Part 2 of Bob and Monte's conversation with Will Knaak

Let's dive in deeper to Will's Austin roots.

Episode Transcript

(00:00):
Hey, it's Bob Thicket. Weare on our way to the legendary Broken
Spoke. Come on, let's getout of the truck and head inside round
of it. Come on, it'sgoing side. Getting ready for another tale

(00:23):
from the Broken Spoke. I'll bearjoin the podcast. Now, let's get
back to our conversation with Will neckon tails that Broken Spoke. Both you
guys, now, especially with media. I mean, you go to a
concert, big concert, it's allthat is. People are holding up their
phones, are taping the performances.I mean, does that distract you?
And I don't even think about itso much of it. People should put

(00:45):
them away, live in the moment, enjoy it. But man, yeah,
but they also want to show peoplethat they were there. And and
really it's like are they clapping atthe end of the song? Really?
I mean, and it's like,you know, the experience, well you
know, And I'll say this islike, you know, I just did
an interview like four days ago Monday, whenever Monday was and uh, and

(01:08):
they were talking about streaming and howthat is. Though there's the new law
twenty seventeen Music Modernization Act that helpedsongwriters income but decimated the songwriting industry and
royalties are not you know, they'relike forty percent what they used to be.
Well before that they were ten percent. Really messed up the dollar well

(01:34):
micro pennies. Right, Well,that's this law, this new law that
was signed in in twenty seventeen rightwhen Trump got elected because he was in
show business, was it? Itpaid songwriters for streaming for the first time.
But but the point of that lawwas because you had to pay.
But having said all that, withstreaming, more people by a factor of

(01:55):
about a billion, have heard mysongs than would have heard them wise.
Absolutely, so there's a benefit toit and the same thing they're showing people,
and that's building a fan base.I have two friends see that on
their social media that they posted aParker show. Those two friends might come
to our show, now that's right. I posted just one person at the
show clapping telling their friend Parker wasgreat. Here. Let me show you
when I was there and you couldbe there. So you know, there's

(02:19):
there's that. But I just man, I don't I'm not gonna speak for
Will and I know Parker barely,but for me, whether it's here or
when I've been blessed to play biggerarenas. I'm an entertainer. I just
want to make you feel better thanyou did when you walked in. You
can get your news and your politicsand your darkness somewhere else. I just
want you if I if I madeyou feel better and you walked in,

(02:43):
I did my job as an entertainer. If I've made you let you know
you're not alone. I've done myjob as a songwriter. And if you
walk out with a T shirt,I've done my job as a salesman.
You know the way down show business. Baby. It's funny because now when
I go to concerts, of coursebeen going to concerts. I'll sit there
and I'll look at the instruments thatthe guys playing, like the guitars player

(03:05):
you and the guy you play with. One guy I can't think of his
name right now. He was withMiranda for a year. Yeah Alex,
Alex, Yeah, electrical. AndI'll sit there and I'll watch you guys
play the guitar and look at thetype of the brands of guitars that you're
playing. Just watch you doing somelicks. To me, that's exciting too,
And let me let me just helpyou something pick it because I've known
you thirty years. Neither Will norI have ever played a concert. We

(03:28):
picked gigs. I wanted to goto a concert to watch you guys pick
a gag. Yeah, but youknow, but you know what, you
are so funny. It is like, you know because I I came in
when Waylon and Jones were old men. It was towards the end of their
life. Do you know what theycalled that? Sometimes they called a collection

(03:50):
of them gigs? But do youknow what they called the individual? Show?
What job it? Wow? Ajob? We got a job to
do? Boy? Yeah? Yeah, yeah, we picked it. We
picked a job over in Odessa.Wow. I didn't know that because they
came up during the depression and youwere glad to have any job and not.
You know what Whalen told me thenight Buddy Honey got killed. He

(04:11):
said, we picked the job thatnight. There are no days off.
Does it feel like I say Isay that all the time? No days
off? Man, just feel likea job to you. No, you
got the greatest job of the onlytime. Sometimes you're traveling and you're worn
out. I mean that's that isthe job. And you know, but
other than that, the music isfree. Man. If you love what
you do. You're never working dayin your life. No, not at
all. Unbelievable. Man, it'slike being in it. It looks like

(04:33):
you're having fun up there on stage. Indeed, indeed we are. That's
the point, right So, AndI will say this, I'm just like
Parker's band. I'm just talking aboutthe band. He's a star. He's
great. We're going to be hearinghis music as long as people play country
music. He is a blessing tothe genre. That I love that band.

(04:55):
Well, it's a great band.You guys are phenomenal that that that
that's like a historic lineup y'all haveright now of just chops and heart and
brotherhood. And you don't even needto tell the people you love the people
in the band. It's so obvious. And that either is there or it's
not. No, it is anduh you know, I mean, for
instance, all of us had somesort of relationship before playing together, other

(05:18):
than our drummer he's from Nashville.That that happened on it it was a
different thing. But every every guyis from Texas was Hires that Parker absolutely
knew and we all knew each othertoo. It wasn't we'd been doing some
sort of music pick picked some jobstogether, but you know, on the
same bill. All yeah, I'vebeen running together for years, you know.

(05:38):
So it's you get up there andplay together. You already know where
he's coming from, so you knowwhere he's going, so you know how
to play with him, you know. And there's something with that. You
put the best musicians in the worldtogether from different places and not get the
best results with guys that you know. It's at the Rolling Stones, you
know, like get up there andjust the some of the parts is how's

(05:58):
that go? What's that saying?The greater than the whole? Yeah?
Yeah, well, and it's likethe Beatles, the Holes greater than the
some of the parts. You know, that's not the best musicians in the
world. That's the best band thatever was. Yeah, the Stone's not
the best, you know. It'slike like here said not shortly before he
was killed, Uh Ringo. Starrhad done an interview with Rolling Stone,
said I think I'm the best rockand roll drummer in the world. And
they asked John Lennon. Ringo justsaid he's the best drummer in the in

(06:21):
the world. You agreed, andhe goes he wouldn't even the best drummer
in the Beatles, because McCarney wasa good drummer. But but the best
drummer on the planet for the Beatleswas Ringo Star. And that's the whole
thing. If when you get agroup of pickers together that just are it's
Matt you know, bucking the BuckeroosMan. I put them as one of
the greatest rock cannot be yeah,because I was going to say that Buck

(06:44):
would be nothing without Don Rich.That was over fifty percent of the sounds,
more than the Johnny Cash with LutherPerkins, same thing, and Luther
wasn't like some hot licks. Butname a better guitar part for you know,
Ring of five or a Folsom PrisonBlues. You know so well.
You started out ten feet from wherewe are right now. How did it
feel that when you finally got togo to the big stage. I say

(07:08):
big stage, but the stage atthe back here at the broken smoke?
Oh yeah? Was who did youplay with? First gig that Alvin?
I sat in with Alvin and apleasant valley boy. I had to sit
in with Alvin first. I didn'tplay with Alvin, you know, I
wasn't hired as his band. Iwas just sitting in because I was Johnny
X's little protege and I got toplay with Doug som and because Doug was
playing steel. I played with Dougtwice. I didn't know who he was.

(07:30):
I'm sorry. I was twelve.I didn't know. You know that
go I learned. No, Ilearned. I mean I learned that day.
But the first time I played wasI had no clue who he was.
I mean, how could I,right, you know, I didn't
know anything other than a couple ofchuck Berry licks. So, yeah,
that's just unbelieved. I don't.I don't. I didn't deserve it.
But man, I'm so glad itwas there because it it shows and that's
that's not true. But like,I don't, I don't know. It

(07:51):
just happened. Like I was sonaive and it was it was there,
and so how could I not grabonto it? But knowing what you know
now and that he was little Dougiesong, Yeah, I know it's how
because when I was a kid,he was always so good to me.
He loved when the whipper Snappers wouldcome up. He had to have been
so warm to you and encouraging andkind of passing the torch. Yes,
he recognized it always in young pickers. No, they all were. And

(08:16):
that's that's what makes the difference,you know. And that's what you're talking
about down here. They got that, you know, well, encouraging it.
Are there any young Austin musicians nowthat you're encouraging that you'd like to
bring up? Man, I reallywish that I could. I feel a
little disconnected from the Austin music scene, to be honest, because I pretty
much just live here and I playeverywhere else except here once a year and

(08:37):
then with Alvin, you know,and that's already no Alvin. So I
run with the older cats here,I run with old Austin. And it's
just because I'm I came up ona tail end of it. And I
actually I am thinking, at encouragementof several people, of doing a book
called the Last Cosmic Cowboy, that'swhat Johnny thinks I should call it,
and talk about being one of thelast possible last generations to really get out
of here. I don't know that'strue. I'm not I hope it's not,

(09:00):
But I mean, my opinion isthat they need to build a better
infrastructure, give some money back tolike gift clubs, tax right off so
they can pay people a higher minimum. Is something to because because text moving
here and it's just booming everything,nobody can live here anymore. I don't
know that it's feasible. If someonewas to be like, I'm a young
musician, I need to cut myteeth, I'd be like, I'm I

(09:20):
would love for you to come toAustin, and you can any time you
want, but you'd probably get aquicker result and more opportunities to pick in
Nashville. That would that would That'swhat I would say right now, which
I'm so grateful I never had togo to Nashville to find my success.
Was many times I was fearful thatI should and that I was going to
have to, and the I wasblessed with the next opportunity rolled in right

(09:45):
before I had to make the move, right before. Okay, well I
guess I'm here, and so I'msuper grateful for that. But I don't
know that speaks to a whole anotherissue, and I don't know. I
don't know how to correct it.So I'm not trying to be disenfranchised or
disgruntled. You know, I rollwith the changes, but Austin has changed
a lot. You know, I'malmost forty. I seen it. Well.
I was going to ask you ifwhat what decade was it when you
were twelve? Was that the eighties, nineties, nineties at the time was

(10:11):
starting to change. Well? Yeah, And also I just say once again,
I'm not a picker. I'm aI'm a songwriter. And the writers
that took me under their wing,Guy in Towns and up in Nashville,
Harlan Howard and sunny throck Morton.You know, I remember, you know,

(10:33):
I've been nineteen and twenty and I'mhanging with Guy, and Guy would
say, you do what you wantto do, but I'm just going to
try to get better. And Iremember going that Clark's trying to be a
better writer, Well what chance doI have? And I do not not
to sound like an old man.I'm fifty six, but I do not
see the emphasis on songwriters in theireighteen twenties on getting better. These people

(11:01):
think they they know everything. Imean, really, I mean, I
sound like an old man, butI never ever thought I had it all
figured out as a songwriter. AndI certainly don't now. And it is
just odd to me that the wayit has shifted, it has shifted towards
everybody being the quarterback. And youcannot have a football team of eleven quarterbacks.

(11:22):
But every young artist is told theyhave to write. Well, if
they told Elvis Presley and Ella Fitzgeraldthat, we would never have heard them.
Yeah, right, And so noteverybody's a songwriter. What if they're
the greatest song interpreter of all time, ladies, Ellen Frank Sinatra never wrote
a song in his life. Well, what if someone said, what to

(11:43):
be a great star, you haveto be a great guitar player? Sorry,
you know, basically we'd be listeningto Jimmy Hendrix and Buddy Holly.
You know. Other than that,most of those lead guys don't have Will's
chops. And so I just sayI would like to see a return of
the emphasis on go be great,Yeah, and any any aspect of any

(12:07):
aspect it. If you can begreat at any of this, go do
it, you know. But really, but to take the football analogy farther
was, he's my god, wemight have a Hall of Fame offensive lineman.
Well, can he throw a ball? No? I can't use him
because everybody it's all about the quarterback. And it isn't true how long you've

(12:28):
been playing the steel guitar. Imean, in all honesty, seriously,
thirteen months, minute and a half, fourteen months? Is it a challenge?
Is it come natural as a regularguitar? Oh, it has nothing
to do with the regular guitar.That's what I don't want to hear from
that man, other than a littlebit of right hand technique and knowing how

(12:48):
to play a little bit of doughbro It's nothing like it. Are you
enjoying it? Though? Oh?I love it? I love it.
I just learned of Ralph Mooney solothis week. I just learned some more
George Straight licks. You know,I don't know. I think it's Paul
Franklin on the one Chyenne. It'sjust Paul Franklin, Ralph Mooney licks.
That's all. Hey, getting it? But I mean, I'll tell you
like it's it's like solving algebra withyour knees and feet while you're trying to

(13:11):
stay in tune up top and notplay too loud or too quiet with the
volume poll It's like flying a plane. Man. It's so ephemeral and changing
every moment, and it's a it'sI'm glad. I keep telling people like,
I'll probably be pretty good by thetime I'm fifty. I'll give me
ten years. Well did they comeI'll be I'll be a hell of a
steel player then, But no,I'm doing that. And I just I
played it a little bit wade Boneand giving me one. I learned a

(13:31):
couple of chords and a couple ofchanges, you know, And uh,
I didn't really think much about itbecause I've never had a unless I have
a professional application, I never it'snever there's never a catalyst to like,
why do you do this? CauseI've got to I have to do this.
I have no other skills, right, So if it's not pertaining to
how I'm doing professionally, then itgets put on the back burner. Steals

(13:52):
that would be fun to mess withsomeday. I remember saying to my ex,
you know, I was with BlueOctober, Like, if I ever
did something besides this band, itwould need to be something where I play
more instruments than just guitar, maybesome pedal steel laps. So give me
a chance to work on that andbe that, you know, diversify my
skill set, keep my interest inmusic alive, and it'd be a gig
that I don't get I don't haveto audition for because I'm not auditioning anymore.

(14:15):
I No, that sounds arrogant,but it's like I've done all that.
Like if if you're calling me,you know who I am. If
if you don't like that, thendon't don't call me like I'm not the
guy, Like I can't do anythingmore than I've already shown you. You
know. I mean, that's maybenot the best way to say that,
but that's that's the point I wasmaking. And it happened like a year
and a half later. But don'tyou think your audition tape is eighteen twenty

(14:37):
five years in the making. Ohabsolutely, the person like you just you
know, just pull that up.But let me just say this steal guitar
is pickers joke about just how unforgivingthat instrument is the skill man and what
it's all a skill, baby,But it is like for this man to
have picked that thing up thirteen monthsago and playing with the biggest up and

(15:03):
coming star in country music in ageneration, the only one that has graduated
from the soft seeds to the stadiums, and he's playing steel in the band
because he has the chops too.Will is not playing steel in Parker's band
because Parker's a sweetheart, and Will'slucky. He's playing steel because he's the
best cat for the gig. Man, have you seen the live tapes of

(15:24):
him playing steel? No? Ihaven't, but I want to. Man,
it's amazing. It's amazing. Iappreciate it. Man. It all
came down to you gotta start withlearning the record locks, right. I
knew when he asked me to doit. I'm like, well, that's
all I gotta do for now,you know, that's all I gotta get.
And so we got off the BlueOctober tour into December eighteenth. I
get home. I got a gigwith Parker. My first gig full time

(15:45):
is December twenty ninth, So Ihave eleven days. Eleven days, so
I just sit there, set upmy steel, get it tuned, put
the six songs that I've got toplay steel on. I'd had to play
steel on eighteen songs or twenty songs. I've played guitar and lap steel and
you know, different things on differentsongs. I was like, Okay,
those six songs. You already learnedall the guitar parts. You're good there,

(16:07):
you can do those a little bit. But I just sat there and
I was like, I'm gonna practicethese songs four hours a day till I
can play him in my sleep.And I showed up and did. My
first gig was sold out twelve thousandseed Areena in Tulsa, playing pedal steel
guitar, and it's like, okay, God, here we go. Throw
it to the wind. They knowpedal steel in Tulsa. No, it
just I mean, you know,and I demand excellence of myself. I

(16:29):
didn't go up there to I didn'tget hired by Parker to go and pull
my pants down and embarrass him muchless myself, you know. I have
too much respect for him, toomuch respect for music. And so that
was it, you know. Andthen I just kept going like, well,
now you know I have this down, Like, what's the next song?
What's another lick? Call? Somebuddies learn a little bit, you
get, oh yeah, yeah,yeah, I learn some Ralph Mooney.
So I'll probably never play many RalphMooney licks with Parker. It's it's not

(16:52):
the it's more of a George straightstyle steel guitar. There's you know,
there's different versions of stuff, butI can. I'm gonna learn how to
do some of it just in case, however, have to, you know,
and do you trust God? Ido so there He led me here
and gave me the skills to pullit off, and I certainly did and
am And it's it's been great because, you know, talking about facing burnout

(17:15):
and trying to keep that balance.Learning something so new, it's such after
doing this for so long, it'sso refreshing. And when I get back
on guitar, it's like being atthe playground now versus like I better keep
getting better guitar keep you know,like slave to it. You know,
it's just like, oh well we'reback, Okay, that's easy, all
right, let's go work on steelnow. You know. That's it's the
new thing, that's the new mountain. And uh, you know, why

(17:37):
would you not want that? BecauseI could I could stay doing the same
thing and I'll never you know,I could I could do just ad that
make my whole living as a guitarplayer, but I wouldn't be as fulfilled.
So and God's challenges have terrified you, But has he ever dropped you
off and driven away from you.Oh, no, sweating bullets whole time

(18:00):
internally like just like, how's myfirst show gonna go? You know,
you can do it in your bedroom, but you've never done it on the
stage. And it's not like we'rejust gonna go sit in front of fifteen
people in an open mic and whocares if you miss the lick? This
dude, pay me to hit thelicks. I'm gonna hit the licks.
It was. It was a perfectshow. I played all the licks I
execute and you know, even whenI have a slip on stage, I'm

(18:21):
really good at recovering. And youhave to also not beat yourself up.
You're never gonna be totally perfect andmy stick My mistakes are more like not
let I hit the wrong note ora clunker. It's said, man,
I played that little too aggressively.I played that a little too fast I
put I didn't ease into it.The dynamic was wrong, the tone was
a little off. I swelled intoo quick on that. It needed to
be acquiere not you know, it'sit's the little detail shit, and if

(18:45):
you're listening, that's what you're payingto. Some my mistakes are like just
different ways to paint. For themost part. I mean, I'm good
for a good a good couple oncea year. And my soundman last year
there was this time basically I hadthis acoustic intro. It's a Brian Sutton
part of Where's Big Bank. It'sall this weird finger articulation and weird tuning,

(19:06):
and he's a monster. He mightbe the best guitar player in Nashville,
maybe one in the world. Atany given day. He might he
is at any different at a momentin a day. He picks it up.
He's the best one playing right now. And it's all me in a
room will but there's nothing else supportingme. So if that lick is missed,
you know it. I didn't missthe lick. I played the lick
right, but the drummer counted mein and I came in four beats late

(19:27):
because I didn't hear the count,and so it's just you just hear kick,
because I guess there is kick doingthat. You hear four beats of
kick, and then I come inwith the lick and the sound is like
one out of you. This year, you know, it's you know,
we're messed up because we're not ontracks. If we've been on tracks and
then see that's I'm not going toget into the tracks debate. There's plenty

(19:48):
like the tracks are terrible, tracksare necessary, But if we were on
tracks, I would have screwed upthe whole show or could have you know
what I mean? Because we're offbeat and he's I have to play for
two bars before he starts singing.So if I wait a bar and then
come in, we're a bar offthe tracks. So then we get to
the end of the verse, thatlast bar of the verse, the chorus
tracks start playing. That's chaos.Had that happen on Blue October stage,

(20:11):
maybe two or three times until Iconvinced them to When you have the count
off on the tracks have a vocalcount one two, So if I don't
hear one, at least I heartwo, three, four, play right,
because we're off by one beat.And yeah, it's so anyway,
But for you know, for me, because you know all I've been as
a bandleader, tracks suck. Arein play. Hire enough people to play

(20:33):
your music right well right, andif you can't, then make music that's
more real. I put I puttracks where I do with shape notes it's
like, you know what I did, You'll love this. I did the
session in London and it was forToyota, so they picked me to fly
to London and the pickers there itwas. It was all shape notes and
so they everybody is the sheet musicin front of them. Singer comes in

(20:56):
with a cold. He wants youto drop it down a half step.
Well, if you're on a numberchart, bob, one is one.
You might be in C and nowyou're in B, but one is one.
These poor London bastards had shape notes. Everybody had to rewrite their charte.
Bro. That's so Chris Altcraz who'sDurnie's bass player, he'd always charted
out songs and he did that withuh is it Gary Nicholson. Yeah,

(21:18):
yeah, he's a songwriter writer.Yeah, he was our guest and uh
so he charted them all out withletter shapes D flat major, you know,
and then Gary just like, yeah, we're doing it a whole step
down, buddy, And so youcan't read that. You're you're looking at
D flat. You're not gonna playn F sharp or you're not gonna play
uh right C sharp or whatever way. But if you're doing but if you're

(21:41):
doing that, but if you're doingnumbers, one is one, one is
one exactly. Yeah, So Imean we got it into the weeds here.
But that's why for me anyway,I never dug tracks. I prefer
the numbers more than shape notes andit I think it lends its There is
no improv there is no that onetime the crowd took you to a certain

(22:06):
spot that uh, the tracks justdon't it just don't get it's you stop,
you stop picking and you start playing. Yeah, yeah, it's an
execution thing. Yeah, and youknow with with Blo October, I think
Justin this is where I have anegative opinion of tracks, is when people
use it and are propped up byit and the different Justin uses it just

(22:29):
to enhance things. It's like weirdscent things and weird vocal effects that he's
worked so hard on producing these records. They're integral hooks to the song to
him, and you can't really evenproduce those live because he's such a studio
artist and he's an artist at theend of the day. So some of
that. Not every song has tracks. So there's songs we do without tracks
or blocked over would do without tracks, but some of them it was just

(22:49):
necessary, you know. And hewouldn't mute the tracks. Mute the tracks
were playing, like nobody's being like, oh, there's a guitar part that
you were supposed to play that's beingplayed in the tracks because you can't play
it. It's just like the stufflittle affects things that enhance the experience.
So that's it was just a productionthing, like lights empyro. If you
use it that way, that's theway to use it. But you can
use it in a really negative way. That's just you're propped up by it,

(23:11):
right, you know. But well, yeah, and Justin, I
mean I equate you know, forTexas or whatever. I mean. And
Justin Furstenfeld, he is one ofthose great artists. I mean, I
equate his genius with that of BrianWilson's. I mean, the stuff that
comes out of Justin it's just phenomenalthat can only be reproduced by either a

(23:33):
sixty piece orchestra or tracks. Yeah, in some cases exactly. So it's
a necessary evil. And in thatcase it's not an evil to me.
Just like anything, you use itthe right way, it's good, you
know, you know, you havea couple of drinks and you have a
good time. You go home andyou're not drunk. You know you did
good. You miss his alcohol andit's real bad. Your life will go

(23:55):
straight, you know. Anythings likethat, you think you take the extreme
hard to believe. The twelve years, twelve years right over here at the
Broken Spoke. You're coming back tonight. You're playing with Alvin tonight. Yeah,
we were texting. I sent him. We talk about football and stuff.
We'd be like talking about c J. Stroud and how Houston's got a
good future. We'll just shoot stuffback and forth, talk about Ralph Mooney.
I was telling him about the licksI was learning and he's like,

(24:18):
hey, so you're in town.Then we're playing Friday. Jason Roberts is
on fiddle, second fiddle, andonce you come play with us. And
I was like, okay, I'llbe there. Good for you. That's
gonna be fantastic, cool homecoming,isn't it. Oh it's a blessing man.
And anytime I get to do thiswith Alvin, it's just full circle.
We've we've really the last couple ofyears has been a really good reconnection

(24:41):
with him and X good that I'vebeen able to generate and it's been great.
And this place looks the same asit did when you were twelve years
old, and they better keep itthat way. Amen. Yeah. Amen,
take the game room back though.I remember that I used to run
around that, like even before Iwas twelve coming in here, you know,
four years old, pool in therewith my brother playing a little pac

(25:02):
Man or something pinball. I forgotabout that, Yeah, I mean I
did, and I as a kid. It's my favorite part of coming here
at first. You know that inthe Chicken Fied Steak, I go in
there and I I I missed thepool table that used to be right here
in front of them. Bang out. Uh you know, great balls of
fire or something. I can onlyplay piano and see and mister White would
go, we're gonna get that thingtuned here pretty quick. About thirty years

(25:25):
later, we're gonna get that thingtouned here pretty quick. That has done
seeing a hammer to it. Now, that's great, perfect, perfect,
Amen, it's perfect. Well man, we're so proud of you what you've
done with your life. Well,thanks man, Uh, you know,
I mean, it's it's amazing.Your story is amazing, and only in
America with this happened. Yeah,only in America and the Texas specifically,

(25:48):
because that's where it did happen inNo, I'm just gonna say, you
know, you got two cats itstruggle to get out of the eighth grade,
but they live in a country wherewhere you're your skill can allow you
to follow dreams that virtually everybody hasand God given talent. Amen, Amen,
hard work, no one thing.I like to do a little shameless

(26:10):
self promotion. I am releasing apsychedelic delta blues type record this year.
In the first singles, I'm I'mthinking it's March. Let you know,
but Sun Radios talk about using someof it as the weekly Texas Radio Live
Music bed when they're introducing it.Fantastic. Yeah, I'm just so you'll
be hearing it, you know.I'm glad I did that at Justin Studio

(26:32):
Blue October, right, did atKickstarter and yeah it's coming out, so
you know, I still do thata little bit. And I feel like
on this as a side man,you have so many people you play with,
you know that I would write asong be an R and B song.
I'd write a song and be moreof a blues song, and this
one's more of like an alternative rocksong, like all over the place right
in this, I like really honedin on where it's at. I feel

(26:53):
like I kind of found my voice. I quit caring about how I sing
or trying to sing like somebody else, and so I'll be happy when it's
out that like I left my artworkthe way I intended it. Finally,
you know, what's the name ofthe record, Dying Day, Dying Day.
Yeah, it's fantastic vinyl. Imean, I'll sure do a few.

(27:14):
We'll see digital releases mainly, andenough enough physical copies to fulfill the
kickstart at back. I'm trying tohave a thousand CDs sitting in my studio.
They're streaming it. So our favoriteplace is Waterloo. Okay, yeah,
no, I get I'll get something. I do want to do that
just to have because I mean,let me tell you, do one hundred
and eighty gram because the cost islike literally like seventy five cents of vinyl,

(27:37):
and you'll be so glad because whatwill happen is you will see overseas
just the vinyl files will buy it. Wow. Yeah, if you don't
do one hundred and eighty they won't. I got you. Okay, Well
I'll talk to you about that whenI get ready to do it all,
when it's finally ready. What doyou pick around here when you come back
home any places? Just walk inwith a guitar, yeah, you know,
with somebody. Yeah. So mybuddy Willie Pipkin, he's my favorite

(28:02):
guitar player in Austin. Really.Uh. I'll go down to his Sunday
night gig and he'll call me up. Or you know, the other day,
I was at Sea Boys and Iwas gonna go see the Molers by
my buddy Jimmy Dreams was playing.They called me up. We played some
funk and uh yeah, little thingslike that. So seaboards are continental.
I went and picked at Giddey upsu we do that. Uh. I

(28:25):
love Nancy Morgan, she just passedthe cancer. I actually went and played
music for on her hospice bed andpicked a little and uh I've been real
close with her son, especially sincethen he's writing and so yeah, but
yeah, that's that's kind of it, really, you know. And here
four places. I like to walkinto the hole in the wall and get
a burger every now and just belike This is one of the big places

(28:47):
when I was young too. Thankgod they saved it. Yeah, you
know, and the burgers are fantastic, man, Yeah, yeah, yeah,
yeah, Hey guys, sax andpub too. Yeah. Last night
I went to the Texas Chili Partner. Haven't been there in years, and
god, how great they're Chilean burgersare Oh my god. You Brandy and
I were just there like I don'tsold Austin. Yes, as incredible,
but they stayed open because they're great. Yeah, thank you so much,

(29:11):
will thank you. Oh yeah,glad to be here, man, love
you you and we'll be back withmore till soon for the Broken Smoke.
Tales from the Broken Spoke is recordedlive at The Broken Spoke in Austin,
Texas, hosted by Country Radio Hallof Fame broadcaster Bob Pickett and Monty Warden,
recorded mixed down and produced by MikeRivera