TrulySignificant.com riffs with Warren Hood, fiddle player for Lyle Lovett, Little Feat, Bob Weir and many more

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How low this ribbon.
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I'm pegging my hands. He used to calm down here,
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my own man. He is a rope swing Yallo.
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Backin and welcome back to truly significant dot com presence.
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I'm Rick Tokinney. Our very special guest today is Warren Hood.
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And I had a chance to play drums behind this
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incredible musician.
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And a little bit about Warren.
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He began playing classical violin at eleven years old in
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the school orchestra, later studying privately with renowned violin teacher
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Bill Dick. He won classical music competitions. I think you
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can consider him a child prodigy, and then his oddiste
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into music began and he was discovering himself. And I
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think he found himself by virtue of his intersection with
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all these world class musicians. Warren, it's an honor to
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have you on today's show.
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Well, thank you for having me. Happy to be here.
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I want you to tell your backstory, starting with where
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you're from originally, and please tell us about your experience
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at Berkeley with this backstory.
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Sure, well, I was born and raised in Austin and
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it's interesting, you know, the bio or the part of
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it you just read makes it sound like I'm a
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classical violinist who maybe tours round playing concertos as a
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soloist with symphony's, which when I was eighteen seemed like
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the path I was on and wanted to do. My
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dad was a phenomenal musician as well champhood and played fiddle, guitar,
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and he was a singer songwriter, and so my story
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begins with really just following him to all of his
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gigs from birth, you know him, my mom would take me.
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I'd be fallen asleep at the booth at the bar
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while he played with his band and various other bands.
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And so picked up violin kind of late eleven is
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considered kind of late by violin standards, and was classically trained,
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But that whole time growing up here in all the blues,
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country and rock and roll kind of got in there.
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And then I started realizing I could improvise and the
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other kids in orchestra couldn't, and how much more fun
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I had making stuff up on the spot and playing
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swing and jazz and bluegrass, and kind of like took
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a hard left turn and ended up, like you said,
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at Berkeley College and Music in Boston, which is the
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place to go if you want to do anything other
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than classical music. It's where you know, vocalists go to
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study like Whitney Houston, and guitar players go up there
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and study, you know, everything from jazz to rock, fusee
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into blues and country and you can go there and
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take classes on pedal steel or even turntables is a
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principal instrument at Berkeley. So very interesting place to find myself,
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learning about a lot of kind of music I've never
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heard before and getting into improvising, and now I make
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my living play and I would call it fiddle now
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backing up other songwriters and having my own band as well.
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And you are outstanding.
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Thank you.
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The experience that we had the other day with you
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gracing the band was extraordinary, changing the sound and dynamics.
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And I'm going to ask you about schmidty. What is
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the name of your fiddle and the history behind it.
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It's about one hundred years old. I think it's made
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in maybe nineteen twenty twenty five somewhere in there, Germany,
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and the maker is Rinald Schmidt. So I call it
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my little piece of Schmidt. He lives on through his violin.
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Okay, so I didn't tell you this when we were
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playing together. But Carl and I travel around the world
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and we when we stay up somewhere, we always stay
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with an artist's son or a craftsman. And we've been
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we've traveled extensively in Germany and we have stayed with
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violin builders. Yeah, and the smell of the wood and
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to watch the craftsmanship, Yes, special.
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It is. I've got a really good guy here in
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town Sandro Coco is his name, and he rehears my
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bows and he builds violins and repairs him. So every
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time I go to his shop to get a repair done,
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I'm always looking at his newest project. And it's unbelievable
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the time and energy goes into hand carving the wood
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to get it so perfectly smooth and symmetrical and all
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the stuff. And yeah, it's an art.
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Form, it is.
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What's the story about the actual shape? The s it's
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on a fiddle and a violin, and why is it that?
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Why is it that shape?
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You mean the f holes? Are you're talking about just
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the shape of the violin?
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Yes?
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And yes, oh, I don't know a lot about it.
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My best guess is you've probably heard stories of people
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thinking that they found a Strata Varius violin in their attic.
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That's because almost all violins on the inside will say
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a copy of a Stratavarius and strata Areas is in
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big letters and a copy of his very fine print
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that you have to like look inside and get a light,
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get to look in there. And that's because Stratavarius kind
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of came up with best design. The size its shaped
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like that, so your bow has room to change, but
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then it kind of bulbs out of the top to
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give you more resonance in the cavity. And I'm not
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sure the f holes are probably just that for pretty
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being pretty. Someone can correct me out there because I'm curious,
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but yeah, something's broke, don't fix it. So everybody's been
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trying to recreate the stride of area since he did it.
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And honestly, I played on one one time at a
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high end violin shop in Chicago, and I preferred mine.
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And at the end of the day, you're kind of like,
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it's a personal preference thing, and it's a block of
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wood that makes sound, and some are better than others,
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and some people prefer different things than others, and minds
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like dark and warm and mellow, and you know, certain
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million dollar violins can be really bright and loud. And
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it's not what I was looking for, and not that
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I was in the market to buy one. I just
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they said they had one and they'd let me touch it,
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and I did, so I'm glad I did. And now
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I know.
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You've been there. You've touched the so called candy. But
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it's not so sweet.
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Huh. You know, maybe in the right hands.
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Maybe When did to that point, when did you realize
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that your violin, your fiddle, wasn't just an instrument but
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your voice.
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Tell me about that light bulb moment.
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Well, when I picked that one out, I've had it
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going on twenty years. I guess a good friend of
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mine who's actually the house fiddler for the Grand Ole Opry,
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Amon McLaughlin, and he lives in Nashville, and I flew
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up there to go to this famous fiddle shop run
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by a Fred Carpenter, and I played on probably one
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hundred fiddles. And the reason I brought my friend with
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me is because you can't really tell what a fiddle
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sounds like under your ear. You get a lot of
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you hear the bow noise on the string and a
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lot of high end information that disappears two three feet away,
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and especially ten feet away or where an audience might be,
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or even a microphone in the studio would be. And
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so I wanted to not only play on them, but
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hear another great player play on them from five feet
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away and hear the sound. And some fiddles we picked up,
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and you like, you give it one pluck, You're like, nope, nope,
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and then something gives you a little something spooky, and
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so you play on it a little bit and pass
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it and you talk about it like it's wine. And
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then we narrowed it down to three of them, and
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they let us take those three fiddles to a blue
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restm that night, and we let a bunch of other
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players play on those three and talk about them. And
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the one that I ended up picking was the clear
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favorite of everyone in the whole shop. And I left,
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I went home with it. Knew I knew right then,
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and there you just kind of you can hear it.
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And all my favorite fiddle players and violinists through history,
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seven Grapelly and Stuart Duncan and all these people seem
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to have had their same instrument for most of their career.
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And you know Vasterer Clym is another one, and you
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can really hear it on a recording like one note,
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and of course it's the player doing it, but also
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it's the voice of that instrument.
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Oh tell me about Stuart Dunkin. Why is he one
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of your favorites?
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He's my He's my number one guy. He's still around
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playing a place with you know, all kinds of bands.
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If you just look him up. It's ridiculous how many
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recordings he's been on. But pretty much every band I've
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been in, I've had to learn s toe your Dunkin
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parts from the record. You know, from George Strait to
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Lyle Lovett to you know, you name it, he's on
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their records. And I guess the reason he's my favorite
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is because unless you're like a fiddle player, sometimes you
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don't notice he's there because he's so good. It's so
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in tune and it's so melodic and just perfectly placed
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in the track, not calling too much attention to itself,
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but if you know, you know how amazing it is that,
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you know, it just doesn't get any better for me
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than the what he does. And when it's time to
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show off, boy can he But he knows when and
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when not to.
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But he's humble and he's precise.
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He's music first, you know, and so you know, if
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the song is a ballad or something, he can play
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really beautiful melodic stuff with double stops and just beautiful
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tone and beautiful phrasing. And then if the song is
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like playful, he can do that, and if it's like
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rocking and bluesy, he can shred and it just like
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whatever is called for. And so I try to do
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that too, to really play the song. And I think
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that's partially what maybe separates me from some other fiddle players.
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There's a lot of guys and girls who can play
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circles around me playing fiddle tunes, you know, people that
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grow up in those fiddle camps and stuff. But I
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think where I shine is from studies to it. Duncan
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so much is backing up a songwriter and playing a
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song and you know, finding what fits you know in
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that song.
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That's right. There's so much beauty in what you just said.
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We study collaborations here, and over the course of the
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last seventeen years of doing interviews, we've learned a variety
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of different definitions. And I want to talk to you
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about collaborations because you've played with Lyle Lovett, Little Feet,
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Bob Weir, you play with generational players. How has all
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those experiences taught you how to be a professional collaborator
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with such two great ears that you.
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Have, Well, a lot of that I learned from my dad.
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Most of my gigs that I have I kind of
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inherited from him. He played in Lyle's band. In fact,
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Lyle used to open for his band in the eighties,
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and then when that band's up, Uncle Walt's band some
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Evantha you might want to look up. And when they
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split up, Lyle took my dad on the road playing guitar,
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and my dad played with Guy Clark in towns and
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listened to Williams and the list goes on and on
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of all the people he played with fiddle and guitar,
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And I ended up playing with all these people too,
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and have He died when I was eighteen, and so
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I right when I was kind of coming up, and
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a lot of these people just started calling me after
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he passed away, and I kind of inherited a lot
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of these gigs, and they love to tell me stories
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about him, and the common thread that I hear is
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just how great it was to be around him, and
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how warm and funny and happy he was, and just
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someone that you want to have on the road and
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one of those guys who could actually play. But I
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think even if he couldn't that he would have been
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hired anyway just to have somebody on the road like that.
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And so whenever I'm working with anybody, I try to
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always bring a good attitude, show up sober as a
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big part of it. You know, in this business, a
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lot of people miss that one and show up prepared
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and with a good attitude and listen, you know, and
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other people have ideas and stuff to say, and we
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got to, like, you know, suss out their ideas too,
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and if you have a good idea to input, then
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don't be afraid to speak up, you know, as long
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as it doesn't sound too demanding, you know. So he's
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going to be a good people person, really, And the
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music kind of I think comes out of that. I
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think you can hear people's personalities and their music, and
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if someone's an a hole, they sound like it.
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It's true. Someone told me yesterday. It was Bobby Jenkins
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who said, work hard and be nice.
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There you go. You know, and I couldn't agree more.
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And every time I, you know, work with somebody, I
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feel like I learned something and take something away too.
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And I feel like every time I play with a
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really great performer that inspires me. I leave there thinking like,
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that's what I want to do. I want to I
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want to sing country and play in a country band.
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And I'm like, oh no, I like blues and rock
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and roll, I'm gonna do that. Oh no, it's bluegrass.
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That's where it's at. So every time I leave like
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a great experience of like that's the thing. And I
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kind of realized a long time ago that I like
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it all and when you boil it all down, it's
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all kind of the same. It's like different languages are
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different genres, and I kind of get into like why
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the different styles sound the way they do.
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And you know, I filmed you playing that.
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I observe that you have this flow and the flow
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of science going and you lose yourself in certain songs
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I do, And I want you to tell us about
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out that, And do you necessarily lose yourself in all
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different genres or is there one that you kick into
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that gear?
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No? I kind of just lose myself in music and
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playing the violin, and I hate watching videos of myself
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because I, you know, things, and it's like totally not
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under my control. Because I oftentimes close my eyes when
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I play or sing. I find that if I don't,
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I take in too much visual information and it distracts
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me and I can't find that place, and I feel
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like I'm performing for people, and I don't like performing
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for people. When I close my eyes, I might as
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well be playing at home alone or in a crowd.
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I'm really going into this like world.
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Now.
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There is a connection with the audience, and when they're
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when you can feel them getting into what you're doing,
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it feeds it. And so there there is that aspect
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to it. But again, if I look up and I
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see somebody dancing or somebody making eye contact or something,
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it will distract me and I might lose the flow.
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And so I like to kind of close my eyes
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and I go into this world and my face does
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weird things, and I buy it as weird things, and
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then I come out of it and it's weird because
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like time kind of stands still when I'm in there,
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and it's sometimes I'll be working, you know, a piece
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of music or practicing or something or recording and look
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up in like three hours have passed and it feels
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like ten minutes. You know, same thing in a show,
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like you know, a three hour show can just fly by,
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because while I'm performing, like time kind of stands still.
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And yeah, I can't really explain it. I feel like
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I'm not really in control of it. And when you
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do try to control it is when it goes wrong.
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So the older I get and the more I do it,
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the more I try to surrender to it.
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Not control is gold, and it's worth pausing on and
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considering your flow of science is perhaps the intersection of
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out of avocation with vocation. Sure, and when you lose
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yourself and time stands still, maybe you are at your
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finest mm hmm, and the audience is truly the hero
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at that time. Yeah, and now we're looking at each
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other thinking I don't have anything.
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It's quite okay, it's okay.
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It blew my mind.
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That's the That's the what I think great musicians are
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striving to create. And because you take when you're in
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a flow, you're you're going to take the audience with you.
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The hard thing is that the flow is not always there.
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It's not always a givea, and sometimes you try to
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force it and it doesn't like to be forced. And
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I also studied with this great fiddle player and guitar
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player in town named Eric Hokinan. He's another local legend
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hero of mine in Austin. And you'll see, like, you know,
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Eric Johnson in the audience at his show watching him
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because he's so he's just out there and a great player.
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And I've talked to him many times about this very
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subject and stuff, and he'll say, you know, sometimes my
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spirit just doesn't want to come out and play, and
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you have to like play games with it to get
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it to wake up and come out. And so he'll like,
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you know, if it's not happening and he's feeling tens up,
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he'll just do some like crazy like just like just
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tear it down to some like non musical like make
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up sound or play some really short phrases, really cute
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little like but you know whatever, and just like it's
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like he's saying, like, are you there anything? Can you
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wake up? And more often than not, if you kind
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of like don't force it, but just like try to
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like playfully wake it up. Then it will come out.
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And it's a lot easier to do it when you're
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inspired by the players around you as well. I can
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say that, you know, the guitar or the bass of
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the drums, or somebody's doing something that can oftentimes get
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you out of your own head a little bit.
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Oh yeah, I want to tell you about an experience
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I had in New Orleans doing that. Carl and I
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were down there with some friends and walked into a
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bar and there was nobody playing on the drum kit,
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and I jumped up there and started playing, and then
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a guy came out of the audience's play bass, and
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we were so inspired by this saxophonist.
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We lost ourselves.
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We were lost in the moment. I can't even remember
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what we played. The audience loved it, but it's it
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was surreal.
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Yeah, there's been times where maybe someone else in the
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band is playing solo, then I get so lost in
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it I forget to come in singing, or forget the
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words of the next verse or something. You know that happens.
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I didn't get to hear you sing the other day.
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What what are some of your songs that light you up?
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I don't know, Well, you know, I write my own
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stuff and I sing, but I also do a lot
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of songs from my dad's band, Uncle Walt's band, and
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you know, a handful of their songs are you know,
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usually my favorite songs to sing of the night. And
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I remember my dad after Uncle Walt'span split up and
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he went on to do other stuff. Mostly he would
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also do cover songs, you know, covers a strong word.
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He would cover like Jimmy Rogers or Williams or stuff
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like that. And and but his songs are so good
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and I love sing him too. And then it kind
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of dawned on me much later in life how songwriters
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can be so critical of themselves in a way that
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the audience might not be. And they are also inspired
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by other people's songs. And so I can see how
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after maybe you've done your song regularly for twenty years,
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you're tired of it, and you really like this other song,
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so you start doing another song that maybe sounds like
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that song of yours. And now you can't do that
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one because you already did the other one in the
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same set. So you know, it's a it's a fine
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line there. You're trying to, you know, give yourself grace,
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but also make sure that you are you writing the
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best song that you can, but sometimes you just want
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to sing someone else's song.
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That's right, that's so insightful. Thank you for that.
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We're talking with Warren Hood and we will be right
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back with Warren after this quick message.
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I've heard that Stoicism is currently now back in fashion.
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I am Socrates with a message for you.
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Come.
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Let us examine a question worthy of our time in
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the twenty first century. What is it that makes a
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life significant? Is it wealth, which slips through the fingers
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like sand. Is it reputation which depends not on the
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truth but on the fickle applause of the crowd. Or
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is it something deeper, something that endures when titles fade.
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And noise grows quiet.
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I have long argued that the unexamined life is not
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worth living. Yet examination alone is not enough. One must
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also seek wisdom from those who have walked the road
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with intention, humility, and heart. In this spirit, I commend
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00:23:14.960 --> 00:23:20.279
you to a literary work called Truly Significant, written by
396
00:23:20.359 --> 00:23:25.079
Rick Tolchini. This is not a book that shouts answers
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at a reader. Rather, it invites reflection, much like a
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good dialogue.
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Within its pages, you will encounter men and women who
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have wrestled with purpose, chosen character over convenience, and discovered
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that significance is not measured by power, but by service.
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00:23:50.160 --> 00:23:56.240
Ask yourself, what legacy will remain when my voice is silent?
403
00:23:57.680 --> 00:24:02.480
Visit ww dot truly significant dot com today to buy
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00:24:02.519 --> 00:24:07.160
it for a life examined is noble. But a life
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00:24:07.200 --> 00:24:13.680
examined and lived with purpose, well, that is truly significant.
406
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We're back with Warren Hood and one of the things
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that you have mentioned this morning is your love and
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affection for your dad Champ.
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Correct.
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Yeah, and now you are a dad, and I know
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you're enjoying it. Most days you're eliminated by it.
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How are you.
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Carrying forth the best core values and disciplines of your
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dad and putting it into your own language for your
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kids today?
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Well, you know, so, like I said, I started playing
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when I was eleven, which is kind of a late start.
418
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You know a lot of my violin peers when I
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in school had started when they were four and five
420
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years old, and in some households it's you know, you
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were starting you on violin lessons at age five, whether
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you like it or not. And you're going to practice
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thirty minutes a day and take your lesson once a week,
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no matter how you feel about it, and the kids
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would just do it. My dad never did that to me.
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I was just kind of always around music, but he
427
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was like, if you want to play, cool and if
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you do it, that's cool. And I kind of found
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it on my own. And then sometimes I think, like,
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I wish my dad had started me when I was five.
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I could have had a bigger head start and maybe
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even better off now. But then I think like, well,
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he may have pushed me away from it, started me
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at five and turned it into this work thing that
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I didn't want to do, and I might have ended
436
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up like some of my other violin peers who at eighteen,
437
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when they were out of the house, they were like done,
438
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never looked back playing violin, even some like really talented
439
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violin players that were better than me at the time. Well,
440
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I guess they couldn't wait to quit when when they
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were finally were accepted into college and could move on.
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And I remember the concert master of our high school
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orchestra went on to be a doctor at Yale and
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gave up violin. It was like that was just you know,
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to get into college. And so I'm finding myself in
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that same predicament with my kids, where they both exhibit
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musical abilities and if they wanted to do it, they could,
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and I'm trying to encourage them to play and learn,
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but they're also into sports, and they're into video games
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and riding bikes with their friends and all these things,
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and I want music to be fun for them and
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not turn them away from it. So I try to
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lead by example and play myself around the house, just
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like pull a guitar out or a fiddle and play
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and hope that maybe inspires them to pick it up.
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And sometimes it does. But it's a real fine line between,
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you know, being a discipline professional musician and just somebody
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who enjoys music and plays for fun. Sometimes. I also
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know that the music industry is very unpredictable, especially this
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age of AI that we're getting into and moving forward,
461
00:27:17.839 --> 00:27:20.880
and a career music is very uncertain, and so I
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know that my dad, I think he didn't push me
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into it because he knew what a rough road it was.
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Once he realized I was going to go that way,
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he was very supportive, but he did what I'm doing
466
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which is show them a whole bunch of different things
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that they could be and do, and hope that they
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find something that makes them happy that they could make
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a living doing, whether it's science or any number of
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things computers, but still have a love for music and
471
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play it for the joy of it.
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That definitely comes from a lived experience. Hats off to you, Daddy,
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for exercising agency for your children. And when I look
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back on my own parents, who being the fourth child,
475
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I didn't They weren't saying, now you need to do this,
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this is you know, it was sort of a okay,
477
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here he comes, he's the fourth one.
478
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Count the days until.
479
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We're empty nesters, right, But learned I learned to play
480
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drums and golf when I was ten or eleven, and
481
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they stuck because it wasn't I wasn't choking on it
482
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as a child. Yeah, and so I really love what
483
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you just said. That is a lasting life lesson that
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we need to pass on to a.
485
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Lot of people. Yeah, okay, I've got a few more
486
00:28:39.799 --> 00:28:40.559
questions for you.
487
00:28:41.880 --> 00:28:45.599
One of the songs that we've recently written was about
488
00:28:45.640 --> 00:28:49.200
big hearted people and big hearted Texans, and you're definitely
489
00:28:49.200 --> 00:28:52.279
a big hearted person. Besides who all the people that
490
00:28:52.640 --> 00:28:57.799
have shaped your musical career, tell me about a couple
491
00:28:57.759 --> 00:28:59.960
of people that you'd like to thank today. Who shaped
492
00:29:00.079 --> 00:29:03.519
your heart? Is a grateful is a grateful person?
493
00:29:04.839 --> 00:29:06.880
Well, of course, well you got to give it up
494
00:29:06.920 --> 00:29:10.559
to mom and dad, and I had some great grandparents,
495
00:29:10.680 --> 00:29:14.759
still have a grandma who's ninety five, and of course
496
00:29:14.759 --> 00:29:20.519
my wife, Ashley is a you know, That's the other
497
00:29:20.599 --> 00:29:22.960
thing that I feel so fortunate about is that I'm
498
00:29:23.000 --> 00:29:25.759
just surrounded by so many wonderful people. A lot of
499
00:29:25.759 --> 00:29:27.720
the people that played in bands with my dad that
500
00:29:27.880 --> 00:29:30.720
helped raise me. You know, like I said, from birth,
501
00:29:30.720 --> 00:29:34.519
I was going to those shows, and so you know,
502
00:29:34.720 --> 00:29:37.599
the other guitar players and bass players and drummers and
503
00:29:37.640 --> 00:29:41.720
singers and the music fans that were there were oftentimes
504
00:29:41.759 --> 00:29:44.680
taking care of me while my dad played. He wouldn't
505
00:29:45.119 --> 00:29:47.000
take me to his gig with a babysitter. I'd be
506
00:29:47.039 --> 00:29:49.079
like a six year old running around a bar. And
507
00:29:49.119 --> 00:29:52.599
it was just understood that the fans and waite staff
508
00:29:52.599 --> 00:29:56.960
would look after me, and they did. And like they say,
509
00:29:57.000 --> 00:30:00.680
it takes a village, and what an unbeliev village I
510
00:30:01.319 --> 00:30:04.920
stumbled into. And I still these people still come see
511
00:30:04.960 --> 00:30:06.839
me play. The people that were watching me when I
512
00:30:06.880 --> 00:30:08.680
was seven years old while my dad was playing used
513
00:30:08.680 --> 00:30:11.000
to go see his band play. A lot of them
514
00:30:11.000 --> 00:30:13.279
in their seventies and eighties still come out to see
515
00:30:13.279 --> 00:30:19.559
me play. And so yeah, it's hard to pinpoint at
516
00:30:19.799 --> 00:30:23.839
one or two people. It's really been this collective. I've
517
00:30:23.960 --> 00:30:28.519
just really good, decent people. I'm just like, really lucky
518
00:30:28.559 --> 00:30:33.039
that I have so many wonderful people around me and
519
00:30:33.160 --> 00:30:36.079
my own band. I get to play with my cousin,
520
00:30:36.160 --> 00:30:40.559
my family, Marshall Hood, my best friend Willie Pipkin, who
521
00:30:40.920 --> 00:30:42.720
I was fourteen and he was twenty one when we
522
00:30:42.880 --> 00:30:46.559
first started playing together, and they're still playing with me,
523
00:30:47.319 --> 00:30:51.039
And you know, it's just an amazing group of people
524
00:30:51.039 --> 00:30:52.920
I get to be around all the time.
525
00:30:55.000 --> 00:30:57.440
I want to ask you about that band, so I
526
00:30:57.640 --> 00:30:59.400
hold on that question, but I want to know more
527
00:30:59.440 --> 00:31:03.799
about that ninety five year young grandmother. Yes, send a
528
00:31:03.839 --> 00:31:07.400
special message to her today about your love for her.
529
00:31:08.480 --> 00:31:11.000
That's really that's sweet. I should do that. I'm due
530
00:31:11.039 --> 00:31:13.839
for a call. She lives in Manhattan, has been in
531
00:31:13.839 --> 00:31:18.119
the same apartment for going on sixty years, fifty something years,
532
00:31:18.720 --> 00:31:21.559
and she's an artist. And I actually have several of
533
00:31:21.599 --> 00:31:25.640
her pieces hanging up in my house here. And yeah,
534
00:31:26.000 --> 00:31:27.519
I Grandma Mary A.
535
00:31:27.519 --> 00:31:31.400
Call that is sweet. Thank you so much for sharing that.
536
00:31:32.000 --> 00:31:35.240
And now tell us about the speaking of sweet, the
537
00:31:35.279 --> 00:31:39.759
sweetness of working with your brother Marshall, your best friend
538
00:31:40.440 --> 00:31:43.720
in your own band, and how you play intuitively with
539
00:31:43.799 --> 00:31:44.240
each other.
540
00:31:44.759 --> 00:31:47.720
Yeah, well, he's my cousin, but we are probably closer
541
00:31:47.759 --> 00:31:49.839
with each other than our own brothers. And that's nothing
542
00:31:49.839 --> 00:31:51.720
against them. It's just that we've spent a lot more
543
00:31:51.720 --> 00:31:56.359
time in a van together than with them. And you know,
544
00:31:56.519 --> 00:31:59.319
he grew up in the time my dad's from where
545
00:31:59.359 --> 00:32:02.160
my dad's going to a waltz band started, and but
546
00:32:02.319 --> 00:32:05.720
both of us grew up absorbing all the songs of
547
00:32:05.920 --> 00:32:10.119
Uncle Walt's band and so being able to kind of
548
00:32:10.160 --> 00:32:13.119
speak the same language. And you know, the way that
549
00:32:13.160 --> 00:32:15.480
he plays guitars is the way that you know, my
550
00:32:15.599 --> 00:32:18.160
dad played and the way that I played, And so
551
00:32:18.319 --> 00:32:24.720
you really there's nothing like harmonizing with family and and
552
00:32:24.759 --> 00:32:28.559
hanging out, and you know, he's he really is my rock.
553
00:32:29.519 --> 00:32:31.319
As long as I got Marshall there, I got a show.
554
00:32:31.319 --> 00:32:33.960
We got a duo show coming up on Friday, And
555
00:32:34.279 --> 00:32:36.440
sometimes you know, my band is a six piece electric
556
00:32:36.480 --> 00:32:41.200
band with two electric guitars, bass, drums, keyboards, fiddle, and
557
00:32:41.480 --> 00:32:43.519
sometimes I pair it down to just me and Marshall,
558
00:32:43.759 --> 00:32:47.640
and I have just as much fun playing those songs
559
00:32:47.680 --> 00:32:48.359
with just the two of.
560
00:32:48.400 --> 00:32:51.720
Us, and it does become intuitive.
561
00:32:52.680 --> 00:32:56.599
Yes, we we kind of can predict for the other
562
00:32:56.640 --> 00:33:01.079
ones going and just kind of Yeah, there's nothing quite
563
00:33:01.119 --> 00:33:02.920
like playing music with family.
564
00:33:04.759 --> 00:33:10.799
In the two final questions, yeah, what does schmidty the
565
00:33:10.839 --> 00:33:13.680
fiddle still whisper to you?
566
00:33:16.799 --> 00:33:19.319
I don't know. I have kind of a love hate
567
00:33:19.359 --> 00:33:27.799
with that fiddle, because you know, I hate hate, love hate.
568
00:33:27.960 --> 00:33:32.519
Musicians never quit looking to, you know, get better and
569
00:33:32.559 --> 00:33:35.519
to sound better, and we're always like, buy a new
570
00:33:36.599 --> 00:33:39.640
gear because we think maybe this thing will sound better,
571
00:33:39.839 --> 00:33:43.000
or trying out a different set of strings, light or heavy,
572
00:33:43.240 --> 00:33:46.240
or a different pick or a different bow or all
573
00:33:46.240 --> 00:33:50.160
this kind of stuff. You also go through these peaks
574
00:33:50.160 --> 00:33:53.599
and valleys of being down on yourself about your playing,
575
00:33:53.759 --> 00:33:56.000
like I'm worse than I was a year ago, what
576
00:33:56.160 --> 00:34:00.480
is going on? And then having a string of good gigs,
577
00:34:00.480 --> 00:34:02.160
you are like, I am as good as I've ever
578
00:34:02.200 --> 00:34:07.079
been right now, and the instrument is kind of at
579
00:34:07.119 --> 00:34:10.639
the center of all of that. And so there are
580
00:34:10.719 --> 00:34:12.960
times where I'll hear a live recording or a studio
581
00:34:13.000 --> 00:34:16.480
recording where my fiddle sounds amazing and I'm like, this
582
00:34:16.639 --> 00:34:19.079
is the right fiddle and I am sounding good and
583
00:34:19.079 --> 00:34:21.599
this is great. And then there's other times where you
584
00:34:21.639 --> 00:34:24.360
hear the live recording back and You're like, this fiddle
585
00:34:24.440 --> 00:34:28.679
is bad, and so am I. And so it's just
586
00:34:28.760 --> 00:34:30.599
kind of you have to learn how to not get
587
00:34:30.639 --> 00:34:32.639
too low in the low times or too high in
588
00:34:32.679 --> 00:34:35.119
the high times and realize that it's kind of a
589
00:34:35.159 --> 00:34:39.000
rollercoaster and that what comes up must come down and
590
00:34:39.079 --> 00:34:39.679
vice versa.
591
00:34:41.920 --> 00:34:45.920
Wow, I feel like I'm had the last thirty minutes
592
00:34:45.920 --> 00:34:46.719
with a therapist.
593
00:34:46.760 --> 00:34:49.079
So thank you for that last question.
594
00:34:50.960 --> 00:34:55.320
When it's all said and done, beyond stages, tours and applause,
595
00:34:55.440 --> 00:34:58.639
how do you hope that your music made people feel?
596
00:35:00.119 --> 00:35:02.519
Oh, we just hope that, you know, people feel good
597
00:35:02.639 --> 00:35:06.519
and spread joy and people dance, laugh and have fun.
598
00:35:06.719 --> 00:35:09.519
And that's what we try to do with our band,
599
00:35:09.840 --> 00:35:14.599
is you know, let people cut loose and dance and
600
00:35:14.639 --> 00:35:19.360
have a good time and remember, you know, all the
601
00:35:19.360 --> 00:35:21.760
good times they had listened to our band. I know
602
00:35:22.000 --> 00:35:23.480
some people will come up to me and say that
603
00:35:23.519 --> 00:35:26.440
they met their spouse at our show or things like that,
604
00:35:26.480 --> 00:35:29.119
and so that always like brings a smile on my face.
605
00:35:29.719 --> 00:35:33.880
But yeah, just knowing that we spread joy and love
606
00:35:34.039 --> 00:35:35.239
and people had a good time.
607
00:35:37.480 --> 00:35:41.039
This has been a very revealing last of thirty minutes
608
00:35:41.039 --> 00:35:42.639
with you. Thank you so much, and I want to
609
00:35:42.639 --> 00:35:48.880
thank Lawrence Croman for introducing us and tell our listeners
610
00:35:48.880 --> 00:35:51.599
where they can find out more about your music and
611
00:35:51.679 --> 00:35:54.119
follow your band and come out and see you.
612
00:35:54.679 --> 00:35:59.599
Sure well. My website is warrenhood dot com. It's hard
613
00:35:59.639 --> 00:36:01.840
to find my music on the internet because I'm kind
614
00:36:01.840 --> 00:36:06.280
of self employed in every meaning of that word. And
615
00:36:06.840 --> 00:36:08.199
you got to come find me at a show and
616
00:36:08.360 --> 00:36:10.639
usually buy a record from my trunk if you want one.
617
00:36:11.079 --> 00:36:13.960
But I do play in Austin every Wednesday for the
618
00:36:14.039 --> 00:36:18.440
last ten years at a brewery called the ABGD Austin
619
00:36:18.559 --> 00:36:21.760
Beer Garden and Brewery every Wednesday at seven. It's a
620
00:36:21.760 --> 00:36:24.760
free show. It's all ages. People come out and dance,
621
00:36:25.079 --> 00:36:30.840
people bring their dogs sometimes and that's the constant place
622
00:36:30.880 --> 00:36:33.440
to find us. But yeah, I do have a website.
623
00:36:33.599 --> 00:36:35.960
I'm not great at updating it, but it's there and
624
00:36:36.360 --> 00:36:37.960
it'll tell you where I'm playing next.
625
00:36:39.679 --> 00:36:42.719
It's an honor to have had you on. You are
626
00:36:42.880 --> 00:36:48.079
truly significant. But I'll start with as a dad, and
627
00:36:48.159 --> 00:36:52.440
as a son, and as a grandson and a great musician.
628
00:36:52.480 --> 00:36:52.960
How about that?
629
00:36:52.960 --> 00:36:55.159
Thank you, Thank you very much, and thank you for
630
00:36:55.199 --> 00:36:56.480
having me on your podcast today.
631
00:36:56.920 --> 00:37:02.760
Absolutely hopefully, folks, you enjoyed this conversation as much as
632
00:37:02.800 --> 00:37:05.079
I did. I know all of you are not in
633
00:37:05.119 --> 00:37:07.960
a band, but there was some life lessons here that
634
00:37:08.000 --> 00:37:11.719
were so great. Enjoy your week, and I know that
635
00:37:11.800 --> 00:37:15.079
you're chasing down success, but along the way, pay attention
636
00:37:15.119 --> 00:37:16.000
to what's significant.
637
00:37:16.400 --> 00:37:23.239
That's great week. Thank you too. Oh I want I
638
00:37:23.440 --> 00:37:27.119
want what everybody on I.
639
00:37:26.960 --> 00:37:28.159
Just want to feel.
640
00:37:30.119 --> 00:37:33.760
I mean, I mean, I mean what everybody.
641
00:37:35.239 --> 00:37:42.800
I just need to see them. Everybody's got a big problem.
642
00:37:43.960 --> 00:37:44.159
Thing.
643
00:37:44.360 --> 00:37:45.760
Nobody knows it.
644
00:37:46.000 --> 00:37:46.280
Pain.
645
00:37:48.199 --> 00:37:53.159
You look just a little bit closer, you.
646
00:37:53.199 --> 00:37:54.960
See what the same.
647
00:37:57.159 --> 00:38:06.559
Some days ficture's fine. Some days I am blue.