WEBVTT

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Hey everybody, this is Jesse Dayton and you are

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listening to My Weekly Mixtape with none other

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than Brian Colburn. Welcome to My Weekly Mixtape,

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a podcast that takes the classic mixtape approach

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to building a modern playlist. I'm your host,

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Brian Colburn. Joining me tonight from the road

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is guest curator Jesse Dayton. Jesse, thank you

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so much for joining me on My Weekly Mixtape.

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Great to be here, man. Well, I'd like to start

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by asking you my first -time guest question,

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and that is, Jesse, what does the word mixtape

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mean to you? Well, of course, I am old enough

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to remember those, and I made them, and mixtapes

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were a really... interesting way to find out

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if people were cool or not. It was like looking

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at their record collection, but later that we

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would just record stuff. I mean, mixtapes for

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me, I was always all over the place because I've

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never subscribed to one genre fully, even though

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I'm a nerd and spent 10 ,000 hours in each one

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of them. And as not only a record collector,

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but a player. But the mixtapes for me, you know,

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what it really means to me is it lets me know

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who you are. But I can remember, you know, going

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and buying four of the packaged ones and busting

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the little tabs off and putting, you know, recording

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stuff off the radio. And it was a thing, you

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know, and now my son who's, you know, does the

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playlist. I mean, that's his version of it. Yep.

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Well, tonight, our topic is something that's

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going to cover that wide variety of genres that

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you talked about just now, and that is guitar

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solos. That is such a wide open topic. So for

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a guitarist like yourself, what were you looking

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for in the guitar solos that you're bringing

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to the table this evening? I mean, basically,

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I'm always looking for, like, I look at guitar

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solos like a great book. Like, there needs to

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be a really good entrance. It needs to be the

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middle thing, needs to be the meat and heart

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of the matter, whether that's melody or shredding

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or just sad or happy playing, you know, just

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very emotive playing. And then an exit that's,

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like, undeniable. And it was a hard, you know,

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it's a really tough thing, man, because those

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20 solos could change like every five minutes.

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So I just kind of had to commit and just go with

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what I thought was groundbreaking historically

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for me. So let's get down to business tonight.

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As I mentioned, Jesse and I will be curating

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the ultimate guitar solos mixtape, and we'll

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use the old cassette deck approach. Jesse, as

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my special guest, will begin side A with his

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first song choice, and then I'll add a song that

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I feel best follows up that choice. We'll then

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flip -flop choosing songs until we've mapped

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out. 10 songs for side A. We'll then give our

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mixtape a proverbial flip and we'll map out side

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B. Only this time, I'll kick things off with

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Jesse choosing second. Our overall goal for the

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episode is to craft the best guitar solos mixtape

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possible through only 20 songs. And at the end

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of the show, you can take our conversation to

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the next level by visiting the episode page at

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myweeklymixtape .com to give our final mixtape

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a listen. via the embedded playlist. And if you

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like what you're hearing on the show, you can

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help me out by either telling a friend, leaving

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the show a five -star review wherever you're

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tuning in, or becoming a Patreon mixtaper at

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patreon .com forward slash myweeklymixtape. There

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you can enjoy ad -free episodes of the show,

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become a future guest, and so much more. And

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a few of the Patreon mixtapers chimed in with

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the songs they would use to kick off a guitar

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solos mixtape. And I'd like to give a quick shout

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out to a few of those. Jen Fink chimed in with

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Angus Young from ACDC, Back in Black, Princess

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Purple Rain, Slash from Guns N' Roses on Sweet

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Child O' Mine, and anything from Jimi Hendrix

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or Stevie Ray Vaughan. Seeker chimed in with

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Adrian Smith from Iron Maidens 2 Minutes to Midnight

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with Zero Disrespect to Dave Murray. Sean Goff

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chimed in with Nuno Betancourt from Extreme's

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Get the Funk Out, saying Nuno is so much more

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than more than words. Chad LaMassa chimed in

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with Tom Morello from Rage Against the Machine

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and Killing of the Name. Mike Daly chimed in

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with Mark Tremonti from Alterbridge's Ties That

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Bind. Cactus Pete also chimed in with Mark Tremonti,

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only he chose Fortress, along with Vito Brata

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from White Lion's Little Fighter and Eddie Van

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Halen from Van Halen's Feelin'. Philip Bergman

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also chimed in with Eddie Van Halen, only he

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went with Eruption, as well as Jeff Skunk Baxter

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from Donna Summer's Hot Stuff, saying the solo

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on that record is just as searing as about any

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arena rock song that came out around the same

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time. Tom Hutchinson chimed in with Dimebag Darryl

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from Pantera and Walk, and Jason Donch has chimed

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in with Mark Ford from the Black Crowes' Sometime

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Salvation, along with Rich Robinson's solo from

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their track I Ain't Hiding. Once again, if you'd

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like to join the Patreon mixtaper family and

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chime in for future episodes of the show, you

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can do so at patreon .com forward slash my weekly

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mixtape. With that said, Jesse, I'm officially

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going to press the record button on our mixtape

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and turn things over to you. What song would

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you like to use to kick off our ultimate guitar

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solos playlist? Well, I mean, we could start

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with Hendrix. the thing about hendrix is i have

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this theory that like if you're born after a

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certain period of time like if you were born

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early around the time that jimmy was born whatever

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that was in the in the late 40s early 50s then

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for me you have a true outlet out as far as not

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being influenced or some would say corrupted

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by jimmy hendrix's guitar play But if you were

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not born then and you were born afterwards and

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you're a guitar player and you never went through

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a Hendrix phase, I am very suspicious of you.

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So we're going to keep our eye on that guy. So

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which song by Jimmy are you going to put to kick

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things off then? Well, there's so many great

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ones. I mean, I love the solo on When Cries Mary.

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It's just because it's got all this magical.

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stuff all over it with the slide and there's

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so much great stuff i mean of course voodoo child

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but you know we've all heard that a million times

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and so i i think we're gonna go with room full

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of merits wow all right because it's still got

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the funky r &b thing that he's taken into this

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psychedelic groove thing you know he took all

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these licks that he did When he was playing with

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King Curtis and Little Richard and he was doing

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these, you know, playing in these R &B and funk

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bands. And he took them and just revved them

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up into this rock thing. And no one had ever

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done that before. So it was groundbreaking. He

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influenced everyone who came after him. Could

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not agree more. I had 1967's Are You Experienced

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on my list. I had Red House because for me, when

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my father. first introduced me to his Smash Hits

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8 -track cassette at the time. We then ended

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up getting it on CD when I made the transition.

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The first song he wanted me to hear by Jimi Hendrix

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was Red House. And the reason was, at least in

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his mind, he said, the blues doesn't get better

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than this. This is what got me into the blues

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as far as my father, and it got me into the blues

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as well. Absolutely. I agree with that. Red House

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is so... just genre defining important so important

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and it got so many people into the blues and

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she doesn't want me i know her sister will too

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you know i mean that's as cool as it gets man

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so that's boss level songwriting right there

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well i'm gonna come off of jimi hendrix using

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the groove that you went with from roomful of

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mirrors plus kudos for going with something off

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a rainbow bridge because to me rainbow bridge

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is always going to be that album of what might

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have been had he not passed yeah but i'm going

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to stick with the groove part of it and i'm going

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to come up a couple of decades and go with a

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song that i feel like groove wise with a guitar

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solo was such a masterful play on taking rock

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and R &B and blues and everything else and kind

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of just throwing it into a pot and kind of making

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your own thing. And that's the title track from

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1984's Purple Rain and Prince. Oh, wow. That

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guitar solo, just every time he kicks into it,

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you're taken on this half a song adventure. Yes.

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Lyrically, the song is powerful. It's strong.

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But by the time the guitar kicks in, it just

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takes you over and it commands your attention.

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And Prince is one of those guitarists that I

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think by the time he did the Super Bowl halftime

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show, I think a lot of people truly realized

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what a guitar player he was. And I feel like

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up until that point, he was always very popular,

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always selling out concerts. But I don't think

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people thought of him as a guitar player as much

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as a songwriter, as well as a jack of all trades

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when it comes to playing instruments. And I think

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Purple Rain is the argument for that. Absolutely,

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because Purple Rain came out. I saw him on that

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tour, by the way, and I'm a huge fan. And I saw

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him do that. And we always knew that he was a

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great guitar player, but he was looked more like

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at this multi -instrumental genius type than

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he was like this guitar hero. And I'll tell you

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what really changed the tide for a lot of people

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is when he walked out on that rock and roll hall

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of fame and played guitar with Tom Petty doing

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the George Harrison song and then throws the

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guitar up in the air at the end of it. This guy

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catches it, but it was such an emotional. guitar

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part and i'll be perfectly honest i was flipping

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a coin between the two and i just didn't know

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if i wanted to go with the number two spot with

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a cover song but yeah that that performance is

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mind -blowing and there's a reason it's got like

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a bajillion views on youtube that was an iconic

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and dare i say important performance in music

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history especially given the fact that some of

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those players are no longer with us So following

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up Jimi Hendrix and Prince, where do we go from

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here? Well, let's take a big turn. Let's do something

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different. I mean, we could stay in Bluesville

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and Rockville or whatever, but there was an incredible

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guitar player named Django Reinhardt. And Django

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Reinhardt was this gypsy who started out playing

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American jazz music in cafes around France and

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Belgium. And he is a monster, monster guitar

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player. And if you go to guys that are kind of

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heavy cats, whether it's, I mean, you name it

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from, you know, Randy Rhodes was a big fan. All

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the jazz guys that you can imagine, you know,

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and these jazz guys, a lot of these jazz guys

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that worship Django are, you know, they're ungodly

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players. I mean, they're just. They're just doing

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things that people in rock and roll blues aren't

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in terms of like moving the form around and just

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pushing the boundaries. But Django, he was in

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a fire when he was a kid. He lost one of his

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fingers. So he only plays with three fingers.

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But if you listen to Django Reinhardt, he's like

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Willie Nelson's favorite guitar player. He's

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like a lot of. Like a lot of the country guys

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who were super hot chicken picking guys who could

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really burn up a neck. They're all into Django.

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So Django has had this amazing effect in all

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these genres from heavy metal to country to swing

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to jazz to blues. They're just deep into the

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guy. So anyway, this song is called You Rascal

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You. And it's just him and an upright bass. in

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a stripped down band playing in a cafe in France.

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And he sounds like he's having a conversation

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on his guitar with the other musicians. And that's

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a rare thing because most of the time when guitar

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players play, you hear like, okay, everybody

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look at me. You know, it's the old thing. Like,

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hey, everybody, I've been working on this a long

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time and I'm about to blow your mind, which is

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cool. But this is more like, oh, by the way.

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Let me tell you some things, get some stuff off

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my chest and have this conversation. So anyway,

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it's a swinging, swinging track. Unbelievable

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guitar player. The fact that he does that minus

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one of the key tools to play a guitar and he's

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at that level. It's almost like a pre. Jerry

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Garcia, because it's pretty well known that Jerry

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was missing a finger as well, but kind of a different

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style and different time of playing back when

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Django was cutting his teeth musically. Absolutely.

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And Django kept jazz guitar and swing guitar,

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which would eventually become rock and roll guitar.

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You know, he kept all that alive. It's interesting

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you say Jerry Garcia, because I was telling a

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friend of mine the other day, take a quick. derail

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just two seconds here i was telling a friend

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of mine that jerry garcia started out as a bluegrass

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banjo player and i have this theory which isn't

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very popular with purists but their feelings

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aren't facts so what i'm saying is facts in the

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70s when the dead would take a break jerry would

00:14:32.049 --> 00:14:36.110
go out with his bluegrass band and these promoters

00:14:36.110 --> 00:14:39.759
would book him And this is at a time when all

00:14:39.759 --> 00:14:42.580
the Bluegrass guys were still alive. Jimmy Martin,

00:14:42.820 --> 00:14:44.919
Bill Monroe, all those guys, they were all still

00:14:44.919 --> 00:14:47.259
alive. But they were getting diminishing returns

00:14:47.259 --> 00:14:49.299
unless they were playing with the Nitty Gritty

00:14:49.299 --> 00:14:51.700
Dirt Band or they were playing the Newport Folk

00:14:51.700 --> 00:14:54.340
Festival. Their shows were not heavily attended.

00:14:54.620 --> 00:14:56.980
And Bluegrass was in a real dire straits and

00:14:56.980 --> 00:14:59.799
was dying. But Jerry would go out and play Bluegrass

00:14:59.799 --> 00:15:02.700
and thousands upon thousands of kids would show

00:15:02.700 --> 00:15:06.759
up. And I think Jerry single -handedly saved.

00:15:07.080 --> 00:15:11.120
bluegrass music concerts. Wow. Yeah. And that's

00:15:11.120 --> 00:15:13.259
a big deal. But I think that back to Django,

00:15:13.340 --> 00:15:16.200
I think Django kind of did that too, because,

00:15:16.259 --> 00:15:18.620
you know, he was playing this kind of, if you

00:15:18.620 --> 00:15:21.360
listen to this track, it's so aggressive, you

00:15:21.360 --> 00:15:24.379
know, it's not like, Hey, let's lay back and

00:15:24.379 --> 00:15:28.379
cross our legs and play some sophisticated stuff.

00:15:28.659 --> 00:15:33.080
And, you know, like, like, you know, any shredder

00:15:33.080 --> 00:15:35.419
worth their weight goal could sit down and listen

00:15:35.419 --> 00:15:39.929
to this and go, wow. This guy's on fire. What

00:15:39.929 --> 00:15:42.169
I think I'm going to follow that up with, I think

00:15:42.169 --> 00:15:44.470
I'm going to lean into the jazz side of things.

00:15:45.210 --> 00:15:48.110
I'm going to come up a couple of decades, but

00:15:48.110 --> 00:15:52.230
I'm going to go with, I am self -proclaimed quote

00:15:52.230 --> 00:15:56.210
unquote new to jazz. I've always had an affinity

00:15:56.210 --> 00:15:59.149
for it, but it's been the last 10 years that

00:15:59.149 --> 00:16:01.970
I really started going down a jazz rabbit hole.

00:16:02.129 --> 00:16:04.809
And one of the first albums that helped me make

00:16:04.809 --> 00:16:11.649
that transition. was 1963's Midnight Blue. And

00:16:11.649 --> 00:16:15.250
the reason I went with that album is in 1991,

00:16:15.629 --> 00:16:19.129
Stevie Ray Vaughan had put out a posthumous release

00:16:19.129 --> 00:16:21.610
when he had passed away called The Sky Is Crying.

00:16:21.610 --> 00:16:24.710
And on it, he covered one of Kenny Burrell's

00:16:24.710 --> 00:16:27.649
songs, Chitlin's Concarney. And I fell in love

00:16:27.649 --> 00:16:31.049
with the song. And when I realized it was a cover,

00:16:31.250 --> 00:16:34.090
I went and bought Midnight Blue and this whole

00:16:34.090 --> 00:16:36.889
new genre of music was introduced to me. Right.

00:16:37.009 --> 00:16:39.529
I think Kenny Burrell is one of those guitarists

00:16:39.529 --> 00:16:44.169
that truly helped bridge jazz, blues and rock

00:16:44.169 --> 00:16:48.289
together. And I feel like Midnight Blue is one

00:16:48.289 --> 00:16:51.090
of those albums that if someone says to me, drop

00:16:51.090 --> 00:16:53.809
a top five jazz albums of all time, this is definitely

00:16:53.809 --> 00:16:57.450
in there. Possibly for me, it's top three. I

00:16:57.450 --> 00:17:00.200
just think from. Guitar, bass, jazz, it doesn't

00:17:00.200 --> 00:17:02.340
get any better than Kenny's. So I'm going to

00:17:02.340 --> 00:17:04.500
go with Chitlin's Concarni here. Yeah, he's a

00:17:04.500 --> 00:17:07.119
monster. The guy's a monster. He's a great player.

00:17:07.319 --> 00:17:08.940
And that's so cool that you brought that up because

00:17:08.940 --> 00:17:12.619
Stevie was listening to that stuff, you know,

00:17:12.700 --> 00:17:15.900
and just kind of a similar aggressive attack

00:17:15.900 --> 00:17:19.140
in the way they play guitar and not the same

00:17:19.140 --> 00:17:21.819
player at all. You know, especially tonally,

00:17:21.900 --> 00:17:25.980
it's totally different. But yeah, man, I think.

00:17:26.299 --> 00:17:28.920
people like Stevie and these, these really heavy

00:17:28.920 --> 00:17:31.279
blues guys, they look towards some of these jazz

00:17:31.279 --> 00:17:34.480
guys to try to like kind of expand their thing.

00:17:34.640 --> 00:17:37.240
Cause they're always wanting to get outside of

00:17:37.240 --> 00:17:39.880
what they're doing. I mean, I don't know. I'd

00:17:39.880 --> 00:17:42.839
like to see more players do that. Well, following

00:17:42.839 --> 00:17:46.500
up Kenny Burrell, where do we go from here? Well,

00:17:46.539 --> 00:17:49.599
you know, I'm saying like, let's go back to the

00:17:49.599 --> 00:17:53.420
blues on this one. You know, we really have it.

00:17:53.829 --> 00:17:57.150
picked a full -on blues thing uh well we did

00:17:57.150 --> 00:18:00.190
we did red house i guess was our i don't know

00:18:00.190 --> 00:18:02.930
we did we did a hendrix song yeah room full of

00:18:02.930 --> 00:18:04.849
mirrors is what you went with for that so yeah

00:18:04.849 --> 00:18:09.369
yeah but let's go way out and uh if you go to

00:18:09.369 --> 00:18:14.910
otis rush there's a player named otis rush and

00:18:15.470 --> 00:18:18.289
If you want to really get your mind blown, go

00:18:18.289 --> 00:18:22.130
on YouTube and look up a video of him doing I

00:18:22.130 --> 00:18:25.990
Can't Quit You Babe. And it's the song that,

00:18:26.029 --> 00:18:28.349
you know, is one of the seminal songs on the

00:18:28.349 --> 00:18:31.630
first Led Zeppelin record. But it's Otis Rush

00:18:31.630 --> 00:18:34.710
is doing the original version of it. And he's

00:18:34.710 --> 00:18:38.150
singing his guts out. I mean, it's not your typical,

00:18:38.230 --> 00:18:42.730
like, manly Otis Redding kind of like. I'm going

00:18:42.730 --> 00:18:45.529
to show you how manly I am. It's a guy who has

00:18:45.529 --> 00:18:50.609
a range that is mind -blowing great. And his

00:18:50.609 --> 00:18:55.289
guitar playing, he's playing this 335, and he's

00:18:55.289 --> 00:18:58.490
playing it on a curly chord that's plugged directly

00:18:58.490 --> 00:19:04.230
into a silver -faced Fender amp. And anyway,

00:19:04.430 --> 00:19:07.609
the song's called All Your Love, and it's really

00:19:07.609 --> 00:19:12.299
cool because it turns the beat around. from the

00:19:12.299 --> 00:19:15.359
verses to the chorus. And it kind of goes from

00:19:15.359 --> 00:19:19.160
the samba beat, which is real Latin, Latin -y

00:19:19.160 --> 00:19:22.200
beat, into the swing thing. And when it starts

00:19:22.200 --> 00:19:28.259
swinging, you can kind of tell where these bands

00:19:28.259 --> 00:19:31.680
were getting all this stuff. This is before Creams,

00:19:31.680 --> 00:19:34.640
before Zeppelin. It's all that stuff, you know?

00:19:35.039 --> 00:19:38.240
It's like when you listen to Freddie King doing

00:19:38.240 --> 00:19:41.799
I'm Going Down. They're like, well, this is a

00:19:41.799 --> 00:19:46.279
better version of what those bands would go on

00:19:46.279 --> 00:19:49.839
to do. Or maybe not better, but pure version.

00:19:50.259 --> 00:19:53.519
So anyway, I go with Otis Rush because I think

00:19:53.519 --> 00:19:57.339
we can't understate the blues in this conversation.

00:19:58.220 --> 00:20:01.799
Love it. Going back to 1956 with this one, you

00:20:01.799 --> 00:20:05.059
talked about the groups that Otis Rush influenced.

00:20:05.220 --> 00:20:08.890
And I have read that Peter Green. originally

00:20:08.890 --> 00:20:12.990
said he was influenced by All Your Love when

00:20:12.990 --> 00:20:16.690
he wrote Santana's Black Magic Woman. Yeah, isn't

00:20:16.690 --> 00:20:18.690
that crazy? It makes sense though, doesn't it?

00:20:18.730 --> 00:20:21.750
You think about those two styles of songs. Super

00:20:21.750 --> 00:20:24.970
similar. Right? It's that groove. I almost want

00:20:24.970 --> 00:20:27.490
to go with Santana's Black Magic Woman here because

00:20:27.490 --> 00:20:30.309
he is another - Why not? You know what? I think

00:20:30.309 --> 00:20:35.569
I am. I love Santana. He is such an amazing guitarist.

00:20:35.589 --> 00:20:39.359
He's done so much in rock. And he's stayed relevant

00:20:39.359 --> 00:20:41.079
throughout the decades when you go all the way

00:20:41.079 --> 00:20:44.079
up to his track smooth with Rob Thomas. But then

00:20:44.079 --> 00:20:46.640
you go back in the seventies, he did a cover

00:20:46.640 --> 00:20:50.039
of John Coltrane's a love Supreme. This guy covered

00:20:50.039 --> 00:20:53.400
the musical spectrum with ease and black magic

00:20:53.400 --> 00:20:56.440
woman coming out. All your love has a nice musical

00:20:56.440 --> 00:20:59.519
conversation going there. So let's do that. Absolutely.

00:21:00.019 --> 00:21:03.460
And coming out of that, we're up to track seven

00:21:03.460 --> 00:21:07.759
and back to you. Okay. So I'm going to go. with

00:21:07.759 --> 00:21:11.480
okay i got to meet billy gibbons when i was younger

00:21:11.480 --> 00:21:16.019
and billy gibbons was a huge zz top first five

00:21:16.019 --> 00:21:18.859
records were like the soundtrack to my life growing

00:21:18.859 --> 00:21:23.480
up in in texas texas louisiana border and uh

00:21:23.480 --> 00:21:27.500
we were all just completely bowled over and in

00:21:27.500 --> 00:21:31.339
love with zz top and you know a lot of kids when

00:21:31.339 --> 00:21:33.859
you talk about zz talk to them the first thing

00:21:33.859 --> 00:21:37.500
they think is this kind of 80s programmed and

00:21:37.500 --> 00:21:40.799
stuff like that. But really, the first five records

00:21:40.799 --> 00:21:44.680
rival anything in rock and roll. I mean, men

00:21:44.680 --> 00:21:48.400
have jumped out of towers trying to get the tone

00:21:48.400 --> 00:21:51.619
that Billy Gibbons gets. But I'm not setting

00:21:51.619 --> 00:21:54.500
this up for Billy. I'm setting this up for Jeff

00:21:54.500 --> 00:21:58.819
Beck because I went and saw Jeff Beck three months

00:21:58.819 --> 00:22:02.680
before he passed away. And he was playing with

00:22:02.680 --> 00:22:05.839
ZZ Top in Houston. And I got backstage and I

00:22:05.839 --> 00:22:09.140
got to check out all of Jeff's gear, said hi

00:22:09.140 --> 00:22:12.259
real briefly. And then three months later, he

00:22:12.259 --> 00:22:15.880
was gone. But Jeff Beck came over. He had known

00:22:15.880 --> 00:22:18.400
Billy since Billy was a kid in a band called

00:22:18.400 --> 00:22:21.740
The Moving Sidewalks. And he gave Billy his first

00:22:21.740 --> 00:22:25.180
Marshall amp a long, long time ago. So they go

00:22:25.180 --> 00:22:29.829
way back. But Jeff was probably the. in some

00:22:29.829 --> 00:22:33.269
ways, the greatest electric guitar player in

00:22:33.269 --> 00:22:38.769
terms of just overall influence on people. And

00:22:38.769 --> 00:22:42.529
this is a tough one because Ain't Superstitious

00:22:42.529 --> 00:22:46.569
has a young Rod Stewart singing on it. Ron Wood

00:22:46.569 --> 00:22:50.029
is the bass player. What a lineup. Oh, my God.

00:22:50.289 --> 00:22:53.329
You know, and this is him doing his version of

00:22:53.329 --> 00:22:56.750
Howlin' Wolf. I really loved Cuz We've Ended

00:22:56.750 --> 00:23:00.240
As Lovers. which is an amazing thing. If the

00:23:00.240 --> 00:23:03.299
listeners want to go down an incredible experience,

00:23:03.579 --> 00:23:07.960
check out Jeff Beck live at, what's the name

00:23:07.960 --> 00:23:10.380
of the club? Live at Ronnie Scott's with Tal

00:23:10.380 --> 00:23:15.660
Wilkenfeld on bass. Yeah. Absolutely mind -blowing

00:23:15.660 --> 00:23:18.599
rendition there. Mind -blowing. And listen to

00:23:18.599 --> 00:23:22.339
them do A Day in the Life by The Beatles. And

00:23:22.339 --> 00:23:24.940
Jimmy Page is out in the crowd. He stands up

00:23:24.940 --> 00:23:27.500
and gives them a... You know, the place only

00:23:27.500 --> 00:23:30.819
holds, what, 100 people or whatever it is. And

00:23:30.819 --> 00:23:33.839
Jimmy Page is out in the audience giving a standing

00:23:33.839 --> 00:23:36.740
O. But, you know, I have to go with Jeff Beck

00:23:36.740 --> 00:23:40.200
in terms of just being just incredibly important

00:23:40.200 --> 00:23:43.559
to the electric guitar. So which song are we

00:23:43.559 --> 00:23:45.160
going to go with? Because we ended as lovers?

00:23:45.299 --> 00:23:48.359
I think we should go with Ain't Superstitious

00:23:48.359 --> 00:23:51.240
because the stuff that he does with a slide and

00:23:51.240 --> 00:23:54.220
a wah -wah pedal, I've never heard anyone do

00:23:54.220 --> 00:23:57.809
that since then. I might low -key piss some people

00:23:57.809 --> 00:24:00.890
off with this one, but Truth might be my all

00:24:00.890 --> 00:24:03.069
-time favorite Jeff Beck album. I mean, that

00:24:03.069 --> 00:24:06.369
lineup of Rod Stewart, Mick Waller, Ronnie Wood.

00:24:06.650 --> 00:24:09.529
I mean, that's a musical home run. And then you

00:24:09.529 --> 00:24:12.890
think about tracks like Blues Deluxe, which Joe

00:24:12.890 --> 00:24:16.170
Bonamassa played in 2003, named an album after

00:24:16.170 --> 00:24:19.930
it. Beck's Bolero, their cover of You Shook Me.

00:24:20.049 --> 00:24:22.950
That whole album is just a chef's kiss. So I

00:24:22.950 --> 00:24:25.970
love the pick. But then... Thank you for mentioning

00:24:25.970 --> 00:24:28.750
Cause We Ended As Lovers because while Truth

00:24:28.750 --> 00:24:31.910
is my favorite Jeff Beck album, Cause We Ended

00:24:31.910 --> 00:24:34.890
As Lovers is my favorite Jeff Beck song. And

00:24:34.890 --> 00:24:36.829
it's the version from Ronnie Scott's with Tal

00:24:36.829 --> 00:24:40.069
Wilkenfeld on bass. That just was a musical conversation

00:24:40.069 --> 00:24:43.609
that just blew my mind. Absolutely blew my mind.

00:24:43.769 --> 00:24:48.329
Me too. So Jeff Beck had a unique style of playing

00:24:48.329 --> 00:24:51.849
and a unique sound to his playing. I think we

00:24:51.849 --> 00:24:55.000
could both agree on that, correct? Yeah. I'm

00:24:55.000 --> 00:24:58.500
going to bounce off of that. So musically, this

00:24:58.500 --> 00:25:01.680
is going to be a little bit of a jump. But from

00:25:01.680 --> 00:25:04.920
a uniqueness standpoint, I feel like it'd be

00:25:04.920 --> 00:25:07.259
tough to have this conversation without bringing

00:25:07.259 --> 00:25:09.980
this guitarist into the mix. And I'm actually

00:25:09.980 --> 00:25:12.559
going to go with a live version. As much as I

00:25:12.559 --> 00:25:15.640
love the self -titled Fleetwood Mac album, I'm

00:25:15.640 --> 00:25:19.079
going to go off of 1997's The Dance. And I'm

00:25:19.079 --> 00:25:21.400
going to go with Lindsey Buckingham in his guitar

00:25:21.400 --> 00:25:25.660
solo in I'm So Afraid. wow man well that's the

00:25:25.660 --> 00:25:28.539
similarity between him and Jeff Beck is they

00:25:28.539 --> 00:25:31.220
weren't big pick guys and the way they touched

00:25:31.220 --> 00:25:34.660
the strings was all about feel and you know and

00:25:34.660 --> 00:25:37.359
Lindsey had that for sure I mean if you put a

00:25:37.359 --> 00:25:39.920
gun to my head if you say Fleetwood Mac I'm always

00:25:39.920 --> 00:25:42.740
going to go with Peter Green but I don't think

00:25:42.740 --> 00:25:46.460
that people understand how awesome Lindsey Buckingham

00:25:46.460 --> 00:25:51.500
is I mean he's got a super unique feel that as

00:25:51.500 --> 00:25:54.480
soon as you hear it, you immediately know it's

00:25:54.480 --> 00:25:57.559
him. And there's a tone to his guitar. Even in

00:25:57.559 --> 00:26:00.640
the later songs like Tusk, the guitar he's playing

00:26:00.640 --> 00:26:04.000
in the background, it just tonally cuts through

00:26:04.000 --> 00:26:07.319
the music in a way that I don't hear very often.

00:26:07.640 --> 00:26:11.119
Yeah, yeah. Isn't it weird how, like, I remember

00:26:11.119 --> 00:26:14.539
when Tusk came out, I got to say, when it came

00:26:14.539 --> 00:26:18.500
out, I was a little bit dismissive of it. I was

00:26:18.500 --> 00:26:20.019
just because they were playing it all the time

00:26:20.019 --> 00:26:23.380
on the radio and they had the marching band thing.

00:26:23.559 --> 00:26:27.119
And I was just kind of like, you know, and then

00:26:27.119 --> 00:26:30.420
I go back later and I start listening to some

00:26:30.420 --> 00:26:33.420
of that Fleetwood Mac stuff. And I'm like, oh,

00:26:33.440 --> 00:26:38.740
my God, like this guy was very singular. He was

00:26:38.740 --> 00:26:43.059
there. He had an ultra unique tone and touch.

00:26:43.279 --> 00:26:46.380
And yeah, since then, I've become a big Lindsay.

00:26:46.799 --> 00:26:49.059
thing i love what he does so it's cool you're

00:26:49.059 --> 00:26:51.700
playing that all right well we have one track

00:26:51.700 --> 00:26:55.299
left for you for side a what do you have man

00:26:55.299 --> 00:26:59.059
i'm gonna go you know i haven't really done any

00:26:59.059 --> 00:27:03.279
country stuff on here and i'm not going to on

00:27:03.279 --> 00:27:07.740
this one maybe i'll do it later but i'd love

00:27:07.740 --> 00:27:11.880
you know jerry reed and grady martin and these

00:27:11.880 --> 00:27:15.380
guys because they were just so important to what

00:27:15.900 --> 00:27:18.539
certain aspects of rock and roll would become.

00:27:18.940 --> 00:27:22.319
But I'm going to just rev up to, I think it's,

00:27:22.319 --> 00:27:25.799
is it 79 or 80? I'm going to go Randy Rose over

00:27:25.799 --> 00:27:29.420
the mountain and get into some heavy stuff and

00:27:29.420 --> 00:27:34.380
just talk about, you know, what a genius melody

00:27:34.380 --> 00:27:38.960
guy he was. And I recently, you know, I was working

00:27:38.960 --> 00:27:43.089
on this film project in Hollywood. and we were

00:27:43.089 --> 00:27:46.089
in editing and i was flying back and forth from

00:27:46.089 --> 00:27:52.609
austin into la and i met rudy sarzo we're both

00:27:52.609 --> 00:27:57.589
at the airport in um what's the little studio

00:27:57.589 --> 00:28:01.130
what's the great little airport um over there

00:28:01.130 --> 00:28:04.369
it's not in culver city but it's not the lax

00:28:04.369 --> 00:28:07.920
it's the smaller one um I can't remember it,

00:28:07.940 --> 00:28:11.019
but it's a great little airport. It's like John

00:28:11.019 --> 00:28:14.779
Wayne or whatever, a little 1960s airport. And

00:28:14.779 --> 00:28:17.720
next to me, waiting to get on the plane, is Rudy

00:28:17.720 --> 00:28:20.660
Sarzo. So I said, hey, man, are you Rudy Sarzo?

00:28:20.779 --> 00:28:23.180
And he said, yeah. And I said, hey, I'm Jesse.

00:28:23.380 --> 00:28:26.519
I'm a huge fan. I'm a musician and blah, blah,

00:28:26.599 --> 00:28:29.539
blah. So we just ended up sitting together because

00:28:29.539 --> 00:28:32.019
we were on a Southwest flight, so we could get

00:28:32.019 --> 00:28:35.789
any seats we wanted. And he literally told me

00:28:35.789 --> 00:28:40.109
the entire story of Randy Rhodes on the plane

00:28:40.109 --> 00:28:43.490
flight. This was before his book came out, Off

00:28:43.490 --> 00:28:48.009
the Rails. And he told me that every single one

00:28:48.009 --> 00:28:52.910
of those solos that Randy recorded on those Ozzy

00:28:52.910 --> 00:28:56.910
records, he doubled. Really? Yeah, I was shocked.

00:28:57.130 --> 00:28:59.410
And if you go back and you listen to it, I was

00:28:59.410 --> 00:29:02.420
like, because I told him, I said. it did odd

00:29:02.420 --> 00:29:05.720
that when his solos come out they attack you

00:29:05.720 --> 00:29:09.019
like nothing you've ever heard before like even

00:29:09.019 --> 00:29:13.180
more so than van halen or any of those you know

00:29:13.180 --> 00:29:15.259
there's only a few guitar players from that era

00:29:15.259 --> 00:29:19.220
that i'm crazy about i'm really pre -metal guy

00:29:19.220 --> 00:29:22.640
like i like all the hard rock stuff i'm a huge

00:29:22.640 --> 00:29:26.019
thin lizzy fan you know i like all the early

00:29:26.019 --> 00:29:30.359
early hard rock stuff love it you know But Randy's

00:29:30.359 --> 00:29:32.819
leads would jump out and he goes, that's because

00:29:32.819 --> 00:29:36.420
he doubled everything. And I was like, did he

00:29:36.420 --> 00:29:39.579
double it? Like, cause you didn't have pro tools

00:29:39.579 --> 00:29:42.720
back then. Right. So that means that he had to

00:29:42.720 --> 00:29:47.720
figure out what he did on his own and sit there

00:29:47.720 --> 00:29:50.440
with the engineer and play it with this same

00:29:50.440 --> 00:29:53.799
amount of attack. And if you hear it, those leads,

00:29:54.000 --> 00:29:59.089
I mean, dude, they just. They rip your head off

00:29:59.089 --> 00:30:03.470
like no other guitar I've ever heard. And I could

00:30:03.470 --> 00:30:06.150
imagine what Eddie thought when he first heard

00:30:06.150 --> 00:30:09.089
that, you know, King Edward probably was like,

00:30:09.130 --> 00:30:13.750
Oh, there's a new sheriff in town. I'll tell

00:30:13.750 --> 00:30:17.369
you this. I'm just picturing the tapping section

00:30:17.369 --> 00:30:20.890
in crazy train where he walks up as he's tapping

00:30:20.890 --> 00:30:24.509
to be able to mimic that. And hit the same, like

00:30:24.509 --> 00:30:27.089
you said, the attack of hitting the notes. Because

00:30:27.089 --> 00:30:30.710
it's a very smooth, there's no kind of cutting

00:30:30.710 --> 00:30:34.069
between the notes in it. Yes, fluid. That's insane.

00:30:34.269 --> 00:30:37.750
That's absolutely insane. All right. To close

00:30:37.750 --> 00:30:41.109
out Side A, we've touched on some blues, some

00:30:41.109 --> 00:30:44.349
jazz, some rock. I'm going to stick with your

00:30:44.349 --> 00:30:47.049
hard rock here. And I'm going to go with my first

00:30:47.049 --> 00:30:49.950
favorite guitarist of all time. And no, it's

00:30:49.950 --> 00:30:51.980
not. Alvin and the Chipmunks, because I did have

00:30:51.980 --> 00:30:54.220
that record prior to this one, but I digress.

00:30:54.420 --> 00:30:59.440
My cousins, basically from the womb up until

00:30:59.440 --> 00:31:04.380
kindergarten, raised me on a soundtrack of ACDC

00:31:04.380 --> 00:31:08.220
and Angus Young. And as a kid, Angus Young was

00:31:08.220 --> 00:31:10.299
the guy standing on the cover of Highway to Hell

00:31:10.299 --> 00:31:13.579
with the devil horn sticking out. He was such

00:31:13.579 --> 00:31:18.410
an iconic icon as well as guitar player. Being

00:31:18.410 --> 00:31:20.910
on the cover of Power Age and every album cover.

00:31:20.990 --> 00:31:25.190
He was the face of ACDC the way Eddie is the

00:31:25.190 --> 00:31:29.410
face of Iron Man. Sure, absolutely. And to close

00:31:29.410 --> 00:31:31.910
out aside, I think there's only one song you

00:31:31.910 --> 00:31:36.329
could really, truly close with for ACDC. And

00:31:36.329 --> 00:31:40.390
that's the epic concert closer, but album opener.

00:31:40.569 --> 00:31:43.230
For those about to rock, we salute you. The title

00:31:43.230 --> 00:31:46.690
track. When those cannons raise up on stage,

00:31:46.809 --> 00:31:49.569
I get goosebumps just thinking about it. That

00:31:49.569 --> 00:31:53.710
guitar solo, to me, is what Slash and Guns N'

00:31:53.809 --> 00:31:56.430
Roses were paying homage to at the end of Paradise

00:31:56.430 --> 00:32:00.509
City. That big, massive, celebratory ending.

00:32:00.809 --> 00:32:04.490
And to me, ACDC kind of wrote the book for those

00:32:04.490 --> 00:32:07.789
about to rock. Absolutely, man. They nailed it.

00:32:08.779 --> 00:32:12.440
ACDC is such an important band to me. And I remember

00:32:12.440 --> 00:32:15.579
blues songs, you know, like Night Prowler and

00:32:15.579 --> 00:32:20.839
Sin City. Ride On, even. Yeah, Ride On was a

00:32:20.839 --> 00:32:25.140
big one. And it got my young head thinking, wow,

00:32:25.339 --> 00:32:27.579
okay, no matter how much the stuff, this is the

00:32:27.579 --> 00:32:31.279
roots of it. It was like Chuck Berry on Roids

00:32:31.279 --> 00:32:34.500
or something. Because it's all so rock and roll.

00:32:35.099 --> 00:32:37.900
And heavy on the roll because, you know, there's

00:32:37.900 --> 00:32:40.559
a lot of mechanical rock music out there that,

00:32:40.599 --> 00:32:43.859
frankly, it just doesn't swing a bag of shit,

00:32:44.140 --> 00:32:48.200
you know? And that's the cool thing about ACDC

00:32:48.200 --> 00:32:52.279
is that it has a swing to it. You know, there's

00:32:52.279 --> 00:32:56.420
movement in those four bars. And it's pretty

00:32:56.420 --> 00:32:58.160
interesting because me and Samantha Fisher are

00:32:58.160 --> 00:33:02.160
heading over to Australia to do a tour in May.

00:33:03.079 --> 00:33:05.900
And a friend of a friend hooked me up with Mark

00:33:05.900 --> 00:33:08.480
Evans, who was the bass player on the first,

00:33:08.579 --> 00:33:11.759
all the records up until Highway to Hell, which

00:33:11.759 --> 00:33:15.140
is when Cliff joined. Yes. So I think Mark Evans,

00:33:15.240 --> 00:33:18.579
who played on Dirty Deeds and all those records

00:33:18.579 --> 00:33:20.539
you just said, he's going to come sit in with

00:33:20.539 --> 00:33:24.900
us. Oh, that's awesome. Yeah, I'm excited just

00:33:24.900 --> 00:33:28.160
to have any inkling close to those guys, you

00:33:28.160 --> 00:33:31.099
know. Well, there you have it, folks. Side A

00:33:31.099 --> 00:33:34.759
of our Ultimate Guitar Solos playlist, which

00:33:34.759 --> 00:33:37.359
kicked off with Jimi Hendrix's Roomful of Mirrors,

00:33:37.660 --> 00:33:40.940
Prince's Purple Rain, Django Reinhardt's You

00:33:40.940 --> 00:33:44.279
Rascal You, Kenny Burrell's Chitlin' Concordia,

00:33:44.559 --> 00:33:48.299
Otis Rush's All Your Love, Santana's Black Magic

00:33:48.299 --> 00:33:51.859
Woman, Jeff Beck's I Ain't Superstitious, Fleetwood

00:33:51.859 --> 00:33:54.839
Mac's I'm So Afraid, Lindsey Buckingham on guitar,

00:33:55.380 --> 00:33:58.119
Ozzy Osbourne's Over the Mountain, Randy Rhoads

00:33:58.119 --> 00:34:01.420
on guitar, and ACDC, for those about to rock,

00:34:01.640 --> 00:34:05.099
we salute you, Angus Young on guitar. Head over

00:34:05.099 --> 00:34:07.640
to myweeklymixtape .com to hear all the songs

00:34:07.640 --> 00:34:10.440
we've discussed in this mix through the playlist

00:34:10.440 --> 00:34:14.219
embedded on the episode page. Now, Jesse, I want

00:34:14.219 --> 00:34:17.280
to talk to you about your new album, The Hardway

00:34:17.280 --> 00:34:20.820
Blues. This album was produced... by Shooter

00:34:20.820 --> 00:34:24.159
Jennings. Now, given your work with Shooter's

00:34:24.159 --> 00:34:27.639
father, Waylon Jennings, on his 1996 album, Right

00:34:27.639 --> 00:34:30.480
for the Time, can you talk about how the working

00:34:30.480 --> 00:34:34.079
relationship between you and the Jennings family

00:34:34.079 --> 00:34:37.239
kind of added a generation for this new album?

00:34:37.639 --> 00:34:40.139
Well, it's interesting. When I got the gig with

00:34:40.139 --> 00:34:44.019
Waylon, which was kind of a fluke, he saw me

00:34:44.019 --> 00:34:48.219
on a TV show. Of course, I grew up around all

00:34:48.219 --> 00:34:51.380
that outlaw country stuff because it was outlaw

00:34:51.380 --> 00:34:54.139
country or some call it progressive country,

00:34:54.260 --> 00:34:56.920
but we all call it outlaw country. It was really

00:34:56.920 --> 00:35:01.559
invented in the 70s in Austin, Texas. You know,

00:35:01.639 --> 00:35:05.460
Jerry Jeff Walker and Michael Martin Murphy and

00:35:05.460 --> 00:35:09.440
Waylon and Willie and all these towns bands that

00:35:09.440 --> 00:35:13.059
and all these songwriters were there. And so

00:35:13.059 --> 00:35:14.980
they all started surrounding themselves with

00:35:14.980 --> 00:35:16.980
these players that were, whoever was hanging

00:35:16.980 --> 00:35:20.719
around and these guys, you know, were, were monsters

00:35:20.719 --> 00:35:23.760
and, but they weren't, it wasn't Nashville. It

00:35:23.760 --> 00:35:26.739
wasn't LA. It wasn't New York. It was really

00:35:26.739 --> 00:35:30.760
unique, but you know, that's kind of like my

00:35:30.760 --> 00:35:33.679
parents kind of were there when that was all

00:35:33.679 --> 00:35:36.619
going on Armadillo world headquarters and all

00:35:36.619 --> 00:35:39.699
that stuff. So I heard a lot of that kind of

00:35:39.699 --> 00:35:43.119
stuff and that's how I came to, kind of find

00:35:43.119 --> 00:35:47.500
it. So you recorded this entire album in less

00:35:47.500 --> 00:35:51.539
than a week. Was that a strategic decision or

00:35:51.539 --> 00:35:54.239
did the album just come together that way for

00:35:54.239 --> 00:35:56.639
you? Well, you know, it's interesting because

00:35:56.639 --> 00:35:59.519
when I did play with Waylon, I was only 24. So

00:35:59.519 --> 00:36:02.920
I was closer to age with Shooter Jennings than

00:36:02.920 --> 00:36:05.460
I was his son, who was in ninth or 10th grade

00:36:05.460 --> 00:36:08.539
at that time than I was to the guys in the band.

00:36:08.800 --> 00:36:13.000
And we had a way of working together. Waylon

00:36:13.000 --> 00:36:16.300
was amazing because he had this perfect pitch,

00:36:16.480 --> 00:36:18.980
right? And people don't know this, but he's like

00:36:18.980 --> 00:36:22.239
the killer harmony singer. And he's got his own

00:36:22.239 --> 00:36:26.400
guitar style, like completely his own 1 ,000%.

00:36:26.400 --> 00:36:28.440
Like we were talking about Lindsey Buckingham

00:36:28.440 --> 00:36:30.719
earlier. It's like that, where it's just like

00:36:30.719 --> 00:36:34.219
he just does his own thing. So I was never going

00:36:34.219 --> 00:36:37.239
to try to eat Waylon or play it like Waylon.

00:36:37.360 --> 00:36:40.320
I wanted to do something that was me, but not

00:36:40.320 --> 00:36:45.369
too... crazy out of the box you know and um it

00:36:45.369 --> 00:36:48.809
was so cool man because like i played his leather

00:36:48.809 --> 00:36:51.869
-bound telecaster on almost that whole record

00:36:51.869 --> 00:36:54.949
i didn't play my my guitar i played waylon's

00:36:54.949 --> 00:36:58.369
guitar it was run through an old super six fender

00:36:58.369 --> 00:37:02.130
amp and we did all kinds of crazy stuff i actually

00:37:02.130 --> 00:37:05.250
played wah -wah pedal with all these chicken

00:37:05.250 --> 00:37:08.710
picking licks with a wah -wah pedal and um james

00:37:08.710 --> 00:37:11.599
hatfield wrote and guitar player that he really

00:37:11.599 --> 00:37:13.739
loved that. It's, it's, it's our version of the

00:37:13.739 --> 00:37:17.679
boxer by Paul Simon. Such a great cover. And

00:37:17.679 --> 00:37:21.619
then fast forward 20 something years later and

00:37:21.619 --> 00:37:25.059
shooter becomes this Grammy award winning producer,

00:37:25.139 --> 00:37:28.380
you know? And so I called shooter and I was like,

00:37:28.440 --> 00:37:30.139
Hey man, can we make a record together? I know

00:37:30.139 --> 00:37:33.280
you're expensive. And, uh, he started laughing

00:37:33.280 --> 00:37:36.360
and he said, let's just figure it out. So, you

00:37:36.360 --> 00:37:39.309
know, he knows I'm a player and. I wanted to

00:37:39.309 --> 00:37:42.170
do it old school, so we showed up in a studio

00:37:42.170 --> 00:37:45.510
in the Valley in L .A. where all these great

00:37:45.510 --> 00:37:48.250
records had been cut. Johnny Cash and Lucinda

00:37:48.250 --> 00:37:51.949
Williams and Tom Petty and all these people had

00:37:51.949 --> 00:37:55.989
cut there. We went in with the band in the room.

00:37:56.269 --> 00:38:00.090
The record is mostly live. There's few overdubs.

00:38:00.090 --> 00:38:03.449
We used a ton of the work vocals, a ton of the

00:38:03.449 --> 00:38:08.190
live guitar stuff. It's slamming to tape. We're

00:38:08.190 --> 00:38:11.750
not tuning stuff. And it happened in five days.

00:38:12.309 --> 00:38:15.769
And we were winning. And the stuff that I have

00:38:15.769 --> 00:38:20.070
on the record, it's kind of a cross between some

00:38:20.070 --> 00:38:23.610
East Texas blues stuff. There's some classic

00:38:23.610 --> 00:38:26.289
rock sound and stuff. And there's also this whole

00:38:26.289 --> 00:38:29.889
lyrical Texas singer -songwriter thing going

00:38:29.889 --> 00:38:33.250
on throughout the song. So I really tried to

00:38:33.250 --> 00:38:36.190
do this hybrid. That I thought would be interesting

00:38:36.190 --> 00:38:39.030
for me and focus. It's a guitar record, you know,

00:38:39.030 --> 00:38:41.550
from start to finish. And we're going to talk

00:38:41.550 --> 00:38:43.170
about a couple of songs from the album. But I

00:38:43.170 --> 00:38:46.130
first want to ask, how do you feel bringing Shooter

00:38:46.130 --> 00:38:49.710
on board colored the production and the overall

00:38:49.710 --> 00:38:52.730
sound of the album? Not the songs itself, but

00:38:52.730 --> 00:38:56.849
what did he bring to the sound of the album as

00:38:56.849 --> 00:38:59.869
a whole? Well, you know, he created an environment

00:38:59.869 --> 00:39:03.079
for. because this was new stuff. It's not like

00:39:03.079 --> 00:39:05.699
we've been playing this stuff. We didn't show

00:39:05.699 --> 00:39:09.679
up. What he really did was he helped us flush

00:39:09.679 --> 00:39:12.880
out these arrangements, trim the fat, get to

00:39:12.880 --> 00:39:15.340
the heart of the song, don't force, get to the

00:39:15.340 --> 00:39:19.059
chorus, that kind of thing, but also gave me

00:39:19.059 --> 00:39:21.820
some room to stretch out as an instrumentalist.

00:39:22.519 --> 00:39:26.880
So it feels like that I get to play on it instead

00:39:26.880 --> 00:39:29.670
of this like... two and a half minute single

00:39:29.670 --> 00:39:32.789
ethos that used to have i mean i love the ramones

00:39:32.789 --> 00:39:37.190
i love i think they're fun and you know and it's

00:39:37.190 --> 00:39:41.829
not what i do but these he let me stretch out

00:39:41.829 --> 00:39:44.329
there's some four or five minute tracks on this

00:39:44.329 --> 00:39:47.829
record and that was kind of fun to do that and

00:39:47.829 --> 00:39:51.409
to realize that hey man you know You got to show

00:39:51.409 --> 00:39:54.670
your superpowers, you know, you can't like deprive

00:39:54.670 --> 00:39:57.429
yourself of that stuff. So he would create these

00:39:57.429 --> 00:39:59.869
arrangements where it was like, you know, OK,

00:40:00.010 --> 00:40:03.809
we're going to go off into Wonderland here. And

00:40:03.809 --> 00:40:07.550
I was like, yeah, let's go. So it was it was

00:40:07.550 --> 00:40:10.269
exciting. Well, let's go to Wonderland, because

00:40:10.269 --> 00:40:13.889
actually, I think if Wonderland is what I'm thinking,

00:40:14.090 --> 00:40:17.889
the first song I want to touch on is Baby's Long

00:40:17.889 --> 00:40:21.679
Gone. Fishing on the biobank, making love on

00:40:21.679 --> 00:40:28.519
the ground, by the wine we drank. Well, I caught

00:40:28.519 --> 00:40:30.900
her stepping out a couple of times in those seats

00:40:30.900 --> 00:40:33.900
myself, and I know that rhyme. She's gone, gone,

00:40:34.099 --> 00:40:40.659
gone. Yeah, Jesus called her home. Baby, it's

00:40:40.659 --> 00:41:06.179
long gone. This song immediately jumped out at

00:41:06.179 --> 00:41:09.239
me during my first listen because the opening

00:41:09.239 --> 00:41:13.719
has this intricate stomp acoustic guitar opening.

00:41:13.820 --> 00:41:19.019
Very backwoods, swamp rock, country -esque. But

00:41:19.019 --> 00:41:21.440
in the middle of the track it does a 180 into

00:41:21.440 --> 00:41:25.239
a full -blown rock track. So across the song's

00:41:25.239 --> 00:41:28.179
three minutes it covers a whole lot of musical

00:41:28.179 --> 00:41:31.179
ground. When you were writing this song, did

00:41:31.179 --> 00:41:35.389
it unfold? Into that 180 in the studio? Or did

00:41:35.389 --> 00:41:37.610
you plan that from the beginning? It unfolded

00:41:37.610 --> 00:41:40.489
with Shooter. I brought it in. So there's this

00:41:40.489 --> 00:41:43.929
thing in East Texas. Your guitar players will

00:41:43.929 --> 00:41:46.050
be interested in this because it's a really specific

00:41:46.050 --> 00:41:49.750
thing. And it's this East Texas droning thing.

00:41:50.150 --> 00:41:53.329
And it started with Blind Lemon Jefferson. And

00:41:53.329 --> 00:41:55.510
I'll be frank, you know, those Blind Lemon Jefferson

00:41:55.510 --> 00:41:58.539
records. They're hard to listen to because they're

00:41:58.539 --> 00:42:01.239
so breaking up. I mean, the fidelity is just

00:42:01.239 --> 00:42:04.280
horrendous, right? But you could tell the guy's

00:42:04.280 --> 00:42:06.920
playing his ass off and he's a singer. And this

00:42:06.920 --> 00:42:10.780
is pre -Robert Johnson, right? This is pre -Robert

00:42:10.780 --> 00:42:13.739
Johnson. And this is like a hit song in terms

00:42:13.739 --> 00:42:17.239
of back then for what constituted a hit. And

00:42:17.239 --> 00:42:20.400
then later, Mance Lipscomb and Lightning Hopkins

00:42:20.400 --> 00:42:23.809
would kind of take over that mantle. And they

00:42:23.809 --> 00:42:25.789
would always keep, if they were playing a song

00:42:25.789 --> 00:42:28.610
in E, they'd keep the E string droning the whole

00:42:28.610 --> 00:42:31.349
time they were playing leads. So they would just,

00:42:31.409 --> 00:42:34.289
you would see them hit it with their thumb. If

00:42:34.289 --> 00:42:36.449
they were playing a song in A, they would do

00:42:36.449 --> 00:42:38.710
an A. If it was D, they'd tune the E down to

00:42:38.710 --> 00:42:41.969
a D, and they would do these riffs. So when I'm

00:42:41.969 --> 00:42:44.869
playing this riff, and those guys actually, you

00:42:44.869 --> 00:42:46.789
know, are from like right down the road from

00:42:46.789 --> 00:42:50.610
where I grew up. If you hear me playing this

00:42:50.610 --> 00:42:54.309
riff, I'm playing two strings. pretty much the

00:42:54.309 --> 00:42:57.250
same time on all of those rips. So it's got that,

00:42:57.250 --> 00:43:02.170
this East Texas droning blues sound. And I really

00:43:02.170 --> 00:43:04.389
wanted to explore that because during COVID,

00:43:04.489 --> 00:43:08.829
I went down a huge rabbit hole of like country

00:43:08.829 --> 00:43:12.869
blues, you know, the East Texas stuff, the stuff,

00:43:12.989 --> 00:43:15.690
you know, the Mississippi Fred McDonald and,

00:43:15.690 --> 00:43:18.630
you know, all that kind of stuff. And I was like,

00:43:18.670 --> 00:43:21.260
man, I want to bring that in there. I always

00:43:21.260 --> 00:43:23.760
heard Dylan and my songwriters like Guy Clark

00:43:23.760 --> 00:43:26.159
and Townes Van Zandt. I always heard them talk

00:43:26.159 --> 00:43:28.440
about those guitar players, but I was like, they

00:43:28.440 --> 00:43:31.480
can't play like those guitar players, but I can.

00:43:32.059 --> 00:43:35.300
I have the facility to do it. And so I was like,

00:43:35.360 --> 00:43:38.420
that's where I want to go with this. Well, the

00:43:38.420 --> 00:43:41.460
next track I want to dive into is Navasota, which

00:43:41.460 --> 00:43:44.420
introduces a slide guitar in its solo section.

00:44:24.559 --> 00:44:29.539
How do you decide in a given track how to attack

00:44:29.539 --> 00:44:33.179
the solo? Is that something that you record a

00:44:33.179 --> 00:44:35.860
guitar solo using several different styles, maybe

00:44:35.860 --> 00:44:40.000
with a slide, maybe finger picking, maybe shredding?

00:44:40.219 --> 00:44:42.719
Or is that the instance of you're writing this

00:44:42.719 --> 00:44:46.219
song and you already have a guitar solo in mind

00:44:46.219 --> 00:44:49.659
as the song is kind of being tracked? I didn't

00:44:49.659 --> 00:44:52.840
really have a guitar solo in mind. You know,

00:44:52.860 --> 00:44:56.340
it just kind of felt like the thing to do. The

00:44:56.340 --> 00:44:58.880
interesting thing about that song is it starts

00:44:58.880 --> 00:45:02.880
off like we're going to do this big Texas blues

00:45:02.880 --> 00:45:06.960
shuffle. And we don't do that. We go straight

00:45:06.960 --> 00:45:11.880
into this funky kind of thing. And we keep turning

00:45:11.880 --> 00:45:15.840
it around and we do that. Everything's building.

00:45:16.460 --> 00:45:18.280
And it sounds like it's going to go into this,

00:45:18.300 --> 00:45:22.800
but it never does that. We go into this totally

00:45:22.800 --> 00:45:25.360
different thing. So I thought that was pretty

00:45:25.360 --> 00:45:28.539
interesting. And I hadn't used any slide on the

00:45:28.539 --> 00:45:31.380
guitar on the record up until that point. So

00:45:31.380 --> 00:45:36.900
when I heard the lead section, as I said, I'm

00:45:36.900 --> 00:45:40.679
a huge disciple of the Reverend Billy Gibbons.

00:45:40.820 --> 00:45:44.719
He's like, to me, Billy's. I mean, I met Keith

00:45:44.719 --> 00:45:47.900
Richards. I played with Willie Nelson. I'm pretty

00:45:47.900 --> 00:45:51.280
sure Billy Gibbons is the coolest white guitar

00:45:51.280 --> 00:45:54.460
player I've ever met in my entire life. Billy

00:45:54.460 --> 00:45:58.760
just exudes cool. And so there's some stuff that

00:45:58.760 --> 00:46:03.039
he does, like I heard it on the X and in some

00:46:03.039 --> 00:46:06.099
of those songs where when he plays slide, he's

00:46:06.099 --> 00:46:09.440
barely breaking up into the note that he's supposed

00:46:09.440 --> 00:46:12.880
to be going into. And the guitar starts breaking

00:46:12.880 --> 00:46:16.820
up. So I tried to do that kind of vibe on Navasota.

00:46:17.539 --> 00:46:20.659
Well, the next song I want to dive into is Huntsville

00:46:20.659 --> 00:46:44.780
Prison Rodeo. That pissed off those put on one

00:46:44.780 --> 00:46:52.000
hell of a show. With desperados riding in the

00:46:52.000 --> 00:47:37.489
hospital prison rodeo. The guitar solo in this

00:47:37.489 --> 00:47:41.269
track has a ridiculous tone on it, I just have

00:47:41.269 --> 00:47:44.869
to say. Almost with a cathedral -like reverb

00:47:44.869 --> 00:47:49.130
on the solo. It gives it a real unique signature

00:47:49.130 --> 00:47:52.650
across the album as a whole. And those little

00:47:52.650 --> 00:47:55.869
intricacies that I'm talking about, is that something

00:47:55.869 --> 00:47:59.449
you're listening for specifically? Or is that

00:47:59.449 --> 00:48:01.889
where Shooter comes into play and says, hey...

00:48:02.280 --> 00:48:05.119
We need to kind of add some more reverb to this

00:48:05.119 --> 00:48:07.119
to give it the feel, or is that kind of a combination

00:48:07.119 --> 00:48:10.440
of the two? I think both of us were saying that

00:48:10.440 --> 00:48:12.840
we wanted to try to experiment with that, and

00:48:12.840 --> 00:48:15.940
it worked. That song almost didn't make the record.

00:48:16.239 --> 00:48:19.000
Really? Yeah, it doesn't sound like anything

00:48:19.000 --> 00:48:22.440
else on the record. No. It sounds more like a

00:48:22.440 --> 00:48:27.980
country rock song. I was a little hesitant because

00:48:27.980 --> 00:48:32.880
the record is either bluesy stuff or kind of

00:48:32.880 --> 00:48:37.199
classic rock, you know, influenced. So I was

00:48:37.199 --> 00:48:39.000
a little hesitant to put that on the record,

00:48:39.079 --> 00:48:41.360
but Shearer fought me on it. And he's like, no,

00:48:41.460 --> 00:48:44.639
I really think this is cool. It's a part of what

00:48:44.639 --> 00:48:48.159
you do. It'll change, you know, give the listeners

00:48:48.159 --> 00:48:53.119
ears a break. And, you know, it ended up working.

00:48:54.489 --> 00:48:57.630
It's a true story. It's about my parents taking

00:48:57.630 --> 00:49:00.110
us to the Huntsville Prison Rodeo when I was

00:49:00.110 --> 00:49:04.210
a kid and how completely terrifying and scarring

00:49:04.210 --> 00:49:07.829
it was for a little kid to watch, you know, the

00:49:07.829 --> 00:49:12.449
most violent rodeo you could ever imagine. So

00:49:12.449 --> 00:49:15.409
it was traumatic and fun all at the same time.

00:49:15.510 --> 00:49:19.409
So, but yeah, there's some little delay on there.

00:49:19.469 --> 00:49:23.400
There's some reverbs, kind of washy. And yeah,

00:49:23.500 --> 00:49:25.800
it's kind of cathedral -esque, you know, big

00:49:25.800 --> 00:49:29.559
room reverbs and there's some, you know, kind

00:49:29.559 --> 00:49:32.699
of chicken picking, you know, parts on there,

00:49:32.960 --> 00:49:37.000
that kind of thing. Well, I want to touch on

00:49:37.000 --> 00:49:38.500
something you just said there, because across

00:49:38.500 --> 00:49:41.719
the album, you had mentioned that Huntsville

00:49:41.719 --> 00:49:44.880
Prison Rodeo was kind of a story about your life.

00:49:44.900 --> 00:49:47.880
The album lyrically from front to back. There's

00:49:47.880 --> 00:49:51.239
a lot of storytelling aspects on the album. I'm

00:49:51.239 --> 00:49:53.440
just going to choose one track right now and

00:49:53.440 --> 00:50:11.559
play a clip from Angel in My Pocket. In my faded

00:50:11.559 --> 00:50:15.679
Levi jeans Gives me enough strength To make it

00:50:15.679 --> 00:50:19.900
through Damn near anything And when it shines,

00:50:20.039 --> 00:50:29.539
shines, shines Lord, it shines Well, I pick myself

00:50:29.539 --> 00:50:33.360
back up More times than I've been knocked down

00:50:34.059 --> 00:50:37.260
Broken bones and hearts on motorcycles, riding

00:50:37.260 --> 00:50:41.159
at the speed of sound. But that angel in my pocket

00:50:41.159 --> 00:50:45.579
always gets me home to you. Where my secrets

00:50:45.579 --> 00:50:48.780
are safe, the love we make feels raw and pure

00:50:48.780 --> 00:50:54.619
and true. And I sure do miss you, darling, when

00:50:54.619 --> 00:50:59.219
I'm gone more than half the time. And on nights

00:50:59.219 --> 00:51:03.179
when the tears are falling. But my pocket shines,

00:51:03.920 --> 00:51:31.110
shines, shines When I first heard this song,

00:51:31.210 --> 00:51:34.449
I had jotted down a little note before I started

00:51:34.449 --> 00:51:36.750
forming my questions. And that little note was

00:51:36.750 --> 00:51:41.489
channeling the beauty of a John Prine song. So

00:51:41.489 --> 00:51:44.510
you can imagine the hair on my arm standing up

00:51:44.510 --> 00:51:46.789
when I finally read through the press release

00:51:46.789 --> 00:51:50.070
and saw that you wrote that in the wake of his

00:51:50.070 --> 00:51:53.289
passing. Yeah. I'd love to hear your feelings

00:51:53.289 --> 00:51:56.110
towards John Prine and then what it meant for

00:51:56.110 --> 00:51:59.320
the song Angel in My Pocket for you. Well, I'm

00:51:59.320 --> 00:52:03.440
a huge John Prine fan, and I can't impress upon

00:52:03.440 --> 00:52:06.280
the guitar players who are listening right now.

00:52:07.079 --> 00:52:12.860
OK, listening to songwriters might be more important

00:52:12.860 --> 00:52:16.260
than listening to guitar players, because if

00:52:16.260 --> 00:52:18.760
you get a bunch of hot musicians around together.

00:52:19.719 --> 00:52:23.059
who only spent 10 ,000 hours on bass, 10 ,000

00:52:23.059 --> 00:52:25.820
hours on drum, 10 ,000 hours on guitar, and they

00:52:25.820 --> 00:52:28.780
have not spent 10 ,000 hours on learning how

00:52:28.780 --> 00:52:31.860
to write songs, and they don't have a good song

00:52:31.860 --> 00:52:35.599
between them, then it doesn't matter how awesome

00:52:35.599 --> 00:52:39.960
you are on your instrument. So the songwriter

00:52:39.960 --> 00:52:45.440
thing, it kind of got hijacked by FM radio, and

00:52:45.440 --> 00:52:48.760
they turned a lot of these guys that were considered

00:52:49.349 --> 00:52:52.670
light rock or whatever, who are really songwriters.

00:52:53.389 --> 00:52:55.690
They didn't know they couldn't, you know, market

00:52:55.690 --> 00:52:58.789
them that way. So, you know, you had all these

00:52:58.789 --> 00:53:01.409
great songwriters, whether it was Townes Van

00:53:01.409 --> 00:53:05.699
Zandt or John Prine. Even the more mainstream

00:53:05.699 --> 00:53:08.820
guys like Jackson Brown and James Taylor and

00:53:08.820 --> 00:53:11.480
all those great records they made with L .A.

00:53:11.480 --> 00:53:14.699
players, with Waddy Wattel and Leland Sklar and

00:53:14.699 --> 00:53:17.820
Russ Kunkel and all that stuff. Those are super

00:53:17.820 --> 00:53:21.599
important records to me. So the whole songwriter

00:53:21.599 --> 00:53:25.340
thing is of the highest order. And if you're

00:53:25.340 --> 00:53:28.440
playing on great songs, man, it's a lot easier.

00:53:30.380 --> 00:53:33.380
Yeah, John Prine was like one of the guys that,

00:53:33.420 --> 00:53:36.019
you know, my sister had his record when I was

00:53:36.019 --> 00:53:41.699
a kid. And, you know, he was so witty and quirky

00:53:41.699 --> 00:53:44.860
and just, you know, there's an interesting thing

00:53:44.860 --> 00:53:48.239
about John Prine. I got to work with Chris Christopherson,

00:53:48.420 --> 00:53:50.880
who might be one of the greats of that whole

00:53:50.880 --> 00:53:54.679
bunch I just named in terms of like writing hit

00:53:54.679 --> 00:53:58.389
songs that millions of people. heard and the

00:53:58.389 --> 00:54:03.130
biggest stars ever. And Chris told me that he

00:54:03.130 --> 00:54:07.690
produced the first Billy Joe Shaver record and

00:54:07.690 --> 00:54:12.530
he produced the first John Prine record. And

00:54:12.530 --> 00:54:15.869
when he first heard about John Prine, Steve Goodman,

00:54:15.929 --> 00:54:19.489
another great songwriter in Chicago, he called

00:54:19.489 --> 00:54:21.570
up Chris Gustafsson and said, man, you got to

00:54:21.570 --> 00:54:24.369
fly to Chicago and see this guy. He's a mailman

00:54:24.369 --> 00:54:28.320
and he's playing. And it's just mind blowing.

00:54:28.460 --> 00:54:30.420
And they were like, we got to break this guy's

00:54:30.420 --> 00:54:37.460
hands. He's just too good. And so, yeah. So John

00:54:37.460 --> 00:54:42.500
Prine, masterful, masterful songwriter. And that's

00:54:42.500 --> 00:54:45.840
a friend of mine had just been staying about

00:54:45.840 --> 00:54:48.699
my wife that I had an angel in my pocket. It

00:54:48.699 --> 00:54:51.460
was a little, little wink wink about my wife.

00:54:51.539 --> 00:54:55.099
So that's where the idea came from. Well, with

00:54:55.099 --> 00:54:57.260
your permission, I'd like to pivot away for a

00:54:57.260 --> 00:54:59.880
few questions outside of the Hardway Blues before

00:54:59.880 --> 00:55:02.820
we get over to Side B. You had mentioned her

00:55:02.820 --> 00:55:06.639
earlier. Your last album, 2023's Death Wish Blues,

00:55:07.099 --> 00:55:09.880
was a collaboration effort with Samantha Fish,

00:55:10.079 --> 00:55:13.019
and that was produced by John Spencer of the

00:55:13.019 --> 00:55:16.079
John Spencer Blues Explosion, became a global

00:55:16.079 --> 00:55:20.539
hit, and received a Grammy nomination for Contemporary

00:55:20.539 --> 00:55:24.059
Blues Album of the Year. How did that collaboration

00:55:24.059 --> 00:55:26.920
come together for you two? Because it was such

00:55:26.920 --> 00:55:32.159
an amazingly popular piece of 2023's music scene.

00:55:32.880 --> 00:55:35.019
Yeah. I mean, it's the closest thing I think

00:55:35.019 --> 00:55:38.659
that me or Samantha have had in terms of a hit

00:55:38.659 --> 00:55:41.420
record. It was the biggest thing both of us had

00:55:41.420 --> 00:55:44.500
ever done where it was our names featured. And

00:55:44.500 --> 00:55:46.920
Samantha used to open up for me in her hometown

00:55:46.920 --> 00:55:49.820
of Kansas City when I come through. And I met

00:55:49.820 --> 00:55:52.139
her and I thought she was brilliant. I knew something

00:55:52.139 --> 00:55:53.980
was going to happen for her. And I'm not just

00:55:53.980 --> 00:55:56.360
saying that. I actually knew back then. I was

00:55:56.360 --> 00:55:59.880
like, she plays really good. Like, something's

00:55:59.880 --> 00:56:01.780
going to happen. I don't know what it is. But

00:56:01.780 --> 00:56:07.059
so, you know, whatever. Fast forward 12, 15 years

00:56:07.059 --> 00:56:10.179
later, whatever it is. And I'm playing in New

00:56:10.179 --> 00:56:12.699
Orleans. And she comes out to check me out in

00:56:12.699 --> 00:56:15.190
New Orleans. She's like, hey, do you want to

00:56:15.190 --> 00:56:20.070
record some music together? And then her manager,

00:56:20.389 --> 00:56:23.090
who became my manager as well, Reuben Williams.

00:56:23.730 --> 00:56:26.369
Reuben Williams had a really big hand in all

00:56:26.369 --> 00:56:30.530
this. I mean, he kind of put it together. And

00:56:30.530 --> 00:56:33.050
he was the first one who mentioned John Spencer.

00:56:33.969 --> 00:56:36.289
And I was like, wow, I love John Spencer. I never

00:56:36.289 --> 00:56:38.150
thought about him producing it, but I always

00:56:38.150 --> 00:56:42.579
liked the way his records sound. This was our

00:56:42.579 --> 00:56:46.699
attempt to do something different in a genre

00:56:46.699 --> 00:56:51.719
that has been just regurgitating Stevie Ray and

00:56:51.719 --> 00:56:54.920
guitar sounds, John Bonham drum sounds over and

00:56:54.920 --> 00:56:57.840
over and over and over and over. And it was our

00:56:57.840 --> 00:56:59.940
chance to be like, let's do something different.

00:57:00.000 --> 00:57:03.059
Let's put the drums in a different place sonically.

00:57:04.079 --> 00:57:08.099
Let's use some of this North Georgia. You know,

00:57:08.179 --> 00:57:10.739
like, let's get in, let's go some different places

00:57:10.739 --> 00:57:14.920
instead of the obvious places, you know. And

00:57:14.920 --> 00:57:18.039
let's, you know, I know they want soup, but let's

00:57:18.039 --> 00:57:20.320
don't feed them soup this time. Let's try to,

00:57:20.340 --> 00:57:22.780
you know, think outside the box a little bit.

00:57:22.880 --> 00:57:25.619
So I think that helped. And we'd never met John

00:57:25.619 --> 00:57:29.420
until we got to the studio. Really? No. I mean,

00:57:29.440 --> 00:57:31.699
a million things. And John, you know, to his

00:57:31.699 --> 00:57:35.500
credit, you know, he's the one who really went

00:57:35.500 --> 00:57:40.449
down. took RL Burnside on his first tour. And,

00:57:40.550 --> 00:57:43.590
you know, he's a big part of that. Him and Fat

00:57:43.590 --> 00:57:47.170
Possum were both collaboratively responsible

00:57:47.170 --> 00:57:50.769
for turning people on to all those artists down

00:57:50.769 --> 00:57:53.690
there. So that was the whole thing, was like

00:57:53.690 --> 00:57:55.730
a million things could have gone wrong, man,

00:57:55.750 --> 00:57:57.989
and nothing went wrong. We kept just knocking

00:57:57.989 --> 00:58:01.130
on wood for 16 months, you know, and it just

00:58:01.130 --> 00:58:03.170
kept happening and growing and growing and growing.

00:58:04.110 --> 00:58:07.070
Well, you mentioned you got some tour dates coming

00:58:07.070 --> 00:58:10.030
up with her this year. Given the insane success

00:58:10.030 --> 00:58:14.070
of Death Wish Blues, is it safe to assume another

00:58:14.070 --> 00:58:16.090
record will be coming down the pike for you guys?

00:58:16.630 --> 00:58:19.050
We're not really even talking about it right

00:58:19.050 --> 00:58:21.489
now because we both got stuff that we got to

00:58:21.489 --> 00:58:24.670
go do. I got to put this record out and I don't

00:58:24.670 --> 00:58:28.070
know when it would happen, but I know that we're

00:58:28.070 --> 00:58:31.989
bonded at the hip for the rest of our lives after

00:58:31.989 --> 00:58:34.920
getting... dominated so you know it's definitely

00:58:34.920 --> 00:58:38.679
not out of the question i am a personal huge

00:58:38.679 --> 00:58:41.539
fan of cover songs i talk about them all the

00:58:41.539 --> 00:58:44.920
time on this show and there's a cover show that

00:58:44.920 --> 00:58:47.199
you played in that i'd like to ask about your

00:58:47.199 --> 00:58:50.039
experience on because i find it just a fascinating

00:58:50.039 --> 00:58:55.280
show in and of itself and that was in 2021 You

00:58:55.280 --> 00:58:57.940
played guitar for Glenn Danzig during two of

00:58:57.940 --> 00:59:01.619
his Danzig Sings Elvis shows. I'd love to know

00:59:01.619 --> 00:59:04.699
what that experience was like. And do you have

00:59:04.699 --> 00:59:07.300
a personal favorite Elvis song that you got to

00:59:07.300 --> 00:59:11.579
jam alongside of Glenn Danzig? I mean, I don't

00:59:11.579 --> 00:59:15.179
have a personal favorite, but I mean, because

00:59:15.179 --> 00:59:17.940
I like some, I'm such a huge Elvis fan. I'm a

00:59:17.940 --> 00:59:21.099
huge Scotty Moore fan. I'm a huge James Burton

00:59:21.099 --> 00:59:25.869
fan. I mean, I'm a total nerd level fan for that

00:59:25.869 --> 00:59:29.210
stuff. I mean, Little Sister and all that stuff

00:59:29.210 --> 00:59:31.449
that James Burton got to play. And then the early

00:59:31.449 --> 00:59:36.530
stuff with Scotty. But yeah, the Danzig gig was

00:59:36.530 --> 00:59:41.510
crazy. I mean, he'd got my number. He found out

00:59:41.510 --> 00:59:44.190
about me through Rob Zombie. Because I'd worked

00:59:44.190 --> 00:59:47.110
with Rob Zombie on the Devil's Rejects and on

00:59:47.110 --> 00:59:50.909
the Halloween movie. And I'd done those soundtracks

00:59:50.909 --> 00:59:54.969
with Rob. And so he said, I'm going to do an

00:59:54.969 --> 00:59:58.030
Elvis thing. And he talked to, I think, Shooter

00:59:58.030 --> 01:00:01.949
as well. Shooter and his wife, Misty. And they

01:00:01.949 --> 01:00:03.090
were like, well, if you're going to do Elvis,

01:00:03.210 --> 01:00:05.909
you got to get Jesse Dayton. You don't want the

01:00:05.909 --> 01:00:08.849
kind of howdy doody guy in the bow tie standing

01:00:08.849 --> 01:00:11.449
next to Glenn Danzig. You know what I mean? That's

01:00:11.449 --> 01:00:14.650
not going to work. You can't have Richie Cunningham

01:00:14.650 --> 01:00:18.409
up there, you know? And like he had somebody.

01:00:18.889 --> 01:00:20.769
Get somebody who knows it, but he's got some

01:00:20.769 --> 01:00:24.690
edge. And so he called me up and we talked and

01:00:24.690 --> 01:00:28.090
he flew me in and the band went in and rehearsed.

01:00:28.090 --> 01:00:30.809
And then Glenn came in and then we heard that

01:00:30.809 --> 01:00:33.130
voice. And that voice is like, you know, it's

01:00:33.130 --> 01:00:37.369
one of the best voices in rock music. And it

01:00:37.369 --> 01:00:41.289
was amazing. It was amazing. I mean, I couldn't

01:00:41.289 --> 01:00:45.219
keep doing it because I couldn't. you know cancel

01:00:45.219 --> 01:00:48.980
my solo gigs and my gigs with sam to go do something

01:00:48.980 --> 01:00:51.619
like that but it was really awesome to get to

01:00:51.619 --> 01:00:54.519
do it you know for a little while well you brought

01:00:54.519 --> 01:00:57.139
it up and i would be remissed if i didn't bring

01:00:57.139 --> 01:01:00.679
up banjo and sullivan from the devil's rejects

01:01:00.679 --> 01:01:03.139
as well as captain clegg and the night creatures

01:01:03.139 --> 01:01:07.559
from halloween 2 how did you and rob zombie come

01:01:07.559 --> 01:01:10.159
together to work on multiple soundtracks together

01:01:10.159 --> 01:01:13.010
because Based on the other music we've been talking

01:01:13.010 --> 01:01:16.630
about tonight, horror films with these type of

01:01:16.630 --> 01:01:19.550
soundtracks is a little bit of a pivot. Yeah,

01:01:19.610 --> 01:01:21.789
absolutely. But although I did love them growing

01:01:21.789 --> 01:01:24.510
up because I'm a total film guy. Yes, yes. I

01:01:24.510 --> 01:01:27.349
watch a lot of film. And I grew up watching those

01:01:27.349 --> 01:01:30.469
Roger Corman films and those B movies. And I

01:01:30.469 --> 01:01:33.110
loved all the Hammer films that came out of England.

01:01:33.929 --> 01:01:37.429
And so I just like watching movies like that.

01:01:38.210 --> 01:01:40.750
A friend of mine, a really great friend of mine,

01:01:40.769 --> 01:01:44.650
who's a really successful character actor, he's

01:01:44.650 --> 01:01:46.929
one of those guys that if I say his name, Lou

01:01:46.929 --> 01:01:49.989
Temple, you won't know him. But if you see him,

01:01:50.110 --> 01:01:52.269
you'll go, oh, that's that guy in that thing

01:01:52.269 --> 01:01:55.449
I saw. He's one of those. He's like one of the

01:01:55.449 --> 01:02:01.349
top three working actors in SAG, top 3%. And

01:02:01.349 --> 01:02:04.349
so he's making this movie with Rob, and he calls

01:02:04.349 --> 01:02:07.400
Rob. They're sitting at this party one night

01:02:07.400 --> 01:02:10.380
and Rob's like, yeah, he goes, he goes, I think

01:02:10.380 --> 01:02:13.460
I'm going to do this fake band. Like where they

01:02:13.460 --> 01:02:15.960
did these found instead of found footage, they

01:02:15.960 --> 01:02:20.840
find tapes of this band that's in the movie.

01:02:21.460 --> 01:02:24.599
And it was just super convoluted story with this

01:02:24.599 --> 01:02:28.329
whole backstory. I mean, I did an interview with

01:02:28.329 --> 01:02:31.590
David, I forgot his name, the guy from Rolling

01:02:31.590 --> 01:02:34.190
Stone who has the Ramones haircut. He's been

01:02:34.190 --> 01:02:37.090
there forever. I forgot his name, but he's a

01:02:37.090 --> 01:02:40.849
big time journalist. And he was trying to find

01:02:40.849 --> 01:02:44.510
out what the hell was going on with this thing.

01:02:45.250 --> 01:02:47.429
Because Rob was like, hey, we're going to put

01:02:47.429 --> 01:02:49.690
out this fake record like it's a record that

01:02:49.690 --> 01:02:54.170
we found. And then we're just releasing it now.

01:02:54.750 --> 01:02:58.170
So just go in and do all this like kind of 70s

01:02:58.170 --> 01:03:02.590
country rock. And, you know, one of the songs

01:03:02.590 --> 01:03:05.389
ended up being a hit on XM Serious. I mean, they

01:03:05.389 --> 01:03:10.070
still play it every day. It's crazy. But, you

01:03:10.070 --> 01:03:12.070
know, I think that record was a little bit before

01:03:12.070 --> 01:03:14.769
its time. It influenced a bunch of people and

01:03:14.769 --> 01:03:17.269
has a song on there called I'm at Home Getting

01:03:17.269 --> 01:03:20.510
Hammered While She's Out Getting Nailed. And

01:03:20.510 --> 01:03:24.800
it's like a bluegrass song. Also, there's a version

01:03:24.800 --> 01:03:28.460
of Freebird on there with a bunch of super hot

01:03:28.460 --> 01:03:31.400
bluegrass pickers. I got to play that for Gary

01:03:31.400 --> 01:03:35.980
Rosington on the bus for Skinner. He loved it.

01:03:36.019 --> 01:03:39.099
He couldn't believe it. Howard Stern started

01:03:39.099 --> 01:03:42.639
playing it, too. That was another thing. That

01:03:42.639 --> 01:03:45.360
record really changed my life because Rob gave

01:03:45.360 --> 01:03:48.940
me 75 % of the publishing and only took 25%.

01:03:49.550 --> 01:03:53.789
Wow. And most people either take it all or most

01:03:53.789 --> 01:03:58.829
of it. And Rob was super generous. And Martin

01:03:58.829 --> 01:04:02.409
Scorsese might be a bigger award -winning director,

01:04:02.690 --> 01:04:07.730
but he hadn't sold millions of records to crazy

01:04:07.730 --> 01:04:11.070
rock fans who want to buy that stuff. So we sold

01:04:11.070 --> 01:04:14.690
a bunch of records. Awesome. Well, let's pivot

01:04:14.690 --> 01:04:17.849
now to side B of our ultimate guitar solos playlist.

01:04:18.250 --> 01:04:21.389
And we talked about this artist briefly on side

01:04:21.389 --> 01:04:24.769
A, and I feel like knowing the listeners of my

01:04:24.769 --> 01:04:28.949
weekly mixtape, if I don't include this guitarist,

01:04:29.010 --> 01:04:32.070
there'll be a revolution. So let's just get it

01:04:32.070 --> 01:04:35.230
out of the way to start off side B, Eddie Van

01:04:35.230 --> 01:04:39.760
Halen, 1978, Eruption. I don't think there's

01:04:39.760 --> 01:04:42.139
anything that needs to be said about this song.

01:04:42.280 --> 01:04:46.139
However, we have a great episode all about Van

01:04:46.139 --> 01:04:49.280
Halen featuring Eric Senech from the Van Halen

01:04:49.280 --> 01:04:53.099
News Desk. You can get a whole two hours of Van

01:04:53.099 --> 01:04:56.420
Halen fix there. In this instance, I have a feeling

01:04:56.420 --> 01:04:59.000
the guitarists who are listening have heard what

01:04:59.000 --> 01:05:01.420
they need to know about Eruption, but I just

01:05:01.420 --> 01:05:03.519
feel like it needs to be included when you talk

01:05:03.519 --> 01:05:06.219
about the greatest guitarists because Eddie.

01:05:07.140 --> 01:05:10.139
really paved the way for rock musicians moving

01:05:10.139 --> 01:05:13.280
forward. Yeah. I mean, I almost put Eddie on

01:05:13.280 --> 01:05:16.079
my list instead of Randy, but I kind of went

01:05:16.079 --> 01:05:20.219
with the underdog, which is Randy. But Eddie

01:05:20.219 --> 01:05:24.159
definitely deserves more props in terms of reinventing

01:05:24.159 --> 01:05:27.340
the electric guitar. And we were all crazy about

01:05:27.340 --> 01:05:29.880
him. I saw him open up for Kiss when I was a

01:05:29.880 --> 01:05:33.159
kid. It was mind -bending. I mean, we just literally

01:05:33.159 --> 01:05:36.769
didn't understand what he was doing. And I think

01:05:36.769 --> 01:05:41.730
he used this MXR phaser pedal on Eruption. And

01:05:41.730 --> 01:05:44.309
it's the same exact pedal that Waylon Jennings

01:05:44.309 --> 01:05:47.389
was using on all that Outlaw Country stuff. And

01:05:47.389 --> 01:05:50.369
the same pedal that I think Chris Stein was using

01:05:50.369 --> 01:05:53.670
in Blondie. So I'd love to bring that up because

01:05:53.670 --> 01:05:56.769
it kind of gives you a reference for what was

01:05:56.769 --> 01:06:00.510
going on culturally at the time. So, you know,

01:06:00.510 --> 01:06:03.070
these records were coming out all of this was

01:06:03.070 --> 01:06:09.670
1978, you know. And eruption was probably the

01:06:09.670 --> 01:06:14.309
most mind bending guitar event in any of our

01:06:14.309 --> 01:06:17.289
lives. Could not agree more. And I was almost

01:06:17.289 --> 01:06:19.650
ready to throw a curveball and go with Spanish

01:06:19.650 --> 01:06:22.889
fly off of Van Halen too, because hearing Eddie

01:06:22.889 --> 01:06:25.809
do Eddie on an acoustic guitar and almost a flamenco

01:06:25.809 --> 01:06:29.050
setting was always mind blowing to me. Like,

01:06:29.050 --> 01:06:31.389
how do you follow up eruption instead of going

01:06:31.389 --> 01:06:35.440
louder? go softer and still blow people's minds

01:06:35.440 --> 01:06:38.039
but what are you going to follow up eruption

01:06:38.039 --> 01:06:43.800
with well i'm going to go with i mean you know

01:06:43.800 --> 01:06:47.159
it's eruptions so you can't like you can't put

01:06:47.159 --> 01:06:52.320
anything to lay back on i mean i'm gonna have

01:06:52.320 --> 01:06:56.440
to go with the second acdc song of the night

01:06:56.440 --> 01:07:00.340
which is the studio version a whole lot of rosie

01:07:00.340 --> 01:07:05.070
and you know i think angus played such a huge

01:07:05.070 --> 01:07:08.730
influence in eddie's playing i mean you could

01:07:08.730 --> 01:07:12.050
tell like when van halen was on the sunset strip

01:07:12.050 --> 01:07:17.849
supposedly they were doing the entire first montrose

01:07:17.849 --> 01:07:22.170
record and that entire first montrose record

01:07:22.170 --> 01:07:28.329
is a mind -blowing seminal record like It was

01:07:28.329 --> 01:07:30.969
the blueprint before Van Halen came on and they

01:07:30.969 --> 01:07:33.889
had an 18 year old kid named Sammy Hagar. It

01:07:33.889 --> 01:07:37.650
was a singer who, to me, it's still like Sammy's

01:07:37.650 --> 01:07:40.929
opus greatest singing. Cause he sounds like he's

01:07:40.929 --> 01:07:45.150
trying to sing like a young soul shout or like

01:07:45.150 --> 01:07:49.190
a, like a Sam cook. And I don't know if it was

01:07:49.190 --> 01:07:51.630
cause Ronnie Montrose was saying, you know, sing

01:07:51.630 --> 01:07:55.530
it funkier or whatever, but it's just mind bending.

01:07:55.610 --> 01:07:58.690
So Eddie, I was listening to Ronnie Montrose.

01:07:58.750 --> 01:08:02.110
They were playing tons of ACDC covers when they

01:08:02.110 --> 01:08:06.489
were playing Guzzaris. So I think as far as heavy

01:08:06.489 --> 01:08:09.610
stuff that was coming out at the same time, when

01:08:09.610 --> 01:08:11.949
the band was a little older, I'd go with a whole

01:08:11.949 --> 01:08:14.530
lot of Rosie with the late, great Bon Scott.

01:08:15.550 --> 01:08:19.649
Oh, man. We've already talked about how influential

01:08:19.649 --> 01:08:23.470
Angus Young is to me, so I don't need to go on

01:08:23.470 --> 01:08:26.689
any longer. A whole lot of Rosie is such a moment

01:08:26.689 --> 01:08:30.250
on stage with the blow up Rosie through the whole

01:08:30.250 --> 01:08:33.789
song. It's such an iconic ACDC moment. But now

01:08:33.789 --> 01:08:37.369
coming out of Angus Young, I want to go with

01:08:37.369 --> 01:08:39.569
these big name rock guitarists and stay in this

01:08:39.569 --> 01:08:45.250
vibe. So I am just debating which song, because

01:08:45.250 --> 01:08:48.930
there are a lot of fantastic guitar solos by

01:08:48.930 --> 01:08:56.279
Brian May. And I'm. My age, I grew up in the

01:08:56.279 --> 01:08:59.239
age where Wayne's World was such a big deal to

01:08:59.239 --> 01:09:02.319
my age demographic. I'm going to go with the

01:09:02.319 --> 01:09:05.800
obvious pick in Bohemian Rhapsody. It's such

01:09:05.800 --> 01:09:09.760
a great guitar solo. It was reintroduced in the

01:09:09.760 --> 01:09:12.960
90s through that movie, the power of film, taking

01:09:12.960 --> 01:09:15.520
a song and introducing it to a whole new generation.

01:09:18.969 --> 01:09:21.069
Favorite guitarists of all time. I've always

01:09:21.069 --> 01:09:24.170
said Brian May was top five and I got the chance

01:09:24.170 --> 01:09:29.430
on my honeymoon in 2005 when Queen was playing

01:09:29.430 --> 01:09:32.210
with Paul Rogers at the Aruba Music Festival

01:09:32.210 --> 01:09:35.409
in Aruba. They happened to be staying at the

01:09:35.409 --> 01:09:38.510
same resort that my wife and I had our honeymoon.

01:09:38.810 --> 01:09:42.130
And my wife and I went for a couple's massage

01:09:42.130 --> 01:09:44.810
and they sent us into separate changing rooms

01:09:44.810 --> 01:09:46.550
to get ready before we went into the massage

01:09:46.550 --> 01:09:49.630
room. And I'm getting ready. And a gentleman

01:09:49.630 --> 01:09:52.130
walks up to me and he goes, good afternoon. And

01:09:52.130 --> 01:09:55.949
I turn and kind of gather myself. And he says,

01:09:56.029 --> 01:09:58.789
oh, are you here for vacation? I said, no, I'm

01:09:58.789 --> 01:10:01.130
here on my honeymoon with my wife. He goes, oh,

01:10:01.189 --> 01:10:03.689
congratulations on your honeymoon. And I said,

01:10:03.729 --> 01:10:06.770
and I know why you're here, Brian May. I have

01:10:06.770 --> 01:10:09.310
second row tickets for the show on Saturday.

01:10:09.489 --> 01:10:11.890
You're one of my favorite guitarists ever. And

01:10:11.890 --> 01:10:13.850
we ended up having to sit there for about 15

01:10:13.850 --> 01:10:15.689
minutes until the room was ready. So I got to

01:10:15.689 --> 01:10:19.340
sit and talk. guitar music with ryan may of queen

01:10:19.340 --> 01:10:22.560
for 15 minutes we went off and had our massages

01:10:22.560 --> 01:10:25.359
when we got back how was your massage it was

01:10:25.359 --> 01:10:27.460
lovely how was yours it was amazing and we walk

01:10:27.460 --> 01:10:31.680
out together and my wife is standing with somebody

01:10:31.680 --> 01:10:34.319
and brian goes is that your wife i said it certainly

01:10:34.319 --> 01:10:37.020
is he goes well i guess he met my daughter and

01:10:37.020 --> 01:10:39.779
we stood and talked and i said look no one's

01:10:39.779 --> 01:10:42.579
gonna believe this story can i trouble you for

01:10:42.579 --> 01:10:44.439
an autograph and he says are you kidding me of

01:10:44.439 --> 01:10:47.000
course and he signed a little business card to

01:10:47.000 --> 01:10:50.100
brian and katie happy marriage brian may for

01:10:50.100 --> 01:10:52.279
the rest of the week we ran into him three other

01:10:52.279 --> 01:10:55.479
times and he always said brian and katie how's

01:10:55.479 --> 01:10:57.920
your honeymoon going and i'm like it's going

01:10:57.920 --> 01:11:00.720
great brian may of queen like i'll never my wife

01:11:00.720 --> 01:11:03.659
is still embarrassed about me doing that but

01:11:03.659 --> 01:11:06.800
one night i actually blew off one of our dinner

01:11:06.800 --> 01:11:09.479
reservations because they invited us to have

01:11:09.479 --> 01:11:11.500
a drink with them and my wife's like what about

01:11:11.500 --> 01:11:13.560
dinner i'm like fuck dinner we're gonna have

01:11:13.560 --> 01:11:17.279
a drink with queen Absolutely. Well, you know,

01:11:17.420 --> 01:11:21.800
I'm not scared of hits, but I will tell you,

01:11:21.899 --> 01:11:25.340
if you want to just rip the faces off of your

01:11:25.340 --> 01:11:29.859
listeners, play Dragon Attack by Queen. Oh, God,

01:11:30.060 --> 01:11:32.300
that was the song I was debating putting in.

01:11:32.399 --> 01:11:34.500
Okay, you know what? Screw it. I'm changing it.

01:11:34.739 --> 01:11:36.680
Dragon Attack. It's one of my favorite songs

01:11:36.680 --> 01:11:41.140
by them. I'm going with that instead. So badass.

01:11:41.520 --> 01:11:44.909
And as a bassist, that bass line. Every time

01:11:44.909 --> 01:11:47.770
I hear it, I'm just like, oh, my God, this is

01:11:47.770 --> 01:11:50.750
like one of the toughest badass songs I've ever

01:11:50.750 --> 01:11:53.270
heard. Yeah, I'm totally pivoting because when

01:11:53.270 --> 01:11:55.130
I was sitting here saying I'm debating between

01:11:55.130 --> 01:11:58.329
songs, it was and I went with the hit instead.

01:11:58.449 --> 01:12:01.149
But being you brought it up, it was Divine Intervention,

01:12:01.310 --> 01:12:03.930
Dragon Attack it is. What are you going to follow

01:12:03.930 --> 01:12:07.770
it up with? Well, you know, I'm going to go somewhere

01:12:07.770 --> 01:12:10.750
else because we've been going heavy rock and

01:12:10.750 --> 01:12:13.369
I'm going to do something a little different.

01:12:13.800 --> 01:12:16.640
I'm going to go, I'm a big vintage motorcycle

01:12:16.640 --> 01:12:20.800
freak. So that's my kind of lot in life. And

01:12:20.800 --> 01:12:23.819
I've got a bunch of bikes and, you know, they're

01:12:23.819 --> 01:12:27.319
British and Italian. I've got a Harley too, but,

01:12:27.319 --> 01:12:31.619
you know, Triumph, Moto Guzzi. And a friend of

01:12:31.619 --> 01:12:35.640
mine has a Vincent. It's one of the rarest motorcycles

01:12:35.640 --> 01:12:37.880
in the world. And there's a guy named Richard

01:12:37.880 --> 01:12:42.159
Thompson. There's a Richard Thompson song called

01:12:42.159 --> 01:12:46.359
52 Black Vincents. And there's an acoustic version

01:12:46.359 --> 01:12:50.279
of the song. And it's off his all acoustic record.

01:12:50.600 --> 01:12:56.279
And Richard Thompson is like Mark Knobler, Jimmy

01:12:56.279 --> 01:13:00.399
Page. All these guys are kind of gaga for Richard

01:13:00.399 --> 01:13:04.079
Thompson's acoustic guitar playing. And the interesting

01:13:04.079 --> 01:13:07.300
thing about Richard Thompson is he had this band

01:13:07.300 --> 01:13:09.880
called Fairport Convention. when he was young.

01:13:10.260 --> 01:13:13.100
And these were never big records over here in

01:13:13.100 --> 01:13:15.800
the States, but they were huge over in Europe.

01:13:15.920 --> 01:13:18.699
And the cool thing about Richard Thompson is,

01:13:18.779 --> 01:13:23.880
is that Richard Thompson somehow embedded his

01:13:23.880 --> 01:13:29.680
Celtic heritage into his guitar play. So when

01:13:29.680 --> 01:13:32.859
you hear him play, it's not another white guy

01:13:32.859 --> 01:13:36.619
vamping on the blues. It's this guy who's like,

01:13:36.920 --> 01:13:40.579
bringing in this almost like Irish and Welsh

01:13:40.579 --> 01:13:45.340
and Scottish and British Celtic influence, which

01:13:45.340 --> 01:13:49.880
may add along with African music was the basis

01:13:49.880 --> 01:13:53.699
for American music. And it was the basis for

01:13:53.699 --> 01:13:56.800
the first country songs that like the Carter

01:13:56.800 --> 01:14:01.619
family and Jimmy Reed, all that stuff. So this

01:14:01.619 --> 01:14:07.260
record is amazing. And he's saying, It's an outlaw

01:14:07.260 --> 01:14:12.399
song. So it's about a guy who's a total robber

01:14:12.399 --> 01:14:15.720
thief. And he's got this amazing, you know, he's

01:14:15.720 --> 01:14:17.739
the bad boy from the other side of the tracks.

01:14:18.100 --> 01:14:20.720
And it's the same thing as I shot the sheriff,

01:14:20.819 --> 01:14:24.600
right? It's the same thing as a million great

01:14:24.600 --> 01:14:28.359
outlaw songs that you've heard. And Red Molly,

01:14:28.579 --> 01:14:32.060
the beautiful red haired Irish girl falls in

01:14:32.060 --> 01:14:35.260
love with a bad boy. He ends up getting killed

01:14:35.260 --> 01:14:38.979
at the end and he gives her his motorcycle, which

01:14:38.979 --> 01:14:42.720
is it's in the finger picking. I'm pretty sure

01:14:42.720 --> 01:14:46.079
no one in the entire world. I don't care what

01:14:46.079 --> 01:14:49.399
little uber talented eight year old you find

01:14:49.399 --> 01:14:52.760
on TikTok who can do eruption, which, by the

01:14:52.760 --> 01:14:55.899
way, doesn't impress me. People keep sending

01:14:55.899 --> 01:14:58.859
me these videos of these little kids playing

01:14:58.859 --> 01:15:01.399
these songs. And I'm like, if you want to impress

01:15:01.399 --> 01:15:06.630
me, right. If you want to impress me, write this

01:15:06.630 --> 01:15:09.909
stuff. It's great. Mimicry, that's how we all

01:15:09.909 --> 01:15:13.529
start. I get it. But I don't think anyone in

01:15:13.529 --> 01:15:17.590
the world could play guitar like Richard Thompson

01:15:17.590 --> 01:15:20.550
does on 52 Black Vincent. And make sure it's

01:15:20.550 --> 01:15:23.489
the acoustic version if you can get it. I will

01:15:23.489 --> 01:15:25.489
definitely look that one up. I mean, Time Magazine

01:15:25.489 --> 01:15:28.510
ranked this song in its all -time 100 songs,

01:15:28.930 --> 01:15:33.539
saying, and I quote, 52 Black Vincent is a glorious

01:15:33.539 --> 01:15:36.800
example of what one guy can accomplish with just

01:15:36.800 --> 01:15:40.760
a guitar, a voice, an imagination, and a set

01:15:40.760 --> 01:15:45.500
of astonishingly nimble fingers. Yeah. I mean,

01:15:45.520 --> 01:15:48.239
if you're a fan of cover songs like I am, everybody

01:15:48.239 --> 01:15:51.319
from Del McCrory Band to Robert Earl Keene to

01:15:51.319 --> 01:15:54.680
Bob Dylan has covered this track. It's absolutely

01:15:54.680 --> 01:15:58.420
amazing. I love the song. And I think coming

01:15:58.420 --> 01:16:02.130
out of it, gonna go with something that pivots

01:16:02.130 --> 01:16:04.170
a little bit more we're kind of pivoting around

01:16:04.170 --> 01:16:07.989
a little bit here yeah and while 52 black vincent

01:16:07.989 --> 01:16:11.390
doesn't have a lot of rockabilly i don't have

01:16:11.390 --> 01:16:14.569
a lot more acoustic stuff sitting in my playlist

01:16:14.569 --> 01:16:17.310
so what i'm going to do is bring out to just

01:16:17.310 --> 01:16:20.529
one of my favorite guitar solos of all time just

01:16:20.529 --> 01:16:23.390
because of the uniqueness of it because of the

01:16:23.390 --> 01:16:30.500
fact that when it first came out the song was

01:16:30.500 --> 01:16:32.699
about cats and i was like oh okay i could dig

01:16:32.699 --> 01:16:36.079
this and then i heard the guitar tone and i was

01:16:36.079 --> 01:16:39.439
like wow this song is cool yeah and when you're

01:16:39.439 --> 01:16:42.000
a three piece of slim jim phantom lee rocker

01:16:42.000 --> 01:16:46.260
and brian setzer you get the stray cats and the

01:16:46.260 --> 01:16:48.460
stray cat strut is one of my favorite guitar

01:16:48.460 --> 01:16:50.760
solos of all time there's something that's just

01:16:50.760 --> 01:16:55.399
so cool there's such a swagger to it that it

01:16:55.399 --> 01:16:58.739
blows my mind the amount of cool that one song

01:16:58.739 --> 01:17:02.130
could emote even at five years old i knew what

01:17:02.130 --> 01:17:05.789
cool was because of this song absolutely and

01:17:05.789 --> 01:17:11.270
brian is a god i mean jeff beck the greatest

01:17:11.270 --> 01:17:14.609
billy gibbons uh you know you name it the greatest

01:17:14.609 --> 01:17:17.670
guitar players in the world paige they used to

01:17:17.670 --> 01:17:20.750
all go out and see them all the time when they

01:17:20.750 --> 01:17:23.069
were starting off i mean the stones wanted to

01:17:23.069 --> 01:17:26.020
give them a record deal I mean, when they got

01:17:26.020 --> 01:17:28.520
to London, they they they got on a plane from

01:17:28.520 --> 01:17:31.260
New Jersey and they went to London and they were

01:17:31.260 --> 01:17:33.960
sleeping. And I know all these guys, too, by

01:17:33.960 --> 01:17:37.000
the way. Oh, really? Yeah, I'm closer with with

01:17:37.000 --> 01:17:40.260
Jim than I am with. I know Lee pretty well and

01:17:40.260 --> 01:17:43.220
Brian a little bit as well. I played gigs with

01:17:43.220 --> 01:17:47.880
Lee and Jim before, but when they got to London,

01:17:48.020 --> 01:17:53.310
people were losing their minds. I mean. Everyone

01:17:53.310 --> 01:17:56.449
went out to see him, you know, whether it was

01:17:56.449 --> 01:17:59.850
the Beatles, like whether it was Paul and Ringo

01:17:59.850 --> 01:18:04.050
would be there or George Harrison would be there.

01:18:04.170 --> 01:18:07.649
You know, Chrissy Hine and Joe Strummer, that

01:18:07.649 --> 01:18:11.510
whole cool set was going to see him and they

01:18:11.510 --> 01:18:15.369
were blown away. And Brian is influenced by a

01:18:15.369 --> 01:18:18.090
guy named Cliff Gallop from Gene Vincent's band.

01:18:18.670 --> 01:18:21.829
And he's also influenced heavily by Django Reinhardt,

01:18:21.829 --> 01:18:26.229
who we played earlier. But monster, monster guitar

01:18:26.229 --> 01:18:29.010
player. All right. What are you following up

01:18:29.010 --> 01:18:31.789
Stray Cat Strut with? I'm going to go with a

01:18:31.789 --> 01:18:34.529
song by Gene Vinson and the Blue Caps. And we're

01:18:34.529 --> 01:18:36.729
going to keep it rockabilly just for one more

01:18:36.729 --> 01:18:40.810
song. So this was Jeff Beck's first influence.

01:18:41.689 --> 01:18:45.939
Jeff Beck has a record out. that's called Jeff

01:18:45.939 --> 01:18:47.979
Beck and the Blue Caps. I think that's the name

01:18:47.979 --> 01:18:50.539
of it, but it's a rockabilly record. And he plays

01:18:50.539 --> 01:18:54.000
exactly note for note, just like Cliff Gala.

01:18:54.279 --> 01:18:57.560
But these songs, you know, when you go back and

01:18:57.560 --> 01:18:59.659
you listen to them, you got to put them in historical

01:18:59.659 --> 01:19:02.680
perspectives. You can't judge them sonically

01:19:02.680 --> 01:19:07.180
by like Pantera. You know, so you've got to like

01:19:07.180 --> 01:19:10.119
sonically say, OK, this is what they had back

01:19:10.119 --> 01:19:11.760
then. They had these little lamps. They were

01:19:11.760 --> 01:19:14.060
overdrive them. That's why they sound so cool.

01:19:14.399 --> 01:19:17.600
And the guy's playing a Gretsch guitar and he's

01:19:17.600 --> 01:19:20.659
obviously could play the shit out of jazz. And

01:19:20.659 --> 01:19:24.039
but he's ripping up the guitar and he's got that

01:19:24.039 --> 01:19:28.000
echo plex and it's the slapback is bouncing perfectly.

01:19:28.539 --> 01:19:32.300
You know, it doesn't sound muddy in this record,

01:19:32.399 --> 01:19:35.260
man. Cliff Gallop. playing with Gene Vincent

01:19:35.260 --> 01:19:39.420
and the Blue Caps, Race with the Devil. I don't

01:19:39.420 --> 01:19:43.760
think rockabilly becomes what it is, like the

01:19:43.760 --> 01:19:46.640
Stray Cats or any type of rockabilly, without

01:19:46.640 --> 01:19:48.920
a group like Gene Vincent and the Blue Caps.

01:19:49.039 --> 01:19:50.899
I feel like they're one of the, I don't want

01:19:50.899 --> 01:19:53.560
to say the, but one of the founding fathers of

01:19:53.560 --> 01:19:57.380
what modern rockabilly became. Yeah, well, there's

01:19:57.380 --> 01:19:59.779
a song by Eddie Cochran called Something Else,

01:19:59.979 --> 01:20:03.550
and it's the first time that you ever hear It's

01:20:03.550 --> 01:20:06.930
almost like the first punk or heavy metal, because

01:20:06.930 --> 01:20:09.289
it's just like no one had ever got the drum,

01:20:09.310 --> 01:20:11.850
the kick drum playing straight eights with a

01:20:11.850 --> 01:20:19.569
guitar and bass going. You know, that would become

01:20:19.569 --> 01:20:23.149
cheap trick. And it was ground central for what

01:20:23.149 --> 01:20:25.670
would become later. You know, you could look

01:20:25.670 --> 01:20:28.159
at these guys. And you could say, oh, you know,

01:20:28.180 --> 01:20:30.619
it's 50s. They don't have long hair yet. I mean,

01:20:30.640 --> 01:20:34.000
long hair didn't exist at this point. None of

01:20:34.000 --> 01:20:36.279
that stuff was happening. And let me tell you,

01:20:36.319 --> 01:20:39.859
these were bad boys. I mean, these guys were

01:20:39.859 --> 01:20:42.279
partying their brains out, and they were, like,

01:20:42.279 --> 01:20:46.739
getting laid on the road. And, you know, they

01:20:46.739 --> 01:20:51.220
were fighting, and they were all nuts. So, yeah,

01:20:51.439 --> 01:20:54.340
Gene Vincent, Eddie Cochran, that's the real

01:20:54.340 --> 01:20:57.250
deal. Well, coming out of that, I'm going to

01:20:57.250 --> 01:21:00.989
go with one of my favorite instrumental songs

01:21:00.989 --> 01:21:05.390
of all time, which is basically a very long guitar

01:21:05.390 --> 01:21:10.750
solo. And it was probably one of my first introductions

01:21:10.750 --> 01:21:13.630
to jazz, because like I had mentioned when we

01:21:13.630 --> 01:21:16.010
were talking about Kenny Burrell, I was introduced

01:21:16.010 --> 01:21:18.989
to Kenny Burrell through Stevie Ray Vaughan on

01:21:18.989 --> 01:21:22.699
the Sky is Crying album. However. I had other

01:21:22.699 --> 01:21:25.659
Stevie Ray Vaughan albums, including 1989's In

01:21:25.659 --> 01:21:28.859
Step. And the closing track on that, which is

01:21:28.859 --> 01:21:32.159
my favorite instrumental song of all time, is

01:21:32.159 --> 01:21:35.539
Riviera Paradise. Yeah, I love that song. Just

01:21:35.539 --> 01:21:39.819
a gorgeous, stunning, beautiful guitar work.

01:21:39.880 --> 01:21:43.000
Some of the most elegant tone I've heard out

01:21:43.000 --> 01:21:45.260
of the song. And then some of the stuff he's

01:21:45.260 --> 01:21:47.800
doing at the end where he's just plucking. where

01:21:47.800 --> 01:21:50.859
the guitar strings are held down and making it

01:21:50.859 --> 01:21:54.520
musical. It breaks my heart every time I hear

01:21:54.520 --> 01:21:56.340
the song because I think of what might have been

01:21:56.340 --> 01:22:00.420
had he not passed. But it also is such a beautiful

01:22:00.420 --> 01:22:04.739
footnote to his studio albums while he was on

01:22:04.739 --> 01:22:06.899
this earth. So it's just such an amazing tune.

01:22:07.479 --> 01:22:10.920
I love Riviera Paradise. I think that Stevie

01:22:10.920 --> 01:22:14.340
was obviously going in a direction, listening

01:22:14.340 --> 01:22:19.260
to more jazz. I mean, he couldn't just keep playing

01:22:19.260 --> 01:22:23.800
12 bar blues or derivative of 12 bar blues. I

01:22:23.800 --> 01:22:26.140
mean, that's where his soul lived, but there's

01:22:26.140 --> 01:22:28.140
no telling what he would have gone. I think Stevie

01:22:28.140 --> 01:22:29.840
Ray, if he would have lived, he probably would

01:22:29.840 --> 01:22:32.840
have won a couple of jazz Grammys for best instrumental.

01:22:33.640 --> 01:22:36.239
And, you know, that could have happened because

01:22:36.239 --> 01:22:39.420
his guitar playing was invariably becoming more

01:22:39.420 --> 01:22:43.390
sophisticated. I think that's what happens to

01:22:43.390 --> 01:22:45.670
people. It's the natural progression. So yeah,

01:22:45.729 --> 01:22:49.350
I love this. I love this song. All right. You

01:22:49.350 --> 01:22:52.449
have two picks left and I have one. So what are

01:22:52.449 --> 01:22:54.510
you going to follow up Riviera Paradise with?

01:22:54.989 --> 01:22:59.789
So I'm going to follow Riviera Paradise with

01:22:59.789 --> 01:23:04.489
a track by a guy named Roy Buchanan. Ooh, nice.

01:23:05.069 --> 01:23:08.369
Roy Buchanan. If you've ever watched any of the

01:23:08.369 --> 01:23:11.760
most important. Martin Scorsese films, which,

01:23:11.800 --> 01:23:15.100
you know, for me, I'm all about Goodfellas. I

01:23:15.100 --> 01:23:17.460
think it's like the best film I've ever seen.

01:23:17.680 --> 01:23:20.260
And Casino is a short, you know, it comes in

01:23:20.260 --> 01:23:24.659
a close second for Martin Scorsese stuff. Also

01:23:24.659 --> 01:23:27.380
love the film that he did in Boston called The

01:23:27.380 --> 01:23:30.699
Departed. And this song is in all three of those

01:23:30.699 --> 01:23:34.319
movies. And it's his version of Sweet Dreams

01:23:34.319 --> 01:23:38.449
by Patsy Cline. Nice. And it's a great song to

01:23:38.449 --> 01:23:41.569
follow up what you just played, because it's

01:23:41.569 --> 01:23:44.909
also a guitar instrumental. But Roy Buchanan

01:23:44.909 --> 01:23:47.369
was a freak show. And there's something weird

01:23:47.369 --> 01:23:50.390
in the water in Washington, D .C., because you

01:23:50.390 --> 01:23:53.189
got all these great guitar players from there.

01:23:53.630 --> 01:23:58.050
And Roy Buchanan was the first one. And Roy Buchanan

01:23:58.050 --> 01:24:01.149
was also Merle Haggard's favorite guitar player.

01:24:01.470 --> 01:24:04.409
And Merle Haggard had a guy named Roy Nichols.

01:24:04.970 --> 01:24:08.210
who was a killer Telecaster player. And there's

01:24:08.210 --> 01:24:12.470
footage on YouTube of Roy Buchanan and Roy Nichols

01:24:12.470 --> 01:24:17.550
both playing with Merle Haggard. And it's amazing.

01:24:17.729 --> 01:24:20.649
So Roy Buchanan was one of these guys who was

01:24:20.649 --> 01:24:22.710
just like, you just couldn't put him in a box.

01:24:22.930 --> 01:24:25.890
I mean, he could play blues, he could play country,

01:24:26.050 --> 01:24:28.250
he could play jazz, and he could do it with the

01:24:28.250 --> 01:24:31.840
best of them and burn the house down. Absolutely

01:24:31.840 --> 01:24:35.159
iconic guitarist. One of my favorite unearthed

01:24:35.159 --> 01:24:38.199
albums, quote unquote, was one he released called

01:24:38.199 --> 01:24:41.180
The Prophet, the unreleased first Polydor album,

01:24:41.460 --> 01:24:44.420
which featured Charlie Daniels, of all people,

01:24:44.500 --> 01:24:46.420
singing on a bunch of tracks. Charlie Daniels

01:24:46.420 --> 01:24:49.439
was actually working with Roy to try to get him

01:24:49.439 --> 01:24:52.479
started before he put out his first solo album.

01:24:52.579 --> 01:24:55.319
This was the album that was originally meant

01:24:55.319 --> 01:24:58.600
to come out before 1972's Roy Buchanan, which

01:24:58.600 --> 01:25:01.380
features Sweet Dreams. looked that one up it

01:25:01.380 --> 01:25:04.260
was put out by hippo select in the early 2000s

01:25:04.260 --> 01:25:07.640
i want to say 2004 different side of roy buchanan's

01:25:07.640 --> 01:25:10.279
music and i love it all the same guy is just

01:25:10.279 --> 01:25:12.920
an insane guitarist so i couldn't agree with

01:25:12.920 --> 01:25:17.020
you more following up roy buchanan for my last

01:25:17.020 --> 01:25:18.699
pick of the night i'm going to do a call back

01:25:18.699 --> 01:25:21.399
to my first pick of the night when i picked princess

01:25:21.399 --> 01:25:24.359
purple rain because you followed up talking about

01:25:24.359 --> 01:25:27.680
while my guitar gently weeps the solo that prince

01:25:28.279 --> 01:25:31.260
so elegantly played with tom petty and the rest

01:25:31.260 --> 01:25:33.880
at the 2004 rock and roll hall of fame i'm gonna

01:25:33.880 --> 01:25:36.180
go with the original george harrison from the

01:25:36.180 --> 01:25:38.979
white album because there had to be a place for

01:25:38.979 --> 01:25:41.640
prince to rise up and i'd love to get george

01:25:41.640 --> 01:25:44.220
into this discussion there's not much that needs

01:25:44.220 --> 01:25:46.939
to be said about this song it's paved the way

01:25:46.939 --> 01:25:49.739
musically and i think it's the best beatles guitar

01:25:49.739 --> 01:25:52.439
solo in my opinion i'm sure a lot of beatles

01:25:52.439 --> 01:25:55.159
fans would argue that one but this one just holds

01:25:55.159 --> 01:25:58.270
a special place for me Absolutely, man. I'm a

01:25:58.270 --> 01:26:00.289
huge Beatles fan. I mean, the Stones are like

01:26:00.289 --> 01:26:02.689
my favorite rock and roll band. I've seen them

01:26:02.689 --> 01:26:06.149
like 28 times. And I'm about to go see them a

01:26:06.149 --> 01:26:08.750
couple of times when I get home from this because

01:26:08.750 --> 01:26:10.390
they're going to be playing in Houston and then

01:26:10.390 --> 01:26:12.529
in the Jazz Fest in New Orleans, which we're

01:26:12.529 --> 01:26:15.850
heading there too. But, you know, I was always

01:26:15.850 --> 01:26:19.029
a Beatles fan. I'm so lucky that I had an older

01:26:19.029 --> 01:26:22.489
hippie sister who was into the Beatles. And,

01:26:22.569 --> 01:26:25.010
you know, once you start dissecting George's

01:26:25.010 --> 01:26:27.670
playing. you realize like, if you go back and

01:26:27.670 --> 01:26:31.210
listen to all things must pass, which is, you

01:26:31.210 --> 01:26:35.109
know, it's as great a solo record is any solo

01:26:35.109 --> 01:26:39.789
record that John or Paul put out. And he kind

01:26:39.789 --> 01:26:42.210
of, you've got this. I mean, the only people

01:26:42.210 --> 01:26:46.829
I know who are truly original slide players who

01:26:46.829 --> 01:26:49.590
aren't Elmore James, who aren't the original

01:26:49.590 --> 01:26:53.069
blue skies is Dwayne Allman and George Harrison.

01:26:53.149 --> 01:26:55.010
Those are the two guys when they play slide,

01:26:55.069 --> 01:26:58.840
you go. Oh, that's George Harrison. Or that's

01:26:58.840 --> 01:27:03.039
Dwayne Allman. But yeah, this song was, I mean,

01:27:03.100 --> 01:27:07.340
just incredible. And it's about, you know, Clapton

01:27:07.340 --> 01:27:11.260
stealing Patty Boyd. So there's a lot of pain

01:27:11.260 --> 01:27:15.180
in this song. You can hear it. Definitely emotion

01:27:15.180 --> 01:27:18.859
just pouring out of that guitar. Well, Jesse,

01:27:18.939 --> 01:27:22.140
you have the chance now to take us home with

01:27:22.140 --> 01:27:25.439
the final song of the evening. What are you going

01:27:25.439 --> 01:27:27.939
to wrap up the Ultimate Guitar Solos playlist

01:27:27.939 --> 01:27:34.640
with? Well, I'm going to go, I mean, you know,

01:27:34.739 --> 01:27:38.659
there's a record called Live at the Regal. It's

01:27:38.659 --> 01:27:43.720
a B .B. King record. And people are losing their

01:27:43.720 --> 01:27:48.079
shit in the crowd. I mean, the women are losing

01:27:48.079 --> 01:27:50.439
their mind. There's a part of me that wants to

01:27:50.439 --> 01:27:52.840
go with that, but I'm going to keep it upbeat

01:27:52.840 --> 01:27:57.510
a little more. I'm a huge Jimmy Page fan. I could

01:27:57.510 --> 01:28:00.109
even say that I'm more of a Jimmy Page fan than

01:28:00.109 --> 01:28:02.989
I am a Zeppelin fan, even though I'm a big Zeppelin

01:28:02.989 --> 01:28:05.770
nerd. I love all that stuff. And for the listeners

01:28:05.770 --> 01:28:07.649
out there, don't let anyone tell you that you

01:28:07.649 --> 01:28:11.250
can't like The Clash and Led Zeppelin. Don't

01:28:11.250 --> 01:28:14.670
listen to those purists or those genre loyalists

01:28:14.670 --> 01:28:17.390
or whatever. You can listen to punk rock and

01:28:17.390 --> 01:28:20.460
you can listen to... the greatest classic rock

01:28:20.460 --> 01:28:23.539
stuff it doesn't matter there's no rules there's

01:28:23.539 --> 01:28:27.300
no rules at all and so you know i used to tell

01:28:27.300 --> 01:28:29.899
my friends who were in the ramones in the clash

01:28:29.899 --> 01:28:32.539
they you know that's my older brother's music

01:28:32.539 --> 01:28:36.539
i'm like i don't care if it's freaking my great

01:28:36.539 --> 01:28:40.220
great granddad's music it rocks my balls off

01:28:40.220 --> 01:28:44.840
and i love it and it's like and so i went down

01:28:44.840 --> 01:28:47.659
this jimmy page rabbit hole And I found all this

01:28:47.659 --> 01:28:49.939
stuff that he played guitar on, which he played

01:28:49.939 --> 01:28:54.380
guitar on Goldfinger for the James Bond movie.

01:28:54.779 --> 01:28:59.760
And he also played guitar on Van Morrison and

01:28:59.760 --> 01:29:04.300
them. He did the guitar on Baby, Please Don't

01:29:04.300 --> 01:29:08.579
Go. Yes. Which is just some swinging dick, badass,

01:29:08.920 --> 01:29:14.000
just guitar playing like, wow. But if I may include

01:29:14.000 --> 01:29:18.140
my own self in this. I'm going to go even further.

01:29:18.399 --> 01:29:23.100
And there's a track with me and Matt Sorum from

01:29:23.100 --> 01:29:26.279
the cult, from Guns N' Roses, Velvet Revolver

01:29:26.279 --> 01:29:31.340
on drums. His track is amazing. And Shooter Jennings

01:29:31.340 --> 01:29:35.239
on keyboards. And Michael Devon from Whitesnake.

01:29:35.319 --> 01:29:38.819
And Michael Devon is playing bass and singing.

01:29:39.039 --> 01:29:41.720
And I'm playing guitar. And it's off of this

01:29:41.720 --> 01:29:45.279
soundtrack called Chasin' Whiskey. And it's our

01:29:45.279 --> 01:29:48.840
version of Baby, Please Don't Go. Check out the

01:29:48.840 --> 01:29:53.319
soundtrack. It's a documentary on Jack Daniels.

01:29:53.439 --> 01:29:57.079
So I'm pretty sure you got it in there. It's

01:29:57.079 --> 01:30:00.529
Baby, Please Don't Go. Originally popularized

01:30:00.529 --> 01:30:03.529
by Big Joe Williams in 1935. I know we've mentioned

01:30:03.529 --> 01:30:06.229
him twice this night, so let's go for the trifecta.

01:30:06.270 --> 01:30:10.590
Angus Young shreds ACDC's version on the 1984

01:30:10.590 --> 01:30:14.949
U .S. compilation 74 Jailbreak. You have Aerosmith

01:30:14.949 --> 01:30:17.689
honking on Bobo with Joe Perry doing a killer

01:30:17.689 --> 01:30:20.590
lick on it. Love the song. Love your guy's version

01:30:20.590 --> 01:30:24.350
of it. And there you have it, folks. Side B of

01:30:24.350 --> 01:30:27.069
our Ultimate Guitar Solos mixtape, which kicked

01:30:27.069 --> 01:30:30.560
off with Van Halen. and Eddie Van Halen, in case

01:30:30.560 --> 01:30:33.899
you didn't know. ACDC's Whole Lotta Rosie, Angus

01:30:33.899 --> 01:30:37.300
Young. Queen's Dragon Attack, Brian May. Yes,

01:30:37.340 --> 01:30:41.279
I pivoted from Bohemian Rhapsody, but yeah, I

01:30:41.279 --> 01:30:44.960
had to flip that one. Richard Thompson's 52 Black

01:30:44.960 --> 01:30:48.039
Vincent, the acoustic version. Stray Cat's Stray

01:30:48.039 --> 01:30:51.300
Cat Strut, Brian Setzer. Gene Vincent and his

01:30:51.300 --> 01:30:53.920
Blue Caps, Race with the Devil, Cliff Gallop.

01:30:54.300 --> 01:30:58.399
Stevie Ray Vaughan's Riviera Paradise. Roy Buchanan's

01:30:58.399 --> 01:31:01.619
Sweet Dreams, The Beatles' While My Guitar Gently

01:31:01.619 --> 01:31:04.300
Weeps, George Harrison, and Shooter Jennings,

01:31:04.500 --> 01:31:07.880
Matt Sorum, Michael Devon, Aubie Richmond, and

01:31:07.880 --> 01:31:11.520
my guest this evening, Jesse Dayton. Baby, please

01:31:11.520 --> 01:31:14.500
don't go. Head over to myweeklymixtape .com to

01:31:14.500 --> 01:31:16.619
hear all the songs we've discussed in this mix

01:31:16.619 --> 01:31:19.619
through the playlist embedded on the episode

01:31:19.619 --> 01:31:22.699
page. Well, Jesse, this has been an absolute

01:31:22.699 --> 01:31:25.720
pleasure. Thank you so much for joining me on

01:31:25.720 --> 01:31:28.020
My Weekly Mixtape. You got it, brother. Thanks

01:31:28.020 --> 01:31:30.899
for having me. And let's hang in real life sometime.

01:31:31.300 --> 01:31:33.880
Oh, I'd love it, man. Thank you. And remember,

01:31:34.000 --> 01:31:36.260
Mixtapers, you can find My Weekly Mixtape on

01:31:36.260 --> 01:31:39.220
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01:31:39.220 --> 01:31:41.880
Mixtape. You can also head to MyWeeklyMixtape

01:31:41.880 --> 01:31:44.739
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01:31:44.739 --> 01:31:47.000
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01:31:47.000 --> 01:31:48.800
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01:31:48.800 --> 01:31:51.359
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01:31:57.310 --> 01:32:00.750
My Weekly Mixtape. There you can enjoy ad -free

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episodes of the show, become a future guest,

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and so much more. That's all for this week. Thanks

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again for listening, and until next time, enjoy

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the tunes.