Monday Morning Podcast - Monday Morning Podcast - Chris Layton

Episode Date: January 22, 2015

Bill sits down with drummer Chris Layton.

Hey, what's going on? It's Bill Burr, and it is the Monday Morning Podcast. I don't know when. I think this is going to be a special episode, or maybe it's from Monday. What would that be? The 19th? I don't know what. I'm a little out of sorts because I got to do a bunch of traveling this week, fly to New York, come back, and then all that bullshit. So anyways, we have a special guest every once in a while. I take a break from rambling to myself in my underwear there, at my house, and drive my wife nuts. So this week we actually have legendary drummer and musician, human being from Stevie Ray Vaughan in Double Trouble. Please welcome Mr. Chris Layton. What's going on, man?

Hey, Bill. Just hanging out in LA out here doing a project, and I'm being awesome, right? I don't know if you're going to be able to chew gum right up on the mic there, Chris. It'll drive people, drive them nuts. See? Right there, I'm already making you uncomfortable. No, no, I'm good. I've been told that more than several times. Oh, all right. Well, first of all, what brings you, right now we are in Los Angeles. What brings you out here? What are you working on? I'm doing a project called The Rides, and that's a band that we put together. We did the same project about a year and a half ago. The Rides is myself, the bass player Kevin

McCormick, plays with CSN and Jackson Brown, and Barry Goldberg plays keys, keyboards. He was in the original electric flag. I don't even know that. Mike Bloomfield, way back in the 60s, and then there's Kenny Weinschepper plays guitar and sings. I saw you guys at the Greek. You did, that's right. That's right. Yeah, that's absolutely ripped. Yeah, he's ripping awesome. What's it like to... Oh, and Stephen Stills is the... He's in there too. He's the other... Yeah, he's the last but not least, and that's the band, and we're making a record. And did you say this is your second one or the first

one? This is the second one, yeah. Second one that you guys have done is called The Rides, R-I-D-E-S. Right. Okay, now what type of music are we looking at here? It's guitar driven. It's blues. It's original songs for the most part. How do you know Stephen Stills? Well, I know him through Kenny, because I work with Kenny a lot, and we go back many, many years. Personally, I know Stephen is because of this. I was asked, they talked about it, and asked me to join the whole idea.

What's that like? Just as... I don't know if I... If you know, I played drums as a hobby, and I'm horrific. So I always wondered, like, I've always had unbelievable admiration for true musicians. What is it... Do you get that feeling, like, when you're sitting in the studio, you're counting off a song, and you're looking over at the side of Stephen Stills head? Do you ever just think, how the hell did I get here? Well, yeah. I think that way about a lot of things, because growing up, I was a huge Stephen Stills fan. Crosby Stills, Nash, and Young, and Dallas Taylor, who was the drummer in the band way back when. I mean, these things were places where I got my licks, and I listened

to guitar sounds, and songs, and songwriting. I was like, awesome. It's like legendary. Talk about legendary. You know, and then you're... And then I'm sitting there, and I'm looking over there, and he's counting off a song, or having me count off the song, going, wait a minute, how did I get here? How do you stay calm in that moment? Because I would sit there, and I would have, like, a resting face that you wouldn't know that I was freaking out, but inside of you, like, oh my god, that's Stephen Stills. I breathe deeply and slowly. He played Woodstock. I shouldn't be here. No, it's all good. You know, I've had a long career, so I've worked long and hard to get here. So, like, you know, I deserve this. I deserve it,

as well, as much as I wouldn't deserve it, but I'm grateful that I've got it. That's awesome. You can feel that, because I've never felt I deserve this, unless it's something bad. Like, something comes back to bite me in the ass. I'm like, ah, you know what? You know what? I deserve that. I'm an asshole. But, like, I don't think I've... I had a buddy of mine recently wanted to go out and go buy himself a nice car, and I gave him a half-time speech to go out and do it, because I'm trying to get myself... I got that Catholic guilt thing, where I can buy my wife anything, but, you know, if I was going to go buy myself. By the way, you pulled up in a Hemmy, a Chrysler Hemmy station wagon, which I've been trying to defend the station wagon

to my listeners. Most of them, 90% of them are not having it. This is a sports car, Bill. It's a sports car. It is. No, it's a sleeper. No, it is. My wife calls it the thug car. She goes, are you going out in your thug car today? It's like, you know... Did you get the station wagon so you can throw your drums in the back and all of that stuff? Yeah, you know what? Every car that I get somehow is motivated by that idea, because, you know, I do all kinds of work, but it all comes down to the very first work I do is, can I get my drums in the car? Right. And you get them easily in a station wagon.

What's your first vehicle you ever had? The first one that I bought? Because I know you're a big car guy. You got like a Shelby Mustang and stuff like that. Look, I'm going to blow your mind. It was a Datsun 510 station wagon. Oh, jeez. That's before they were called Nissan over here. I remember that. Datsun? Datsun 510. You know, there's a guy who does drag races with one of those and he hits all electric. I've seen that, though. I've seen that.

I think it's a 510. I have seen that, yeah. That's that one where they started to slope the back end and it's like they just said, fuck it, we don't have enough time and they just sliced off the back. Isn't that how it looked? Well, it was a coupe or a 4-door sedan is what it was. Oh, no, no, 510. What am I talking about? I love that car. The 510 in the station wagon was a monster.

I'm thinking B210. B210, yeah. No, no, no. Sorry. My mistake. I'm still thinking. Oh, and every time I've said that I love that car and I'm so psyched that I'm actually sitting here talking, I think I'm freaking out a little bit. You had the 510. That's such a badass car. Did you have the 2-door or the 4-door? Well, I had the station wagon because it was a 4-door.

You had a 4-door station wagon? The station wagon. Yeah, and all you ever did was put the key in it and put gas in it. I had the car for like four years and it was when I moved to Austin from Corpus Christi, Texas. I just said I'm out of here and I went to Austin. I put all my stuff in that car and I took off. How old were you? I was just turned 19. So you're 19 years old. You got a Datsun 510 4-door station wagon. You live in Corpus Christi and you've been playing drums, parents' house and that type of stuff,

listening to all these guys that you eventually would play with? Yes. And what happens? You basically, as a musician, because it fascinates me as a comedian, like when I started out, you know, it was all about getting on at Nick's Comedy Stop and the Comedy Connection and Dick Dority's Comedy Club and getting established there and then then becomes that moment where you've done that and you're just like, all right. Now what? Yeah, now where do I go? That must happen musically too?

Yeah, you know, I was in Corpus and my father had died and I looked around and I'd been to Austin to visit my sister who was at the University of Texas three or four years earlier and I woke up on that. I was in music school in Corpus and it's funny, I just saw a whiplash and I had this drum instructor who I went in to take with him because he's one of the best guys in Ruda Metal playing and he said, you're holding your sticks wrong. And I said, he said, I want you to hold them traditional, you know, military stuff. I said, I don't do that anymore. He said, yeah, you're holding them wrong. French match grip. I said, well, Billy Cobham holds his sticks like this. And I had been doing that,

right? Since I was a kid. Just to let our listeners know, if you ever watch like a drummer play, you pick them up the way you naturally would, was you grab them both the same way. Yeah. And then there's that other way where the left hand, if you're a right-handed drummer, it's sort of laying sideways across your hand. That's considered traditional. The other is called match. It's called match group and there's various styles there. But the thing was because of marching drums, you know, like in military operations, you know, the drum hung to the side. So the stick hit perfect when you hold the left hand, right? Because the drum would hang to one side. Yeah. So you hold that hand, but you hold the stick that way in the hand that's,

you know, on the side of the drum. I mean, the other side. Okay. Anyway. So he says, I see, he said, I don't care how Billy Cobham holds his drumsticks. He goes, you're not going to hold him that way. I said, Hey, you know what? I'm done. And I got up and I walked out and I woke up and no, I mean, that's why I didn't like whiplash. I'm just sitting there watching the goods like, dude, you got the talent. You don't need to sit here and get yelled at. I'm not saying it wasn't tremendous performance by the guy from the insurance commercials. Whatever. I don't know what his name is, but he's awesome. But it also goes to show you that's like that thing with acting that you are just you are handcuffed by the material. Like if this guy doesn't get that script,

he just has to keep going like whatever the hell he says in those commercials. No, no. So I get my woke up the next day. I go, you know what? I'm out of here. I'm going to Austin. That place was awesome when I visited. Did you not? Did you say that to the teacher? No, I didn't say he's screaming at you like Michael Douglas and no, I went back the next day and I went to all my teachers and I said, Hey, I don't care what you're going to do with my grades. I'm out of here. And they go, when do you leave? And I go right now. That's where I leave the building. I got the car packed and I'm on my way. Do whatever you want to with my grades or any of that stuff. I got to go. Now what? Now, will you always like that sort of strong person? Because

I think if I was 19 years old, and if some guy like the dude whiplash said, you know, you're holding your sticks wrong, I would be like, Oh, okay. And then when he yelled at me, I'd be like, You're right. I know I am a piece of shit. Well, you said, we touched on this a minute ago when you said that, because when I said I deserve this, I go, Oh, did I say that? Because, you know, I've been trying to work over my Catholic guilt to, you know, so I, you know, sometimes I go, I deserve way more than I got. And I don't really deserve with anything that I even have, you know, but that, you know, that pendulum swings done swing is wide these days. That's the good news. But no, I've always kind of been defiant and a contrarian and a bunch of

other stuff with some good stuff. But no, that was easy, because something told me, you need to get out of here, there's something for you there that you, that you're not going to find. I think a lot of people feel that, but they don't act on it. Like I am, I do both. Like I have times where I have this feeling, I'm just like, What, dude, fuck you, I'm out of here. And then I have other times where that voice is screaming at me, waking me up at night, I'm grinding my teeth and I still like ignore it. Like I, I, I'm not, I'm not, this year's the first year. This year's were three weeks into it. I mean, in the last year, I've really started to listen to my gut. And if I meet somebody and my despite what they're doing, and all their accolades and

everything, if my gut has that feeling of like, dude, this, this isn't right. I have, I've walked away from it. And two of the things that it really came back like, wow, man, I was, I was right on that one. So it took me almost 50 years to figure that out. But so I'm always like, drawn to stories like that. So then you, you leave, you say, fuck that, you to the whiplash guy. Yeah, so I got, you know, it's funny, you said that because I mean, kind of aren't we like that? I go to the best thing that I can do is when I have that intuition, there's attached to some kind of passion to actually listen to that as opposed to I fuck that I need, I better do something different. That's a big turning point. Right. And that's what happened right then. I went, I don't know why I'm going there.

All I know is that something tells me that I need to go there. So I took the 200 bucks I had in my pocket, four piece drum kit and about six changes of clothes. And I just took off and drove there. So you drive and then you show up. I show I always try to encourage people who listen to this podcast to, you know, if it's nothing wrong with being in a cubicle and doing that. But if you don't want to do it, you have this thing telling you to throw six shirts into a car and drive somewhere that you should do it. So you when you show up, you have nowhere to, and this is the big questions people always have when it comes to following a dream is like, they're always like, and then what? And it's kind of like, what would you say? You just figure it out as you get there? Yeah, you know,

the thing that if you keep working and you don't give up and you follow that intuition, you have some common sense and pay attention to the things right in front of you. I go, you mostly things work out. I mean, they work out one way or the other. So how long did you sleep in your car for? Well, I didn't do this. See, there were some guys that had had a band up in Austin. They lived in this little shack outside in a little town called Mainer, Texas. It was 14 miles outside Austin. They said, they had just come back a few weeks earlier. They go, yeah, we abandoned the place. And they go, it's got the rest of the rent paid. I went, can I get the key to that joint? Okay. That's one of those deals where you go, hi, I can maybe use that if you want to give it to me if

it's rents paid. So I went there and it was outside and I had nothing. I was thinking now what? You know, firstly, the rent was paid for how long? 14 days? The rent was paid for like another couple of weeks. And I had some guys that say, why don't we go up there? Let's go up there. So the idea was that we were going to, we were going to have advances and come on up there. I'm going, let's go. We can have their old house and blah. So we did that. Nobody had anything. And we kind of sat around and jammed in that in the, in the house. You know, we didn't really ever do anything except that. Meanwhile, one guy went and got a job and another guy went and got a job. And, you know, I had the only car. I drove a guy to his job and he, he covered my rent the next month because we were out

there for a couple of months. Right. Yeah. This story could get really long. No, no, no. This is all fascinating. What kind of kit were you playing at that time? I had a Gretsch kit. You did. I had a four piece Gretsch kit. What do you play now? You Ludwig guy? Well, I play Ludwig and I play Fives. I play both, I play both of them. Oh, okay. I was a Ludwig guy. My very first kid I played was Ludwig, Ludwig and Zilsen, which was basically that was the Cadillac of back then before all these for the Japanese companies. And yeah, you know, I mean, Mitch Mitchell, I heard that and what's he doing? And I saw a picture and went, yeah, man, you know, that's what I want. Because Ludwig was topping over there. What was it? Premier drums over in England? Premier England. Yeah, he played

those too. It was Premier, right. You know, and then there was Yamaha and Pearl and all that. They were, you know, around for a while, but when they liked everything else, they finally got here. Right. You know, so how long before you got into an actual situation after you moved to Austin, that you were in a band, you guys were playing in the clubs, you could eat, and you could make your rent? That was two years later. Two years later? Yeah. Now, were you one of those guys, like as far as like other musicians seeing you and being like, I want to play with this guy? Or that's the kind of guy, because the drums are the foundation. Did you have a style that, did you have to go out and shake a bunch of hands? Are you one of those guys that sat down and played and people

just like that guy could play? Well, here's what happened. One of the guys that came back, that came up later to be in that band and then immediately, you know, we didn't have a band, was a sax player who lives here, Joseph Blatt lives here in LA. And he got a gig with a band called Paul Ray and the Cobras. And there was another band called Greasy Wheels who were looking for a drummer and I didn't really have a gig. And he said, you ought to check out my roommate. He's really good. So I went and auditioned a bunch of other guys and they said, you got the gig. That's where I started making a steady paycheck, paper on Friday, you know. Right. Now, when you, because you needed that gig, were you extra nervous? It's one of your first

gigs? No, I mean, I'm not even more nervous than I was just to begin with about live, but you know. Was that one of those things because you were always playing with other people that you didn't feel the nerves? You know what I mean? Well, not, I mean, I did. I mean, I still do now. You're talking about looking over at Steven Stills. I'm going, oh, shit, you know, you better get the right feel to this thing. No, it's this way. It's every day. You know, it's like, you know, it's a daily thing. Like, you know, I look for something that helps calm me, you know, it gives me in the moment, you know, but you have those moments where you're stepping out on stage, gosh, I hope I do good, you know, right. And I will do. I got it. Maybe I can, yeah, about

whatever. Have you ever gotten lost in a song? Hopefully. Like, yeah. No, I don't mean in a good way. Oh, yeah, yeah. I do this show. I do this show. It's called the goddamn comedy jam. Yeah, it's a really cool thing. It's funny. You went romantic. Yes, all the time. No, it's true. I meant like, like so whatever. It's basically, you know, there's a lot of comedians like myself that play instruments and you know, wish that they had your abilities on whatever instruments. And we ended up becoming comedians. So Scott Joss Adam Myers, he has this comedy show where you go up and do 10, 15 minutes, tell stories about going to concerts, and then you go back and jam with the band. You either play guitar, you're singing, you play drums. So I I've done it like

three times, did it last night. And sometimes I find myself so listening to the bass player. So I stay on time. I forget I'm not listening to the lyrics. And like this song we played last night, the chorus went around twice the first time and only went around once before went to the bridge the second time. And I'm literally in the middle of it going, is this the first time or the second time we played this? Has that happened to you? Well, yeah, but you know what, you know, here's the thing is after enough experience. And Stevie used to say this, he said, if we just make our ears real big, and pay attention, we have the tools and we'll be all right. And what I find about that, no, what I find about that is that the other thing is I can really be front running the

deal. Right, you know, it's no different than the, you know, quarterback who's he's taking the snap and the receiver's already down the down the field, he's throwing the ball, or the guy's not down there yet. Right, you know, so when the guy gets down there, I see what's going on, then you act in the moment. And that's I mean, that's really what what I do, everything's about living in that in the in the incident. And if you're listening to everybody, unless nobody knows what's going on, you'll all do it together and whatever it is will be fine. And if it's not, you go back and retool and figure out what you did wrong together. What's the worst example you have of like being up on a bandstand, and nobody knew what was going on. And they're all looking back at you like what he did,

did it all just fall down the stairs there? We started this Hendricks tour. I did these tours I wish I wish my listeners could have just seen the look on your face. You went like this 600 yards staring this way. Okay, yeah, what are you thinking about? I was thinking the first thing that came to my mind, I do I'm the drummer for the experience Hendricks tours, which I play with everybody, right? And it's like three hours long. And we did this one tour that started in DC. And the idea was, you know, everybody knows Jimmy Hendricks songs, and we'll just all show up and, you know, and we got one, we got this. Yeah, we got this in our play with these guys. And how does he do it? And does he do it the same way, you know, whatever. And so we go out there,

this sold out house. And it's like, as this, I'm counting off the song, guys are going, what key is it in? You know, like, you're gonna be kidding me. Oh, no, it's like train wreck after train wreck. And they're not only looking at me, but you know, I'm going, I thought this is where it goes to the the chorus. But how come you're, what do you do? You know, they're looking at me, and I'm looking at them. And you know, this whole thing, it's like everybody's up there with their pants down, you know, and everybody in the audience, how many people are watching? 4,000? And they're like, with their mouths open, going, I paid $250 for the seat. What are you all doing up there? You know, and it's just like mayhem, I'm going, oh, you know, how many gigs? I mean,

I imagine after that, you guys just said, what, immediately went to the practice room and worked it out. Well, yeah, but yeah, but then, but then you're on the tour. So it's like you're gigging every day. And so you just catch this catch can soundcheck. Hey, let's get together in this room. Let me show you what I was thinking about that on that song. And, you know, for me, I'm listening to everybody because everyone's, Hey, let's do this. Hey, let's not do that. I'm going, okay, let me keep this straight. Because in a few hours, we're going to go hit. And how long did it take for you guys to whip that into shape? I don't know, eight or nine years. It's a work in progress. But I mean, to the point that people in the crowd, novices weren't

noticing the look of panic and being in the wrong key and it took us a few shows. But you know, that's the thing. It becomes personal. You know, you do your work and you do something. I don't know if that, you know, some of that's funny. And you go, heck, it could have been funnier. I could be better. But the thing about me is I'm up there by myself. So even if I'm falling off the rails, whatever direction I decide to go into to try and right the ship, it's 100% of the performers up there are going in that direction. So at least it looks good because it's just me. So whatever decision I make, it's not like I'm looking at the bass player and he goes left and I go right. And the whole thing falls down. Like I've always been amazing. But let me get back to because

you already brought up Stevie. I know there's listeners going like they want to hear those stories. So anyway, see, two years in, you get you get you get a paycheck and all that you're working against 21 22 at that point 20 years old. So here's what yeah, 20, 20, almost 21. My roommate says, you got to come out and see our band. You know, I said, yeah, yeah, but I've been working all the time. So it was a Tuesday night and I went out to go see him. And this is interesting because when I walked up to a place called Soap Creek Saloon, it was a big old frame house and gutted and it was just a club out in the country. And I walk up, I hear the band. I'm like, yeah, bands house grandma. And I heard this guitar tone that wasn't any louder than the

rest of the band through the wall, but I could hear it like it was like right there in my ear. I'm like, what is that? Yeah. And I walked through the door and I turn and my guy go right my eyes and it writes a Stevie. I'm like, that guy's fascinating. I've seen a lot of people, but I'm like, there's something about this guy. I go out the next one. I go out the next week and to go see him again, because I'm really digging the band and their drummer's late. And my roommate turns to the guys and when we get my, when we get my, when we get my roommate up here, he goes, a really good drum, the guy, and now let's wait for Rodney. And so some more, you know, a little more time goes by and places packed and they go, I got to get him up here.

So I get up there and I play like four songs with them and I'll look over and Stevie's kind of looking over his shoulder, kind of giving me the wink, you know, and the very next day, nice, he comes over to the apartment, he walks in on me, I'm playing along to the Donny Hathaway live record. Everything is everything. Willie Weeks and Freddie White. And I'm like, it all set. Look at me. He's like standing like four inches from me. And it startled me. He went, no man, go ahead. Oh man. He goes, Donny Hathaway, huh? I go, yeah, he goes, that's one of my favorite records. So we started chatting and I told us, man, I'd love to work with you. So I think we could do some great stuff. What was it like that, that first time when you played those four songs?

I know you're taking in the whole band. I know it's just like, all right, the next drum is going to show up. I don't know how that works. If he's going to be upset that you're on his drums or whatever, but where you still had that feeling as Stevie's playing? I mean, I don't know. What was the context of the band? Was there a singer? Was Stevie singing or was he just considered like a sideman guitar player? He was a sideman kind of featured soloist and he sang like he sang a song. There was two guitar players. There's bass player, drummer, singer, solo singer, and a sax player that my friend, my roommate, Joseph Blatt. Okay. And where were Stevie's playing at that point? Very R&B like, you know, he'd come from Dallas and his brother,

Jimmy, had really, when he heard Jimmy play guitar, thought, man, maybe I ought to do that. Right. So he was, you know, it was like, you know, it was like Freddie King and Eddie Taylor, Jimmy Reed, and Slim Harpo, B.B. King, Freddie King. Was his playing at the level at that point already? Were you like, this guy's going to be one of the greats of all time? Well, you know what? He was just fabulous anyway, you know, but he wasn't as out front and grandiose as the really the wrong words. He could do anything he wanted to do, but he, what he did, he could play one note and he went, that's the coolest note I've ever heard. He's just going bam, bam, bam, you know, and just had it. I heard recordings of him when he was like 12 years old. He was like,

when he was, he sounded like Eric Clapton, because he was like, you know, he was playing Eric Clapton licks. I go, that sounds like Eric Clapton goes, Stevie's 12, you know, so it's like, so he could just, so you know what? I hated that. It's like, you just pick anything up and sound fabulous. You know, God. So did, um, so then he's standing there and like, so at that point, I mean, it's weird because he's just a guy named Stevie to you. Stevie Vaughn. Stevie Vaughn at that point. Okay. And this is probably like, what are we talking at this point? Mid 70s, late 70s? This is 19, this is like late early 1977. 77. So he's still wearing like that's sort of that big scully cap. He didn't have

wearing bowling shirts and, you know, brogan shoes and, you know, pleated pants and stuff. So, so at that point when he, uh, he says, um, you know, that that's one of his favorite records. So where did it go from there? Well, he left. Um, to fast forward, um, some, a woman, Lou Ann Barton is a singer in Texas, pulled him out of the Cobras to start a band called Triple Thrill Review that lasted like five or six months and then it blew apart and it turned into double trouble. And that's when I came in. He asked me, say, hey, we want to play in our band. So in a, in a fast evolution, you know, it eventually ended up, it was Stevie and myself and Tommy Shannon. I mean, there's stories of all this, but, you know, but that became the trio that,

you know, that's because I liked the first, and I know you've probably asked these a zillion times, but what was that like the first time you guys all got together in a room when it was just the three of you and there was all that space now, Stevie to play. Well, that's when his guitar playing started changing because he was, you know, he's, to me as a musical genius and that he followed that intuition perfectly, the thing we were just talking about and that he went, he knew that he couldn't be in a trio format. He couldn't be just a rhythm and rhythm and blues guitar player. So he immediately started incorporating solos and rhythm all into one kind of thing, which sounded like two or three guitar players, like a four or five piece band and three, but three guys. Right.

And he was, now he was singing because he was singing all the songs and he developed quickly, you know, his singing developed very, very quickly. So now we kind of start stepping out, but the part of the reason that we went from a five piece band to a three piece band is that someone said, man, you ought to do like a Jimmy Hendrix tune. And so we did and I went, guys, sounds like Hendrix. And then every, what's the first one you guys did? We did, well, we did Voodoo Child and we did it forever. We did it our whole life, but we did, you know, we do a gig every once in a while where we do all Hendrix stuff, manic depression and hey, Joe and, and, you know, but everybody else in band was like, don't play that shit. You know, we're a blues band, you know, and just kind of

that the rub came to became a wedge is really kind of what happened on the musical side of all that. Was, oh, was that like Texas blues purists? Yeah, yeah, yeah, yeah, yeah. We don't do that shit around here. You know, we played blues played appropriately. And there's a lot of great traditional, a great upholding of tradition in Texas till lots of different things. But, you know, we were the ones that were like, we were in a way kind of a little bit outcast, because like, if we're doing this wild shit, we're playing too loud playing Jimmy Hendrix songs, we started doing superstition by Stevie Wonder, because we discovered we were big fans of all these people and people are like, yeah, no, it's blues and, and I'm, I must have been exciting

for you because just sitting in with the blues band after a while is a drummer. I mean, I can get monotonous is trying to play it like, I mean, how many different ways can you play a shuffle? And I'm sure you could say a thousand, but I'm just saying, just sitting in with the like, I've never, I've ever, I mean, it's ridiculous that I'm even trying to relate to you on this level. But anytime I've sat in it, when people start playing blues, they're bomb, bomb, bomb, bomb, bomb, and you just sitting back there, it's like, I want to kill myself after one and a half songs. You might need to examine that more deeply. No, you know what? It's funny, because I tell people they go, Hey, you know, this and that about your playing. I guess I only know like four beats,

but I know a lot of different ways to play the same four beats. I mean, and shuffles are like endless. And that's what's actually beautiful about them to me. And I didn't know this until I started doing that. And somebody said, Hey, man, check this out. I mean, right on the spot, right, you know, metaphorically, you know, and they went, no, no, no, no, no, no, you're going but it's really but I was like, Oh, wow, it's like endless fries. Like, it's like, how do you make a stew? It's like, nah, it's meat and potatoes and carrots. So yeah, what about all the other shit in between that makes something really great or something like just fucking meat and potatoes and carrots,

right? You know, and that's kind of that simple really, or that complex or the only way I can compare that to what I do is, I guess, if you take a joke, and you can just do the joke, you can just stand there and say it, you can act it out. You can have two characters in it talking and you can end up basically taking something that was essentially a shit joke, or a dick joke or whatever. And you can, you can actually flesh it out into a piece, which I guess I don't know what there's really no definitions in comedy is like what makes a bit what makes a piece but you can you can have a little performance piece out of that. And I've always I've just had I've such an admiration for them for like musicians, your guys ability to like, I don't feel like

like what I do as far as just like talking and that type is everybody talks. So it's kind of like you jamming all day with people so you can immediately think something and then say it the fact that you guys can do that musically, like sonically, think us think a fill or think a lick, and then just just pull as you're thinking it play it the way if I thought of whatever words I'm saying right now I mean to me like that is is is when you like really master like an instrument or something like that. You know what's funny when I saw your show in Austin you came out talking about the dogs balls you know. Yeah. Everybody's cutting their balls off you know and I thought that's funny as shit and I go that's true you know we got a dog and my wife said we got to get him

fixed I went can't we let him have him tear off one piece before she's like no no no no but I'm thinking about it you said it and I actually related that skit to somebody else they're like so what's the deal I was like it was funny as shit when he said it yeah you know that's like when I try to play your stuff on the runway when Chris plays it it sounds awesome no it's like fucking gives you the chills when I play it uh makes people go shut up oh god how much longer you're playing like all of that stuff so uh so you Tommy and Stevie play and then eventually uh so how long did you jam for like I know like um I know I'm going through all this shit I'm getting self-conscious here that I'm dragging you through the same stuff no it's okay haven't you

know I'm gonna try to ask different questions everybody knows the story the David Bowie stuff and all of that you know David Bowie saw you uh actually would you mind telling them getting booed in France thing just because people know me for getting booed in Philly no I yeah I gotta tell you this this was hilarious because the woman Lou Ann Barton I had to say it we fired her for the band for misconduct if you will and she gets a big record deal from Jerry Wexler wait where was she in the band she was the triple threat yeah and she was originally in double trouble for just a little bit and she was the lead singer she sang most all the material okay so she's out of the band she gets a deal with with Jerry Wexler discovers her in New York gets her a deal on electros she

does this records at the Muscle Shoals rhythm section uh Don Fry sings all these all these people come in so when her record release comes to be she goes she goes you guys want to play my record release party I was like yeah okay oh yeah you let her you let her go yeah no no right she didn't did she do it out of spite you think oh well yeah hell I don't know you know maybe I could call her and ask her but um but we're there playing and Jerry Wexler's there and he's like out there dancing and he says great band um you know what you guys need to go to Montrose Switzerland goes I'm gonna call my friend Claude Knobbs I'm gonna talk to him about all this well he does it shorter a couple days later we get an invitation to go I got a spot we've never been

signed wait it was that that kid was in Switzerland it wasn't in France no yeah it was Montrose Switzerland oh yeah yeah yeah all these years I thought it was France well here we go okay so we go and we're the only electric band on this night because he just slotted us in because there was a time slot and it's a jazz festival well you know it used to be Montrose jazz and they call that called it international music festival so it's kind of a mix of a lot of stuff but that night was all like acoustic blues upright and piano and guitar sitting on stools and that kind of thing traditional traditional there's that word again we get up coming back to haunt you guys coming to haunt us again so we get up there we got all these electric instruments and stuff and we start

playing and people are like you think like they're like they're sitting in a hurricane or something they're like they got boo you know it's like we're like shit we play I've seen that you can actually get this on DVD and yeah no and it's a bummer because see we're back in Texas making like three four five hundred dollars a gig and our man the owners of our management group loaned us 15 grand to do this whole trip we we took everything over there because we can't be without our gear you know I was like wow and we're sitting backstage and Stevie looks at me he goes why don't think we sounded that bad and I went I didn't either and all of a sudden it's like yeah they go David Bowie would like to meet with y'all which David Bowie and they went

the David Bowie the accountant like yeah no the rock star David Bowie the wrestler yeah and so that's kind of how that started you know we were there another night we played downstairs we didn't have a gig we were just lollygagging on this loan and so we played down in the musicians bar so Jackson Brown and his guys came through and you say hey you're in LA you can have my studio which we did we just recorded some tapes and you know all this there's a whole bunch of this story but they just kind of sat there until we went back to John Hammond said hey Stevie's looking to do this thing but we got these tapes that we recorded legitimate tapes and he's in John Hammond was our he was our our white knight he was our champion he loved all of us he loved the band he thought

Steve was one of the greatest guitar players he's heard since Robert Johnson wow and he went to he went to epic sony epic cbs excuse me and there was a guy there Greg Geller he said Greg you need to sign these guys up he said yeah I'll do it because I'm getting ready to get fired anyway because I'm going to re-issue the whole okay label because it's been out of circulation they're going to fire me for that so let them also fire me for this and he did that and that's what happened and the record came out and um you know Stevie didn't go work with Bowie after the record didn't do the tour and off we were you know now you and I loved about that whole uh that whole watching the concert footage of you guys when you get booed there in Switzerland for all these

years I thought it was France is the fact that you could see it affecting you guys because you guys would play the song and then in the end you'd boo or whatever they'd they'd boo and then but then when you guys you got one time I saw Stevie's shoulders kind of slump a little bit but the second he goes to do a song you count off the song you guys played you didn't hold back at all and he just went just as hard all you guys uh if you didn't hear this does the sound of the crowd you would think that the way you guys were playing that you were doing what you always did which was was kill it and I got a lot of inspiration out of out of watching that um just doing what I do or are auditioning or stuff you know sometimes I get these acting gigs I got to do some crazy

stuff that I'm you're sitting there and your head going like oh my god this is outside my comfort zone and like seeing stuff like that is just like just plow through this um fuck them you know what that was inspirational to me because I learned something there and I saw it in action it wasn't told to me is that he had this passion and commitment if he was sitting over there on the that couch playing the guitar he'd have he put he put the same thing into it as he as he would if we were playing for a hundred thousand people because that's just how he lived and I'm like man that's a great example you know because like yeah I kind of do this when he when the stakes get higher I'll kind of put a little bit more juice into that kind of wishy washyness he was like full

on 110 percent all the time so when you guys are riding on a tour bus when he's noodling around it sounds like he's already playing the show yeah because he's got the same passion and the focus and the commitment to what he's doing is he's not performing you know I mean it must have been incredible to be around as awesome as I mean you know I was spoiled right off the bat you know it's like I go you know this is early in my career and it's funny I talked to Mitch Mitchell about this about the you know the death of Jimi Hendrix and it's like it's a hard deal when you lose somebody like that and you you've come to in my case I came to go you know I was grateful that I had the whole experience like it was a hard thing to lose but there were so many things that I got from that

just simple lessons and you know I think they were in me they'd been they'd been demonstrated but they hadn't really taken root but when you live I mean you go man this is a great way to be and you see that you get the result on every level right talking about money success rather because you our success was that our music was successful to us it meant everything to us we had a great time doing it together and that you just go this is it's self-evident right and you know and somebody leads that typically somebody's there to show you something you go wow you know what I dig that that touched me that meant something and I'm going to grab onto that and that's those these are the great things in life in my life yeah and then unfortunately you don't really you fully realize it after the

just the profoundness of losing somebody I lost a great friend Patrice O'Neill a few years ago and he was the guy like I would compare like he was like the Stevie Ray Vaughan level guy except doing like stand-up and you know you just don't expect him he was like 41 years old you're not thinking that this is going to be the last time I get to see him perform and on that type of thing so it ends up having when you really go back and examine the whole basically experience because I don't know if Stevie was the same thing like being friends with Patrice was beyond being friends with him it was like you walked out in public with him and him just messing with people was this experience that like I I've tried to tell the stories on the podcast and try to explain what

it was like it's you just can't when you're around that level of uh artist or just just greatness or whatever I know the words where there's on if we're seeing if that's that thing that you don't know what you got till it's gone you know it's kind of cliche yeah it's cliche is a little bit true it's true you know that's why it sticks it's like man that was fabulous yeah I learned that awful lesson like like your friends it's like it's I can't explain that the friendship is not yours it's like it's like this thing that's given to you and you just have to enjoy it and then you got to be enjoying it because it's just taken away or it goes in a different direction whatever you want to say and then you just kind of left there like you know well you know living

in the moment being able to actually live in the moment and being I know to be grateful for your surroundings because we can get you know I get on my pity potty and all this and go back to my Catholic guilt and shame and I like oh you know you know I mean it's true I mean Stevie I was like when after he died I was like god that guy really meant a lot in my life and I go half the time I wanted to strangle him and I go we were like brothers like the brother yeah he was like a brother I never had he had a brother you know a real brother and but I go you know it was it's everything it's always everything there's the our perception of the good and the bad or whatever it is but essentially it's like I go everything was wonderful it was life and it was really wonderful I've

always wondered like that's the time like you know the loneliness of being a comedian on the road but whenever I hear stories of bands you know being in a van together just traveling and and you know the just all this shit that you guys go through like I've traveled with other comedians and stuff and there's like there's that thing where you just have to after a while be like okay there's going to be the late guy there's going to be the addict there's going to be the pussyhound there's going to be the ego maniac the dude who's got to sleep till four like there's just going to be that and you got to understand that you're that guy somehow but you can't see it because you're in yourself so you absolutely something you are doing that is annoying this shit out of somebody else and

you have to somehow uh like I got to be honest with you like after years of touring with other comics and everything this past year I did a tour with this comic Paul Verzi and he's a New York guy I'm a Boston guy whatever he always argues sports and we went up to uh toward all of Canada and we basically spent every waking moment essentially with each other for about 10 days and we never argued once and all I it was just through years of being he's also a really easy guy to get along with but we just we had we ended up having a couple of inside jokes that we had which always seems bands always have like inside jokes and oh yeah you're on catchphrases and we just kind of tore through Canada making each other laugh throughout the whole thing and uh

and it wasn't until the end he actually Verzi actually mentioned he's like dude you realize we've been we've done like 20 shows together it's torn all over this goddamn tundra we haven't argued once and I was hey you know I didn't even notice that we're doing this stupid fake crying thing that was just making each other laugh just saying over the top sensitive stuff like I just really like he was a friend oh just that dumb shit oh we had all that just kept you going yeah you have we had like these alternate personalities when we when we realized that we were like really going insane on each other uh you know mine was Harold or as he called me Harold what's hell we're doing like oh I don't know what you doing Brady you know Brady's going Brady's just

trying to have a good time you know and we get and we would actually stay in these characters for like an hour I'm going God how sick are we and then we come out of it and we could actually live with our circumstances because you know it gets tight you know under your you realize like not only is that genius comedically that's also if I had some sort of you know psychology background that's also probably red flags of slowly going insane no I am insane I'm I think I've been actually somewhat restored to sanity but you know I'm still working on it right it all goes to the seven deadly sins you know I'm trying to sort it out over your bill oh I know Jesus don't even talk to me about those what what is what's the longest time you ever spent out on tour oh shit

because you guys like people always to say to comedians hey you doing a tour are you on tour and it's like you know the most I'll ever be gone is a week and a half maybe two weeks but you guys like yeah yeah and all I gotta do gotta boom all I gotta do is deal with the insanity my own mind I don't have to deal with other people's like once you kind of figure yourself out you know when you can kind of see what demons you give into and of course you gotta ride that for a while and keep fucking up and run into the brick wall but then hopefully you grow from it you can kind of manage your own sanity a little bit but you guys like I mean how many fucking bands out there did they broke up and then they needed to get back together for money and they get back

together for money and within six months they go right back to where they were emotionally 30 years earlier hey you know what I got I got a whole thing on that but I won't get into that but to answer your question we never came off the road and using double trouble is the answer to the question you know when Texas blood came out and we started touring we were like for nine years we virtually never came home I mean we'd I'd go out for we'd go out for like two months I'd come on for like four days and go to Europe for like five weeks and come on like a week how do you pay your bills how do you pay your taxes you know I had a business manager and account and I've got a great wife at home I've been married for 29 years and she kept the whole household together and she

was all right with you being on gone yeah I think she's no she'd be like uh great you're home and then like a few days and she goes when you leave it again you know it was good that was all good my wife should be like shouldn't you be doing stand-up tonight yeah usually when there's a TV show on that she wants to watch and I sit down and I can't keep my mouth shut I'm literally like a five-year-old I sit down I'm either gonna be making noise doing something or I'm gonna be talking to the TV like it's a person and uh like I don't know I think do you find like do you get like scatterbrained if you go on the road too long and you finally you can't like shut it off oh well yeah I mean it happens both ways for me because when I come home you know like she said I was just

talking to her my wife Betty she said she's just you know it's barely been nice since you've been gone you know and you know what she says that with all the love in her heart because I get home and I'm like bouncing all over the place and she's you know everybody gets their own life everybody has their own life so you like you run back into the house and they're like hey I'm home and they go oh hang on a minute yeah there's been a different vibe going on here since you've been gone let me try like assimilate back into the general culture yeah you know other than it's my kingdom and I'm busting in you know so no I get it you know so it's I mean it works you know you know what I've always I don't I think instinctively know that I've needed to have with my house is I need a room over

the garage and I feel like when I come home it's almost like you know if you have like the bends except you're coming off the road yeah and they just send you into that room and you got a TV you got something to work out like an elliptical machine just something and you got to like just slowly ease your way back into civilization Bill I've got one I highly I highly recommend that that very thing you just described it works pretty well but let's hear about it what is it well I've got another house in Austin and I've got my studio there so I go over there and do my thing what I'm referring to is they used to have a place in the country outside of Austin had a guest house studio it was about 150 feet from the main house so when I came back I'd go over there that's where

I did all my workout had a pool outside now go swim and you know do my thing so that I kind of like go there go to the house stay there go I mean it was right to not just kind of like just be like a truck busting through the wall coming home I know stranger your own damn house I know that's my take on it you know you could hear the other side to see if I go he's full of shit that's not how it worked but that's how I saw it and that's what that's how I used it well let me I'm going to ask you a couple here questions here so we got we got left here cruising along here so maybe a couple break it up for you some non musical questions because I'm sure obviously people have asked you the same damn questions I've asked you I saw this thing in the news my listeners were asking me about

it there's this billionaire is getting a divorce right he married he married this woman he had a company it was worth like 50 million bucks an oil company they've been together for 20 something years they get a divorce he writes her a check for just under a billion dollars it was 990 something million or 980 something million something something in like 31 cents something crazy they had worked out he writes her the check the check for almost a billion dollars and she turned it down who says I don't I don't know they're from Texas they might be they might be her thing is that he's his company is worth 20 million bucks now and she's only getting a billion dollars she's entitled to more because she helped support him through all of those years what what what what is your

your rubbing your head what is your take on that I had a friend who got divorced one time and he said god dang he goes my wife he goes you know what here's here's the deal he goes she goes she told me she goes what's what's ours is mine and what's mine is mine and what's yours is mine and maybe more so I don't know I mean what why do they think I wish I should have a female on this like why do they like you know what I feel when I look at that thing that is not even about money no it's not it's it's like Kevin Spacey's thing on house of cards when he turns towards the camera and he says sex is about everything other than sex you know you're like it's about it's not really a I can't put dollars and cents on it really but when all that deep they want you to feel pain

and the thing about it you know what I think this guy did I think the reason why she didn't take but take that money is because that guy fucked up he first of all they showed the check on TV because eventually she cashed it because she had she needs money to live which is hilarious it's like you got enough money to live 10 20 lifestyles the way MC Hammer lived yeah he could actually she could actually save Oakland with that kind of money but he uh she this dude just he wrote it on like a person it wasn't even like on like a you know like a business check so a little bit longer yeah yeah yeah bigger sums this guy took it out on just like some regular like the same checkbook if you live in week to week that's insulting a

little that's what he did and he wrote her name and just went scrabble scrabble scrabble tear here you go and I imagined she walked out and was just like wait a minute so that's it so I get a I mean I know I got a billion dollars this motherfucker has 19 billion dollars he's all this shit he's ugly but with that money he's going to be able to get himself a hot piece that will at least pretend to like him he's got enough money for every Ferrari on the planet sounds like another billion coming down the road to me yeah like this guy is not going to feel any sort of pain whatsoever I'm not okay with that so everybody is watching this going this woman is a gold digging whore and I think it has to do not a whore gold digger but like I think it has to do

more with emotion yeah everything yeah I mean I that's I mean I don't know anything other than if my wife divorced me I guess she's been by me for years I go and I mean if it was something like you know hell hath no fury like a woman scorn I don't know what the guy did I don't know anything about any that but I go if she felt really like like I had done something or I go she like hey I've been here for years you know supporting this thing right you know that's my I can only speak to my own personal experience I have never and I'm not in divorce I'm happily married and thank god for that I'm grateful that I am but you know I don't know I mean you know I don't know what all that means other than then feelings have no real price on them

I don't know or they do maybe they do and it's not enough you know I don't he should have let her down easier god he should have just fake cried as he was writing it being just he should have shown some sort of pain and he didn't he he probably sat there you know with his eyebrows up and you know looking through his dumb reading glasses how much you want I'll throw in another million there you go all right sweetheart see you that's what I don't know yeah yeah that's great that you've been married for how long 29 years 29 years that's amazing you just keep it going yeah yeah so far so good hey I did bring you something because I thought Bill's gonna want to talk about football so I got you a little cookie today I know we're actually I gotta check this out he got me a cookie

because he knows that I bake I know yeah no that's that thing too that yeah oh it's the shape of a little football Mike Mike we gotta get a picture of this I gotta tell you this is the most adorable thing another man has ever got me hilarious are you a big football fan you know you brought up no that's why I brought you the cookie because I thought and I actually broached the subject I go you know I'm I've been I'm a Green Bay fan she's people in Texas here this I I like Green Bay because they're owned by the people of Green Bay I love that idea that's a great answer I love that great answer I love that it's not the billionaire that goes I'm gonna buy me my own team or whatever that's fine too but I love that I eat breakfast there one morning and the fry cooks like yeah

I own like a share I was like right on man he goes I'm rooting for him going I love that but how does that work he owns a share but it's not like they call him up and be like how much money should we give Aaron Rodgers I don't know my one share says this I don't know I don't know but so yeah he might want to talk about football you know I love a good football game as much as anybody got I got that I was at Starbucks and I looked down and I saw the football cooking that's for Bill Burr I'm gonna get him a cookie see that you're always going with your gut this is ridiculous man I can't believe that you're doing my podcast and here's you brought me a cookie and then you brought me you know I last

time I saw you when you were playing the Greek Kenny Wayne Shepherd I brought you my my Carnegie Hall album which you guys played right back yes you guys got the mariachi suits yeah I see I know a little bit about your band yeah I think I'm gonna give them that suit to the rock and roll hall fame because we just got inducted we're going Stevie Ray Monodouble trouble or being inducted this year and they called about some stuff I thought and I was thinking about I get that suit that I played it I had made Jesus that took them long enough uh you know it's I it's beyond I don't know you know what we did we stopped doing we what we were doing 25 years ago and then somebody's like hey guess what I go the people did it the people who vote in the in the in the in the general public

gave us 18 and a half million votes have you talked to Tommy do you guys think yeah you guys gonna play when yeah yeah we're gonna play who uh who you're gonna get to sit in that's a secret no we don't know we're we're still kind of sorting all that out we don't know exactly seriously knows every you know you guys had the respect of everybody so I would think that all the usual suspects that you guys played for and then some there's some suspicious people out there hey I got that Jimmy yes yeah Eric well there's all you know we know we we know all these people and so yeah you know I would think there's all these younger players yeah that would want to John Mayer and those guys would want to come uh I would think just a test testament to the music

that you guys put out um they would all want to play with you so what do I got here you so I was just mentioning that I gave you my uh on vinyl my album from uh Carnegie Hall now you brought me Steve Ravon and Double Trouble Trouble uh Texas Hurricane this looks like there's like 10 records in here you know what let me tell you why that's a box set let me tell you why that's so big it's funny because I had I saw that sitting you know my studio uh and you gave me that vinyl I'm gonna you know I'm just I'm gonna take that to him because of you know what we talked about and that right there is a 200 gram vinyl of our definitive box set that's those are 45 rpm disc it doesn't get any better than that unless you were in the studio wait they're all 45 no no it's

a regular 12 inch like an album but it spins at 45 rpm that's why there's so much so many discs in there oh my gosh now so what does that do does that make the sound quality oh yeah yeah it's better than 33 and a third I love this that this is because I don't know any of that no you know what you put that on your stereo and in whatever you liked about our music it there's no way that it can sound any better than what's in that box and that's for sale I mean that's we just came out with that you can get those wherever wherever they where you can buy vinyl um or acoustic sounds in Salina Kansas you can get this box set in 33 and a third or 45 rpm the 45 rpm is like the cream of the crop all right so I gotta I got I'm gonna go out on a limb here and say that this is gonna

be a collector's item at some point I can't believe that you gave this to me man that's all I gave you was I didn't I didn't pay much for only blood sweat but what did I do I gave you I gave you a bunch of shit and dick jokes on a record hey man believe me hey when I was an exquisite sound by the way I wanted to be a comedian when I was a kid I wanted to be a comedian oh is that right yeah people said but you're already a smart ass maybe you can actually say something intelligent and turn that into you know real comedy there you go who did you like when you were growing up oh you know let's talk comedy here Chris well you know I like Richard Pryor love Jonathan Winters did you ever get to see Pryor in concert no I didn't did you see Jonathan Winters no I saw him on tv and you

know the tapes and whatnot George Carlin George Carlin was like heavy yeah um yeah he was probably the most uh and I don't know I'm trying to think of anybody that was more prolific as far as that did did stand up like all these guys now who are just putting out special special special man I'm trying to do it too was uh that's all he was the one that showed that that was possible that every two three years you you know you could I don't I mean I can you can't come up with an hour like his but I mean it was possible to have a at least an hour that was special worthy that was worthy of being uh recorded um I don't know man like uh that guy for me was you know for me it was always it was Pryor, Carlin, Cosby, Kinnison and then all those older guys that I watched with my dad Foster

Brooks you know Martin and Lewis and all that. You know who I love that I stumbled upon over the Christmas break you ever seen uh it's a mad mad mad mad world? Yes a long time ago yeah I that's one of my favorite movies and every once in a while I gotta own that thing for some reason I don't own it and I saw uh I watched it and there's a guy in there there's comedian Dick Sean. Dick Sean plays the guy that uh he thinks somebody's doing something bad to his mother and he's driving he's trying to he's trying to catch Milton Burrell yeah and there's a clip of him they're just when he's dancing with this woman and just the over the top emotion of him and uh I watched some of his stand up and he was really kind of ahead of his time with like the physicality the repeating

and like the cadence the way he performed his stuff and it kind of from when I was able to read up on the guy he was like a comics comic never quite hit the uh the mainstream and uh had a really crazy uh when he died he actually died on stage doing a gig down one of the colleges down in San Diego and he's literally on stage and you know he was doing a bunch of physical stuff making people laugh and then he had a he had a heart attack did like a face plant and he's just lying there and people for like three minutes thought was part of the act. It sounds like a drummer death seriously yeah a number of drummers have died on stage you think there's a reason for that I don't know man got shot you know I don't know who got shot on stage Al Jackson he got shot

on stage no no no no no um I thought he got shot no no no no no no sorry uh oh now I'm confused he's going into the memory banks no there's nothing there um he's sound like me right now no I'm so I'm serious I go who got shot and who just died of a heart attack um a guy in Canada played with a friend of mine he did died in the middle of the show he turned around he said he said hey come on man pick up the beat and the guy kept slowing down all of a sudden everything came crashing down the guy like just died oh god was he a big guy yeah he was a big guy but he fell into the drum kit and he hit the guy on the back of the legs all of a sudden there was no music come here who got shot on stage was the comedian and man loves that death

go out on a laugh you do go out on a laugh or something you know you know it's an age falling into a drum kit so it's funny I guess unless you don't get back up but uh I don't know why he spun it in that direction but basically the guy was laying there people yelling out you know take his wallet thinking he was just joking the guy was yeah it was literally dying right in front of him so all right so I slogged you through all your old stuff you were a sport about it what's uh what do you got um you got the Steven still thing coming up but we uh where can we see where can people see you live the man that can uh knows an endless way to play a shuffle you know what I should tell I should have had that ready I didn't know you'd ask that I'm gonna be doing

you know what's funny all great artists never know where the where they're gonna be they're the worst promoters ever it's a good excuse if you were a hack coming in here and I swear to god you would have you'd have it all you would you would have handed me a one sheet of all the bullet points that you wanted to hit uh I'm telling you I'm bullet it out do you have do you have an idea of when you're touring again yeah well I have something to do a few shows in in early February out here with Kenny Wayne Shepherd okay we're gonna be in the southern kid in the LA area I think we're doing agora okay uh the canyon club we're doing hey who was that who was that that keyboard player that Bert Young what he looked like Bert Young that was hilarious

I wonder what somebody called me up in that and I listened to that and I was like his name is Riley Osborn Riley Osborn is the greatest keyboard player I ever saw him he's awesome I call him the Humphrey Bogart of piano I mean he's like yeah yeah who said that about me I said Bill Burry goes who the fuck's that I go there's a comedian he goes Bert Young he goes yeah I guess I kind of do look like him oh god I already pissed the guy off no I just he's he's pissed off anyway so it's okay what I love was when it was his time to take a solo just how he just went and so many different just effortlessly and just I don't know just watching you one of my favorite thing not only to watch a great musician is the that extra added that he makes it look like he's not even not even trying

and I was watching you the way you were playing the shuffle and just the whole thing that you were doing like just always been uh transfixed uh some of the stuff that I I loved wish I could hear you play more like the some of the jazz drum you did on stank swang and that type of thing is like you really had and what was great about that was all the licks that you had knowing that you had those in the bag but you played for the song on a lot of those other ones we just played straight and sit back and let Stevie you know run with it it was I don't know I've just tremendous amount of respect for you uh as a musician and now as I'm starting to get to know you obviously as a person and I'm hoping that I'm going to be able to get out to Austin this year I might be

going out there in March for South by Southwest to promote the All Things Comedy Network here and uh if you're around if you'd like to come out to the show uh you know come on down the only stipulation is you got to bring your Shelby I want to see it okay that can be arranged shouldn't that be done all right all right everybody Monday morning podcast uh with special guests legendary drummer Chris Layton thank you for listening go fuck yourselves I will talk to you next time all right hey you didn't go anywhere did you I'm still here with Chris Layton I forgot to bring something this is the first Monday morning podcast epilogue just like the old streets of San Francisco uh you also brought me a jar of lard pure pork leaf lard keep refrigerated what is

this uh what is behind this I brought it to you because I saw your pie crust oh you did I said yeah yeah and and and the trick the old school trick the trick of of of pastry and you know and I've done this a couple of times but somebody this is a chef's deal you take butter and mix that in with it when you make your pie crust and you can fry fried chicken in it or whatever you know it's awesome and this is called da I day do it's died you way it's a group in Austin's of chefs and stuff who process do die do a or as I say they do da i d u e I'm such a moron butcher shop and supper club and let me give him a shout out here 2406 manor road Austin Texas um and it's dia do dot com so people could actually order some of their lard yeah this is highly recommended

highly recommended highly recommended lard uh well I oh shit well I'm I got a tour of Australia coming up but when I get back I'm gonna keep this refrigerated and I'll definitely uh I'll give it a shot um no I'm I'm all about the butter and lard thing all right there you go there you go a little more information dia do butcher shop and supper club Jesus Christ next time I see you I gotta bring you a little gift bag some stuff I'll figure out what the hell you're into all right once again Chris Layton everybody thank you for listening thanks Bill bye