The Questlove Show - QLS Classic: Steve Miller

Episode Date: November 17, 2025

Hall of Fame guitarist, singer and songwriter Steve Miller joins Questlove Supreme to talk about the early lessons he learned from Les Paul and T Bone Walker, sitting in on an impromptu recording session with The Beatles and performing with greats like Chuck Berry, Sly Stone, and more. This episode first ran in January of 2018.See omnystudio.com/listener for privacy information.

This is an I-heart podcast. Guaranteed human. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clifford Taylor the 4th. You might have seen the skits,

my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, the Clifford Show. This is a place for raw, unfills of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated.

So let's get to it. Listen to The Clifford Show on the IHeard Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends.

Listen to the girlfriends. Trust me, babe, on the IHartRadio app, Apple Podcasts, or wherever you get your podcast. This week on the SportsSliced podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, Bachelor star Clayton Eckerd

was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Ellen's, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Gillespie and. Michael Ranjini.

My mind was blown. I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ago Vodam. My next guest, it's Will Ferrell.

Woo, woo, woo, woo, woo. My dad gave me the best advice ever. He goes, just give it a shot. But if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be.

Right, it wouldn't be that. There's a lot in life. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Questlove Supreme is a production of IHeart Radio. This classic episode was produced by the team at Pandora. What's up? This is Unpaid Bill from Questlub Supreme. For the next QLS classic, we'll get back to Steve Miller's January 10th, 2018 appearance.

Rock and Raw and Hall of Fame, talks about the early lessons he learned from Les Ball and Tebow and Walker, sitting in on an impromptu recording session with the Beatles, and performing with greats like Chuck Barry, Slystone, and Mora. Fly like an eagle back to episode 66. Suprema roll call. Suprema, sub, sub, sub, supremo roll call. Suprema, sub, sub, subprima roll call. Suprema, sub, sub, supremo roll call.

What's love in the place? Yeah. I want to talk about... Yeah. What? Space. So, yeah, I'm inserting a question inside the theme song. Steve Miller, I just...

just have to ask you what was on your mind when you were making blue odyssey and space and just in less than 30 seconds please i had uh just got a really really cheap synthesizer my first one and i immediately hooked it up to my echoplex and i had an eight track tape recorder and i just was building electronic soundscapes like broadening the horizon so I could put something in it. Beautiful. Thank you. Ro call. Supremma. Suprema, sub, sub, subprima roll call.

Suprema, sub, subprima, roll call. My name is Fonte. Yeah. Your favorite rapper. Yeah. I work my magic. Yeah. Abercadabra.

Roll call. Suprema, Srema, Sraima, Srauma role call. Suprema, Sraima, Sraima, Supremma role call. Sugar. Yeah. Sugar, sugar, Baby.

Yeah. Sugar, baby. Yeah. Sugar, sugar, sugar, sugar, yeah. Suprema, Suprema,

Roca Call. Suprema, Subrema, Subrema, Roll Call. Boss Bill's in the place. Yeah. We're gonna have some fun.

Yeah. And learn how the biz, yeah. Take some money and runs. Roll call. Supreme. So, Supreme.

So, Surma, Roca. Suprima, Submma, Submma, Suprema roll call Is my E. Yeah.

Steve Miller, I'm stoked. Yeah. I don't know. I just want to say smoker and joker. Yeah. That's how I feel. Broca call. Because he's saying...

Suprema, Suprema role call. Supremma, Supremma role call. Some people call me Maurice. Some people call me the space cowboy. Some people call me Stevie, but I'm gonna tell you our cowboy.

Yeah. Suprema, sub, Suprema, Surma, Supreme a Ro call. Suprema, sub-supra, Suprema, Roe Call. Suprema, Subima, Sub-S-S-S-S-Sprima roll call. Wow. Well, good morning.

Good morning. Good morning. I feel much better. Cool. Ladies and gentlemen, we are honored here today to have the legendary, the artist-artist. I'm very glad that you're on the show because I've always. wanted to talk someone to whom it took

more than seven albums to finally break on through to the other side. So I'm not alone in this world. No. No, you're not. Yeah, I would like to think if I can insert myself

inside of my own radio show that, yeah, the first time, that if we were out in the 60s, if the roots were out in the 60s, we would probably travel the same path that Steve Miller took, a guy who had unreligious, uncompromising artistic goals in life that he set and he didn't count out or bow down to the man. And, you know, a true story of artist development and innovation.

And we thank you for coming. Ladies and gentlemen, please welcome Steve Miller. Yes. That was a lot of supreme. Well, that's pretty humbling. You know, we would have, had we been rolling at the same time, we probably would have been touring together because we would have been buds, man. Trying to do artistic, make pop music intellectual and do artistic things and be political and

make a change in our society. Those were all things that I see the roots as being very interested in. And when I listen to your records, I kind of go, oh, yeah, I know. know who they're in this studio now you know and and it's uh it's really really sweet of you to say all those nice things you know because nobody really says that stuff and you feel like that when you're working on it and seven albums was a long time you know but uh well you did it well you know i was never not going to you know so that's the way that goes termination yeah so i mean being as though I mean, you definitely came from an era in which songs had to speak for themselves,

where there's actual grassroots kind of work put into spreading the word and word of mouth and those sort of things. It wasn't like, you know, today where your celebrity determines how far you're going to go. And, you know, even sadly, as of 2017, I mean, talent really isn't even a fact. a matter of fact, it could be a hindrance, say, you know, to say the least. Come on now, buck up, cheer up. There's a lot of talent out here, you know, but I understand what you're getting.

I know a lot of your music, but I just don't know a lot of your journey and your life that got you to the point. My journey's crazy. I can give it to you in a paragraph. I'm here for it. I was born in Milwaukee to a family. My mother's side of the family were all musicians. And my father's side of the family, they were kind of inventors and doctors. So my dad was a

pathologist. He had a tape recorder. And when I was four years old, I met Les Paul. And this was 1949. Are you ready for that? Really? Yeah, it was just a few years after World War II. And Les Paul showed up with an electric guitar. How did your family know Les Paul? Well, he came to Milwaukee to put his act together with Mary Ford before he went to New York to do a TV show. It was one of the first TV shows. It was a real weird little TV show. It was like 15 minutes long.

It had kind of come on at 3.30 in the afternoon from his house. Oh, wow. And they were rehearsing at a supper club just down the block from where we lived. My dad went down and said, I have a tape recorder, which was this brand new technology that came over from Germany after World War II. It was one of the first tape recorders. So he said, can I record your shows? And Lesz said, yeah, of course.

So I went down with my father, with Pops, and we watched Les Paul play every night. And I was like four years old sitting on the bench next to him watching this guitar player. and then they would come over to the house to listen to the tapes and party. So there were lots of parties, lots of drinking, lots of smoking, lots of musicians, lots of people hanging out, and that's the beginning. And I knew that you could speed tape up, you could slow it down. You know, if you sped the tape up and recorded and then slowed it down, you know, the guitar would sound like a bass or if he recorded it at three and a half and, you know,

played a lead part and then put back up to seven. it'd be twice as fast. And I understood that Mary Ford was singing multiple tracks. And this is like 1949. Overdubbing wasn't even a thing yet. They had just invented it. She and Patty Page and Les with the multi-tracking. And so I just, there I was.

I was like five years old kind of going, yeah, multi-tracking. And then a pack of postcards came to our house after they went to New York and they had their TV show. And it was 100 postcards, and they were all stamped. And they were all addressed to the same radio station in Milwaukee, but they were all written in kind of phony, different handwriting. And that was to promote their next single. So it's 1950, and I'm walking around going,

man, I love show business. And, you know, I want to be a musician. And Mead Lugs Lewis was my guy. honky tonk train was the greatest shuffle in the world and he's just listened to that over and over and over as a baby and and that's what I wanted to do and you know my godfather les ball was doing it so I was watching him from a distance so I had all that and then we moved to Texas and Texas was like really amazing because it was segregated and I had never been in a segregated community before and I was a Yankee. I didn't know what anybody was talking about. I was in the second grade and I was going,

what? What are you talking about? And I was going to Stonewall Jackson Elementary School. Oh, God. It was like that. And my dad was running this lab, this pathology lab, and a friend of his was taking care of this guy named T-Bone Walker. And so my, My dad goes, he introduces himself to T-Bone, and they become friends. And T-Bone comes over to the house. So my parents rented a piano. I'd never seen a piano before, and I got sick and stayed home from school and played with a piano all day. And this is true.

At 5 o'clock in the afternoon, T-Bone Walker drove into our, we lived in this suburb where there were like 5,000 houses that looked the same, and everybody had this little yard, and that was the deal. And T-Bone pulled into the driveway and a flesh-colored Cadillac convertible with leopard-skin seats. And a suit and tie on and a great big old Gibson guitar case. And he came in and he opened up his case and I was just all over him, you know, he's just like, are you T-Bone Walker? How do you do this? How do you do that? and they uh he he would come over and play parties and my dad recorded all of this so i have

the recordings of like the first night i met tbone walker you still have those yeah man and and they're really great recordings and tbone is whoever it was on piano is just unbelievably cool and uh t bone played from about six o'clock at night to about five o'clock in the morning. Man. So I have these tapes from 1951 and 52, and so he taught me how to play the guitar behind my head and do the splits. I was nine when I met him.

And so I was, the main thing was I was sitting there watching Tebow and play lead guitar this far away from him. and there's i was listening to one of these tapes just the other night we listened to them all a time and uh tibone turns to me he says what you want to sing steve and i said nothing i don't know i was just like watching but uh so from there i'm in texas and there's like country music there's a big d jamboree there's like black radio stations there's white radio stations Jimmy Reed is like pop music. It's just full of great music.

And I ran into a kid who had been taking drum lessons since he was five years old. And he was like 12, and he was like a professional drummer. He was just absolutely together. And his dad was really cool. He had a music room. and we used to go over and listen to Screaming Jay Hawkins records and stuff, and we started playing together, and we started a band.

It was 1956. And mimographed a letter, sent it out to all the high schools and colleges and fraternities and sororities and churches and boys and girls' clubs and synagogues, any place that had live music saying we had a rock and roll band, and there weren't any rock and roll bands. It was 1956. ask one thing yeah what city in texas was this dallas okay okay and uh fredi king was on television in the afternoon on saturday afternoon there was an rnb show on tv and um lightning hopkins was coming through

town there was a lot of jazz all the ray charles's band lived in fort worth fed head newman those guys were in and out of town and and so there was this really cool music scene going on and um i I was listening to Jimmy Reed and Bill Doggett. Those were when I was 11 and 12. That was the stuff I really liked, and that's what our band played. And so we sent these letters out, and I had the band booked for, like, a whole school year, like, in three weeks.

And nobody knew how old we were because we were 12. But it was a really good band. Boss Skaggs was in the, joined the band. the next year and you know we had a really good repertoire we did a lot of blues and a lot of of uh rnb tunes and and that band stayed together all through high school and then followed me into college and so I grew up in the in the middle of this sort of jazz scene my parents love jazz and jazz musicians were always coming over. How accessible were, because, I mean, the story that you're telling is just not the average

story where like T-Bone Walker just goes up in my driveway in the Cadillac. First of, I mean, as a five-year-older, or even, okay, I'll put you up further, as a 10-year-older, I mean, are you truly absolutely knowing that you're witnessing history, right? here and this should be preserved and and so no I just thought what I was witnessing was great music and being a musician was a lousy job

you know like in carrying up in a middle class family you know working class and I had I had like my uncle my mother's side had been in the Paul Whiteman orchestra he was a hot jazz violinist and he played

in that orchestra and then when the depression came he and his brothers all went to medical school and became doctors so in my family it was kind of like my father and my grandfather had really raised themselves up you know my my grandfather was an orphan and uh he became a doctor he went to medical school and he was 44 years old oh wow and so it was all like you're going to get an education you're going to work you know you're going to take care of yourself you're going to provide you're going to be a provider and boy don't you just love this music music but you're not going to be a musician there's never any so they encourage you to it's really amazing you know it's like my father like uh i was playing rock and roll and he he would

every now and then he would show up at some gig and he'd just embarrass a hell out of me you know You'd stand there and go like, turn it down. Really? You know, and this was when we were like playing through one Fender amp and I was set on volume three. Right. Just doing way too often. So I didn't know and I didn't get, I didn't make my leap into the Great Unknown

until I was about 21 years old. Because the whole time I was playing. I was just having the greatest time in the world. I always had the best band in town wherever I was and was working more than anybody, you know, just we had, we just had the best time. And it was just fun. And I went to the University of Wisconsin, went back to Madison. And I spent about eight months. I took a year and went to Europe, and I went to the University of Copenhagen.

And I was going to be a writer and a journalist in comparative literature, creative writing, that kind of stuff. And it was the first time since I was 12 years old I hadn't had a band. You know, I didn't actually play any gigs for about seven months. And I just couldn't stand it. And I got back to the States, got my band right back together at the University of Wisconsin. And then I just had a meeting one day with my student advisor counselor, you know, and I was looking at these guys arguing over the size of their desks and stuff. And I just went, I'm done.

I'm a musician. And I was lucky because Muddy Waters and Helen Wolf and Paul Butterfield were all playing in nightclubs in a small area in Chicago all the time. So just 90 miles away. That's as far as I had to go to jump into this very mature, beautiful music scene. I was going to ask, how, I know that Milwaukee and Chicago are in proximity to each other, but how did those records, how did that blue scene even get to you at the time in... Well, it's all, just like everybody, it's all records. So were they on the radio at the time, or was it still like radio?

music and in in in uh Texas uh was I mean in Milwaukee was all records and you know when I got to Texas Texas was like a really different place and and radio top 40 radio was invented in Dallas at KLIF by guy named Gordon McLendid yeah I used to play sitar on those radio ads that KLIF and da da da da Those were all made at Pam's recording studio in Dallas and sold all over the United States. And guys who owned radio stations went, okay, we like this program. Let's do this top 40 thing, this top 10 thing. And they built all that there.

Before that happened, you heard all kinds of music on pop radio, on AM radio. And we had like, there was a station called WRR. in Dallas that played nothing but blues at night. And it was like a blues pedagogy. This guy, Jim Lowe, was just the greatest DJ in the world, and he just played all blues records. So that was like something that everybody growing up listened to blues, like blues.

We were into like, you know, little Walter had hit records in Dallas when I was like 13 and 14 years old. You know, Bo Diddley, all those guys were just right there. And they came through town a lot and played a lot. So there was this music scene that people went to. And it was... And you would see these shows? Yeah.

So back then, like, how much would a show cost to see these acts? Like, what was the typical billing? Oh, Frankie Avalon. I mean, Frankie Lyman and the teenagers and Al Hibbler and Chuck Berry. and the Cadillacs or somebody like that would come through and it'd be like $2 at the Sportatory. Wow. You know, and...

As a packaged tour and just... Yeah, they were all packaged tours then. How long would those shows be? Because I'd see the marquee of some of these shows and I would think that, okay, even at three to four songs each, this could be a three to four hour fair, but I know that they're doing matinee shows, afternoon shows, evening shows, night shows,

Yeah, they were, you know, I kind of remember them as being like three hours long, you know, we used to go to the Sportatorium. The Sportatorium had the big D. Jambery and it had all the R&B shows. And there really weren't a lot of rock shows. You know, there wasn't a lot, like I remember when Carl Perkins showed up at one of these shows and did blue suede shoes. and that was like a, oh, wow, this is really different. And they came up out of the crowd. They had a big double bass and a cocktail drum, and he just, like, jumped up out of the stage.

It was during Al Hibler's act and came and did a few things, and everybody went nuts, and then he left. So that's kind of what it was. You'd do three tunes and then move on. It wasn't anything like it is now. So you're saying that these shows that you saw, it was mostly Black X and the idea of, like, Elvis culture, and more white-oriented rock acts

or the people that would establish it. You know, like, like... That was new. Yeah, there were R&B shows that came through that everybody went to. And then when the white acts came through, like, I remember seeing Ricky Nelson, you know, with James Burden.

Wanted to go see James Burden play guitar. And he was big enough to come and do a show in a theater. he played at the Majestic Theater. But mainly it was like, you know, these arena kind of big all-star review kind of shows. Was it term rock and roll even popular,

but at point? No, not, no. Was it still race music? No, it was, you know, we didn't call it race music, but it was totally segregated on the airwaves,

but it wasn't I mean, people, you know, everybody listened like, everybody I went to school with listened to KNOK, which was the black radio station, because that was always going to be a lot better than KLIF, which had like, you know, Branky Avalon. You know, if you go back and sort of look at the pop list and stuff and don't make fun of the Mills Brothers.

They're great. No, that's the wrong. That's right. You know, that's ever. but yeah I mean it was like there was this really square white music and like guys like Pat Boone Pat Boone had a TV show in Fort Worth where he dressed like a soda jerk he had that you know the little white paper hat on and sang all those groovy versions of and he was going to be like Big Crosby right that's that's where that was going we weren't interested so even then there was

You're saying that there was counterculture in mainstream squares. Totally. That's sort of played music sense. I was walking around in the seventh grade with my Jimmy Reed records going, listen to this, baby. Okay. You know, and what were people saying back to you? Oh, yeah.

Everybody loved it. Everybody loved it. And we, hell, I used to back up Jimmy Reed. When I was 14 years old, we played and backed up Jimmy Reed. And Jimmy Reed was like one of the most popular acts in Dallas, in Dallas. For white kids, black kids, it didn't matter. You know, he was, those were hit records. So you must have been the shit at 14 to like your peers, right?

Because you're playing behind him. So what was that like? Well, you know, nobody even cared about that. Really? There wasn't anybody. So you didn't pent like 14-year-old mother-kind? No, no, no, no, no, no. No, no.

And we were our bar band. There weren't, you know, these careers that exist now, people like us sitting here right now, pontificating about how great we were and how important it was and how deep we thought didn't even exist. If you were a musician, you know, you were working in bars and nightclubs or you were on the Dick Clark bus, you know, with 40 people, you know, to go into town to town to town. and there wasn't nothing was, you know, the people that had had the big careers were like Bob Hope and Annette Funicello. Wow, like TV stars almost. Yeah, it was, they were on TV and, you know, careers lasted 18 months

and nobody thought they could make a living doing this. And I never thought I would ever make a record until I saw Paul Butterfield when I was 21, and he was like he had signed a record and they were writing about him and I went, he got a record? Man, I can do that. Right. I could get a record deal.

Now, I'd been fooling around with tape all my life, playing with it, never thinking anything like we think now or did in the 60s or the 70s days. None of that even existed as an idea in the 50s. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football,

or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't

always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either.

We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit. by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or

wherever you get your podcasts. What's up, everyone? I'm Ego Wode. My next guest, you know from Stepbrothers Anchorman, Saturday Night Live, and The Big My Big Marks. Many Players Network. It's Will Ferrell. Woo, woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up and coming talent.

He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there.

Yeah, it would not be. Right. It wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in so-ins, correct?

I doctored the test once. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfectant. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian, Michael Marantini. My mind was blown.

I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, news, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona.

Listen to Love Trapped podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. You mentioned about these shows in sports arenas. Okay, because I know that you're a stickler for San Francisco. and engineering. Just because I'm from an era in which, you know, big speakers and backline and those things, how were those shows able to translate sonically

in a large sports arena with inferior, what I would assume was inferior sound? Well, an audience was generally they weren't big, huge sports. or you know, like the Sportatorium is what I said. The Sportatorium was like this funky kind of, I think it held like 2,500 people or something, and it was a place where they had boxing matches

and they had music. And so it was small enough that, you know, you could sing through your amplifier. And the volume levels were totally different. There were nothing like rock and roll volume levels. The first big rock show I saw was, I mean, where I went, holy cow, look at that, was Paul Revere and the Raiders at Chicago.

They were playing to 19,000 people when they had two voices of the theater, five foot by five foot speaker boxes, one on each side of the stage, and we were just going, oh, look at that! And, of course, you couldn't hear a word, and the shows were like, you know,

it was like those Frank Sinatra shows where everybody was just screaming and passing out, stuff like that. you didn't hear anything. I was wondering about that. Because I know that's why the Beatles stopped doing shows because they're like,

you can't hear us anyway. Well, the Beatles stopped doing shows because they thought they were going to be assassinated. Yeah, and I was about to say you were there for that mighty argument. I'll get to that in a bit. Yeah, they thought they were going to be killed. But like if you look at the Shea Stadium show,

you know, like the way I see the, that's Shea Stadium show, I go, wow, look at that. They're on second base. They're, what, 120 feet away from the audience. And look, there's three bookshelf speakers. There's one on the ground named here. There's one there and there's a little one in the front.

You know, and you just go, what were these people thinking? Can't hear them at all. You couldn't hear anything. So that was like one of the things I'm proud of that I actually worked hard on was we went from that era to building the PAs to getting the stuff that everybody enjoys right now in-earmoner. You had to fight for. You know, in your monitors, man, I spent $300,000 developing those. Oh, wait, you literally. Yeah, you know.

Speak on that, please. Well, very interesting. So there was this guy in California who was kind of nuts who Stevie Wonder had hired. And he had, Stevie was playing. He had one little earpiece. And it was the way they figured out how to do it. it was you had a little transformer and a little FM transmitter. And you made this custom earpiece and one earpiece.

And then he stopped doing it and it just sat there for five years. And I had taken a lot of time off in the 80s. I thought my career was over there from 83 to like 88 or something like that. And was convinced, hey, no, man, come back. You know, you can do shows and everything. So I was doing shows. And when I got back, the size of the monitors on the stage or the size of an ice box laying on the floor. And I had a 22-year-old kid running my monitors, and it was so loud, I fired him.

I got hired another kid, fired him, and then I got an audiologist out, and I put a body cavity, one of those plastic things, and started measuring. And I said, you see, man, it's 121 dB out here. You're fired. And I tested everybody's hearing. And I tested, we had a crew and everything. It was like 55 people, and we were doing these big, big outdoor shows. And I tested everybody's hearing from the truck and bus drivers to the musicians. And the guy that had the best hearing was my house mixer.

The guy who had the second best hearing was my monitor mixer. I had the third best hearing, and everybody else was deaf. They had just dropped at 4,000 people. just wonk. Nobody could hear any siblings. Nobody could hear anything from all this damage. So we went and found this guy. We built five FM transmitters. We had separate power units because if the feds caught us, they would take the power units. So we had Japanese FM radios for our transmitter receipts for our transmitter receipts. receivers because they had a lower FM frequency than we had here. And we broadcast the shows.

I mean, it was a three-block area. And so what was cool about it was if you were one of the bus drivers, you could turn on the radio and listen to the show. What was dangerous about it was all the sound checks were being broadcast. Every time we turned the thing on, we were broadcasting about three-block area. So you couldn't talk shit about last night's meal. or, hey, what the, you know, what are you, you know, you had, I mean, it was like we're on the air and we could really be fine seriously. So we snuck around and did that. Wait, so you had to, even though it was for monitor purposes, you're still using the FCC. You still have to use the FCC? Yeah. Well, no, we were illegally broadcasting FM. Dren. Private radio. Private radio. We had five pirate radio stations stacked up so each guy could hear. Yeah. And, and I said, this is, this is how shit it gets invented.

It's always simple and really dumb. And so here we are. And we're setting this up every night. And we're broadcasting. And we're the first band that ever went out wearing ear monitors. And the ear monitors were made out of clay and they really hurt. And we went out there. And I remember the first night, I went out on a stage in front of like 18,000 people in ear monitors.

The whole bands in it were the first band. And it was like kind of dangerous. But then, you know, then we went, okay, now we got to like process the sound. You know, everything's got to sound good. Oh, now we got the sound processed. Now we got to figure out how this transmission stuff is going to, work and then a guy named Marty Garcia came in and said, FM transmitters. Are you guys nuts? Let me show you how to do this. Now, and here's the money, man. Build it. And went from there.

In ears? Yeah, in ears. Wow. Did you get any thank yous from the neighborhood? Like anybody ever come up to you? Like, man, that show was awesome last man. I sat on my couch. No, and we never got busted. Oh, wow. You know, we got away with it. I still have these things, man. They're in my warehouse. And it's like, you know, it's like the first space capsule or something. You look at it and just go, but you know, it's like tape echo and the stuff less Paul worked on. All of these ideas start from, you know, you kind of go like, I got to get this done. Honey, hand me that vacuum cleaner. I'm going to hook this thing up and blow that thing out there and turn this on and make this organ work.

Necessity is the mother of invention. Yeah, you just do what you've got to do. and it's you know I just did it because I needed it I didn't do it to you know to start a company

or do anything like that I just knew that I wanted to protect my hearing for life well that's the show ladies and gentlemen thank you very much for your entire career I was so

I brought an audiologist and we're going to test everybody now. Larry, come on in. We need that. We need it. So, wait, did you develop it to the point where it was like, did you patent it? Did you sell it to shore?

No, no. I gave it to Marty. And look, there are, you know, it's like all this kind of stuff. A lot of people were thinking about it. But I was the guy who went like, I can't work in this situation. and you guys got to stop this, this is nuts. You know, I mean, if you're on a stage and it's 120 dB,

you can't sing, you can't think, you can't rest, you can't sleep after the show, you can't hear the next day, you know all that. So that had to be fixed. So that was all. And I remember kind of thinking like, you know, it took off really quickly. People, you know, right away people wanted.

know about it and and the uh marty started a company and started you know doing in-ear monitors and the last in-year monitor story was like so now it's like 1992 or 93 or something and the dead wanted to have an in-year monitor system and they know that we had used we had been using it now for four years you know they said well we want to work with you guys we let's go do 10 shows together or something. And I said, okay. So in my in-ear monitor system with the band, I have a little foot switch where I can like step on the switch and takes my voice out of the PA, but I can talk to the sound guy or the light guy or I can say, hey, you know, there's some guy down here. There's two guys in a fight in the front row. You need to come fix that or, you know, if something's wrong or go to the

bridge or forget the next song or whatever. And it's so weird because, you know, I, you know, I It's like, I'm talking to you and it's going to, yeah, well, all right, then we're going to go, you see, when you're doing it and you're like, you kind of realize people, they don't, they don't even notice. It's like weird. You can do all this, you know? So that's the band leader control. So the first show we're doing with the dead at some football stadium. There's 80,000 people.

We go out, they immediately invite me to come out and jam. I go out and put in ear monitors. and they're all arguing with each other while somebody's playing a solo. Let's know, man. You know, just this giant conversation. Everybody's got their own paddle. Everybody's got their own thing. Nobody's listening to anybody.

They're just like, it was just all night long. You know, I just went, man, how can you guys do that? Sir, you've literally described a roots concert. That is crazy. Steve, was that in Buffalo by any chance? That was the yet last gig of that tour. Okay. I was at that show, actually.

Yeah, yeah, that was a really amazing run. That was like 91, 92, maybe? I think it was 92, you know, because, yeah. I was in the parking lot during the, your opening. And what were you doing? What were you doing? It was a grateful dead show. Everyone was in the parking lot.

You know, those shows were really funny in bands that played with a, the Grateful Dead usually got shunned. You know, like Sting had done it before I'd done it. And they said, yeah, you know, like there'd be 11,000 people in the stadium while Sting was doing his set. Well, that wasn't going to happen with me. And so we went out and we just started, and we just started with like four or five hits.

And by the third hit, people were just running into the stadium. And by the time our set was over, the whole stadium would be singing along and then we'd turn it over to Jerry. So did they figure It's interesting because you said when you got with them It was kind of like a two for one deal Like on top of getting the band They get the in-air monitors

Is that what most bands were thinking at that time About you guys? No no they had got a system They wanted to see how we used it They wanted to learn how They wanted the best They wanted to learn how to do it You know and see how it worked

And that was You know Real common I remember Guns and Roses came by. Oh, wow. And wanted to see how the in-air monitors were, because we were the guys at the end-year monitors, you know. That's weird, because I thought that it was invented.

Because by the time we started using it in like 2000, I thought like, well, okay, this is probably like three years old already. I thought like any of the monitors came around like, yeah, 1997 or something. No, I was like 10, 11 years old by then. But, you know, you have to develop that stuff. But for me, I think because of less, you know, and being around him when I was little, and like you were saying, well, did you know, I didn't know he was a genius. I didn't know anything about him except that he was like this great, great guitarist.

And he was really funny. Every show he did was always sold out. And, you know, he always had somebody come and sit in with him. So one night I'm in the club and Tal Farlow comes into the club. And it's like a gunfighter cutting session. You know, I read Tal Farlo's here and Les Paul's right in the middle of some great solo and he just puts the handkerchief over his hand and he's just playing in Tal so Cal can't steal his licks. Really?

Yeah. Really. It's like five versus five, man. I'm just, you know, pulled the handkerchief without, you know, just. it's nonchalantly just toss it over it. And he must have practiced it a thousand times, you know. But that's what it was like hanging out with him. And so I got so lucky to be around the technology, the idea of recording, the idea

of promoting a single, the idea having fun at a show, and it's a jam session. The cats are all coming by and they're all going to play. And so, you know, Charles Mingus was at the house in Millwall. Rocky Red Norville Talpah. You're just casually mentioning life right now. And they were just adults. They were just people, you know, hanging out and listening to the tape recorder

and drinking and laughing and having a good time, you know. And so that was the way I saw life, you know, when I started. And then we took that and moved it to Texas and we were considered communists. Yeah. You went in two days. You know, my dad was arrested for having a race

party at his laboratory. Oh, man. Because he had black technicians and white technicians working together in a laboratory. Two of the technicians went on to become pathologists. And they were arrested, photographed, handcuffed, picture on the front page of the Dallas Morning News, and he was described as like a swanky, you know, kind of sleazy, swanky doctor having a race parties.

And they were working. And they were working, right? It was like 3 o'clock in the afternoon on December the 20th. Probably just having a beer. December 23rd, the lab Christmas party. Oh, God. Well, you know, racists. Racists.

Yeah. And, and, uh, I want to be a sleazy, swanky doctor. You are. You are. You are, you are. Yeah, well, you know, swanky's good. So, has, has. Has Les left you any of his artifacts?

Like, did he give you your first guitar? Do you have like an amp that he... Oh, yeah. This tape recorder kid, you know? Yeah, I don't have any of the tape recorder. I have a guitar. I have a one, a Gibson 175 that he gave me in. What I used to steal from him is guitar picks.

And it was a big joke. Because the, well, the first time I went to see Les play at Fat Tuesdays, you know, worked at Fat Tusi's for, he stayed in New York for 30 years. He had his heart attack at 63, when he was 63 years old, and then he played until he was 93. So I hadn't seen him in a while. I mean, I hadn't seen him in like seven or eight years. And I've been on the road and I was in New York and he was playing and I went, God, I'm going to go see less. So I go to see him and I go say hi and come on up here, kid. Come on, you know, come on, play something. You know, and I I said, well, gosh, I didn't bring my guitar, which he thought was just awful that I was so dumb not to bring my guitar up.

But on top of the piano was this white, less Paul Deluxe model with three gold pickups and just beautiful. He says, here, take this. And he gives me that guitar, and I didn't have a pick. He hands me a pick. I get the guitar, plug it in, and we start to play, and I notice that the volume control doesn't work. it's totally out of tune. The tuning pegs don't work. Nothing works on it.

So I got the Stoge guitar, right? Bring your own axe next time. That's right. That's a lot of. Yes, indeed. And then, you know, so there I am, you know. And then I looked down at the pick that I had borrowed from him, and it was made out of plexiglass, and it had some sandpaper turned at a certain angle. It had been glued on.

It was a handmade pick. No. And I went, oh. And so every time I would see him, I'd try and get some of his picks. And he didn't like it, you know. And finally I was doing a show like this. I was being filmed. And he was sitting right here.

And I said, you know, Les is 86 years old. And, you know, he's such an interesting man. He's always working at things. I bet you he's got a pocket full of custom-made picks right now. Come on, Les, let's see. And he pulled him out and put him on the tablebed. And I just scooped it up. And so I have this beautiful collection.

of his handmaid picks and one of his guitars. But the best thing was I used to talk to him at least once a month. And he'd call me up and start talking to me. And I wouldn't even know what he was talking about. He'd be talking about digital this and digital that. And I'd be going, well, gee, I don't know, less. He was so far ahead of everything and everybody and that. But it was all simple.

His ideas were all real simple. A win is a win. A win. I don't care what I'm saying. Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media.

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He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat.

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No, no, I can actually stay off topic out of your discography forever. but you eventually migrate to San Francisco which is we're considering that even though there's psychedelic leanings in a lot of your music I wouldn't necessarily peg you as part of that dead kind of

jam band yeah kind of no no no I'd be happy to be lucky even though there are elements of that in a lot of your music I'm just like the witty writing and all that stuff but you were straight blues So how did you get into the Bill Graham circle and more specifically? I know that, well, your first record with Chuck Berry, how did that even happen?

Because I know that Chuck is notorious. Yeah, I was about to say, I know you have five hours of Chuck Berry's story. For those that don't know, and this is even from my experience of seeing Chuck in person as a kid, he never, sometimes he would meet his band maybe five minutes before going on stage. And similar to the Bootsie Collins James Brown story. Hey, you already know my material. So just hit it.

Chuck is notorious for just flying into town and just, all right, hit it. And you're supposed to follow it. Tell us a Chuck Berry story, please. Well, Chuck Berry. Yes. My best Chuck Berry. story story is the one I should have told Keith Richards

before he made the movie. Oh. Oh, no. So we walk off the stage and I say, if you ever fucking do that to me again, you motherfucker, get your own fucking band, get your own fucking amplifier and get your own people, man.

Fuck you. I'm never going to back you up again. Yes. Keep there and Tina. That was the end. Now go to the beginning. No, no. And then, from that time on he was great what did he do what he did he do yeah what he do he was chuckberry bro well no no no look there there are two guys that used to do this trick so now this is the chuck

berry and a lightning hopkins story and the san francisco story yes so i dropped acid in madison in 1963 it was lucergic acid it was pure i was at that show too and that was before anybody knew what it was or what was really going on. And so you were having your time and everything. So my first trip was poetry, Marvin Gay, Ravi Shankar, literature, mind-expanding, consciousness-growing thing, you know, before there were hippies.

Okay. Then I go to, so I'm in Chicago and we're hearing about San Francisco, these gigs and San Francisco. light show Butterfield's out there, man, and he's like making money, and they're playing to like 1,100 people a night, not 125 people. And I'm working in a nightclub in Chicago from 9 o'clock at night till 4 o'clock in the morning, six days a week, making $125 a week. And I'm thinking to myself, I've got to go to California, man. There's, you know, 1,100 people, $500 a night. Gold out west.

I'm going, you know. So, you know, the beat coming from there was just huge. And then all the bands were coming through Chicago. Chess Records was there, and the Rolling Stones had been through town. And we were doing this, we were in this great blues scene that was just magical for a few years. When I say magical, it's like, hey, as soon as we finish doing this radio show, Howling Wolf's playing across the street, man. Let's go.

Hubert's with him. Let's go. You know, and muddy's going to be here and butter's over here and we're over here and they're over here and this and that. It was just like that for like about three years and then it disappeared. San Francisco. So I go to San Francisco and I get out there and I'm living in my Volkswagen bus now. Things have gone down. I tried to go to music school at the University of Texas.

They wouldn't accept me. They wouldn't teach me how to read or write music. So I left. I got to California and I had five bucks in my pocket and I went to see Butterfield play at the Fillmore. I saw what the Fillmore was and I went, okay, I got to do it here. This is Greg. I mean, that should be me up there, you know, I want to go to that. And I got a gig at the Matrix playing bass for Lightning Hopkins for $10 a night.

And this $10 was like a million dollars to me, man. that was that $3 for a tank of gas in the Volkswagen bus and food for a week, you know. I needed this money and it's Lightning and Hopkins. So I'm playing bass with Lightning and as you know, Lightning plays like 13 and a half bar blues and then 14 bar blues and then 10 bar blues and you kind of kind of watch him. I'm playing with him and I'm kind of doing real good. You know, now I'm kind of beginning to play. He goes, wait a minute, wait a minute, wait a minute, everybody stop.

Nobody do nothing but me. and there's just him and me on this stage. I'm in, there's the most embarrassing, humiliating moment of my life, and I needed that $10. You didn't get that $10? Yeah, I did. I kept the gig, you know.

And Chuck Barry started doing that to the band. And I just couldn't tolerate that. And later, like five or six years, years later, I was at home by myself and I was watching Austin City Limits and Lightning Hopkins is playing a Stratocaster with a Wawa paddle doing this show, killing it with this great blues band behind him. And they're just ripping it up and all this and he goes, hold it, hold it, hold it, wait a minute, everybody stop. Nobody do nothing but me. And I went, oh, it's a riff. It's like, let's have a hand for what's your name?

You know, it's welcome to the blues club, you know. And so when Chuck did that, you know, I had done so many gigs with him. But the first gig I did with Chuck Berry was like, went like this. Bill Graham came from me. And you're right. We got, first of all, we got to San Francisco. And I just went, what the hell is this? You know, the Grateful Dead were like standing around for 15 minutes.

They'd do like a bad version of in the midnight hour for 20 minutes. It wasn't good. You know, 20 minutes of like, come on, man. You were sober watching them? Yeah, yeah. Okay, that explains it. Yeah. Gee, look at the time.

You know, so it was, all the bands were like, they weren't really good bands. And they were like guys who'd been playing acoustic guitar who decided they were going to get some beetle boots and a groovy coat and a scarf and grow their hair. hair along and have a rock band and they were going to be rock stars. So I got out there. I'd been working in Chicago where Junior Wells would steal your gig if he sat in, if he could, you know. I mean, everybody had to be really good. And I was like, on time, great sets. Everything was really good. So I was like the first real professional band in the scene. So right now you're destroying the myth of what we thought that the San Francisco musician was about. Like, you're just saying that they were mediocre at best or just they were all right the bands the bands were a social

phenomena but not big on 10 musical or not okay no no and you know the jefferson airplane was kind of interesting they did some things good and then other things were just like insufferably boring you know and and so it was what i finally realized was i'm standing there going what is this you know, what's going on here? And I finally went, it's a social phenomenon. This is like, this is about acid. This is about an awakening. This is about a renaissance.

This is about a moment in time that's like happens maybe every three or 400 years. It's about everything but music. And music is the hook they're hanging it on. And so I like that. once I understood it because I went, I get it. It's a social phenomenon. I like that. I like that.

But I want to change things. I want to see the world change too. I don't want to have a crew cut anymore. I don't want to go to, you know, some company and get trained for six weeks and then work there for the rest of my life, you know, and do that 50s, early 60s thing. I want a life, a much different life. And so, you know, the expansion, the mind expansion that took place. then it filtered into the music. And then all of a sudden things started getting good.

And what was hip was, so we go to Bill Graham and go, hey, man, you got to get James Cotton out here. You got to get Junior Wells out here. You got to get Howling Wolf out here. You got to get Rolling Kirk out here. You should get Miles Davis to come here. You know, Johnny Cash should come here and play. You should have, you know, and we just started giving him names.

So you were the influence that brought them out. Because a lot of us were. No, a lot of us were. know, but I was like, yeah, I was the guy who went and picked up Howland Wolf in my bus, you know, when he arrived to the airport. You know, James and his band stayed at my house, you know, when they came to town. But, and, you know, I was there the first night B.B. King played. I was there. I backed up John Lee Hooker on his first night. I did the Chuck Berry Show. And the B.B. King Show at the Fillmore, you know, they talk about it and B.B. cried that night and all that stuff.

It was pretty amazing. You know, it was like everybody was just, B.B. King's going to be here, you know, and I'm opening for B.B. King. And I do my sound checking and stuff, and then we're getting ready to play. And I noticed, you know, B.B. King's guitar tech has put B.B. King's Lucille on a guitar stand

on the stage during my set, and they got a little spotlight on it. You know? Fuck. What's this? You know, I don't like that, you know. So I'm playing, doing as good as I can because BB's in the house. And I break a string.

And I go, no. And I go, fuck it. He's going to put his guitar on the stage. Uh-uh. No, you did. No, you did. Picked it up. Plugged it in.

Man, look. Hey, this, listen, I'm in competition with BB King. I want BB King slot. Yes. That's the way music is. you know, there's no, once you play in Chicago, you learn very quickly. This is serious business, you know. And if somebody's fucking around with you in your stage, you know.

Fuck what I'm back. Yeah, but I wasn't looking to until I broke the string. However, when I picked up Lucille and plugged it in and looked at the controls, I went, what the fuck? You know, it's this totally bassy and everything. and you know it was one of those stereo gibson things you know it's I've never used and then I got the tone and I had a note and the guitar was so delicately set up the bridge collapsed and it just went plop and the strings went flat and and and uh uh oh and I pulled it back up and I kind of put these strings back on it

and kind of like ended the set and got left the building. Got out there. But wait, how long is that, as that's going on, how long is this process that the audience is watching you, like, grab the guitar? Well, I'm sure you didn't let the audience know. No, no, no, no, no, no.

That just was like a broken string, put the guitar down. Here's another one, picked it up. Oops, up, e, I, eat, and do. But, good night, ladies, in time. But, Bebe, man, I saw Bebee come out and do a show one time and break a string. and reach into his... Well, first of all, he broke a string

while he was singing. And he just kept singing. He never looked at it. He went down here and he, like, took the string off. And I'm not making any of this up. Reached into his pocket and pulled out a string in a package and took the string out.

And he's singing the whole time. He put it in here and he just kept doing this. And then he went, bang. Do do do do. And off he went, you know. And it was like... Without looking once, he just put the string on. I'm telling you, man, I was, I was as close as this to him.

It was in a little club in Sun Valley, Idaho. I was sitting right there like that, and I just went, how? Many times. You know, that's like the handkerchief trip. How many times do you have to do that before you can, or have that happen, you know? Have you ever tried to do that? No. So, no.

I know that you had. your eyes on on paul butterfield's slot you know yeah that i want that um but one thing you didn't mention was the desire to get a record deal which i'm wondering why did you choose san fran over los angeles and how did record label start calling so i had a record deal with barry goldberg we had the goldberg miller blues band in chicago and and we got uh he had a swanky sleazy manager. Steve? It's my cousin.

Yeah. And swanky. And we were given a day and a half to make a record. And while we're making the record, some guy came in and was going, you guys, you know, you guys should be doing some Jerry Lee Lewis tunes.

You know, he's trying to tell us what to record and what to do and everything. The engineers hated us. The earphone was one of those little black, hard rubber things, you know, with one side and a big pole coming out of it. We made this record and went to New York and we were on the Hullabaloo show

with the Supremes and the Four Tops. Okay. And we got, we did the show and then we stayed in New York and went into the nightclub here right after the Young Rascals left and we saw the whole New York scene. Went back to Chicago.

The whole Chicago scene was gone. Just in two months, it just disappeared because what had happened was Woof and Muddy had gotten gigs in colleges, and now they could make a whole lot more money than playing in nightclubs. Their careers were over when we were all working in Chicago. They had had their hits. It was done. They were back in Chicago, and they were just working, you know, in nightclubs. That's the only work they got.

And now they were, the whole scene just dispersed. So, and I had a gig playing rhythm guitar and buddy guys band for three weeks, and you had to have a shot of bourbon before each set, and there were like seven sets a night. And I lasted like three weeks and just said, buddy, a kid, do this. And I went, and I got to San Francisco. So what happened in San Francisco was, okay, it had a record deal. I realized a whole bunch of things really quickly,

and I had gotten out of that deal forcefully. I made them fire me in Chicago and publicly because I figured I was going to have a contractual problem with Barry's manager later, which I did, but I kicked his butt, so it was a kid. So I went to San Francisco and was there for about six or seven months. did the Chuck Berry thing, which just came up out of nowhere, like, hey, Chuck Barry's coming to town, made him rehearse for two days.

I'm surprised he did that. Yeah. What he did that was upsetting was he rehearsed for two days, and we hung for two days, had a great time, and then five minutes before the show started, a friend has showed up, they went out and got high on some smack or something, and he came in and did the whole show like at halftime. It was just very slow. set and that was disappointing you know but so now I'm seeing this and now there's a feeding frenzy in san francisco to sign anything that's walking you know i mean they were given 30 000

to anybody it's like seattle and yeah like the grunge thing yeah yeah yeah 10 times what it was in Seattle. It was so... I mean, I had 14 record companies giving me offers, 14 of them. So now I'm in a feeding frenzy, and I got everything's going the way I wanted to go

because I'd had a little taste of the record business, and I learned very quickly that I wanted complete artistic control over everything, every picture, every cover, every album, everything they said, anything they put out, any music I did. I had to own all the publishing,

All of it. That's real. I had to own my songwriting. No, you can't have any of that. Wow. And not only that, I need enough money in a no-cut contract to make five albums because I've got to learn how to do this. And how did you learn to ask for all that? Yeah, it wasn't a lawyer.

When you run a band from the time you're 12 years old, life is really simple. You know, like the things I just told you, You know, when you talk to brilliant musicians, and they go, God, man, how did you, how are you so smart to know you should keep your publishing? Because I kept track of the money, clown. You know what? You think somebody's going to take care of that for you? No, nobody ever takes care of that, you know? And so, like, if somebody said, hey, man, we want you to come to Streetport, Louisiana and play a gig, we're going to pay you $125.

I'd say, well, that'll cover the gas. You know, it's going to be $2,000 or whatever. I mean, I just, and I always said, You manage yourself, it sounds like. I always said I'm not going to like gouge anybody, but I'm not going to be taking advantage if I just want to be on a kind of a little win-win situation for everybody except with the record company.

And I had a friend who was a prosecuting attorney in San Francisco, and he didn't care about being a music industry lawyer because all music industry lawyers work for record companies. Exactly. Rather than, I don't. worry about that. I'll go take care of Jimmy Hendricks. I'll get him signed up here and everything will be great. You know, whatever, that happened all the time. My guy was,

didn't care. And I went to him and I said, this is like slavery. They want to, you know, but, you know, if I sell a million records, they're going to want to give me a car, you know, $4,000 in cash and stuff. This is the way it's treated, you know. And I want to own everything. And these are the things I want. And so we just started, and they said, well, nobody gets that. And I said, well, I don't want it. I'm not signing. And I wouldn't, what I did was said no for nine months.

And it's like the term of pregnancy, you know. It took nine months. So just, no, thanks. No, no, he's not interested. And I had guys coming to see me and asking me to do all kinds of stupid things. And every time a record company would say like, well, hey, man, I want you come on over to the studio tomorrow morning. We'd like to cut some tracks,

see how you guys do in the studio. You expect me to carry my gear from a, you just saw what I do, and you want me to come over and you want to test me. You go back to Hollywood and tell the president of the record company, if you wants to talk to me, here's my number. You know? So everyone was a suit? Everybody was a suit, and they were square.

Was there anyone that was, like, hip? Because you hear people like, I'm so passionate about music, But were they all just suits? No, they were all suits, and they were all hustlers. And we really began to look at everybody from L.A. is kind of like a weasel and a rat, and somebody was trying to steal everything. And I did my contract.

I got my contract done, and I brought my contract down to a community band meeting at the Carousel Ballroom and gave it to everybody. And said, this is what you need to get. So there was this kind of community, going on. We had our newspapers and our poster art and our shows and we were

inventing it all. It was all coming from San Francisco. L.A. wasn't turning out anything except pop crap. You know, come to San Francisco wear some flowers in your hair. You know, that kind of stuff. And we were like beginning to go out

and so when we would come to your town, it was like we were carrying the culture on a platter. Here we are. Here's the culture. Here's what it is. Here's the light show. Excuse us while we jam on fly like an eagle for an hour. And that's what it turned into.

And it grew and grew and grew and grew and grew. And people came from all over the world. So there's a huge awakening. And it happened in San Francisco. And it happened around psychedelic drugs, really. And it happened in an area where there was a lot of, leeway for artists and bohemians and poets and you know san francisco is a really great place and then it uh were you the lone cynic in that whole atmosphere yeah for a while i was you walk down

hate street and people just put a flower in your lapel and yeah you know i mean i was i was a cynic about the bands i sort of regret a lot of what i said about a lot of these people i've now known for 50 years and they're still playing, you know, but I used to go, this is just such nonsense. Well, I know you're saying it now in hindsight, but were you that honest, back when you were doing press 68, 69, 70, like, yeah, Slice Stone, whatever, you know, like. Oh, no, no, there was no, there was no Slice down whatever. Well, okay, that was my, uh, Jefferson Airplane. I was in the studio, uh, Sly was cutting his tracks and I never heard rhythm tracks like that

in my life just a the whole building was just doing it I opened for Sly one time another hard gig yeah because he didn't show up no no this was when Sly was healthy and he was okay

oh damn what was that and he was unbelievable is what it was like it was one of the greatest nights you ever saw in your life and I'm down to like playing as a power trio you know I don't know it was like we're a power trio now because that's all we can afford

we're opening for Sly you know it's like 19 whatever it was and people are going get off the fucking stage where's Sly! And I'm like playing space cowboy or something like I go this really hurts I gotta get off

the stage we're going to leave now so you know and I'm watching Sly play and it's the only time in my life I've ever left a building. I said we have to leave the building because that balcony is going to collapse. Come on. We got to go right now. Right now. The balcony was doing this. It was going

up and down. Like that, you know, and then it was going to go like that. Yeah. Seriously. Yeah. Seriously. I've never seen, never seen that in my life. Huh? I'm telling you, man, I had to, I left the building because I just thought, you know, I took, My guys with me, I said, we have to leave. We have to get outside. This isn't going to last. But Slywas, until the drug, Sly was like one of the greatest things that ever happened. And I didn't like the San Francisco bands.

I didn't like much of the San Francisco music. And I like Moby Grape. You know, I kept seeing all the bands like, you know, when Stephen Stills and Buffalo Springfield came in, you know, like, didn't like them. I didn't like that. a cowboy buckskin, Gretsch guitar thing. They were all egomaniacs.

He's the me of the six. I know. They didn't really get down and play, you know, and the band I did like was the Doors. Oh, wow. Okay. You know, doors came up and I came up,

man, that's, that's smart, man. That guys get that little bass thing there and it's real clear and it sounds good, you know, because most of the time it sounded pretty bad, you know, and these bands really, they didn't have enough. experience. I had already played, you know, a thousand gigs from the, you know, the seventh grade

through college. I mean, I had really played a lot and was, you know, wanted things to sound good. You know, sound was a big important part. And then, you know, when the dead started like, their approach, this would be the San Francisco approach to sound. 200 Macintosh stereo amplifiers hooked up to a bunch of speakers stacked right behind the band. the temperature behind the stage was 470. Yeah, I was going to say. You know, I mean, the approach was like crazy and drugged out and too much money and too much stuff. And like I looked at all those bands like they all had kind of drug dealers for managers.

So they had all this money. They were the local guys. I was from out of town. I had to make my way. I had to do my way. I felt like I personally kept the Fillmore Auditorium open for Bill Graham. I played there 120 times. You know, I mean, when they needed help, I was the guy that had to be.

But the scene just grew and it kept growing and it got better. And it gave me a place where I could do a stake and get a recording contract. my concept of a recording contract was like the Beatles or something man I was going man I can't wait to get in there and make some records and I'd worked as a you know janitor at a recording studio in Dallas and I had been ping ponging back and forth and quarter inch track tapes you know stereo machines for years and working on all of this stuff trying to you know get stuff together but very rarely was able to get into a studio and the studios were crappy you know they were like four track and then it was eight track

and then it was 12 track and then it was 16 track and then it was so getting a record deal being able to to do that I thought was going to be really great and I went down to L.A. to do the first sessions at Capitol Records and I'm thinking man I'm finally sending a deal I got everything I want these guys are going to help me produce my record this is going to be be really great got there and they said well your studio time starts at midnight and so why's that and they said well you know the studios are booked but we've got you a session at midnight okay and we'd man we'd driven down in the bus you know with the we had the b3 in there the band in there everything you know the leslie all our stuff we get in there and set it all up and um it's about three o'clock in

the morning about time we're ready to really start recording and i just said you know i'm too tired but You know, we're set. We got, you know, we got a good drum sound. Let's, let's come back tomorrow and we'll start. Okay. I said, well, it's going to be midnight again. I said, well, all right. So we get there at, you know, 11 o'clock or, you know, and they say,

you're going to have to move all your equipment from Studio B to Studio A because somebody else needs Studio B. Now you got to set everything up again. So we move it and we set it up and we get ready to record and the engineering department walks out. What? What? You walk out. Walked out of the building. They just left. And we were just standing and going, what do you mean? The engine, they what? So I go call my executive producer, John Palladino, and I say, you know, I'm here at the studio.

This is what's happened in the last two days. You can have your money back. You can have your contract back. You know, I'm done here. You know, oh, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. And that's when, you know, I went, okay. I've been so naive and stupid about record companies. You know, there's nobody's going to help me do anything. I'm in a cesspool where everybody's fighting for the same resources.

And guess what? All the engineers are sort of right-wing crew cut kind of Vietnam vet kind of guys who don't like me at all. In fact, they don't really want me here because I'm this dirty hippie, you know? And that's what it was. So because I had been so smart and made that great deal, We packed our stuff up, put it on the USS United States, and went to London and recorded at Olympic Studios.

I was going to say, because the legendary Glenn Johns was involved with the first four records, correct? Yeah, and he was our engineer. And he was always legendary. But I was going to say, did you purposely, like, Glenn Johns shaped Rolling Stone stuff? But, I mean, more importantly, like, just the way he, engineered, especially with Led Zeppelin's, like records. No, no, that's his brother, Andy. Wait, so there are two of them?

Yeah, there's two. So here's the thing. Glenn Johns was this very rigid British pop guy who had a pop haircut and an alligator skin jacket and a briefcase and drove an XKE and come on, lads, here we go. He was like Dave Seville. And he had come up as an engineer in the British, the London pop. pop scene, pop music. So they made good records. We got to Olympic studios, and as soon as we got there, there was a guy named Dick Sweatnam who invented a whole lot of great stuff who was

like working on the board, and we just went, oh, this is going to be great. They really, really want to make the guitar sound good. We'd record in the States, and you'd cut something and it sound great, and you'd go in, let's do it, and, you know, it'd sound this big, and you'd go, God, what happened? So start working with Glenn. He's our engineer. And I'm just totally at war with him because I like the stack sound. I like the Otis Redding sound. I like that dry, real sound. And he's got everything going through a plate and it's all kind of in a reverb chamber.

And we're just arguing about presence every day. Argue, argue, argue, argue, argue, argue. But, you know, at the same time, he knew how to, like, get guys together and organized big. He was up for fast multi-tracking and stuff. So we started learning quickly, you know, how to make records, how to cut tracks, how to really do it. Was this on four or eight track by the time? Four. Children's Future is four?

Yeah. Okay. Okay. Now I have a question. A lot of your, one of your signature trademarks are, well, obviously you're an albums-based artist instead of just throwing you single. You're a sucker for electronic music, aren't you? Well, I'm just saying, hell yeah. I am.

See, you don't understand. Segways. I can't wait for this. Wait, but what I'm saying is that a majority of your albums sort of have this cinematic intro to it. You don't... Right. I'm discounting space, even with the Italian record.

I mean, most of your records, you start this album with a damn near a two-minute drone. So in your mind, I mean, I know that in the late 60s, the whole don't boars get to the chorus, you know, just throw your hits thing out front and whatever. Well, that's singles. Albums are different. Right, but I'm just saying that no one's truly thinking in terms of crafting albums. So.

Well, there were, you know, like the Beatles were doing it. And this stuff comes from, like, symphonic music and like Bozo goes to the circus. turn page two put the next disc on and you know sparky and radio mystery shows and all of that stuff that i listened to all the time as a kid made making an album cinematic so it's more like we're going to go someplace we're going into this special place we're going to listen to this thing it's going to be real and broad and deep and there's a you know if you're willing to do this you know and and that was always my goal and i was into stockhausen i don't know if you've listened to stockhausen but uh i went to germany and met him in i went to his studio and saw how he did things and and and i always loved

the idea of creating a big horizon or a space and having it be like a story. Like it's a musical journey. It's not just one tune. And at the same time, then you have to pull the one tune out, and then that's a whole other game making single records, and that's a whole other art. So it's two different approaches. As far as engineering is concerned, you would re-engineer and mix...

a song that was going to be a single for specific reasons? Yeah, yeah, as soon as we could, yes. And, you know, it was always hard. I mean, like, back then, you know, like, if you wanted to change the running order, you had to cut all the tunes up and put them on separate reels. You know, if you had 14 songs or 12 songs, you had 12 different reels, and you go,

okay, give me song number six. I'm going to make it song number two. Okay, splice it together. Okay, now splice all 14 of them together. That's this and that. No, that's not right. Take it apart. Let's just do it again.

You know, it could take one. weeks just doing the sequencing so i always i just always like that sort of sense of like you're going on a journey and when i when i tell you it's bozo goes to the circus there is an actual album called bozo goes to the circus and it's kind of like that a win is a win a win a win i don't care which i'm saying yep that's me clipper taylor the fourth you might have seen the skits the reactions my journey from basketball to college football or my career in sports media. Well, somewhere along the way,

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feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration, it would not be on a calendar of, you know, the cat, just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Yeah. Listen to Thanks Dad on the IHeart Radio app, Apple podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make

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Listen to Love Trapped podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. As far as your approach, I mean, a lot of the earlier stuff was just blues heavy. Yeah. How did you, well, the thing is, the one thing I didn't do, even though I had, okay, so I went through two phases of discovering. music, naturally having it. Of course, my dad had like a couple records and then later my sister had a few records. And then once hip hop came to play, then I had to buy everything that any, any artist ever made just so I can study their discography.

So the thing is, though, I'd never looked at or even knew of rock critics disdain for white blues. of which, you know, like, Rolling Stone notoriously would tear up. Am I flinching? Did I? Well, I mean, because they were, well, you know, you didn't live this authentic blues life, so why are you approximating it?

I barely know what white blues is. I mean, it sounds weird when you say it like that. Give me like three. I mean, his whole, yeah, I mean, his whole career, I mean, the basis of his career is taken, but the thing is, is that, I'm now realizing the life that you live from Les Paul entering your life and to all the people that you backed him.

You couldn't help but take the torch. When I got to Chicago and everybody I met in Chicago, I was, these are just a bunch of white kids have been listening to records. Right, okay. I got you now. I just went, ha, he's got a record contract. Give me the mic. You know, because where I grew up, that's...

So were they amazed that, like... Like, you listen to him. He was in my living room. I was trying to steal Muddy Waters gig. Oh, so even then, Muddy Waters wasn't like a god. He was still competition. It's like I told you, Muddy's career was over. They had had their hit singles.

They were done. There weren't any gigs for Muddy Waters except in these nightclubs in Chicago on the south side and the near north side. That was it. They might go to Detroit, maybe. They were living at home. Muddy was, I think, Muddy was working as a janitor of chess records when the Rolling Stones came in. And, I mean, it's just where it was.

And that was considered normal. You know, you made three records. You were a star for 18 months. And, you know, now it's the hula hoop. Somebody else has got. Sounds like hip hop today. You know, yeah, in a minute. Everything, everything would change.

And so when I got to Chicago, they were talking about this blues scene, and they were talking about Paul Butterfield. Now, Butter had a great band. And it was like a little Walter record sound. Before Mike Bloomfield joined the band and screwed it up, in my opinion, and I know people go crazy when they hear that. I love you, brutal honesty.

It was so sweet. It was such a great blues band, you know. But I always felt like these were kids. They were like sat around and, you know, did this with records. And I never felt that way because I was listening to blues all of my life. And I was around blues musicians all of my life. And then growing up in Texas, I was around them all my life. And T-Bone was the guy I learned to play lead from.

So I didn't have that issue of like, I want to be blues. artist and I'm going to dress like one and I'm going to talk like one and I'm going to get a guitar just like that. I mean it wasn't like that. It was just like I want to play music and this is the music that I can see in front of me. So that was my difference. But wasn't it technically always going to be a disconnect? Because now I'm getting what y'all saying about white blues, black blues, but wasn't it always going to be a disconnect since muddy waters and all the black musicians were speaking from a place of pain and regardless to if you were in their room,

the room with them at the time, you would never really feel, right, what they are playing. White people have pain, y'all. I hate to break the news. Well, not in America. It's a different kind of pain in America. It's still pain, yeah.

You know, I think, like, first of all, first of all, like, I used to hear Muddy Waters and Otis Span and that great band playing a room, the size of the room we're in right now. now. And what I was thinking was, uh, how great this sounds. How what a phenomenal, what, you know, adults playing adult music. This is, this is jazz. This is, this is, this is

incredible. And, um, you know, um, I think, you know, the music just gave you empathy. You know, I, I, I never, I mean, I didn't have this. Are you qualified to play black blues? Yeah, I am. You know, let me show you, let's play some blues. Let's play 44 blues, baby. You know, that kind of stuff. So I just, it was my music.

I didn't look at it as I'm learning Muddy Waters music. And so when I was around Muddy and Howling Wolf, I started growing up as a musician. And I started seeing somebody who, like, played really great harmonica. I could learn some things from that. Or I saw somebody who was doing something. But I didn't see anybody playing guitar like T. Bone Walker and me. I didn't think Buddy Guy was, you know, I thought Buddy Guy and Junior Wells were like

pretenders. You know, they were like the junior set. Whoa. They were just. I just heard it too. I was like, hey, let me tell you. It took a second for a second for a. Are we?

They were clowns. They were clowning around. They were just fucking around. And the minute they got their record contract, they stopped playing blues and junior did a solo album and wanted to be James Brown. So everybody's human here, you know. So what were your thoughts on the, what was the electric album that Money Waters did?

Electric mud? Or even that where he said Money Waters hates this. Oh, yeah, yeah, yeah, yeah. What were your feelings on? I didn't really like that, that approach. and I was asked to do a record with John Lee Hooker and I said, well, yes, I'd love to. So I go over to the studio and there's like, here's what it was like. This is the white blues syndrome.

There's a white guy producing the record going, okay, John, all right, that's fine. Just sit over there. And John Lee Hooker's like in a corner, you know, like he is, you know, kind of stuttering and sitting there and very shy, man, you know. and outside there's like five white guys with long hair and guitar cases like next and inside there's like a good rhythm section and they're just coming next and they're just going to make this this album factory process so i walked in and just said this is all wrong and and i started talking to john and i said man let's do this let's do that let's work on this let's get going you know let's do the stuff and uh i did one tune and i was gone, you know, when you saw those kind of albums, those were terrible. So what you really want is the real deal. Now, Butterfield is the real deal. You know, there are white musicians who are the real deal. There are black musicians who are the real deal. And it shouldn't, you know,

it's like, I get all the social, you know, differences in the fight about it. But really and truly, when you get into the room and you just start really playing music, some people play the real stuff. And when that happens, then all that other stuff just falls aside and it becomes great. And the record companies promoted all that bad stuff. That was just some jive A&R guy doing, trying to make money. Okay, so there's a question.

Now, I believe you when you're, you know, even though I wasn't there to see these bands in San Francisco, or any bands that you've seen, you're like, okay, he's good, he's not good, their quality, they're all right, but sort of the way that the three of us would know, and I'm pointing to Fonte and Bill, the three of us would know a quality producer,

all right, Dilla, like, and we respect his drum patches, all of his, you know, his whole arrangement. And then we'll hear an unnamed imitator that might be more popular, and you're like, oh, man, his patches are horrible. Right, right. the sound. So what the one thing I could never, because the thing is, is that because I'm from

another generation, I saw or at least feel the beauty and the stuff that you might not necessarily see as the real deal. But what, what are the, the qualifications for somebody to be the real deal? Yeah, what, like, do you look for technique? Do you look for a specific robrado or tone in their guitar playing you know none of that space in their phrasing you know I mean

it's presence it's feeling it's right now right right here what you know you're doing right while you're here and some people can be just technically

totally incompetent and can be great and other people can be just unbelievably technically competent and just bore you to tears. And so it's all the idea. You know, it's the material and the presence. Well, can I ask, as a blues guitarist, what is, what was your opinion of Hendricks as a blues guitars? Great.

Absolutely fantastic. Now, as an amateur, okay, it's not me being an amateur, but if I'm coming from an amateur standpoint. And I have this problem with musicians today. They think, okay, I got to overplay everything to make up for technique. And I knows that with blues guitar players, that the guys that are often praised are the guys that have the least amount of, the least amount of notes to do. Virtuosity, yeah. So my favorite blues guitar player is Jimmy Vaugh. Jimmy Vaugh. and Eric Clapton just had a 70th birthday party at the garden and John Mayer was there and da-da-da was there

and Buddha Bupa was there and Hadi Ha was there and he's got all the guitar players and Jimmy's there and everybody's coming out and they get to do their solo and they're all playing like Eric with that sort of soprano woman tone that... What's it called the woman tone? I love it. All over the place. right you know just fast and fantastic and like you think that was good dig this and

and jimmy came out and hit one note and kind of went splank and it kind of hit the floor and went blap and the whole building kind of went oh oh oh okay you know and that's the difference and some people who got it and look there are people who make millions of dollars selling bullshit we know that you know and the public's easily fooled, you know, and they go along and their packages are sold and things are managed and weights put behind certain things. But when it gets down to the real just unvarnished truth, then somebody who's present who's really saying something really playing from the heart, that's the first thing. Who from that era never got their props or their respect that you felt deserved? God status. My God, we're never going to get to like,

we're not going to get to fly like an eagle. I know, but I'm not mad. I'd rather have this education. Yeah, this is good. Curtis Salgado and the Stilettos. I hate to say this. I've never heard of him. Can you say that again?

Curtis, Salgado, and the Stilettos. Check them out. They're a phenomenal blues songwriter and singer. And great harmonica play. and badass bandleader. And he's had like four or five bands. He's really funny with his bands. Every time he has a new band,

I just go, God, Curtis, where did you find that guitar player? I don't like that guy. I'm firing him. My rhythm guitar player came from Curtis's band. I was just going, when are you going to fire him? Great, thank you. All right, I'm going to try and skip ahead a little bit because I got to talk about you.

Okay. All right, so I want to go to A Brave New World. Now, I've heard a lot of stories throughout the years about, especially with my dark hour. Can you confirm or deny that you were witness? Wait, you guys are smiling already because you know I'm going to come with. Now, the rumor was that you were privy or in the presence of the actual breakup of the Beatles. that both from what I heard it was that both of you were in Olympia studios or yeah I'll tell you what tell me what happened so I went to London to mix brave new world okay and Glenn was going to mix it

and he was working with the Beatles at Olympic studios and he said they're running a couple of days over so just come and stay at my house and you know we'll go we'll start in a couple of days and then he said let's go over to George's house and I went to George's house she says yeah George's house so we go over and go to George's house and George opens the door and he's just sweet as he can be and he says oh man children of the future

you know sailor I love those two albums I was going you do come on in and twirl of you know the prayer wheel and look at the synth and I'm going okay And I was just like that, you know.

So you did like the Beatles? I loved the Beatles. Okay. I thought the Beatles were just one of the greatest things that ever happened in the history of music. We talked so much blues that I just didn't think that pop was even on your radio. Oh, I love pop music. We're just talking about one thing. No, no, I get it.

So he says, all right, we're going to go over. They're doing a session tonight. So come on. me so I go into the control room and John comes in and Paul comes in and Linda comes in and uh Oko yoko comes in stop stop stop I love it dude I'm on them and and um they're doing uh uh uh jojo get back get back yeah and they just walked in sat down sang it in 20 minutes

and we're done and then John had to leave and go to a TV show that was like the Johnny Carson show of England and he went and he said something that just turned the whole country over and shook this change out of everybody's pockets or something you know and then he came back

and they didn't do any more that night and it was like if the Beatles were in this room it'd be like there were like 400 tubes with cameras. These would all be cameras. I mean, that's the way it felt. And it'd be like, okay, John's talking to Paul now. Okay, Paul got up. He walked over toward the kind of, they felt like, I didn't know how they did what they did. And they were super tense. Very relaxed in the whole situation, real nice. So the next day, they're going to do a session.

And John and Ringo didn't show up. George showed up and Paul showed up. And so were sitting around and they had set up the gear. They had the drums and the amps and stuff. And Glenn says, why don't you and Paul go out and jam a little bit? And he said, okay. So I borrowed, I've got Lenin's epiphone and then plugged into some cool little amp and I'm playing this riff and Paul's playing drums. You know, I don't think about all these things the way a fan would think about them.

I was pretty shy meeting the Beatles. But the next thing I know, I'm doing this recording with Paul, and Paul's a great drummer. You just heard it. And I was just going, oh, this guy can. And I'm going, yeah, well, dig this lick. Well, yeah, dig. And we're in here doing this now, you know.

And I'm not thinking about it. And so we start building a song. And we're building a song. And Paul comes back out and plays the bass. I did the second guitar and he says, I got a pedal steel in the other room you want to play. I said, I've always wanted to play a kid. You just plus this and you

and you just put that on. And then we're doing the background vocals, doing the my dark hour parts. Yeah. And while we're doing that, the session gets stopped and a newspaper article is brought in

that Brian Epstein's mother, Brian had died, their manager, had just sold the Beatles publishing to Northern Songs for, I think it was 4.9 million pounds. And that's when they found out that their publishing had been sold. The NCV Northern Song Cell happened that moment? Yeah, I mean, it came in. It was announced in NME, New Music Express. And, hey, look at this. And so we're kind of reading it. And I'm sitting there going,

fuck you don't own your own publishers and you do and then we start talking about Alan Klein and John wants to sign with Alan Klein and Paul doesn't

and I'm going you don't want to sign with Alan Klein Alan Klein will steal all your publishers no those guys are gangsters you don't want you're right

don't do and I'm sitting here going I can't believe that I'm sitting here talking to like somebody that one of the few people in my life that I really really am just in awe of as a talent and I'm going I'm better off than Paul I own my own stuff I can't believe this you know and so there was poison between Linda and Yoko and I remember the one thing that Yoko did that that really blew my mind was they were mixing get back and she was on the phone and she said hey could you turn that down I'm on the phone

And she, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, I was like, I was like, a fly in the room, like, I didn't want to move anything, you know, I was just like, well, they were doing it and they'd go, what do you think about this? See, it's really great. You know, I mean, that's the way I felt while they were doing it. I really wasn't relaxed yet. I hadn't played any music with them or done anything, you know, the next day was a whole different deal. And that wasn't the day they broke up, but I saw the stuff that was going on. And, you know, it was just like, and I had this kind of thing. Like,

boss wanted to go sign a quick deal with some guy. Fuck. You got to talk about boss scags. Yeah. I'm so unprofessional. You know, you know,

we need this guy, you know, Lenny's going to be our manager or whatever it was. And I was going, boss, you're nuts. We can't let,

you know, we have to keep control of our business. No. No, no, no, no, no. And there was a lot of that. You know,

it's like, hey, kid, I'm going to take care of you. I'm going to, you know, the whole deal. You know, and Lenin just, it seemed to me like he just wanted somebody to take care of this stuff and have it stopped driving him nuts.

And Paul was kind of going like, I want to own my own publishing. I want to own my own stuff. We need a good manager. We got to be smart. This isn't going to work. And that was, you know, when it was going on. But they hadn't broken up yet. So I wasn't there the minute they broke up.

But I saw what the key elements were, yeah. A win is a win. A win. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show.

This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man.

A group of women discover they've all dated the same prolific con artist. I felt like I got hit up. a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. What's up, everyone? I'm Ego Wode. My next guest, you know from Stepbrothers, Anchorman, Saturday Night Live, and The Big Money Players Network. It's Will Ferrell.

Woo, woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day and I was like, and dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through and I know it's a place that come look for up and coming talent. He said if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved.

And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck.

Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok.

In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone's, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected.

They would uncover a disturbing pattern. Two more men who'd been through the same thing. Gregalespian and Michael Marincini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences.

Ladies and gentlemen, breaking news at Ameriopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. Steve, did you ever have a manager? Never. Yeah, I've had a couple people manage me. And my first manager got me busted when I was in London. So I fired him. And yeah, he had a heart-shaped Valentine with a pound of weed said to him.

Didn't tell anybody it didn't arrive and he left town. Oh. And he left you with it. Right. Yeah. It's just stuff like that, man. You know, I have never, I had a, I got a lot of help from a guy in Chicago named Frank Freed who was a good man who helped manage me for a while, did get part of my publishing,

but sold it back to me for $9,000, which is the last $9,000 I ever had. I mean, I had at the moment. But after that, I never could find anybody who was smart enough to be my manager. And by that, I met they didn't know which lawyers to use. They didn't know what kind of insurance to get. They were full of shit.

They were hanging out in some office. They thought it was a party. They didn't have the kind of connections I wanted. And I was always scared of guys like Irving Azoff. I always thought Irving would skin. me. You know, it's turned out to be one of the best guys there is for artists, but, you know.

During that time, Peter, we're so mafia infused that, you know, you could make... Well, everything was mafia or record company, and the managers, I mean, a manager was a guy who was like in Los Angeles going, hey, what do you mean, the hotel's bad? The PA doesn't work.

Listen, I got to talk to Madonna. Right, right. You know, I mean, they were just playing everybody, and there wasn't very much respect for artists and I just didn't in my run I didn't run into the right people I never ran into somebody who was like going to be doing as much as I was doing and earning their equal share of what what it was was chef around at that time no chef Gordon yeah yeah yeah is I was gone and I love chef you know

and he's you know you my guy you think it's one of the ones that was the drug dealer right he said that no chef said that so and you know and you know and you know know, I didn't want a drug dealer or a kid to be my manager. I wanted, I realized that I needed more than that, you know, and it's taken me a lifetime to figure out what it really takes, you know. I mean, I've been doing this now for a long, long, long time about, you know, 60, 65 years. And it's, it's been a long life. And I've learned a lot about business and there are very few managers. People can really actually manage you

through the stages of a career and they always want to own you forever. So do you want to give advice to anybody that's listening on what to look for in a manager? You're still looking though, right? I mean, yeah. Or maybe like things for them to, you know, signs for them to look out for. Red flags. Honestly, an organization, really.

Well, yeah, an organization that's on. Honesty is really important and of course knowledge too, but it's really, really, really a difficult thing. And you have to decide, you know, when people make these decisions, they don't even know what they're getting into. They don't even know what their lives are going to be, you know. It's the only place in the world where, you know, somebody comes up to you and goes, when you're 18 or 20 years old and goes, I'm going to manage you and I'm going to own part of this for the rest. rest of your life and I'll probably sell it and make more money off of it than you will later. You know, that's kind of what management is really looking to do, you know.

I wasn't that honest though. Yeah. So, okay, I guess we should also mention, at least Space Cowboy on the record. Did you plan on that being a main single because I always wanted to know why was at the end of Side 2? because I would normally think that, okay, your first single or your big single should at least be in the first three songs. I hated Space Cowboy. I didn't want to put it on the record.

So was it an accidental hit? Yeah, it was one of those kind of things like I have had, I've written myself out of what I call the rock ghetto. Right. You know, several times by luck. and SpaceCalb was a poorly executed, executed tune, poorly written, done in 15 seconds. Or was it? But the idea was really, really great. And we knocked it out without any respect, and we didn't take, like, when I was talking to Paul

about writing to McCartney, I was going, man, how did you do? What about all that? And he said, oh, he said, God, we did those things so fast. I wish I had taken more time with some of these songs and that was kind of like which one? The long winding road? Was that too short? Which one was it that wasn't, didn't meet your standards, you know?

But when you look back and you see stuff like that, like, you know, Space Cow was just a terrible track and that's why it's stuck on the end. And everybody's going, are you crazy? You've got to put it on the record. You still maintain that to this day? No, it's a great song. Now I completely redone it.

we're killing it now when you hear the original you're just like meh still I get I sweat and blush go on dude I mean but you see how effective

I sweat and blush I mean there's a Simpsons episode about it so I know you're at least like okay maybe maybe I was wrong about it you know here's the thing

like I've never met any artist who has any concept of who they are it was so obvious Chuck Berry didn't have a clue who he was you know, didn't know who Chuck Berry was, you know. Right. I don't know who Steve Miller is.

I'm inside of Steve Miller trying to think this stuff up and do it. So when somebody comes up and goes, oh, man, Steve, space cowboy, you know, the Steve in me goes, God, that was the lamest track we ever cut. I can't believe it sounds terrible. It's an awful mix. Guitar solo is like, why did I have that effect on that guitar? Ugh. You know, that's me.

That's the way I'm looking at it. And somebody else is going, God, man, Space Galboy saved my life. And you have to, you know, it's really hard to just shut up and go, thanks. And thank you, you know. So it's really hard to know who you are to other people. I have a hard time with that. You said it only take 15 minutes in it, one take? Yeah.

Well, in contrast, you said in an interview once that I think the Joker took three weeks to make. Oh, no, that's the whole album. Okay, not just. No, the Joker album. I thought you meant. Okay, I thought the song took... The Joker was really quick. That was like 17 days for the whole thing.

Oh, man. Okay. And thanks for putting that song in Guitar Hero. My kids love that song. Oh, yeah. You know, God bless it. I love the fact that little kids love my music and they all sing it and they all like it and they can sing the parts. You know, that's as good as it gets. Not that I think... Well, I don't know if you... See, I like to think that everything that you've done on your records

had some sort of scientific purposeful meaning to it. Oh, yeah. And I know you're going to be like, I don't know what I was thinking. Okay, on the Joker album, right at the beginning of Come to My Kitchen, I mean, you have this monster groove. It's only for like 18 seconds, but it feels like you're going to do a live concert, and this monster groove starts, and then it just fades away, and then you go into coming to my kitchen. Why?

And where is that groove? Because that groove was kind of a sound check. Yeah. And still have all of it. And it was a great groove. And I wanted to, I wanted to create this environment. And I wanted that. I knew it was such a great piece of music.

I wanted to put it on the record, but I didn't know more what to do with it. And so we mixed it with the Kitchen Blues, which was this live performance. Right. And it's just like... Was it us like walking into the concert hall as the song was ending? It's kind of like, to me, it's always like the spaceship lands.

You know, it's like there's a lot of that. Like I was always playing the Echo Plex. Whopoopo, boop, boop, boop, whop, you know, into another thing, you know. And I don't know, you know, why I didn't take that and write a great piece of music. You know, I was always very serious about making my house. and trying to entertain people, say good things, kind of educate people, have it be a little bit more than maybe what they were thinking they were gonna get.

And so I was serious about it. It wasn't just like, oh, I don't know what I was doing, but sometimes I didn't know what I was doing like on Space Cowboy. I thought it was a great idea. I just, you know, we made five albums, I think in 18 months. And that was the third one or something, you know.

It was like we were really moving fast. When you're making these records, do you, I mean, they also have a, I know it's going to be weird maybe for you to say this. I don't know if anyone's ever described it to you before, but, I mean, I consider these hip-hop seeds, hip-hop records because some of them are so groove-based and the way that you mix them,

it's like R&B records. Even with like, I mean, I'm not even talking about like, take the money and run or whatever, that had break beats at the top of them, but just in general, like, were you mindful of soul grooves and maybe that somewhere out there

there's a black audience that would embrace you as well or that sort of thing? Stop. We had a black audience. We had a big black audience. I did not know this. And everywhere we played, it was really a mixed audience, and we were a mixed band.

And so, you know, Gerald Johnson was one of the greatest bass players in the whole fucking planet. You know, he's great. And we had, you know, before the sheds, it was all integrated. And as soon as the sheds were built and they moved out to. to the suburbs, like all of a sudden I was just playing to an all-white kind of. Shed. Like, man music. Well, see, our shed is actually in the inner state.

Actually, our shed's in the hood. Oh, I'm a half-me music center. Okay. All right. When it's half-covered. In Philly, man music center is right in the hood. Yeah. In the plateau where everybody goes.

I played one of the, you know, I played there many times and had one of the most corrupt gigs of my life was done there. Where? At the man or at the, at the, uh. At the man, music center. Was the name Larry Maggot brought into play? Yes, it was. Hello, Philadelphia.

And when Larry, okay, Larry Megan's stories. He used to manage my dad, so go ahead. So, oh, that explains everything. Well, I was reading your book, so I was like, yeah. So, all right, so Larry Magid, like, a friend of mine who had started off as an equipment manager for Santana, Herbie Herbert, put together, created, and thought up the band journey. He thought up the poster. He thought up the t-shirt business.

He's the guy who created the T-shirt business now. And he picked the people in Journey, and he said, we're going to have a rock pen and we're going to do this. And he was unbelievably successful. And he told me this story about Larry. So they played in Philly at the football stadium. And got paid on a sold-out show, 56,000 people or something like that. A couple of weeks later, they got a satellite photo from my...

a friend of theirs in the Air Force that goes, congratulations. You guys had 78,242 people at your show. And he said, can you do that from a satellite? He said, oh, yeah, right to the, you know, there it is. So there's a huge lawsuit brought against Larry Maggot who was like skimming like by 25,000 people. You know, everything was a skim, right? So stealing, skimming, stealing, skimming off everybody. So Paul McCartney's seeing him, the Grateful Dead. suing them, Journey suing them, somebody else is suing them, somebody else is suing them. Yeah, they sue them. A vice president from the company has to go to jail for 18 months. And then poll started this an article saying, so Larry has business been. He says, well, ticket sales are great.

Has affected ticket sales at all. So that's a, so I'm playing there. And I go do this, I get there. And the building manager is not there. The fire commissioner, guy is like on vacation and those 300 pound union guys in Philly who are all like hey yo who way yeah you know I got into it with those guys I did dude it's Philly

yeah I did I went in they were all eating chicken and I said look at you guys I can't believe I did while I was talking I was going what am I doing you they were like sitting there you know eating half chickens and nothing was set up and they were trying to charge us an extra $10,000 to set up our

second laser screen and you know they were just jerking us around everything and I go out and I look at outside and I go holy shit this place is so oversold this is the most dangerous house I've ever been in in my life there was not space for one more person there was there were no aisles or nothing and I just had to like you know the show was like very delicate I didn't want to get anybody too excited or anything and then the rear fence was broken down and 3,000 people more came in and then later we found out that the union had a van that they were they were selling cocaine in the audience. Wait what? The union, the union guys that worked they were selling coke in the audience and they were reselling the tickets. Just when you

think you know a city. Philly. Thank you, Philly. I'm so proud of you. I had a seizure, you know, And then, you know, we get in the cars, and that's the end of the East Coast, and we're going to Denver. And, you know, three days later, we're playing in Denver. We fly the stuff's all being driven. We get to Denver, and we get out to Red Rocks. And the guys go, what did you guys do in Philly, man, you know, because the union had called them, you know, I thought our tires were going to be slashed, our equipment stolen. But that was always Philly, you know, it was a very... That's hilarious, man.

You know, when people ask me about business and you ask me about management, I've been dealing all my life with mafia, illegal police, corrupt business people, dishonest record companies. The union designed to protect me, never protected any of my interests and abused me. and you know they ask caps of the world have you know i'm always in the wrong program when i when my got my hit boy too bad you know you would have made more if but you're sure my shell game you know all of that kind of stuff so my whole business experience has been dealing with people who are dishonest we're trying to steal from me and trying to do me harm you know so that's that's what that's the kind of manager you need is you need the space cowboy man you need the champion of justice. Sounds like we need to Stephen Miller book, though, more than the Dan Grossman

books on publishing. You know what I mean? I think, I think, you know, the book's been written. You know, the problem I found was what people would say, you know, like, well, that's an acceptable contract that they would have, you know, 50% of your publishing. That's, that's the industry standard. And I just, from my 12-year-old days of getting paid for what I did and what I thought was mine, I would just say, well, no. And that's still, you think that's realistic in 2017? You think that, you know, some courage-filled artists can go in the office and be like, I want it all.

Yeah. But it's so different now because- Here's the thing, you know, like, here's the thing. You can only do that when the situation's right. So when I told you I had a feeding frenzy, I thought you understood what a feeding frenzy is. Yeah, that's true. Feeding frenzy's, you know, when I did. When I told you that in 1966, there was this giant awakening in San Francisco.

I'm not talking about some little scene in a club. I'm talking about the world. A movement. A thing popped out. You know, it was like, whoa, whoa, there's a whole different way this can all work. So these things are like, you know, situations, timing, all that kind of stuff. You're a unicorn in a way with the kids like to call it these days. Well, you know, if you want to get, if you want it so bad, you'll do anything.

that's, man, listen. Then, then, you know, I can get all your publishing and your shoes and your watch and your ring and your wallet, you know, in 30 minutes. That's now with 360 deals with those. Three, sixy deals, yeah. Yeah. And all of that, because they know it and the kids don't know it. And, you know, kids always want to, you know, you always want to do it. But you have to say no.

You have to learn how. You realize the leverage is in your favor if you have it. Even if it isn't, you have to say no for a while, you know, like. Like, I never did anything I didn't want to do. Wow. And I had people trying to get me to do stuff, you know, hey, man, go do this thing for this DJ for free, and he'll do that and go, fuck you, man.

You know, there's going to be 4,000 people there. Sure, you want me to come. I always had that attitude, you know, that you got to pay me if you want me to put the amp in the car and drive there and set it up and plug it in, man. It's work. It's work. Okay, so I have a question.

in retrospect was there one historical event or one collaboration or even some as minuscule as a soundtrack song one slight misstep that you made that you regret not doing like did you get an offer for woodstock but you're like they ain't paying for me gas nope or woodstock i was calling uh uh my frank freed in chicago the guy was helping me out there some good Frank, we got to play. It's like, we get to see. Yeah, you don't want to play there. It's going to be many.

It's going to be a essay. Yeah, it's already booked. You don't know what? Frank, we got to come on, come on. Ah, you don't want to, you know. Oh, talk you out of it. That was one. Monterey Pop Festival was, you know, we were talking about how the San Francisco

guys really considered the L.A. guys' gangsters and criminals, which they were. And we were right to have that. But the other day I was reading about the Monterey Pop Festival and somebody was talking about how my manager and typical San Francisco. disco fashion talked us out of being in the film. You know, we're not going to let you guys film us. We're not going to do that. You did it and you're not on film?

Yeah, right. Wait, but Janice is saying, your wife is saying, I don't know if you, oh, you put it in, there we go. Janice just found 12 minutes of us that, that Penny Baker himself shot anyway in spite it, which shows you, right, they're absolutely, you know. And, you know, Bill Graham was the same. way. I mean, he illegally videotaped and recorded every show I ever did there. Oh, they're putting it out. Oh, they said she said that Janice said they're putting it out.

Oh, yeah. Well, we've called them up and said, hey, you remember what we said? We didn't mean that. That was 1967 or whatever or less. Come on, you know. A win is a win. A win. A win is a win. I don't care what you're saying. Yep, that's me. Cliver Taylor the fourth. You might have seen the skits. reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes,

creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me

or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl.

You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me?

The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts,

or wherever you get your podcasts. What's up, everyone? I'm Ego Vodam. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo.

Woo. My dad gave me the best advice ever. I went and had lunch with them one day. And I was like, and dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah.

He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that.

There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth.

You doctored this particular test twice in someone, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alespian and Michael Marantini.

My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges.

This isn't over until justice is served in Arizona. Listen to Love Trapped Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. I can't believe this, but we're finally getting to 1976. I know you guys are like, will you get to fly like an eagle already? I promise you, I'll end it right now. All right. get to fly like, wait, I'm here now.

Now I'm so overwhelmed. I don't know what to ask about it. Fly Like an Eagle was a song that was developed over two, three years. And our gigs used to be. We'd like, you know, go come to Detroit and play the grandy ballroom or be in Boston at the Tea Party or be, you know, wherever it was. And a lot of what we did was like we'd play a couple hours, two, three hours, and we'd have a mirror ball. and mirror ball is a great thing it's like a dark room it wasn't like a big show spotlights and all that's it and there'd be some

kind of oily kind of stuff going on behind you the mirror ball would be on everything would be kind of cool and we'd just start jamming and so fly like an eagle was a jam and it was a long piece back in those days a show wasn't something where you had to come out and do like you know nine songs and 45 minutes

like bang bang bang bang bang bang bang bang bang thank you very much you know it was like a whole evening and it was kind of like we're just hip in the gan and everybody's going to relax you know it's like music tonight and so that song was developed started like that and um that riff you know my dark hour didn't feel like you know i like gave him the song before it was really finished and we did it in seven hours and it was done and i wasn't done with that that idea at all so yeah come back to it because there was a slower i believe on midnight special in 73 you did a version of fly like an eagle that's half the half time the slower version of it so it's always been your repertoire yeah like for me personally like and this is this is the whole

reason why you're here is the next question i know this is going i know this is going you you got to understand All right, so my first day of school back in 76, which is weird because my dad had both silt degrees and fly like an eagle eight track in the car. It was a far dry from school. So like my memory of hearing fly like an eagle was on my dad's eight track player in the car. and also with Boscax's record which is kind of weird that you two appeared together and we didn't know that back then but you know

here in the space intro which Steve will probably want to kill me because any space intro is just my go-to reference point for anything that in my head that's like slow motion or needs atmosphere and whatever like that's my go-to reference

for any keyboard play we ever had, Steve. So while I was listening to one of your records today before I came over, I think I understood that. I kind of went like, this is the same stuff. We're just... Yeah, it made, when I was a kid, it made me feel like I could fly. Like an eagle? Yeah?

There you go. I'm so glad to... Try the cow more. That's great, because that's exactly... the way it made me feel when I was playing it and discovering it and doing it, and it was so magical to do that, you know. And I had this thought, you know, when, before I came over today, because I was listening to some things and I kind of went,

yeah, this is, this is like the same kind of work. Like, this is, these are these people, and I mean, this is like what I'm doing. This is where I am when I'm in the studio, when I'm laying back. And I kept thinking like of Macho City. Oh. Dude, well, I want to talk about Mato City because it's freaking hip-hop. Like, when you're creating Macho City and the political rap that comes with it, it's like a year before the message. Yeah.

What were you thinking? Like, were you as far as like, okay, well, hip-hop is going to be going to be. is going to be a thing. Because hip-hop really wasn't a thing. Here's what you can understand. I was thinking about hip-hop at all. I was just doing something. So you didn't hear any grandmaster flash records like,

oh, we could... No. I was... I believe you, too, because... You know, I was just doing what I do. And that's... What's a new wave? It has sort of a new...

Like, when New Wave came, like were you aboard it because I felt like if you didn't do Mato City probably talking heads could have attempted to do it I'm trying to think like who were your peers in that moment I didn't have any peers because

what what had happened was I had been sort of I had done Abercadabra I'd played these shows I'd been playing football stadiums American record company said Abercadabra sucks. We're not going to do anything with it.

Sorry. And I said, okay, well, I'm canceling my United States tour. I'm going to Europe then because I had a different deal with phonogram from capital. I went to Europe and it was number one all over Europe and the United States. It was on mercury in Europe, but not. It was. Phonogram, yeah. Phonogram. Mercury, yeah, yeah.

So it was number one everywhere. And I came back. I did a whole big tour of Europe. and came back to the States, and now it was like coming up the charts, and then it finally went to number one. And I got back, and the sheds had just opened. It was 1983, I think, and I had booked 11 of them. And I'd been playing football stadiums.

I got back, it's 1983, and there were like 3,000 people at each gig. And it was a whole new place and a whole new thing. And I was just kind of going like, God, my business. That's it. Okay, now I'm at the end, man. All right, I sold them, you know, 20 million albums, and I played football stadiums, and I did all this stuff, but I ain't going to come back and play in places that are like a quarter full.

And so, and at the same time, all the press stuff, like I think at the same time, I think Macho City, the L.A. Times called it unmitigated slop and said that the Capitol Records should be embarrassed for releasing my work as an artist. Damn. And then they ran it again at New Year's, you know. It was, it really hurt.

So I just kind of went like, okay, that's it. I'm going to still going to. I'm out of here. So I didn't tour for six years. Wait a minute. You let that hamper you? No, no. Yeah.

That was the final straw, but I had just been on the road from 1965 to 1983. And I just. just I mean I was really tired of the whole thing and I didn't have any a manager and I didn't have any plan I just you know whatever happened happened and I worked where I worked it to my advantage as much as I could and I was tired I needed a break so were you aware that like Amazing Mojo not Mojo Electrifying Mojo

Yeah electric like they were playing that on black radio up at Detroit like in heavy rotation like that song had legs on it. No, see, you know, like, no, I was living in a farm in Oregon. That's a good answer. It was good. And, you know, that's the world I want to live in where everybody, where all cultures are intertwined

and people are all listening to each other and the audience is diverse and the music is diverse. And, you know, in an odd sense, that's kind of what was cool about. San Francisco is that it was diverse. You know, on Monday night it might be Johnny Cash, and on Tuesday night it might be the modern jazz quartet. And on Wednesday night it'd be, you know,

Quicksilver Messenger Service. And on Thursday night, it'd be muddy waters, you know. And it was very diverse, or Roland Kirk or, you know, Charles Lloyd, or a lot of people were just coming through all the time. That's the world I want to live in and play in and breed in and, you know, being, that's the way I feel. Okay, you know, like when someone tells a joke and then you get the punchline like five years later. Yeah.

Okay, that just happened to me. So I hate going back to the Fillmore, but you said, Rishon Rolling Kirk. Yeah. Yeah. Okay. Now. We used to jam all the time. This is what I got to know.

With these jazz pairings coming to the Fillmore, were they truly open or did it just look good on the poster? Like, looking on the poster, it's like, you know, Eric Clapton Cream. And I'm using hypothetical. John Coltrane, in essence, did it really work that night? Or were there people that were just like, all right, let me know when the sunshine and your love guy comes on and go outside for smoke? No, no, no. It was.

Like, were they truly open to? You don't understand, man. It was in a, the whole building was different. It wasn't like when you go to work and tickets are sold and managers are there and pop stars are there and big video screens are on and people are in control and people are being wound up to be hysterical and shit like that. That's Rolling Stones English shit. This was like warm and real and great. I used to go see Brolin Kirk on Sunday afternoon. He'd play a set Sunday afternoon and play another set Sunday night or a clip.

You were just open to whatever he. And you know who you remind me of? Don't say it. The drummer and Clifton Sheneer's band. Oh, I thought you were to say, Buddy Miles. I was like, no more Buddy Miles, please. No, no, no, no. Buddy, I know Buddy really, really well.

I was there the day Buddy came to town, he came to my house. I definitely wanted to steal him from Mike Bloomfield right away and put a band together with him because he was really cool. He went on a long pad trip and had a lot of bad things happen to him. But I don't know if you know much about Clifton Sheneer. I don't. It's Cajun blues. Okay.

Accordian blues. Zadico? See you right now. And the drummer sits in the middle of the stage with his drums like at this level. And it's like he's got a bat and he's just going. And things are happening. And the little bass player and the guitar player doing little steps and bopping up to the side and off to this side. And Clifton Schneer's in the middle.

And there's a guy in his knees playing his chest, you know, playing the thing with the And some of the greatest music, man, funky, funky, funky stuff. That stuff was going on all the time. And everybody was high, the lights, the whole thing. It was like not like show business. It was a different, it was like church, man, a musical church is what it ended up being. That was being manipulated by certain groups and certain people. But in spite of the Bill Graham's of the world, you know, because.

While all this was going on, Bill Graham was stealing from everybody. You know, stealing from the group, stealing from the people, overselling the stuff, doing lying about the books, bullshitting everybody, you know. But in spite of all of that, there was this really great heart and soul-changing musical scene going on. So with the song, The Joker, you had this global hit basically, right? And that was humongo, humongous. And then did you feel, did something click at that point where you said, okay, now I understand what's going to truly help me translate to the pop charts

and have mega hits? And then sort of start pumping out. Like once you had to said, okay, wow, I found a unique sound here. It was different than that. When I left down, the Joker was my last album at Capitol Records. Nobody was talking to me about renewing my contract. it was the first album where I kicked all the producers and everybody. I was the first record I produced myself with just by myself.

The Joker was. Yeah, and I brought my band in for two days and cut all the tracks and sent them home and then spent 15 days doing the vocal overdubs and all the stuff and mixing it and putting it together and I had this little playback for the record company. And some kid at the playback meeting said, that Joker, I like that. I think that could be a hit single. and I turned to him and I said, I don't care about hit singles anymore,

you know, because I couldn't get played on AM radio. Every single I put out, I mean, just could not do it. So I said, here's an album, here's a list, I'm going to go play 60 cities

in the next 90 days, just to have some records in the towns where I'm playing this time, okay? Thank you very much, goodbye. And I got back from that, tour 90 days later and there was a check in my mailbox for $387,000 in the junk mail. And I kind of went, holy, yow. And I called up my agent and said, I'm taking the next year off.

Wait a minute. You didn't want to strike while the iron was hot? No. Well, I went, two things happened. I went to the studio to Capitol to try and do something. And I was exhausted. I was so burned out, man. I just said, I haven't, I haven't written anything.

I can't think of anything. I'm wasting money here. Let's stop. So we stopped for a couple of weeks. Then I went up to Seattle, and I booked a studio up there, flew the band up. The band got there and quit. They flew to Seattle and quit in mass, right? And I said, and Gerald was there, and Gerald was giving me all this stuff.

and I said, Gerald, Gerald, Gerald, listen, man, we're really tired. Don't burn any bridges. We may want to work together again. Don't say it now, man. So they all quit. And I was just sitting there kind of going like, yeah, we're done. We had been struggling for so long, for so hard, trying to get this done.

And so I took, I was going to take a year off and I took 18 months off. And what it did was. it allowed me to sit down and think. And I basically lived alone by myself for 18 months. And about eight months into it, I called up Lonnie and Gary, Gary Malibur, drummer, Lonnie Turner, bass player, took them into the studio in San Francisco,

cut 22 tracks and 11 days, sent them home, and then I just went back to my house and engineered everything and just did all the vocals and the guitar parts over and over and over and over and over and just worked on this thing that felt like a masterpiece. And I just kept working on it, and I'd erase it all, and I'd do it again,

I'd erase it all, and I'd do it again. I had an eight-track tape recorder, and there were two tracks with the stereo mix. One track had a sync tone, so they gave me five open tracks. And so I did everything that way. I had five open tracks. and when I got it all finished

I basically had done everything that I had set out to do McCartney, the thing with the Beatles in 69 was I went there and when I saw what they had in the can I just went oh my God they've got 46 songs in the can they're, God, they're four albums ahead. They're ahead.

That's how they do this timing, you know. That's how it is. It's not like the boys are trying to write something. They'll be back in 18 months. They were way ahead, and Paul, you know, told me about that. And so I went, I got to get two albums ahead. So I had all these singles, and I was looking at them, and I knew what FM radio needed.

I wasn't thinking about AM radio. I had to help build FM radio. So you purposely did that. Yeah. Okay. Yeah. I mean, I was making an album. for, you know, AM radio wouldn't touch me with a 10-foot pole.

You know, they did with the Joker, but, you know, and they really did. I mean, when I came back from that tour, the Joker was, I remember driving to do a gig in Oakland and putting the radio and just going through to see where it was on, and it was on four of the five top 40 stations and seven years ago that was pissed off because it wasn't on the fifth one. Yeah, there's no joy in any of this, you know, you never stop and go, isn't this great? It was like, uh, you know,

but so I knew that I was writing something really great for FM radio, that I was writing something great for radio itself, that this was how radio needed to sound, that this was where it needed to go, was the material they needed. And my, you know, songwriting of my music was going on at the same time,

and my understanding of how to make records had grown quite a bit. and I worked on it and worked on it and worked on it and worked on it. When I was finished, I took it myself, took the tape, and I had two slides, the cover in the back, a fly like an eagle, and I took it to the president. I said, this is going to sell four million copies. And he said, well, let's go down and see the art department. And so we went down and talked to John Vanderfeld,

and he did the cover just like that and put it out. And we ended up like dominating AM radio and FM radio at its height. When it sold, when I was that, when both of them were at its most powerful. And so it was a great time to, you know, my timing was right. Everything just, my creative work came together at the right time. And the whole thing just went way, way up. I think we sold, God, 13 million records. Yeah.

I don't know, two and a half, three years, something like that. And had a lot of singles and dominated airplane. It was really the thing for me that was cool was that when the FM radio put the record on, they played the whole side. For the first three months, man, they never took it off. And that was always part of the thing was I wanted those segues to just bring people in. And, you know, when I listen to music, that's what I want. I want to go on Bozo goes to the circus with John Coltrane, you know,

or Miles or whoever it is I'm listening to when I got my eyes closed and I'm in space and I'm listening and I'm feeling and I'm enjoying myself, you know. That's the way I want to be is like nice, long and good. So essentially Fly like in Eagle and I guess Book of Dreams, that's that group of songs that you're talking about that were all sort of made at the same same time, same equipment. same techniques maybe of recording. Yeah, because I was really asking sonically, you know. You know, it's funny.

It took 17 hours to mix, fly like an eagle, and we did a quad mix to just went in the studio. A separate quad mix? Yeah. You were really big on that, weren't you? Oh, yeah. I don't have, I mean, I had the quad versions of some of these records, but I don't have the quad needles.

Yeah, equipment to. It never sounded any good, you know. No, but if you're in the Westwood room, like these are Westwood speakers. here and uh you know this is probably maybe this is a western room it looks like when and uh you know we could get the tape here and play it and it'd be good but you know like stock housing man stockhausen built a circle two geodesic don't put them together for a circle put the floor in the middle brought the stairs up this is at the japanese world's fair yeah stairs up and you go up in the

middle and you walk through it and the speakers the sounds going underneath you and going like this all around you in circles it so a 360 you know like 360 for real underneath you and above you all of that kind of stuff just makes the horizon better and bigger and more delicious i don't know if i want my music sneaking up from me on from behind you know a win is a win a win a win i don't care which i'm saying yep that's me clipper taylor the fourth you might have seen the skits the reactions my journey from From basketball to college football or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes,

creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. And the next, we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok.

There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And Rule 2, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of The Girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist.

I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no, I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends.

Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. I'm Ego Wode. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo. My dad gave me the best advice ever.

I went and had lunch with them one day, and I was like, and dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up-and-coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit.

If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft.

And we've got a special guest, the director of the NFL's East West Shrine Bowl, Eric Galco joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcasts on the IHeart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal.

The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone, correct? I doctored the test once. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern.

Two more men who'd been through the same thing. Greg Gillespie and Michael Marincini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges.

This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. We're currently here at Electric Lady Studios in New York, home of Jimmy Hendrix. Uh-uh. I never recorded here. Ever been here at all? No, I think this is my first time here. Wow. We brought him here.

You did. Thank you very much for inviting me. You did that. Wait. Well, I need just guitars and stuff. You know, you clearly like them. So, you know Steve wanted to make sure you were somewhere special

Like seriously he was like We have to have Steve Miller in Electric Lake Yeah, it's only right Okay, I would be remiss And I know you're tired of tell him About your account of it I want to ask about the rock and roll All the fame

Oh yeah The year later Do you feel better about it or What's the controversy? I'm sorry, brief me Well, I mean, is Are you not in it? No, he's in it, he's in it He's in it.

Yes, he's been inducted. I watched him get inducted. Okay. Yes. You were there with us? I was sitting next to David Byrne, dude. Okay. Amazing.

I totally forgot. So what's the beef? So you read Sticky Fingers, right? Yes. You know, that's the problem with the Rock and Roll Hall of Fame. So I don't get that reference. I don't know. So half the staff is the one.

What, what, what bothered me about the Rock and Roll Hall of Fame was? And I said all of this in the, billboard article the next day was there was no gathering there was no party there was no dinner there was no anything from the rock and roll hall of fame at all i wasn't introduced to any of the inductees

not introduced to one i was met at i was told that no i couldn't make any suggestions about who i wanted to induct me i was told that if i wanted extra tickets for my band member they were were $10,000 a piece at my table, $10,000 a ticket.

I was set a contract that was worse than any record contract I'd ever seen in my life that was so purposely written in a way that was impossible to understand that I just laughed at it. And I was asked to start, you know, giving over things, delivering guitars, giving special stuff. and contractually there was like a three-month argument before I ever got there. So when I got there, some woman came up to me and goes, hi, my name's Shirley and I'm your minder. I'm from like, you know, entertainment services or something, you know, with a clipboard and took me to a little cement room with two metal chairs, took Janice and I there and said, we need you to wait here for an hour and then we're going to call you and we're going to come down and do this thing, right?

so you know i was going to do that so i went out of the hall ran into a few people and stuff like that and then there was some little sort of cocktail party that was open to anybody and everybody kind of hustler party and got out of that next day we go to do the sound check we're giving like about 12 minutes my house mixer can't mix my monitor man's not allowed to use the monitor mixer We got a guy who's doing the monitor mix on an iPad 200 feet away. Hurry up. You got 12 minutes. Let's go.

Let's go. Let's go. Get out of here. So we do that. And time goes by. And then all of a sudden it's time for the show to start. And somebody just takes me out and I'm sat at a table where I don't know anyone at the table. So all in all, a very satisfying experience.

And my band, my band is 300. feet over that way somewhere. I hadn't seen them. And I'm sitting there. Steve, are you okay? And yeah. And I'm sitting here thinking like, let's see. I would have had a party.

I would have introduced everybody. And then I would have had like, you know, some little kids from the, let's, you know, the Rock and Roll Hall of Fame music school come up and play, you know, one of Steve's songs and want to, you know, they're whoever, you know, NWA songs, whatever, do this. and then I'd explain about our music education program and how we're really glad to have these new inductees together and we really wanted your help on these programs and wanted to, you know, rope you into the Hall of Fame,

beacon of light for music education. This was like the coldest grab for a profit to get money for a TV show. And I'm telling you, man, when I walked off the stage in the back and these little smarmy kids were going like, hey, so you were up for 23 years and they didn't put you in, How does that make you feel? You know, fuck you. You know, I'll, you know, this.

That explains it. And I walked out the door, man, and the door closed. And I had a little statue up in my hand and my lovely wife with me and Jimmy Vaughn and Robin, his wife. And we said, well, let's Uber a car and go home. Dang, Uber a car? Wow. No car to take you home. I feel bad for Janus because I know there was a lot of motherfuckers that night.

Right? Was it a lot in that room? A lot of. You know, that's what. So the way I looked at it was like, I could really help this place. I could have really done a lot of good for the Rock and Roll Hall of Fame. And they didn't even ask. They weren't even interested.

And I know that I'm in here because they want to make a television show. There are two good things that happen. One was... The night ended? No. I got to meet Ice Cuban Dr. Dre. Oh, that's a good thing. That's good.

That's a good. That's a good thing. I'm posing in the middle of him, right? And this is a cool picture. And I don't really care about pictures and stuff, but I've got this is going to be a great picture. And I'm really proud to be here. And so I go, so, Drey, that was a fly like an eagle you sampled on Killer, Killer, right?

Oh. Oh. Yeah. No. And I said, that's okay. It was like classic, man. Thank you. Because we know you don't play that.

Okay, my last question. And that's it. I promise. Your three, just your three, because I knew you're passionate about music. Your three all-time favorite albums. Could you? and I don't mean like desert disc or whatever just

kind of blue okay Miles Davis is kind of blue yeah I'm not sure the name of the album I think it's Bob Crosby and the Bobcats with a big noise from Monnetka and honky tongue train

and and probably you know a Jimmy Reed album you know Those are, you know, my, those, that's the music that just really rocked my soul. Well, I got to say, I got more than what I bargained for it because I thought it was just going to be the history of the Steve Miller band. But we got way more true.

That's music. Oh, I got more than I bargained for it too, man. That's what I'm saying. I'm saying that, yeah, like for me, my favorite type of interviews are either engineer. or like artists that were there for historic like these historical meetings or you know historical moments that you never even think about but yeah this is such a major major education wait before i sign off is any other historical things happen to that i don't know about the dude has jammed with literally every person you ever heard of it demon and he had been the mona demoniac so that i was just like you know next time we'll talk about uh otis redding at moderate Oh. Anyway,

we can go for 10 more minutes. We can go for 10 more minutes. It's oldest writing, man. If you're having any pains in your derrier, you should know that Jimmy Jam was forced to do this for six hours and didn't even know it. Okay.

His butt was numb. Okay. I will sign off now, but as an encore, yes, thank you for tuning to the question of Supreme. Signing off. And now for our encore, the oldest reading story by Steve Miller.

So, Monterey Pop Festival's on, right? And there's a lot of kind of like Johnny Rivers and Laura Niro. Soft. What's going on, right? And all of a sudden, I'm backstage and I just hear this groove. And I just, you know, snap just like that and said, I got to go, got to go, got to go. and I went running to the stage and got up on the stage

and Spooker T and the MGs they're just warming it up and then I think it was the bar case or the horn section and the barcase had this trumpet player had this little pocket trumpet and he's like

they're beginning to do the steps and they're just playing these instrumentals and they're walking like and this little trumpet player is just this mean little guy and he's going to tighten it up I'm sitting there watching this just going, this is going to be the greatest thing in the world. And Otis came out on the stage.

And he grabbed the mic, and he just hit the first note, and it was like this giant punch to the solarplex. The whole audience just went, oh. And this mood just came over to the whole place, and he just. killed it, just didn't stop for a second, man. The whole show was just the most beautiful show I ever saw in my life. And the last thing I remember about it was like I was standing outside the way from it.

And I was watching people in the parking lot leave. And everybody was happy. Everybody, man. As far as you could see, there was just this warmth. And I thought he was like the greatest. that I thought that was one of the greatest live performances I had ever seen it. I've seen Ray Charles and I've seen James Brown with the flames

and I've seen a lot of great shows. And that was like probably the most powerful performance I think I ever saw an artist do. That was just one more night. We have a boss Bill, unpaid Bill, Sugar Steve, it's Laia, and Fantigolo. Thank you, Steve Miller. Appreciate it.

Man. This is another extravaganza episode of Questlove Supreme on Purdue. Guest Love, it's a great honor to be here. And I really appreciate who you are on what you do and your intellectual curiosity. And I want to play some music with you. I think we should go to the studio and we should like start with something and just take it somewhere. Just don't let them bring in the space intro. Don't let them use space intro. Don't let them use space intro.

I'm bringing my Echo Plex and my... From your mouth to Steve Miller's ears. Because if we'd grown up together, we would be doing this together. I know we would have. Yeah, thanks me. There you have. That's awesome. All right. So, Steve, we got our new one.

Yeah, next album. Sounds good. Wait, Timothy, Ann, is that you in the state? Of course, that's you. Of course. Even the Smithsonian comes. a visit. All right. Thank you very much. Steve, Bill. I appreciate it.

Until then, the next year round. This was Questlove Supreme. Thanks, Janice. Thank you. Okay, peace, love, and happiness. Questlove Supreme is a production of Iheart Radio. This classic episode was produced by the team

at Pandora. For more podcasts from Iheart Radio, visit the Iheart Radio app, Apple Podcast, or wherever you listen to your favorite shows. A win is a win. A win is a win. I don't care what I'm saying. Yep. That's me, Clifford Taylor the 4th.

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