 --> 00:04:09,640 Speaker 2: in country music. It's just that, you know, we wanted 73 00:04:09,680 --> 00:04:13,160 Speaker 2: to raise our sons there Remain and Nero, and so 74 00:04:14,680 --> 00:04:17,000 Speaker 2: you know, we've become part of the community, more like 75 00:04:17,120 --> 00:04:22,240 Speaker 2: neighbors than you know, like like you know, special people 76 00:04:22,320 --> 00:04:25,159 Speaker 2: or anything like that. And uh, you know, we have 77 00:04:25,240 --> 00:04:28,960 Speaker 2: a beautiful group of friends that we love so much, 78 00:04:29,279 --> 00:04:32,120 Speaker 2: and our sons, you know, all the parents from the 79 00:04:32,160 --> 00:04:34,039 Speaker 2: schools that our kids went to and all of that. 80 00:04:34,920 --> 00:04:38,640 Speaker 2: So we love Nashville. But I've never been on the inside. 81 00:04:39,400 --> 00:04:41,560 Speaker 4: So I'd love to get your reaction to some of 82 00:04:41,600 --> 00:04:45,360 Speaker 4: the catalog which you have been responsible for. It could 83 00:04:45,400 --> 00:04:47,960 Speaker 4: take us days to go through it, but I'm just 84 00:04:48,000 --> 00:04:51,200 Speaker 4: going to pick a couple of artists and songs out. 85 00:04:52,800 --> 00:04:57,240 Speaker 4: Let's start with this guy named John bon Jovi, who 86 00:04:57,279 --> 00:05:00,799 Speaker 4: you've done some work with, like Living on a Prayer. 87 00:05:02,200 --> 00:05:03,680 Speaker 4: Describe that experience. 88 00:05:04,720 --> 00:05:08,720 Speaker 2: Well, I when I first worked with them, they had 89 00:05:08,720 --> 00:05:12,400 Speaker 2: gotten my number from Paul Stanley of Kiss, who recommended me, 90 00:05:13,040 --> 00:05:15,880 Speaker 2: and I think, you know, I later found out, like 91 00:05:16,160 --> 00:05:20,920 Speaker 2: not so long ago that the real motivation for writing 92 00:05:20,960 --> 00:05:25,080 Speaker 2: with me was to try to write some hit songs, 93 00:05:25,120 --> 00:05:28,240 Speaker 2: let's say, for other artists, because they didn't consider me 94 00:05:28,440 --> 00:05:31,719 Speaker 2: like one hundred percent rock and roll like they were, 95 00:05:31,760 --> 00:05:33,880 Speaker 2: I guess. I mean, I mean they were like twenty 96 00:05:33,880 --> 00:05:38,080 Speaker 2: two and twenty four at the time. And so I 97 00:05:38,120 --> 00:05:40,440 Speaker 2: got there and I had a tridle in my back pocket, 98 00:05:40,520 --> 00:05:43,479 Speaker 2: you give Love a bad Name, And when I pulled 99 00:05:43,480 --> 00:05:45,760 Speaker 2: it out literally on a piece of paper and read it, 100 00:05:46,839 --> 00:05:52,280 Speaker 2: John's face lit up and I never saw so many teeth. Well, 101 00:05:52,640 --> 00:05:55,400 Speaker 2: I said, oh my god, this guy has got it. 102 00:05:55,520 --> 00:05:59,360 Speaker 2: He's got the h's factor. And they decided to keep 103 00:05:59,360 --> 00:06:02,200 Speaker 2: the songs for them selves. So then we started tried 104 00:06:02,200 --> 00:06:05,360 Speaker 2: writing another song, and that song ended up being Living 105 00:06:05,400 --> 00:06:11,120 Speaker 2: on a Prayer, her title in my book. And John 106 00:06:11,120 --> 00:06:14,600 Speaker 2: at first didn't want to record the song because you 107 00:06:14,680 --> 00:06:18,120 Speaker 2: thought it was a bit sentimental and a bit you know, 108 00:06:18,240 --> 00:06:21,279 Speaker 2: kind of sad sounding, uh, But when they got in 109 00:06:21,320 --> 00:06:27,159 Speaker 2: the studio, they rocked it up with their producer, Bob Well, 110 00:06:27,200 --> 00:06:30,000 Speaker 2: it was Bob Rock was the engineer and Bruce Fairburn 111 00:06:30,160 --> 00:06:33,480 Speaker 2: was the producer, and they turned it into a masterpiece. 112 00:06:34,080 --> 00:06:37,440 Speaker 2: So you know, I've also had extraordinary luck, you know, 113 00:06:37,480 --> 00:06:40,719 Speaker 2: because it you know, does take luck, you know, not 114 00:06:40,920 --> 00:06:44,720 Speaker 2: just effort and talent. And I guess I was meant 115 00:06:44,720 --> 00:06:48,200 Speaker 2: to do all of this because maybe there's a role 116 00:06:48,360 --> 00:06:51,040 Speaker 2: for me in the world to bring people hope. 117 00:06:51,920 --> 00:06:54,880 Speaker 4: What was it like working with that shy flower by 118 00:06:54,960 --> 00:06:56,039 Speaker 4: the name of Joan Jett. 119 00:06:57,040 --> 00:07:00,880 Speaker 2: Well, you know, first of all, she's so her presence, 120 00:07:01,200 --> 00:07:07,120 Speaker 2: you know, it's amazing strength and integrity. And we got 121 00:07:07,160 --> 00:07:12,240 Speaker 2: together and you know, Kenny, her manager, called me and said, 122 00:07:12,320 --> 00:07:14,760 Speaker 2: I want you to write with Tony, you know, and 123 00:07:14,840 --> 00:07:18,640 Speaker 2: so so I did it, and I'm not sure she 124 00:07:18,800 --> 00:07:22,200 Speaker 2: was that comfortable. And then I had the title again 125 00:07:22,640 --> 00:07:26,480 Speaker 2: called I Hate Myself for Loving You, and she said, no, 126 00:07:26,560 --> 00:07:28,720 Speaker 2: I don't sing the word love. I said, but you do. 127 00:07:28,800 --> 00:07:31,080 Speaker 2: And I love rock and roll, I said, She said, 128 00:07:31,120 --> 00:07:33,320 Speaker 2: I wear it out. I'm not saying the word love, 129 00:07:33,880 --> 00:07:35,440 Speaker 2: but you know, I said, but you also say the 130 00:07:35,480 --> 00:07:38,480 Speaker 2: word hate, you know, I hate myself for loving you. 131 00:07:39,000 --> 00:07:42,280 Speaker 2: And you know, I finally, you know, wore her down 132 00:07:42,320 --> 00:07:44,880 Speaker 2: and talked her into it, and it's become like her 133 00:07:44,920 --> 00:07:47,520 Speaker 2: second biggest hit, you know, after I Love rock and Roll. 134 00:07:48,080 --> 00:07:52,240 Speaker 2: And it's also a Sunday Night football theme. And on 135 00:07:52,280 --> 00:07:55,400 Speaker 2: top of that, Dolly Parton just recorded it for her 136 00:07:55,560 --> 00:08:00,760 Speaker 2: Rockstar album featuring Joan Jet. So that song just keep keeps, 137 00:08:01,040 --> 00:08:02,840 Speaker 2: you know, the gift that keepsun given. 138 00:08:03,680 --> 00:08:07,360 Speaker 4: And then since I'm based in Boston, I got to 139 00:08:07,360 --> 00:08:11,000 Speaker 4: bring up those bad boys from Boston Aerosmith, who you've 140 00:08:11,000 --> 00:08:13,800 Speaker 4: done some amazing work with. What was that like? 141 00:08:14,560 --> 00:08:17,040 Speaker 2: Well there again, I mean they didn't want to write 142 00:08:17,080 --> 00:08:19,320 Speaker 2: with me. I was forced on them by their A 143 00:08:19,400 --> 00:08:24,680 Speaker 2: and R guy, John Kladner, brilliant, legendary guy. And you know, 144 00:08:25,120 --> 00:08:28,320 Speaker 2: they flew me to Boston, and then the car picked 145 00:08:28,320 --> 00:08:31,440 Speaker 2: me up and brought me this big like airplane hangar 146 00:08:31,560 --> 00:08:34,160 Speaker 2: kind of rehearsal space that they were working on. There 147 00:08:34,200 --> 00:08:37,440 Speaker 2: was a stage built and there were like one hundred 148 00:08:37,480 --> 00:08:40,240 Speaker 2: guitars on the ground level, you know, just like all 149 00:08:40,320 --> 00:08:44,360 Speaker 2: in stands ready to go, Sparky, Tiger, Zebra, you know, 150 00:08:44,880 --> 00:08:48,440 Speaker 2: you know, Fenders, Gibson's, every kind of guitar ever just 151 00:08:48,480 --> 00:08:51,120 Speaker 2: in case. Joe had a kind of hanker in for 152 00:08:51,400 --> 00:08:54,720 Speaker 2: like a different sound. Right, So when I walked in, 153 00:08:55,679 --> 00:08:59,080 Speaker 2: I didn't even say a word, but Stephen grabbed me 154 00:08:59,240 --> 00:09:01,199 Speaker 2: and like we went to like the side of the 155 00:09:01,240 --> 00:09:04,040 Speaker 2: stage and they were working on this loop, this backwards 156 00:09:04,040 --> 00:09:08,160 Speaker 2: guitar loop that went like and then Stephen started singing 157 00:09:08,240 --> 00:09:12,680 Speaker 2: cruise and all the lad is and then they stopped 158 00:09:12,679 --> 00:09:14,000 Speaker 2: and they said, what do you think of that? And 159 00:09:14,000 --> 00:09:17,319 Speaker 2: I said, I think that's bad, you know, point blank. 160 00:09:17,880 --> 00:09:19,880 Speaker 2: And I said I don't think Ben Heron would put 161 00:09:19,920 --> 00:09:22,440 Speaker 2: that on the B side of the Worst record, which 162 00:09:22,480 --> 00:09:25,839 Speaker 2: I said to be funny, and they didn't laugh. And 163 00:09:26,200 --> 00:09:28,800 Speaker 2: Joe crossed his arms and kind of leaned way back 164 00:09:28,840 --> 00:09:31,440 Speaker 2: and looked at me sideways. And then Stephen, you know, 165 00:09:31,440 --> 00:09:34,120 Speaker 2: who's more like a people pleaser kind of guy, and 166 00:09:34,360 --> 00:09:37,280 Speaker 2: he said, well, when I first started singing the riff, 167 00:09:37,320 --> 00:09:39,320 Speaker 2: I was singing, dude, looks like a lady. I said, 168 00:09:39,360 --> 00:09:43,520 Speaker 2: stop right there, that's a hit title. And just said, well, 169 00:09:43,559 --> 00:09:45,839 Speaker 2: we are there what that means. And you know, we 170 00:09:45,880 --> 00:09:48,520 Speaker 2: don't want to insult the gay community. I said, dude, 171 00:09:49,520 --> 00:09:53,760 Speaker 2: I'm gay, not insulted. And I dragged them into you know, 172 00:09:54,040 --> 00:09:59,079 Speaker 2: that stairline, and what had happened was that Stephen how 173 00:09:59,080 --> 00:10:01,679 Speaker 2: he came up with that title. They've gone into a 174 00:10:01,720 --> 00:10:04,960 Speaker 2: bar on the shore with the roadies and all that, 175 00:10:05,720 --> 00:10:08,520 Speaker 2: and sitting at this lonely, you know, a way off 176 00:10:08,559 --> 00:10:11,200 Speaker 2: in the corner at this empty bar, was this vision 177 00:10:11,240 --> 00:10:16,199 Speaker 2: of loveliness with a big platinum mullet, porcelain skin, black 178 00:10:16,320 --> 00:10:21,240 Speaker 2: nails and bangles and a curvy, you know figure. And 179 00:10:22,960 --> 00:10:25,160 Speaker 2: all of a sudden she turns around and it's Vince 180 00:10:25,240 --> 00:10:29,719 Speaker 2: Neil with Motley Crue, and Stephens said, dude, looks like 181 00:10:29,800 --> 00:10:32,160 Speaker 2: a lady. Do look second, lady, Do look second, lady. 182 00:10:32,280 --> 00:10:35,320 Speaker 2: And then it's stuck. And that's where where Hoo came 183 00:10:35,640 --> 00:10:38,000 Speaker 2: came from. And I said, Okay, that's the story we're 184 00:10:38,000 --> 00:10:42,920 Speaker 2: going to tell. And they went along, you know, Jerry, reluctantly. 185 00:10:43,720 --> 00:10:47,000 Speaker 2: But it's turned into one of the classics for them, 186 00:10:47,320 --> 00:10:51,440 Speaker 2: and so I'm very very you know, honored that you 187 00:10:51,480 --> 00:10:53,560 Speaker 2: know that song has stood the test of time and 188 00:10:53,600 --> 00:10:56,800 Speaker 2: it was ahead of its time because the second verse goes, 189 00:10:57,280 --> 00:11:01,080 Speaker 2: neither Georgeill looked by its cover? Oh who you're going 190 00:11:01,640 --> 00:11:04,720 Speaker 2: by your lover? How ahead of its time was that? 191 00:11:05,600 --> 00:11:06,400 Speaker 4: It's amazing? 192 00:11:06,640 --> 00:11:07,880 Speaker 3: Oh my god, I love it. 193 00:11:09,440 --> 00:11:13,920 Speaker 4: You spent a couple of years with Bob Crue, who 194 00:11:14,040 --> 00:11:18,480 Speaker 4: is known for so many strings of hits, from Frankie 195 00:11:18,520 --> 00:11:21,280 Speaker 4: Valley Work to Four Seasons. He's another one. We could 196 00:11:21,320 --> 00:11:25,280 Speaker 4: go on and on with about his catalogue. What lessons 197 00:11:25,320 --> 00:11:30,000 Speaker 4: did you learn about the art of songwriting from Bob Crue? 198 00:11:30,559 --> 00:11:33,200 Speaker 2: Well before I met Bob Krue, you know, because I 199 00:11:33,280 --> 00:11:35,200 Speaker 2: was a singer. I'd sit at the piano, bang out 200 00:11:35,200 --> 00:11:38,920 Speaker 2: some chords and just mumble some stuff, you know, singing melodies, 201 00:11:38,960 --> 00:11:42,200 Speaker 2: and then hope that those mumbles sounded like words. And 202 00:11:42,240 --> 00:11:44,400 Speaker 2: then I'd kind of, like a little bird, take a 203 00:11:44,400 --> 00:11:46,480 Speaker 2: little string and then kind of build a nest out 204 00:11:46,480 --> 00:11:49,360 Speaker 2: of it. But he wouldn't even let me touch the 205 00:11:49,400 --> 00:11:53,599 Speaker 2: piano unless we had a sired title and a concept. 206 00:11:53,840 --> 00:11:57,000 Speaker 2: And you know, we built everything that we wrote, thirty 207 00:11:57,040 --> 00:12:00,480 Speaker 2: eight songs that I wrote with him. Everything was built 208 00:12:00,559 --> 00:12:05,240 Speaker 2: towards paying off the title. That's the correct way. And 209 00:12:05,520 --> 00:12:08,040 Speaker 2: ever since I learned writing that way, I started having 210 00:12:08,080 --> 00:12:11,200 Speaker 2: nothing but success because you get right to the story. 211 00:12:11,240 --> 00:12:13,920 Speaker 2: What's the song about? What is it supposed to say? 212 00:12:14,240 --> 00:12:18,000 Speaker 2: What's the title? And he taught me to write titles 213 00:12:18,000 --> 00:12:22,440 Speaker 2: that had opposites, you know, like you gr rib a 214 00:12:22,480 --> 00:12:26,080 Speaker 2: bad name, you know, love that I hate myself for 215 00:12:26,160 --> 00:12:29,120 Speaker 2: loving you. How can we be lovers if we can't 216 00:12:29,120 --> 00:12:33,920 Speaker 2: be friends? Heaven's on fire, you know, and you know, 217 00:12:34,160 --> 00:12:37,720 Speaker 2: that's that's how you know he taught me to write 218 00:12:37,800 --> 00:12:40,800 Speaker 2: because just by looking at the title, they would draw 219 00:12:40,880 --> 00:12:43,120 Speaker 2: in the listener like say, oh, well that's that sounds 220 00:12:43,160 --> 00:12:45,760 Speaker 2: like it could be interesting, and then the song gets 221 00:12:46,120 --> 00:12:49,960 Speaker 2: gets heard and that's all it takes up the songs good. 222 00:12:50,400 --> 00:12:52,560 Speaker 2: Once it's an ear warm in somebody's head, then they 223 00:12:52,600 --> 00:12:54,360 Speaker 2: have to hear it over and over and over again. 224 00:12:54,880 --> 00:12:57,120 Speaker 2: And that's why I think that my songs have stood 225 00:12:57,120 --> 00:13:01,680 Speaker 2: the test of time, you know, because you know that's 226 00:13:01,679 --> 00:13:05,280 Speaker 2: the thing. You know, It's like there's techniques. And also 227 00:13:05,840 --> 00:13:10,080 Speaker 2: Bob Crue taught me to write the courses with tight rhymes, 228 00:13:10,080 --> 00:13:15,360 Speaker 2: like you know, not off rhymes. And he said, well, 229 00:13:15,440 --> 00:13:17,680 Speaker 2: maybe it's okay. Like during verses you can do kind 230 00:13:17,679 --> 00:13:20,000 Speaker 2: of like off rhymes, things that kind of sound alike, 231 00:13:20,040 --> 00:13:22,200 Speaker 2: but they're not really rhymes. But when it comes to 232 00:13:22,200 --> 00:13:25,440 Speaker 2: the chorus, it's much easier for us stadium full of 233 00:13:25,480 --> 00:13:28,520 Speaker 2: people to know what's coming next to be able to 234 00:13:28,520 --> 00:13:30,920 Speaker 2: sing along too. And if it's not a tight rhyme, 235 00:13:31,000 --> 00:13:34,960 Speaker 2: they can't memorize it. So that's those are some of 236 00:13:35,000 --> 00:13:38,520 Speaker 2: the secrets that I reveal in in my book Living 237 00:13:38,559 --> 00:13:40,480 Speaker 2: on a Player of big songs, Big Life. 238 00:13:41,160 --> 00:13:45,040 Speaker 4: We had the great Jimmy Webb on a previous episode 239 00:13:45,040 --> 00:13:47,880 Speaker 4: of the podcast. I'd like to get your reaction to 240 00:13:47,960 --> 00:13:53,120 Speaker 4: something he said. He said that improvisation is a bridge 241 00:13:53,440 --> 00:13:58,120 Speaker 4: to creativity. Your thoughts on that, well, first. 242 00:13:57,920 --> 00:13:59,960 Speaker 2: Of a, why I just spent the week and watch 243 00:14:00,000 --> 00:14:04,000 Speaker 2: Washington d C. With Jimmy Webb and his gorgeous wife 244 00:14:04,120 --> 00:14:08,200 Speaker 2: Laura Sabini, And we were there lobbying, you know, for 245 00:14:08,320 --> 00:14:13,040 Speaker 2: songwriters because of AI and the dangers that are posed 246 00:14:13,080 --> 00:14:17,120 Speaker 2: to you know, all creators with AI, and you know, 247 00:14:17,160 --> 00:14:19,440 Speaker 2: we want to get in there, you know, before they 248 00:14:19,480 --> 00:14:23,840 Speaker 2: start laying down kind of compulsory rates and things like 249 00:14:23,880 --> 00:14:27,600 Speaker 2: that that we don't want. We want people come to 250 00:14:27,800 --> 00:14:29,680 Speaker 2: make us, offer us if they're going to use us, 251 00:14:29,960 --> 00:14:36,240 Speaker 2: use our music to create you know, their Frankenstein's with So, 252 00:14:37,160 --> 00:14:39,480 Speaker 2: you know, Jimmy Webb is like my idol. You know, 253 00:14:39,600 --> 00:14:44,280 Speaker 2: he's just the premiere you know, American songwriter. His songs 254 00:14:44,360 --> 00:14:49,920 Speaker 2: just live forever. And improvisation well, he's a pianist, you know, 255 00:14:50,480 --> 00:14:54,440 Speaker 2: and so you know, I think that's important for him, 256 00:14:54,680 --> 00:14:56,720 Speaker 2: you know, But like I said, I learned the other 257 00:14:56,760 --> 00:14:59,560 Speaker 2: way around, you know, the opposite way which is not 258 00:14:59,680 --> 00:15:02,360 Speaker 2: what you going to say and go out and say it, 259 00:15:02,800 --> 00:15:05,880 Speaker 2: and then everything falls into place after that. So we write, 260 00:15:05,960 --> 00:15:08,240 Speaker 2: we write kind of with opposite techniques. 261 00:15:09,200 --> 00:15:13,520 Speaker 4: Well, lastly, I want to say to you that we 262 00:15:13,640 --> 00:15:17,000 Speaker 4: have another podcast we produced which is called Music Saved 263 00:15:17,040 --> 00:15:22,000 Speaker 4: Me and it's about the healing powers of music. Do 264 00:15:22,080 --> 00:15:27,160 Speaker 4: you believe music has supernatural healing powers? 265 00:15:27,920 --> 00:15:31,600 Speaker 2: Well? I do. I think that. You know, we're hardwired 266 00:15:32,240 --> 00:15:36,600 Speaker 2: to be comforted by music or excited by music since 267 00:15:36,640 --> 00:15:40,520 Speaker 2: the beginning of time. You know, you can just imagine, 268 00:15:40,600 --> 00:15:43,760 Speaker 2: you know, the oral history, you know, stories being told 269 00:15:43,800 --> 00:15:48,080 Speaker 2: and then embellished upon and made very dramatic by whoever 270 00:15:48,240 --> 00:15:53,200 Speaker 2: was was singing it. And you know, because of that, 271 00:15:53,280 --> 00:15:58,640 Speaker 2: we're hardwired to respond, you know, to to music. And 272 00:15:59,200 --> 00:16:04,000 Speaker 2: you know, I think that there's other things that happened. 273 00:16:04,320 --> 00:16:08,720 Speaker 2: The lyric content can be healing as well. We've received 274 00:16:08,760 --> 00:16:11,600 Speaker 2: so many letters that told us that living on a 275 00:16:11,600 --> 00:16:15,080 Speaker 2: prayer got them through cancer, got them through you know, 276 00:16:15,160 --> 00:16:19,160 Speaker 2: the death of you know, a family member. And we 277 00:16:19,280 --> 00:16:22,400 Speaker 2: once got an extraordinary letter from a young man that 278 00:16:22,480 --> 00:16:25,200 Speaker 2: said he had had it. He decided he was going 279 00:16:25,280 --> 00:16:28,800 Speaker 2: to end his life, so he you know, drove his 280 00:16:28,880 --> 00:16:31,720 Speaker 2: car like crazy up to the bridge, trumped out of it, 281 00:16:31,840 --> 00:16:34,680 Speaker 2: let the engine running, the radios on and he was 282 00:16:34,800 --> 00:16:38,600 Speaker 2: leaning to like go jump off when Living on a 283 00:16:38,640 --> 00:16:40,360 Speaker 2: Prayer came on the radio and he said, oh wait, 284 00:16:40,480 --> 00:16:43,240 Speaker 2: that's my favorite song. So he said, okay, I'll just 285 00:16:43,280 --> 00:16:45,600 Speaker 2: go and listen to my favorite song and then that'll 286 00:16:45,600 --> 00:16:47,440 Speaker 2: be the end. So he gets back in the car. 287 00:16:47,520 --> 00:16:50,440 Speaker 2: By the time it got to the final modulated chorus, 288 00:16:50,480 --> 00:16:54,000 Speaker 2: the fifth in New York chorus, he drove home. And 289 00:16:54,240 --> 00:16:56,800 Speaker 2: you know, I think that's a beautiful story. 290 00:16:57,600 --> 00:17:00,760 Speaker 4: I love it. I want to congratulate you on the book, 291 00:17:00,800 --> 00:17:04,239 Speaker 4: Desmond Child, and thank you for the many gifts that 292 00:17:04,320 --> 00:17:05,440 Speaker 4: you have given us. 293 00:17:06,000 --> 00:17:08,600 Speaker 2: Well, thank you so much. And if if I just 294 00:17:08,600 --> 00:17:12,040 Speaker 2: want to follow me, does mean got child on Instagram? 295 00:17:12,359 --> 00:17:14,679 Speaker 2: My links are there. And I even got a skin 296 00:17:14,800 --> 00:17:17,879 Speaker 2: line called you Don't make a skin lice because you know, 297 00:17:17,960 --> 00:17:21,679 Speaker 2: celebrities have to have a skin line, and so you 298 00:17:21,760 --> 00:17:24,200 Speaker 2: know the diet and Brad Kid has a skin line. 299 00:17:24,520 --> 00:17:26,760 Speaker 2: You know, I figured, you know, if he has a 300 00:17:26,800 --> 00:17:28,800 Speaker 2: skin line, I have to the only thing is that 301 00:17:29,040 --> 00:17:32,520 Speaker 2: you buy his skin line. You had that looking right, Brad. 302 00:17:32,359 --> 00:17:39,159 Speaker 4: Chrid, I thank you, my friend. 303 00:17:40,040 --> 00:17:43,080 Speaker 2: But it's fine. It's fine, it's our natural product and 304 00:17:43,119 --> 00:17:46,160 Speaker 2: all that. And I always have lotions and potions because 305 00:17:46,200 --> 00:17:48,400 Speaker 2: I would sneak it to my mom's bedroom and open 306 00:17:48,440 --> 00:17:50,919 Speaker 2: off the little charge and smell them in the plant 307 00:17:51,280 --> 00:17:54,240 Speaker 2: and all the time of stuff there. I travel anywhere 308 00:17:54,280 --> 00:17:58,360 Speaker 2: without like like a suit sister around my lotions and potions. 309 00:17:58,400 --> 00:18:03,640 Speaker 2: Everybody makes fun of me. Thanks Desmond, thank you, thank 310 00:18:03,680 --> 00:18:08,199 Speaker 2: you for having me on. And I hope that fans 311 00:18:08,240 --> 00:18:11,040 Speaker 2: coming visit me and find out all about magnetic. 312 00:18:11,800 --> 00:18:12,359 Speaker 4: You're the best. 313 00:18:12,400 --> 00:18:16,440 Speaker 1: Thank you. We hope you enjoyed this episode of Taking 314 00:18:16,440 --> 00:18:20,000 Speaker 1: a Walk with the fascinating story of Desmond Child. Please 315 00:18:20,040 --> 00:18:22,320 Speaker 1: share this in other episodes of Taking a Walk with 316 00:18:22,400 --> 00:18:27,560 Speaker 1: your friends and follow Taking a Walk on Apple Podcasts, Spotify, iHeart, 317 00:18:27,720 --> 00:18:30,920 Speaker 1: or wherever you get your podcasts. Leave us a review 318 00:18:30,960 --> 00:18:34,000 Speaker 1: as well. Thanks for listening to Taking a Walk.