1 00:00:00,920 --> 00:00:03,680 Speaker 1: When we were kids, when we heard a live album, 2 00:00:03,800 --> 00:00:05,680 Speaker 1: we wanted to hear something that was different from the 3 00:00:05,760 --> 00:00:10,440 Speaker 1: studio album. Maybe a different guitar solo, maybe they do 4 00:00:10,480 --> 00:00:13,040 Speaker 1: it in a different key, and you'd hear the screw 5 00:00:13,119 --> 00:00:16,079 Speaker 1: up set it, you know, But that's okay because it 6 00:00:16,120 --> 00:00:18,400 Speaker 1: tells you, you know, this is a live record, this 7 00:00:18,440 --> 00:00:20,880 Speaker 1: is what happened that night. So in other words, if 8 00:00:20,960 --> 00:00:23,640 Speaker 1: we screw up on stage, you'll hear it. 9 00:00:24,840 --> 00:00:28,040 Speaker 2: Welcome to the Taking a Walk podcast, where your host 10 00:00:28,080 --> 00:00:32,000 Speaker 2: Buzz Night talks with musicians about the inside story behind 11 00:00:32,000 --> 00:00:37,199 Speaker 2: their music. On this episode, our guests are actor musician 12 00:00:37,280 --> 00:00:41,159 Speaker 2: Billy Bob Thornton and Grammy Award winning engineer j D Andrew. 13 00:00:41,720 --> 00:00:45,200 Speaker 2: Currently on tour. They're the founding members of the band 14 00:00:45,240 --> 00:00:49,239 Speaker 2: The box Masters. The band started in Bellflower, California, back 15 00:00:49,280 --> 00:00:52,600 Speaker 2: in two thousand and seven, and two dozen albums later, 16 00:00:52,920 --> 00:00:55,960 Speaker 2: they're still out on the road, showcasing their unique brand 17 00:00:56,000 --> 00:00:59,680 Speaker 2: of music. Here's Billy, Bob and JD with Buzz on 18 00:00:59,800 --> 00:01:00,880 Speaker 2: tape can Walk. 19 00:01:02,400 --> 00:01:02,640 Speaker 3: Well. 20 00:01:02,680 --> 00:01:05,160 Speaker 4: Congrats Billy, Bob and j D on the new album 21 00:01:05,360 --> 00:01:09,119 Speaker 4: Love and Hate in Desperate Places and the Big Tour. 22 00:01:09,520 --> 00:01:13,080 Speaker 4: Rolling on one of the dates is I know, Friday, 23 00:01:13,080 --> 00:01:17,479 Speaker 4: October the eleventh at the Pollock Theater in Monmouth, New Jersey. 24 00:01:17,520 --> 00:01:19,959 Speaker 4: But you've got dates all over the place, guys. I 25 00:01:20,000 --> 00:01:25,200 Speaker 4: know some city wineries and many others, and I know 26 00:01:25,360 --> 00:01:28,240 Speaker 4: your fans can't wait to see you out in the road. 27 00:01:29,760 --> 00:01:31,200 Speaker 3: So, Billy Bob, I'm gonna start with you. 28 00:01:33,040 --> 00:01:36,039 Speaker 4: What does j D Andrews bring out in you to 29 00:01:36,160 --> 00:01:38,400 Speaker 4: make you better as a musician. 30 00:01:39,040 --> 00:01:42,880 Speaker 1: Well, I think it's the thing we do for each 31 00:01:42,920 --> 00:01:47,400 Speaker 1: other as we we leave no stone unturned. So we 32 00:01:47,520 --> 00:01:53,320 Speaker 1: push each other very hard, and the best idea always wins. 33 00:01:53,720 --> 00:01:57,920 Speaker 1: And you know we've disagreed very few times over the years. 34 00:01:57,960 --> 00:02:01,920 Speaker 1: But you know, if JD thinks I can do something 35 00:02:01,960 --> 00:02:06,480 Speaker 1: better on a on a track, whether it's a harmony 36 00:02:06,520 --> 00:02:09,040 Speaker 1: or playing drums or a lead vocal, whatever it is, 37 00:02:10,520 --> 00:02:14,280 Speaker 1: he doesn't stop until he knows I got the one. 38 00:02:14,280 --> 00:02:18,480 Speaker 1: That's that's me, you know. And and plus JD is 39 00:02:18,520 --> 00:02:21,400 Speaker 1: our engineer, which a lot of bands don't have a 40 00:02:21,440 --> 00:02:24,760 Speaker 1: world class engineer who's in the band, you know, who 41 00:02:25,160 --> 00:02:28,119 Speaker 1: also records the records. So most of the time it's 42 00:02:28,160 --> 00:02:30,400 Speaker 1: just me and j D in the studio playing everything 43 00:02:30,440 --> 00:02:36,320 Speaker 1: and singing everything. And so you know, it's a pretty 44 00:02:36,919 --> 00:02:42,680 Speaker 1: relaxed atmosphere usually, and so and we have the time 45 00:02:42,760 --> 00:02:45,520 Speaker 1: to do it because we bought a studio A a 46 00:02:45,520 --> 00:02:52,120 Speaker 1: few years back, almost four years ago, and it kind 47 00:02:52,160 --> 00:02:56,079 Speaker 1: of came with the house. But it's a very very 48 00:02:56,080 --> 00:02:59,280 Speaker 1: good studio. For years we recorded over at A and 49 00:02:59,440 --> 00:03:04,080 Speaker 1: M and it's an amazing studio. We miss going to 50 00:03:04,160 --> 00:03:07,760 Speaker 1: work in some ways, but in other words, it's so 51 00:03:07,840 --> 00:03:10,640 Speaker 1: much better. It's a very creative place. So some places 52 00:03:10,639 --> 00:03:13,960 Speaker 1: just have a creative vibe and this this one has it. 53 00:03:14,160 --> 00:03:16,920 Speaker 1: And but yeah, in terms of what JD does for me, 54 00:03:17,320 --> 00:03:21,240 Speaker 1: he just he pushes me to be my best. 55 00:03:20,840 --> 00:03:23,359 Speaker 3: And JD, how about Billy for you? 56 00:03:24,040 --> 00:03:25,960 Speaker 1: Well, I mean I think it's kind of the same. 57 00:03:26,360 --> 00:03:30,760 Speaker 5: I mean, you know, it's you know, like you said, 58 00:03:30,800 --> 00:03:33,640 Speaker 5: the best idea wins, you know. And sometimes I'm just 59 00:03:33,680 --> 00:03:35,720 Speaker 5: standing there, you know, I've got a bass or a 60 00:03:35,760 --> 00:03:37,160 Speaker 5: guitar in my hands. 61 00:03:37,360 --> 00:03:39,040 Speaker 1: And i have no idea what I'm going to do. 62 00:03:39,840 --> 00:03:41,440 Speaker 5: You know, Billy will be like, hey, why don't you 63 00:03:41,520 --> 00:03:45,240 Speaker 5: try this sort of part? And usually we'll call it 64 00:03:45,240 --> 00:03:50,040 Speaker 5: out like doing a Ronnie Wood part or you know what, Well, 65 00:03:50,120 --> 00:03:52,360 Speaker 5: we don't have a technical name for it. It's like, 66 00:03:52,880 --> 00:03:56,560 Speaker 5: what would you know, a Paul McCartney baseline sound like 67 00:03:56,720 --> 00:03:59,200 Speaker 5: on this or a Ronnie Wood guitar part, or a 68 00:03:59,280 --> 00:04:02,760 Speaker 5: Keith guitar par art or Roger mcgwin part. It's kind 69 00:04:02,760 --> 00:04:04,560 Speaker 5: of like what would one of those guys, you know, 70 00:04:04,600 --> 00:04:07,520 Speaker 5: what would our heroes do on one of these songs. 71 00:04:07,960 --> 00:04:11,120 Speaker 5: We just kind of try to channel those songs that 72 00:04:11,160 --> 00:04:14,720 Speaker 5: we grew up loving and get kind of the essence 73 00:04:14,760 --> 00:04:18,680 Speaker 5: of whatever we loved about that thing that we're you know, 74 00:04:18,800 --> 00:04:22,160 Speaker 5: kind of using as a touchstone. It's like, how can 75 00:04:22,200 --> 00:04:25,919 Speaker 5: we put that into this song? And you know, it 76 00:04:26,160 --> 00:04:30,000 Speaker 5: generally works out. We get an idea for something and 77 00:04:30,080 --> 00:04:32,880 Speaker 5: it's like, okay, great, and that might change the direction 78 00:04:32,960 --> 00:04:36,120 Speaker 5: of a song, you know a little bit. It might 79 00:04:36,200 --> 00:04:38,640 Speaker 5: just add a little you know, something special to it. 80 00:04:38,680 --> 00:04:41,640 Speaker 5: But to each other, you know, we really are you know, 81 00:04:41,680 --> 00:04:44,640 Speaker 5: pushing each other. It's like, let's make the best thing. 82 00:04:44,760 --> 00:04:47,960 Speaker 5: You know, it's there's we don't have any reason to 83 00:04:48,160 --> 00:04:51,080 Speaker 5: only you know, to half asset. It's like, you know, 84 00:04:51,120 --> 00:04:53,760 Speaker 5: we've got the time and we've got the place. We 85 00:04:53,880 --> 00:04:56,719 Speaker 5: have to do our best, you know, because if if 86 00:04:56,760 --> 00:05:00,240 Speaker 5: we don't, kind of what's the point. You know, there's 87 00:05:00,320 --> 00:05:04,760 Speaker 5: there's no reason to not do our best, and you know, thankfully, 88 00:05:05,360 --> 00:05:08,920 Speaker 5: going into our eighteenth year, every record that we make 89 00:05:09,080 --> 00:05:11,920 Speaker 5: now we feel like this is the best one we've 90 00:05:11,960 --> 00:05:15,800 Speaker 5: ever made, and we keep pushing each other to do 91 00:05:15,960 --> 00:05:17,480 Speaker 5: better and better and better. 92 00:05:17,920 --> 00:05:21,560 Speaker 1: And to us, we're succeeding because we're super. 93 00:05:21,279 --> 00:05:23,760 Speaker 5: Proud of what we're doing and we're proud of every 94 00:05:23,800 --> 00:05:26,640 Speaker 5: record and you know, we work really hard on them, 95 00:05:27,400 --> 00:05:32,159 Speaker 5: so it doesn't feel like it's year eighteen of this band. 96 00:05:32,360 --> 00:05:34,719 Speaker 5: It feels like, you know, we're just getting started. We're 97 00:05:34,800 --> 00:05:37,800 Speaker 5: just hitting the road, playing you know, new shows for 98 00:05:38,120 --> 00:05:41,240 Speaker 5: different crowds, and feels like the momentum it just always 99 00:05:41,279 --> 00:05:43,039 Speaker 5: is going up. You know, we just keep doing it 100 00:05:43,080 --> 00:05:44,599 Speaker 5: and keep plowing away. 101 00:05:44,640 --> 00:05:46,080 Speaker 1: And if we. 102 00:05:46,000 --> 00:05:48,120 Speaker 5: Didn't like it, we wouldn't do it for one But 103 00:05:48,320 --> 00:05:50,560 Speaker 5: you know, we love what we do and we love 104 00:05:51,279 --> 00:05:53,320 Speaker 5: making the records, but we love getting to, you know, 105 00:05:53,360 --> 00:05:55,560 Speaker 5: get our friends together to go on the road with us. 106 00:05:55,800 --> 00:05:57,760 Speaker 5: And you know, it's all guys that we've known for 107 00:05:58,040 --> 00:05:59,880 Speaker 5: you know, a number of years, and we love hanging 108 00:05:59,880 --> 00:06:02,520 Speaker 5: out with and when you're stuck with ten guys in 109 00:06:02,560 --> 00:06:04,520 Speaker 5: a bus, you better get along. 110 00:06:07,600 --> 00:06:12,920 Speaker 4: So if you guys had the ability to be plopped 111 00:06:12,960 --> 00:06:18,839 Speaker 4: into any year in music history, in any place in 112 00:06:18,960 --> 00:06:22,080 Speaker 4: time that was you know, fertile and music history. 113 00:06:22,520 --> 00:06:25,520 Speaker 3: What year would it would it be for you guys? 114 00:06:26,760 --> 00:06:34,200 Speaker 1: I would say sixty seven through seventy in there, JD 115 00:06:34,279 --> 00:06:36,400 Speaker 1: and I say it all the time. If this band 116 00:06:36,400 --> 00:06:41,840 Speaker 1: had been around in nineteen sixty seven sixty eight, I 117 00:06:41,880 --> 00:06:44,560 Speaker 1: think we would have songs in the top ten. I 118 00:06:44,600 --> 00:06:47,200 Speaker 1: mean just because that we play that kind of music. 119 00:06:47,240 --> 00:06:51,720 Speaker 1: It's original music. But we write these records based on 120 00:06:51,760 --> 00:06:55,080 Speaker 1: our love of those times. I mean obviously earlier, you know, 121 00:06:55,080 --> 00:06:57,280 Speaker 1: when the Beatles came along, and the Kinks and the 122 00:06:57,320 --> 00:07:00,919 Speaker 1: Animals and everybody were highly influenced by British invasion. But 123 00:07:03,360 --> 00:07:08,360 Speaker 1: our music isn't quite that old sixties soundings. It's a 124 00:07:08,360 --> 00:07:11,240 Speaker 1: little more like when it changed from rock and roll 125 00:07:11,320 --> 00:07:14,400 Speaker 1: to rock in sixty seven. It's when Cream and Traffic 126 00:07:14,440 --> 00:07:18,960 Speaker 1: and all those guys came along. And so I would say, yeah, 127 00:07:18,960 --> 00:07:22,480 Speaker 1: if we'd be plopped in anywhere, probably nineteen sixty seven, 128 00:07:23,320 --> 00:07:27,400 Speaker 1: and back in those days, labels didn't drop you because 129 00:07:27,400 --> 00:07:31,920 Speaker 1: your album wasn't a huge success. You had time. I 130 00:07:31,960 --> 00:07:35,440 Speaker 1: mean some people would have their first three records flop 131 00:07:36,040 --> 00:07:39,280 Speaker 1: and that still be on Columbia or RCA or whoever. 132 00:07:39,320 --> 00:07:42,960 Speaker 1: They're wrong, and you know they let bands develop and 133 00:07:43,600 --> 00:07:47,400 Speaker 1: now if your first thing, and these days it's single, 134 00:07:47,680 --> 00:07:52,160 Speaker 1: not necessarily album. We still do albums. But you know 135 00:07:52,200 --> 00:07:56,080 Speaker 1: we've pop stars. If they have a turkey, you know, 136 00:07:56,600 --> 00:07:59,320 Speaker 1: next thing. You know, you don't see much around see 137 00:07:59,360 --> 00:08:02,040 Speaker 1: them around my agor Yeah. 138 00:08:01,880 --> 00:08:05,080 Speaker 3: That's for sure. But let me ask you. 139 00:08:05,120 --> 00:08:09,360 Speaker 4: Back in that era, what was so beautiful about that 140 00:08:09,480 --> 00:08:16,480 Speaker 4: era was the fact that bands musicians were rewarded for 141 00:08:16,640 --> 00:08:17,800 Speaker 4: being different. 142 00:08:18,760 --> 00:08:21,360 Speaker 3: Everything could sound different, and. 143 00:08:22,840 --> 00:08:27,600 Speaker 4: I submit to you, if somebody clicks with something, nowadays, 144 00:08:28,200 --> 00:08:30,440 Speaker 4: you're going to have twenty five other people trying to 145 00:08:30,480 --> 00:08:31,240 Speaker 4: replicate that. 146 00:08:31,480 --> 00:08:33,040 Speaker 3: Is that unfair of me to say? 147 00:08:33,880 --> 00:08:33,960 Speaker 1: That? 148 00:08:34,080 --> 00:08:36,920 Speaker 5: Is not unfair for you to say at all? Uh, yeah, 149 00:08:36,960 --> 00:08:40,640 Speaker 5: we say this thing exactly. You know that was billyus, 150 00:08:40,679 --> 00:08:43,480 Speaker 5: you know, always like that was the thing. Every band 151 00:08:43,600 --> 00:08:47,720 Speaker 5: strove to be there themselves and individuals and different from 152 00:08:47,760 --> 00:08:49,439 Speaker 5: the next one. You know, you wanted to have your 153 00:08:49,440 --> 00:08:54,240 Speaker 5: own sound. That's how we feel. We sound like ourselves. 154 00:08:54,360 --> 00:08:56,360 Speaker 5: You know, we have all these influences of all these 155 00:08:56,400 --> 00:08:58,920 Speaker 5: bands that we loved, but at the end of the day, 156 00:08:59,720 --> 00:09:03,200 Speaker 5: we have a pretty you know specific box Master sound. 157 00:09:03,400 --> 00:09:06,680 Speaker 5: If you've listened to us from the beginning to the end, 158 00:09:06,960 --> 00:09:10,000 Speaker 5: you know, from album one to seventeen, there's been a 159 00:09:10,000 --> 00:09:14,719 Speaker 5: lot of stylistic changes, but at the same time, you 160 00:09:14,760 --> 00:09:17,760 Speaker 5: can tell it's the same band from album one to 161 00:09:17,840 --> 00:09:18,760 Speaker 5: album seventeen. 162 00:09:19,520 --> 00:09:23,439 Speaker 1: And also we when we play live, we don't use 163 00:09:23,440 --> 00:09:26,560 Speaker 1: any gizmos or play the tracks or anything like that. 164 00:09:26,880 --> 00:09:31,040 Speaker 1: So a lot of people now are I mean, it 165 00:09:31,160 --> 00:09:33,360 Speaker 1: used to be like a secret that some bands would 166 00:09:33,360 --> 00:09:35,200 Speaker 1: do that they tried to keep a secret. Now it's 167 00:09:35,240 --> 00:09:37,679 Speaker 1: just in the open that now we just go out 168 00:09:37,720 --> 00:09:42,200 Speaker 1: and play to a track. So I when we were kids, 169 00:09:42,559 --> 00:09:44,679 Speaker 1: when we heard a live album, we wanted to hear 170 00:09:44,720 --> 00:09:48,000 Speaker 1: something that was different from the studio album. And so 171 00:09:49,120 --> 00:09:52,719 Speaker 1: maybe a different guitar solo, maybe they do it in 172 00:09:52,760 --> 00:09:55,800 Speaker 1: a different key, and you'd hear the screw up sentence, 173 00:09:55,800 --> 00:09:58,840 Speaker 1: you know, But that's okay because it tells you, you 174 00:09:58,840 --> 00:10:00,720 Speaker 1: know this, this is a live record, this is what 175 00:10:00,840 --> 00:10:03,720 Speaker 1: happened that night. So in other words, if if we 176 00:10:03,880 --> 00:10:05,680 Speaker 1: screw up on stage, you'll hear it. 177 00:10:07,720 --> 00:10:10,600 Speaker 3: Well, you just led me perfectly to my next question. 178 00:10:10,679 --> 00:10:14,800 Speaker 4: It's like you were reading my notes here, because I 179 00:10:14,960 --> 00:10:19,880 Speaker 4: feel like with the advent of you know, technology and 180 00:10:19,960 --> 00:10:24,719 Speaker 4: what you know, various software and AI can do that, 181 00:10:25,160 --> 00:10:31,040 Speaker 4: this notion of allowing imperfection to shine through in a 182 00:10:31,200 --> 00:10:37,400 Speaker 4: unique way seems to be going away in favor of perfection. 183 00:10:37,520 --> 00:10:40,199 Speaker 3: Would you guys agree with that for sure? 184 00:10:40,920 --> 00:10:44,959 Speaker 1: Absolutely? Yeah, And that's who wants that. I mean, if 185 00:10:45,000 --> 00:10:47,760 Speaker 1: you're going to go see somebody live and you're just 186 00:10:47,800 --> 00:10:50,599 Speaker 1: going to hear the record, just save you're fifty to 187 00:10:51,360 --> 00:10:54,160 Speaker 1: five hundred bucks whatever it is for some of the 188 00:10:54,160 --> 00:10:57,199 Speaker 1: big stars, you know, stay home and listen to the record. 189 00:10:57,720 --> 00:11:00,680 Speaker 1: Just you know, go somewhere to ride running your car 190 00:11:00,679 --> 00:11:03,720 Speaker 1: and put your phone into the bluetooth or whatever and 191 00:11:03,760 --> 00:11:04,760 Speaker 1: just listen to the record. 192 00:11:04,800 --> 00:11:05,000 Speaker 3: You know. 193 00:11:06,080 --> 00:11:08,640 Speaker 4: But do you feel like it's happening in studio work 194 00:11:08,679 --> 00:11:12,480 Speaker 4: as well, where perfection is sort of the ideal scenario 195 00:11:12,679 --> 00:11:14,960 Speaker 4: rather than allowing some rough edges. 196 00:11:15,960 --> 00:11:17,160 Speaker 1: Sure, yeah, absolutely. 197 00:11:17,800 --> 00:11:20,480 Speaker 5: I mean people have been doing it since the dawn 198 00:11:20,520 --> 00:11:23,240 Speaker 5: of recording, where they try to, you know, make everything 199 00:11:23,360 --> 00:11:26,319 Speaker 5: absolutely perfect. It used to be a lot harder when 200 00:11:26,400 --> 00:11:30,080 Speaker 5: you're using a tape machine and a razorblade to you know, 201 00:11:30,160 --> 00:11:33,680 Speaker 5: fix timing issues and things like that. These days, you 202 00:11:33,720 --> 00:11:35,880 Speaker 5: just have a computer and if you mess it up, 203 00:11:36,320 --> 00:11:38,680 Speaker 5: you just hit undo and okay, you're back to what 204 00:11:38,760 --> 00:11:41,560 Speaker 5: you had and now you can fix it again. It's 205 00:11:41,600 --> 00:11:44,680 Speaker 5: so rare that a band or you know, anybody plays 206 00:11:44,720 --> 00:11:47,360 Speaker 5: live in the studio, you know, so you don't end 207 00:11:47,440 --> 00:11:50,320 Speaker 5: up with those imperfections. And you know, we have our 208 00:11:50,360 --> 00:11:53,240 Speaker 5: own method of recording because you know, it is just 209 00:11:53,320 --> 00:11:55,040 Speaker 5: the two of us that make the records most of 210 00:11:55,080 --> 00:11:58,240 Speaker 5: the time, so we can't help. But you know, it's 211 00:11:58,240 --> 00:12:00,520 Speaker 5: like one guy has to press record on the machine 212 00:12:00,559 --> 00:12:03,000 Speaker 5: and one guy has to go play the part. But 213 00:12:03,440 --> 00:12:05,200 Speaker 5: the way that we try to do it to make 214 00:12:05,960 --> 00:12:09,440 Speaker 5: it feel a little more organic and more live, is 215 00:12:10,080 --> 00:12:12,000 Speaker 5: we start at the beginning of the song and we 216 00:12:12,000 --> 00:12:15,760 Speaker 5: play to the end of the song. And so hopefully 217 00:12:16,320 --> 00:12:18,959 Speaker 5: when you're doing it that way, you have the dynamics 218 00:12:19,240 --> 00:12:22,480 Speaker 5: of Okay, here's the beginning, I'm pretty hyped up. Oh 219 00:12:22,559 --> 00:12:24,520 Speaker 5: the verse, you bring it down a little bit, chorus, 220 00:12:24,559 --> 00:12:25,400 Speaker 5: you bring it back up. 221 00:12:25,880 --> 00:12:26,080 Speaker 1: You know. 222 00:12:26,160 --> 00:12:29,600 Speaker 5: So we try to bring the songs a live like 223 00:12:29,720 --> 00:12:34,000 Speaker 5: that what is just the two of us. But these days, yeah, 224 00:12:34,040 --> 00:12:37,480 Speaker 5: the using a drum machine for everything, or you know, 225 00:12:37,640 --> 00:12:41,880 Speaker 5: using keyboards to basically do all the parts. You know, 226 00:12:41,920 --> 00:12:45,000 Speaker 5: it's all all very easy to just hit quantize on 227 00:12:45,080 --> 00:12:48,680 Speaker 5: all of it, so everything is perfectly in time, and 228 00:12:48,720 --> 00:12:51,400 Speaker 5: then you can tune the vocals until they're basically a 229 00:12:51,440 --> 00:12:56,120 Speaker 5: flat sign wave of just perfect pitch. You know, that's 230 00:12:56,240 --> 00:13:00,920 Speaker 5: kind of why so few songs have any last life 231 00:13:00,960 --> 00:13:04,199 Speaker 5: to them. They just there's no the feeling has been 232 00:13:04,200 --> 00:13:07,720 Speaker 5: completely washed out of them, so it's it doesn't You 233 00:13:07,800 --> 00:13:11,360 Speaker 5: might enjoy it for a little bit, but then something 234 00:13:11,360 --> 00:13:13,560 Speaker 5: else comes along and then you forget about that song 235 00:13:13,640 --> 00:13:18,480 Speaker 5: that you've enjoyed for a few minutes, just because there's 236 00:13:18,520 --> 00:13:23,319 Speaker 5: there's nothing left. There's no meat to it to grasp into. 237 00:13:23,400 --> 00:13:26,800 Speaker 5: And you know, if you're not singing about anything other 238 00:13:26,840 --> 00:13:29,720 Speaker 5: than partying, I don't think you know that that's not 239 00:13:29,840 --> 00:13:32,440 Speaker 5: really a lasting equation for a song either. 240 00:13:33,000 --> 00:13:35,160 Speaker 2: We'll be right back with more of the Taking a 241 00:13:35,200 --> 00:13:43,400 Speaker 2: Walk Podcast. Welcome back to the Taking a Walk Podcast. 242 00:13:43,520 --> 00:13:45,920 Speaker 4: Well, there's a new song that you guys have called 243 00:13:45,960 --> 00:13:49,720 Speaker 4: The River's Rising, which has got a lot of heart 244 00:13:49,800 --> 00:13:54,480 Speaker 4: and soul to it, and I want to ask you 245 00:13:55,600 --> 00:13:59,160 Speaker 4: was it influenced in any way by the mess that 246 00:13:59,360 --> 00:14:01,319 Speaker 4: social media has created. 247 00:14:02,320 --> 00:14:06,199 Speaker 1: Yes, it's about all those things. It's about it's a 248 00:14:07,440 --> 00:14:10,600 Speaker 1: very socio political I'll put it that way. The song 249 00:14:10,760 --> 00:14:15,280 Speaker 1: is really about, you know, when you tell somebody, hey, listen, 250 00:14:16,240 --> 00:14:19,440 Speaker 1: I think that boulder up there it looks doesn't look 251 00:14:19,520 --> 00:14:22,120 Speaker 1: it's kind of precarious. I'm not sure a thing might fall. 252 00:14:22,480 --> 00:14:24,800 Speaker 1: They go, oh yeah, thats kind of looks like I said, no, no, no, 253 00:14:24,800 --> 00:14:27,200 Speaker 1: you don't understand. I'm saying you need to get out 254 00:14:27,200 --> 00:14:30,720 Speaker 1: of the way. You know. It's like what was the 255 00:14:31,920 --> 00:14:34,040 Speaker 1: not the boy cried wolf, but deal and said the 256 00:14:34,080 --> 00:14:38,160 Speaker 1: sky was fallowing. It's it's a it's a song saying 257 00:14:39,840 --> 00:14:45,120 Speaker 1: stop sleeping on what's happening and uh, you know, and 258 00:14:45,120 --> 00:14:49,960 Speaker 1: and this is not a left or right thing. It's 259 00:14:50,040 --> 00:14:53,280 Speaker 1: just about the whole mess, you know, how people are 260 00:14:53,280 --> 00:14:55,920 Speaker 1: being separated and stuff, and the middle is being kind 261 00:14:55,960 --> 00:14:59,160 Speaker 1: of killed. Critical thinking is not as important as it 262 00:14:59,280 --> 00:15:02,880 Speaker 1: used to be. And it's a song that's kind of saying, look, 263 00:15:03,120 --> 00:15:06,400 Speaker 1: look behind you, the river's rising. We might want to 264 00:15:07,040 --> 00:15:10,760 Speaker 1: get out of here, you know, because in other words, 265 00:15:10,760 --> 00:15:14,600 Speaker 1: it's like a ground swell of stuff that when we're comfortable, 266 00:15:14,640 --> 00:15:17,720 Speaker 1: we don't think about it. But in the meantime, it's 267 00:15:17,760 --> 00:15:21,800 Speaker 1: all bubbling up around us, you know. And that's that's 268 00:15:21,800 --> 00:15:25,120 Speaker 1: really what the song's about and we have several songs 269 00:15:25,160 --> 00:15:29,520 Speaker 1: about how social media has it can be used for 270 00:15:29,640 --> 00:15:33,000 Speaker 1: good and it can be used for bad, and most 271 00:15:33,040 --> 00:15:36,080 Speaker 1: of the time the stuff that sticks is on the 272 00:15:36,200 --> 00:15:38,120 Speaker 1: more on the bad side. 273 00:15:38,920 --> 00:15:41,320 Speaker 4: Do you think social media is more to blame for 274 00:15:41,400 --> 00:15:44,760 Speaker 4: things or do you think the person that invented the 275 00:15:44,800 --> 00:15:46,920 Speaker 4: infinite scroll is the real demon? 276 00:15:48,680 --> 00:15:50,520 Speaker 1: I don't know what that. Yeah, I mean, I don't 277 00:15:50,560 --> 00:15:51,960 Speaker 1: know what the infinite scroll is. 278 00:15:52,840 --> 00:15:57,160 Speaker 4: Well, I mean the ability with you know phones, you 279 00:15:57,200 --> 00:15:59,920 Speaker 4: know cell phones, to be able to continually go like 280 00:16:00,240 --> 00:16:03,720 Speaker 4: this and be able to look at all your junk 281 00:16:03,760 --> 00:16:06,640 Speaker 4: and see where people ate for dinner last night and 282 00:16:06,680 --> 00:16:07,760 Speaker 4: all that stupid stuff. 283 00:16:07,880 --> 00:16:10,800 Speaker 1: Oh yeah, it's just it's so creepy to us. And 284 00:16:10,840 --> 00:16:14,000 Speaker 1: the thing about it is is once once things are 285 00:16:14,080 --> 00:16:17,840 Speaker 1: gone and this is all you have, then even people 286 00:16:17,840 --> 00:16:20,800 Speaker 1: who are not into it or even speak against it 287 00:16:21,240 --> 00:16:24,480 Speaker 1: get hooked on it. It's like I have my phone 288 00:16:24,520 --> 00:16:26,640 Speaker 1: with me all the time because I have a family. 289 00:16:26,960 --> 00:16:30,920 Speaker 1: JD's the same way. And after a while you've become 290 00:16:30,960 --> 00:16:33,800 Speaker 1: so dependent on it. I remember when I first moved 291 00:16:33,840 --> 00:16:39,000 Speaker 1: to la in nineteen eighty, I was we had a 292 00:16:39,040 --> 00:16:41,960 Speaker 1: thing called a Thomas Guide and it was just a 293 00:16:42,040 --> 00:16:47,160 Speaker 1: map of every street in La County and you had 294 00:16:47,160 --> 00:16:50,400 Speaker 1: to look at this. It is like a serious catalog 295 00:16:50,800 --> 00:16:52,640 Speaker 1: and you had to look up where you were going 296 00:16:52,720 --> 00:16:55,720 Speaker 1: and figure out how to get there. And you know, 297 00:16:55,800 --> 00:17:01,600 Speaker 1: I think social media has made people so lazy. And 298 00:17:01,760 --> 00:17:06,880 Speaker 1: also the life's about the journey, not the end result. 299 00:17:07,160 --> 00:17:09,720 Speaker 1: So what everything is at your fingertips? You're not going 300 00:17:09,760 --> 00:17:11,680 Speaker 1: on a journey to learn. And I think when you 301 00:17:11,800 --> 00:17:14,920 Speaker 1: learn that way, you don't remember it as well. If 302 00:17:14,960 --> 00:17:17,320 Speaker 1: you have to work hard to learn something, you remember 303 00:17:17,359 --> 00:17:19,080 Speaker 1: it well. 304 00:17:19,080 --> 00:17:24,359 Speaker 4: Stated Billy, you cast John Prine and Daddy and them, 305 00:17:24,720 --> 00:17:26,840 Speaker 4: And I know he was a friend of yours. 306 00:17:27,680 --> 00:17:29,760 Speaker 3: I'm JD. I'm not sure if he was a friend 307 00:17:29,760 --> 00:17:31,920 Speaker 3: of yours. I would imagine if he was a friend 308 00:17:31,920 --> 00:17:33,520 Speaker 3: of Billy's. He was a friend of yours. 309 00:17:33,560 --> 00:17:36,520 Speaker 1: But sadly, John was one of the guys I never 310 00:17:36,560 --> 00:17:37,160 Speaker 1: got to meet. 311 00:17:38,000 --> 00:17:43,720 Speaker 5: And I was, yeah, I'm a you know, huge fan 312 00:17:44,000 --> 00:17:47,439 Speaker 5: of his music, but yeah, sadly I never got to 313 00:17:47,440 --> 00:17:47,840 Speaker 5: meet him. 314 00:17:48,320 --> 00:17:52,400 Speaker 4: Well, he clearly chronicled the journey in such a brilliant way. 315 00:17:52,520 --> 00:17:55,159 Speaker 4: Can you tell me what the experience for you was like? 316 00:17:55,840 --> 00:17:59,280 Speaker 4: You know, certainly knowing him and working with him on 317 00:17:59,440 --> 00:18:00,040 Speaker 4: Daddy and then. 318 00:18:00,960 --> 00:18:04,119 Speaker 1: Well, John and I had met several years before we 319 00:18:04,200 --> 00:18:07,640 Speaker 1: did that, and we just kind of hit it off. 320 00:18:07,680 --> 00:18:11,600 Speaker 1: And in terms of where I first met him. When 321 00:18:11,640 --> 00:18:15,000 Speaker 1: I get asked that about people, I usually don't remember 322 00:18:15,080 --> 00:18:17,639 Speaker 1: how we met. It's just from being around, you know 323 00:18:17,680 --> 00:18:23,400 Speaker 1: what I mean. But we were mutual fans of each other, 324 00:18:23,480 --> 00:18:26,520 Speaker 1: you know, and we just ended up being pals. And 325 00:18:27,280 --> 00:18:30,520 Speaker 1: I thought, you know, this guy, this guy could play 326 00:18:30,520 --> 00:18:32,880 Speaker 1: my older brother. I'm telling you, I know he's got 327 00:18:32,960 --> 00:18:35,359 Speaker 1: it in it because John didn't have the ability to 328 00:18:35,400 --> 00:18:40,280 Speaker 1: not be who he was, to not be natural. Actually, 329 00:18:40,680 --> 00:18:43,280 Speaker 1: he has a song that became a famous song of 330 00:18:43,359 --> 00:18:46,879 Speaker 1: his that I asked him to do. I said, John, 331 00:18:46,920 --> 00:18:50,040 Speaker 1: can you write a song for the closing credit sequence? 332 00:18:50,600 --> 00:18:53,280 Speaker 1: And he goes, how do I do that? I said, well, 333 00:18:54,000 --> 00:18:55,920 Speaker 1: I said, you just kind of you don't hit the 334 00:18:56,040 --> 00:18:59,320 Speaker 1: nail on the head, but at the same time, make 335 00:18:59,440 --> 00:19:03,480 Speaker 1: reference to the characters and the story somehow, so make 336 00:19:03,520 --> 00:19:08,520 Speaker 1: it a little more of a not a linear storytelling 337 00:19:08,560 --> 00:19:12,120 Speaker 1: of the movie, but just you know, get it across 338 00:19:12,160 --> 00:19:17,760 Speaker 1: whatever you're feeling is So he ended up writing in 339 00:19:17,800 --> 00:19:22,320 Speaker 1: Spite of Ourselves, which was the closing credit song, and 340 00:19:22,359 --> 00:19:24,760 Speaker 1: he did it with Iris Dement and it became one 341 00:19:24,800 --> 00:19:25,679 Speaker 1: of his staples. 342 00:19:25,720 --> 00:19:30,000 Speaker 6: You know, it was an awesome, incredible song, like god, 343 00:19:30,040 --> 00:19:35,400 Speaker 6: what what a magical use of it and performance by 344 00:19:36,200 --> 00:19:37,320 Speaker 6: John and Iris. 345 00:19:37,400 --> 00:19:38,760 Speaker 3: My god, I love. 346 00:19:38,600 --> 00:19:42,679 Speaker 1: That wonderful you know. Yeah, yeah, can. 347 00:19:42,560 --> 00:19:45,560 Speaker 4: You take us inside? I know your studio it's called 348 00:19:45,560 --> 00:19:51,320 Speaker 4: pepper Tree Hill, right, yes, and I believe it's even 349 00:19:51,760 --> 00:19:56,720 Speaker 4: you know the subject of your next project, which is 350 00:19:56,840 --> 00:19:59,639 Speaker 4: you know, down down the Road. Take us inside? What 351 00:19:59,760 --> 00:20:03,439 Speaker 4: a process for you guys? Inside the studio is in 352 00:20:03,560 --> 00:20:05,720 Speaker 4: terms of creating and recording. 353 00:20:06,720 --> 00:20:09,320 Speaker 1: Well, first of all, the studio it doesn't know when 354 00:20:09,320 --> 00:20:12,520 Speaker 1: somebody had says you have a home studio. It's not 355 00:20:12,640 --> 00:20:14,760 Speaker 1: like a you know, a bedroom or the pro tools 356 00:20:14,800 --> 00:20:18,919 Speaker 1: in a keyboard and an acoustic guitar. It's like, in 357 00:20:18,960 --> 00:20:21,760 Speaker 1: other words, if it could be a commercial studio that 358 00:20:21,800 --> 00:20:27,600 Speaker 1: people would record at. And we have a good sized 359 00:20:27,640 --> 00:20:33,120 Speaker 1: control room, a really nice big tracking room. It's full 360 00:20:33,119 --> 00:20:36,280 Speaker 1: of all of our vintage gear that's from our old studio. 361 00:20:36,440 --> 00:20:38,399 Speaker 1: Wished to have the same board that I've had since 362 00:20:38,520 --> 00:20:44,399 Speaker 1: nineteen ninety nine two thousand. It has two lounges, a 363 00:20:44,440 --> 00:20:47,000 Speaker 1: smaller lounge kind of we caught the reading lounge, and 364 00:20:47,000 --> 00:20:49,159 Speaker 1: then it's got a regular lounge. It's like a kitchen 365 00:20:49,240 --> 00:20:54,280 Speaker 1: and a bathroom, and so it's the full setup, and 366 00:20:54,320 --> 00:20:57,320 Speaker 1: it's just it's got such a creative vibe in there. 367 00:20:57,760 --> 00:21:02,520 Speaker 1: It's not a place where we sit down to write songs. 368 00:21:02,600 --> 00:21:05,680 Speaker 1: Usually it's not that one or the other of us 369 00:21:05,800 --> 00:21:08,800 Speaker 1: doesn't write one in there on our own, but JD 370 00:21:08,880 --> 00:21:13,080 Speaker 1: and I usually write together by one of us brings 371 00:21:13,080 --> 00:21:17,760 Speaker 1: the other one a line and a melody or chord 372 00:21:17,840 --> 00:21:22,000 Speaker 1: progression or just some words or whatever. It's I think 373 00:21:22,040 --> 00:21:24,960 Speaker 1: we can make this into something, and so we already 374 00:21:25,000 --> 00:21:28,720 Speaker 1: have the idea usually when we go into the studio, 375 00:21:28,840 --> 00:21:34,199 Speaker 1: and so we start with what we have and and 376 00:21:34,280 --> 00:21:38,160 Speaker 1: at that point it becomes songwriting together in the same room. 377 00:21:38,400 --> 00:21:44,240 Speaker 1: And during during the pandemic and everything whenevering was locked down, 378 00:21:44,960 --> 00:21:49,800 Speaker 1: we did a lot of stuff on FaceTime or the phone, 379 00:21:50,040 --> 00:21:52,560 Speaker 1: you know, which send back and forth to each other. 380 00:21:52,600 --> 00:21:55,679 Speaker 1: But this studio here is amazing, And like I said, 381 00:21:56,119 --> 00:21:59,919 Speaker 1: JD's a world class engineer, and so we get to 382 00:22:00,040 --> 00:22:03,760 Speaker 1: experiment with sounds there. We have we mainly have vintage gear. 383 00:22:03,840 --> 00:22:06,080 Speaker 1: We take our new gear on the road because we 384 00:22:06,080 --> 00:22:09,240 Speaker 1: don't want to break all that stuff, But we have 385 00:22:09,359 --> 00:22:12,120 Speaker 1: a lot of really good stuff we've collected over the years, 386 00:22:12,240 --> 00:22:15,240 Speaker 1: so we have the stuff that we need to get 387 00:22:15,280 --> 00:22:18,120 Speaker 1: the sounds of the time we were talking about earlier, 388 00:22:18,560 --> 00:22:20,399 Speaker 1: you know. I mean we've got things like a fuzz 389 00:22:20,520 --> 00:22:23,679 Speaker 1: face and you know, wild Wah pedals and you know, 390 00:22:24,400 --> 00:22:28,520 Speaker 1: we was sixty five box ac thirty you know, and 391 00:22:28,960 --> 00:22:33,720 Speaker 1: sixty three B fifteen flip top basse amp that we 392 00:22:33,920 --> 00:22:38,240 Speaker 1: use on almost everything and oh yeah, every so, yeah, exactly. 393 00:22:39,200 --> 00:22:42,280 Speaker 1: It's just it is just a super creative place. 394 00:22:42,480 --> 00:22:46,119 Speaker 5: And thankfully when Billy bought the place, you know, he 395 00:22:46,160 --> 00:22:49,320 Speaker 5: bought it from another musician. You know, it's Jason Wade 396 00:22:49,359 --> 00:22:53,960 Speaker 5: from Lifehouse had the house before, and he had bought 397 00:22:54,000 --> 00:22:58,040 Speaker 5: it from another producer who had initially built it. So 398 00:22:58,160 --> 00:23:01,920 Speaker 5: it was kind of always set up as a place 399 00:23:02,240 --> 00:23:05,000 Speaker 5: for people to kind of come and hang out and 400 00:23:05,080 --> 00:23:07,359 Speaker 5: hide out and record. It was you know, it's not 401 00:23:08,359 --> 00:23:10,280 Speaker 5: it's not in the middle of Hollywood or anything. It's 402 00:23:10,320 --> 00:23:13,280 Speaker 5: you know, it's outside of town a bit, and you 403 00:23:13,400 --> 00:23:17,600 Speaker 5: really are kind of on your own little island. It's 404 00:23:17,760 --> 00:23:20,280 Speaker 5: just the most comfortable place. And you know it's like 405 00:23:20,800 --> 00:23:23,199 Speaker 5: when we've moved in, there was nothing there. It was 406 00:23:23,280 --> 00:23:27,159 Speaker 5: just the walls. You know, everything was beautiful, but it 407 00:23:27,200 --> 00:23:29,919 Speaker 5: was completely empty, and so we were able to just 408 00:23:29,920 --> 00:23:33,920 Speaker 5: bring all of our stuff, you know, anything that we needed. 409 00:23:34,119 --> 00:23:35,760 Speaker 1: All of a sudden, we had space for it. 410 00:23:36,000 --> 00:23:38,399 Speaker 5: So it's like we had never had a piano of 411 00:23:38,440 --> 00:23:40,400 Speaker 5: our own that was in the studio, so we were 412 00:23:41,160 --> 00:23:44,000 Speaker 5: able to, you know, through a friend, get a piano 413 00:23:44,119 --> 00:23:47,479 Speaker 5: and some other keyboards and things like that that you know, 414 00:23:47,520 --> 00:23:52,159 Speaker 5: we had space and the need for. And it's been 415 00:23:52,200 --> 00:23:55,639 Speaker 5: a very important part of our recording process. When we 416 00:23:55,640 --> 00:23:58,320 Speaker 5: started out, we wrote every song on guitar, you know, 417 00:23:58,359 --> 00:24:02,199 Speaker 5: because that's how I played and Billy plays guitar, so 418 00:24:02,359 --> 00:24:04,440 Speaker 5: all of the songs were you know, kind of limited 419 00:24:04,520 --> 00:24:06,359 Speaker 5: by what we knew how to do on a guitar. 420 00:24:07,200 --> 00:24:09,560 Speaker 5: But as the years have gone by and I break 421 00:24:09,600 --> 00:24:12,919 Speaker 5: out my ten year old kids piano lessons and it's like, 422 00:24:12,960 --> 00:24:14,719 Speaker 5: I can, you know, sit there and you know, you 423 00:24:14,760 --> 00:24:16,760 Speaker 5: just kind of put your hands down on it, and 424 00:24:16,800 --> 00:24:18,760 Speaker 5: all of a sudden, it's like, okay, that's a chord 425 00:24:18,800 --> 00:24:23,560 Speaker 5: that it's a little strange, but we can go from 426 00:24:23,560 --> 00:24:27,120 Speaker 5: that chord to another chord, and you know, it's something 427 00:24:27,160 --> 00:24:29,359 Speaker 5: different for us, you know, so we're not just using 428 00:24:30,080 --> 00:24:33,040 Speaker 5: the same you know, standard chord progressions that you'd play 429 00:24:33,080 --> 00:24:35,480 Speaker 5: on a guitar. We're you know, messing around with other 430 00:24:35,640 --> 00:24:40,520 Speaker 5: you know, just different voicings and things that make us create, 431 00:24:40,880 --> 00:24:43,359 Speaker 5: you know, just having an extra weird note in something 432 00:24:43,440 --> 00:24:47,320 Speaker 5: or Billy I'll tunea guitar to some random open tuning 433 00:24:47,480 --> 00:24:49,720 Speaker 5: that we don't know what it is. But then you 434 00:24:49,760 --> 00:24:51,680 Speaker 5: put your fingers on the strings in a you know 435 00:24:51,800 --> 00:24:54,240 Speaker 5: spot and it's like, Okay, that sounds neat. How do 436 00:24:54,320 --> 00:24:57,480 Speaker 5: I go from there to another chord? And how does 437 00:24:57,520 --> 00:25:01,120 Speaker 5: that become a song. And we're not around just like oh, 438 00:25:01,240 --> 00:25:04,680 Speaker 5: let's rip off a Rolling Stones chord progression here, it's 439 00:25:04,720 --> 00:25:08,600 Speaker 5: like we actively go in there and try to create 440 00:25:08,680 --> 00:25:11,480 Speaker 5: something that maybe he's never been heard. 441 00:25:11,680 --> 00:25:14,880 Speaker 1: Maybe we come up with a chord progression that is different. 442 00:25:16,000 --> 00:25:19,159 Speaker 1: And these days, as a matter of fact, we start 443 00:25:19,320 --> 00:25:24,000 Speaker 1: on piano more often than we do guitar because writing 444 00:25:24,080 --> 00:25:28,560 Speaker 1: on piano is a completely different type of writing. They 445 00:25:28,680 --> 00:25:31,680 Speaker 1: just sound different. You can listen to our songs or 446 00:25:31,840 --> 00:25:35,320 Speaker 1: we can listen to them and we can know, yeah, 447 00:25:35,600 --> 00:25:37,840 Speaker 1: that one was written on piano, this one was written 448 00:25:37,840 --> 00:25:41,600 Speaker 1: on guitar. And like Jad said, sometimes with some of 449 00:25:41,640 --> 00:25:44,800 Speaker 1: the strange tunings. Sometimes I write songs and I'm using 450 00:25:44,880 --> 00:25:46,639 Speaker 1: chords that don't even know what they are, and we 451 00:25:46,720 --> 00:25:48,679 Speaker 1: have to and JD doesn't either, and we have to 452 00:25:48,720 --> 00:25:51,480 Speaker 1: call it. We have a buddy named Brad Davis who 453 00:25:52,359 --> 00:25:55,520 Speaker 1: taked for Berkeley College and music and all that, and 454 00:25:55,600 --> 00:25:59,480 Speaker 1: we just called Brad get on FaceTime with him and say, Brad, 455 00:25:59,600 --> 00:26:02,920 Speaker 1: what is this and he goes, oh, that's a you know, 456 00:26:03,440 --> 00:26:06,920 Speaker 1: D nine with a you know, with an added C 457 00:26:07,440 --> 00:26:07,720 Speaker 1: all that. 458 00:26:09,280 --> 00:26:11,600 Speaker 5: You know, we're like, which, thank you very much, still 459 00:26:11,640 --> 00:26:14,719 Speaker 5: doesn't mean anything to us, so thank you for your 460 00:26:14,760 --> 00:26:17,639 Speaker 5: help that or you know, It's like when I'm making 461 00:26:17,720 --> 00:26:22,000 Speaker 5: charts for the band, I've got a website bookmarked that, 462 00:26:22,119 --> 00:26:24,879 Speaker 5: you know, you can just put put a dot where 463 00:26:25,040 --> 00:26:27,040 Speaker 5: your fingers are and it will tell you what the 464 00:26:27,119 --> 00:26:29,919 Speaker 5: chord name is. So sometimes I have to do that. 465 00:26:30,480 --> 00:26:35,159 Speaker 5: But we're not music theory guys. We're just rock and 466 00:26:35,240 --> 00:26:37,480 Speaker 5: roll guys. We just you know, play stuff. Does it 467 00:26:37,600 --> 00:26:41,000 Speaker 5: sound good, then that's it. That's that's what we go with. 468 00:26:41,080 --> 00:26:43,359 Speaker 1: If it doesn't sound right, we'll keep working until we 469 00:26:43,400 --> 00:26:46,560 Speaker 1: find a chord that works. Yeah, we grew up as 470 00:26:46,600 --> 00:26:48,800 Speaker 1: guys who played G C and D and E and 471 00:26:49,000 --> 00:26:51,560 Speaker 1: F and everything, and the next thing, you know, we're 472 00:26:51,680 --> 00:26:54,920 Speaker 1: using chords that like yes and ever see what that overused? 473 00:26:56,119 --> 00:26:58,080 Speaker 3: Yeah, I love that. 474 00:26:59,080 --> 00:27:02,440 Speaker 4: Obviously we haven't delivery here because my dogs are freaking out. 475 00:27:02,880 --> 00:27:08,919 Speaker 4: Welcome to the world of twenty twenty four. But I 476 00:27:09,000 --> 00:27:11,240 Speaker 4: just want to close with the fact that you know, 477 00:27:11,359 --> 00:27:16,359 Speaker 4: music is about joy. We know that, and you guys 478 00:27:16,400 --> 00:27:19,280 Speaker 4: are bringing joy to your fans and to the world 479 00:27:19,320 --> 00:27:20,040 Speaker 4: with the music. 480 00:27:20,320 --> 00:27:20,960 Speaker 3: But what's so. 481 00:27:21,040 --> 00:27:24,600 Speaker 4: Cool is I just see the connection and the joy 482 00:27:24,640 --> 00:27:28,760 Speaker 4: that you two have working together, and it is contagious, 483 00:27:28,840 --> 00:27:31,479 Speaker 4: and I want to just tell you how much I 484 00:27:31,480 --> 00:27:35,120 Speaker 4: appreciate it and appreciate spending the time with you. Folks 485 00:27:35,160 --> 00:27:38,000 Speaker 4: should go to boxmasters dot com to check out the 486 00:27:38,119 --> 00:27:42,160 Speaker 4: many tour dates and other little tidbits that are going on. 487 00:27:42,960 --> 00:27:46,320 Speaker 1: There is the show dates with ticket links, the stores 488 00:27:46,400 --> 00:27:48,680 Speaker 1: kind of down you can download you know, our past 489 00:27:48,760 --> 00:27:51,440 Speaker 1: records well and the new one. You can download those 490 00:27:51,520 --> 00:27:52,800 Speaker 1: for you know, five bucks. 491 00:27:53,440 --> 00:27:55,600 Speaker 5: Once we get off the road, I'll put the store 492 00:27:55,640 --> 00:27:57,520 Speaker 5: back up in one of our t shirts and records 493 00:27:57,560 --> 00:28:01,320 Speaker 5: and everything signed and available for purchase again. But you know, 494 00:28:01,400 --> 00:28:04,760 Speaker 5: we do it all ourselves, so it's very time consuming, 495 00:28:05,160 --> 00:28:08,040 Speaker 5: so to try to be your own websites and your 496 00:28:08,080 --> 00:28:11,600 Speaker 5: store and write the songs and everything, you know, it's 497 00:28:12,320 --> 00:28:16,000 Speaker 5: it's a difficult process. So hopefully people will be patient 498 00:28:16,040 --> 00:28:17,880 Speaker 5: with me, and you know, when we get back home, 499 00:28:17,960 --> 00:28:20,520 Speaker 5: I'll turn the store back on and people can order 500 00:28:20,520 --> 00:28:22,200 Speaker 5: if they're not able to make. 501 00:28:22,080 --> 00:28:24,919 Speaker 1: It to a show, because at the shows we have 502 00:28:25,080 --> 00:28:28,200 Speaker 1: all the stuff. Yeah, everything's there and all by records 503 00:28:28,200 --> 00:28:32,000 Speaker 1: and CDs are signed by the band and stuff. So 504 00:28:33,160 --> 00:28:35,400 Speaker 1: we have the records and the t shirts and all 505 00:28:35,400 --> 00:28:38,840 Speaker 1: the gizmos out there on tour. And you were speaking 506 00:28:38,840 --> 00:28:42,160 Speaker 1: of Monmouth before we let you go the last time 507 00:28:42,200 --> 00:28:44,360 Speaker 1: we played there, and you know, we'd always heard of 508 00:28:44,440 --> 00:28:47,600 Speaker 1: Monmouth University because you know, you know, we watched basketball. 509 00:28:47,880 --> 00:28:52,800 Speaker 1: So and so when we got there was a Sunday 510 00:28:52,920 --> 00:28:56,120 Speaker 1: at school wasn't in session. It was a drizzling rain, 511 00:28:56,800 --> 00:28:59,640 Speaker 1: and the promoter it was very nice to us, and 512 00:29:00,560 --> 00:29:04,120 Speaker 1: we were like, wow, they're certainly happy for people that 513 00:29:04,280 --> 00:29:07,640 Speaker 1: only sold you know, ninety eight tickets. Certainly it was, 514 00:29:08,080 --> 00:29:13,000 Speaker 1: and so we couldn't believe it when the agent had 515 00:29:13,000 --> 00:29:15,440 Speaker 1: that on the schedule again, We're like, they're having us 516 00:29:15,480 --> 00:29:18,280 Speaker 1: back because we had an empty house. He goes well, yeah, 517 00:29:18,280 --> 00:29:20,600 Speaker 1: we talked to him and school will be in session 518 00:29:20,680 --> 00:29:27,400 Speaker 1: this time, so hopefully hopefully some Mommuth University students will 519 00:29:27,400 --> 00:29:28,479 Speaker 1: come out there and see us. 520 00:29:29,400 --> 00:29:33,520 Speaker 4: That's awesome, guys, great time on the road, great time 521 00:29:33,600 --> 00:29:34,840 Speaker 4: having you on Taking a Walk. 522 00:29:34,880 --> 00:29:37,080 Speaker 1: Thanks so much, Thank you so much. 523 00:29:38,160 --> 00:29:40,640 Speaker 2: Thanks for listening to this episode of the Taking a 524 00:29:40,640 --> 00:29:44,560 Speaker 2: Walk podcast. Share this and other episodes with your friends 525 00:29:44,640 --> 00:29:48,120 Speaker 2: and follow us so you never miss an episode. Taking 526 00:29:48,160 --> 00:29:52,040 Speaker 2: a Walk is available on the iHeartRadio app, Apple Podcasts, 527 00:29:52,280 --> 00:29:54,560 Speaker 2: and wherever you get your podcasts.