1 00:00:00,920 --> 00:00:03,559 Speaker 1: Taking a walk, you know, going to school and coming 2 00:00:03,600 --> 00:00:07,480 Speaker 1: home from school, and rather than like doing what all 3 00:00:07,480 --> 00:00:09,640 Speaker 1: the other kids are doing after school, I would go 4 00:00:09,720 --> 00:00:12,479 Speaker 1: straight to my house and pick up my guitar and 5 00:00:12,560 --> 00:00:15,000 Speaker 1: sit down in the living room or in my bedroom 6 00:00:15,200 --> 00:00:18,440 Speaker 1: for hours and hours and hours aba playing the instrument, 7 00:00:18,480 --> 00:00:20,240 Speaker 1: trying to figure out how to make it sound. 8 00:00:20,239 --> 00:00:23,239 Speaker 2: Welcome to the Taking a Walk Podcast, where your host 9 00:00:23,239 --> 00:00:27,280 Speaker 2: Buzz Night talks with musicians about their inspirations, their music, 10 00:00:27,760 --> 00:00:30,040 Speaker 2: and in today's case, what it means to be in 11 00:00:30,080 --> 00:00:33,960 Speaker 2: the music business since he was a teenager. Blues guitarist, 12 00:00:34,200 --> 00:00:38,000 Speaker 2: singer and songwriter Kenny Wayne Shepherd joins Buzz Today for 13 00:00:38,080 --> 00:00:41,920 Speaker 2: a conversation about all things Kenny Wayne. Kenny and Buzz 14 00:00:41,960 --> 00:00:44,239 Speaker 2: will get into everything from what it was like to 15 00:00:44,240 --> 00:00:47,440 Speaker 2: have his first record out at sixteen, to his relationship 16 00:00:47,479 --> 00:00:50,280 Speaker 2: with the late Eddie Van Halen, and to what's going 17 00:00:50,320 --> 00:00:53,520 Speaker 2: on in music today. Kenny's got a new project out 18 00:00:53,640 --> 00:00:57,200 Speaker 2: called Dirt on My Diamonds Volume two. Also chat with 19 00:00:57,200 --> 00:01:00,560 Speaker 2: Buzz about that. Kenny Wayne Sheppard joins me Buzz Night 20 00:01:00,720 --> 00:01:02,480 Speaker 2: now on Taking a Walk. 21 00:01:04,120 --> 00:01:07,240 Speaker 3: The Great Kenny Wayne Shepherd on Taking a Walk. Thanks 22 00:01:07,319 --> 00:01:08,959 Speaker 3: Kenny for being on man. 23 00:01:09,000 --> 00:01:09,840 Speaker 1: Thanks for having me. 24 00:01:10,120 --> 00:01:14,080 Speaker 3: So tell me how your father had an influence on 25 00:01:14,120 --> 00:01:17,280 Speaker 3: you as a musician and as a person. 26 00:01:18,160 --> 00:01:20,720 Speaker 1: Well, I mean, my dad was a dish shockey. Well 27 00:01:20,760 --> 00:01:24,000 Speaker 1: he was a jack of many trades. He he's not 28 00:01:24,080 --> 00:01:27,400 Speaker 1: like he's he's still with us, so you know, I 29 00:01:27,520 --> 00:01:29,160 Speaker 1: don't want to refer to him in the past tense. 30 00:01:29,200 --> 00:01:31,920 Speaker 1: But back when I was a kid, he was a dischockey, 31 00:01:31,959 --> 00:01:36,839 Speaker 1: programm director, general manager of a variety of different radio 32 00:01:36,880 --> 00:01:39,360 Speaker 1: stations in my whole town over the years. And so 33 00:01:39,440 --> 00:01:42,080 Speaker 1: I grew up around music my whole life. And my 34 00:01:42,120 --> 00:01:44,200 Speaker 1: mom was a big music fan as well, so you know, 35 00:01:44,319 --> 00:01:46,639 Speaker 1: between the two of them, we had music playing around 36 00:01:46,640 --> 00:01:49,120 Speaker 1: the house all the time, in the car everywhere we went, 37 00:01:49,880 --> 00:01:54,160 Speaker 1: and all different kinds of music too. So my dad, 38 00:01:54,240 --> 00:01:56,559 Speaker 1: you know, would play country music and then we listen 39 00:01:56,640 --> 00:02:00,760 Speaker 1: to rock and you know, James Brown and fog at 40 00:02:00,880 --> 00:02:04,280 Speaker 1: R and B and jazz and just everything under the sun. 41 00:02:05,040 --> 00:02:07,720 Speaker 1: And you know, because he was at the radio station 42 00:02:08,400 --> 00:02:11,640 Speaker 1: that those guys usually get tickets and backstage passes to 43 00:02:11,680 --> 00:02:15,000 Speaker 1: all the hot concerts that come through town. So you know, 44 00:02:15,040 --> 00:02:17,480 Speaker 1: we always got to go see bands play, and I'd 45 00:02:17,639 --> 00:02:20,480 Speaker 1: get to go backstage and kind of see the behind 46 00:02:20,520 --> 00:02:23,399 Speaker 1: the scenes of the touring world and meet a lot 47 00:02:23,400 --> 00:02:26,160 Speaker 1: of famous musicians when I was a kid, and so 48 00:02:26,960 --> 00:02:31,560 Speaker 1: all of that stuff, the absorption of music and the 49 00:02:31,639 --> 00:02:35,440 Speaker 1: exposure to the touring industry, all of that was I 50 00:02:35,520 --> 00:02:38,600 Speaker 1: was soaking that up and it was all going to 51 00:02:38,639 --> 00:02:42,680 Speaker 1: contribute to who I would eventually be as a professional 52 00:02:42,680 --> 00:02:46,040 Speaker 1: recording the touring artists. But at that eighty age, nobody 53 00:02:46,080 --> 00:02:47,280 Speaker 1: had a clue at that point. 54 00:02:48,160 --> 00:02:51,520 Speaker 3: So the first moment that you were watching a performance 55 00:02:51,600 --> 00:02:55,960 Speaker 3: by somebody that just knocked your socks off, who was it. 56 00:02:56,720 --> 00:03:00,079 Speaker 1: Well, there's a number of different performers, you know, But 57 00:03:00,200 --> 00:03:02,160 Speaker 1: when I was a kid, I saw, like I said, 58 00:03:02,200 --> 00:03:04,600 Speaker 1: I mean, so many different people. I mean I remember 59 00:03:04,600 --> 00:03:07,560 Speaker 1: going to Hank WiM's junior concert Melong Away because he 60 00:03:07,639 --> 00:03:10,160 Speaker 1: was a country guy that rocked, you know. I remember 61 00:03:10,200 --> 00:03:13,280 Speaker 1: seeing James Brown many many times and just I mean, 62 00:03:13,320 --> 00:03:15,520 Speaker 1: he was one of the greatest entertainers on the planet, 63 00:03:15,560 --> 00:03:18,160 Speaker 1: but two completely different types of performers. 64 00:03:18,200 --> 00:03:18,440 Speaker 4: You know. 65 00:03:19,400 --> 00:03:22,040 Speaker 1: A life changing moment for me was getting to meet 66 00:03:22,080 --> 00:03:24,359 Speaker 1: and watched Skeevie rape On play for the first time 67 00:03:24,400 --> 00:03:27,560 Speaker 1: when I was around seventy years old. So that's really 68 00:03:27,560 --> 00:03:30,320 Speaker 1: what lit the fire at me and gave me like this, 69 00:03:30,880 --> 00:03:34,200 Speaker 1: you know, relentless determination to learn the instrument because I 70 00:03:34,240 --> 00:03:36,920 Speaker 1: wanted to figure out how it to play with that 71 00:03:37,000 --> 00:03:41,160 Speaker 1: kind of passion and intensity that he played with. So, 72 00:03:41,680 --> 00:03:45,120 Speaker 1: I mean, there was a number of performers that really 73 00:03:45,120 --> 00:03:47,400 Speaker 1: impressed me and had an impact on it. 74 00:03:47,400 --> 00:03:49,160 Speaker 4: It's a pretty impressive list so far. 75 00:03:50,160 --> 00:03:53,200 Speaker 1: I mean, right, yeah, and the list and the list 76 00:03:53,280 --> 00:03:55,960 Speaker 1: goes on. But those are just some of the ones 77 00:03:56,000 --> 00:03:57,920 Speaker 1: off the top of my head that are very very 78 00:03:57,920 --> 00:04:01,800 Speaker 1: different musical genres and different types of performers. But I 79 00:04:01,880 --> 00:04:03,800 Speaker 1: kind of took something away from each one of them. 80 00:04:03,840 --> 00:04:07,320 Speaker 4: So what at the age of sixteen. 81 00:04:08,600 --> 00:04:16,799 Speaker 3: Intensely fueled your deep emotional, you know, connection with music 82 00:04:16,960 --> 00:04:21,280 Speaker 3: and how it all manifested itself into your brilliance? What 83 00:04:21,360 --> 00:04:24,159 Speaker 3: was going on as a sixteen year old that really, like, 84 00:04:24,400 --> 00:04:27,960 Speaker 3: you know, made you sound like you were way wiser 85 00:04:28,000 --> 00:04:29,799 Speaker 3: than those years. 86 00:04:30,080 --> 00:04:33,800 Speaker 1: Well, I don't. I'm not exactly sure, you know, because 87 00:04:33,839 --> 00:04:38,200 Speaker 1: I had the child Prodigy label put on me, which 88 00:04:38,279 --> 00:04:41,920 Speaker 1: is like fine, I mean, I'm looking back, I go, yeah, 89 00:04:42,640 --> 00:04:46,599 Speaker 1: it's not normal. It's not typical for a kid that 90 00:04:46,720 --> 00:04:48,920 Speaker 1: young to be playing that kind of music that way. 91 00:04:49,080 --> 00:04:52,160 Speaker 1: So at the time, I really didn't think much of it, 92 00:04:52,200 --> 00:04:53,920 Speaker 1: Like I really didn't have any idea what they were 93 00:04:53,960 --> 00:04:56,960 Speaker 1: talking about because I was just playing guitar and I 94 00:04:57,080 --> 00:05:00,680 Speaker 1: just loved playing the instrument. But I think as a teenager, 95 00:05:00,760 --> 00:05:04,839 Speaker 1: you know, there's so much going on in young people's lives, 96 00:05:04,839 --> 00:05:07,520 Speaker 1: more now than ever, to be honest with you, in 97 00:05:07,920 --> 00:05:11,280 Speaker 1: the world we live in. But really, like as a teenager, 98 00:05:11,279 --> 00:05:13,800 Speaker 1: you're going through so many changes, trying to figure out 99 00:05:13,800 --> 00:05:17,599 Speaker 1: who you are, where you fit in your first experiences 100 00:05:18,440 --> 00:05:21,520 Speaker 1: with love and relationships and things like that. But like 101 00:05:21,560 --> 00:05:24,640 Speaker 1: I always found like comfort and the instrument, and so 102 00:05:25,279 --> 00:05:29,480 Speaker 1: that was where I just felt completely at home. Was 103 00:05:29,640 --> 00:05:32,440 Speaker 1: you know, going to school and coming home from school 104 00:05:32,520 --> 00:05:35,880 Speaker 1: and rather than like doing what all the other kids 105 00:05:35,920 --> 00:05:38,719 Speaker 1: were doing after school, I would go straight into my 106 00:05:38,800 --> 00:05:41,120 Speaker 1: house and pick up my guitar and sit down in 107 00:05:41,160 --> 00:05:43,840 Speaker 1: the living room or in my bedroom for hours and 108 00:05:43,880 --> 00:05:46,640 Speaker 1: hours and hours every day play the instrument, trying to 109 00:05:46,640 --> 00:05:49,120 Speaker 1: figure out how to make it sound good. And I 110 00:05:49,160 --> 00:05:51,680 Speaker 1: think there was just great satisfaction in that. And it 111 00:05:51,800 --> 00:05:54,320 Speaker 1: was like my companion. Now I was kind of like 112 00:05:54,360 --> 00:05:57,240 Speaker 1: the uh, you know, the friend you could always rely on. 113 00:05:57,400 --> 00:06:02,960 Speaker 1: And so it ended up, giving me an identity and 114 00:06:03,560 --> 00:06:06,920 Speaker 1: a purpose I think at a very young age, which 115 00:06:06,960 --> 00:06:09,000 Speaker 1: is not common. I mean, you know, because I signed 116 00:06:09,000 --> 00:06:11,159 Speaker 1: my record deal when I was sixteen. I started recording 117 00:06:11,160 --> 00:06:15,320 Speaker 1: my first album when I was seventeen, and that's very abnormal. 118 00:06:15,360 --> 00:06:18,520 Speaker 1: But it gave me a lot of things that I 119 00:06:18,560 --> 00:06:22,160 Speaker 1: think were really important to me as a teenager at 120 00:06:22,200 --> 00:06:24,400 Speaker 1: the time, and certainly it served me well to my 121 00:06:24,480 --> 00:06:25,839 Speaker 1: adult life. 122 00:06:26,520 --> 00:06:29,039 Speaker 3: And I know then you really became a student of 123 00:06:30,040 --> 00:06:34,480 Speaker 3: so much of the genre of blues and so many individuals, 124 00:06:35,720 --> 00:06:38,719 Speaker 3: and you obviously were swept away like we. 125 00:06:38,640 --> 00:06:42,279 Speaker 4: All still are, by Jimmy Hendrix. Can you talk about 126 00:06:42,279 --> 00:06:43,080 Speaker 4: that influence. 127 00:06:44,000 --> 00:06:47,400 Speaker 1: Yeah, Well, Jimmy Hendricks was fascinating to me because you know, 128 00:06:47,520 --> 00:06:53,359 Speaker 1: his musical ideas were incredibly I don't know, it was 129 00:06:53,400 --> 00:06:56,640 Speaker 1: like groundbreaking, especially being considered the time, the era in 130 00:06:56,680 --> 00:06:58,680 Speaker 1: which he was making music, when all that stuff, I 131 00:06:58,720 --> 00:07:02,760 Speaker 1: mean rock and rolls, it was a relatively new genre 132 00:07:02,839 --> 00:07:07,520 Speaker 1: of music. But if you at the same time consider 133 00:07:07,600 --> 00:07:12,200 Speaker 1: how limited they were with the technology, right there's I mean, 134 00:07:12,280 --> 00:07:15,200 Speaker 1: multi track recording hadn't even been around for all that 135 00:07:15,320 --> 00:07:17,960 Speaker 1: long in the overall scheme of things, and you know, 136 00:07:18,040 --> 00:07:21,640 Speaker 1: the guitar pedals, the effects that you could use, and 137 00:07:21,720 --> 00:07:23,400 Speaker 1: in the studio you kind of had like delay and 138 00:07:23,640 --> 00:07:26,520 Speaker 1: reverb and compression, and then you know for pedals, I 139 00:07:26,600 --> 00:07:30,000 Speaker 1: think there's a handful of effects pedals for guitar players, 140 00:07:30,000 --> 00:07:32,600 Speaker 1: and Jimmy probably had all of them, you know. But 141 00:07:32,720 --> 00:07:35,880 Speaker 1: like what he was able to create and the sounds 142 00:07:35,920 --> 00:07:38,120 Speaker 1: he was able to come up with in the studio 143 00:07:38,400 --> 00:07:41,480 Speaker 1: that hadn't necessarily been done before or hadn't been heard 144 00:07:41,600 --> 00:07:44,760 Speaker 1: like that before, it's just really impressive. And also if 145 00:07:44,760 --> 00:07:47,120 Speaker 1: you look back and you go, wow, even to this day, 146 00:07:48,760 --> 00:07:52,880 Speaker 1: I don't know that anybody's I mean, he hasn't really 147 00:07:52,920 --> 00:07:56,160 Speaker 1: been outdone, and his music still sounds groundbreaking, you know, 148 00:07:56,240 --> 00:07:58,960 Speaker 1: even to this day, and it still continues to influence 149 00:07:59,000 --> 00:08:03,200 Speaker 1: new generations positions. So it's pretty remarkable. But the thing 150 00:08:03,200 --> 00:08:05,720 Speaker 1: that he did most for me was he It's like 151 00:08:05,760 --> 00:08:10,560 Speaker 1: he gave me permission. By listening to his music, you 152 00:08:10,560 --> 00:08:13,400 Speaker 1: could tell that, like he was very lose baits in 153 00:08:13,520 --> 00:08:16,960 Speaker 1: his playing and in his music that he created, but 154 00:08:17,240 --> 00:08:19,680 Speaker 1: took he didn't just stop right there. He took it 155 00:08:20,160 --> 00:08:22,160 Speaker 1: and ran with it and took it into so many 156 00:08:22,160 --> 00:08:26,080 Speaker 1: different directions, and it kind of gave me permission to 157 00:08:26,080 --> 00:08:27,920 Speaker 1: do the same thing. You know, it's like to not 158 00:08:28,120 --> 00:08:32,560 Speaker 1: be boxed into one particular category, not have to keep 159 00:08:32,600 --> 00:08:36,600 Speaker 1: my music confined to one particular space, but to kind 160 00:08:36,600 --> 00:08:39,360 Speaker 1: of take elements of all the things that I had 161 00:08:39,400 --> 00:08:42,400 Speaker 1: been exposed to and combine them and try and create 162 00:08:42,480 --> 00:08:45,200 Speaker 1: something that sounds a little bit different. 163 00:08:46,160 --> 00:08:49,679 Speaker 3: I'm not even thinking you've tapped that completely. I know 164 00:08:49,800 --> 00:08:54,360 Speaker 3: you're completely open to different places. Your example, you know, 165 00:08:54,559 --> 00:08:59,400 Speaker 3: collaboration with five Finger Death Punch, And I just have 166 00:08:59,480 --> 00:09:02,080 Speaker 3: a sense with you and the way you think about it, 167 00:09:02,120 --> 00:09:06,480 Speaker 3: and by your comments about Jimmy's influence, we haven't even 168 00:09:06,480 --> 00:09:08,000 Speaker 3: seen the beginning of your work. 169 00:09:09,000 --> 00:09:12,000 Speaker 1: Well, I certainly feel like there's more to be said 170 00:09:12,160 --> 00:09:15,400 Speaker 1: and more music to be created, and more learning to 171 00:09:15,440 --> 00:09:19,560 Speaker 1: be done as far as being a student of the instrument. 172 00:09:20,679 --> 00:09:23,520 Speaker 1: But yeah, I just don't. I just know that, like, 173 00:09:23,640 --> 00:09:28,280 Speaker 1: in order to keep the music genre relevant, you have 174 00:09:28,400 --> 00:09:30,160 Speaker 1: to continue to it of me and you have to 175 00:09:30,160 --> 00:09:33,600 Speaker 1: continue to do things differently, otherwise it just all becomes 176 00:09:33,640 --> 00:09:36,760 Speaker 1: too predictable. And so I like the idea that, like, 177 00:09:37,200 --> 00:09:40,360 Speaker 1: when you hear that a Kenny Wayne Shepherd album is 178 00:09:40,400 --> 00:09:43,520 Speaker 1: coming out, I would venture to guess that most people 179 00:09:43,600 --> 00:09:46,880 Speaker 1: aren't entirely sure what it's calling sound like before they 180 00:09:46,960 --> 00:09:50,120 Speaker 1: hear it, you know, because they know and I think 181 00:09:50,120 --> 00:09:53,160 Speaker 1: they trust that as a artists, I'm going to pursue 182 00:09:53,559 --> 00:09:58,360 Speaker 1: whatever inspiration comes up in the moment. And so each album, 183 00:09:58,400 --> 00:10:01,559 Speaker 1: I mean, there's certain common things and there's common elements 184 00:10:01,559 --> 00:10:04,280 Speaker 1: to my music all the way back to the first album. 185 00:10:04,320 --> 00:10:06,559 Speaker 1: But I mean, you listen to some of the songs 186 00:10:06,600 --> 00:10:10,440 Speaker 1: on my newest albums during on My Diamonds Volume one 187 00:10:10,480 --> 00:10:12,559 Speaker 1: and now Volume two that just came out, I mean, 188 00:10:12,559 --> 00:10:16,280 Speaker 1: you're hearing things that you've elements in those songs that 189 00:10:16,360 --> 00:10:20,120 Speaker 1: you haven't heard from me ever before. And so that's 190 00:10:20,280 --> 00:10:22,720 Speaker 1: just a sign that I'm continuing to try new things 191 00:10:22,720 --> 00:10:24,840 Speaker 1: and continuing to try and break new ground for me 192 00:10:24,880 --> 00:10:27,800 Speaker 1: and my band. And it's all in an effort to 193 00:10:27,880 --> 00:10:31,600 Speaker 1: keep the music and the genre evolving, you know, because 194 00:10:31,640 --> 00:10:32,560 Speaker 1: that's what's important. 195 00:10:33,800 --> 00:10:39,240 Speaker 3: So on Volume one, I love the collaboration with Davy 196 00:10:39,360 --> 00:10:43,840 Speaker 3: Johnston and on Saturday Nights all right for Fighting, tell 197 00:10:43,840 --> 00:10:46,560 Speaker 3: me about your past relationship. 198 00:10:45,960 --> 00:10:48,520 Speaker 4: With him and what it was like collaborating on that. 199 00:10:48,960 --> 00:10:52,640 Speaker 1: Well, we didn't actually collaborate on it, like I had 200 00:10:52,840 --> 00:10:55,840 Speaker 1: a moment, so I texted him because he's a friend 201 00:10:55,840 --> 00:10:57,640 Speaker 1: of mine and he's a great guy and a great 202 00:10:57,640 --> 00:11:00,000 Speaker 1: guitar player. And I just said, bums in the studio, 203 00:11:00,000 --> 00:11:01,600 Speaker 1: you know, And I say, we're about to cover one 204 00:11:01,600 --> 00:11:05,120 Speaker 1: of your guys songs. And I wasn't sure if I 205 00:11:05,160 --> 00:11:06,880 Speaker 1: was going to be able to really, I didn't want 206 00:11:06,920 --> 00:11:09,240 Speaker 1: to mess it up. And it's got some tricky little 207 00:11:09,280 --> 00:11:12,199 Speaker 1: things in there, and so I knew that as it 208 00:11:12,640 --> 00:11:14,840 Speaker 1: like a backup plan if I had to, like pull 209 00:11:14,840 --> 00:11:17,960 Speaker 1: of hell Mary, I just let him know that I 210 00:11:18,040 --> 00:11:20,120 Speaker 1: might be calling him and ask him to come down 211 00:11:20,120 --> 00:11:23,440 Speaker 1: and play guitar on it if I didn't feel that 212 00:11:23,520 --> 00:11:26,720 Speaker 1: I was doing it justice. But the end result I 213 00:11:26,760 --> 00:11:29,840 Speaker 1: was happy with. And so you know, he never ended 214 00:11:29,920 --> 00:11:32,400 Speaker 1: up needing to come into the studio as a favor 215 00:11:32,480 --> 00:11:35,080 Speaker 1: for me. So but no, it was great. I mean, 216 00:11:35,280 --> 00:11:38,520 Speaker 1: he's he's one of those guitar players, like you know, 217 00:11:38,600 --> 00:11:41,960 Speaker 1: you just I think, you know, musicians are well aware 218 00:11:41,960 --> 00:11:44,120 Speaker 1: of his talents, but you know, you just don't hear 219 00:11:44,160 --> 00:11:46,480 Speaker 1: his name brought up enough in my opinion, you know, 220 00:11:46,520 --> 00:11:50,240 Speaker 1: because he's incredible and played so many iconic guitar parts 221 00:11:50,280 --> 00:11:54,240 Speaker 1: on so many legendary songs over the years and so, 222 00:11:54,480 --> 00:11:56,800 Speaker 1: but as a human beings, one of the greatest guys 223 00:11:56,880 --> 00:11:57,120 Speaker 1: I know. 224 00:11:57,960 --> 00:12:02,079 Speaker 3: So what varied, if anything, in the creative process from 225 00:12:02,160 --> 00:12:03,720 Speaker 3: Volume one to Volume two. 226 00:12:05,440 --> 00:12:07,400 Speaker 1: Not much. I mean we record a lot of this stuff. 227 00:12:07,440 --> 00:12:09,720 Speaker 1: It was written and recorded right around the same time. 228 00:12:09,880 --> 00:12:12,000 Speaker 1: So what happened was is like I had all these 229 00:12:12,000 --> 00:12:15,400 Speaker 1: songs that we started recording them, and you know what, Generally, 230 00:12:15,440 --> 00:12:17,280 Speaker 1: for me and I don't go in with a lot 231 00:12:17,320 --> 00:12:20,319 Speaker 1: of preconceived ideas, and my demos are always very basic. 232 00:12:20,400 --> 00:12:22,920 Speaker 1: It's like CUSI, guitar and a volt and that's it, 233 00:12:23,000 --> 00:12:24,959 Speaker 1: because I can kind of hear in my head what 234 00:12:25,080 --> 00:12:27,359 Speaker 1: I think the song needs to sound like. And I'm 235 00:12:27,480 --> 00:12:31,120 Speaker 1: a real fan of the old school way of making records, 236 00:12:31,240 --> 00:12:33,360 Speaker 1: where I believe by going into the studios where the 237 00:12:33,360 --> 00:12:36,520 Speaker 1: magic is supposed to happen. So I leave a lot 238 00:12:36,559 --> 00:12:39,360 Speaker 1: of I don't go in with a bunch of tracks 239 00:12:39,400 --> 00:12:41,520 Speaker 1: that I put together at my house and then telling 240 00:12:41,559 --> 00:12:44,839 Speaker 1: everybody what exactly what to play. It's like we we 241 00:12:44,920 --> 00:12:49,760 Speaker 1: create the songs in the studio. But anyways, as you're 242 00:12:49,800 --> 00:12:52,920 Speaker 1: doing that, then you you start to listen back to 243 00:12:52,960 --> 00:12:54,960 Speaker 1: what you've done and I go, oh, how this song's 244 00:12:55,000 --> 00:12:57,520 Speaker 1: really speaking to me and that song's really speaking to me. 245 00:12:57,760 --> 00:12:59,880 Speaker 1: And after you get about three songs you feel very 246 00:13:00,120 --> 00:13:03,000 Speaker 1: sure about, then you see the album start to take 247 00:13:03,080 --> 00:13:05,240 Speaker 1: a direction. And then you look at the rest of 248 00:13:05,280 --> 00:13:07,839 Speaker 1: the material that you have. You wish other songs kind 249 00:13:07,840 --> 00:13:11,600 Speaker 1: of complete that musical statement. And so I did that 250 00:13:11,760 --> 00:13:13,800 Speaker 1: and then I said okay, and then I looked at 251 00:13:13,800 --> 00:13:16,080 Speaker 1: everything else and I was like, well, we have two 252 00:13:16,120 --> 00:13:19,240 Speaker 1: albums worth the material here, and then it just became, 253 00:13:20,200 --> 00:13:22,000 Speaker 1: you know, a question of how do I want to 254 00:13:22,080 --> 00:13:26,040 Speaker 1: release this stuff? And again I'm always looking for, you know, 255 00:13:26,160 --> 00:13:28,640 Speaker 1: new ways or different ways of doing things. So we 256 00:13:28,760 --> 00:13:32,760 Speaker 1: decided I thought it would be a compelling idea to 257 00:13:33,600 --> 00:13:35,880 Speaker 1: do it kind of like a double out, but instead 258 00:13:35,880 --> 00:13:39,360 Speaker 1: of releasing together at the same time, Stagger the releases 259 00:13:39,480 --> 00:13:42,719 Speaker 1: make them companion pieces. But it is the first time 260 00:13:42,760 --> 00:13:45,040 Speaker 1: we've ever put out two albums of new material in 261 00:13:45,120 --> 00:13:48,520 Speaker 1: less than twelve months from one another, so and it 262 00:13:48,600 --> 00:13:51,920 Speaker 1: keeps the fans engaged and it gives us new music 263 00:13:51,960 --> 00:13:54,280 Speaker 1: to play. This year we were featuring in the show, 264 00:13:54,840 --> 00:13:57,920 Speaker 1: we were featuring songs from Volley one, and then now 265 00:13:57,960 --> 00:13:59,920 Speaker 1: that Volume two has just come out, then that's set 266 00:14:00,040 --> 00:14:02,880 Speaker 1: the stuff for the tour for next year. And I 267 00:14:02,880 --> 00:14:05,040 Speaker 1: also believe that, like you know, each one of these 268 00:14:05,080 --> 00:14:08,440 Speaker 1: albums is eight songs long. And I started doing some research, 269 00:14:08,600 --> 00:14:12,120 Speaker 1: and you know, some of the most iconic albums ever 270 00:14:12,160 --> 00:14:15,640 Speaker 1: recorded have eight songs on them, because it goes back 271 00:14:15,679 --> 00:14:19,600 Speaker 1: to the days when vinyl albums, like that's the main 272 00:14:19,640 --> 00:14:22,960 Speaker 1: way that people consume music. And if you don't know, 273 00:14:23,120 --> 00:14:26,680 Speaker 1: like you can only put so much music on each 274 00:14:26,720 --> 00:14:28,920 Speaker 1: side of a vinyl record. If you put too much 275 00:14:28,960 --> 00:14:32,240 Speaker 1: on there, it starts degrading the quality of audio. So 276 00:14:32,280 --> 00:14:34,680 Speaker 1: it generally it works out to be about four songs 277 00:14:34,720 --> 00:14:37,800 Speaker 1: per side. And so that's why so many albums back 278 00:14:37,800 --> 00:14:40,440 Speaker 1: in the day were eight songs. So and then in 279 00:14:40,520 --> 00:14:43,960 Speaker 1: today's world, where there's so many things that are competing 280 00:14:44,000 --> 00:14:52,040 Speaker 1: for our attention and so many extractions, phones, social media, television, commercials, jobs, everything, 281 00:14:52,120 --> 00:14:55,840 Speaker 1: it's like so many things are coming at us. It's 282 00:14:56,080 --> 00:15:00,120 Speaker 1: it's almost unrealistic, like to expect people to be able 283 00:15:00,160 --> 00:15:03,480 Speaker 1: to sit down and listen to an album that has 284 00:15:03,960 --> 00:15:08,120 Speaker 1: ten or twelve or fourteen or sixteen songs in one city. 285 00:15:08,480 --> 00:15:11,120 Speaker 1: And my goal as an artist is I still like 286 00:15:11,160 --> 00:15:13,680 Speaker 1: to make records, not just songs, because I want to 287 00:15:13,720 --> 00:15:16,720 Speaker 1: take people on a journey, and I want them to 288 00:15:16,760 --> 00:15:21,400 Speaker 1: have an experience. So an eight song record, if you 289 00:15:21,400 --> 00:15:23,280 Speaker 1: live in a major city, you could actually get in 290 00:15:23,360 --> 00:15:25,680 Speaker 1: the car, put the record on on your way to 291 00:15:25,760 --> 00:15:28,520 Speaker 1: work and probably get through the whole thing by the 292 00:15:28,520 --> 00:15:30,920 Speaker 1: time you get through all the traffic and make it 293 00:15:30,920 --> 00:15:33,080 Speaker 1: to your job. Or if you're going on a road trip, 294 00:15:33,520 --> 00:15:35,520 Speaker 1: you can put the record on and hear it start 295 00:15:35,600 --> 00:15:37,320 Speaker 1: finished before you have to pull a liver over for 296 00:15:37,360 --> 00:15:42,240 Speaker 1: a bathroom. So it's kind of like trying to hedge 297 00:15:42,280 --> 00:15:46,040 Speaker 1: my bets of you know, a quality product. There's no filler, 298 00:15:46,240 --> 00:15:49,400 Speaker 1: there's no songs on there just to fill spaces. Every 299 00:15:49,440 --> 00:15:52,400 Speaker 1: song that's on there has a legitimate purpose, but it's 300 00:15:52,480 --> 00:15:56,160 Speaker 1: also hedged my bets on the best possible way to 301 00:15:56,200 --> 00:15:59,760 Speaker 1: get somebody to be able to hear the entire experience 302 00:15:59,800 --> 00:16:00,720 Speaker 1: for start to finish. 303 00:16:01,920 --> 00:16:05,080 Speaker 3: Can you talk about your process of the way you 304 00:16:05,280 --> 00:16:08,200 Speaker 3: order an album and put you know, put it together, 305 00:16:09,760 --> 00:16:11,840 Speaker 3: you know in terms of track by track, how much 306 00:16:11,920 --> 00:16:15,160 Speaker 3: contemplation goes into that And you're thinking, there. 307 00:16:15,040 --> 00:16:16,640 Speaker 1: Yeah, a lot of it. I mean there's a lot. 308 00:16:16,680 --> 00:16:19,160 Speaker 1: That's another thing. That's why we want people to actually 309 00:16:19,200 --> 00:16:21,200 Speaker 1: listen to the records, because we put a lot of 310 00:16:21,280 --> 00:16:24,800 Speaker 1: effort in the order that the songs are in, and 311 00:16:24,880 --> 00:16:27,360 Speaker 1: you consider, like, first of all, like the first thing 312 00:16:27,360 --> 00:16:29,040 Speaker 1: you need to do is figure out what's your first song, 313 00:16:29,160 --> 00:16:32,160 Speaker 1: what's your opening state, and then you can go from there. 314 00:16:32,240 --> 00:16:35,640 Speaker 1: And then you consider you know, the mood of the songs, 315 00:16:35,880 --> 00:16:39,480 Speaker 1: and you know the emotional journey you want people to take. 316 00:16:39,640 --> 00:16:41,920 Speaker 1: And then you also have to consider the keys that 317 00:16:41,960 --> 00:16:45,120 Speaker 1: the songs are in and the tempos. You know, and 318 00:16:45,280 --> 00:16:47,480 Speaker 1: so you don't want to put a bunch of slow 319 00:16:47,920 --> 00:16:50,240 Speaker 1: to or mid tembo songs all back to back. You 320 00:16:50,280 --> 00:16:52,640 Speaker 1: want to break them up with the more up tempo songs, 321 00:16:52,720 --> 00:16:58,200 Speaker 1: and and otherwise, you know, it's all about like what's 322 00:16:58,240 --> 00:17:01,960 Speaker 1: the experience of the listener and all so what keeps 323 00:17:01,960 --> 00:17:05,760 Speaker 1: it interesting and doesn't become waring. And then the keys 324 00:17:05,800 --> 00:17:08,199 Speaker 1: have to work. One song has to flow into the 325 00:17:08,240 --> 00:17:11,240 Speaker 1: next song, and so there's a number of things that 326 00:17:11,280 --> 00:17:14,800 Speaker 1: are considered before we sign off on final tracks. 327 00:17:15,240 --> 00:17:17,480 Speaker 4: All right, so close your eyes for a second. You're 328 00:17:17,560 --> 00:17:18,720 Speaker 4: driving down the road. 329 00:17:18,800 --> 00:17:23,560 Speaker 3: You're in your let's say the nineteen seventy Plymouth Duster, 330 00:17:24,359 --> 00:17:27,920 Speaker 3: and you've got a long drive ahead and you need 331 00:17:28,480 --> 00:17:31,320 Speaker 3: some good driving songs. What would be coming on the 332 00:17:31,440 --> 00:17:34,480 Speaker 3: radio is you're driving that bad boy down the road. 333 00:17:35,440 --> 00:17:38,919 Speaker 1: Well, for I'll have to be, if I'm being completely honest, 334 00:17:39,000 --> 00:17:40,639 Speaker 1: for a lot of the trip, I would just be 335 00:17:40,840 --> 00:17:44,280 Speaker 1: listening to the sound of that V eight engine that's 336 00:17:44,359 --> 00:17:49,280 Speaker 1: under the hood, because that's music to my ears. But eventually, yeah, 337 00:17:49,320 --> 00:17:51,120 Speaker 1: put some music on. I gotta tell you, like, one 338 00:17:51,119 --> 00:17:54,399 Speaker 1: of my go to albums that always puts me in 339 00:17:54,440 --> 00:17:57,800 Speaker 1: a good mood is this z Eazy Top album called Fandango, 340 00:17:57,920 --> 00:18:01,159 Speaker 1: which is like a half studio a half live album 341 00:18:01,880 --> 00:18:06,840 Speaker 1: and just some incredible performances on that record, especially the 342 00:18:06,920 --> 00:18:10,760 Speaker 1: live music, and so like I just know, like if 343 00:18:10,760 --> 00:18:13,320 Speaker 1: I'm kind of at a loss of what can I 344 00:18:13,400 --> 00:18:18,399 Speaker 1: listen to right now, that's going to be perfect. It's 345 00:18:18,440 --> 00:18:20,639 Speaker 1: you know, that's an easy one to pull out, and 346 00:18:20,680 --> 00:18:22,280 Speaker 1: that just kind of gets the ball rolling. 347 00:18:22,480 --> 00:18:25,080 Speaker 3: But I love how the sound of the car is 348 00:18:25,119 --> 00:18:26,480 Speaker 3: such a driving force too. 349 00:18:26,480 --> 00:18:27,200 Speaker 4: That's beautiful. 350 00:18:27,760 --> 00:18:29,399 Speaker 1: Yeah, absolutely so. 351 00:18:30,480 --> 00:18:34,399 Speaker 3: I love your covers of Dylan A Ballad of a 352 00:18:34,440 --> 00:18:40,639 Speaker 3: Thin Man certainly and Everything is Broken, just really wonderful. 353 00:18:42,400 --> 00:18:45,399 Speaker 4: Can you tell me about your time on the road 354 00:18:45,480 --> 00:18:46,360 Speaker 4: with Bob. 355 00:18:46,200 --> 00:18:49,040 Speaker 3: And what you learned from being on the Road with 356 00:18:49,119 --> 00:18:49,720 Speaker 3: Bob Dylan. 357 00:18:50,440 --> 00:18:53,600 Speaker 1: Well, yeah, so I did two different tours with hell. 358 00:18:53,640 --> 00:18:56,240 Speaker 1: When my first album came out, I did its entire 359 00:18:56,280 --> 00:18:58,680 Speaker 1: tour opening up for him, and then when the second 360 00:18:58,720 --> 00:19:02,320 Speaker 1: album came out, another tour opening up for him. And 361 00:19:03,359 --> 00:19:07,479 Speaker 1: besides like watching him, because you know, he's an iconic 362 00:19:09,240 --> 00:19:14,920 Speaker 1: musician and performer and songwriter. What I really learned about 363 00:19:15,000 --> 00:19:19,359 Speaker 1: him and this is just my experience, but like he 364 00:19:19,520 --> 00:19:22,359 Speaker 1: was like one of the first lessons that I learned 365 00:19:22,359 --> 00:19:28,560 Speaker 1: about not taking on other people's opinions of someone, because 366 00:19:30,000 --> 00:19:33,399 Speaker 1: just because someone had a certain experience with an individual, 367 00:19:34,040 --> 00:19:36,560 Speaker 1: it doesn't mean that that's going to be my experience. 368 00:19:36,760 --> 00:19:39,159 Speaker 1: And so and a lot of times people want to 369 00:19:39,200 --> 00:19:42,720 Speaker 1: tell you, I'm speaking more like a negativity, right, Like 370 00:19:43,240 --> 00:19:45,639 Speaker 1: you know, people are like, oh, you know, Bob, he 371 00:19:45,640 --> 00:19:48,200 Speaker 1: doesn't want people looking at him. You know, he doesn't 372 00:19:48,280 --> 00:19:50,520 Speaker 1: you can't talk to him, you can't look his way 373 00:19:50,560 --> 00:19:53,639 Speaker 1: if he's walking in the room, or you know, all 374 00:19:53,720 --> 00:19:57,879 Speaker 1: these stories that you would hear people say. And I'm like, 375 00:19:58,080 --> 00:20:02,480 Speaker 1: and so when I've bet he was the exact opposite, 376 00:20:02,520 --> 00:20:06,960 Speaker 1: Like he was so nice to me, he was so outgoing, 377 00:20:07,080 --> 00:20:10,040 Speaker 1: Like every single day I did a sound check. He 378 00:20:10,160 --> 00:20:12,840 Speaker 1: came out and watched my sound chick, and then he 379 00:20:12,960 --> 00:20:15,399 Speaker 1: came up on the stage after I was done, and 380 00:20:15,440 --> 00:20:17,680 Speaker 1: he walked right up to me. He shook my hand, 381 00:20:17,720 --> 00:20:20,480 Speaker 1: and he would stand there and talk to me every day. 382 00:20:21,000 --> 00:20:24,760 Speaker 1: And then at one point he told me, he said, hey, man, 383 00:20:24,800 --> 00:20:26,440 Speaker 1: He's like, I don't care if you have a new 384 00:20:26,480 --> 00:20:28,320 Speaker 1: record coming out or if you're just working up some 385 00:20:28,400 --> 00:20:30,119 Speaker 1: new material. You can come out on the road with 386 00:20:30,200 --> 00:20:34,879 Speaker 1: me anytime. And it was just like, not any of 387 00:20:34,920 --> 00:20:38,040 Speaker 1: the things that people had said about him, and a 388 00:20:38,080 --> 00:20:40,840 Speaker 1: lot of time stories taken on a life of their own. 389 00:20:42,720 --> 00:20:44,879 Speaker 1: But yeah, I was like, wow, you know, you can't 390 00:20:44,960 --> 00:20:47,119 Speaker 1: listen to all that stuff, like you really have to 391 00:20:47,200 --> 00:20:52,720 Speaker 1: treat every individual encounter as a unique situation that's between 392 00:20:52,760 --> 00:20:56,320 Speaker 1: you and that person. Because just because someone else might 393 00:20:56,320 --> 00:20:58,479 Speaker 1: have had an experience and maybe you don't even know 394 00:20:58,640 --> 00:21:01,840 Speaker 1: what they're telling you is entirely accurate, but that doesn't 395 00:21:01,880 --> 00:21:03,879 Speaker 1: mean that's what my experience is going to be. And 396 00:21:03,880 --> 00:21:05,639 Speaker 1: that was a big lesson And I've learned that lesson 397 00:21:05,680 --> 00:21:09,439 Speaker 1: many many times over in the years that I've been 398 00:21:09,440 --> 00:21:13,120 Speaker 1: doing what I do. And you hear all these outlandish 399 00:21:13,119 --> 00:21:15,359 Speaker 1: stories about people, and that I meet the lot, I'm like, 400 00:21:15,720 --> 00:21:18,159 Speaker 1: this is not the same guy that they're trying to 401 00:21:18,160 --> 00:21:18,919 Speaker 1: make him out to be. 402 00:21:19,160 --> 00:21:19,399 Speaker 2: You know. 403 00:21:19,800 --> 00:21:20,440 Speaker 4: I love that. 404 00:21:20,880 --> 00:21:23,080 Speaker 2: We'll be right back with more of the Taking a 405 00:21:23,119 --> 00:21:31,320 Speaker 2: Walk Podcast. Welcome back to the Taking a Walk Podcast. 406 00:21:32,200 --> 00:21:33,840 Speaker 4: Tell me about playing with bb King. 407 00:21:34,720 --> 00:21:40,240 Speaker 3: Did you find it particularly interesting that he never played chords? 408 00:21:40,880 --> 00:21:43,439 Speaker 1: Oh, he would play chords. He would play a phrase 409 00:21:43,520 --> 00:21:46,280 Speaker 1: and then ended with a chord, you know. But what 410 00:21:46,520 --> 00:21:48,400 Speaker 1: I guess the thing is is that Babe never really 411 00:21:48,440 --> 00:21:52,520 Speaker 1: played rhythm guitar like. He always weaved his guitar playing 412 00:21:52,640 --> 00:21:56,520 Speaker 1: in and out in between him singing. But he always 413 00:21:56,520 --> 00:21:59,600 Speaker 1: had such a big band backing him up that could 414 00:21:59,680 --> 00:22:03,239 Speaker 1: fill then you know, the musical gaps so well that 415 00:22:03,440 --> 00:22:05,520 Speaker 1: you know it didn't beat it. And he had a 416 00:22:05,560 --> 00:22:08,760 Speaker 1: really guitar player as well. So but that was his style. 417 00:22:08,800 --> 00:22:11,159 Speaker 1: That's what really worked for him. And sometimes that's great. 418 00:22:12,320 --> 00:22:15,679 Speaker 1: I wish that I could do that because it frees 419 00:22:15,720 --> 00:22:17,679 Speaker 1: you up to focus more on your singing when you 420 00:22:17,720 --> 00:22:20,800 Speaker 1: have to sing. But a lot of times I struggled 421 00:22:20,840 --> 00:22:23,840 Speaker 1: with like other guitar players and the way they play 422 00:22:23,920 --> 00:22:27,359 Speaker 1: certain parts, and like, if I failed the guitar tracks 423 00:22:27,400 --> 00:22:29,520 Speaker 1: on the record, so then when I'm performing, I want 424 00:22:29,560 --> 00:22:33,280 Speaker 1: all those parts to sound exactly like I played them. 425 00:22:33,320 --> 00:22:36,960 Speaker 1: That sometimes it's just not possible, so like it becomes 426 00:22:37,000 --> 00:22:40,720 Speaker 1: a distraction to my ears sometimes if I hand over 427 00:22:40,800 --> 00:22:44,200 Speaker 1: guitar parts somebody else, and so as a result, there's 428 00:22:44,280 --> 00:22:47,480 Speaker 1: just certain songs that I can't necessarily sing and play 429 00:22:47,480 --> 00:22:50,640 Speaker 1: at the same time. So maybe those songs, if I'm 430 00:22:50,680 --> 00:22:52,680 Speaker 1: the one doing the lead vocals, don't make it into 431 00:22:52,720 --> 00:22:53,359 Speaker 1: the live show. 432 00:22:53,440 --> 00:22:58,000 Speaker 3: Sometimes you played a lot of small venues obviously when 433 00:22:58,000 --> 00:23:01,240 Speaker 3: you were starting out, and now you're not playing many 434 00:23:01,280 --> 00:23:02,120 Speaker 3: small venues. 435 00:23:02,160 --> 00:23:03,600 Speaker 4: Do you miss those places? 436 00:23:04,640 --> 00:23:06,399 Speaker 1: No? I mean, you can go back to any of 437 00:23:06,480 --> 00:23:09,040 Speaker 1: those places anytime. I mean, I'll go sit in with 438 00:23:09,160 --> 00:23:13,439 Speaker 1: friends that are doing gigs and bars and stuff like 439 00:23:13,480 --> 00:23:16,600 Speaker 1: that whenever I have, you know, time to do that. 440 00:23:16,720 --> 00:23:20,840 Speaker 1: I mean, and I don't know. I feel like I've 441 00:23:20,840 --> 00:23:22,760 Speaker 1: played everything from you know, a little hole in the 442 00:23:22,760 --> 00:23:26,280 Speaker 1: wall gigs to you know, opening up for the Eagles 443 00:23:26,280 --> 00:23:28,679 Speaker 1: and the Rolling Stones in front of eighty thousand people. 444 00:23:28,800 --> 00:23:32,560 Speaker 1: So every experience is pretty cool and it's all right. 445 00:23:32,640 --> 00:23:34,520 Speaker 1: I mean a lot of people like the small places 446 00:23:34,520 --> 00:23:37,800 Speaker 1: because it feels more intimate, But I think the theaters 447 00:23:37,920 --> 00:23:39,800 Speaker 1: is kind of where it's at. I think my fan 448 00:23:39,880 --> 00:23:42,119 Speaker 1: base likes to have reserved seating. I don't think they 449 00:23:42,119 --> 00:23:45,280 Speaker 1: want to be on their feet all night. You know, 450 00:23:45,359 --> 00:23:50,520 Speaker 1: there's not a lot of times bar environments can be unpredictable. 451 00:23:50,720 --> 00:23:52,679 Speaker 1: You throw a lot of alcohol in the equation, and 452 00:23:53,320 --> 00:23:57,240 Speaker 1: you know the fireworks can go off. So you know, 453 00:23:57,320 --> 00:24:00,880 Speaker 1: the theaters and amphitheaters is kind of where sad for sure. 454 00:24:00,960 --> 00:24:03,960 Speaker 1: I think you know it's the nice middle ground between 455 00:24:03,960 --> 00:24:06,320 Speaker 1: the small places and the super big places. 456 00:24:07,240 --> 00:24:10,840 Speaker 3: Tell me about your evolution ultimately, I think it was 457 00:24:11,000 --> 00:24:16,080 Speaker 3: maybe twenty nineteen of them, not mistaken where horns became 458 00:24:16,200 --> 00:24:18,080 Speaker 3: more part of your presentation. 459 00:24:18,320 --> 00:24:19,320 Speaker 4: Can you talk about that? 460 00:24:20,160 --> 00:24:23,000 Speaker 1: Yeah, I do use soarings on a few songs here 461 00:24:23,000 --> 00:24:26,600 Speaker 1: and there on different albums over the years, not really 462 00:24:26,720 --> 00:24:31,440 Speaker 1: a lot, but I always liked the idea of horns. 463 00:24:31,720 --> 00:24:34,640 Speaker 1: But I was doing the Traveler record, and a lot 464 00:24:34,680 --> 00:24:39,280 Speaker 1: of that record is pretty rockin, right, Like we did 465 00:24:39,320 --> 00:24:43,640 Speaker 1: a Buffalo Springfield song Mister Soul. We did a Joe 466 00:24:43,680 --> 00:24:48,760 Speaker 1: Walsh cover. The opening track Woman Like You is pretty 467 00:24:48,840 --> 00:24:52,399 Speaker 1: rockin and so there's there's several songs on that record 468 00:24:52,440 --> 00:24:55,760 Speaker 1: that rock pretty hard. And so I heard there was 469 00:24:55,760 --> 00:24:57,800 Speaker 1: a song called I Want You, which is a pretty 470 00:24:57,960 --> 00:25:00,800 Speaker 1: if you asked me, like, what's my initial what's the 471 00:25:00,880 --> 00:25:05,840 Speaker 1: Kenny Wayne Shephard definition in one song with contemporary blues, 472 00:25:05,920 --> 00:25:08,199 Speaker 1: I would play that song because like, it has all 473 00:25:08,280 --> 00:25:11,560 Speaker 1: the elements of it, like I think actual blues, not 474 00:25:11,600 --> 00:25:15,040 Speaker 1: blues rock, but like modern US music. So I heard 475 00:25:15,080 --> 00:25:17,640 Speaker 1: horns on that song, so I was like, well, let's 476 00:25:18,040 --> 00:25:20,040 Speaker 1: bring these guys in and have to play horns on 477 00:25:20,040 --> 00:25:22,160 Speaker 1: that song. And I was like, well, while we're here, 478 00:25:23,080 --> 00:25:25,080 Speaker 1: let's see what it sounds like gone this song or 479 00:25:25,119 --> 00:25:27,240 Speaker 1: that song. And the next thing, you know, I was like, Wow, 480 00:25:27,880 --> 00:25:29,760 Speaker 1: let's see what it sounds like. Put them on almost 481 00:25:29,760 --> 00:25:33,320 Speaker 1: every song and it was really interesting, especially with the 482 00:25:33,359 --> 00:25:36,560 Speaker 1: Mister Soul because that thing is really really rocking, and 483 00:25:36,840 --> 00:25:40,160 Speaker 1: you know, you wouldn't think about putting a horn section 484 00:25:40,200 --> 00:25:41,919 Speaker 1: on a song at wrongs like that, but it was 485 00:25:41,960 --> 00:25:45,200 Speaker 1: actually a really cool experiment, sounded great, and so because 486 00:25:45,240 --> 00:25:47,159 Speaker 1: I had used them on so much of the record, 487 00:25:47,200 --> 00:25:49,320 Speaker 1: then I decided I need to bring horns out of 488 00:25:49,320 --> 00:25:52,679 Speaker 1: the road, and so then we took them out and 489 00:25:52,720 --> 00:25:54,080 Speaker 1: we had a horn section out on the road, and 490 00:25:54,080 --> 00:25:56,000 Speaker 1: that was cool for us and for the fans too. 491 00:25:56,080 --> 00:25:57,800 Speaker 1: Because there's a lot of fans that have seen us 492 00:25:57,840 --> 00:26:01,080 Speaker 1: many times over the decades, and it gives them a 493 00:26:01,080 --> 00:26:05,720 Speaker 1: new experience in the live setting, and us as well musically. 494 00:26:05,880 --> 00:26:09,120 Speaker 1: So we've got to continued that. There's horns all over 495 00:26:09,960 --> 00:26:13,160 Speaker 1: the new record, Dirt on my Diamonds, both of them 496 00:26:13,200 --> 00:26:16,160 Speaker 1: Volume one and Volume two, and you know, it's cool. 497 00:26:17,240 --> 00:26:20,240 Speaker 1: Like I said, it brings a different vibe to the band, 498 00:26:20,520 --> 00:26:24,440 Speaker 1: and it musically, every time you add or subtract an 499 00:26:24,480 --> 00:26:27,600 Speaker 1: instrument to the band, then it affects every all the 500 00:26:27,640 --> 00:26:30,080 Speaker 1: other players and so then you have to adjust accordingly. 501 00:26:30,160 --> 00:26:32,840 Speaker 1: So it keeps everybody on their toes music as well. 502 00:26:33,760 --> 00:26:36,720 Speaker 3: Do you think sometimes there's too much perfection in the 503 00:26:36,760 --> 00:26:40,240 Speaker 3: way things are produced these days in general? 504 00:26:41,200 --> 00:26:47,639 Speaker 1: No? No, because no, because there's not. I mean, it 505 00:26:47,640 --> 00:26:50,119 Speaker 1: depends on what you're talking about. But like pop music, 506 00:26:50,320 --> 00:26:53,840 Speaker 1: like the really popular stuff nowadays, they're not striving for perfection. 507 00:26:54,480 --> 00:26:57,959 Speaker 1: Those people are like a lot of it. I'm not 508 00:26:58,000 --> 00:27:00,720 Speaker 1: saying anybody in particular, but you know when you hear 509 00:27:00,760 --> 00:27:04,280 Speaker 1: these songs and pop music becomes so saturated that like 510 00:27:04,359 --> 00:27:06,440 Speaker 1: you could hear like you could listen to the radio 511 00:27:06,480 --> 00:27:08,679 Speaker 1: and you could hear like five different songs and they 512 00:27:08,720 --> 00:27:10,960 Speaker 1: all sound like they could be the same artists, yep, 513 00:27:11,080 --> 00:27:15,040 Speaker 1: but different artists. That's the lowest common denominator. That's not 514 00:27:15,119 --> 00:27:19,520 Speaker 1: striving for perfection. That's trying to cash in on what's trending. 515 00:27:20,080 --> 00:27:23,480 Speaker 1: You know, it's not striving to be the best you 516 00:27:23,480 --> 00:27:27,399 Speaker 1: can eat. It's so no. I mean, you know, I 517 00:27:27,440 --> 00:27:30,159 Speaker 1: do think that there are some artists certainly that are 518 00:27:30,200 --> 00:27:35,959 Speaker 1: striving for perfection, and we kind of walk the line 519 00:27:36,040 --> 00:27:40,159 Speaker 1: between you know, being the We strive to be the 520 00:27:40,160 --> 00:27:43,119 Speaker 1: best we can be on any given day, right, But 521 00:27:43,240 --> 00:27:48,160 Speaker 1: I also know, like the whole that you can dig 522 00:27:48,200 --> 00:27:51,840 Speaker 1: yourself if you start overanalyzing things and going down the 523 00:27:51,880 --> 00:27:54,640 Speaker 1: rabbit hole. It's like, you know, trying to make things 524 00:27:54,680 --> 00:27:58,000 Speaker 1: perfect if you because if you try to make things perfect, 525 00:27:58,040 --> 00:28:03,960 Speaker 1: then it also it can possibly lose the realness in 526 00:28:04,040 --> 00:28:07,879 Speaker 1: the music, you know, because because it's too perfect. So 527 00:28:08,480 --> 00:28:12,280 Speaker 1: I embrace some of the flaws. And my goal actually 528 00:28:12,280 --> 00:28:15,440 Speaker 1: from my band, I feel the best representation of what 529 00:28:15,480 --> 00:28:18,000 Speaker 1: we do is to capture the essence of a live 530 00:28:18,119 --> 00:28:22,160 Speaker 1: performance in studio. So that means that like sometimes you know, 531 00:28:22,480 --> 00:28:25,480 Speaker 1: there may be a missed lick here and there, or 532 00:28:25,560 --> 00:28:30,159 Speaker 1: something is not perfect, but we got the vibe and 533 00:28:30,200 --> 00:28:33,119 Speaker 1: the energy is there and that's what's most important, and 534 00:28:33,160 --> 00:28:34,960 Speaker 1: so that's the track that we're going to use. 535 00:28:36,400 --> 00:28:39,000 Speaker 3: I love how you have the respect for, you know, 536 00:28:39,040 --> 00:28:42,120 Speaker 3: so many of the greats you know before you, and 537 00:28:42,160 --> 00:28:45,640 Speaker 3: how you've never been bashful at shining a light on 538 00:28:46,720 --> 00:28:50,120 Speaker 3: you know. I'll just think of you know, Pinetop Perkins 539 00:28:50,160 --> 00:28:52,800 Speaker 3: as an example, and I think that's so sweet on 540 00:28:52,920 --> 00:28:59,520 Speaker 3: how you've always approached the past and the history. But 541 00:28:59,640 --> 00:29:02,800 Speaker 3: I think also just going back to what we talked 542 00:29:02,800 --> 00:29:06,480 Speaker 3: about earlier, your you know, open mindedness to other things 543 00:29:06,520 --> 00:29:09,200 Speaker 3: that are part of the present as well that you 544 00:29:09,320 --> 00:29:14,120 Speaker 3: really embrace. Is there anybody in the present that you 545 00:29:14,280 --> 00:29:17,320 Speaker 3: embrace that you want to tell us about and shine 546 00:29:17,320 --> 00:29:17,800 Speaker 3: a light up? 547 00:29:18,640 --> 00:29:21,000 Speaker 1: Well, I think there's a lot of there's a lot 548 00:29:21,000 --> 00:29:24,040 Speaker 1: of good young talent out there, and I don't I'm 549 00:29:24,080 --> 00:29:26,760 Speaker 1: aware of just about all of them because I like 550 00:29:26,880 --> 00:29:31,080 Speaker 1: watching you know, who's coming up next. And it's also 551 00:29:31,160 --> 00:29:33,840 Speaker 1: interesting to be on this side of the equation now 552 00:29:33,880 --> 00:29:36,520 Speaker 1: because at one point I was like, you know, part 553 00:29:36,560 --> 00:29:38,800 Speaker 1: of the generation that we were the new blood. We 554 00:29:38,800 --> 00:29:41,880 Speaker 1: were the young guns, the up and comers, and now 555 00:29:41,880 --> 00:29:44,800 Speaker 1: I'm transitioning into like, you know, I'm kind of becoming 556 00:29:44,840 --> 00:29:48,120 Speaker 1: part of the older generation. I'm watching the new young 557 00:29:48,240 --> 00:29:51,760 Speaker 1: generation come up, so and it's nice to watch that 558 00:29:51,760 --> 00:29:53,480 Speaker 1: because it brings back a lot of that BS and 559 00:29:53,560 --> 00:29:57,800 Speaker 1: it also helps me to to feel, you know, reassured. 560 00:29:57,960 --> 00:29:59,720 Speaker 1: I think like a lot of my heroes did that. 561 00:29:59,720 --> 00:30:02,480 Speaker 1: The He's going to continue because there's new life being 562 00:30:02,480 --> 00:30:05,560 Speaker 1: brought into it. But so there's a long list, I mean, 563 00:30:05,680 --> 00:30:07,280 Speaker 1: just off the top line head some of the people 564 00:30:07,280 --> 00:30:09,960 Speaker 1: out here on this Hendrix tour that I'm doing. Christine 565 00:30:10,040 --> 00:30:14,520 Speaker 1: kingfish Ingram, I mean, he's already made an incredible name 566 00:30:14,560 --> 00:30:18,000 Speaker 1: for himself, a great player, great singer. It's already I 567 00:30:18,000 --> 00:30:20,160 Speaker 1: think he's already won like two Grammys. I mean, you know, 568 00:30:20,240 --> 00:30:25,360 Speaker 1: the guy's he's an incredible musician. And there's some ladies 569 00:30:25,400 --> 00:30:28,000 Speaker 1: out there that doing a killer job. I mean, Shamika Couple, 570 00:30:28,160 --> 00:30:30,320 Speaker 1: she's part of my job, but like I think she's 571 00:30:30,360 --> 00:30:34,240 Speaker 1: incredible and uh, and then you have Samantha Fish and 572 00:30:34,360 --> 00:30:39,040 Speaker 1: she's just blazing hot at Ali Bettibles is blazon and 573 00:30:39,080 --> 00:30:41,560 Speaker 1: trail for herself. And you know, there's the list goes 574 00:30:41,640 --> 00:30:44,480 Speaker 1: on and on. There's a lot of but those are 575 00:30:44,520 --> 00:30:45,920 Speaker 1: just a jew off the top of my head. 576 00:30:47,280 --> 00:30:51,239 Speaker 3: You had some great history with Van Halen, including you know, 577 00:30:51,280 --> 00:30:55,000 Speaker 3: touring obviously with them on the last tour. Can you 578 00:30:55,080 --> 00:30:57,920 Speaker 3: talk about the experience of working with van Halen. 579 00:30:58,400 --> 00:31:00,960 Speaker 1: Yeah, well, so, I mean, we have a lot of history. 580 00:31:01,040 --> 00:31:05,720 Speaker 1: It's really interesting how far back our history goes. But 581 00:31:07,520 --> 00:31:09,840 Speaker 1: I toured with Van Halen in the nineties when they 582 00:31:10,040 --> 00:31:12,760 Speaker 1: were van Halen three and they had Gary Scharon. It's 583 00:31:12,800 --> 00:31:15,720 Speaker 1: elite here. So that was my first tour with Halen, 584 00:31:15,800 --> 00:31:17,600 Speaker 1: did that whole tour with them, and that's when Ed 585 00:31:17,640 --> 00:31:21,640 Speaker 1: and I became friends and maintained a friendship all the 586 00:31:21,680 --> 00:31:23,960 Speaker 1: way up until when he passed away. And so we 587 00:31:24,000 --> 00:31:27,360 Speaker 1: did the nineties tour with them, and then we were 588 00:31:27,400 --> 00:31:30,480 Speaker 1: asked to come back in twenty fifteen and we did 589 00:31:30,720 --> 00:31:33,600 Speaker 1: what was to be the last Van Halen tour ever, 590 00:31:34,040 --> 00:31:37,920 Speaker 1: which nobody knew at the time. Obviously, spent a lot 591 00:31:37,920 --> 00:31:40,880 Speaker 1: of time with him, especially in twenty fifteen on that tour. 592 00:31:40,960 --> 00:31:44,760 Speaker 1: Every day another like Bob Dylan, like every day Ed 593 00:31:44,880 --> 00:31:47,440 Speaker 1: came and found me wherever I was at and we 594 00:31:47,520 --> 00:31:50,720 Speaker 1: sat and talked, and you know, he always went out 595 00:31:50,720 --> 00:31:53,719 Speaker 1: of his way to spend time with me, to make 596 00:31:53,760 --> 00:31:57,920 Speaker 1: me feel important and that was really special. And so 597 00:31:58,280 --> 00:31:59,920 Speaker 1: he's another one of those guys where you can hear 598 00:32:00,400 --> 00:32:02,240 Speaker 1: it just depends on who you're talking to, you know, 599 00:32:02,320 --> 00:32:05,480 Speaker 1: it's like and which side of the story that person 600 00:32:05,600 --> 00:32:08,920 Speaker 1: was on. But like, he had never he could not 601 00:32:09,000 --> 00:32:13,040 Speaker 1: have been nicer to me, and he had never presented 602 00:32:13,120 --> 00:32:16,719 Speaker 1: himself as anything other than a very very kind person 603 00:32:17,280 --> 00:32:21,520 Speaker 1: and really outgoing, like in regards to sharing his time 604 00:32:21,520 --> 00:32:25,080 Speaker 1: and his friendship with me. But backing all the way up, 605 00:32:25,200 --> 00:32:29,600 Speaker 1: like our families are kind of linked in an interesting 606 00:32:29,640 --> 00:32:34,200 Speaker 1: way because my dad is the guy that actually brought 607 00:32:34,360 --> 00:32:39,280 Speaker 1: Valerie Burtnelly and her brothers to their first Van Halen 608 00:32:39,360 --> 00:32:42,760 Speaker 1: concert back in like the nineteen eighties when I was 609 00:32:42,800 --> 00:32:46,000 Speaker 1: a kid, which is where and he brought he got 610 00:32:46,040 --> 00:32:49,960 Speaker 1: them backstage to meet van Halen, and that's the night 611 00:32:50,000 --> 00:32:53,040 Speaker 1: that Valerie met Eddie van Halen and they start and 612 00:32:53,080 --> 00:32:57,320 Speaker 1: they that was the beginning of their relationship. And so 613 00:32:58,320 --> 00:33:02,880 Speaker 1: you know, we actually our paths are linked all the 614 00:33:02,880 --> 00:33:05,920 Speaker 1: way back to when I was hid because of that, 615 00:33:06,080 --> 00:33:08,080 Speaker 1: and it's kind of fascinating if you look at that, 616 00:33:08,240 --> 00:33:12,200 Speaker 1: you go, wow, there's that moment and then you know, 617 00:33:12,840 --> 00:33:15,280 Speaker 1: in the nineteen nineties, I'm out on the road with 618 00:33:15,360 --> 00:33:17,520 Speaker 1: those guys opening up for them, and then again in 619 00:33:17,560 --> 00:33:21,560 Speaker 1: twenty fifteen, and you know, got this friendship going with it. 620 00:33:21,560 --> 00:33:25,400 Speaker 1: It's pretty interesting, you know, how intertwined to a certain 621 00:33:25,400 --> 00:33:27,000 Speaker 1: degree our families are. 622 00:33:28,280 --> 00:33:31,520 Speaker 3: Where have you got these amazing guitars that you have 623 00:33:31,640 --> 00:33:36,640 Speaker 3: as part of your collection? The sixty one Strat and 624 00:33:37,160 --> 00:33:38,560 Speaker 3: I think it's a Monterey Strap. 625 00:33:38,840 --> 00:33:41,200 Speaker 4: Where did you pick these up? All different places? 626 00:33:41,720 --> 00:33:44,479 Speaker 1: Yeah, it just depends on the guitar. But the sixty 627 00:33:44,520 --> 00:33:48,040 Speaker 1: one I got at the Guitar Center in Hollywood on 628 00:33:48,120 --> 00:33:51,040 Speaker 1: Sunset Boulevard podcast. I was probably eighteen years old when 629 00:33:51,080 --> 00:33:54,760 Speaker 1: I was finally able to buy that guitar. And then 630 00:33:55,080 --> 00:33:57,760 Speaker 1: the Monterey strap. My dad gave that to me as 631 00:33:57,800 --> 00:33:59,800 Speaker 1: a birthday president. I want to say when I was 632 00:34:00,360 --> 00:34:05,479 Speaker 1: en maybe twenty, but I think nineteen. And I mean 633 00:34:05,600 --> 00:34:07,800 Speaker 1: every guitar has kind of a different story behind it, 634 00:34:07,840 --> 00:34:12,400 Speaker 1: you know. I got a fifty fifty eight Strat. I 635 00:34:12,480 --> 00:34:14,280 Speaker 1: was on the road with Van Halen in the nineties 636 00:34:14,320 --> 00:34:16,800 Speaker 1: and I did an in store autographs signing any guitar 637 00:34:16,920 --> 00:34:19,920 Speaker 1: center in Houston, Texas before the show that night, and 638 00:34:20,400 --> 00:34:22,520 Speaker 1: once I finished signing all the autographs, I looked up 639 00:34:22,560 --> 00:34:25,720 Speaker 1: on the wall and there was just mint condition fifty 640 00:34:25,800 --> 00:34:28,680 Speaker 1: eight strat hanging on the wall. So I left Guitar 641 00:34:28,760 --> 00:34:31,839 Speaker 1: Center with that guitar that night and proceeded to play 642 00:34:31,840 --> 00:34:34,719 Speaker 1: it on the tour for the rest of the tour 643 00:34:34,760 --> 00:34:37,160 Speaker 1: and for many years after that. Still have that guitar. 644 00:34:37,960 --> 00:34:40,880 Speaker 1: So everyone kind of has some little special story. And 645 00:34:41,320 --> 00:34:44,959 Speaker 1: you know, I've never sold any of my gear, so 646 00:34:45,480 --> 00:34:48,680 Speaker 1: I kind of get I don't know, I've become sentimentally 647 00:34:48,719 --> 00:34:51,800 Speaker 1: attached to my instruments and stuff because they all I 648 00:34:51,920 --> 00:34:54,160 Speaker 1: kind of have a certain experience attached. 649 00:34:55,360 --> 00:34:57,040 Speaker 4: I think they're attached to you as well. 650 00:34:57,600 --> 00:34:58,960 Speaker 1: Yeah, maybe so, you know. 651 00:34:59,600 --> 00:35:00,200 Speaker 4: I think so. 652 00:35:01,160 --> 00:35:06,400 Speaker 3: In closing, if there was a sixteen year old up 653 00:35:06,480 --> 00:35:10,200 Speaker 3: and coming musician who was just starting out maybe who 654 00:35:10,320 --> 00:35:14,520 Speaker 3: just got signed, what advice from your time would you 655 00:35:14,640 --> 00:35:17,919 Speaker 3: give that individual on how they could kind of make 656 00:35:17,960 --> 00:35:21,240 Speaker 3: it in this awesome business but this difficult business. 657 00:35:22,560 --> 00:35:26,319 Speaker 1: Well, the thing is is there's so many things are 658 00:35:26,400 --> 00:35:29,400 Speaker 1: so different today than they were when I was sixteen 659 00:35:30,120 --> 00:35:34,319 Speaker 1: and signed my record. When I was yelling, there was 660 00:35:34,360 --> 00:35:38,040 Speaker 1: no such thing as the internet, so the only way 661 00:35:38,040 --> 00:35:40,279 Speaker 1: you could really get exposure was by getting out and 662 00:35:40,320 --> 00:35:42,399 Speaker 1: putting a band together and playing you know, at least 663 00:35:42,440 --> 00:35:45,799 Speaker 1: dive bars and just trying to build a name for 664 00:35:45,880 --> 00:35:49,919 Speaker 1: yourself and a small fan base and some kind of momentum, 665 00:35:50,000 --> 00:35:54,920 Speaker 1: you know. And so nowadays you have like social media, 666 00:35:55,040 --> 00:35:58,400 Speaker 1: and you know, every and you can record stuff on 667 00:35:58,440 --> 00:36:02,480 Speaker 1: your cell phone. Every computer comes with some kind of 668 00:36:02,520 --> 00:36:06,959 Speaker 1: recording program in it. People are making records in their bedrooms, 669 00:36:07,080 --> 00:36:10,759 Speaker 1: and so there's so many opportunities that are available to 670 00:36:10,840 --> 00:36:13,359 Speaker 1: young artists today that didn't exist what I was a kid. 671 00:36:13,400 --> 00:36:16,359 Speaker 1: But you know, the one thing that the one thing 672 00:36:16,400 --> 00:36:22,160 Speaker 1: that I think is really most important is I never 673 00:36:22,200 --> 00:36:26,120 Speaker 1: got into playing mutsic. I wasn't seeing dollar signs and 674 00:36:27,400 --> 00:36:30,680 Speaker 1: music awards, you know, I was looking at people that 675 00:36:31,160 --> 00:36:35,719 Speaker 1: were heroes to me, that inspired me and motivated me 676 00:36:36,360 --> 00:36:41,919 Speaker 1: to try and make my instrument sound something like them. 677 00:36:42,520 --> 00:36:45,680 Speaker 1: And I just got personal satisfaction out of that, Like 678 00:36:45,760 --> 00:36:50,040 Speaker 1: it genuine and genuinely made me happy, you know, putting 679 00:36:50,040 --> 00:36:51,960 Speaker 1: in the work and then seeing it payoffs. Where like 680 00:36:52,040 --> 00:36:54,480 Speaker 1: I was trying so hard to play this slick, finally 681 00:36:54,520 --> 00:36:56,239 Speaker 1: I figured out how to do it, you know, and 682 00:36:56,280 --> 00:37:00,279 Speaker 1: that accomplishment and then the next accomplishment just learning how 683 00:37:00,320 --> 00:37:04,880 Speaker 1: to play and so that evolved into a career for me, 684 00:37:05,160 --> 00:37:07,680 Speaker 1: and you know, I've been able to do it now. 685 00:37:07,719 --> 00:37:11,800 Speaker 1: I've gone three decades and I got a loyal fan base, 686 00:37:12,320 --> 00:37:14,200 Speaker 1: and I'm grateful for all of that. I'm able to 687 00:37:14,239 --> 00:37:16,520 Speaker 1: support my family doing what I love to do. But 688 00:37:16,760 --> 00:37:18,759 Speaker 1: at the end of the day, it's like, especially with 689 00:37:18,840 --> 00:37:22,120 Speaker 1: the social media, and you start looking at the numbers 690 00:37:22,239 --> 00:37:24,400 Speaker 1: and you start going how many people are following me 691 00:37:24,480 --> 00:37:26,560 Speaker 1: and I posted up a clip of some music and 692 00:37:26,600 --> 00:37:30,440 Speaker 1: how many people liked it, And it's like they're good tools, 693 00:37:30,440 --> 00:37:33,279 Speaker 1: but it's also a lot of ambunition to beat yourself up, 694 00:37:33,440 --> 00:37:36,279 Speaker 1: you know, and for a lot of disappointment. And so 695 00:37:36,760 --> 00:37:39,319 Speaker 1: at the end of the day, you know, I don't 696 00:37:39,360 --> 00:37:41,080 Speaker 1: know what life would be like if it took a 697 00:37:41,080 --> 00:37:43,680 Speaker 1: different path for me, because this is the path that 698 00:37:43,719 --> 00:37:47,200 Speaker 1: I'm on. But I know that I just wasn't in 699 00:37:47,239 --> 00:37:50,040 Speaker 1: the beginning. I wasn't concerned about it. I wasn't even 700 00:37:51,200 --> 00:37:53,720 Speaker 1: I was just thrilled to have an opportunity to play 701 00:37:53,800 --> 00:37:57,880 Speaker 1: my instrument. And so if you just play music for 702 00:37:57,960 --> 00:38:02,400 Speaker 1: the love of playing music, and that's your reason for 703 00:38:02,480 --> 00:38:07,200 Speaker 1: doing it, then there won't be all this disappointment attached 704 00:38:07,200 --> 00:38:10,840 Speaker 1: to it. You know, because you can still appreciate playing 705 00:38:10,880 --> 00:38:15,520 Speaker 1: your instrument because of the personal satisfaction, and then if 706 00:38:15,560 --> 00:38:18,520 Speaker 1: all that other stuff comes along with it, then that's 707 00:38:18,600 --> 00:38:20,400 Speaker 1: just icing on the cake. And then you've got to 708 00:38:20,440 --> 00:38:23,400 Speaker 1: figure out how to navigate that when it comes. But 709 00:38:23,520 --> 00:38:26,080 Speaker 1: I just feel like it. There's so many people that like, 710 00:38:26,840 --> 00:38:31,960 Speaker 1: this is the age of instant gratification, and you have 711 00:38:32,040 --> 00:38:35,800 Speaker 1: to be patient and you have to just accept whatever 712 00:38:35,920 --> 00:38:38,560 Speaker 1: is going to happen is what's going to happen, and 713 00:38:38,600 --> 00:38:40,799 Speaker 1: you just you know, if you're going to pursue it, 714 00:38:40,880 --> 00:38:43,680 Speaker 1: put your best into it, and if it works out, 715 00:38:43,760 --> 00:38:46,160 Speaker 1: then that's fantastic. You have to give it one hundred 716 00:38:46,760 --> 00:38:50,399 Speaker 1: percent minimum. But if it doesn't work out, that's okay too, 717 00:38:50,800 --> 00:38:52,799 Speaker 1: Like that's all right. Don't let it take away your 718 00:38:52,920 --> 00:38:54,600 Speaker 1: joy of playing music. 719 00:38:55,560 --> 00:38:59,120 Speaker 3: Keep slinging Virtual high five Kenny, Wayne Shephard, thanks for 720 00:38:59,160 --> 00:39:00,000 Speaker 3: being on Take It Away. 721 00:39:00,440 --> 00:39:01,440 Speaker 4: I really appreciate it. 722 00:39:02,280 --> 00:39:06,319 Speaker 2: Thank thanks for listening to this episode of the Taking 723 00:39:06,400 --> 00:39:09,960 Speaker 2: a Walk podcast. Share this and other episodes with your 724 00:39:09,960 --> 00:39:13,080 Speaker 2: friends and follow us so you never miss an episode. 725 00:39:13,680 --> 00:39:17,919 Speaker 2: Taking a Walk is available on the iHeartRadio app, Apple Podcasts, 726 00:39:18,120 --> 00:39:20,399 Speaker 2: and wherever you get your podcasts.