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Springsteen at Columbia Records 54 Years Scott Shea Takes Us To The Path · Arroe Collins Like It's Live

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Speaker 1: Oe dot net. Enjoy your exploration, rock on rock on
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Speaker 1: rock on What's up?
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Speaker 2: Man?
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Speaker 3: Hey Arrah? How you doing? Man?
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Speaker 1: Absolutely fantastic and it's always a pleasure to share a
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Speaker 1: conversation with you.
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Speaker 3: Absolutely same Here, my god.
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Speaker 1: We're talking about Bruce Springsteen, and I'll tell you what.
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Speaker 1: I really went into your article and you drew me
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Speaker 1: in there. I'm shocked that you have not done a
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Speaker 1: book on Springsteen yet because your knowledge of him just
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Speaker 1: blows me away, because you take us into areas. There's
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Speaker 1: no book out there this covering this. And I've been
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Speaker 1: a Springsteen fan all the way back.
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Speaker 3: Yeah, you know, I do have an idea of one.
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Speaker 2: But the thing is that it's such a competitive feel
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Speaker 2: that's a lot of a lot of writers. But I
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Speaker 2: do have an idea that I'm going to pitch my
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Speaker 2: agent on and see if he thinks we can roll
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Speaker 2: with it. But yeah, I do have a deep knowledge
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Speaker 2: of him, and I've been a fan since like nineteen
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Speaker 2: eighty four, you know, so for a long time there
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Speaker 2: he was my absolute favorite. So you know, specifically, that
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Speaker 2: initial E Street band era is kind of my Bailey Wick.
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Speaker 3: That's kind of where I live.
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Speaker 2: It's you know, from I'm talking the cash Steels still
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Speaker 2: Steel Mill days up until a Tunnel of Love.
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Speaker 3: You know, that's kind of my that's my favorite era.
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Speaker 1: Is there is there kind of a little dull spot
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Speaker 1: inside your creative rock and roll soul in the way
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Speaker 1: that we know that Springsteen and the Eastreet Band paid
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Speaker 1: their dues, they worked in the factories and stuff like that.
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Speaker 1: Def Leppard did the same thing. But if you were
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Speaker 1: talking to a lot of these new bands today, well
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Speaker 1: I had a Spotify account, I had a YouTube account,
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Speaker 1: but it's almost like they've never worked a day in
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Speaker 1: a factory at all, and it's like this, the soul
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Speaker 1: of music is the dirty work that we do beforehand.
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Speaker 2: Well I don't know, because I don't think, you know,
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Speaker 2: Bruce Springsteen's will tell you he's never worked a real
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Speaker 2: job and his life, and I think the same thing
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Speaker 2: can be said for his band. They all a lot
2:13
Speaker 2: of them just started off in bands as teenagers, you know.
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Speaker 2: So I guess it's just, you know, whatever the era is,
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Speaker 2: you know, if you can make it work, you can
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Speaker 2: make it work.
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Speaker 3: If you have the talent.
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Speaker 2: You have the talent, and Bruce Springsteen is a guy
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Speaker 2: just you know, as a musical artist and a creative force,
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Speaker 2: just has you know, next level talent. It's you know,
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Speaker 2: it's up there with Neil Young and Ben Morrison and
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Speaker 2: you know, James Taylor.
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Speaker 3: The stream rises to the top.
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Speaker 1: I guess I was tainted by being a jock on
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Speaker 1: the radio back in the seventies forward, because it's like
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Speaker 1: I was never really a true hardcore Springsteen fan because
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Speaker 1: that's what radio played. They hits, they hits, they hits.
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Speaker 1: So I never went deeper into the album itself until
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Speaker 1: I got older. And I swear there's gonna be people
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Speaker 1: a lot like me that are discovering Springsteen through the
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Speaker 1: streaming process and through stories like yours.
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Speaker 2: Yeah, for sure, he's he is a polarizing figure for
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Speaker 2: some reason. I was just talking to somebody about this
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Speaker 2: yesterday and that it's just his I don't know too
3:14
Speaker 2: many artists.
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Speaker 3: That you know, of his caliber that.
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Speaker 2: Polarized people just on how they just on their style,
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Speaker 2: you know. And Bruce has a lot of different styles.
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Speaker 2: But like I have a brother in law who just
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Speaker 2: goes he just goes ballistic. If a Springsteen song comes on,
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Speaker 2: he's just get angry. He just wants you to turn
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Speaker 2: it off right away. And it's just like I had
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Speaker 2: to sit him down one day. It's like you just
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Speaker 2: need to relax. I mean, and Springsteen's a popular artist.
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Speaker 2: He's going to come on in a shuffle every now
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Speaker 2: and again.
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Speaker 3: Just relax.
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Speaker 2: I like, there's artists out there that I hate, dislike
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Speaker 2: to that. Like I, for instance, I hate Queen. I'm
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Speaker 2: not a queen.
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Speaker 3: I'm not a queen.
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Speaker 2: I am not a Queen fan. But but I don't
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Speaker 2: I don't hate. I shouldn't say I hate. It's just
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Speaker 2: like it means a good songs. So there's that I
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Speaker 2: like for sure. But you know, I don't lose my
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Speaker 2: mind when a Queen song comes on the on the radio.
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Speaker 2: It's like you know, for Springs scene, and I don't
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Speaker 2: think most people do, but for Springsteen, for some reason,
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Speaker 2: that does tend to happen, you know. So, uh, there's
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Speaker 2: I don't know there's a lot of Bruce hatred out there,
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Speaker 2: but there's a there's I think there's a greater number
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Speaker 2: of people who just absolutely love his music.
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Speaker 1: And if people want to discover even more. I mean,
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Speaker 1: your your article is mind blowing in the way that
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Speaker 1: you incorporate the music, and I thought that is amazing
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Speaker 1: that you do that because you're putting your mouth or
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Speaker 1: you're putting your money where your mouth is and in
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Speaker 1: the way of saying, I'm going to talk about this song,
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Speaker 1: here's the song, here's the story, what's your interpretation? You
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Speaker 1: include that reader and that listener into everything that you're
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Speaker 1: doing on this.
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Speaker 2: Well, yeah, and especially you know in that era it
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Speaker 2: was important. I don't know if you know if you've
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Speaker 2: ever gotten deep bootleg Bruce Springsteen, but you know he
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Speaker 2: in the early seventies when he signed with Micah Pell,
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Speaker 2: he they may must have recorded like sixty or seventy
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Speaker 2: demos Bruce. Just so that's one thing that's amazing about
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Speaker 2: him is he's so prolific even today.
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Speaker 3: Uh and back then.
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Speaker 2: You know, he's writing songs and and so they just
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Speaker 2: wanted to get him all down to try to sell publishing,
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Speaker 2: you know, which they did on a few but not
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Speaker 2: for the most part.
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Speaker 3: It was a failure.
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Speaker 2: But you know, the songs are really slow. It's just
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Speaker 2: him on acoustic guitar for the most part. There's some
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Speaker 2: good ones in there that you get your toe tapping,
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Speaker 2: but you know, they're just they're long. They're very Dylan like.
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Speaker 2: That's why he's called the new Dylan by a lot
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Speaker 2: of people when he first started. You know, they're just
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Speaker 2: long stories that just you know, they're kind of hard
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Speaker 2: to follow, you know. And you know, over the years
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Speaker 2: I've grown to really appreciate them. But if you're just
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Speaker 2: listening to them for the first time and you know
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Speaker 2: it's it's there, they can be a hard listen and
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Speaker 2: that puts you in Michappell, you know, his first manager's shoes,
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Speaker 2: because that's that's how he signed when he first audition
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Speaker 2: for him in late seventy one, you know. And and
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Speaker 2: Michael Pallace, you know, he's busy writing songs for the
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Speaker 2: Partridge Family, you know, and you know so you know,
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Speaker 2: those episodes didn't work, but he gave him the advice to,
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Speaker 2: you know, write shorter, poppy, you know, songs that you
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Speaker 2: know that have a beat that gets to tapping, that
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Speaker 2: that's tell a story to tell, you know, And he
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Speaker 2: did that. He went back and wrote songs like It's
6:25
Speaker 2: Hard to Be a Saint in the City and growing
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Speaker 2: Up and so many of.
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Speaker 3: The songs that the the you know, his first album.
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Speaker 1: You're going to cringe when I tell you this, because
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Speaker 1: you were comparing him to Bob Dylan. I remember being
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Speaker 1: at k XLO in Lewistown, Montana, and I said, here
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Speaker 1: is that John Mellencamp copy, and it was Bruce Springsteen.
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Speaker 1: Come on, there had to be a comparison there as well.
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Speaker 1: I can't be alone on that one.
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Speaker 2: Well John, I think John Trappy Bruce, because Bruce would
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Speaker 2: obviously first, right, you know, so but you know, well
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Speaker 2: it's it's it's understandable. I mean, he had I remember
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Speaker 2: being a kid in that here up and you know,
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Speaker 2: you know, I grew up in New Jersey, so you know,
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Speaker 2: I grew up maybe like forty five minutes from where
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Speaker 2: Bruce Springsteen grew up. I think maybe That's one reason
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Speaker 2: why I'm always been I've always been so drawn and
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Speaker 2: we kind of grew up in the same area and
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Speaker 2: knew the same kinds of people. Central Jersey people are
7:16
Speaker 2: like a lot of Airs are just very.
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Speaker 3: Distinct, you know.
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Speaker 2: But yeah, so, you know, you had halland Oates, they
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Speaker 2: were they were the Philly version of of that, you know,
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Speaker 2: singer somewhere. You had Billy Joel he was the New
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Speaker 2: York version. You had Bob Seger, he was the Michigan version.
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Speaker 2: You had John Mellencamp he was the the Midwest. You
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Speaker 2: had Brian Adams, who was the Canadian version, you know.
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Speaker 2: So so it just it's it follows in that that,
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Speaker 2: you know, that succession of uh you know, and I
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Speaker 2: hate the term, but they call it like roots rock
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Speaker 2: or Americana, you know, and uh, that's that's that's kind
7:52
Speaker 2: of the you know, the little sub genre you can
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Speaker 2: fit all of them into.
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Speaker 1: Please do not Move. There's more with Scott Shay and
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Speaker 1: Bruce springste Coming up next. Bruce Springsteen celebrating fifty four
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Speaker 1: years at Columbia Records. You gotta be kidding me. Who
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Speaker 1: better to know about that than music historians? Scott Shay,
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Speaker 1: you're celebrating the fifty fourth year with Springsteen being at Columbia.
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Speaker 1: Let me ask you this question in this day and age,
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Speaker 1: and I'm blessed with the opportunity to talk to these
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Speaker 1: up and coming bands. Does he need Columbia because these
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Speaker 1: up and coming bands are doing their own promoting. I
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Speaker 1: would think, well, that's what Bruce would do as well,
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Speaker 1: because Bruce has the guts and everybody in that East
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Speaker 1: Street band would say, we'll do it this way, do
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Speaker 1: it this way, let's all work together. Do they need
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Speaker 1: a record label nowadays?
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Speaker 2: You know, that's a good question. I think, well, those
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Speaker 2: guys are conditioned to wanting that, you know. But the
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Speaker 2: answer is no, he doesn't. He could just he could
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Speaker 2: just do it himself. You know, he doesn't even need
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Speaker 2: their recording studio. I mean, he's got his own studios
8:49
Speaker 2: at home. I think it's called he's got a name
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Speaker 2: for it. I forget what it is. Is a Cyril
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Speaker 2: Hill is what he calls it. But you know, were
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Speaker 2: a lot of a lot of his you know, unreleased
9:01
Speaker 2: songs that originated at least you know, And but yeah,
9:06
Speaker 2: he could just put it all out on YouTube or
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Speaker 2: stream it. But you know, I think there's part of
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Speaker 2: him that likes being on Columbia. Yeah, I don't even know,
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Speaker 2: you'd be quite. I don't even know if he thinks
9:17
Speaker 2: about being on Columbia Records anymore.
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Speaker 3: You know, he's been there so long. He just puts
9:22
Speaker 3: it out.
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Speaker 2: But in terms of distribution, you know, and just getting
9:25
Speaker 2: it out and the advertising, you know, there's you know,
9:29
Speaker 2: nobody does it better than I mean, to me, fifty
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Speaker 2: four years on Columbia Records is pretty exound because Columbia
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Speaker 2: had for decades has been the Krem Della Crem.
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Speaker 3: And I'll tell you this, I'll blow your mind too.
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Speaker 2: There's two other artists who have been on Columbia longer
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Speaker 2: than him, and that's Bob Dylan who's still on Columbia,
9:49
Speaker 2: and Barbara Streisian.
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Speaker 1: That blows me away. So then how can how can
9:52
Speaker 1: Dylan sell his catalog? Then if he's still on Columbia, Well,
9:55
Speaker 1: I thought that would be Columbia material.
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Speaker 2: Well, no, I would imagine at some point Dylan Oh okay, okay, yeah,
10:03
Speaker 2: he probably probably purchased it. And the same thing with
10:06
Speaker 2: Springsteen and like Falling Oaths and those guys or or
10:10
Speaker 2: they whatever, percentage they own. You know, sometimes it gets misreported.
10:13
Speaker 2: You know, whatever percentage they own, they sold half of
10:16
Speaker 2: that percentage to somebody else. You know. I think standard
10:20
Speaker 2: publishing percentages are like between ten and fifteen percent. I
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Speaker 2: would imagine Bruce probably has closer to twenty twenty five.
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Speaker 3: You know, you know he's.
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Speaker 2: Probably you know, he's had great agents over the years,
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Speaker 2: so they probably negotiated that form.
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Speaker 1: The photograph that you used on your Strange Brew, my god,
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Speaker 1: that that is the Springsteen that is forever in my heart.
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Speaker 1: So when I saw that it went of course that's
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Speaker 1: the one he went with. Of course, I mean Berby
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Speaker 1: what I guess, I've just I've never gotten used to
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Speaker 1: the older version. This is the guide no matter what,
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Speaker 1: even with the song recently that he did with the
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Speaker 1: protest song. I mean it's it's like I still think
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Speaker 1: of that picture that you have on Strange Brew.
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Speaker 2: Yeah, that was ae rupic that I would have preferred
11:02
Speaker 2: a you know, a younger shot of it. Well, I
11:04
Speaker 2: mean pretty younger that that's that's like that's like Darkness
11:07
Speaker 2: River era. Well, the article takes place in like, you know,
11:10
Speaker 2: seventy two, seventy.
11:11
Speaker 3: Three, when he had a Beard. But no, that's fine.
11:13
Speaker 2: You know, I think they try to find images that
11:15
Speaker 2: are kind of more public domain. But now for me,
11:19
Speaker 2: it's it's, uh, it's kind of Nebraska born in the
11:22
Speaker 2: USA era. Bruce is the Bruce that I uh, and
11:26
Speaker 2: it's it's not far off from from the Bruce image
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Speaker 2: that you like, you know, it's kind of all that
11:30
Speaker 2: same era. But yeah, you know, he's it's still kind
11:33
Speaker 2: of like the Bruce Fringstein of Dancing in the Dark.
11:35
Speaker 2: That's that's that's the brig That's the Bruch I fell.
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Speaker 3: In love with. And you know when I whenever I
11:41
Speaker 3: when summer comes roll around.
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Speaker 2: Aaron Man, it's like it's it's born in the USA
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Speaker 2: and born in the USA outtakes.
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Speaker 3: I just love.
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Speaker 2: I just remember when that album came out. It came
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Speaker 2: out in the summer of eighty four. I was eight
11:51
Speaker 2: years old.
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Speaker 3: Was in the music, you know, and uh that was
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Speaker 3: that was I mean there was.
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Speaker 2: Twelve songs, seven of which were released as singles, and
12:00
Speaker 2: they were all top ten hits. So it's like like
12:02
Speaker 2: for two straight years you had nothing, but you know,
12:06
Speaker 2: verse everywhere. Yeah, and keep in mind this is in
12:08
Speaker 2: a field with you know, Hall and Notes, having hits
12:11
Speaker 2: on the radio, Billy Joel and so many others, and
12:13
Speaker 2: just you know, the early days of MTV where it.
12:16
Speaker 3: Was just so much I miss it, you know, it
12:19
Speaker 3: was so much fun.
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Speaker 1: I'm still that guy, and I realized I'm a radio
12:24
Speaker 1: guy and I should know more than this. And the
12:26
Speaker 1: thing is is, I'm still upset that he stole that
12:29
Speaker 1: song Blinded by the Light. You know, he didn't but
12:31
Speaker 1: a bit, but but in my heart, when I heard
12:33
Speaker 1: his version of Blinded by the Light, I was so
12:36
Speaker 1: upset that he took it from Manford Man and people
12:39
Speaker 1: had to correct me in my radio world. Dude, they
12:42
Speaker 1: took it from him. Come on, man, get your story straight,
12:46
Speaker 1: I mean. And that's that's when I realized, oh my god,
12:49
Speaker 1: he's writing music for other people. Even the song fire
12:53
Speaker 1: It's like, you gotta be kidding me.
12:55
Speaker 3: Yeah, yeah.
12:56
Speaker 2: And because the Night by Potti Smith, yes, you know
12:59
Speaker 2: he yeah, blind and by the Light. It was the
13:02
Speaker 2: opening track to Greeting Shamansbury Park in nineteen seventy three.
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Speaker 3: It was his first thing, and it was it.
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Speaker 2: Was a lot like Dancing in the Dark, you know,
13:08
Speaker 2: Dancing in the Dark was kind of like history repeating itself.
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Speaker 3: You know when when he handed in.
13:13
Speaker 2: The album for greeting Shremansbury Park to Columbia, they said,
13:17
Speaker 2: there's no there's no singles on this. You need to write.
13:20
Speaker 2: You need to give us a couple of songs that
13:21
Speaker 2: we can release a single. So he went back and
13:24
Speaker 2: he wrote Blinded by the Light and he wrote Spirit
13:27
Speaker 2: in the Night, both of which were covered and made
13:29
Speaker 2: hits by Manfred Man. And then you know when when
13:33
Speaker 2: he was when he played Born in the USA for
13:36
Speaker 2: his manager, John Landau or you know, Landau was involved
13:40
Speaker 2: in the process. So when they when they looked it
13:42
Speaker 2: over looked over the track list, He's like, there's no
13:44
Speaker 2: leadoff hit single here, which is funny because there was
13:47
Speaker 2: six other songs on there that were going to become
13:49
Speaker 2: top ten hits. But he made him go back and
13:52
Speaker 2: write one. He wrote begrudgingly. He wrote Dancing in the Dark.
13:55
Speaker 2: And I don't know, it's a good question because Dancing
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Speaker 2: in the Dark was the leadoff single to Born in
14:01
Speaker 2: the USA. It was the biggest chart topping single ever
14:04
Speaker 2: hit and peaked at number two. He's never had a
14:06
Speaker 2: number one hit, believe it or not. And I think
14:10
Speaker 2: it kicked off. I don't know if the others would
14:12
Speaker 2: have been as successful had it not been for the
14:14
Speaker 2: leadoff of Dancing in the Dark.
14:16
Speaker 1: Why did they not consider him the opening stages of
14:19
Speaker 1: alternative music, because if you go back there, even before
14:22
Speaker 1: Hoodie and before Nirvana and everybody else, I just feel
14:26
Speaker 1: like that he was the one who instigated alternative music.
14:30
Speaker 2: Probably because these two steeped in, you know, the you
14:34
Speaker 2: know what came out when he was a kid in
14:35
Speaker 2: the sixties, and you know, like Mick Mitch Ryder in
14:40
Speaker 2: the Detroit Wheels.
14:41
Speaker 3: You know, it's you know, it's it was.
14:44
Speaker 2: You know, it's just you know, it's funny because if
14:48
Speaker 2: you listen, you know, he put out a a box
14:52
Speaker 2: set a couple of years ago that were seven unreleased
14:55
Speaker 2: albums spanning from nineteen eighty three to the to like
14:59
Speaker 2: twenty nineteen, you know, and one of them was a
15:03
Speaker 2: series of about eighteen or nineteen garage demos he did
15:08
Speaker 2: in nineteen eighty three.
15:10
Speaker 3: And there's a couple of them that sound really new.
15:13
Speaker 2: Wavy, like like they have like that new wave kind
15:16
Speaker 2: of organ in them that you know that or I
15:19
Speaker 2: should say synthesizer, and I love it. I mean, I love,
15:22
Speaker 2: to me, there's nothing better than an early eighties new wave.
15:24
Speaker 2: I could just get so into it, you know, and
15:27
Speaker 2: like the Smiths and the Cure and all that, you know,
15:31
Speaker 2: like the Motels and you know, it's like and there's
15:35
Speaker 2: just a couple of songs on there that just sound
15:37
Speaker 2: like that. So he was really he was kind of
15:39
Speaker 2: you know, he was into that, and he did try
15:42
Speaker 2: to go that.
15:43
Speaker 3: Way, but I think ultimately felt it just didn't fit him.
15:46
Speaker 1: You know, is there somebody that you would like to
15:48
Speaker 1: see him team up with in the way that Robert
15:50
Speaker 1: Plant and Alison Krause came together, because I mean, were
15:53
Speaker 1: there for a second. We saw Taylor Swift do a
15:55
Speaker 1: couple of things with him, But I've always wondered, is
15:58
Speaker 1: there a female performer we could team him up with
16:01
Speaker 1: on a full album that gives us even a deeper
16:04
Speaker 1: look into his soul when it comes to music.
16:07
Speaker 3: Well, you know, he's seventy six now, so probably I
16:11
Speaker 3: don't believe it. I don't believe it. I'm not believing that.
16:15
Speaker 1: I don't want to hear it.
16:18
Speaker 2: You know, I am not a huge fan of duets,
16:22
Speaker 2: but but maybe at his peak, maybe Emmy Lou Harris
16:27
Speaker 2: because Amy Lou Harris really loved him, and she recorded
16:30
Speaker 2: a bunch of his songs, and I think he had
16:31
Speaker 2: a good relationship with her, and I think she played
16:34
Speaker 2: live with him maybe a couple of times on stage
16:35
Speaker 2: and joints, you know, And and she'd always said that
16:38
Speaker 2: she always believed Bruce was a country singer at heart,
16:40
Speaker 2: So I could I could see them teaming up for something.
16:43
Speaker 3: But you know, it must not be something he's into
16:47
Speaker 3: because he's really never done it.
16:49
Speaker 2: I mean, you know, he's had Patty Skioffa and she's
16:52
Speaker 2: a great backup singer, you know, his wife. Uh, you know,
16:56
Speaker 2: second second only to Little Steven in my opinion for him.
16:59
Speaker 3: But you know, she he's just he's never done that.
17:03
Speaker 3: I guess he's just not into it.
17:06
Speaker 1: What do you think the future is for Bruce Springsteen?
17:08
Speaker 1: Do you think it's one of those where he's gonna
17:09
Speaker 1: start doing just releasing it a single at a time
17:11
Speaker 1: as as he feels it. And again, first of all,
17:14
Speaker 1: kudos to his last song that he released, because that,
17:16
Speaker 1: to me is where the new folk rock movement is
17:18
Speaker 1: going to happen, in the way of taking situations where
17:22
Speaker 1: we need protests, and he's going to do it musically,
17:25
Speaker 1: and I just think that that's where he's going to grow.
17:27
Speaker 1: What what what is your gut on that.
17:30
Speaker 2: It's hard to grow with only fifty percent of your audience.
17:32
Speaker 2: You know, he's really isolated a lot of people with that, unfortunately.
17:36
Speaker 2: But and at this stage, it's the protest isn't coming back,
17:41
Speaker 2: not through music.
17:42
Speaker 3: It just that was done.
17:43
Speaker 2: It was done in the sixties, in the seventies. It's
17:46
Speaker 2: just not going to go again. It's just the way
17:49
Speaker 2: our society is shape is different now. But no, I
17:52
Speaker 2: think retiring. I don't know that he's ever going to retire.
17:55
Speaker 2: He's I think he's either going to die on stage
17:58
Speaker 2: or he's just gonna you know, it's just he's just
18:00
Speaker 2: gonna just go until he can't go anymore. You know.
18:03
Speaker 1: Well that recent stunt with with Rod Stewart and praying
18:07
Speaker 1: for him, But I mean, my god, you know, come on, guys,
18:10
Speaker 1: there comes a time when you when you've got I mean,
18:12
Speaker 1: I mean, even with Barry Manilow and Michael Bolton right
18:14
Speaker 1: now with cancer, you're sitting there going, oh my god,
18:17
Speaker 1: you know, please don't do it on that stage. We
18:19
Speaker 1: love you forever, but don't do it on the stage.
18:22
Speaker 2: He just seems to be getting more powerful. You know,
18:26
Speaker 2: back in the day he used to take an intermission.
18:28
Speaker 2: You know, his concerts are just as long as they
18:30
Speaker 2: were back then, and he doesn't take an intervintion him
18:32
Speaker 2: was like wow.
18:33
Speaker 3: Him and Paul McCartney.
18:34
Speaker 1: Man, oh, might say Paul, I'm done, let me go home. Paul,
18:37
Speaker 1: let me go, let me go home.
18:38
Speaker 2: And Paul McCartney, I know it's kind of tongue in cheap,
18:41
Speaker 2: but Paul McCartney, I think kind of resems breast for
18:43
Speaker 2: making conscious.
18:43
Speaker 3: The way they are now. You know, there's three hours.
18:46
Speaker 2: You know, it's like he I think he misses the
18:48
Speaker 2: day where it was like forty five minutes and you're done.
18:51
Speaker 2: You know.
18:52
Speaker 1: Wow. Can you imagine the Beatles in concert for four
18:55
Speaker 1: hours with two minutes and fifteen second songs? I don't
18:58
Speaker 1: know about that one.
19:00
Speaker 2: Yeah, really, I know.
19:01
Speaker 3: Can you imagine a three hour Beatles concert that would
19:03
Speaker 3: have been?
19:04
Speaker 2: That would have been?
19:05
Speaker 3: Yeah?
19:05
Speaker 1: Absolutely. First of all, kudos to all your writing, because
19:08
Speaker 1: you really do take it to a level that is
19:10
Speaker 1: just unbelievable. And I and and I just I just
19:13
Speaker 1: I can't every time I hear there's a new article,
19:15
Speaker 1: I go into it, I dive, I study, I take notes.
19:18
Speaker 1: I mean, you are that Joel Whitburn, That that guy
19:20
Speaker 1: that I needed when I was on you know, terrestrial radio,
19:23
Speaker 1: that that I needed the answers to and you provide
19:26
Speaker 1: that inside your your post.
19:27
Speaker 2: Dude, Well, I appreciate it, and I will let you
19:30
Speaker 2: know that I just signed a contract yesterday for my
19:32
Speaker 2: Whaleen Jennings out book that's going to come out October
19:36
Speaker 2: twenty twenty seven. It's going to be called Ladies Love Outlaws.
19:39
Speaker 2: So keep your keep your ears and her eyes out
19:43
Speaker 2: for that.
19:44
Speaker 3: I send you a cup. I will.
19:45
Speaker 1: Because for some reason, that dude's been all over the
19:48
Speaker 1: news again. Well it's because of his son, and I
19:50
Speaker 1: think it was CBS Sunday morning they did the interview
19:53
Speaker 1: a shooter and and and and it's it's like, oh
19:56
Speaker 1: my god. You know, it's just a blows me away.
20:00
Speaker 2: He's putting out another archive release that's going to come
20:03
Speaker 2: out in November, another full album of old unheard whaling songs,
20:07
Speaker 2: which is exciting and there's kind of you know, there's
20:10
Speaker 2: everybody jumps onto Oh well, it's Ai it's AI, you know.
20:14
Speaker 2: It's like, Okay, well, I don't think it's AI. You know,
20:17
Speaker 2: I'm pretty sure AI can't create great original music. It
20:21
Speaker 2: can only and if they use any kind of AI
20:24
Speaker 2: things to enhance it, to clean things up, I have
20:26
Speaker 2: no problem with that. But for the most part, it's
20:29
Speaker 2: probably I would imagine they're probably old songs that Whalen
20:32
Speaker 2: recorded that he weren't worthy of, that didn't want to
20:36
Speaker 2: release for whatever reason.
20:37
Speaker 3: You know, sometimes they.
20:38
Speaker 2: Do that, and they probably he probably had some musicians
20:41
Speaker 2: come in and Oka dubs some parts on, which is
20:43
Speaker 2: the Rolling Stones and Bruce Springsteen both do the same
20:46
Speaker 2: thing with their archive a release.
20:47
Speaker 1: One of the things that I love about your writing,
20:49
Speaker 1: and I know that you know your time is up
20:51
Speaker 1: and your time is very busy. The thing is is
20:53
Speaker 1: that I always love the way that you're able to
20:56
Speaker 1: look at the artist and peel away all of their
20:59
Speaker 1: outside image. In other words, it's like with Springsteen, I
21:01
Speaker 1: feel like I'm looking at the person and not him
21:04
Speaker 1: on that stage for four hours with that guitar. It's
21:07
Speaker 1: and that's why I'm so excited about the Waylan Jennies,
21:09
Speaker 1: because I know you're going to take me beyond that
21:11
Speaker 1: outlaw kind of appeal that we've all had. You're going
21:14
Speaker 1: to show us the guy and and that and what
21:16
Speaker 1: he had to do in order to get And that's
21:18
Speaker 1: what I love about your writing is that you take
21:21
Speaker 1: the time and you've got the patience to show us
21:24
Speaker 1: the person more than the performer.
21:27
Speaker 2: That's that is my goal, you know it said there
21:29
Speaker 2: was an old line from the many shot Liberty Bounce,
21:31
Speaker 2: which is my favorite, one of my favorite John Wayne movies,
21:34
Speaker 2: and they said, you know, when the legend becomes fact,
21:38
Speaker 2: print the legend, and I'm the opposite.
21:40
Speaker 3: I like the facts. I think there's much more interesting
21:43
Speaker 3: than the legend.
21:44
Speaker 1: Wow, all right, Where can people go to find out
21:46
Speaker 1: more about everything you're doing, especially when it comes to
21:49
Speaker 1: the mamas and papas and everybody else that you're working with.
21:54
Speaker 2: You can go to my website scottshayauthor dot com and
21:57
Speaker 2: Shae is spelled s h e A.
22:00
Speaker 1: Please come back to this show anytime in the future.
22:02
Speaker 1: I mean, you know, the door is always going to
22:04
Speaker 1: be open for you because you truly understand the connection
22:07
Speaker 1: between listeners and the music and they're not getting it
22:09
Speaker 1: where they want it, but you give it to.
22:11
Speaker 3: Them you got it er. Thanks for the invite.
22:14
Speaker 1: You have a great weekend, okay, sir, you too,