1 00:00:00,520 --> 00:00:01,240 Speaker 1: Taking a Walk. 2 00:00:01,320 --> 00:00:03,520 Speaker 2: I rarely work things out. I like to go off 3 00:00:03,560 --> 00:00:05,360 Speaker 2: the cup and try to grab things out of the 4 00:00:05,400 --> 00:00:08,200 Speaker 2: air while you're playing the song and try to catch 5 00:00:08,200 --> 00:00:11,880 Speaker 2: a little magic. It's spontaneous because I think that listeners 6 00:00:11,880 --> 00:00:14,280 Speaker 2: can consense that you're discovering it when they are. 7 00:00:14,440 --> 00:00:18,120 Speaker 1: Welcome to the Taking a Walk Podcast, the podcast where 8 00:00:18,160 --> 00:00:21,320 Speaker 1: your host, Buzz Night delves into the stories behind the 9 00:00:21,440 --> 00:00:25,680 Speaker 1: music with the musicians who make an abbin. Today, Buzz 10 00:00:25,760 --> 00:00:29,319 Speaker 1: is joined by guitarist Mike Campbell. Mike was part of 11 00:00:29,360 --> 00:00:32,520 Speaker 1: Tom Betty and the Heartbreakers for many years. He also 12 00:00:32,600 --> 00:00:35,600 Speaker 1: composed and played on Boys of Summer and Heart of 13 00:00:35,600 --> 00:00:38,720 Speaker 1: the Matter by Don Henley and most of Stevie Nick's 14 00:00:38,720 --> 00:00:42,720 Speaker 1: solo records. He also joined Fleetwood Mac to replace Lindsey 15 00:00:42,760 --> 00:00:46,680 Speaker 1: Buckingham on the twenty eighteen and twenty nineteen tour. Now, 16 00:00:46,920 --> 00:00:49,680 Speaker 1: Mike is out on tour with his band The Dirty Knobs, 17 00:00:50,000 --> 00:00:52,120 Speaker 1: and he'll take some time to talk with Buzz about 18 00:00:52,120 --> 00:00:57,040 Speaker 1: their new release, Vagabonds, Virgins and Misfits. Mike Campbell joins 19 00:00:57,080 --> 00:00:58,720 Speaker 1: Buzz Night on Taking a Walk. 20 00:01:00,720 --> 00:01:03,760 Speaker 3: Mike Campbell, so awesome to have you on the Taking 21 00:01:03,800 --> 00:01:10,080 Speaker 3: a Walk Podcast, celebrating the release of Vagabonds, Virgins and Misfits. 22 00:01:10,160 --> 00:01:12,319 Speaker 3: Have you been hanging around Tom Waits lately? 23 00:01:13,240 --> 00:01:17,920 Speaker 2: I wish I could hang out with Tom Waits, but no, 24 00:01:18,080 --> 00:01:19,240 Speaker 2: I haven't seen Tom. 25 00:01:20,640 --> 00:01:24,400 Speaker 3: It's a great title, and I absolutely love the album. 26 00:01:24,400 --> 00:01:27,520 Speaker 3: We're going to get into talking about, certainly the work 27 00:01:27,560 --> 00:01:33,039 Speaker 3: with Lucinda Williams and Chris Stapleton and Graham Nash and 28 00:01:33,560 --> 00:01:37,920 Speaker 3: in Benmont as well, and of course the great Dirty Knobs. 29 00:01:38,640 --> 00:01:40,959 Speaker 3: Is it hard for you to comprehend that this is 30 00:01:41,000 --> 00:01:42,960 Speaker 3: the third Dirty Knobs album? 31 00:01:44,040 --> 00:01:47,080 Speaker 2: No, I can comprehend it. I did all the work. 32 00:01:47,160 --> 00:01:50,520 Speaker 2: It's pretty well comprehended. There's a lot of blood and 33 00:01:50,560 --> 00:01:56,040 Speaker 2: sweat on those tapes. But no, I'm in this groove now. 34 00:01:56,080 --> 00:01:59,120 Speaker 2: You know. I'm in the moving forward with this band 35 00:01:59,280 --> 00:02:03,360 Speaker 2: and my own right, and I can comprehend going on 36 00:02:03,600 --> 00:02:04,600 Speaker 2: even farther with this. 37 00:02:05,440 --> 00:02:08,359 Speaker 3: And you seem to be absolutely having a joyful time. 38 00:02:09,400 --> 00:02:09,799 Speaker 3: I am. 39 00:02:10,080 --> 00:02:11,960 Speaker 2: I'm very grateful to be here. I love what I 40 00:02:12,000 --> 00:02:14,760 Speaker 2: do and I'm very proud of the work that the 41 00:02:14,800 --> 00:02:15,840 Speaker 2: band has done with me. 42 00:02:16,840 --> 00:02:20,919 Speaker 3: So you were just out celebrating the fiftieth anniversary out 43 00:02:20,960 --> 00:02:25,160 Speaker 3: at the Church studio where Mud Crutch first hit the 44 00:02:25,160 --> 00:02:31,360 Speaker 3: scene back with the great Leon Russell and Shelter. Tell 45 00:02:31,360 --> 00:02:33,960 Speaker 3: me about first of all going back, how it felt, 46 00:02:34,160 --> 00:02:37,240 Speaker 3: and tell me how you remember that experience fifty years ago. 47 00:02:38,200 --> 00:02:42,040 Speaker 2: Yeah. I was very honored that Tulsa and the church 48 00:02:42,120 --> 00:02:44,680 Speaker 2: people asked me to come back and honor that place. 49 00:02:44,800 --> 00:02:48,119 Speaker 2: They've restored it really well. And so we went out 50 00:02:48,120 --> 00:02:51,560 Speaker 2: there and I had an out of body experience walking 51 00:02:51,560 --> 00:02:55,680 Speaker 2: into that room after decades where it all kind of 52 00:02:55,720 --> 00:03:00,680 Speaker 2: started with us in Cordell and Shelter records. I walked 53 00:03:00,720 --> 00:03:03,520 Speaker 2: into the room that Tom and I and Ben and 54 00:03:05,200 --> 00:03:08,240 Speaker 2: Random marsh the bridgeal Mud Crutch walked into that room 55 00:03:08,320 --> 00:03:11,440 Speaker 2: with Denny Cordellman. We didn't know how to record at all, 56 00:03:11,480 --> 00:03:14,600 Speaker 2: but I remember standing in that room and just looking 57 00:03:14,639 --> 00:03:17,560 Speaker 2: at each other and we thought we'd made the big time. 58 00:03:17,600 --> 00:03:19,480 Speaker 2: You know. We were in a church studio at Leon 59 00:03:19,560 --> 00:03:22,320 Speaker 2: Russell's town, you know, but we didn't know what we 60 00:03:22,320 --> 00:03:25,000 Speaker 2: were doing. But I did have a flashback standing there 61 00:03:25,639 --> 00:03:28,760 Speaker 2: last week. I could see my brother Tom's ghost and 62 00:03:28,919 --> 00:03:34,080 Speaker 2: feel those old feelings again. It was kind of touching, 63 00:03:34,400 --> 00:03:37,120 Speaker 2: you know, in a lot of ways, in a good way. 64 00:03:37,600 --> 00:03:40,600 Speaker 3: And when you were out initially there with Leon Russell, 65 00:03:40,920 --> 00:03:46,760 Speaker 3: did you have a deep understanding of what an amazing 66 00:03:47,320 --> 00:03:50,280 Speaker 3: musician and career he had had. 67 00:03:50,640 --> 00:03:53,080 Speaker 2: Yeah. I love Leon Russell. I used to see him 68 00:03:53,120 --> 00:03:55,320 Speaker 2: play in Gainsville when he passed through town, and of 69 00:03:55,360 --> 00:03:59,160 Speaker 2: course I'd seen the Mad Dogs and Englishman Tour and 70 00:03:59,240 --> 00:04:02,080 Speaker 2: all that great players in his band. But to be honest, 71 00:04:02,400 --> 00:04:05,440 Speaker 2: Leon wasn't there. We first went through Tulsa. We were 72 00:04:05,480 --> 00:04:08,440 Speaker 2: hooked up with Denny Cornell, who was Leon's partner and 73 00:04:08,560 --> 00:04:13,360 Speaker 2: our producer. We didn't see Leon until a while later 74 00:04:13,400 --> 00:04:15,440 Speaker 2: out in La but he was not there at the 75 00:04:15,520 --> 00:04:17,320 Speaker 2: church that first time we came through town. 76 00:04:18,240 --> 00:04:22,919 Speaker 3: But that's amazing. You had this spiritual experience there that 77 00:04:23,000 --> 00:04:25,120 Speaker 3: you clearly felt, right. 78 00:04:25,760 --> 00:04:27,880 Speaker 2: Yeah, yeah, you could see it in the video where 79 00:04:27,880 --> 00:04:30,719 Speaker 2: I'm standing in that room. We did a video of 80 00:04:30,760 --> 00:04:32,720 Speaker 2: this new song there to Dream, and you can see 81 00:04:32,720 --> 00:04:36,599 Speaker 2: that I'm having a moment, you know, a positive emotional moment. 82 00:04:37,520 --> 00:04:42,560 Speaker 3: The video is amazing, and it really evokes a tremendous 83 00:04:42,560 --> 00:04:47,920 Speaker 3: feeling and a sense of some optimism that we all need, 84 00:04:47,960 --> 00:04:48,360 Speaker 3: don't you. 85 00:04:48,360 --> 00:04:54,080 Speaker 2: Think, absolutely, don't we. The world is a wicked place 86 00:04:54,279 --> 00:04:56,760 Speaker 2: these days. It seems almost more wicked than it used 87 00:04:56,800 --> 00:05:01,520 Speaker 2: to be. But yeah, I think, you know, as an 88 00:05:01,640 --> 00:05:05,800 Speaker 2: artist or songwriter, and Tom was the same way. And 89 00:05:05,800 --> 00:05:08,200 Speaker 2: I think not to compare myself to the Beatles, but 90 00:05:08,279 --> 00:05:10,359 Speaker 2: I like to think with the Beatles always had a 91 00:05:10,400 --> 00:05:14,600 Speaker 2: positive Most of their songs were about peace and love. 92 00:05:14,720 --> 00:05:14,920 Speaker 3: You know. 93 00:05:15,400 --> 00:05:17,240 Speaker 2: Every now and then John Lennon would throw and I'm 94 00:05:17,279 --> 00:05:22,599 Speaker 2: a loser, But generally speaking our songs with the Heartbreakers, 95 00:05:23,279 --> 00:05:26,560 Speaker 2: we always tried to aim toward hope and redemption, you know. 96 00:05:26,640 --> 00:05:29,520 Speaker 2: And if the song maybe has a dark character, at 97 00:05:29,600 --> 00:05:31,800 Speaker 2: least by the end you hope there's some way he's 98 00:05:31,839 --> 00:05:34,440 Speaker 2: going to get out of his predicament and life will 99 00:05:34,440 --> 00:05:36,560 Speaker 2: be better. And so if this song in some ways 100 00:05:36,560 --> 00:05:39,680 Speaker 2: makes people feel that maybe life can be better than 101 00:05:39,720 --> 00:05:40,760 Speaker 2: I've done my job. 102 00:05:42,080 --> 00:05:44,839 Speaker 3: It's a wonderful song. And having Graham on it is 103 00:05:44,920 --> 00:05:50,880 Speaker 3: a super special. How did you happen upon asking Graham 104 00:05:51,080 --> 00:05:52,800 Speaker 3: to appear on this. 105 00:05:53,800 --> 00:05:56,719 Speaker 2: Well, it took a lot of courage. I had met 106 00:05:56,760 --> 00:05:59,719 Speaker 2: Graham before a few times on tour. They had opened 107 00:05:59,760 --> 00:06:02,279 Speaker 2: for us, and I had done a gig and KOHI 108 00:06:02,320 --> 00:06:05,359 Speaker 2: with him once a benefit, and he came by and 109 00:06:05,360 --> 00:06:07,760 Speaker 2: did my little radio show that I do on Tom 110 00:06:07,800 --> 00:06:10,320 Speaker 2: Petty Radio, and at the end of the interview, I 111 00:06:10,400 --> 00:06:13,200 Speaker 2: kind of sheepishly said, you know, would you maybe want 112 00:06:13,200 --> 00:06:15,960 Speaker 2: to sing on one of our tracks? And said, sure, 113 00:06:15,960 --> 00:06:19,039 Speaker 2: I'll make your song better, and he did, you know, 114 00:06:19,080 --> 00:06:21,600 Speaker 2: God bless him. So I sent him the tape. And 115 00:06:21,680 --> 00:06:24,679 Speaker 2: I am a huge child of the sixties, the Hollies, 116 00:06:24,720 --> 00:06:28,839 Speaker 2: the Beatles, Animals, Stones, and the Hollies. I always just 117 00:06:29,000 --> 00:06:31,640 Speaker 2: loved their vocals and Graham was a large part of 118 00:06:31,640 --> 00:06:34,760 Speaker 2: that high harmony. And so I sat him the song 119 00:06:35,080 --> 00:06:37,159 Speaker 2: and I got it back and I was just blown 120 00:06:37,200 --> 00:06:39,560 Speaker 2: away that he kind of captured some of that holly 121 00:06:40,440 --> 00:06:44,640 Speaker 2: blend on the song for me. And I couldn't have 122 00:06:44,640 --> 00:06:46,880 Speaker 2: been happier, you know, to have a hero on your song. 123 00:06:46,960 --> 00:06:51,400 Speaker 3: I mean, come on, I love the show on Tom 124 00:06:51,440 --> 00:06:55,360 Speaker 3: Petty Radio. By the way, you make it look very easy. 125 00:06:55,440 --> 00:06:56,920 Speaker 3: How do you make it look so easy? 126 00:06:57,680 --> 00:06:59,880 Speaker 2: Well, it's just you and me. We're just talking, you know. 127 00:07:00,080 --> 00:07:02,039 Speaker 2: I like they asked me. You know that the Tom 128 00:07:02,080 --> 00:07:06,279 Speaker 2: Petty Radio on Sirius XM is a good station, and 129 00:07:06,440 --> 00:07:10,800 Speaker 2: Tom started it and was deeply involved with the show. 130 00:07:11,080 --> 00:07:13,000 Speaker 2: And now that he's gone, we want to keep the 131 00:07:13,000 --> 00:07:15,840 Speaker 2: show alive and keep playing his music and our music. 132 00:07:16,720 --> 00:07:20,120 Speaker 2: And so they ben Mutt does a DJ show, and 133 00:07:20,200 --> 00:07:22,760 Speaker 2: I think Stan Lynch and Steve Roni are also doing 134 00:07:22,840 --> 00:07:26,520 Speaker 2: DJ shows where they come on and talk and play songs. 135 00:07:27,080 --> 00:07:28,840 Speaker 2: And they asked me if I would want to help, 136 00:07:28,840 --> 00:07:30,360 Speaker 2: and I didn't want to do that because I don't 137 00:07:30,360 --> 00:07:33,120 Speaker 2: really feel like I'm a DJ type person. But I said, 138 00:07:33,120 --> 00:07:35,600 Speaker 2: if I can do, you know, interviews and conversations with 139 00:07:35,640 --> 00:07:38,800 Speaker 2: other people about music, then that would be interesting to me. 140 00:07:39,600 --> 00:07:41,640 Speaker 2: So that's what my show is all about. Just getting 141 00:07:41,640 --> 00:07:44,680 Speaker 2: someone that I respect, or that you know, knows about 142 00:07:44,760 --> 00:07:47,840 Speaker 2: us and just talk about music and have a conversation. Mike, 143 00:07:47,920 --> 00:07:51,040 Speaker 2: you and I are Now that's the idea behind it. 144 00:07:51,040 --> 00:07:54,720 Speaker 3: It's excellent. I love it. So you got a guitar 145 00:07:55,080 --> 00:07:57,240 Speaker 3: at sixteen years old, is that right? 146 00:07:57,800 --> 00:07:58,520 Speaker 2: That's about right? 147 00:07:58,600 --> 00:07:58,920 Speaker 1: Yeah? 148 00:07:59,560 --> 00:08:00,960 Speaker 3: And what kind of guitar was this? 149 00:08:01,920 --> 00:08:04,640 Speaker 2: It was basically unplayable, but I didn't know at the time. 150 00:08:04,720 --> 00:08:08,800 Speaker 2: It was a fifteen dollars pawns up Harmony arch top Acoustic, 151 00:08:09,320 --> 00:08:11,400 Speaker 2: and I begged my mom. We didn't have much money, 152 00:08:11,400 --> 00:08:14,040 Speaker 2: but I begged her for a guitar, and she scraped 153 00:08:14,120 --> 00:08:16,600 Speaker 2: up the fifteen bucks and got me this thing. And 154 00:08:16,840 --> 00:08:19,960 Speaker 2: I learned how to play on it. But it was unplayable. 155 00:08:19,960 --> 00:08:21,920 Speaker 2: Now I look back on the strings were real high 156 00:08:21,920 --> 00:08:24,600 Speaker 2: off the neck and my fingers would literally bleed. I'd 157 00:08:24,600 --> 00:08:27,320 Speaker 2: be trying so hard until I went over to a 158 00:08:27,400 --> 00:08:30,000 Speaker 2: friend's house and he had a Gibson and I pick 159 00:08:30,040 --> 00:08:31,880 Speaker 2: it up and I went, oh my god, this isn't 160 00:08:31,880 --> 00:08:34,400 Speaker 2: hard at all. It's easy. I've been struggling, you know, 161 00:08:35,120 --> 00:08:37,520 Speaker 2: But my first guitar. It taught me how to, you know, 162 00:08:37,559 --> 00:08:40,840 Speaker 2: play hard. And I was just hooked as soon as 163 00:08:40,840 --> 00:08:42,559 Speaker 2: I got the guitar, and nothing else mattered. It was 164 00:08:42,559 --> 00:08:43,360 Speaker 2: all about the guitar. 165 00:08:44,800 --> 00:08:46,959 Speaker 3: Do you remember the first solo that you learned. 166 00:08:47,520 --> 00:08:50,199 Speaker 2: Johnny be Good? I learned it off the radio. I 167 00:08:50,240 --> 00:08:53,720 Speaker 2: didn't have a teacher. I never took guitar lessons, but 168 00:08:53,800 --> 00:08:56,000 Speaker 2: I heard that on the radio, and somehow I managed. 169 00:08:56,000 --> 00:08:57,960 Speaker 2: I guess I had an affinity for the and I 170 00:08:58,000 --> 00:09:00,440 Speaker 2: just figured it out on the guitar. And I just 171 00:09:00,480 --> 00:09:02,920 Speaker 2: love Chuck Berry and that song. I connected with it, 172 00:09:03,000 --> 00:09:05,200 Speaker 2: you know. I felt like a poor boy trying to 173 00:09:05,400 --> 00:09:08,720 Speaker 2: dream about making it someday. And I just identified with 174 00:09:08,960 --> 00:09:12,720 Speaker 2: the way Chuck plays. And I still get chills from 175 00:09:12,720 --> 00:09:14,319 Speaker 2: out of here and play. There's something about him and 176 00:09:14,360 --> 00:09:16,840 Speaker 2: the way he plays guitar, the double stop thing that 177 00:09:16,920 --> 00:09:18,240 Speaker 2: I tried to emulate. 178 00:09:18,800 --> 00:09:20,320 Speaker 3: Did you ever perfect the duck walk? 179 00:09:21,320 --> 00:09:25,640 Speaker 2: No, I'm still working on that. Nobody can quite do 180 00:09:25,679 --> 00:09:28,320 Speaker 2: it like him. I've seen people try, but Chuck had 181 00:09:28,400 --> 00:09:32,720 Speaker 2: the way. Yeah. He was quite a performer, amazing person. 182 00:09:32,880 --> 00:09:36,240 Speaker 3: Yeah, a little bit of mojo, wouldn't you say? 183 00:09:36,800 --> 00:09:39,560 Speaker 2: Yeah, Yeah, he has some mojo and his songwriting, you know, 184 00:09:40,080 --> 00:09:43,720 Speaker 2: his character, his originality, you know, he created that thing. 185 00:09:44,200 --> 00:09:47,680 Speaker 2: There's so many of us have you know, borrowed from 186 00:09:47,720 --> 00:09:52,240 Speaker 2: over the years, and he's still my top three guitar 187 00:09:52,280 --> 00:09:53,160 Speaker 2: players of all time. 188 00:09:54,400 --> 00:09:55,920 Speaker 3: You mind vo listing the other two? 189 00:09:56,840 --> 00:10:01,800 Speaker 2: Well, there's more than three really, But of course Jimmy 190 00:10:01,880 --> 00:10:06,520 Speaker 2: Hendrix because he was just ridiculously out of control, crazy good. 191 00:10:07,280 --> 00:10:09,400 Speaker 2: I like Mike Bloomfield a lot. In the early days. 192 00:10:09,400 --> 00:10:12,120 Speaker 2: I had the Paul Butterfield records and I had that 193 00:10:12,160 --> 00:10:14,760 Speaker 2: Harmony guitar and the record, and I would slow the 194 00:10:14,800 --> 00:10:17,040 Speaker 2: record down, you know, to sixteen, so I could hear 195 00:10:17,040 --> 00:10:19,800 Speaker 2: what the guitar was doing. And that's how I learned 196 00:10:19,800 --> 00:10:21,400 Speaker 2: that he was bending the notes. You know, I didn't 197 00:10:21,400 --> 00:10:23,960 Speaker 2: know you could bend the notes on the guitar, and 198 00:10:25,559 --> 00:10:28,760 Speaker 2: so you know, but there's you know, Keith Richards, George Harrison, 199 00:10:28,880 --> 00:10:31,800 Speaker 2: Roger McGlenn, there's so many. That era was just incredible 200 00:10:31,800 --> 00:10:34,000 Speaker 2: for guitar players. You know. It's not like that anymore. 201 00:10:34,559 --> 00:10:36,640 Speaker 2: But I'm happy I was there to be inspired by 202 00:10:36,640 --> 00:10:38,440 Speaker 2: all that stuff when I was learning. 203 00:10:39,160 --> 00:10:41,040 Speaker 3: And you completely self taught though. 204 00:10:42,040 --> 00:10:44,240 Speaker 2: Well, yeah, when I was a kid in school, my 205 00:10:44,320 --> 00:10:46,880 Speaker 2: parents forced me to take accordion lessons for a couple 206 00:10:46,960 --> 00:10:51,960 Speaker 2: of months, and I learned the basics of scales and 207 00:10:52,440 --> 00:10:55,000 Speaker 2: chords and things on that a little bit. But when 208 00:10:55,000 --> 00:10:57,880 Speaker 2: I got the guitar, I just taught myself up my ear. 209 00:10:58,000 --> 00:11:00,719 Speaker 3: You know, what was the first concert that you ever 210 00:11:00,760 --> 00:11:01,040 Speaker 3: went to? 211 00:11:01,720 --> 00:11:05,120 Speaker 2: Oh, the first concert would have been to Beach Boys 212 00:11:05,320 --> 00:11:11,920 Speaker 2: at the Jacksonville Coliseum. I think the bill was it 213 00:11:11,960 --> 00:11:13,640 Speaker 2: was one of those Dick Clark things. I think they 214 00:11:13,640 --> 00:11:16,000 Speaker 2: had a bunch of artists on like Del Shannon and 215 00:11:18,280 --> 00:11:21,120 Speaker 2: Sam the Sham and the Fayohse and different bands, and 216 00:11:21,160 --> 00:11:23,000 Speaker 2: then the Beach Boys came on as the headliner at 217 00:11:23,040 --> 00:11:25,320 Speaker 2: the end and they just completely blew me away. They 218 00:11:25,320 --> 00:11:28,440 Speaker 2: sam it just like their records, you know, And I 219 00:11:28,520 --> 00:11:32,040 Speaker 2: love that that dream, that a California dream of hope, 220 00:11:32,080 --> 00:11:36,240 Speaker 2: and happiness living in you know, Jacksonville. That sounds pretty 221 00:11:36,240 --> 00:11:38,920 Speaker 2: good to me, I'm sure. 222 00:11:39,840 --> 00:11:43,959 Speaker 3: So tell me about what pawn shops mean to you 223 00:11:44,000 --> 00:11:48,160 Speaker 3: when it comes to the discovery of guitars, which mean 224 00:11:48,200 --> 00:11:49,040 Speaker 3: the world to you. 225 00:11:50,880 --> 00:11:53,120 Speaker 2: Yeah, pawn shops are a gold mine, you know, especially 226 00:11:53,360 --> 00:11:55,679 Speaker 2: when in the early days when I couldn't afford much, 227 00:11:56,480 --> 00:11:58,360 Speaker 2: you could get a good deal in a pawnshop. You know. 228 00:11:58,400 --> 00:12:03,160 Speaker 2: I got my first Firebird Gibson in a pawnshop for 229 00:12:03,360 --> 00:12:06,480 Speaker 2: I think one hundred and twenty bucks and it was 230 00:12:06,520 --> 00:12:09,720 Speaker 2: just ironic. Recently on the Pleetwood Mac tour when I 231 00:12:09,800 --> 00:12:11,560 Speaker 2: was out with them, we were in Philadelphia and I 232 00:12:11,600 --> 00:12:14,480 Speaker 2: went by a pawn shop and I found a white 233 00:12:14,480 --> 00:12:19,280 Speaker 2: Firebird and that's become my main guitar, like touring guitar now. 234 00:12:19,360 --> 00:12:22,680 Speaker 2: So I'm back to the Firebirds again. But you know, 235 00:12:22,720 --> 00:12:24,760 Speaker 2: it's hard to find deals now because the word is 236 00:12:24,800 --> 00:12:28,679 Speaker 2: out that, you know, these instruments are valuable. But I 237 00:12:28,760 --> 00:12:31,800 Speaker 2: used to always go on days off with the Heartbreakers, 238 00:12:32,440 --> 00:12:34,840 Speaker 2: Me and maybe you know, Scott Thurston, Ron and Blair. 239 00:12:34,880 --> 00:12:36,520 Speaker 2: We go out and find a pawn shop and try 240 00:12:36,559 --> 00:12:39,640 Speaker 2: to dig up an old gym. You know, occasionally you 241 00:12:39,760 --> 00:12:42,040 Speaker 2: get something really cool. Most of my guitars are old 242 00:12:42,320 --> 00:12:47,120 Speaker 2: vintage stuff and nowadays though, I was lucky to find 243 00:12:47,160 --> 00:12:50,439 Speaker 2: that white Firebird because nowadays it's hard to find deals. 244 00:12:51,200 --> 00:12:53,640 Speaker 3: Is there anything in particular you're on the lookout for? 245 00:12:54,559 --> 00:12:58,040 Speaker 2: You know, my Brodie keeps asking, sending me stuff. Do 246 00:12:58,080 --> 00:12:59,440 Speaker 2: you want this? Do you want this? You know I've 247 00:12:59,440 --> 00:13:02,800 Speaker 2: already got one of those. I would like to get im. 248 00:13:02,880 --> 00:13:07,400 Speaker 2: Try might want to get an epiphone coronet. I think 249 00:13:07,400 --> 00:13:10,320 Speaker 2: it's called Real light Del Shannon had one, Real Lightweight 250 00:13:11,160 --> 00:13:14,240 Speaker 2: and they sound pretty good. Steve Marriott played one and 251 00:13:14,320 --> 00:13:17,800 Speaker 2: I think in the Small Faces. But I'm not on 252 00:13:17,880 --> 00:13:20,199 Speaker 2: a hunt. I've got too many. I need to get 253 00:13:20,240 --> 00:13:20,600 Speaker 2: him away. 254 00:13:20,679 --> 00:13:24,960 Speaker 3: You know, what did the loss of Dwayne Eddie mean 255 00:13:25,040 --> 00:13:26,240 Speaker 3: to you as a guitarist. 256 00:13:27,000 --> 00:13:29,640 Speaker 2: Well, Dwayne was a huge influence. I mean, he was 257 00:13:29,640 --> 00:13:32,880 Speaker 2: one of the first, if not the first, instrumental guitar player, 258 00:13:33,400 --> 00:13:38,000 Speaker 2: the rebel rouser and because they're young and moving and 259 00:13:38,040 --> 00:13:40,480 Speaker 2: grooving all those great instrumentals that were on the radio 260 00:13:40,520 --> 00:13:42,960 Speaker 2: when I was learning, and I learned those songs off 261 00:13:43,000 --> 00:13:46,440 Speaker 2: the radio too. You know, anytime an artist of that 262 00:13:46,480 --> 00:13:50,439 Speaker 2: stature leaves us, it's always a loss. You know, but 263 00:13:51,000 --> 00:13:52,959 Speaker 2: I really liked his guitar and his tone. You know, 264 00:13:53,000 --> 00:13:56,319 Speaker 2: he had that gretch tone, deep throaty y, broad to 265 00:13:56,400 --> 00:14:02,080 Speaker 2: his tone, and he was an intervat you know, rebel rouser. 266 00:14:03,960 --> 00:14:06,520 Speaker 3: You knew it was him when you heard him, right, Yeah. 267 00:14:06,240 --> 00:14:08,880 Speaker 2: He was a Yeah, he was an icon, and he 268 00:14:09,000 --> 00:14:10,679 Speaker 2: was ahead of the curve. You know, there weren't that 269 00:14:10,720 --> 00:14:14,080 Speaker 2: many guitar instrumentals out at that time, maybe Santo and 270 00:14:14,160 --> 00:14:17,280 Speaker 2: Johnny and a few others, but his was a very 271 00:14:17,679 --> 00:14:23,040 Speaker 2: you know, recognizable style and tone, and I like to 272 00:14:23,080 --> 00:14:25,600 Speaker 2: try to go for that sound sometimes. You know. 273 00:14:25,640 --> 00:14:29,240 Speaker 3: What I thought was interesting. I was talking to Steve 274 00:14:29,360 --> 00:14:33,600 Speaker 3: Howe from Yes on the podcast and even you know, 275 00:14:33,680 --> 00:14:37,720 Speaker 3: some of the great British prog rock guitarists looked up 276 00:14:37,760 --> 00:14:40,560 Speaker 3: to Dwayne Eddie in a big way. He impacted them 277 00:14:40,600 --> 00:14:41,040 Speaker 3: as well. 278 00:14:42,040 --> 00:14:47,480 Speaker 2: The twang's the thing. Have twang will travel, you know, Yeah, 279 00:14:47,800 --> 00:14:50,240 Speaker 2: and just a big You made the guitar sound so 280 00:14:50,400 --> 00:14:53,520 Speaker 2: big and full, and his songs are really cool, cool 281 00:14:53,600 --> 00:14:58,320 Speaker 2: riffs and simple, you know, not like showy, but melodic 282 00:14:58,440 --> 00:15:03,480 Speaker 2: and tough sound and I try to play that way too, So. 283 00:15:03,480 --> 00:15:06,000 Speaker 3: I was hoping we could go back to I'm just 284 00:15:06,040 --> 00:15:08,560 Speaker 3: going to pick three of my favorites, which really is 285 00:15:08,640 --> 00:15:11,960 Speaker 3: difficult for me because I've got another three hundred favorites 286 00:15:12,000 --> 00:15:17,400 Speaker 3: from your work with Tom and the Heartbreakers. But can 287 00:15:17,440 --> 00:15:20,840 Speaker 3: you take us back into what you recall the creation, 288 00:15:21,040 --> 00:15:26,160 Speaker 3: either solo wise or session wise of well, first, American 289 00:15:26,240 --> 00:15:28,640 Speaker 3: Girl would be the one I wanted to ask about. 290 00:15:29,640 --> 00:15:32,000 Speaker 2: Yeah, I remember cutting American Girl. It was on the 291 00:15:32,000 --> 00:15:34,720 Speaker 2: fourth of July and we were at the Shelter we 292 00:15:34,760 --> 00:15:37,520 Speaker 2: called it the Brown Room, the Shelter Studios, which had 293 00:15:38,040 --> 00:15:42,160 Speaker 2: compensated the API console from Tulsa and put it in 294 00:15:42,200 --> 00:15:44,560 Speaker 2: the office there on Hollywood Boulevard, and that's where we 295 00:15:44,560 --> 00:15:48,400 Speaker 2: did our first two records. And Tom was beginning to 296 00:15:50,000 --> 00:15:53,120 Speaker 2: blossom as a writer, and he brought in Breakdown and 297 00:15:54,320 --> 00:15:56,680 Speaker 2: Wild One Forever, and then he brought in American Girl 298 00:15:56,680 --> 00:15:59,440 Speaker 2: one day and it was like it was a no bringer. 299 00:15:59,480 --> 00:16:01,440 Speaker 2: This is a great song, you know. And he had 300 00:16:01,440 --> 00:16:04,400 Speaker 2: the Bo Diddley chords, and I wanted to put a 301 00:16:04,400 --> 00:16:06,280 Speaker 2: twelve string on it, but I couldn't have I didn't 302 00:16:06,320 --> 00:16:08,520 Speaker 2: have one. We couldn't afford a twelve string at the time. 303 00:16:08,560 --> 00:16:11,640 Speaker 2: I had a broadcaster, which is still my main guitar, 304 00:16:12,600 --> 00:16:14,800 Speaker 2: so I was trying to get a twelve string sound 305 00:16:14,800 --> 00:16:18,360 Speaker 2: with the drone octaves. Danga dang, dang, dang dang. That's 306 00:16:18,400 --> 00:16:21,000 Speaker 2: octaves on a sixth string, trying to sound like a 307 00:16:21,000 --> 00:16:26,320 Speaker 2: twelve string. And so that was the genesis of that sound. 308 00:16:26,440 --> 00:16:30,720 Speaker 2: And between Tom's guitar and that high droning and the 309 00:16:31,160 --> 00:16:34,280 Speaker 2: voicings of my chords going up against his chords down low, 310 00:16:34,360 --> 00:16:37,960 Speaker 2: that became the Heartbreaker's guitar sound basically. And so when 311 00:16:38,000 --> 00:16:39,880 Speaker 2: I hear that song now I can hear the formation 312 00:16:40,000 --> 00:16:42,120 Speaker 2: of the band. That was where we found our thing, 313 00:16:42,360 --> 00:16:45,760 Speaker 2: you know. And at the end of the song. A 314 00:16:46,000 --> 00:16:49,080 Speaker 2: funny story there's I was just I make a lot 315 00:16:49,120 --> 00:16:50,720 Speaker 2: of stuff up on the track. I don't work it 316 00:16:50,760 --> 00:16:52,920 Speaker 2: out too much. At the end, I just started doing 317 00:16:52,920 --> 00:16:56,800 Speaker 2: those triples because I got bored or didn't know what 318 00:16:56,840 --> 00:16:58,920 Speaker 2: to do. And I thought it was goofy, you know, 319 00:16:59,080 --> 00:17:01,320 Speaker 2: and Tom goes, you gotta double that. I said, no, 320 00:17:01,480 --> 00:17:03,880 Speaker 2: it sounds too much like something else, you know. No, 321 00:17:04,040 --> 00:17:06,480 Speaker 2: he said, that's really good. Double it. And now it's 322 00:17:06,520 --> 00:17:08,960 Speaker 2: like this on the fade, that's that signature guitar part 323 00:17:09,040 --> 00:17:11,840 Speaker 2: that goes out. So he was right about that. 324 00:17:12,720 --> 00:17:16,080 Speaker 3: And that's where you kind of. It probably came into 325 00:17:16,160 --> 00:17:21,000 Speaker 3: form as your own process of improvising through sessions and 326 00:17:21,119 --> 00:17:24,719 Speaker 3: sort of the you know, continuous creation of something till 327 00:17:24,800 --> 00:17:26,560 Speaker 3: you get it right. Is that correct? 328 00:17:27,359 --> 00:17:29,760 Speaker 2: It is correct. I rarely worked things out. I like 329 00:17:29,840 --> 00:17:31,920 Speaker 2: to go off the cuff and try to grab things 330 00:17:31,920 --> 00:17:33,920 Speaker 2: out of the air while you're playing the song and 331 00:17:34,520 --> 00:17:38,399 Speaker 2: try to catch a little magic. It's spontaneous. That's what 332 00:17:38,440 --> 00:17:40,720 Speaker 2: I try to do, and that's what that song was about. 333 00:17:41,000 --> 00:17:42,760 Speaker 2: And just to go back, I don't want to get 334 00:17:42,760 --> 00:17:45,040 Speaker 2: through technical. But you talked about Duane Eddie. There's also 335 00:17:45,119 --> 00:17:47,879 Speaker 2: Chad Atkins who was a big influence on me, and 336 00:17:47,960 --> 00:17:50,560 Speaker 2: it was because I had been teaching myself Chad Atkins 337 00:17:50,600 --> 00:17:53,080 Speaker 2: on that song American Grow at the end, that's a 338 00:17:53,119 --> 00:17:55,600 Speaker 2: fingerpicking thing, didn't literally you have to use your you know, 339 00:17:55,800 --> 00:17:58,320 Speaker 2: a couple of fingers to get that. And I got 340 00:17:58,320 --> 00:18:01,480 Speaker 2: that from chedd Atkins, that technique, so I owe that 341 00:18:01,520 --> 00:18:04,480 Speaker 2: to him too. But yeah, I like to just go 342 00:18:04,520 --> 00:18:06,600 Speaker 2: off the cuff. Breakdown was an off the cuff. That 343 00:18:06,960 --> 00:18:11,359 Speaker 2: opening riff was something that I did on the track mindlessly, 344 00:18:11,920 --> 00:18:13,840 Speaker 2: stream of consciousness. At the end of the track, I 345 00:18:13,880 --> 00:18:17,000 Speaker 2: played that once or twice as I was as it 346 00:18:17,040 --> 00:18:19,719 Speaker 2: was getting to the end of a long jam, and 347 00:18:19,760 --> 00:18:21,240 Speaker 2: then they called me up and said, you know that 348 00:18:21,359 --> 00:18:22,840 Speaker 2: Lucky play at the end should be at the beginning 349 00:18:22,840 --> 00:18:24,920 Speaker 2: of the song. It'll be like a catch for the song. 350 00:18:24,960 --> 00:18:27,400 Speaker 2: You a hook. So I went back down and learned 351 00:18:27,400 --> 00:18:28,840 Speaker 2: it and played it on the front of the song, 352 00:18:29,520 --> 00:18:31,280 Speaker 2: so that you know. I like to grab things out 353 00:18:31,280 --> 00:18:33,800 Speaker 2: of the air that are unexpected, because I think that 354 00:18:34,280 --> 00:18:37,359 Speaker 2: listeners can consense that you're discovering it when they are. 355 00:18:38,400 --> 00:18:42,159 Speaker 3: It's beautiful. Tell me about You Got Lucky. What you 356 00:18:42,200 --> 00:18:46,000 Speaker 3: remember about that whole process and the session and the 357 00:18:46,119 --> 00:18:48,120 Speaker 3: solos and the creation of it. 358 00:18:48,800 --> 00:18:53,680 Speaker 2: You Got Lucky was written on a synthesizer, the cords, 359 00:18:55,400 --> 00:18:57,399 Speaker 2: that whole thing I had done with three fingers. I'm 360 00:18:57,440 --> 00:19:00,239 Speaker 2: not much on the keyboards, but I had a made 361 00:19:00,240 --> 00:19:02,840 Speaker 2: a drum loop which I was into at the time, 362 00:19:03,200 --> 00:19:07,040 Speaker 2: and I had that keyboard line and the chords and 363 00:19:07,080 --> 00:19:12,560 Speaker 2: we got I didn't have the sort of with a 364 00:19:12,880 --> 00:19:16,680 Speaker 2: Clint Eastwood movie Italian Western kind of solo em rcony 365 00:19:16,760 --> 00:19:18,960 Speaker 2: thing which is in the middle. That was Tom's idea, 366 00:19:19,000 --> 00:19:21,040 Speaker 2: say why don't you go play something like a James 367 00:19:21,040 --> 00:19:24,000 Speaker 2: Bond thing on the middle, So I had a strate 368 00:19:24,040 --> 00:19:27,880 Speaker 2: had just come into mail, and I went out down, down, down, down, 369 00:19:28,240 --> 00:19:30,879 Speaker 2: So that was I came up with the line. Actually, 370 00:19:30,880 --> 00:19:33,080 Speaker 2: that line was on the keyboard line at the beginning 371 00:19:33,080 --> 00:19:35,359 Speaker 2: of the song, so I just copied that on the 372 00:19:35,400 --> 00:19:39,040 Speaker 2: guitar and did it with the vibralo arm that so 373 00:19:39,160 --> 00:19:42,520 Speaker 2: that Tom suggested that I do that there, and uh, 374 00:19:42,880 --> 00:19:44,560 Speaker 2: I just think he wrote a great lyric to that. 375 00:19:44,640 --> 00:19:46,359 Speaker 2: So I was so happy every time I would give 376 00:19:46,440 --> 00:19:48,840 Speaker 2: him piece of music, if he was inspired to write words, 377 00:19:49,160 --> 00:19:53,800 Speaker 2: it was always great, you know. I was lucky that way. 378 00:19:53,960 --> 00:19:56,560 Speaker 3: And then tell me about the Waiting and the creation 379 00:19:56,720 --> 00:19:59,800 Speaker 3: of the Waiting, and in particular, is it true you've 380 00:19:59,800 --> 00:20:02,040 Speaker 3: all still played bass on the Waiting? 381 00:20:02,960 --> 00:20:06,800 Speaker 2: I did. Yeah, I played bass, no difference to Ron, 382 00:20:06,800 --> 00:20:09,480 Speaker 2: who's an incredibly a lot better bass player than I am. 383 00:20:09,840 --> 00:20:12,399 Speaker 2: But on the songs of mine that if I had 384 00:20:12,400 --> 00:20:14,320 Speaker 2: a demo, I would put a rough bass on it 385 00:20:14,400 --> 00:20:18,160 Speaker 2: just to find how it should go, and then sometimes 386 00:20:18,240 --> 00:20:20,000 Speaker 2: we would end up I'd have to play it because 387 00:20:20,040 --> 00:20:23,160 Speaker 2: that was the right vibe for the song. On the Waiting. 388 00:20:23,440 --> 00:20:27,240 Speaker 2: For some reason, Ron wasn't there that day or something, 389 00:20:27,320 --> 00:20:31,160 Speaker 2: so I ended up playing the bass. And what's interesting 390 00:20:31,240 --> 00:20:34,280 Speaker 2: about that song, which I love, one of my favorite 391 00:20:34,280 --> 00:20:38,000 Speaker 2: songs of his, it's very birdsy. At the end on 392 00:20:38,080 --> 00:20:40,920 Speaker 2: the bass, the guitar wasn't I hadn't done my guitar 393 00:20:41,000 --> 00:20:42,879 Speaker 2: part yet. On the end at the bass where it 394 00:20:42,920 --> 00:20:44,760 Speaker 2: breaks down, the bass goes do do do Do Do 395 00:20:44,920 --> 00:20:49,159 Speaker 2: Do Do doo. That was a bass line, and so 396 00:20:49,200 --> 00:20:51,879 Speaker 2: when I went to do the guitar, I found that 397 00:20:51,960 --> 00:20:54,400 Speaker 2: once again the high octaves to sound my control say 398 00:20:54,520 --> 00:20:58,720 Speaker 2: gang Gang Gang. So that came from the bass part. 399 00:20:59,600 --> 00:21:01,520 Speaker 2: So that was also just a stream of conscious this 400 00:21:01,640 --> 00:21:03,400 Speaker 2: moment where that line came in when I was doing 401 00:21:03,400 --> 00:21:06,879 Speaker 2: the base. But if you're if you're clever, and you 402 00:21:07,000 --> 00:21:11,200 Speaker 2: listen to what you're doing, you can grab little things 403 00:21:11,200 --> 00:21:13,800 Speaker 2: that you didn't expect to happen, little pieces of magic. 404 00:21:13,840 --> 00:21:16,719 Speaker 2: And if you can catch them and and you know, 405 00:21:17,080 --> 00:21:19,600 Speaker 2: mind them, I think that makes for good music. 406 00:21:20,359 --> 00:21:22,560 Speaker 1: We'll be right back with more of the Taking a 407 00:21:22,600 --> 00:21:30,800 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 408 00:21:31,359 --> 00:21:35,320 Speaker 3: Let's talk about the magic you created on Vagabonds, Virgins 409 00:21:35,359 --> 00:21:41,440 Speaker 3: and Misfits. I just absolutely love this. Uh cover to cover, 410 00:21:41,640 --> 00:21:45,040 Speaker 3: as we would say, You've got some great folks that 411 00:21:45,080 --> 00:21:49,560 Speaker 3: are helping you out here. Lucinda Williams and Chris Stapleton, 412 00:21:50,320 --> 00:21:55,040 Speaker 3: Graham Nash of course, and Benmont talk about how this 413 00:21:55,080 --> 00:21:56,159 Speaker 3: project came together. 414 00:21:57,160 --> 00:22:00,919 Speaker 2: Well, it was gonna it's a Dirty Knobs album, and 415 00:22:01,119 --> 00:22:03,919 Speaker 2: I started writing songs for the sessions and we came in. 416 00:22:04,560 --> 00:22:06,760 Speaker 2: I like to cut live with the Dirty Knobs, much 417 00:22:06,800 --> 00:22:09,120 Speaker 2: as the Heartbreakers were doing near the end of their 418 00:22:09,160 --> 00:22:11,080 Speaker 2: career and the very beginning of our career. We always 419 00:22:11,080 --> 00:22:14,000 Speaker 2: played live in the studio, and The Dirty Knobs is 420 00:22:14,119 --> 00:22:19,320 Speaker 2: very much spontaneous solos on the fly, you know. I 421 00:22:19,359 --> 00:22:20,879 Speaker 2: tried to get it on tape before they know it 422 00:22:20,920 --> 00:22:23,600 Speaker 2: too well, so it kind of sounds a little rough 423 00:22:23,640 --> 00:22:27,480 Speaker 2: and rowdy. But so I was writing some songs for 424 00:22:27,520 --> 00:22:32,199 Speaker 2: the album and we started recording with our producer, Georgia Coolias. 425 00:22:32,200 --> 00:22:35,960 Speaker 2: We recorded about twenty five songs or more, and then 426 00:22:36,400 --> 00:22:40,000 Speaker 2: I was reassessing all the songs, trying to narrow it 427 00:22:40,040 --> 00:22:42,760 Speaker 2: down to what an album might be. And my wife 428 00:22:42,800 --> 00:22:46,320 Speaker 2: actually suggested, should go back to your tape blocker, because 429 00:22:46,359 --> 00:22:50,920 Speaker 2: I've got closets full of two inch tape of demos 430 00:22:50,960 --> 00:22:53,840 Speaker 2: I did back twenty years ago. And I didn't want 431 00:22:53,880 --> 00:22:55,440 Speaker 2: to do that because I don't like to go back. 432 00:22:55,600 --> 00:22:57,240 Speaker 2: I like to keep moving forward. But she said, no, 433 00:22:57,320 --> 00:22:59,480 Speaker 2: you might have overlooked something. So I went in there 434 00:23:00,040 --> 00:23:01,879 Speaker 2: started listening to those things, and I found four or 435 00:23:01,960 --> 00:23:04,239 Speaker 2: five things that ended up on this record because I 436 00:23:04,240 --> 00:23:06,119 Speaker 2: thought the songs were good and they fit into what 437 00:23:06,160 --> 00:23:08,800 Speaker 2: I was trying to do. And a few of them 438 00:23:08,840 --> 00:23:11,200 Speaker 2: we actually used those tapes and built up from them 439 00:23:11,240 --> 00:23:15,840 Speaker 2: because they had the vibe. And so half the record 440 00:23:15,920 --> 00:23:18,119 Speaker 2: is older songs, and half the record is number songs 441 00:23:18,160 --> 00:23:20,200 Speaker 2: and the other records laying on the floor for the 442 00:23:20,240 --> 00:23:20,800 Speaker 2: next record. 443 00:23:22,200 --> 00:23:24,280 Speaker 3: Let's talk about some of the cuts. First of all, 444 00:23:24,359 --> 00:23:27,320 Speaker 3: the greatest that is the greatest one of those that 445 00:23:27,400 --> 00:23:30,040 Speaker 3: you took off the shelf, and that's. 446 00:23:29,920 --> 00:23:31,600 Speaker 2: A new under It was one of the first songs 447 00:23:31,640 --> 00:23:34,159 Speaker 2: I wrote for the album, and I was we had 448 00:23:34,200 --> 00:23:37,000 Speaker 2: come off a great tour and I wanted to write 449 00:23:37,000 --> 00:23:39,119 Speaker 2: a song that was a thank you to the crowd, 450 00:23:39,400 --> 00:23:42,199 Speaker 2: you know that, And so that song is, you know, 451 00:23:42,320 --> 00:23:44,479 Speaker 2: you are the greatest of the audience, you know. I 452 00:23:44,560 --> 00:23:47,399 Speaker 2: just wanted to give back how much appreciation we have 453 00:23:47,480 --> 00:23:49,800 Speaker 2: for them being there. And so that song kind of 454 00:23:49,800 --> 00:23:51,760 Speaker 2: built out of that, you know, and it just became 455 00:23:51,800 --> 00:23:57,159 Speaker 2: this drone beatlesy harmony, kind of I don't know what 456 00:23:57,200 --> 00:23:59,560 Speaker 2: you'd call it, kind of psychedelic in a way, but 457 00:23:59,600 --> 00:24:01,040 Speaker 2: it's again back to the audience. 458 00:24:01,840 --> 00:24:05,280 Speaker 3: I love it, and tell me about Angel and Mercy. 459 00:24:05,600 --> 00:24:06,400 Speaker 3: The creation of. 460 00:24:06,359 --> 00:24:09,760 Speaker 2: That angela Mercy is an old song that was not 461 00:24:09,960 --> 00:24:11,720 Speaker 2: in the tape blocker. I had tried it on the 462 00:24:11,760 --> 00:24:14,080 Speaker 2: first two albums to cut it because I liked this 463 00:24:14,240 --> 00:24:17,880 Speaker 2: song and it goes back quite away the Dirty Nams 464 00:24:18,119 --> 00:24:20,199 Speaker 2: when we were playing bars when we first got started 465 00:24:20,200 --> 00:24:24,760 Speaker 2: around LA, we played that song live. So we tried 466 00:24:24,800 --> 00:24:28,560 Speaker 2: it again for the third album and it didn't really 467 00:24:28,600 --> 00:24:31,040 Speaker 2: measure up, and so we basically had finished the record 468 00:24:31,080 --> 00:24:33,160 Speaker 2: and Georgia Trulius came in. He said, you know, I've 469 00:24:33,160 --> 00:24:35,240 Speaker 2: been listening to that song. You guys should cut it again. 470 00:24:35,560 --> 00:24:37,600 Speaker 2: Let's make it sound like a proper record, you know. 471 00:24:38,080 --> 00:24:41,920 Speaker 2: So I said okay, And so at that point Steve 472 00:24:42,040 --> 00:24:44,840 Speaker 2: Roni came in because I needed a drummer, and he 473 00:24:44,840 --> 00:24:48,399 Speaker 2: played drums on that one song and it made the record. 474 00:24:49,400 --> 00:24:52,520 Speaker 3: We talked about Dare to Dream, which is the single 475 00:24:52,600 --> 00:24:57,040 Speaker 3: with Graham Nash, which is just such a you know, fun, uplifting, 476 00:24:57,320 --> 00:25:01,800 Speaker 3: optimistic song, and I want to talk about hands or 477 00:25:01,920 --> 00:25:07,840 Speaker 3: tied and and that, Yeah, that guitar. What guitar are 478 00:25:07,880 --> 00:25:13,080 Speaker 3: you playing on that? That produces such a unique sound there. 479 00:25:13,880 --> 00:25:16,960 Speaker 2: You know, I'm trying to remember. I know it's a 480 00:25:17,160 --> 00:25:20,280 Speaker 2: it's a it's got it by broad up arm. I 481 00:25:20,280 --> 00:25:23,200 Speaker 2: think it was a gretch cranked up through a nap 482 00:25:23,240 --> 00:25:26,080 Speaker 2: because I know it's got like a Neil youngish By 483 00:25:26,160 --> 00:25:29,520 Speaker 2: brought out arm vibe on it. I think it was 484 00:25:29,560 --> 00:25:33,120 Speaker 2: a gritch clipper that I have, same guitar I used 485 00:25:33,119 --> 00:25:35,720 Speaker 2: and I won't back down. And that was an old 486 00:25:35,760 --> 00:25:38,760 Speaker 2: song that I dug up. And that's one of my 487 00:25:38,800 --> 00:25:42,800 Speaker 2: favorite songs. It's a very emotional song and it's it's 488 00:25:42,800 --> 00:25:46,520 Speaker 2: a little dark, but it's one it's you know, it's 489 00:25:46,560 --> 00:25:50,000 Speaker 2: someone's in trouble. The girl or whoever is having a 490 00:25:50,000 --> 00:25:52,080 Speaker 2: really hard time and you want to help her, you know, 491 00:25:52,280 --> 00:25:53,960 Speaker 2: and it's like whatever it is, it could be drugs, 492 00:25:53,960 --> 00:25:56,720 Speaker 2: it could be illness, whatever it is, and you know, 493 00:25:56,760 --> 00:25:58,840 Speaker 2: I want to help you. My hands are tied, you know, 494 00:25:59,240 --> 00:26:02,199 Speaker 2: I hope, hope it works out, you know kind of thing. So, 495 00:26:02,440 --> 00:26:04,320 Speaker 2: and it's also I like that song. It's got a 496 00:26:04,359 --> 00:26:07,160 Speaker 2: time signature change in it. It goes which I heard. 497 00:26:07,200 --> 00:26:09,159 Speaker 2: I rarely do. I usually write in four four or 498 00:26:09,240 --> 00:26:12,480 Speaker 2: three four. This one has a five four section at 499 00:26:12,480 --> 00:26:16,479 Speaker 2: the top and at the end. And another thing I 500 00:26:16,560 --> 00:26:20,159 Speaker 2: like about that song is my wife is so shy, 501 00:26:20,400 --> 00:26:21,880 Speaker 2: you know, and I've always asked her over the years, 502 00:26:21,880 --> 00:26:23,520 Speaker 2: why don't you come in and sing on something. You know, 503 00:26:23,520 --> 00:26:25,920 Speaker 2: I'll make you sound good, don't worry, you know, And 504 00:26:25,960 --> 00:26:29,080 Speaker 2: she never wanted to. And then one day on this record, 505 00:26:29,080 --> 00:26:31,080 Speaker 2: she come in, I'd like to sing on this record. 506 00:26:31,960 --> 00:26:35,040 Speaker 2: So on that song, she just comes in. Ah, and 507 00:26:35,080 --> 00:26:37,119 Speaker 2: we just layered her to make this great bed and 508 00:26:37,160 --> 00:26:40,439 Speaker 2: it really gives a song a spiritual quality. So I 509 00:26:40,560 --> 00:26:41,919 Speaker 2: was proud of her for doing that. 510 00:26:41,920 --> 00:26:42,480 Speaker 3: That's great. 511 00:26:42,920 --> 00:26:49,439 Speaker 2: But the guitar is is emotional and sweet, and the 512 00:26:49,480 --> 00:26:52,000 Speaker 2: words are you know, spiritual too. 513 00:26:53,320 --> 00:26:57,040 Speaker 3: You know, almost evokes sort of that town without pity 514 00:26:57,280 --> 00:26:59,960 Speaker 3: sort of sound, you know a little bit. 515 00:27:00,640 --> 00:27:03,680 Speaker 2: I also think that I didn't notice this till recently, 516 00:27:03,800 --> 00:27:10,080 Speaker 2: that the guitar, which was a stream of consciousness line, 517 00:27:10,119 --> 00:27:13,959 Speaker 2: it's kind of reminiscent of breakdown a little bit, you know. 518 00:27:14,400 --> 00:27:16,920 Speaker 2: And I think it's that same guy. Whoever, that guy 519 00:27:17,000 --> 00:27:20,240 Speaker 2: in me is that placed in that mode. It has 520 00:27:20,280 --> 00:27:22,800 Speaker 2: a little bit of that element in it, and then 521 00:27:22,800 --> 00:27:24,280 Speaker 2: of course at the end it goes into the old 522 00:27:24,359 --> 00:27:27,760 Speaker 2: Jimmy Hendrix kind of swirly thing. Yeah, thank you for 523 00:27:27,800 --> 00:27:29,840 Speaker 2: mentioning that song. I like that one quite a bit. 524 00:27:30,680 --> 00:27:33,720 Speaker 3: Oh, I love it. And then you have a Hell 525 00:27:33,800 --> 00:27:38,120 Speaker 3: or a high Water where that force of nature Lucinda 526 00:27:38,160 --> 00:27:45,600 Speaker 3: Williams emerges in that song. What a brilliant A brilliant song, 527 00:27:45,720 --> 00:27:50,360 Speaker 3: brilliant collaboration. Talk about how you collaborated with her. 528 00:27:51,359 --> 00:27:53,919 Speaker 2: Yeah, that's a new song that I wrote for the album, 529 00:27:54,640 --> 00:27:57,840 Speaker 2: and I'm very proud of that one because of it's 530 00:27:57,880 --> 00:28:02,040 Speaker 2: a lyrical workout. You know, it's a story, there's a character, 531 00:28:02,119 --> 00:28:03,680 Speaker 2: and there's like a little movie, and there's a lot 532 00:28:03,720 --> 00:28:06,640 Speaker 2: of wordplay in it, which I'm starting to really enjoy doing. 533 00:28:07,760 --> 00:28:11,280 Speaker 2: And so we cut it live and I sang it 534 00:28:11,359 --> 00:28:16,080 Speaker 2: most my vocal is live. And then on reflection, I thought, 535 00:28:16,119 --> 00:28:18,280 Speaker 2: you know, there's this character in the song, this girl 536 00:28:18,359 --> 00:28:20,640 Speaker 2: that this guy meets up with and goes into this 537 00:28:21,720 --> 00:28:26,119 Speaker 2: shadowy world for a moment, and I thought, wouldn't it 538 00:28:26,119 --> 00:28:28,000 Speaker 2: be great if we had a female voice in there 539 00:28:28,040 --> 00:28:31,200 Speaker 2: to come in and be that character. And I thought 540 00:28:31,160 --> 00:28:34,760 Speaker 2: of Lucinda once again. She had done my show and 541 00:28:34,800 --> 00:28:37,359 Speaker 2: I said, would you maybe consider singing on the song? 542 00:28:37,400 --> 00:28:40,040 Speaker 2: And she was real shy about it, but she came 543 00:28:40,080 --> 00:28:42,600 Speaker 2: in and she added such a depth of soul to it. 544 00:28:42,680 --> 00:28:45,760 Speaker 2: You know, God bless her. She's so good and she 545 00:28:45,880 --> 00:28:47,120 Speaker 2: really makes the song for me. 546 00:28:47,880 --> 00:28:52,160 Speaker 3: Yeah, it's so memorable, My god. Can you talk about 547 00:28:52,160 --> 00:28:57,120 Speaker 3: the song? So alive and in particular just the that grinding, 548 00:28:58,320 --> 00:29:01,440 Speaker 3: those sounds that you get out of the guitars there, 549 00:29:02,200 --> 00:29:02,840 Speaker 3: what is that? 550 00:29:04,480 --> 00:29:08,240 Speaker 2: It's live? It's uh. I think it's tuned down to D. 551 00:29:08,480 --> 00:29:12,200 Speaker 2: The low string is tuned down for a deep growl, 552 00:29:13,040 --> 00:29:15,120 Speaker 2: and it's just a burst of adrenaline. 553 00:29:15,200 --> 00:29:15,400 Speaker 3: You know. 554 00:29:15,440 --> 00:29:17,520 Speaker 2: It's just like I feel so alive every time I 555 00:29:17,560 --> 00:29:20,080 Speaker 2: see you. You know, it's kind of almost corny, but 556 00:29:20,160 --> 00:29:22,880 Speaker 2: the music I think gives it some depth and it's 557 00:29:22,960 --> 00:29:25,360 Speaker 2: just a it's just a you know, dirty Noms at 558 00:29:25,400 --> 00:29:28,520 Speaker 2: their best and the solos live on the floor, you know, 559 00:29:28,920 --> 00:29:31,760 Speaker 2: mistakes and all, but it's just I just see it 560 00:29:31,760 --> 00:29:34,320 Speaker 2: as a burst of adrenaline. And we got Steve and 561 00:29:34,400 --> 00:29:38,480 Speaker 2: already just sing oh oh oh there, which is hilarious. 562 00:29:39,440 --> 00:29:44,040 Speaker 3: I love it. Don't wait up with Chris Stapleton and 563 00:29:44,080 --> 00:29:50,400 Speaker 3: benmont Tench. That is another stellar collaboration. And tell me 564 00:29:50,440 --> 00:29:51,400 Speaker 3: how that came together. 565 00:29:52,280 --> 00:29:54,640 Speaker 2: That was an older song that we had played in 566 00:29:54,680 --> 00:29:59,080 Speaker 2: the bars before, and I had a I discovered a 567 00:29:59,120 --> 00:30:02,280 Speaker 2: two inch take analog version of it that was really 568 00:30:02,280 --> 00:30:06,280 Speaker 2: really good, and I tied you it up a little bit, 569 00:30:06,880 --> 00:30:11,120 Speaker 2: and Chris Stapleton was over to write one day or something, 570 00:30:11,760 --> 00:30:14,360 Speaker 2: and I begged him to sing on it, which he did. 571 00:30:14,760 --> 00:30:18,240 Speaker 2: He sang great. And Ben Mott came over one day 572 00:30:18,280 --> 00:30:20,920 Speaker 2: and we said, I have a Steinway in my living room. 573 00:30:20,920 --> 00:30:22,920 Speaker 2: He barely used it. We set up the MIC's in 574 00:30:22,960 --> 00:30:25,040 Speaker 2: there for him and he did one take of Jerry 575 00:30:25,120 --> 00:30:28,920 Speaker 2: Lewis on it. It's tremendous and it's a funny song, 576 00:30:29,000 --> 00:30:32,760 Speaker 2: you know. It's the words are kind of you know, 577 00:30:32,800 --> 00:30:35,240 Speaker 2: I Am the Walrus a little bit like nonsensical, but 578 00:30:35,400 --> 00:30:38,280 Speaker 2: in a weird way that kind of make sense. And 579 00:30:38,400 --> 00:30:40,400 Speaker 2: it's just kind of got a sense of humor in it. 580 00:30:40,480 --> 00:30:42,040 Speaker 2: But it's a real burst of adrenaline. 581 00:30:42,040 --> 00:30:42,160 Speaker 1: You know. 582 00:30:42,360 --> 00:30:44,960 Speaker 2: The guys are really going for especially our bass player 583 00:30:45,000 --> 00:30:48,640 Speaker 2: Crawdaddy Lance Morrison. He just altered the album. He's just 584 00:30:48,680 --> 00:30:49,880 Speaker 2: pumping it. He's so good. 585 00:30:50,800 --> 00:30:54,160 Speaker 3: Yeah, talk about Lance Morrison and how you love playing 586 00:30:54,240 --> 00:30:56,120 Speaker 3: with these guys in the Dirty Knobs. 587 00:30:56,680 --> 00:31:00,560 Speaker 2: Our guitar is a guy named Chris Holt. We called 588 00:31:00,600 --> 00:31:04,440 Speaker 2: him Sidewinder. He's from Texas too, and he's all over 589 00:31:04,520 --> 00:31:07,600 Speaker 2: this new record. He is a real breath of fresh air. 590 00:31:07,680 --> 00:31:09,920 Speaker 2: He's a great singer. He can play piano. A lot 591 00:31:09,920 --> 00:31:12,560 Speaker 2: of the piano you hear is him and the guitar. 592 00:31:13,560 --> 00:31:17,400 Speaker 2: He's just incredible. And his voice sounds real good with 593 00:31:17,480 --> 00:31:18,920 Speaker 2: mine because I need a lot of help, but he 594 00:31:18,960 --> 00:31:22,200 Speaker 2: makes me sound better and like go. There's another song 595 00:31:22,240 --> 00:31:24,240 Speaker 2: on the album called Shake These Blues, which is kind 596 00:31:24,240 --> 00:31:27,720 Speaker 2: of a rave hut, and we cut the track live 597 00:31:28,560 --> 00:31:30,440 Speaker 2: and I said to Chris, I said, when we get 598 00:31:30,440 --> 00:31:33,040 Speaker 2: to to your solo, just make something up, you know. 599 00:31:33,440 --> 00:31:35,760 Speaker 2: He's like and he did. He was right on the money. 600 00:31:35,760 --> 00:31:38,080 Speaker 2: He nailed it, you know. And he's like that. I 601 00:31:38,080 --> 00:31:39,640 Speaker 2: could just look at him, he could do this and 602 00:31:39,640 --> 00:31:41,240 Speaker 2: you go, all right, you'll do it better than I 603 00:31:41,280 --> 00:31:45,400 Speaker 2: thought he would. So he's Chris Holt is a real find. 604 00:31:45,960 --> 00:31:47,880 Speaker 2: And so I'm lucky to have those guys. And now 605 00:31:47,880 --> 00:31:51,280 Speaker 2: Steve Feroni on the drums is quite a badand I. 606 00:31:51,280 --> 00:31:54,960 Speaker 3: Would say so speaking a sense of humor too, my 607 00:31:55,080 --> 00:31:58,800 Speaker 3: old friends. That one made me smile. 608 00:32:00,800 --> 00:32:04,280 Speaker 2: At this job. Well, you know, that's a I wasn't 609 00:32:04,280 --> 00:32:05,800 Speaker 2: going to put it on the record because I thought 610 00:32:05,800 --> 00:32:09,880 Speaker 2: it was a little, you know, in joke, but George 611 00:32:10,040 --> 00:32:11,760 Speaker 2: Cooley said no, it would sound great at the end, 612 00:32:11,800 --> 00:32:13,400 Speaker 2: you know, just a little breath of fresh air at 613 00:32:13,400 --> 00:32:16,320 Speaker 2: the end, and the little humor is good. And that's 614 00:32:16,360 --> 00:32:19,280 Speaker 2: obviously just me discovering how to play with words. 615 00:32:19,320 --> 00:32:19,480 Speaker 1: You know. 616 00:32:19,520 --> 00:32:22,800 Speaker 2: I got this idea that there's all these alcoholic drinks 617 00:32:22,880 --> 00:32:25,600 Speaker 2: that could be people, you know, because they have names 618 00:32:25,640 --> 00:32:29,000 Speaker 2: like Don perry On or Captain Morgan. So I figured 619 00:32:29,040 --> 00:32:31,840 Speaker 2: I'll just make the drinks the characters in the song, 620 00:32:31,920 --> 00:32:34,560 Speaker 2: you know, but you say goodbye to them because you 621 00:32:34,640 --> 00:32:38,320 Speaker 2: can't get sucked into that world, you know. So it's 622 00:32:38,320 --> 00:32:41,240 Speaker 2: a tongue in cheeks song, but it is fun and 623 00:32:41,360 --> 00:32:44,320 Speaker 2: Chris Stapleton actually sings harmony on it too, which is good. 624 00:32:45,440 --> 00:32:48,360 Speaker 3: And tell me about Innocent Man. Since we've covered I 625 00:32:48,360 --> 00:32:50,680 Speaker 3: think everything other than a mand the Lynn, tell me 626 00:32:50,720 --> 00:32:52,040 Speaker 3: about Innocent Man as well. 627 00:32:52,800 --> 00:32:54,720 Speaker 2: It's got that droney kind of I don't know what 628 00:32:54,840 --> 00:33:00,000 Speaker 2: to compare it to. It's kind of Appalachian or Irish almost, 629 00:33:00,240 --> 00:33:02,320 Speaker 2: but it's got that riff in it, and it's got 630 00:33:02,480 --> 00:33:05,640 Speaker 2: another story song which I had these characters, and it's 631 00:33:05,680 --> 00:33:08,240 Speaker 2: also an old song that I used to play back 632 00:33:08,240 --> 00:33:11,440 Speaker 2: in the bars and that I pulled out and refined. 633 00:33:11,040 --> 00:33:11,440 Speaker 3: It a bit. 634 00:33:12,240 --> 00:33:14,560 Speaker 2: But I like it because it's like a movie, you know, 635 00:33:14,600 --> 00:33:17,360 Speaker 2: you could. There's a lot of descriptive characters throughout the song, 636 00:33:17,440 --> 00:33:21,920 Speaker 2: and it's partly autobiographical. There's a version there where it 637 00:33:21,960 --> 00:33:24,720 Speaker 2: talks about the attack training dogs, coming on the bus 638 00:33:24,760 --> 00:33:28,600 Speaker 2: and snipping around for drugs, which actually happened to the Heartbreakers. 639 00:33:28,600 --> 00:33:31,840 Speaker 2: Once it's going into Canada. We had stopped and put 640 00:33:31,840 --> 00:33:34,360 Speaker 2: all our pot and stuff and a hotel room on 641 00:33:34,360 --> 00:33:37,080 Speaker 2: the American side. We'll pick it up after we come back, 642 00:33:37,160 --> 00:33:39,280 Speaker 2: you know. So we're going across the border at four 643 00:33:39,320 --> 00:33:40,960 Speaker 2: in the morning and they stopped the bus and the 644 00:33:41,000 --> 00:33:43,880 Speaker 2: German shepherd came on the bus. They went straight for 645 00:33:43,920 --> 00:33:46,160 Speaker 2: our tour manager's coat and he had a little half 646 00:33:46,160 --> 00:33:49,280 Speaker 2: of a joint that he forgot about. So they drug 647 00:33:49,360 --> 00:33:51,240 Speaker 2: us in, you know, in the freezing cold, and made 648 00:33:51,240 --> 00:33:54,320 Speaker 2: a strip search and all that shit. So that made 649 00:33:54,360 --> 00:33:56,080 Speaker 2: its way into the song. So there's a little bit 650 00:33:56,120 --> 00:33:58,880 Speaker 2: of that now the title. When I first wrote it, 651 00:33:58,920 --> 00:34:02,320 Speaker 2: I was calling it immigrant man, you know. And then 652 00:34:03,480 --> 00:34:06,120 Speaker 2: George Coulius one day he goes, you know, that's that's 653 00:34:06,160 --> 00:34:09,920 Speaker 2: a cool idea, but you might get a little you know, 654 00:34:10,040 --> 00:34:13,520 Speaker 2: political whatever from that, And I said, yeah, maybe, So 655 00:34:13,600 --> 00:34:15,200 Speaker 2: he said, how what if you call it innocent man? 656 00:34:15,280 --> 00:34:17,040 Speaker 2: He said, you know what, that's better. It's got a 657 00:34:17,080 --> 00:34:20,000 Speaker 2: wider palette. So I gave him credit for co writing 658 00:34:20,000 --> 00:34:20,279 Speaker 2: a song. 659 00:34:22,800 --> 00:34:28,319 Speaker 3: Tell me what you have learned from being around two 660 00:34:28,320 --> 00:34:36,520 Speaker 3: of the greats besides Tom obviously Don Henley and Bob Doylan. 661 00:34:37,480 --> 00:34:40,200 Speaker 2: Well, how lucky am I? You know my life is 662 00:34:40,320 --> 00:34:42,560 Speaker 2: like that. You know, things have been throughout my life. 663 00:34:43,480 --> 00:34:45,680 Speaker 2: I've just been charmed. Things have dropped in my lap, 664 00:34:45,760 --> 00:34:48,640 Speaker 2: you know. And the thing with Don Henley boys this 665 00:34:48,719 --> 00:34:51,640 Speaker 2: summer was just something that was a chain of events 666 00:34:52,080 --> 00:34:54,719 Speaker 2: that Jimmy I have Ben kind of spearheaded that track 667 00:34:54,719 --> 00:34:57,839 Speaker 2: because Tom didn't hear what to do with it at 668 00:34:57,880 --> 00:35:01,360 Speaker 2: that time. He later said to me, Tom said to me, 669 00:35:01,400 --> 00:35:02,879 Speaker 2: you know, I shouldn't have let that one get away. 670 00:35:03,680 --> 00:35:05,719 Speaker 2: Might have been in my presence of mind, I would 671 00:35:05,719 --> 00:35:08,399 Speaker 2: have kept that one, but it ended up. But with 672 00:35:08,440 --> 00:35:11,440 Speaker 2: Don and he did an amazing, amazing job, and I'm 673 00:35:11,480 --> 00:35:14,759 Speaker 2: really proud of that song. And Don is just you know, 674 00:35:14,800 --> 00:35:18,800 Speaker 2: he's one of the greats, you know, and he's always 675 00:35:18,800 --> 00:35:21,200 Speaker 2: been really kind to me and very generous with the 676 00:35:21,239 --> 00:35:25,360 Speaker 2: songs that we've done. And of course Bob Dylan showed 677 00:35:25,440 --> 00:35:29,040 Speaker 2: up in our lives. We did a world tour with 678 00:35:29,120 --> 00:35:32,839 Speaker 2: him with the Heartbreakers, which was very inspirational and eye 679 00:35:32,880 --> 00:35:39,680 Speaker 2: opening and just being around someone who's that special and deep. 680 00:35:40,520 --> 00:35:44,160 Speaker 2: I hope some of it rubbed off, but you know, 681 00:35:44,239 --> 00:35:46,480 Speaker 2: he was just so full of wisdom. He said to 682 00:35:46,520 --> 00:35:50,240 Speaker 2: me once, when you're writing a song, don't just write 683 00:35:50,239 --> 00:35:53,280 Speaker 2: three verses in a chorus, you know, write twenty verses, 684 00:35:54,040 --> 00:35:57,040 Speaker 2: you know, because you know, while you're in that place 685 00:35:57,640 --> 00:36:01,200 Speaker 2: you're you know, number fourteen fifteen might be great that 686 00:36:01,200 --> 00:36:02,719 Speaker 2: you would never have gotten to them. So you know, 687 00:36:02,840 --> 00:36:06,440 Speaker 2: channel and work for better lyrics, you know, And so 688 00:36:06,520 --> 00:36:08,480 Speaker 2: I try to emulate that. I've learned a lot from 689 00:36:08,520 --> 00:36:09,520 Speaker 2: him just watching them. 690 00:36:10,000 --> 00:36:12,759 Speaker 3: So tell me how much you're looking forward to being 691 00:36:12,800 --> 00:36:13,520 Speaker 3: out on the road. 692 00:36:14,440 --> 00:36:17,440 Speaker 2: Oh, I can't wait the band. You got all these 693 00:36:17,480 --> 00:36:19,200 Speaker 2: new songs to learn, you know, we have a whole 694 00:36:19,239 --> 00:36:21,360 Speaker 2: new set. We'll have to let some of the old songs, 695 00:36:22,440 --> 00:36:24,160 Speaker 2: go by the wayside for a while and work in 696 00:36:24,200 --> 00:36:25,600 Speaker 2: all the I'm going to play most of the songs 697 00:36:25,600 --> 00:36:28,839 Speaker 2: off the new record, and we've got a great opening act. 698 00:36:28,840 --> 00:36:31,759 Speaker 2: This girl, Shannon McNally is going to open the tour 699 00:36:31,840 --> 00:36:35,680 Speaker 2: for us, and the band is ready to go. You know, 700 00:36:36,040 --> 00:36:39,040 Speaker 2: I missed the crowds, and I missed the whole. I 701 00:36:39,160 --> 00:36:41,279 Speaker 2: like being on the road, you know, and I like 702 00:36:41,360 --> 00:36:43,919 Speaker 2: playing for people. And we've got to the stage where 703 00:36:43,960 --> 00:36:46,520 Speaker 2: we can play theaters now. You know, we're not in 704 00:36:46,600 --> 00:36:50,960 Speaker 2: the biker bars. Not there's anything wrong with biker bars, 705 00:36:50,960 --> 00:36:53,359 Speaker 2: but I like the theaters better because it sounds better 706 00:36:53,360 --> 00:36:56,400 Speaker 2: and they're a little bigger, and so we've worked up 707 00:36:56,440 --> 00:36:58,600 Speaker 2: to that stage. I mean they're small theaters, some of 708 00:36:58,600 --> 00:37:01,960 Speaker 2: them are medium sized, but that'll make it a lot 709 00:37:02,000 --> 00:37:05,719 Speaker 2: more fun, you know, better venues. And Steve Feroni on 710 00:37:05,760 --> 00:37:07,360 Speaker 2: the drums on this tour. He'll be a lot of 711 00:37:07,360 --> 00:37:10,400 Speaker 2: fun to play with, and the crowd loves him, and 712 00:37:10,440 --> 00:37:12,800 Speaker 2: we get to play all these new songs. I'm just jazzed, 713 00:37:12,840 --> 00:37:15,480 Speaker 2: you know. It's that's what I do. I write songs 714 00:37:15,480 --> 00:37:16,280 Speaker 2: and go play them. 715 00:37:16,400 --> 00:37:20,840 Speaker 3: You know, will you be writing on the road continuously 716 00:37:21,120 --> 00:37:22,040 Speaker 3: moving forward. 717 00:37:22,680 --> 00:37:25,759 Speaker 2: I write all the time I have found typically on 718 00:37:25,800 --> 00:37:30,040 Speaker 2: the road, I'm so drained from the tour the gigs 719 00:37:30,080 --> 00:37:32,279 Speaker 2: that I don't write that much. I tend to write 720 00:37:32,320 --> 00:37:33,920 Speaker 2: more when I'm at home and I have you know, 721 00:37:34,000 --> 00:37:36,560 Speaker 2: free time. But every now and then I might get 722 00:37:36,600 --> 00:37:38,319 Speaker 2: a sketch of an idea and I'll put it down. 723 00:37:38,640 --> 00:37:41,360 Speaker 2: But mostly I'm focused on the gigs when I'm traveling. 724 00:37:42,239 --> 00:37:48,320 Speaker 3: So, as someone who is continuously learning in your craft, 725 00:37:48,640 --> 00:37:54,440 Speaker 3: in closing, what haven't you learned that you want to learn? 726 00:37:55,760 --> 00:37:57,440 Speaker 2: Well, I want to learn to be a better singer 727 00:37:57,600 --> 00:38:01,440 Speaker 2: and a better writer and a better guitar player. And 728 00:38:01,440 --> 00:38:03,480 Speaker 2: you can always get better as the beauty of the 729 00:38:03,520 --> 00:38:07,640 Speaker 2: guitar and music in general. You know, the more you learn, 730 00:38:07,680 --> 00:38:11,279 Speaker 2: the more there is to learn. I just want to 731 00:38:11,280 --> 00:38:14,480 Speaker 2: get better mostly though the guitar is kind of I 732 00:38:14,560 --> 00:38:16,840 Speaker 2: kind of just do that instinctively. I don't have to 733 00:38:16,880 --> 00:38:18,640 Speaker 2: work at it too hard. It just comes to me. 734 00:38:19,320 --> 00:38:22,000 Speaker 2: But the singing, I'm working on finding my own voice 735 00:38:23,600 --> 00:38:28,279 Speaker 2: and writing my own characters and putting songs together that 736 00:38:28,640 --> 00:38:31,480 Speaker 2: you know, hopefully will inspire people. You know, I know 737 00:38:31,560 --> 00:38:33,279 Speaker 2: I can get better at that, So I'm going to 738 00:38:33,360 --> 00:38:35,399 Speaker 2: keep struggling with that to get as good as I can. 739 00:38:36,640 --> 00:38:38,759 Speaker 3: I am so grateful that we got to spend this 740 00:38:38,880 --> 00:38:43,120 Speaker 3: time together. Mike Campbell, Vagabonds, Virgins and Misfits go check 741 00:38:43,160 --> 00:38:46,960 Speaker 3: it out. It is an amazing record, and Mike, thank 742 00:38:47,000 --> 00:38:50,000 Speaker 3: you for the time, but thank you for all the 743 00:38:50,040 --> 00:38:52,239 Speaker 3: great music you continue to give us. 744 00:38:52,960 --> 00:38:55,359 Speaker 2: Well. You're very welcome, and thank you Gus for taking 745 00:38:55,400 --> 00:38:56,400 Speaker 2: the time from me today. 746 00:38:58,160 --> 00:39:01,520 Speaker 1: Thanks for listening to this episode the Taking a Walk podcast. 747 00:39:02,040 --> 00:39:05,200 Speaker 1: Share this and other episodes with your friends and follow 748 00:39:05,280 --> 00:39:08,520 Speaker 1: us so you never miss an episode. Taking a Walk 749 00:39:08,640 --> 00:39:13,200 Speaker 1: is available on the iHeartRadio app, Apple Podcasts, and wherever 750 00:39:13,280 --> 00:39:15,240 Speaker 1: you get your podcasts.