Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Randy Bachman

Transcript

Randy Bachman · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

0:15
Speaker 1: Pushkin, Laurel Kenyon, Hayde Ashbury and Swinging London are a
0:23
Speaker 1: few of the locations that come to mind when we
0:25
Speaker 1: think about the powerhouse music scenes of the sixties, but Canada,
0:29
Speaker 1: anywhere in Canada, rarely comes up. But after listening to
0:33
Speaker 1: Randy Bachman talk about his musical baptism across the Great
0:37
Speaker 1: Plains of the Great White North, all that might change
0:40
Speaker 1: for you. Bachman is a master guitarist and songwriter with
0:43
Speaker 1: twelve hits to his name. Between the guests Who and
0:46
Speaker 1: Bachman Turner Overdrive. On today's episode, Bruce Helm talks to
0:50
Speaker 1: Bachman as he dissects some of the incredible songs he's written,
0:53
Speaker 1: including an American Woman and These Eyes. He also discussed
0:57
Speaker 1: how he became one of the greatest guitars of his generation.
1:03
Speaker 1: This is broken record liner notes for the digital age.
1:06
Speaker 1: I'm justin Richman. Here's Bruce conversation with Randy Bachman.
1:12
Speaker 2: Listening to talk about your songs in the past and
1:14
Speaker 2: reading your book. What fascinated me, as someone who's never
1:18
Speaker 2: written a song, is how you took other songs and
1:23
Speaker 2: just transformed them and the roots for some of those
1:26
Speaker 2: songs you mentioned. I think laughing came out of a platter.
1:31
Speaker 2: Song came out of that ascending figure in twilight Time,
1:37
Speaker 2: and nobody is nobody on earth who would have picked
1:40
Speaker 2: that out. But somehow you took that from one song
1:43
Speaker 2: and just made it work that whatever that old line
1:47
Speaker 2: is about geniuses is covering up your influences.
1:51
Speaker 3: Are we running? Because you should have this on tape?
1:53
Speaker 2: Are we running? Yeah? We're running?
1:54
Speaker 3: Okay. I grew up playing violin. I started when I
1:57
Speaker 3: was five, real conservatory. So I'm playing Chopin, Shaikovsky, all
2:01
Speaker 3: this stuff. I don't know what I'm doing. My teacher
2:04
Speaker 3: would put the music down in front of me. I
2:06
Speaker 3: should play it first, and I've heard that. She put
2:08
Speaker 3: it from me, and I'd play it. Go wow, take
2:11
Speaker 3: that home and practice it for a week. Well, I
2:13
Speaker 3: already know it. Give me two or three. I was
2:16
Speaker 3: learning by ear because I would listen to her and
2:17
Speaker 3: I would watch her fingers, and I was learning to play.
2:20
Speaker 3: The music didn't mean anything to me, and I got
2:23
Speaker 3: that way till I was about fourteen. I'm a very
2:25
Speaker 3: good classical violinist. And she said you should go in an
2:29
Speaker 3: audition for the Winnipeg Junior School Symphony eighty five. Kids
2:32
Speaker 3: like a big symphony and you'll be second violin. There's
2:35
Speaker 3: four violins, a couple of yolas, cellos and stuff. So
2:39
Speaker 3: I go to this audition, which is a Neil Young's
2:41
Speaker 3: school in Winnipeg. It's in the Cristin High School the
2:44
Speaker 3: other side of Winnipeg. So it's a Saturday morning. I
2:46
Speaker 3: go in there with my violin. They put a piece
2:49
Speaker 3: in front of us. I know it. It's the Chaikovsky
2:51
Speaker 3: kind of thing. And halfway through into the song, the
2:56
Speaker 3: conductor taps the thing and he goes, second violin, bar
3:00
Speaker 3: thirty two. It's an E flat, not an E natural.
3:03
Speaker 3: Let's take it from the top. I don't know what
3:05
Speaker 3: he's talking about. I don't know what bar thirty two is.
3:08
Speaker 3: I don't know what flat is. I'm playing notes that
3:11
Speaker 3: when I want to hear a note, I know where
3:12
Speaker 3: my finger goes on the second string or third string
3:14
Speaker 3: and my bugle. That way, we start the song again.
3:19
Speaker 3: I get the same plot. I play the same note,
3:22
Speaker 3: tap tap tap, second violin. Can you what don't you
3:27
Speaker 3: understand about an E flat? And I go I don't know.
3:29
Speaker 3: He said, can you please play? Can you play an e?
3:32
Speaker 3: I'm sure, it's open string the violin. Can you play
3:35
Speaker 3: an E flat? I don't know what we're on? E
3:39
Speaker 3: flat is you can't go below that. Here's your E string.
3:42
Speaker 3: You can't go down there. I don't realize that the
3:44
Speaker 3: string before that is in needing to play flat. You
3:47
Speaker 3: go the string before and you go down there's an
3:49
Speaker 3: E flat that doesn't click on. I mean in front
3:51
Speaker 3: of eighty five kids. Okay, right, And he says, what
3:54
Speaker 3: don't you understand? And I figured, fuck this. I put
3:58
Speaker 3: my violin in the case. I get on the bus,
3:59
Speaker 3: I go home. It's a Saturday morning. This is how
4:02
Speaker 3: to go. I said, I'm never playing violin again. I
4:04
Speaker 3: don't know what I'm doing. Everyone's laughing at me. I'm done.
4:10
Speaker 3: The next day, my aunt comes over, my mother's younger sister.
4:14
Speaker 3: My mother's like thirty something. My aunt, just like ten
4:16
Speaker 3: years younger, puts on television and sees Elvis, and I go,
4:20
Speaker 3: what is that? Because I had been classically trained, Well,
4:23
Speaker 3: that's called rock and roll. That's called the guitar. And
4:25
Speaker 3: that guy's name is Elvis Presley. So when you're from
4:28
Speaker 3: Winnipeg and your best friend is Joey Goldberg or something,
4:31
Speaker 3: you don't hear a name like Elvis Presley, like what's
4:34
Speaker 3: his name? Again? Over and over, and I said, I
4:36
Speaker 3: want to do that. It's so wild compared to classical music,
4:39
Speaker 3: where you have to stand a certain way. You can't
4:40
Speaker 3: rest your elbow when you're tired. You have to stand
4:43
Speaker 3: this way and do all of this grandiose up and
4:44
Speaker 3: down bowstroke. And so I started to copy Elvis. And
4:50
Speaker 3: my cousins had a guitar. They taught me three chords.
4:53
Speaker 3: But with the minute I got the guitar, I could
4:55
Speaker 3: play all the leads on it, because on violin, all
4:57
Speaker 3: he plays the top line. You play lead on violin.
4:59
Speaker 3: So I've been playing lead since I was five. Like
5:01
Speaker 3: ten years later, I get a guitar and I'm playing lead,
5:04
Speaker 3: and playing lead is very easy. But it was like
5:10
Speaker 3: wandering in the forest. I didn't know where I was going.
5:12
Speaker 3: And then a guy moved to Winnipeg. His name was
5:14
Speaker 3: Lenny Brow, one year older than me. He had been
5:17
Speaker 3: playing since he was six in his family band. His
5:20
Speaker 3: dad was like Roy Rogers, his mother like Dale Evans.
5:23
Speaker 3: If you ever grew up seeing Roy Rogers, Happy trails
5:25
Speaker 3: to you. At gene Autry at the end of the
5:27
Speaker 3: Cowboy movie. They'd sing with the Son of the Pioneers,
5:28
Speaker 3: cool clear water and stuff like that. That's what a
5:31
Speaker 3: sprid Ringo star was the Cowboy movies of Geene Autry
5:34
Speaker 3: and Roy Rogers. And he played this country band his
5:38
Speaker 3: fathers called hall Loan Pine. The mother is Betty Cody.
5:41
Speaker 3: They made up these western names, and he was hel
5:44
Speaker 3: Lone Pine Junior. But he played a big orange gretch
5:47
Speaker 3: and I didn't know if the gretches were orange. You
5:49
Speaker 3: see an American band, then it's black and white. I
5:52
Speaker 3: saw Chuck Barry, Dwayne Eddie, Eddie Copperant all playing this
5:55
Speaker 3: cool looking guitar. And when one came into Winnipeg and
5:58
Speaker 3: we see it in the store window and it's orange. Wow,
6:01
Speaker 3: that guitar is orange. Is like a giant pumpkin. It's incredible.
6:04
Speaker 3: So I bought that one. Neil Young bought the next
6:07
Speaker 3: one that came in a month later. He still got
6:08
Speaker 3: his mind stolen. But then you learned to play guitar
6:12
Speaker 3: like that. And this guy had been was playing with
6:15
Speaker 3: his parents. Man, they had him quit school when he
6:17
Speaker 3: was ten, so he's playing since he was six. He's mastered.
6:20
Speaker 3: So he taught me five Chad Atkins albums, three Merle Travis.
6:23
Speaker 3: I'm then I starting to get Howard Roberts and Barney
6:26
Speaker 3: Kessel and stuff like that. And after you learn that stuff,
6:29
Speaker 3: ched Atkins is like a vocabulary because every album of
6:32
Speaker 3: his is classical and bluegrass, on country and rock and everything.
6:35
Speaker 3: He just played absolutely everything. So that was like a
6:38
Speaker 3: great thing for me. But Lenny Brow said to me
6:41
Speaker 3: one thing. His real name was Lenny Brow. He was
6:43
Speaker 3: held in Pine Junior, but his family name was Bro.
6:47
Speaker 3: You're a really really good guitar player for your age.
6:49
Speaker 3: Because everybody in Winnipeg wanted lessons from me because they
6:51
Speaker 3: couldn't speak to Lenny Bro. He started and stammered, and
6:54
Speaker 3: I had a brother who started, Who I did? You
6:55
Speaker 3: ain't see nothing yet after, So you know how to
6:58
Speaker 3: communicate with a guy who's status the stummer. You never
7:01
Speaker 3: try to correct him or say sentences. You just let him.
7:03
Speaker 3: He relax and then he starts to slowly speak to you.
7:06
Speaker 3: So I could speak to Lennibro all the time, and
7:09
Speaker 3: I I was a year younger than him. He had
7:11
Speaker 3: no girlfriends. I had girlfriends. I introduced him to kids.
7:14
Speaker 3: He came from Maine up to Winnipeg and live there.
7:18
Speaker 3: So he said to me, there will always be like
7:20
Speaker 3: the wild West. That'll always be a younger, faster gunslinger
7:24
Speaker 3: who's going to come to town and shoot you down. Learn
7:28
Speaker 3: to write good songs. Wow, I really, he said, I've
7:33
Speaker 3: been playing this is my favorite song, and he played
7:35
Speaker 3: Funny Valentine and he said that nod was my favorite song.
7:38
Speaker 3: It was Chet Baker's favorite song. It was so and
7:40
Speaker 3: so favorite song. It'll be Michael Bubla's favorite the next
7:43
Speaker 3: flatter it'll be his favorite song. So write a good song.
7:46
Speaker 3: And by the way you play guitar. Look, everybody forgets it.
7:49
Speaker 3: If you write a good song, it's it's it's it's forever,
7:52
Speaker 3: and you get paid forever. He said, what do you mean.
7:55
Speaker 3: So when it's played on the radio, they pay you
7:57
Speaker 3: a couple of pennies. But if you make a door
8:00
Speaker 3: and sell your door for two hundred bucks, you gets
8:02
Speaker 3: sold later for two thousand dollars as an antique door.
8:05
Speaker 3: Nobody sends you any money. But when you write a song,
8:07
Speaker 3: you get your couple of pennies. You keep getting your
8:10
Speaker 3: couple of pennies. So write a whole bunch of songs,
8:12
Speaker 3: get a whole bunch of couple of pennies, you'll have
8:14
Speaker 3: a really good life. So I meet Burton Cummings. We
8:18
Speaker 3: idolized the Beatles and the Stones and every record that
8:20
Speaker 3: came out, Burt Backrack, Hal David, Brian Wilson, the great song.
8:25
Speaker 3: Let's copy these guys and Burton, you copy a song.
8:29
Speaker 3: I'll copy a song and I'll play you what I
8:30
Speaker 3: think and if you could recognize it, then I haven't
8:33
Speaker 3: copied a good song. Okay, you do one.
8:37
Speaker 2: You have said so much. We have to unpack a
8:39
Speaker 2: little bit because you know, there are guitarists. Everybody knows
8:47
Speaker 2: there's Eric Clapton and there's Eddie van Halen. Then they're
8:51
Speaker 2: the guitarists other guitarists talk about. I think you're in
8:54
Speaker 2: that category.
8:55
Speaker 3: Really.
8:56
Speaker 2: Oh, I had when I first moved to New York.
8:58
Speaker 2: I took a couple lessons from a guy who was
9:01
Speaker 2: a jazz player. He actually had no money, turned down
9:04
Speaker 2: a record deal because they wanted to him to play
9:07
Speaker 2: like Stevie on Yeah. And he was, Oh, that's that
9:11
Speaker 2: garbage comes up. I'm Canadian. He goes, Oh, Randy Bachman,
9:17
Speaker 2: you were oh for for him? You were like at
9:21
Speaker 2: the toll.
9:21
Speaker 3: I've had a lot of New York guitar players tell
9:23
Speaker 3: me that. Oh yes, I said, I was the first
9:25
Speaker 3: guy in rock and roll to play a minor seven
9:27
Speaker 3: with the ninth on is What do you mean? I
9:29
Speaker 3: didn't even realize, because I didn't know what anything was called.
9:31
Speaker 3: I'm playing by ear, following Lenny Bro's fingers, so it's
9:34
Speaker 3: shaken them over. So goes the minor seven with the
9:48
Speaker 3: ninth on top. I didn't know what that was. To
9:50
Speaker 3: put that in a rock and roll song, like, to
9:53
Speaker 3: put that in it was like it was genius?
9:55
Speaker 2: Now was there not a Was there not a ninth
9:57
Speaker 2: in the original? In the in the English? Was oh interesting?
10:00
Speaker 3: They played the notes?
10:01
Speaker 2: Yeah, I played it as chords, Oh I see.
10:04
Speaker 3: And they played mine went one guitar I made. I
10:11
Speaker 3: made a chord out of it. Yeah, I'm playing chords.
10:20
Speaker 3: He's going, Oh I see, I made chords out of it.
10:25
Speaker 3: And also I did the shake. Yeah there's no shake
10:28
Speaker 3: on the original. I went, I had a big screen.
10:30
Speaker 3: I wanged it like Matt Rall. I had the bass
10:33
Speaker 3: for your goal and he also did that on that
10:36
Speaker 3: that note, and it made the whole record.
10:38
Speaker 2: Now Lenny bro is at the top of the list
10:42
Speaker 2: of guitarists other guitarists talk about. I just saw an
10:45
Speaker 2: interview recently with Andy Summers, and it was in the eighties,
10:48
Speaker 2: so he's in the Police, the biggest band in the
10:51
Speaker 2: world at that point, and he sort of says to
10:54
Speaker 2: the interviewer, says, you probably don't know who this is.
10:56
Speaker 2: The interviewer diad Actually he said, but I got a
10:59
Speaker 2: lesson with Lenny Bro when he's when Andy Summers is
11:02
Speaker 2: like on top. Lenny Bro charged him forty dollars. He's
11:06
Speaker 2: this unbelievable player who he did a couple of live albums.
11:10
Speaker 2: He died young and tragically. There's some he was murdered.
11:15
Speaker 2: Oh he was Oh, I had no idea by.
11:17
Speaker 3: His wife's brother, who was a dope dealer in la
11:20
Speaker 3: Oh he didn't pay.
11:21
Speaker 2: Oh, that's very sad.
11:22
Speaker 3: They found him floating in a pool, face down with
11:25
Speaker 3: no water in his lungs. They'd been strangled thrown in
11:28
Speaker 3: the pool. But when I met him, like I said,
11:30
Speaker 3: he was sixteen, I was fifteen. He didn't have any friends,
11:33
Speaker 3: has been family. Band played almost three or four or
11:36
Speaker 3: five nights a week. Weddings. Bar Mits was barn dancers.
11:39
Speaker 3: Then they had a barn dance where you're playing rockabilly
11:41
Speaker 3: and polkas and all that, and he's playing all well,
11:44
Speaker 3: chet ackens kind of stuff.
11:46
Speaker 2: So he's playing, he's playing bass, he's playing chords, and
11:48
Speaker 2: he's playing a top line as well.
11:50
Speaker 3: Yeah, yeah, playing chet akinstall. So you're playing.
12:04
Speaker 2: So what was it about that? That captivating?
12:07
Speaker 3: He's playing that way? And he teaches me to play
12:09
Speaker 3: the way from every ched Atkins album. And he also
12:11
Speaker 3: sing to me write good songs.
12:14
Speaker 2: Okay, but he didn't write idiot. No, no, he didn't
12:17
Speaker 2: write but you.
12:18
Speaker 3: But he taught me all this stuff. So some time
12:29
Speaker 3: he taught me to play on the inside for strings.
12:31
Speaker 3: Which are these? They some of the best on a guitar.
12:34
Speaker 3: So what I did undone? I went she she didn't
12:45
Speaker 3: know what she was. These are old Man minor seventh.
13:01
Speaker 3: She found him instead of going there to go higher,
13:04
Speaker 3: same chord but higher and it lifts the last part
13:07
Speaker 3: of the verse. It was too late, dude, And I
13:19
Speaker 3: didn't know what that was called. But I took it
13:21
Speaker 3: from Malaguana was. I took that and put it there.
13:35
Speaker 3: I'm doing Malaguania, and I got this song like I
13:42
Speaker 3: heard it was done Bob Dylan song called Ballad and
13:44
Speaker 3: d Bell and Plaine d Somewhere in twenty verses, he goes,
13:49
Speaker 3: she came undone, I go Holy Cow, And I had
13:52
Speaker 3: a girlfriend that had died from overdose of something. Somebody
13:55
Speaker 3: put something in her drink. I think it was Ellis Dain.
13:57
Speaker 3: She went to a coma. So I wrote about her,
14:00
Speaker 3: and I had these these quotes, and Mickey Lenny bros Said,
14:03
Speaker 3: get the Mickey Baker Jazz Guitar Book. It was from
14:05
Speaker 3: Mickey and Sylvia. If you don't love a strong Yeah,
14:08
Speaker 3: Mickey Baker in changed my life, him and Lenny bro
14:11
Speaker 3: to get instead of playing blues like this seventh ninth, Yeah,
14:17
Speaker 3: Mickey Baker's every downstroke is a different court. And I
14:33
Speaker 3: want to do that. I want and you don't do
14:35
Speaker 3: downstairs because you're playing like this, you're playing the middle
14:39
Speaker 3: for inside, for strings, and you're playing your thumb. So
14:41
Speaker 3: when I did, Lenny Borough showed me two endings that
14:46
Speaker 3: are jazz endings. They're called codas right, So the song
14:48
Speaker 3: is called mean to Me. He goes me to me,
14:54
Speaker 3: to me, can't you see the ending goes, I lower
15:07
Speaker 3: it once and I go, oh, every day is in
15:12
Speaker 3: and the string you got to write it to the
15:14
Speaker 3: end of the line. Just take that ending and make
15:18
Speaker 3: it my beginning. And it becomes looking out for number one.
15:21
Speaker 3: And the other part is from Ray Charles a song
15:23
Speaker 3: of this Little Girl of Mine that went, h this
15:26
Speaker 3: little girl of mine. But he's doing it on piano.
15:34
Speaker 3: So I think that and put on trying to go.
15:35
Speaker 3: And I found.
15:36
Speaker 4: Out every trick in the book, and that there's only
15:40
Speaker 4: one way to get things done.
15:42
Speaker 3: I found out the only way to the top looking
15:47
Speaker 3: at the phone number. What I mean, you keep looking
15:50
Speaker 3: the phone number?
15:56
Speaker 4: Right?
15:57
Speaker 3: So I put all that together, and it's strange to
16:00
Speaker 3: put the two endings together. And when I played it
16:02
Speaker 3: for Burton Comings and said, I've written the follow up
16:04
Speaker 3: to undone, which I wrote alone, everybody's sing writing another
16:06
Speaker 3: Chaz song. You just can't pull them out of the
16:09
Speaker 3: I said, I put these two any sing and I
16:10
Speaker 3: played and he said, oh, that that's brilliant. It's phenomenal.
16:14
Speaker 2: And then didn't didn't Lenny bro say to you, won't
16:16
Speaker 2: people think the song's over because you're playing the because
16:18
Speaker 2: you're playing the turnaround. Yeah, yeah, oh my god.
16:21
Speaker 3: Yeah, I said, guess what, Lenny, I wrote a song.
16:24
Speaker 3: I start with that coder. You taught me the song's over.
16:27
Speaker 3: I said, no, no, I repeat, I repeat, I repeat it,
16:29
Speaker 3: and I put this in. I put that in it
16:30
Speaker 3: and stuff and he he taught me, and he said,
16:33
Speaker 3: you can put anything you want together. You just need
16:36
Speaker 3: a passing note. So, I mean, I don't even know
16:38
Speaker 3: what key this is in.
16:44
Speaker 2: You don't know now what key that's in. You don't
16:46
Speaker 2: even know now what key that's in.
16:49
Speaker 3: You tell me what key it's in. I don't know. Basically,
16:54
Speaker 3: it's an f right. That's what means to me is
16:57
Speaker 3: I've lowered mine te right, So I've got it's gone
16:59
Speaker 3: on after tone.
17:00
Speaker 2: Yeah, after quick break.
17:02
Speaker 1: Will be back with more from Randy Bachman.
17:08
Speaker 3: We're back.
17:09
Speaker 1: Bruce had them and Randy Bachman.
17:11
Speaker 2: How did you learn from those Mickey Baker books, because
17:14
Speaker 2: that's pretty heavy music theory, the Mickey Baker stuff.
17:18
Speaker 3: Little x's instead of five lines EGBDF, the ad GB,
17:23
Speaker 3: little x's the word to put your fingers. It was
17:26
Speaker 3: the first book. I didn't know what tablature was. Yes, Like,
17:29
Speaker 3: to me, music is stupid okay, especially when you get
17:33
Speaker 3: to the bass cleft and it's different on a piano.
17:37
Speaker 3: That's what I thought about playing violin. Why is the
17:38
Speaker 3: cello music just like mine? We're playing the same line
17:41
Speaker 3: hisre's one whole line below. And they explained to me, well,
17:45
Speaker 3: when you do the staff and another staff, and when
17:47
Speaker 3: you're symphony director down there as all the guys, by
17:50
Speaker 3: the time they get to the top, your EGBDF bass
17:53
Speaker 3: is one one below this.
17:56
Speaker 5: Yeah.
17:56
Speaker 3: See, whatever you know you're getting me, I'll mixed up
17:59
Speaker 3: in anyways, I just learned the wonderful thing about I
18:04
Speaker 3: have a phonographic memory as a kid. I hear it once,
18:07
Speaker 3: I know it in my head just to figure out
18:22
Speaker 3: it's Chuck Berry. That kind of stuff. And every time
18:25
Speaker 3: I was going to produce an album I produced bto
18:28
Speaker 3: I produced a man called Trooper. I would listen to
18:31
Speaker 3: a dozen Berries, the Chuck Berry Greatest Hits, phenomenal album
18:35
Speaker 3: who took twelve bar blues and made every song a
18:38
Speaker 3: story of Johnny be Good or maybe Lean or incredible
18:42
Speaker 3: lyrics that this guy had over twelve bar blue songs,
18:47
Speaker 3: rock and roll music, roll over Beethoven. And the guy
18:50
Speaker 3: was a poet of unprecedented rock and roll lyrics. I
18:54
Speaker 3: mean really compared to Shoe by Dewbey, you know, and
18:57
Speaker 3: the boom and get a job. He Chuck Berry wrote
18:59
Speaker 3: like Shakespeare and obviously affected the Beatles. And besides a
19:04
Speaker 3: dozen berries, which I would get the simplicity of an
19:07
Speaker 3: intro of guitar, I would play a revolver or rubber
19:11
Speaker 3: soul to get what the Beatles did with four guys
19:16
Speaker 3: to sound like six guys. And I'm I'm dealing with Bto,
19:19
Speaker 3: which are three or four guys try to sound like six.
19:21
Speaker 3: So every time I produced a BTO album, I made
19:24
Speaker 3: sure that in the verses we had a cow bell
19:27
Speaker 3: muted or in the course or we had a shaker going.
19:31
Speaker 3: So if we listened to the Beatles behind every section,
19:33
Speaker 3: the middle eight, the versus the intro, there's a different
19:37
Speaker 3: percussion thing, and a lot of times they're clapping, and
19:40
Speaker 3: I would take the Beatles thing like there's a song
19:43
Speaker 3: called Homie Tight that goes, oh meat tight, dude, it's
19:49
Speaker 3: been a hardy, same thing, taking care of bins, same
19:55
Speaker 3: clapping and under a ringo playing bongos. Just let it ride, goodbye.
20:00
Speaker 3: It's got the bongos. We didn't have bongos. We used
20:03
Speaker 3: the milk jug emptied one gallon milk job filled with paper.
20:06
Speaker 3: My brother put it between his legs and did the
20:08
Speaker 3: gallop on it. So we're doing all these things for
20:11
Speaker 3: bto to sound like more than four guys on a record,
20:15
Speaker 3: and it's so easy, too alive. You just crank up
20:17
Speaker 3: loud and you played louder.
20:18
Speaker 2: It's interesting you wrote about that because I was listening
20:22
Speaker 2: to some beatles the other day and I thought I
20:24
Speaker 2: heard some little like a little gallop under it all,
20:28
Speaker 2: and I thought, well, was that in the music I
20:30
Speaker 2: don't but.
20:30
Speaker 3: Listen to Hard when I'm home. The gallup stops when
20:33
Speaker 3: I'm home, clank clank, clubo, everything, and that drives that
20:36
Speaker 3: seem homely feeling only tied. It's been a they get
20:40
Speaker 3: back to hard and you get into the groove again.
20:42
Speaker 3: So their percussion and the shakers and ringo played a
20:45
Speaker 3: lot of claps claves. But he didn't do it one
20:48
Speaker 3: and three, just every once in a while, every fourth
20:50
Speaker 3: beat or third beat, like and I Love Her. He
20:55
Speaker 3: didn't go down like the Latin thing Dad, click click
21:02
Speaker 3: click every other time.
21:04
Speaker 2: Now when you when you played with him. Did you
21:05
Speaker 2: ask him about things like that?
21:07
Speaker 3: Yeah, he was the guy who said it's been hard
21:09
Speaker 3: to his ninety I love this check eight days a week.
21:12
Speaker 3: John gives him no credit. I mean, if somebody gives
21:15
Speaker 3: me a title, I give them ten percent of the song.
21:17
Speaker 3: I mean it inspires your hook, it's your course.
21:19
Speaker 2: Basically good news for Bob Dylan, who's still looking for
21:22
Speaker 2: that check for undone.
21:23
Speaker 3: By the way, you have my check for undone.
21:25
Speaker 2: Yeah, yeah, what pissed me off?
21:27
Speaker 3: As Wally Lyme wrote a book called She's Coming Done,
21:30
Speaker 3: which Oprah had in her book Club with the Week
21:31
Speaker 3: and sold millions of copies, and he thank Burton Cummings
21:34
Speaker 3: in the intro, not me. I wrote it all by myself.
21:36
Speaker 2: Oh you're kidding.
21:37
Speaker 3: Yeah, so, I said, Wally Lime letter going, but I
21:40
Speaker 3: never got a reply back.
21:43
Speaker 2: I want to ask you more about writing, but you're
21:45
Speaker 2: talking so much about guitar. And there is something about
21:48
Speaker 2: your guitar playing which has always been noticeable for me,
21:52
Speaker 2: which is how melodic your solos are. They're not solos
21:56
Speaker 2: the way we think of do you think it's violin?
22:00
Speaker 2: They're very they're almost I'm not saying they're sing songy,
22:03
Speaker 2: but I could, even now it's been years and years,
22:07
Speaker 2: I could sing the solo from No Time or American Woman,
22:12
Speaker 2: What do you Well?
22:13
Speaker 3: That's what Lenny bro taught me. Sing it. Sing your
22:18
Speaker 3: solo in your head first. Don't think of a blues
22:22
Speaker 3: run or a Les Paul lick or Chad akinlick and
22:25
Speaker 3: piecing it together like a jigsaw puzzle. Play your song
22:31
Speaker 3: in your head. Sing a solo. I'm gonna go. I'm
22:33
Speaker 3: doing right now, Just go up. That becomes your solo.
22:46
Speaker 3: So we're doing any any solo that I've got, like
22:49
Speaker 3: let it Ride, Mickey Baker. Guys have heard that solo.
23:03
Speaker 3: How could you play those notes in a rock and
23:05
Speaker 3: roll song? Where you're going? That's so jazzy, but it's
23:12
Speaker 3: so passing that when I get to that, it's a relief.
23:20
Speaker 3: That's all jazz stuff like Howard Roberts, but it's in
23:32
Speaker 3: there's a there's that Cordigan and I got that from
23:47
Speaker 3: Anton Divorcedhack Piano Concerto and t because I read about
23:51
Speaker 3: John Lennon listening to classical music, Stockhausen and things like that,
23:56
Speaker 3: and I can't afford anything right. Most of your life
24:00
Speaker 3: you're broke and Philip Glass. So I have a friend
24:04
Speaker 3: that has Philip Glass and listen to it and he's
24:05
Speaker 3: smashing a piano with the sledgehammers. I can't do this,
24:08
Speaker 3: and I can stockhausing thing and I can't even understand it.
24:11
Speaker 3: And I go into Crass, which is a cheap five
24:13
Speaker 3: and dime store. Oh I remembers they turned into Kmart
24:17
Speaker 3: right yeah, and by a classical album for dollar forty
24:20
Speaker 3: nine and to Divora Piano concertoy the whole side and
24:23
Speaker 3: the find one is the piano concerto very boring, but
24:27
Speaker 3: in the ending it goes. So I go on to
24:45
Speaker 3: make chords out of that. Would you medd it ride?
25:03
Speaker 2: Okay? He's waiting for his check too, I think, yeah, yeah,
25:07
Speaker 2: that's great.
25:08
Speaker 3: And the Doobie. I was writing that with Fred Turner
25:10
Speaker 3: at the ed Mardi Gras in New Orleans and I'm
25:14
Speaker 3: showing it to Fred. I got these cords, Fred, And
25:16
Speaker 3: we just heard a trucker say, no big deal, Bud,
25:17
Speaker 3: he let it ride. He'd cut us off and with
25:20
Speaker 3: an accent the highway and we're crossing this guy and
25:22
Speaker 3: he says, no big deal, just let it ride. So
25:24
Speaker 3: what does that mean? Fred, it's like mean chill out
25:26
Speaker 3: in the nineteen seventy two. We don't need trucker lingo.
25:28
Speaker 3: And he said, oh, it's just a chill out thing.
25:30
Speaker 3: So I'm sure and the Doobie Brothers get this lolong
25:38
Speaker 3: train running. But I've already done showing it to Fred,
25:42
Speaker 3: and Patrick's watching me playing. So Tom Johnson and we
25:47
Speaker 3: both got the same ant Undervorjak thing.
25:50
Speaker 2: You created two hits from one.
25:53
Speaker 3: We all realized that there's a pool of things you
25:56
Speaker 3: share they don't necessarily need to pay for, but if
26:00
Speaker 3: there's things you directly steal, you pay.
26:03
Speaker 2: Yeah, yeah, that makes sense.
26:06
Speaker 3: I remember talking to Gordon Lightfoot and I said, how
26:08
Speaker 3: do you like song? He said, what do you mean
26:10
Speaker 3: it said, Whitney Houston, what do you mean? I said,
26:16
Speaker 3: I just can't take it. That's from if you could
26:18
Speaker 3: read my mind? Girl. Really he called the lawyer. He
26:22
Speaker 3: go to check for a couple of hundred grand from
26:24
Speaker 3: Michael whoever's name was, who wrote.
26:27
Speaker 2: Yeah, yeah, good for him. Yeah did you remain friends
26:32
Speaker 2: with him? You saw him very early in life Lightfoot? Yeah,
26:35
Speaker 2: you guys wrote you wrote a song about Gordon before
26:38
Speaker 2: he was a big.
26:40
Speaker 3: Just joined our band and because we had a television
26:43
Speaker 3: show national like American Band then right across Canada that
26:48
Speaker 3: Monday was from Halifax, who that had add Murray on it.
26:53
Speaker 3: Tuesday was Ottawa or Montreal. Wednesday was Toronto. Bands like
26:58
Speaker 3: Who became David Clayton Thomas. The host was Alex Trebek.
27:02
Speaker 3: Right from from Jeopardy Winnipeg was Us Calgary, Mpton in
27:06
Speaker 3: BC with band that became The Collectors are Chillawa. We're
27:09
Speaker 3: still around the guys that were on this show, but
27:11
Speaker 3: it was on every single week for two years, so
27:13
Speaker 3: everybody in Canada would see the guests who every Thursday
27:17
Speaker 3: and we get to do the hit Preided and after
27:18
Speaker 3: a while, the hit Preid then lasted six months. Now
27:20
Speaker 3: it last six weeks. So we'd be repeating songs. So
27:23
Speaker 3: the producer came to write your own songs and if
27:26
Speaker 3: they're good enough, I'll put you in between the Stones
27:29
Speaker 3: and the Beach Boys. But it's got to be good enough.
27:31
Speaker 3: So Britain and I start writing songs. We do a
27:33
Speaker 3: tour and we go to Montreal and Lightfoot's playing in
27:35
Speaker 3: a little nightclub there and we go and see when
27:38
Speaker 3: we know each other because we all would hang out
27:40
Speaker 3: at the riverboat where, which is manager owned in the
27:43
Speaker 3: village in downtown Toronto, and we go and see him
27:45
Speaker 3: and he does three hours painting pictures of tiger lilies
27:51
Speaker 3: and leaving on a jetplane kind of thing, and incredible
27:55
Speaker 3: early morning rain and all these songs of his and
27:58
Speaker 3: we sat there stunned and went to meet him and
28:02
Speaker 3: how do you write songs? And he said do you?
28:05
Speaker 3: You have to have a gift. And I had the
28:08
Speaker 3: gift as a child, and so did Burton Cummings. And
28:12
Speaker 3: I know a lot of people that don't. And I
28:14
Speaker 3: only found out they don't because I went through several
28:19
Speaker 3: counseling sessions with my family that was getting divorced, Me
28:22
Speaker 3: and Tell and my other kids. And after sitting there
28:26
Speaker 3: for weeks and weeks, you every week for years and
28:28
Speaker 3: years with your ex wife, trying to get back together
28:30
Speaker 3: and work out your differences and stuff. And the doctor
28:33
Speaker 3: kept saying to me, what are your feelings? I forget
28:37
Speaker 3: my feelings. I'm pissed on you know whatever. Finally said,
28:42
Speaker 3: what's in your head right now? Because I'm not sharing anyone.
28:46
Speaker 3: I said, well, besides the music, I'm a little angry.
28:49
Speaker 3: What music We'll have music in my head? What kind
28:52
Speaker 3: of music? Well, ever since I was born, I have
28:54
Speaker 3: music in my head. What do you mean? Said, there's
28:56
Speaker 3: music in my head and I play it. And if
28:59
Speaker 3: somebody said do you make it up? I say, I
29:00
Speaker 3: think so. But if they say they heard it somewhere,
29:02
Speaker 3: then it's from somewhere else. That's how I write songs,
29:05
Speaker 3: or in my head. I craft them and moved them
29:07
Speaker 3: and switched them around. And he said, I hear nothing,
29:10
Speaker 3: and I said, well, I really feel sorry for you.
29:12
Speaker 3: And this guy doctor goes, WHOA, He's like the shrink,
29:15
Speaker 3: the shrink of all times. Right, nothing in his hit
29:17
Speaker 3: His head is blank. Yeah, And I find people that
29:20
Speaker 3: are musical. Even right now, the song is going in
29:23
Speaker 3: my head. I have a soundtrack. I'm never alone. I'm
29:28
Speaker 3: you can lock people with solitary. I enjoy it. Nobody's
29:31
Speaker 3: interrupting by my broadcast. That's in my head and it's
29:34
Speaker 3: old songs and it's new songs, and I don't know
29:36
Speaker 3: what it is. It's just there.
29:38
Speaker 2: It's just a stream. And you, yeah, you're handed every
29:42
Speaker 2: once in a while and pull something out.
29:44
Speaker 1: Yeah, after one last quick break, we'll be back with
29:47
Speaker 1: the rest of Bruce Headlin's conversation with Randy Bachman. We're
29:55
Speaker 1: back with Bruce Headlam and Randy Bachman.
29:58
Speaker 2: Well, let's talk about I think most people think that
30:01
Speaker 2: Burton Cummings came up with these eyes because he was
30:04
Speaker 2: the piano player. But as you, yeah, tell me about that.
30:10
Speaker 3: Well, my mother and my father was German, my mother
30:14
Speaker 3: was Ukrainian. These people partied. They had house parties, drinking
30:21
Speaker 3: like mad and then in the middle they would clear
30:23
Speaker 3: the chairs and do the cola maker to the Russian kick,
30:25
Speaker 3: the guys jumping in the air and they went crazy.
30:28
Speaker 3: They were like real classacks. And so my mother beside
30:31
Speaker 3: the Glasgow violin, she made me watch every Sunday night
30:35
Speaker 3: Don Messrs Jubilee, which was from Halifax, Newfoundland, where they
30:38
Speaker 3: played Celtic and fiddle music, jigs and reels and stuff
30:41
Speaker 3: like that. And she wanted so I would pick it
30:42
Speaker 3: up and I'd play. They would all do bulcus to it.
30:47
Speaker 3: And my brother was younger than me, the brother who
30:49
Speaker 3: started who I wrote, ain't see nothing yet, for I
30:51
Speaker 3: was bought the alphabate polka instrument and accordion. He's five
30:56
Speaker 3: years old. I'm seven. You get an accordion. You can't
30:59
Speaker 3: play it. They strap it to you can't see it.
31:02
Speaker 3: This finger has to play notes, this hand has to
31:04
Speaker 3: pump it, and these fingers have to go upah on
31:06
Speaker 3: these little buttons. And we would be sent to our
31:08
Speaker 3: bed driam to practice. And he cries, I can't do this.
31:12
Speaker 3: I say, okay, turn it sideways and I'll put He
31:15
Speaker 3: turned it sideways and I pulled this, and he pulled this.
31:20
Speaker 3: I sat there and I played in the KYFC. I
31:22
Speaker 3: figured out, well, see much different than guitar or violin,
31:26
Speaker 3: told me so do don't you can just sit I
31:28
Speaker 3: can play anything on a piano in the KYFC, all
31:30
Speaker 3: evenly spaced. I get him to pump the coordinate and
31:34
Speaker 3: sit there and my mother would think he was practicing.
31:36
Speaker 3: So this is my formal training on a keyboard. So Britain,
31:39
Speaker 3: Kempany just joined the guests who we're in Regina for
31:42
Speaker 3: this summer doing CAGs to get out of winn Bay
31:44
Speaker 3: because we he had broken up the devrons to join
31:46
Speaker 3: me to join the guests who and all the fans
31:48
Speaker 3: were upset. So we have a night off in Regina, Saskatchewan,
31:52
Speaker 3: and the Queen, the new Queen, the new female Gordon
31:55
Speaker 3: Lightfoot is playing in Regina at the four D the
31:58
Speaker 3: Fourth Dimension Coffeehouse. Joni Mitchell, Jony and Chuck Mitchell. She
32:03
Speaker 3: just Joni Anderson just married Chuck Mitchell. And so the
32:07
Speaker 3: sellout we go to see her. We know the promoter.
32:10
Speaker 3: It's a little coffee one hundred and twenty people. There's
32:13
Speaker 3: a table that says reserved. The place is full. So
32:16
Speaker 3: I'm there with the band and in walks's two really
32:18
Speaker 3: good looking chicks, a blonde and a brunette. And I go, oh,
32:22
Speaker 3: my gosh, that happens to the most guys you see
32:24
Speaker 3: a woman. It's like wow, I said my road manager.
32:29
Speaker 3: I don't know how to pick up a check like
32:30
Speaker 3: I had three brothers. And no, there's no females in
32:32
Speaker 3: the back of front. All boys. My cousins are all boys. Everybody.
32:36
Speaker 2: Some of those Russian dances dance moves help, yes.
32:39
Speaker 3: And so I said, can you go and talk to
32:41
Speaker 3: those two chicks, and if you get lucky called me over.
32:44
Speaker 3: Don't talk to the brunette, just talk to the blonde.
32:46
Speaker 3: We find out later they're sisters. He calls me over.
32:50
Speaker 3: I take them home, I asked the brunette for a date.
32:52
Speaker 3: The next night, I go to her house. Rushed into
32:54
Speaker 3: the house. There's a potted pit plant, a piano and
32:58
Speaker 3: a couch, no radio, no TV. And I'm waiting and waiting.
33:01
Speaker 3: She's late. I'm there early for the date. She's late.
33:03
Speaker 3: She's late. She's late. I go over to the piano
33:05
Speaker 3: and I go boom boom, my training in the KEYFC
33:09
Speaker 3: on the accordion, boom boom, and I started to sing
33:13
Speaker 3: these Arms Long to hold You? When are you coming down?
33:17
Speaker 3: We've missed the beginning of the movie. It is supposed
33:19
Speaker 3: to start at seven, and I'm singing this stupid song,
33:22
Speaker 3: these Arms Long to hold You. I forget about that Burton.
33:27
Speaker 3: I sit down to write some songs and say, here's
33:28
Speaker 3: the beginning of a song. It's called these Arms. He goes, well,
33:31
Speaker 3: that doesn't go anywhere. Why don't we call it these eyes?
33:35
Speaker 3: These eyes cr every night, These arms long to hold you.
33:37
Speaker 3: And the minute he said that, boom and outcomes by
33:42
Speaker 3: birth backrack training. Because we before Bertain was in the band,
33:48
Speaker 3: we had shaken over a big hit sixty four to
33:50
Speaker 3: sixty five. Got invited to New York to the Kingsman
33:53
Speaker 3: Louis Lewis tour. We were on Scepter Records owned by
33:57
Speaker 3: Florence Greenberg, who had Dion Warwick, Chuck Jackson, the Cherrell's.
34:01
Speaker 3: She wrote Soldier Boy for the Cherells. Her songwriters were
34:05
Speaker 3: Backcarck and David. They came and played songs just like
34:07
Speaker 3: this in the studio for Don Warwick every single day.
34:10
Speaker 3: I mean I heard San Jose and do you know
34:13
Speaker 3: raw with Burton with Burt background and Hal David singing
34:16
Speaker 3: the stuff Bert Bert Backer all these chords. I also
34:22
Speaker 3: found out that was the Zombies because the Dombies did
34:24
Speaker 3: it tour with Dean Worick and Rod Arg was sitting
34:28
Speaker 3: and listened to Bert Bacherak songs. So if you listen
34:31
Speaker 3: to the Zombies, tell her no, it's just like Undone.
34:44
Speaker 3: She's coming on the same chords, but different era. So
34:49
Speaker 3: when you listen to These Eyes, it sounds like a
34:51
Speaker 3: normal pop song, like three or four songs. I think
34:54
Speaker 3: there's twenty two chords in it. Yep. Besides the the
35:01
Speaker 3: the other part is very jazzy, like F major seventh
35:04
Speaker 3: over G.
35:07
Speaker 5: These eyes.
35:10
Speaker 3: Nobody would go that's standard Papa jazzys. These eyes. I'm
35:20
Speaker 3: crying these I've seen a lot of.
35:24
Speaker 4: Change key like you what these.
35:30
Speaker 3: A changed key again? You change again? These keeps changing
35:38
Speaker 3: key in going up And for Burton to sing that
35:40
Speaker 3: he was eighteen at the time, you can't sing that song.
35:43
Speaker 3: Nobody can sing that except him and maybe Elton John
35:46
Speaker 3: or Stephen Tyler. You got to have like a three
35:49
Speaker 3: or four octave voice and hit every note. Oh our
35:51
Speaker 3: crime like really like that. I got really lucky to
35:55
Speaker 3: get this guy as a singer, really incredible singer. Even today,
35:59
Speaker 3: I'm listening to old tracks that we did years ago.
36:02
Speaker 3: Just incredible voice. He's still touring and if we get
36:05
Speaker 3: the guest who name back, will be We'll be touring
36:07
Speaker 3: at the Guest Who next year. The real guys who wrote.
36:09
Speaker 2: The songs, not the guys who.
36:12
Speaker 3: So you mentioned laughing. Okay, that's from the platter song
36:16
Speaker 3: and cliches.
36:17
Speaker 4: Of night are calling. It's twilight time time together last
36:25
Speaker 4: a twelight time. I should laugh, but I cried because
36:30
Speaker 4: you'll learn. Let's be boar. Also, Dave Clark.
36:36
Speaker 3: Give me one chance, I'll be.
36:40
Speaker 6: Happy just to be with you. Give me give me
36:54
Speaker 6: a chance to be near you mecausecause I love you.
37:02
Speaker 3: Dave Clark took the same thing and wrote just because.
37:06
Speaker 3: So they're all there. And I learned this trick from
37:08
Speaker 3: Brian Willison when I turned the Beach Boys. Brian, how
37:12
Speaker 3: do you get these chord progressions? He said, get a
37:15
Speaker 3: fake book. Every musician in New York goin. They're jazz
37:18
Speaker 3: fake where they're all the Broadway hit songs. So I said, look,
37:21
Speaker 3: give me an example. Okay, here's an example five but two.
37:28
Speaker 3: Has anybody see my Instead of those changes, keep them
37:33
Speaker 3: half as long or keep them double? I said, what
37:36
Speaker 3: do you mean? He goes, I get around my side
37:41
Speaker 3: of town. I'm a real good head, make it real
37:46
Speaker 3: good bread. I get around and it's five for two,
37:54
Speaker 3: five for two. Excif going five for two, he just
38:00
Speaker 3: made it longer. Get a fake book. They tell you
38:05
Speaker 3: how to put chords after chords and end up where
38:08
Speaker 3: you started where you should when you're singing a song
38:10
Speaker 3: with these transitional things and middle eights that are unbelievable
38:13
Speaker 3: Broadway middle eights or what prompted the Beatles, the middle
38:17
Speaker 3: eight of every song is another little song that gives
38:20
Speaker 3: your relief from the verses and the choruses. So a
38:22
Speaker 3: lot of the guests whose songs had middle eights or
38:24
Speaker 3: pre courses, whatever you want to call them.
38:27
Speaker 2: So give me a good example of a pre chorus
38:30
Speaker 2: from Beatles or from the Beatles are from the guests who.
38:34
Speaker 3: Song, well, well it's another instead of going uh over
38:47
Speaker 3: and over, not the pre course and then the odd
38:54
Speaker 3: then the big course comes in the thing. And we
38:57
Speaker 3: were very lucky to record that here in New York
39:00
Speaker 3: at Phil Vermon Studio, with Phil Vermon being our engineer
39:02
Speaker 3: and mixer. Because you hear these eyes on the radio,
39:05
Speaker 3: it sounds phenomenal. Even today everything is and thick and
39:09
Speaker 3: roomy and juicy and phenomenal, where other stuff sounds very dry.
39:13
Speaker 3: From that era.
39:14
Speaker 2: You did two songs I think off that record in
39:18
Speaker 2: New York, didn't you, because.
39:19
Speaker 3: Well the whole album, well, here's what happened. The whole album,
39:22
Speaker 3: the Wheatfield sol was done at Philermont Studio. Are in
39:24
Speaker 3: our studios sounded great. Then we signed with RCA. We
39:29
Speaker 3: were independent before that. These I became a hit. RCA
39:32
Speaker 3: signed it. We get to New York and they say,
39:34
Speaker 3: guess what, you now get to use our studios. Really
39:38
Speaker 3: where are they? Or they're in Greenwich Village. It's where
39:40
Speaker 3: being Crosby cut White Christmas. Oh really, so we're going
39:44
Speaker 3: to the room is dead. It's an okay chamber for
39:47
Speaker 3: having strings. You don't want big boomy strings. We go
39:50
Speaker 3: in there. We can't even get a drum sound we're
39:52
Speaker 3: trying to do. Is it because the room's too big
39:54
Speaker 3: or carpet everywhere? Like there was no there was no
39:57
Speaker 3: room sound. You clapped, it was your clap vanished and
40:01
Speaker 3: had weird little pockets in the corner of bass oofs
40:05
Speaker 3: and things like that. It wasn't really a great studio.
40:09
Speaker 3: So we're in there trying to record the follow up
40:12
Speaker 3: to These Eyes, which is now a million seller, and
40:15
Speaker 3: RCA is screaming, do another song, do another song, and
40:18
Speaker 3: we're saying we're a rock band. We only did one ballad.
40:20
Speaker 3: It was These Eyes. We don't want to be Gary Peckett,
40:22
Speaker 3: the Union Gap with Young Girl Get Out of My Mind,
40:24
Speaker 3: over and over and over, and the Rocco like anestros
40:27
Speaker 3: they had guy at the time said radio ain't going
40:29
Speaker 3: to play a rock song by you guys, not for
40:31
Speaker 3: a couple of years. We want to not a ballad
40:32
Speaker 3: of just like these Eyes. Okay Rocco And I heard
40:36
Speaker 3: the beg song in the event of something happening to me,
40:44
Speaker 3: there's something I would like it. So I said to Briton,
40:46
Speaker 3: I started these eyes with a piano, which gives you
40:49
Speaker 3: a break. And he's on stage. He goes, boom boom,
40:51
Speaker 3: that a little intro. Everybody knows that, and it's so simple.
40:54
Speaker 3: I'm going to take the begs and put the platters
40:58
Speaker 3: over it.
40:58
Speaker 5: And go.
41:01
Speaker 3: But I love nothing, And he said, well do you
41:04
Speaker 3: have I don't have any lyrics. He said what should
41:08
Speaker 3: we call I said, well, represent that had a song
41:09
Speaker 3: called crying. What don't we call this laughing? You're laughing
41:12
Speaker 3: at me? You're breaking up, You're crying, You're laughing, I'm crying,
41:16
Speaker 3: You're laughing, and then then you're crying. I'm laughing, laugh
41:20
Speaker 3: and you're crying. And he goes, first song, it's first
41:26
Speaker 3: one that anybody ever laughed, and that became a hit,
41:31
Speaker 3: and so that song becomes rocos thing and then they
41:33
Speaker 3: flip it over and play undone. And I've heard other
41:36
Speaker 3: guys say when they heard Undone on the radio, it
41:38
Speaker 3: was life changing for them to hear jazzy chords like
41:42
Speaker 3: that with a pop voice and a food solo played
41:45
Speaker 3: on Top forty. The first time I heard Panima on
41:47
Speaker 3: the radio was the same thing. In the middle of
41:49
Speaker 3: all this stuff of beatles and beach boys and over
41:52
Speaker 3: the radio and rolling stones, outcomes Girl from Me Panina
41:55
Speaker 3: with the sexy voice of Astros Jolberto and the sacks
41:58
Speaker 3: of stan Gets. It's like nothing on the radio song,
42:01
Speaker 3: like do you want to hear it over and over again?
42:02
Speaker 3: Because it was so unusual and the same thing. I
42:04
Speaker 3: was told the same thing with undone, to have major
42:07
Speaker 3: and minor sevens in the over and over and over,
42:10
Speaker 3: with a pop melody over it and a great voice
42:12
Speaker 3: like Burdens, which are now a recognizable voice because of
42:15
Speaker 3: these eyes and laughing, and they're playing undone, and finally
42:18
Speaker 3: we rocked out with no time in an American Woman.
42:21
Speaker 2: But even in undone, which is, as you said, a
42:25
Speaker 2: jazzy song, it's got that heavier middle section, the too
42:31
Speaker 2: many people section, which has like a heavier guitar sound.
42:33
Speaker 3: I was trying to write a middle eight. It didn't fit.
42:35
Speaker 3: There had so many chords. So one thing you learn,
42:38
Speaker 3: you're writing a song. And I saw a great show
42:40
Speaker 3: a little a little while many years ago. Paul Simon
42:43
Speaker 3: and singing together two, three songs alone, a couple together,
42:48
Speaker 3: two or three loone, searching back and forth, and I
42:51
Speaker 3: noticed the similarity. Every Paul Simon and sing song and
42:54
Speaker 3: solo songs have got incredible verses with very very lot
42:59
Speaker 3: of lyrics, and when it gets to the chorus, it's boom,
43:02
Speaker 3: simple three chords, simple verses. Keeping that in mind, I
43:10
Speaker 3: did the same thing with Undone, A lot of chords,
43:13
Speaker 3: a lot of verses. I get to the middle, and
43:15
Speaker 3: I got to make the middle boring mm hmm. And
43:18
Speaker 3: I don't know what to do, so I just take
43:29
Speaker 3: too many mountains and I don't know what I'm doing,
43:33
Speaker 3: but it's kind of like a cello line the nature.
43:39
Speaker 3: Then I go too.
43:41
Speaker 5: Many people, not enough us to see, too many lies
43:49
Speaker 5: to leave, not enough time too.
43:57
Speaker 3: And I saw that from the Zombies too, at the
43:58
Speaker 3: end of tell her No Little, that's Britain hitting his face.
44:05
Speaker 3: Oh h your cheek. Yeah, before you stole from everybody
44:12
Speaker 3: told them. So you meet rod Ers and say, man,
44:15
Speaker 3: we stole your thing. He said, I know it. I
44:16
Speaker 3: knew the first time I heard it. Congratulations, did a
44:19
Speaker 3: great job, you know.
44:20
Speaker 2: So you also recorded in Minneapolis, right that's where we
44:23
Speaker 2: first went Okay.
44:25
Speaker 3: When we were in Winnipeg, we shaken over with one microphone.
44:29
Speaker 3: We had a Fender concert amp, which is two channels,
44:31
Speaker 3: but four and two inputs in each channel. So I
44:34
Speaker 3: had my guitar through a little echo tape recorder into
44:36
Speaker 3: one channel with the bass. The other one had a
44:41
Speaker 3: real guitar mic on a piano. Little would call the
44:45
Speaker 3: mouse pickup the he's just stuck on a piano, A
44:47
Speaker 3: little contact like that. So our mixing board with the
44:50
Speaker 3: Fender amp, one mic in the middle of a room
44:52
Speaker 3: just like this, a set of drums and Chad Allen,
44:55
Speaker 3: the singer, stood in front of the mic and sang
44:57
Speaker 3: shaken all over. Wow. We heard a playback. The drums
44:59
Speaker 3: were too loud. We moved the drums back of foot.
45:02
Speaker 3: Chad moved in closer. I turned my guitar up. We
45:06
Speaker 3: did five takes. We picked the take that had the
45:08
Speaker 3: least amount of stakes. Mono, you had to do five
45:10
Speaker 3: or six takes and everybody kept making mistakes. You picked
45:14
Speaker 3: the one with least amount of mistakes. We sent it
45:15
Speaker 3: into the record label. We were called Chad Allen and
45:19
Speaker 3: the reflections. We couldn't use the name because the Reflections
45:22
Speaker 3: had a hit called just like Romeo and Juliet then
45:24
Speaker 3: from Baltimore, and we had to change our name. We
45:27
Speaker 3: couldn't find a name, so they said, we'd like this
45:30
Speaker 3: record a lot. Take advantage of the British Invasion. It
45:33
Speaker 3: sounds very British. It is a British hit. It was
45:35
Speaker 3: number one in nineteen sixty one by Johnny Kidnap Pirates,
45:38
Speaker 3: And here we are in sixty four and this could
45:40
Speaker 3: be a hit here and the kids in Winnipeg love
45:42
Speaker 3: it at the dances. It's British Invasion, but it's heavy
45:46
Speaker 3: rock and roll. It's not pop like the Beatles. Stuff
45:47
Speaker 3: was really poppy. And they put out fifty white labels,
45:53
Speaker 3: forty fives shaken all over big black letters and put
45:56
Speaker 3: guests who with a question mark hundred and it came
45:58
Speaker 3: out in Canada and everybody in the radio thought it
46:00
Speaker 3: was a British band. That it was Brian Jones and
46:03
Speaker 3: George Harrison and a guy from the Pretty Things and
46:06
Speaker 3: a guy from all these band together at a party
46:08
Speaker 3: who couldn't put their name on it because they're all
46:10
Speaker 3: signed with different bands and a different label. So they put
46:11
Speaker 3: guests who on it. So this mystique starts above the
46:14
Speaker 3: song and we're calling rediously saying it's us, it's us,
46:17
Speaker 3: and they're saying, no, it's not. As a British band anyway.
46:20
Speaker 3: That goes to number one in Canada. Florence leases it
46:23
Speaker 3: for Scepter Records here and it goes top twenty in Billboard.
46:25
Speaker 3: We're in high school, right, I quit school before my
46:28
Speaker 3: final example to come here to do The Kingsman, Louis
46:31
Speaker 3: Louis Tour, which was incredible. Deannor the Belmonts, Barbara Mason,
46:34
Speaker 3: Eddie Hodges, the Turtle, Sanda Sham and the Pharaoh down
46:37
Speaker 3: in Memphis, and the Kingsman, the Louis Louis Tour like incredible.
46:43
Speaker 2: You mentioned American Woman and that song came out of
46:47
Speaker 2: a almost an accident, right, It came out of a jam.
46:52
Speaker 3: Us an accident. We had been playing the States, backing
46:57
Speaker 3: up other groups like Crystals, run S, stuff like that.
46:59
Speaker 3: And when you did that, you played one song, You
47:01
Speaker 3: played Shaken all over and maybe another song in the middle.
47:04
Speaker 3: We might have played the Louis Louis sing We just
47:05
Speaker 3: on tour the Kingsman, and then you up another band
47:10
Speaker 3: or the swarfied bands. We reach play ten minutes. We
47:14
Speaker 3: suddenly got a gig in Canada, a three hour dance
47:17
Speaker 3: at a bond Spiel, which is curling, a curling tournament.
47:21
Speaker 3: So there's ice. It's a half moon in the prairie
47:24
Speaker 3: of aluminum with no heat. They freeze the I think
47:29
Speaker 3: pour water in the ice. There's targets and they're sliding
47:31
Speaker 3: rocks around and it's a bond Spiel. It's a curling tournament.
47:34
Speaker 3: We get a dance in there to celebrate the bond Spiel.
47:37
Speaker 3: They put plywood on the floor the stage and body
47:40
Speaker 3: heat warms it up, and we're playing on stage. It's
47:43
Speaker 3: a three hour set, so by then you'd have a
47:45
Speaker 3: set written out. We would take a break, and then
47:48
Speaker 3: when the next set starts, instead of calling each other
47:50
Speaker 3: because the no iPhones are nothing, then the band would
47:52
Speaker 3: start to play dune dud doo doo doo doo to
47:55
Speaker 3: an animal song. We'd all know that's the beginning. We'd
47:57
Speaker 3: all come to the stage and finish the song. In
48:00
Speaker 3: the middle of a song, I break a string. I'm
48:02
Speaker 3: playing my fifty nine less pole which have the bigs
48:06
Speaker 3: beyond it, so your string has to come from here.
48:08
Speaker 3: It's got to go over the ridge, under a bar,
48:12
Speaker 3: over a bar and the little hole in the string,
48:15
Speaker 3: and that's got to fit a little nipple on your Bigsby.
48:20
Speaker 3: And then so you do your big B. So you've
48:22
Speaker 3: got to bend a string and put it under and
48:24
Speaker 3: put it on this little nipple. It's in the dark.
48:28
Speaker 3: I have no road. You have no tuner. So Burton coming,
48:30
Speaker 3: says Randy Brooke, a string talks about yourself. He's got
48:33
Speaker 3: to change the string. So I go. I'm on my
48:35
Speaker 3: floor in front of Burton's piano. I don't have a tuner,
48:38
Speaker 3: so I'm going going going go on the piano playing
48:40
Speaker 3: an E and a B. And I'm tuning up my guitar,
48:43
Speaker 3: putting on my string. And as you're tuning a Bigsby,
48:48
Speaker 3: there's a spring in it, so it's up this high.
48:51
Speaker 3: So as you're tuning it, the handle and the spring
48:54
Speaker 3: goes down. You have to keep tuning it over and
48:55
Speaker 3: over until all the strings are in tune, because every
48:58
Speaker 3: time you tighten the string, the spring goes down and
49:00
Speaker 3: they all go out of tune. So I'm tuning it.
49:04
Speaker 3: I'm going so I like to tune the guitar to
49:11
Speaker 3: walk to five five five one, and I'm on my
49:25
Speaker 3: niece playing that, and the audience their head snaps around
49:28
Speaker 3: and go, oh my god, I can't forget this riff.
49:31
Speaker 3: And I'm in the dark. I stand up in front
49:33
Speaker 3: of Burton's piano and I go like this. The drummer
49:37
Speaker 3: comes on, he starts to play. Jim Becks starts playing bass.
49:41
Speaker 3: Burton is out at the back of the hall hanging
49:43
Speaker 3: out with some guys and it's not a recognizable song.
49:47
Speaker 3: So he's in the audience talking, we're not playing the
49:50
Speaker 3: next song in the sets, we're not playing also the
49:53
Speaker 3: Rising Son or whatever the animal song is that dode
49:55
Speaker 3: in that dirty old part. We got to get out
49:57
Speaker 3: of this place. We're not playing. We got to get
49:58
Speaker 3: out of this place. And somebody says, then, why aren't
50:00
Speaker 3: you on stage with the band. He looks at we're
50:02
Speaker 3: on stage because running on I'm doing play something. He
50:06
Speaker 3: does harmonica solo, he does a piano solo. Very he
50:09
Speaker 3: brought argent and zombie solo. He plays a flute solo.
50:11
Speaker 3: I said, sing something, Sing anything, because I know you
50:14
Speaker 3: have words. You'll help you to remember the riff. The
50:17
Speaker 3: riff is so simple, you forget it. So he's sang
50:20
Speaker 3: American woman, stay away from me four times. That was it.
50:23
Speaker 3: We soloed, he did it again. That was it. We
50:25
Speaker 3: will go to record. We tell Jack Richardson, we got
50:27
Speaker 3: this song, but I forget how it goes. What do
50:31
Speaker 3: you mean, I said, well it was? He said, okay, everybody,
50:35
Speaker 3: this is RCA studio is in New York, in Chicago.
50:38
Speaker 3: Everybody out of the studio. Randy, get on your knees
50:39
Speaker 3: in front of Burne's piano, put a string on your guitar.
50:42
Speaker 3: Get go back to that place. Oh wow, see if
50:45
Speaker 3: you can tune the guitar so you can play the riff.
50:48
Speaker 3: And if we get we'll run the tape recorder, play
50:50
Speaker 3: the riff, play what you think the riff is, and
50:52
Speaker 3: then we'll come in. And meanwhile, I got a version
50:56
Speaker 3: of that. It's terrible, but it's the riff and I'm
50:58
Speaker 3: doing it. It's almost like it's almost like that, just
51:11
Speaker 3: playing the rip like that, And out of that we
51:14
Speaker 3: taped it. We listened to it. I played the rhythm
51:16
Speaker 3: on my gretch and my uh Fender stratocastro that and
51:23
Speaker 3: then to sit on top because there's no foot pedals.
51:25
Speaker 3: Then you had one app and three guitars. The fender
51:29
Speaker 3: was thinner, the gibson was thicker in sound, and the
51:31
Speaker 3: gretch was more ringier, or you had a rickenback or
51:34
Speaker 3: something like that. So on top since this less Paul,
51:36
Speaker 3: this just right on top of the track and it's
51:41
Speaker 3: just floating there and it's magic happened in the studio
51:45
Speaker 3: with that? How did you.
51:46
Speaker 2: Get that on that solo? The is it the sustain?
51:50
Speaker 2: There's something on that solo the.
51:52
Speaker 3: Way way way back. Because I grew up playing violin
51:56
Speaker 3: and I love viola. I have a viola now because
51:59
Speaker 3: I got too big for violin. Two hunch avilla is
52:02
Speaker 3: just a bigger violin. Same. I put the violin strings
52:04
Speaker 3: on tune like a viola, tune like a violin. I
52:08
Speaker 3: always wanted to play melodic solos, and melodic solos aren't
52:17
Speaker 3: like national anthem kind of things or hymns. There's no
52:21
Speaker 3: fast hymns. It's onward Christian, so just like everybody can
52:26
Speaker 3: sing it. So I want to play line and I
52:29
Speaker 3: can't get to sustain. So I figure out if you
52:32
Speaker 3: put a little amp into a big amp, the little
52:35
Speaker 3: amp can be loud and you take the speaker out
52:37
Speaker 3: molt Fender has had a little output to your speaker
52:40
Speaker 3: into a big amp and you get this sustained sound
52:43
Speaker 3: like a ciello or viola, like you're boeing and you're
52:46
Speaker 3: using the vibrato in your hand. And that would last
52:49
Speaker 3: maybe ten or fifteen minutes, and then the amp would
52:52
Speaker 3: blow up. It literally go into flames because you're putting
52:55
Speaker 3: electricity into electricity and if it goes on too long. Literally,
52:59
Speaker 3: I would take the amp into a guy to get
53:01
Speaker 3: it fixed every Saturday or Sunday or Monday morning after
53:05
Speaker 3: don the gig because it would had burn marks all
53:07
Speaker 3: over the amplifiers. And he said, what are you doing through?
53:10
Speaker 3: These amps are on fire? And I'd say, well. His
53:12
Speaker 3: name was gar Gar Gillis. Garnet Gillis said, Guar, I
53:15
Speaker 3: plugged this into there and I get this really great sound.
53:18
Speaker 3: So you can't put an amp into a namp. You
53:20
Speaker 3: can put a preamp into an amp. Preamps about one
53:22
Speaker 3: and a hat wats output. You're putting fifteen wats into
53:25
Speaker 3: thirty amps. It's like gasoline and a match is going
53:28
Speaker 3: to burst into flames. I say it does. He said,
53:31
Speaker 3: I'll build your preamp. What's that, Well, stereos have a preamp.
53:35
Speaker 3: I have a big amplifier. The one hundred and fifty
53:36
Speaker 3: watts little preamp you put your tape recorder in or
53:39
Speaker 3: your turntable. It's a one and a half watch. You
53:41
Speaker 3: have a volume control. The other one is the big
53:43
Speaker 3: power to make it loud. This that's your tone control.
53:45
Speaker 3: And every so he makes me a thing, and we
53:48
Speaker 3: just called it the noise machine. And I was reading
53:50
Speaker 3: a book at the time by Werner Herzog, and I
53:54
Speaker 3: would call him up and say, gar, I'm coming down.
53:57
Speaker 3: Let's work on the noise machine again. And then we
54:00
Speaker 3: had three noise machines. We need to get a name
54:02
Speaker 3: for this thing. And my wife kept saying, to me,
54:04
Speaker 3: how do you know what you're talking about. Why don't
54:07
Speaker 3: you call I said, well, I would call him, say
54:08
Speaker 3: I'm down to work on the thing. No, the other
54:11
Speaker 3: thing all you guys talk is about is things. And
54:14
Speaker 3: the other thing, I said, okay, I'll call it a Herzel.
54:16
Speaker 3: You had this book called Verner Herzel, like a pocketbook.
54:18
Speaker 3: I'll call this thing a Herzog. It's rather than a
54:22
Speaker 3: buzz face or whatever you want to call it. So
54:24
Speaker 3: he made me a think was one twelve AX seven
54:26
Speaker 3: tube and another twelve AX seven tube you can put
54:28
Speaker 3: in your drive. One tube by turning up your tube
54:31
Speaker 3: gets really hot. The other one you can squeak in
54:33
Speaker 3: a little bit and you make your sustain and it
54:35
Speaker 3: goes out to your amplifiers about one and a half
54:37
Speaker 3: wats out or even half a wat out to your
54:39
Speaker 3: power amp. And he built me a power amp because
54:41
Speaker 3: I blew up all the fenders. He would buy a
54:43
Speaker 3: normal Dinaco Dina kit, which was a home sterea at
54:46
Speaker 3: the time. Nice and clean, turn it up loud. It's clean.
54:50
Speaker 3: You want your home sera to be clean. But the
54:52
Speaker 3: little preamp, this Herzog made me distortion and a little
54:55
Speaker 3: off on switch on the front, which we made. The
54:58
Speaker 3: extra switch would be a little bit longer. If I'd
55:00
Speaker 3: be playing a solo on stage, I'd flipping on to
55:03
Speaker 3: my solo. At the end of the solo, I'd roll
55:05
Speaker 3: my note and reached back from my elbow and turn
55:07
Speaker 3: it off. The turn it on again with my thumb,
55:12
Speaker 3: play the sole as I'm notes sting into the song again,
55:16
Speaker 3: flip it off. I said, okay, can you put a
55:18
Speaker 3: switch in there? A foot switch off and on switch.
55:21
Speaker 3: So we made this thing called the Her Song that
55:24
Speaker 3: plug into a Gardett app got me to sustain on
55:27
Speaker 3: that thing as well as my less Paul had a
55:29
Speaker 3: Bigsby on it. So when you're bending a note on
55:32
Speaker 3: a guitar, you go from there up, but you can't
55:36
Speaker 3: go you can't go below unless you go That's not
55:40
Speaker 3: the same when you have a Bigsby. So you're bending
55:50
Speaker 3: a note here and you're getting a shake below and
55:53
Speaker 3: above pitch on An American Woman and I double tracked it.
55:56
Speaker 3: One thing we went to do that television show is
55:58
Speaker 3: Burton double tracked his vocals inmaculately sound to the syllabo,
56:01
Speaker 3: and I double tracked my guitar. You listen to No Time,
56:05
Speaker 3: they're all double track guitars and it sounds fat and thick.
56:07
Speaker 3: It sits right on top with the track no matter
56:09
Speaker 3: what you're listening to. So those all came from accident
56:13
Speaker 3: and trying to be a little bit different. I loved
56:15
Speaker 3: Eric Clapton solo and I Feel Free, That's what I'm
56:17
Speaker 3: copying An American Woman. You listen to the middle of
56:20
Speaker 3: my solo, it's pretty much I feel free that they're
56:26
Speaker 3: going I feel free, dude, Yeah, the same thing.
56:30
Speaker 2: Now, there must be you must have had a million
56:32
Speaker 2: pedal makers come up to you and say, how do
56:34
Speaker 2: I get that?
56:35
Speaker 3: I did a little while later somebody invented, I think,
56:36
Speaker 3: call a sons amp, because you're now recording at home
56:39
Speaker 3: the songs empt you're plug into it and it emulates
56:41
Speaker 3: a speaker in different sounds. And I had a sons
56:43
Speaker 3: amp was really good. And then they made a songzamp
56:46
Speaker 3: rack mount and when I got to number forty eight,
56:48
Speaker 3: I said, Amo, American Woman. I turned it on. It
56:54
Speaker 3: was my sound. Now it was my sound from the record,
56:59
Speaker 3: which was my fifty nine less Paul through a Garnet
57:03
Speaker 3: herzog through a garnet amp, through an RCA ribbon mic
57:06
Speaker 3: something like this through a Uri compressor to sixteen track tape,
57:11
Speaker 3: but with the final sound that was on the record.
57:14
Speaker 3: And so I called up the guy. He's in New
57:15
Speaker 3: York here so at sounzamp, famous guy, and I said, hey,
57:21
Speaker 3: I'm number forty eight. Can you make me an American
57:23
Speaker 3: woman pedal? He said sure, all I want is number
57:25
Speaker 3: forty eight in the pedal, So maybe a couple of pedals.
57:27
Speaker 3: They're very rare because at the time, he didn't have
57:30
Speaker 3: a big enough case for it, so he jammed it
57:34
Speaker 3: into a normal sized case. So because it's jammed in
57:37
Speaker 3: that pedal, if part of the circuit board touches the
57:41
Speaker 3: outer case, which is metal, it shorts out, So you
57:45
Speaker 3: got to take it apart and maybe put duct tape
57:46
Speaker 3: in there so it's like isolated. And then it's an American
57:49
Speaker 3: woman pedal. So there's a very few of those out today,
57:52
Speaker 3: but if you get a rack amount sounds, amp number
57:54
Speaker 3: forty eight is an American woman amazing. And then Garnett
57:58
Speaker 3: Gark called me, oh, maybe twelve fifteen years ago, and
58:01
Speaker 3: he said, look, I'm eighty five. I can hardly do this,
58:04
Speaker 3: and that I'm gearing down. I'm going to be passing
58:06
Speaker 3: away soon. I've got this wrong with me and that
58:08
Speaker 3: wrong with me. But I found a box of parts
58:10
Speaker 3: from nineteen sixty six when we made the original Herzog,
58:15
Speaker 3: and he said, I can make some. I said, how
58:17
Speaker 3: much do you want for me to I don't know.
58:18
Speaker 3: I said, oh, make as many as you can. How
58:20
Speaker 3: many these are all military high high duty, heavy duty parts.
58:24
Speaker 3: He said, I can make maybe eleven or twelve or thirty.
58:26
Speaker 3: I said, make them all, send them all to me.
58:28
Speaker 3: Tell me what you need. I'll pay you. I'll pay
58:30
Speaker 3: you double. So he sent them all to me. So
58:33
Speaker 3: I gave one to Neil Young, went to Lenny Kravitz,
58:36
Speaker 3: went to Bob Rock, the Great Producer, went to Steal
58:38
Speaker 3: Crop or Steve Cropper several to the national musicians who
58:41
Speaker 3: want to get that sound when you hear let it ride,
58:43
Speaker 3: we're going slow thinking, which is my lust. Paul with
58:53
Speaker 3: the Bigsby through the herzog, it's like a cello. It's
58:57
Speaker 3: phenomen better than a shallow actual because a cello you
59:00
Speaker 3: gotta you run out of bow and you gotta go
59:02
Speaker 3: up upstroke down. When it's the herzog and you gotta sustain,
59:07
Speaker 3: and you got the Bigsby, then note can last for
59:08
Speaker 3: it Oh amazing. So those came out of a dream
59:13
Speaker 3: of wanting to play and have my guitar sound like
59:15
Speaker 3: ccello or a viola. I like the term slowhand because
59:19
Speaker 3: the Eric Clapton used to play very slow, and I
59:21
Speaker 3: played very slow, so I always got compared to him
59:24
Speaker 3: playing with the slowhand. Because you play one note and
59:26
Speaker 3: put something like bbck. You play one or two notes,
59:28
Speaker 3: you put more into it than guys going crazy all
59:32
Speaker 3: this kind of weird hammer on stuff. You can see
59:35
Speaker 3: kids on the internet now, and I saw somebody joking
59:37
Speaker 3: was Alex Van Aalen and Sammy Heygar. We're joking about
59:41
Speaker 3: these whiz kids now that you google at thirteen. They're
59:44
Speaker 3: eight years old. They're doing all these incredible hammer on
59:46
Speaker 3: stuff on YouTube. The world's fast and guitar player. But
59:49
Speaker 3: they can't play in a band, and they can't play
59:51
Speaker 3: a song. They just learned a whole bunch of licks
59:54
Speaker 3: that maybe their dad taught them, and they're really cool,
59:56
Speaker 3: and maybe someday they will realize there's something to holding back.
1:00:00
Speaker 3: And I'm playing with some guys and letting him do
1:00:02
Speaker 3: the groove and then you get a chance to groove.
1:00:04
Speaker 3: But things are so much different now with YouTube. Yeah.
1:00:06
Speaker 3: I mean when I learned, it was one record at
1:00:08
Speaker 3: a time, saved after your money. You bought a forty five,
1:00:10
Speaker 3: You learned the A and B side, who wrote it,
1:00:12
Speaker 3: who recorded, who published it, who wrote you learned everything.
1:00:15
Speaker 3: You traded it like Superman combooks to your friend who
1:00:17
Speaker 3: had a forty five. I would trade Neil Young singles.
1:00:19
Speaker 3: I at his single and traded my shadow singles back
1:00:22
Speaker 3: and forth. Those were the days, and the singles were
1:00:25
Speaker 3: so precious. I mean we couldn't afford anything, you know,
1:00:28
Speaker 3: it was like amazing.
1:00:29
Speaker 2: Yeah, well listen, we might be fragile. You're not fragile.
1:00:34
Speaker 3: I'm a survivor.
1:00:35
Speaker 2: Thank you so much.
1:00:36
Speaker 3: Of my doctor's worst he called me his worst patience
1:00:39
Speaker 3: because I don't have to come back to it. Only
1:00:41
Speaker 3: last Wednesday, I would certified cancer free to two years
1:00:45
Speaker 3: and he said, I'll see you in another year. We've
1:00:47
Speaker 3: got to check you every year. But I had non
1:00:49
Speaker 3: hospital and Fulma had five cancers. Wow, stomach appendix, prostate, thyroid,
1:00:55
Speaker 3: and non hoskins all gone.
1:00:57
Speaker 2: Wow, looky, you look amazing and you're back playing.
1:01:00
Speaker 3: Thank you.
1:01:03
Speaker 1: Thanks Mandy Bachman for chatting with Bruce and bringing his
1:01:05
Speaker 1: guitar along to play through some of his great hits.
1:01:08
Speaker 1: If you want to hear playlist some of the songs
1:01:10
Speaker 1: mentioned in this episode, you can hear that at broken
1:01:13
Speaker 1: Record podcast dot com. Subscribe to our YouTube channel at
1:01:17
Speaker 1: YouTube dot com slash broken Record Podcast, where you can
1:01:20
Speaker 1: find all of our new episodes. You can follow us
1:01:23
Speaker 1: on Twitter at broken Record. Broken Record is produced and
1:01:27
Speaker 1: edited by Leah Rose with marketing help from Erek Sandler
1:01:30
Speaker 1: and Jordan McMillan. Our engineer is Ben Tollinay. Broken Record
1:01:34
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Speaker 1: you like this show, please remember to share, rate, and
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Speaker 1: review us on your podcast app. Our theme music's by
1:01:58
Speaker 1: Anny Beats. I'm justin Richmond.