WEBVTT - Mike Campbell: The Man Behind Tom Petty 0:00:03.680 --> 0:00:04.640 Now really. 0:00:06.680 --> 0:00:11.360 Really now really hello, and welcome to really know Really, 0:00:11.440 --> 0:00:14.360 with Jason Alexander and Peter Tilden, who humbly remind you 0:00:14.440 --> 0:00:18.240 not to be petty and please subscribe. Speaking of Petty, 0:00:18.600 --> 0:00:21.000 rock and Roll Hall of Famer Tom Petty left this 0:00:21.120 --> 0:00:24.560 world in twenty seventeen, but his music continues to live 0:00:24.600 --> 0:00:27.600 on thanks to hits like Refugee, Here Comes My Girl, 0:00:27.640 --> 0:00:30.560 and Running Down a Dream. But recently Jason and Peter 0:00:30.680 --> 0:00:34.159 were stunned to learn that Petty didn't write those songs alone. 0:00:34.240 --> 0:00:35.320 Really No Really. 0:00:35.600 --> 0:00:38.320 Mike Campbell was an original member of Tom Petty and 0:00:38.360 --> 0:00:40.400 the Heartbreakers and co wrote many of. 0:00:40.320 --> 0:00:41.720 The band's legendary hits. 0:00:41.880 --> 0:00:44.040 In fact, he was considered by Petty to be the 0:00:44.040 --> 0:00:47.159 Heartbreakers co captain, and while much of Mike's career was 0:00:47.200 --> 0:00:50.239 alongside Petty, he notably gave Don Henley. 0:00:49.880 --> 0:00:51.720 The music for his nineteen eighty four hit The. 0:00:51.760 --> 0:00:54.760 Boys of Summer, and he worked closely with Stevie Nicks, 0:00:54.760 --> 0:00:57.200 Aretha Franklin, and too many others to name. 0:00:57.600 --> 0:00:59.160 Campbell has definitely had an. 0:00:59.040 --> 0:01:02.600 Impressive career himself, now fronting the band The Dirty Knobs 0:01:02.600 --> 0:01:05.560 and playing and writing music with the legendary rockers like 0:01:05.640 --> 0:01:09.000 Bob Dylan, Johnny Cash, George Harrison and Moore and all 0:01:09.040 --> 0:01:11.520 that got the guys wondering what's it like being the 0:01:11.640 --> 0:01:15.800 unrecognized talent regularly standing just behind and co writing with 0:01:16.360 --> 0:01:17.119 iconic names. 0:01:17.360 --> 0:01:19.479 That question and more is the subject of. 0:01:19.440 --> 0:01:23.280 His newly released book, Heartbreaker, a Memoir and now here 0:01:23.280 --> 0:01:26.399 are two more Heartbreakers And yes they did make me 0:01:26.440 --> 0:01:26.920 say back. 0:01:27.120 --> 0:01:31.560 Jason and Peter, Hello, everybody, welcome to really know really 0:01:32.680 --> 0:01:35.160 that always gets a bell because it makes Peter happy. 0:01:35.200 --> 0:01:38.160 My partner, Peter Tilden. I'm Jason. I say why I 0:01:38.200 --> 0:01:41.240 hate the bell? Please? If I publicly stated why I 0:01:41.240 --> 0:01:41.800 hate the bell. 0:01:41.840 --> 0:01:44.840 You have publicly stated that you hate the bell, tell 0:01:44.840 --> 0:01:45.800 you what I don't know is it? 0:01:46.000 --> 0:01:48.360 Is it your musophonia or whatever? The no, no, no 0:01:48.360 --> 0:01:50.320 no no, although you've proven then I do have music. 0:01:50.520 --> 0:01:53.120 I know. Yes, I'll tell you why. In my thirty 0:01:53.200 --> 0:01:58.200 years in radio, Yeah, okay, the stick of old jocks 0:01:58.560 --> 0:02:01.000 is if you listen to the old guy when I 0:02:01.000 --> 0:02:03.360 got into it's all, it's this, it's hey because they 0:02:03.360 --> 0:02:06.600 didn't have sound effects, they didn't have AI. This was it. 0:02:07.000 --> 0:02:08.120 So it drives me crazy. 0:02:08.160 --> 0:02:10.440 Well, can I say something in response to how much 0:02:10.440 --> 0:02:12.600 you hate the bell and your thirty years of experience 0:02:12.600 --> 0:02:15.440 in radio, I would like to point out I. 0:02:15.400 --> 0:02:16.480 Didn't bring the bell in. 0:02:17.360 --> 0:02:21.360 Somebody a partner in this broadcast with thirty years of 0:02:21.400 --> 0:02:24.399 experience in radio, suddenly there was a bell. 0:02:24.639 --> 0:02:28.760 Because I thought it occasionally occasionally, like every fifteenth episode 0:02:28.800 --> 0:02:32.000 maybe would be funny. Didn't realize it was going to 0:02:32.040 --> 0:02:33.560 be really every time you said, really, know, really, what 0:02:33.800 --> 0:02:34.080 did them? 0:02:34.080 --> 0:02:35.840 If you're not watching on YouTube, I have yet to 0:02:35.840 --> 0:02:37.240 touch the bell in this episode. 0:02:37.320 --> 0:02:39.480 Let's talk about the episode, all right, that's what. 0:02:39.600 --> 0:02:41.040 We have a guest in the studio, and I think 0:02:41.200 --> 0:02:43.080 not not our primary guest, but we have a guest 0:02:43.080 --> 0:02:46.240 in the studio and share number three. This very fine 0:02:46.280 --> 0:02:50.760 young man over there in the hat that says shamanics. 0:02:50.960 --> 0:02:54.120 Shamanics. Yes, we're going to find out more about it. 0:02:54.200 --> 0:02:56.519 Is a very a lovely man that I've known since 0:02:56.560 --> 0:02:59.240 he was a young lad little man who looks just 0:02:59.720 --> 0:03:01.640 like you. He did a video for his band I 0:03:01.720 --> 0:03:04.800 did for Boreo. You bet, Ladies and gentlemen, welcome to 0:03:04.800 --> 0:03:06.720 the show. Mister Robert tilden. 0:03:08.040 --> 0:03:10.080 Miter. He knew where the camera right. 0:03:10.520 --> 0:03:13.400 I got prepped. Also all right, it wasn't. It wasn't 0:03:13.840 --> 0:03:14.519 in my nature. 0:03:16.280 --> 0:03:18.320 I was proud to be knock my feet up from 0:03:18.360 --> 0:03:19.239 underneath me. I'm sorry. 0:03:19.480 --> 0:03:19.919 And Robert. 0:03:20.040 --> 0:03:21.800 Robert is here today for a number of reasons. 0:03:21.919 --> 0:03:25.600 One is, uh, just bring your kid to work day, 0:03:26.160 --> 0:03:28.720 bring your kick in the workday. But also your your 0:03:28.919 --> 0:03:32.880 primary career at this moment is music writing, playing all kinds. 0:03:32.960 --> 0:03:36.200 So we have a big, a big music since brand 0:03:37.560 --> 0:03:41.000 are you talking about our other Roberts? I know about Boyle, 0:03:41.080 --> 0:03:43.640 but you also do music outside of Boyle, don't you? 0:03:43.800 --> 0:03:44.240 Yeah? Did? 0:03:44.280 --> 0:03:47.840 I like to score things and produce things and read 0:03:48.120 --> 0:03:50.160 music books and consume and everything. 0:03:50.200 --> 0:03:54.000 So yeah, and you now you play not not sent 0:03:54.400 --> 0:03:56.960 synthically on a keyboard, but you play keyboard. 0:03:57.120 --> 0:03:58.680 Yes, I play everything. I like. 0:03:58.760 --> 0:04:02.760 It's like a jack of all trades in the sense 0:04:02.760 --> 0:04:04.520 where you can kind of do everything, but not to 0:04:04.560 --> 0:04:05.880 the greatest ability. 0:04:05.960 --> 0:04:06.360 You know, you. 0:04:06.440 --> 0:04:09.840 Play real guitar, though, real guitar that's your primary. 0:04:09.920 --> 0:04:14.600 Yes, yes, but you play bass, play bass? Keyboard? 0:04:14.640 --> 0:04:15.720 Is that the one you'd love to play? 0:04:15.800 --> 0:04:16.320 I'm struggling. 0:04:16.640 --> 0:04:20.680 I mean the lessons lessons, but also it's like someone 0:04:20.760 --> 0:04:21.840 was talking. 0:04:21.440 --> 0:04:22.520 The other day about learning. 0:04:22.640 --> 0:04:24.919 I was saying I wanted to learn animation or something 0:04:25.000 --> 0:04:28.200 that seems very hard and takes a lot of time. 0:04:28.720 --> 0:04:31.400 And they were just saying, you know, use YouTube university, 0:04:31.440 --> 0:04:34.440 which I thought was a weird term, but you can. 0:04:34.400 --> 0:04:37.320 Just I feel like using I'm actually taking a free 0:04:37.320 --> 0:04:43.360 base course on I. I'm freebasing and uh and it's 0:04:43.520 --> 0:04:44.080 very helpful. 0:04:44.320 --> 0:04:46.960 It is very helpful. I mean, how do you do 0:04:47.000 --> 0:04:50.760 it when you're free bassed? What do you use? I'm 0:04:50.800 --> 0:04:55.320 not giving you tips, wants. This will be the one 0:04:55.360 --> 0:04:58.320 pr thing that will break through all of really, no really, 0:04:58.440 --> 0:05:01.800 Jason Alexander Minte the free base. That's right, good time, 0:05:01.800 --> 0:05:03.360 I knock out a couple of teeth. Make it look real. 0:05:04.160 --> 0:05:08.760 So today's guest, Yeah, is a unique individual. Mike Campbell. 0:05:08.800 --> 0:05:11.440 Mike Campbell met Tom Petty in gains the Florida when 0:05:11.440 --> 0:05:14.680 they were youths and they were mud crutched together. Then 0:05:14.720 --> 0:05:16.479 of course is that a is that a music group? 0:05:16.560 --> 0:05:18.400 That was? That was a group And just remember I'm 0:05:18.440 --> 0:05:20.680 a music moron, so walk me through there. So they 0:05:20.720 --> 0:05:22.039 met when they were kids, and then he was in 0:05:22.040 --> 0:05:24.200 the Heartbreakers. He wrote the really one of the really 0:05:24.240 --> 0:05:26.800 not really. He wrote some of Tom's biggest hits then 0:05:26.920 --> 0:05:29.600 Fleetwood Mac needed somebody to replace Lindsay Buckingham. Who they 0:05:29.640 --> 0:05:33.359 call Mike Campbell and who is he done music with 0:05:33.480 --> 0:05:36.680 Randy Newman, One's Yvon Roy Orbison, Bob Siegert, Joe Cocker, 0:05:37.080 --> 0:05:42.760 Michael McDonald, Jackson Brown and Chicks Ringo. And he was, 0:05:42.839 --> 0:05:44.560 this is going to be this is mind lord to me. 0:05:44.600 --> 0:05:46.880 He's the backup ban the Heartbreakers with a backup band 0:05:47.120 --> 0:05:49.280 for Bob Dylan on tour. So I wonder if Mike 0:05:49.279 --> 0:05:52.600 Campbell liked I knew that was the next thing. Oh, 0:05:52.640 --> 0:05:55.520 I thought, if you Mike Campbell looked gonna like you. Oh, 0:05:56.080 --> 0:05:59.080 he's got to like me. He's got a new book out, Heartbreaker, 0:05:59.080 --> 0:06:02.360 a memoir. Also touring with the Dirty Knobs. But you're home, right, 0:06:02.360 --> 0:06:04.120 You're off the road at this point for a minute. 0:06:05.040 --> 0:06:05.360 I am. 0:06:05.400 --> 0:06:08.720 I'm recording right now, our fourth album. We just started yesterday. 0:06:08.760 --> 0:06:09.680 So I'm at home in La. 0:06:09.839 --> 0:06:12.720 Yeah, very cool. Well, thanks thanks for coming to La 0:06:12.880 --> 0:06:14.839 in La. And he still couldn't come down here to 0:06:14.920 --> 0:06:16.040 the He's busy recording. 0:06:16.200 --> 0:06:18.720 But I'm just saying that sounds like a character I'm 0:06:18.720 --> 0:06:19.279 familiar with. 0:06:21.360 --> 0:06:23.640 I know I had I could have done it from 0:06:23.640 --> 0:06:25.440 my house. I had to come all the way down here. 0:06:25.960 --> 0:06:29.279 People say to me, People say, no, no, Mike, I'm 0:06:29.279 --> 0:06:30.039 not blaming you. 0:06:30.360 --> 0:06:35.680 I'm blaming our our staff. Of course, who couldn't be. 0:06:36.000 --> 0:06:38.279 If you had Katie, she could have taken care of you. 0:06:38.760 --> 0:06:43.080 Boy, Truer words have never been spoken. We're coming next now, 0:06:43.120 --> 0:06:45.280 you're up for it. You're coming next time. And by 0:06:45.279 --> 0:06:47.359 the way, people say to me, is Jason anything like 0:06:47.400 --> 0:06:51.400 the character? I go, no, no, not at all, never complains, 0:06:51.760 --> 0:06:54.560 never irritated, not at all. So I actually want to 0:06:54.560 --> 0:06:56.360 ask the first question, Mike. 0:06:56.560 --> 0:06:58.440 So our show really, no, really, We're going to talk 0:06:58.440 --> 0:07:00.440 about a lot of things today, but we try and 0:07:00.480 --> 0:07:03.280 find something that makes Peter and I go, what is 0:07:03.320 --> 0:07:09.760 that all about? And your career has done something that 0:07:11.000 --> 0:07:14.000 I find so interesting And I was first made aware 0:07:14.000 --> 0:07:17.280 of it, not specific to you, when I watched the 0:07:17.320 --> 0:07:20.120 documentary I think it was twenty Feet from Stardom about 0:07:20.120 --> 0:07:23.119 the glorious backup singers that are on all these great 0:07:23.160 --> 0:07:25.480 songs and albums that we know and that you know, 0:07:25.960 --> 0:07:28.240 people in the know know who they are, but they 0:07:28.240 --> 0:07:29.480 go largely unrecognized. 0:07:29.560 --> 0:07:32.000 Now you were certainly not unrecognizing your career. 0:07:32.320 --> 0:07:34.840 But what was so fascinating to me when Peter said 0:07:34.840 --> 0:07:37.800 we were having you on was to realize how great 0:07:37.840 --> 0:07:40.920 a writing and playing contribution you had made, certainly to 0:07:41.000 --> 0:07:43.960 the success of Tom Petty and the Heartbreakers, And yet 0:07:44.640 --> 0:07:49.440 I think the average person may not be aware of 0:07:49.480 --> 0:07:51.120 how large that contribution is. 0:07:51.160 --> 0:07:55.200 And I just want to know how you. 0:07:55.400 --> 0:07:59.120 Because I've asked some other people that are in similar circumstances, 0:07:59.320 --> 0:08:00.560 how that's with you? 0:08:00.640 --> 0:08:03.800 How that? How that? How do you carry that? And 0:08:04.040 --> 0:08:05.840 does it bother you? Is it fine? 0:08:06.200 --> 0:08:10.640 Do you know going in that you know the spotlight 0:08:10.800 --> 0:08:12.800 is probably going to be on the other guy. I mean, 0:08:13.400 --> 0:08:17.360 what what's your journey through being that other guy? And 0:08:17.400 --> 0:08:20.360 yet such a substantial part of these creations? 0:08:21.000 --> 0:08:22.000 Well, thank you. Yeah. 0:08:22.120 --> 0:08:26.120 I can't explain that. Tom always call me the co captain. 0:08:27.200 --> 0:08:31.600 And from the time I met Tom, I mean, I've 0:08:31.640 --> 0:08:35.240 always been a basically shy, quiet person. He's got a great, 0:08:35.400 --> 0:08:37.760 dynamic personality and it was a perfect fit. 0:08:38.559 --> 0:08:38.800 You know. 0:08:39.360 --> 0:08:43.800 I didn't challenge his leadership or his charisma, and I 0:08:43.840 --> 0:08:46.000 was very comfortable because I trusted him and I had 0:08:46.040 --> 0:08:48.000 this great partner who could do all that for me. 0:08:48.400 --> 0:08:48.640 I just. 0:08:50.679 --> 0:08:54.560 You know, so it just our personality has just worked 0:08:54.559 --> 0:08:55.280 that way, you know. 0:08:56.840 --> 0:08:59.360 But meanwhile, the really really for me, you have a 0:08:59.400 --> 0:09:04.480 song like break Now the guitar line is the song 0:09:05.000 --> 0:09:09.120 without that guitar line, It's a bunch of chords, your guitar. 0:09:09.280 --> 0:09:14.040 I agree, and we're out, and we're out, and I 0:09:14.080 --> 0:09:15.800 have no bitterness in that's about. 0:09:16.800 --> 0:09:18.679 No, It's funny as a guitar because I play a 0:09:18.679 --> 0:09:20.880 little guitar. My son who's doing a stay because he 0:09:20.920 --> 0:09:23.839 wanted to talk to you as a group called and 0:09:23.880 --> 0:09:27.920 he the guitar line writing songs is really really interesting. 0:09:27.960 --> 0:09:30.240 So I love playing along with Tom Petty songs and 0:09:30.280 --> 0:09:32.440 you go, wow, these are some basic chords and some 0:09:32.480 --> 0:09:35.760 really interesting chord changes. But then you do your thing 0:09:35.840 --> 0:09:39.120 and it changes the whole dynamic of the song every 0:09:39.200 --> 0:09:42.400 single time. So really, not really going, I said to Jason, 0:09:42.679 --> 0:09:44.600 Really no, really, people should know that he wrote some 0:09:44.640 --> 0:09:48.680 of the biggest songs alongside Tom Petty and then came 0:09:48.800 --> 0:09:51.040 up with not only the music for it and later 0:09:51.080 --> 0:09:53.800 on the lyrics, but the guitar line. So when you 0:09:53.840 --> 0:09:56.400 come up with it, is that ever intimidating where you're 0:09:56.400 --> 0:09:58.480 in there and I know you play studio musician too, 0:09:59.040 --> 0:10:01.280 where you can't find the line that's going to make 0:10:01.320 --> 0:10:03.800 the song great, and it does the guest state for 0:10:03.840 --> 0:10:05.160 a just state for years. 0:10:06.920 --> 0:10:09.880 It's never hard for me. I think that's one reason 0:10:09.960 --> 0:10:11.880 Tom likes me is he could bring a song in. 0:10:11.960 --> 0:10:16.120 It was just the basic chords, and we all have 0:10:16.280 --> 0:10:18.760 We both had the same influences the sixties and the 0:10:18.800 --> 0:10:23.040 Beach Boys, Beatles, Stones, all that, so I instinctively just 0:10:23.240 --> 0:10:27.200 organically would join in. And it was always fun to discover, well, 0:10:27.240 --> 0:10:29.440 what can I add to this without getting in the way. 0:10:30.400 --> 0:10:32.360 And I always had a way of just finding the 0:10:32.440 --> 0:10:34.959 right thing that he liked and that we agreed on. 0:10:36.520 --> 0:10:37.280 Just lucky. 0:10:37.320 --> 0:10:40.600 Really, you know, I do play music, and I do 0:10:40.679 --> 0:10:42.520 know music, but I'm not a musician. 0:10:42.960 --> 0:10:44.640 So if someone. 0:10:44.440 --> 0:10:46.200 Writes it down and I'm lucky and I'm on the 0:10:46.240 --> 0:10:48.719 right instrument, I can play it. But when you're creating 0:10:49.960 --> 0:10:54.319 solo lines like that, are you immediately able to go 0:10:54.440 --> 0:10:56.280 I hear it in my head and it comes out 0:10:56.280 --> 0:10:58.880 in my hands. Is that a direct communication or is 0:10:58.920 --> 0:11:02.200 there a thought process behind it? A technical process of 0:11:02.240 --> 0:11:04.440 getting it to be the thing you hear in your head. 0:11:06.120 --> 0:11:11.520 There's no thought process, really. My gift for my blessing, 0:11:11.640 --> 0:11:16.000 which I'm very grateful for, is a subliminal stream of consciousness. 0:11:16.080 --> 0:11:20.160 All my input to the music. You know, ninety five 0:11:20.200 --> 0:11:24.440 percent of it happens in the moment. Breakdown, you know, 0:11:24.640 --> 0:11:28.360 breakdown just an example. I don't take these things out 0:11:28.440 --> 0:11:30.840 because I like to they come out of the air 0:11:31.000 --> 0:11:34.280 and if you just they passed through you and breakdown. 0:11:34.280 --> 0:11:35.840 For instance, we cut the song. 0:11:35.920 --> 0:11:42.360 Down very simple, and so we cut it the basic track. 0:11:42.400 --> 0:11:45.920 It was maybe six seven minutes long, and I said, okay, well, 0:11:46.000 --> 0:11:48.079 let me play some guitar along with the track they 0:11:48.400 --> 0:11:53.520 recorded me and I just you know, shut my mind 0:11:53.559 --> 0:11:54.720 off and let it happen. 0:11:55.160 --> 0:11:55.680 And just. 0:11:57.280 --> 0:11:59.839 I immediately kind of went to a blues form because 0:12:00.160 --> 0:12:02.520 the mood it's in, and so I knew it along 0:12:03.440 --> 0:12:06.640 pretty bad stuff. Really just letting it happen. At the 0:12:06.679 --> 0:12:08.520 end of the six minutes, I kind of got bored 0:12:08.559 --> 0:12:11.600 with trying to think of stuff, so I just instinctively 0:12:11.640 --> 0:12:15.920 went down. It was there in the air. I didn't 0:12:15.920 --> 0:12:19.800 think anything about it. So I recorded that and said, well, 0:12:19.800 --> 0:12:21.839 we'll look at it tomorrow. I went home and then 0:12:21.920 --> 0:12:23.360 Tom called me back and said, you got to come 0:12:23.400 --> 0:12:26.120 back down to the studio. I'm here with Dwight Twillie, 0:12:26.160 --> 0:12:27.480 and we heard the lick that you played at the 0:12:27.559 --> 0:12:30.360 end of your little jam and that that needs to 0:12:30.400 --> 0:12:32.040 go at the beginning of the song. I didn't remember 0:12:32.080 --> 0:12:33.720 what it was, you know, so I went back down 0:12:33.679 --> 0:12:36.080 and heard it and go, oh, that's it, okay, learned 0:12:36.120 --> 0:12:37.920 it and played it on the top of the song. 0:12:38.000 --> 0:12:41.480 So all the guitar persons you here on Heartbreakers records 0:12:41.720 --> 0:12:47.200 are spontaneous, most of them, and I just let them happen, 0:12:47.400 --> 0:12:49.679 you know. I don't try to analyze or write them 0:12:49.679 --> 0:12:53.120 out or think them out. Occasionally you have to, but 0:12:53.240 --> 0:12:56.160 if I do put any thought process into it, I 0:12:56.160 --> 0:12:59.360 would go to the vocal melody, what's the guy singing? 0:12:59.400 --> 0:13:02.120 What's the O? And I'll find those on the guitar. 0:13:02.200 --> 0:13:04.040 If I get stuck and nothing's coming, I'll just go 0:13:04.120 --> 0:13:05.840 to the melody because I know that's going to work, 0:13:06.160 --> 0:13:08.320 and then I'll turn the guitar around on it and 0:13:08.720 --> 0:13:11.320 turn into something. It's kind of magical, really, I mean, 0:13:11.640 --> 0:13:13.719 I'm still fascinated by it. 0:13:13.320 --> 0:13:16.520 It is magical, and it's magical for people like me 0:13:16.720 --> 0:13:22.320 who you know, I cannot I can hear music in 0:13:22.360 --> 0:13:26.240 my head. I have to struggle to get it out 0:13:26.280 --> 0:13:29.000 through my fingers, you know. I just there's no instrument 0:13:29.040 --> 0:13:31.880 that is such a part of me that the translation 0:13:32.040 --> 0:13:32.920 is spontaneous. 0:13:33.120 --> 0:13:36.120 Yeah, and I will find that magical for people that haven't. Yeah, 0:13:36.160 --> 0:13:36.439 I hear you. 0:13:36.520 --> 0:13:38.240 Well, the reason I'm able to do that is because 0:13:38.280 --> 0:13:41.480 I put in the hours of work of learning my 0:13:41.679 --> 0:13:44.480 scales and my craft and my feel so I had 0:13:44.520 --> 0:13:47.480 those tools already, so I don't have to think about that. 0:13:47.559 --> 0:13:49.360 I can just let my fingers do what they want 0:13:49.400 --> 0:13:51.959 to do, and my mind kind of follows them. 0:13:52.480 --> 0:13:53.200 But you know, the. 0:13:53.559 --> 0:13:56.520 Magic metaphor is silly, but it's true. It's like you 0:13:56.520 --> 0:13:58.240 pull a rabbit out of the hat. But that was 0:13:58.280 --> 0:14:00.720 there before, here's here where to come from. 0:14:00.960 --> 0:14:01.160 Yeah. 0:14:02.040 --> 0:14:03.439 The music a lot of times, just for me, is 0:14:03.559 --> 0:14:05.319 like that. And the songs too, they just come out 0:14:05.320 --> 0:14:05.720 of the air. 0:14:06.200 --> 0:14:09.000 Well, it's you know, it's the same really in the 0:14:09.000 --> 0:14:11.560 acting world. I find you know, you do all your 0:14:11.600 --> 0:14:14.400 prep and you do your rehearsal, but what you're hoping 0:14:14.440 --> 0:14:18.600 for is in that performance something takes over that nobody 0:14:18.640 --> 0:14:21.440 knew was going to happen, and it's exactly right, and 0:14:21.480 --> 0:14:24.040 it's in the flow and everybody feels it and you're 0:14:24.040 --> 0:14:26.280 not in control of it. You're sort of releasing to it. 0:14:26.320 --> 0:14:28.400 But I've only, like I say, I've only experienced it. 0:14:28.440 --> 0:14:28.640 You know. 0:14:29.280 --> 0:14:31.200 That's where I put my ten thousand hours as opposed 0:14:31.240 --> 0:14:31.960 to where you put yours. 0:14:32.000 --> 0:14:33.280 Solf. Yeah, it is beautiful. 0:14:33.320 --> 0:14:35.560 That's exactly what you hit the nail on the head 0:14:35.640 --> 0:14:39.440 right there, Jason's exactly that. You have your tools, you 0:14:39.520 --> 0:14:42.840 learn your craft, and you put in a moment and 0:14:43.000 --> 0:14:46.280 rather than script it, you go with it. You know, 0:14:46.320 --> 0:14:48.600 maybe you change the phrase a little bit, and acting 0:14:48.640 --> 0:14:50.480 you would change the word a little bit because it didn't 0:14:50.440 --> 0:14:52.640 feel right in the moment, you come up with something better. 0:14:53.040 --> 0:14:56.280 It just happens. Yeah, and it's like, wow, that was fun. 0:14:56.360 --> 0:14:56.560 You know. 0:14:57.760 --> 0:15:01.120 I was going to say that in learning about your past. 0:15:01.440 --> 0:15:02.920 I mean, you live like a lot of us living 0:15:02.920 --> 0:15:05.520 when you were teenagers in the hell holes and then 0:15:05.560 --> 0:15:07.440 you moved out to the woods, the woods and we're 0:15:07.440 --> 0:15:10.920 sharing a place. But the one thing that always stood out, 0:15:11.080 --> 0:15:14.200 and same with my son, if you love the music, 0:15:14.320 --> 0:15:16.880 you're holding your guitar, you're playing all the time. You 0:15:17.000 --> 0:15:20.880 played constantly, right, that was what you did when other 0:15:20.920 --> 0:15:23.080 guys were going and doing other stuff. And I think 0:15:23.120 --> 0:15:25.120 one of your guys, your roommates went off to the 0:15:25.160 --> 0:15:29.240 Bermuda Triangle, disappeared. Another one went to Hawaii and lived 0:15:29.240 --> 0:15:31.480 his life there. You just kept playing and playing and playing, 0:15:31.520 --> 0:15:34.040 and then you met Tom when you were howled. 0:15:35.120 --> 0:15:38.440 Oh, twenty twenty one something like that in Gainesville. 0:15:38.760 --> 0:15:40.920 By the way, at Gainesville at that time. It's funny 0:15:40.960 --> 0:15:42.800 because the southern thing I would have thought was all 0:15:42.840 --> 0:15:46.000 Allman Brothers. But I did country music for a lot 0:15:46.040 --> 0:15:48.360 of years. Jason actually did some with me, did the 0:15:48.800 --> 0:15:51.560 Brad Paisley videos and stuff. So I got to do 0:15:51.600 --> 0:15:53.800 country music in those years when Keith Urban was coming up, 0:15:53.800 --> 0:15:56.360 et cetera, and I didn't know anything about it, but 0:15:56.560 --> 0:16:00.280 immersing myself in that there's some amazing players, and you 0:16:00.320 --> 0:16:03.120 guys kind of tended toward that, more toward country, more 0:16:03.120 --> 0:16:06.960 toward birds, more toward that kind of sound and beatle harmonies, 0:16:07.040 --> 0:16:10.560 kind of birds harmonies. How did that seep into Gainesville? 0:16:10.560 --> 0:16:12.440 What was around in Gainesville that got you to that? 0:16:13.880 --> 0:16:17.560 Well, the college, you know, the Gainesville is basically the 0:16:17.680 --> 0:16:22.920 University of Florida college community, So it was that young, 0:16:23.480 --> 0:16:25.520 idealistic energy around the campus. 0:16:25.520 --> 0:16:26.880 There were lesser free concerts. 0:16:26.920 --> 0:16:30.480 But the thing about the blues is the South is 0:16:31.120 --> 0:16:36.720 deeply blues and country ingrained, and we grew up around 0:16:36.720 --> 0:16:39.720 all that, you know. But we also were Tom and 0:16:39.760 --> 0:16:43.200 I were really enamored with the whole sixties thing, you know, 0:16:43.280 --> 0:16:46.600 the Beach Boys, the dream of the Golden Sun and 0:16:46.640 --> 0:16:49.320 the beautiful girls, and then of course England with the Beatles, 0:16:49.400 --> 0:16:51.360 Stones Kings, all those great bands. 0:16:51.920 --> 0:16:55.320 That's what turned us on. So when in the South, 0:16:55.440 --> 0:16:56.160 you know, there's a lot of. 0:16:56.080 --> 0:16:58.840 Bands, and as soon as the bands saw the Almond 0:16:58.840 --> 0:17:01.560 Brothers or Leonard Skinner be successful, that you wanted to 0:17:01.600 --> 0:17:03.640 do that, you know, but we didn't. 0:17:04.040 --> 0:17:05.280 It didn't really fit with us. 0:17:05.280 --> 0:17:10.080 We wanted to play Bergie you know, Coors harmonies, and 0:17:11.840 --> 0:17:14.240 that's so we were kind of stood out in a 0:17:14.280 --> 0:17:16.840 way because everybody else is playing all my brother's copies 0:17:16.880 --> 0:17:18.800 and we were doing our own thing. And it's just 0:17:18.840 --> 0:17:20.320 because that's what we were, you know. 0:17:21.080 --> 0:17:25.840 Also, I'm curious about Tom. Yeah, the words intimidating, and 0:17:25.920 --> 0:17:28.399 I think your quote was you can't sell Tom. You 0:17:28.440 --> 0:17:33.840 couldn't talk Tom into anything. So you got a guy 0:17:37.080 --> 0:17:41.440 that I got it. I got it, I got it. 0:17:41.640 --> 0:17:44.680 I feel I feel your pain, Mike. I'm just I'm 0:17:44.680 --> 0:17:46.960 not I feel your pain. 0:17:47.160 --> 0:17:48.320 Robert, do you have something you wanted? 0:17:48.600 --> 0:17:48.760 Oh? 0:17:48.960 --> 0:17:51.440 I was just interested because you said you're inspired by 0:17:51.480 --> 0:17:55.359 the Birds and the Beatles and the Stones, and I 0:17:55.720 --> 0:17:58.040 was listening to your guitar parts the other day and 0:17:58.080 --> 0:18:01.440 there's like a tonal quality that I feel like kind 0:18:01.440 --> 0:18:03.840 of bridge the gap between them and the future. It 0:18:03.960 --> 0:18:06.440 sounds like you're doing what they're doing, but in a 0:18:06.560 --> 0:18:09.400 kind of futuristic way with your tone. And I wonder 0:18:09.520 --> 0:18:12.359 is that is that the same kind of just flow 0:18:12.440 --> 0:18:14.680 where you just set your guitar in a certain way 0:18:14.720 --> 0:18:17.119 with the amp and it just sounded how it sounded 0:18:17.200 --> 0:18:18.639 or were you really intentional with that? 0:18:21.040 --> 0:18:22.800 Not intentional, it just the way it is. 0:18:22.840 --> 0:18:24.840 You know, you could take a guitar and amplifier and 0:18:24.880 --> 0:18:27.480 get a sound on it and hand it to Eric Clappton, 0:18:27.640 --> 0:18:29.760 it's going to sound like him. Hand it to B. B. King, 0:18:29.880 --> 0:18:32.120 it's going to sound like him. Hand it to George Harrison, 0:18:32.880 --> 0:18:34.439 or hand it to me, it's going to sound like me. 0:18:34.560 --> 0:18:37.119 It's in the hands And a lot of the tone 0:18:37.600 --> 0:18:40.480 is the way you hit the strings and the way 0:18:40.520 --> 0:18:43.119 you by brought up the strings. Is your own personality 0:18:43.560 --> 0:18:47.080 and the tone. You know, a lot of it comes 0:18:47.119 --> 0:18:50.399 from the way you attack it with your own hands, 0:18:50.400 --> 0:18:53.440 not the amp per se. But also in terms of 0:18:53.480 --> 0:18:56.880 guitar I love all those guitarists, but I also have 0:18:56.920 --> 0:19:01.359 to mention Mike Bloomfield, who's from the blues Caty. But 0:19:01.480 --> 0:19:04.439