התמלול המלא של Interview: Bernie Leadon - Eagles Co-Founder Talks Country-Rock History, New Album, Flying Burrito Brothers, Dillard & Clark + More

coffee and just kind of noodle on the guitar. 00:04:22.016 --> 00:04:26.736 And usually you can write something, you know. So I have a lot of songs when 00:04:26.736 --> 00:04:29.476 Glenn said, hey, let's see what you got. 00:04:29.996 --> 00:04:33.796 And so I had about a hundred songs and gave him about 30. 00:04:34.016 --> 00:04:39.776 And then we picked ultimately about 15 and 11 made, made the record, 00:04:39.856 --> 00:04:43.676 you know, so you will, you have the makings of many more records. 00:04:43.876 --> 00:04:46.736 If you, if you said, yeah, hopefully I'm still writing a lot. 00:04:48.102 --> 00:04:51.022 You know, you started out talking about country rock, and there's really nothing 00:04:51.022 --> 00:04:55.642 that's exactly country rock per se. There's definitely rootsy, folkier melodies. 00:04:56.662 --> 00:05:02.082 You know, the song, Coast Highway, is basically a blues, but an acoustic blues. 00:05:02.922 --> 00:05:06.022 And there's different flavors, you know, on the record. 00:05:06.902 --> 00:05:09.082 Yeah, I like just a little. 00:05:10.182 --> 00:05:15.022 Yeah, that's very kind of Stones' Eve, Keith Richards' riff in the beginning. 00:05:15.022 --> 00:05:19.262 And that was fun to write because I came up with the idea for the chorus. 00:05:19.782 --> 00:05:21.502 I'm a little pissed off. 00:05:22.242 --> 00:05:26.922 And so then the verses are just, I tried to write down all the ways that were 00:05:26.922 --> 00:05:33.382 not profane that describe being messed over severely, fucked over, 00:05:33.502 --> 00:05:34.202 whatever you want to say. 00:05:34.642 --> 00:05:38.902 And that was really kind of fun. But now I have to remember them, 00:05:39.162 --> 00:05:42.362 the way I've assembled them. And it's not a story exactly. 00:05:42.922 --> 00:05:45.702 So it's it's been it been fun to try to 00:05:45.702 --> 00:05:50.102 memorize it which i believe i have now yeah well 00:05:50.102 --> 00:05:53.322 you just say you've been doing some shows right just in america 00:05:53.322 --> 00:05:56.522 yeah not yeah you you came to one an acoustic show this 00:05:56.522 --> 00:05:59.422 there's a show uh in two days at the 00:05:59.422 --> 00:06:02.602 city winery in nashville for americana 00:06:02.602 --> 00:06:05.662 fest which is going on here and we 00:06:05.662 --> 00:06:09.062 didn't know we were americana but now apparently everybody is 00:06:09.062 --> 00:06:11.802 yeah yeah well you uh shape the 00:06:11.802 --> 00:06:15.282 genre well even when i think about some of like the early and we'll talk about 00:06:15.282 --> 00:06:18.822 deeper but even like early dillard and clark are hearts of flowers that's put 00:06:18.822 --> 00:06:23.862 into like a country rock vein and i listen to hearts of flowers and i hear more 00:06:23.862 --> 00:06:30.062 i mean psychedelic i guess is rock but it's not a lot of like edge or like you know there's no. 00:06:30.862 --> 00:06:35.242 Stones which i think is rock and dillard and

clark has got a more you know it's 00:06:35.242 --> 00:06:39.662 country record Yeah, and also both of those were acoustic bands. 00:06:39.902 --> 00:06:43.862 And actually, Dillard and Clark, we didn't even use a drummer, I don't think, at all. 00:06:44.322 --> 00:06:48.682 And we used upright bass, so it was very acoustic. That was kind of a bluegrass 00:06:48.682 --> 00:06:50.922 folk country record, Dillard and Clark. 00:06:52.036 --> 00:06:54.836 Hearts and flowers the guy was enamored with the bgs so we 00:06:54.836 --> 00:06:57.816 were doing folk slash bgs harmony 00:06:57.816 --> 00:07:00.816 so i don't know what it was exactly it was cool it 00:07:00.816 --> 00:07:03.816 was different at the time let me ask you a few more questions 00:07:03.816 --> 00:07:06.776 on the on the new record so there's a lot of very very cool things 00:07:06.776 --> 00:07:09.776 on it first the songs are great second you 00:07:09.776 --> 00:07:12.976 reunited with glenn glenn johns who's iconic producer 00:07:12.976 --> 00:07:15.796 who did some of your early records i'm guessing 00:07:15.796 --> 00:07:19.316 you've been in touch with him the last 50 years yeah 00:07:19.316 --> 00:07:22.676 yeah well yes it is 50 years well he's 00:07:22.676 --> 00:07:25.796 far beyond that in our relationship with 00:07:25.796 --> 00:07:29.356 one another we're very close friends we're like brothers we talk 00:07:29.356 --> 00:07:34.276 frequently and we do that thing where you don't talk to somebody for six months 00:07:34.276 --> 00:07:39.756 and then you pick up the phone and uh and call them and they go oh my god i 00:07:39.756 --> 00:07:43.496 have the phone in my hand to call you you know so we we we have that quantum 00:07:43.496 --> 00:07:48.036 connection and you You know, I've spent many, 00:07:48.276 --> 00:07:50.456 many weeks staying with him in England. 00:07:50.456 --> 00:07:54.036 He stayed with me for the making of this record and other times. 00:07:54.236 --> 00:07:58.396 And so we're very close friends and it was a joy to get back in there with him. 00:07:58.496 --> 00:08:00.236 He's so good at what he does. 00:08:00.796 --> 00:08:06.356 Yeah, iconic. And another iconic element is the cover, the cover photo, 00:08:06.556 --> 00:08:08.216 which was shot by Henry Diltz. 00:08:08.536 --> 00:08:11.376 Yeah, 45 years ago. Right. so 00:08:11.376 --> 00:08:14.316 tell me tell me the history of how the the cover got 00:08:14.316 --> 00:08:17.096 re-rebirthed for this album well okay so 00:08:17.096 --> 00:08:19.856 back in the day so i had left 00:08:19.856 --> 00:08:25.296 the eagles and i had done one album for asylum with my friend michael giorgiata 00:08:25.296 --> 00:08:29.676 so that was part of the eagle steal every a leaving member had a right to make 00:08:29.676 --> 00:08:34.656 one record and so we did that one and toured opening for linda ronstadt in 77 00:08:34.656 --> 00:08:39.116 i guess and And then I wanted to do another album by myself, 00:08:39.116 --> 00:08:42.976 and we did the cover. 00:08:43.536 --> 00:08:49.136 Henry and our art director, Gary Burden, we had the idea, and we had to drive 00:08:49.136 --> 00:08:52.956 around the Hollywood Hills to find a place where the city would look big enough. 00:08:53.096 --> 00:08:57.976 So we ended up kind of like Beachwood Canyon, Hollywood Hills, 00:08:58.276 --> 00:09:03.156 looking toward downtown and toward Long Beach, where there was enough lights 00:09:03.156 --> 00:09:04.716 that you could fill the frame. 00:09:04.716 --> 00:09:11.416 You know and so anyway we did the photo and picked that shot for the cover of 00:09:11.416 --> 00:09:15.716 an album that never got finished because i didn't have the songs back then and 00:09:15.716 --> 00:09:18.396 so but that's the print he gave me, 00:09:19.116 --> 00:09:23.696 to use for the cover of that album you know so it's exactly the same print it's 00:09:23.696 --> 00:09:28.716 the one it's the one that he gave me so i've always loved it and i. 00:09:29.648 --> 00:09:33.508 You know, thinking about a cover for this, I found it and I went, 00:09:33.668 --> 00:09:35.408 wow, yeah, we need to use that, you know. 00:09:36.248 --> 00:09:40.348 So, you know, somebody asked me, what does that mean that you used it now? 00:09:40.488 --> 00:09:45.348 And I go, well, now it kind of looks like I'm representing all the musicians 00:09:45.348 --> 00:09:52.948 who came to L.A., you know, who were, you know, following the Pied Piper out to L.A. 00:09:53.088 --> 00:09:59.028 To do music. And so now it kind of just is emblematic of everybody, you know, to me. 00:09:59.648 --> 00:10:02.648 Absolutely well let's let's journey through the past your your 00:10:02.648 --> 00:10:06.308 path towards la and how how that evolved and 00:10:06.308 --> 00:10:09.268 i find it fascinating that in your early 00:10:09.268 --> 00:10:11.928 days in gainesville you grew up or at least 00:10:11.928 --> 00:10:15.648 had some musical connection with don felder stephen stills 00:10:15.648 --> 00:10:18.648 is that that correct well felder had 00:10:18.648 --> 00:10:21.508 contact with stephen stills but stills had left town right 00:10:21.508 --> 00:10:24.628 before i got there in say august 00:10:24.628 --> 00:10:27.728 of 64 we had moved from san diego 00:10:27.728 --> 00:10:31.628 i actually spent most of my teenage years in san diego and knew chris hillman 00:10:31.628 --> 00:10:36.148 who later was the birds bass player and one of the partners in the burrito brothers 00:10:36.148 --> 00:10:40.928 so i had known him in san diego and then my family was moving when i was just 00:10:40.928 --> 00:10:46.708 turning 17 but and i wanted to stay in san diego but i went with them as i should have done, 00:10:47.308 --> 00:10:51.488 and we ended up in gamesville florida and then it was a whole different. 00:10:53.180 --> 00:10:59.540 Creative soup of young musicians who all wanted to emulate british invasion rock and,

00:11:00.160 --> 00:11:05.800 you know and and we basically we played university of florida fraternity parties, 00:11:06.380 --> 00:11:09.180 was the main gig that everybody could get so if you started a band 00:11:09.180 --> 00:11:12.480 you could play for a fraternity party if you could learn enough 00:11:12.480 --> 00:11:15.580 songs you know but there'd be the almond brothers 00:11:15.580 --> 00:11:18.440 in the next house fraternity house over you know 00:11:18.440 --> 00:11:22.020 and petty and my little brother tom little 00:11:22.020 --> 00:11:24.780 brother he's only five years younger than me and petty 00:11:24.780 --> 00:11:27.820 was only three years younger but they were the june like they were 00:11:27.820 --> 00:11:30.860 in junior high when we were in high school and so 00:11:30.860 --> 00:11:33.980 they had a band also and there were there 00:11:33.980 --> 00:11:37.340 were maybe 15 20 bands on campus every 00:11:37.340 --> 00:11:40.680 football weekend on friday and saturday and 00:11:40.680 --> 00:11:44.000 and you could go to the other houses and listen to everybody else's 00:11:44.000 --> 00:11:47.200 band and it was really cool great great 00:11:47.200 --> 00:11:49.980 way to learn yeah rock you 00:11:49.980 --> 00:11:52.600 know you were were you into rock at that 00:11:52.600 --> 00:11:55.380 time or are you getting into because the when you were with hillman you were 00:11:55.380 --> 00:12:02.360 doing the country uh countries the bluegrass stuff right yeah in san diego they 00:12:02.360 --> 00:12:06.440 had a bluegrass band and the two of the guys in the bluegrass band owned a music 00:12:06.440 --> 00:12:11.080 store called the blue guitar and one of those guys larry murray. 00:12:11.960 --> 00:12:19.460 By 67 so i moved to florida in 64 by 67 larry murray had moved to la and he 00:12:19.460 --> 00:12:23.800 had a group on capital records that hearts called hearts and flowers that were 00:12:23.800 --> 00:12:28.640 about to make their second album with a famous a&r producer guy named nick venae 00:12:28.640 --> 00:12:29.840 who had signed the beach boys, 00:12:30.500 --> 00:12:34.400 and he wrote me a letter and said hey would you want to come out and join us 00:12:34.400 --> 00:12:38.960 on capital records to make our second record i went yes i'll be right there. 00:12:40.208 --> 00:12:45.228 So I got out there in August of 67, and the next week we went into Capitol Records, 00:12:45.228 --> 00:12:52.428 the tower that looks like a stack of 45s, and met Nick and talked about doing the record. 00:12:52.548 --> 00:12:55.128 I mean, because we didn't have a rhythm section, no drummer and bass player, 00:12:55.628 --> 00:13:00.708 we had an acoustic bass player, a jazz guy, that helped us do it. 00:13:00.808 --> 00:13:05.888 And the drummer was one of the guys from the wrecking crew. 00:13:05.888 --> 00:13:08.688 You know so and in the music then he 00:13:08.688 --> 00:13:11.848 started using me on sessions nick did and the 00:13:11.848 --> 00:13:14.848 band was the rhythm section was always the wrecking group 00:13:14.848 --> 00:13:20.148 so there'd be guys you know don randy and the bass player was carol k sometimes 00:13:20.148 --> 00:13:25.568 and i'm spacing out the drummer's name but and sometimes yeah hell blaine and 00:13:25.568 --> 00:13:32.308 then earl palmer also who was also a jazz guy so what a great training you You know, 00:13:32.368 --> 00:13:36.648 I just, I just got thrown in the deep end and because I was on that label and 00:13:36.648 --> 00:13:43.768 doing sessions, I was accepted right away by the local community as one of them. And so it was fantastic. 00:13:44.328 --> 00:13:48.188 And so Hearts of Flowers was like, you described before, like early beach, 00:13:48.428 --> 00:13:52.768 Bee Gees, psychedelic, but with a very country feel. 00:13:53.088 --> 00:13:56.868 And this is in right 66. Is that approximately right? 00:13:57.888 --> 00:14:01.988 August 67, we started, we probably finished it around the first of the year in 68. 00:14:02.228 --> 00:14:05.628 Yeah so so that was around the time supposing the 00:14:05.628 --> 00:14:08.388 buffalo springfield hey we're doing their thing they had 00:14:08.388 --> 00:14:11.088 their their country roots the birds were starting to 00:14:11.088 --> 00:14:14.528 move into it was before sweetheart was 00:14:14.528 --> 00:14:17.608 there was there a country rock scene or a country scene 00:14:17.608 --> 00:14:20.548 that you guys all gravitated towards 00:14:20.548 --> 00:14:23.628 yeah i think because especially once 00:14:23.628 --> 00:14:27.008 i left hearts and flowers they didn't 00:14:27.008 --> 00:14:30.008 get to do a third album basically and so 00:14:30.008 --> 00:14:32.948 i fell in with with gene clark and 00:14:32.948 --> 00:14:35.668 doug dillard doug dillard being a banjo hero of mine 00:14:35.668 --> 00:14:38.648 he'd been the banjo player in the dillards and gene clark had 00:14:38.648 --> 00:14:41.588 been the main writer and one of the main singers on 00:14:41.588 --> 00:14:47.148 the birds first album he he wrote feel a whole lot better that petty later covered 00:14:47.148 --> 00:14:52.888 you know great writer so i was i was sleeping on doug's couch and we would be 00:14:52.888 --> 00:14:56.928 writing banjo instrumentals and then gene would come over and the next day come 00:14:56.928 --> 00:14:59.288 back with lyrics So that's how a lot of those songs, 00:14:59.548 --> 00:15:04.568 we wrote all those songs in about three weeks and Gene was making another album 00:15:04.568 --> 00:15:12.368 for A&M Records and he told the producer about our project and he said, let's make that record. 00:15:12.368 --> 00:15:14.608 So we went in the studio and did the whole thing in a week. 00:15:15.497 --> 00:15:18.497 So the whole thing was written and recorded in about a week, six weeks. 00:15:18.857 --> 00:15:26.117 I mean, in a month or six weeks. And then, so at that time, there was Rick

Nelson's 00:15:26.117 --> 00:15:28.577 Stone Canyon Band was basically country rock. 00:15:28.997 --> 00:15:33.157 There had already been, I remind folks, that the Buffalo, excuse me, 00:15:33.637 --> 00:15:34.857 there was Buffalo Springfield. 00:15:35.077 --> 00:15:40.257 But the Levin Spoonful on the East Coast, Sal Yanofsky, the guitar player, 00:15:40.337 --> 00:15:45.937 he played in country licks all over the Spoonful stuff. So it was some, and that was 65, 66. 00:15:46.317 --> 00:15:51.217 So, you know, it's something that was coming, I think, just in the air. 00:15:51.977 --> 00:15:55.617 And then there was Poco, a very polished country rock band. 00:15:56.037 --> 00:15:59.937 There were others. I'm not thinking of them right now, but, and even, 00:16:00.097 --> 00:16:03.577 you know, the Grateful Dead weren't that far away from doing Working Man Dead, 00:16:03.857 --> 00:16:08.677 which was a country rock album, really, you know, and so it was kind of in the air. 00:16:10.177 --> 00:16:14.217 And the Eagles, I guess we're skipping over the burritos. 00:16:14.457 --> 00:16:18.377 So then there were the Burrito Brothers, and they were kind of unique because 00:16:18.377 --> 00:16:24.897 Graham Parsons was a great writer, and he also was bringing in something that 00:16:24.897 --> 00:16:27.217 the Eagles brought in prominently later, 00:16:27.377 --> 00:16:29.937 which is R&B influences. 00:16:30.617 --> 00:16:33.897 There's a song on the first burrito album, Guild of the Palace of Sin, 00:16:34.077 --> 00:16:36.117 and I think it's called Hot Burrito No. 00:16:36.257 --> 00:16:38.777 1. There's Hot Burrito number one and number two. 00:16:39.177 --> 00:16:42.957 I'm talking about the one that's the classic R&B ballad, you know? 00:16:43.637 --> 00:16:54.577 An amazing song, right? But so that was being brought in already by the Burritos in 68, 69, 68. 00:16:55.217 --> 00:16:59.717 So they were making the first Burrito album when we were making the Dillard 00:16:59.717 --> 00:17:04.737 and Clark album, both on A&M Records. So when everybody knew each other and 00:17:04.737 --> 00:17:06.177 would run into each other all the time. 00:17:06.857 --> 00:17:10.877 And at the Troubadour Bar. So everybody was cross-pollinating. 00:17:11.057 --> 00:17:15.297 And Ronstadt was, let's not forget, she was a pioneer of that as well. 00:17:15.857 --> 00:17:17.817 The, the, the. 00:17:18.459 --> 00:17:26.179 The the silk purse album produced by jerry not not jerry chip douglas from the 00:17:26.179 --> 00:17:30.059 modern folk quartet he was a really good producer he produced the monkeys but 00:17:30.059 --> 00:17:31.379 he did a great album on linda, 00:17:31.999 --> 00:17:34.779 and that was kind of country rock too 00:17:34.779 --> 00:17:37.779 and so the the burritos and 00:17:37.779 --> 00:17:40.519 the dillard and clark you know there were all these groups trying to 00:17:40.519 --> 00:17:43.479 do it but so then i'll 00:17:43.479 --> 00:17:47.119 just jump to the the eagles so we were 00:17:47.119 --> 00:17:50.039 all driven to succeed and so 00:17:50.039 --> 00:17:52.899 we'd all been in bands that had not succeeded for 00:17:52.899 --> 00:17:56.239 one reason or another usually often because 00:17:56.239 --> 00:17:59.799 of a business reason didn't have 00:17:59.799 --> 00:18:03.619 one of the elements you have to have and you have to have a great label you 00:18:03.619 --> 00:18:08.079 have to have a great producer you have to have a great manager you have to have 00:18:08.079 --> 00:18:13.059 good songs whether you write them or somebody else writes them you know around 00:18:13.059 --> 00:18:17.739 the The early Eagles were other songwriters like Jackson Brown, 00:18:18.319 --> 00:18:20.379 Jack Timshane, J.D. Souther, right? 00:18:20.979 --> 00:18:24.499 While the Eagle members were starting to learn how to write better, 00:18:24.719 --> 00:18:29.699 those other guys' songs were around for us to use, borrow. 00:18:30.119 --> 00:18:36.519 And so the Eagles had, you know, we were with David Geffen as our manager. 00:18:36.519 --> 00:18:41.219 We were on Asylum, which was half-owned by Atlantic Records. 00:18:42.239 --> 00:18:44.819 And we got Glenn Johns to produce it, you know. 00:18:45.979 --> 00:18:50.019 So we had all the elements we needed and we had songs that could be hits if 00:18:50.019 --> 00:18:54.499 they were properly promoted and they were because of all the business things 00:18:54.499 --> 00:18:55.559 were tended to, you know. 00:18:55.719 --> 00:19:00.039 So I kind of think of the Eagles as a batting cleanup, you know, 00:19:00.099 --> 00:19:04.879 how to use the baseball analogy with country rock and there were a bunch of 00:19:04.879 --> 00:19:09.119 other predecessor groups that just didn't succeed for one reason or another, you know. 00:19:10.411 --> 00:19:13.851 So I saw an interview with Chris Hillman, who's you and Chris Hillman. 00:19:14.111 --> 00:19:16.851 Chris said, I don't know if it was hyperbole or not, and you can tell me if 00:19:16.851 --> 00:19:22.671 it was, that JD and Glenn would go watch Burrito Brothers shows to get influenced 00:19:22.671 --> 00:19:28.971 by the music, but also learn what not to do in live performance or how they run their career. 00:19:29.491 --> 00:19:34.571 Is that hyperbole or is this from your experience, did they go to actually Burrito 00:19:34.571 --> 00:19:40.131 Brothers shows or see Dillard and Clark and get influenced by some of the stuff you were doing? 00:19:40.411 --> 00:19:43.471 Before you everybody everybody watched everybody you 00:19:43.471 --> 00:19:46.191 know i mentioned the troubadour before but so there was 00:19:46.191 --> 00:19:49.071 monday night there was an open mic thing that was called hoot night 00:19:49.071 --> 00:19:51.771 like hootenanny but it was an 00:19:51.771 --> 00:19:56.231 open mic night and that guy larry from the squirrel barkers that brought me 00:19:56.231 --> 00:20:01.131 to la

he was the mc for that on monday nights at the troubadour so he it was 00:20:01.131 --> 00:20:07.111 up to him to who to put on so but anyway he put the burrito brothers on and 00:20:07.111 --> 00:20:11.391 they wore their suits their nudie suits They looked fantastic, 00:20:11.391 --> 00:20:13.991 but they hadn't forgotten to rehearse. 00:20:14.371 --> 00:20:16.791 They were a train wreck. 00:20:17.871 --> 00:20:21.291 I mean, it just was horrible, frankly. And Chris will admit that. 00:20:21.791 --> 00:20:28.451 And so all of us went, okay, yeah, check, look good, check, rehearse. 00:20:29.951 --> 00:20:35.011 It was crazy. So in fact, the Eagles, we developed a concept called lowest common 00:20:35.011 --> 00:20:38.731 denominator of rehearsal state, you know, readiness. 00:20:39.251 --> 00:20:44.311 So our goal was to be so rehearsed that if two guys had the flu and the other 00:20:44.311 --> 00:20:46.611 two weren't talking to each other, we could do a great show. 00:20:46.851 --> 00:20:49.451 And so we, I don't think the evils ever did a bad show. 00:20:50.131 --> 00:20:51.971 That matters, you know? Yes. 00:20:53.055 --> 00:20:55.795 Absolutely well i want to go i want to go back and dig 00:20:55.795 --> 00:20:58.815 in deeper on dillard clark and the burrito brothers 00:20:58.815 --> 00:21:04.795 so this you mentioned you know this first album which i have somewhere right 00:21:04.795 --> 00:21:08.495 over here this amazing album right here so i want to i want to dig in so you 00:21:08.495 --> 00:21:13.375 were you were living on doug dillard's couch you said playing banjo were you 00:21:13.375 --> 00:21:18.775 guys before gene came along were you guys writing songs or Were you just jamming? 00:21:19.035 --> 00:21:23.375 What was the vibe going on? Yeah, we were jamming. 00:21:24.155 --> 00:21:30.415 So, you know, Bluegrass is a, there's kind of a standard songbook for Bluegrass players, right? 00:21:30.475 --> 00:21:34.675 There's a couple of hundred songs, a hundred anyway, that everybody learns. 00:21:35.935 --> 00:21:40.755 And 50 banjo and instrumentals everybody learns. And so Doug and I both knew those. 00:21:41.035 --> 00:21:44.515 I was kind of his banjo student in a way. 00:21:44.615 --> 00:21:47.275 He was kind of my banjo mentor. So we would sit around, I'd play guitar for 00:21:47.275 --> 00:21:50.075 him, and then we'd swap, and I'd play banjo, and he'd play guitar. 00:21:50.635 --> 00:21:55.255 And then Gene Clark started coming over, and a bass player, David Jackson, started coming over. 00:21:55.795 --> 00:22:01.535 And Don Beck played mandolin, and we would all start singing classic songs, 00:22:01.675 --> 00:22:05.315 you know, like Amazing Grace or whatever, you know, Circle Be Unbroken songs. 00:22:06.095 --> 00:22:10.115 And then we were playing these instrumentals at Gene, and then I was helping 00:22:10.115 --> 00:22:14.115 him write those, like, hey, why don't we do this section? And then Gene started 00:22:14.115

--> 00:22:16.695 coming back with a full set of lyrics the next day. 00:22:17.275 --> 00:22:20.515 So that's what, he was such a gifted writer. He would do that. 00:22:20.635 --> 00:22:26.235 We would have, you know, a chord pattern and some kind of melody that we developed instrumentally. 00:22:26.335 --> 00:22:30.395 And he'd come back with a set of lyrics the next day, almost every day, 00:22:30.595 --> 00:22:32.075 when we started all hanging out. 00:22:32.195 --> 00:22:36.615 That's what I mean. We wrote all that stuff in about three weeks and recorded it all in one week. 00:22:37.509 --> 00:22:40.449 So no drummer no percussion except 00:22:40.449 --> 00:22:44.229 the mandolin and in bluegrass the mandolin chop right 00:22:44.229 --> 00:22:46.989 you know there's a back there's a backbeat everybody does when they're not 00:22:46.989 --> 00:22:49.689 playing lead and so we we did it. 00:22:49.689 --> 00:22:52.569 We did it that way but so that's how we wrote 00:22:52.569 --> 00:22:55.449 and how we wrote fast you know what was 00:22:55.449 --> 00:22:59.289 what was gene like as as a person and you 00:22:59.289 --> 00:23:02.529 know you've talked about the brilliance of his songwriting but as a 00:23:02.529 --> 00:23:05.969 a creative and obviously a tortured soul what 00:23:05.969 --> 00:23:09.329 what was what was he what was he like gene 00:23:09.329 --> 00:23:12.629 was out of the birds already unfortunately and 00:23:12.629 --> 00:23:15.789 i guess that happened because he didn't want to fly he had flown and 00:23:15.789 --> 00:23:18.829 and he wrote eight miles high about flying to 00:23:18.829 --> 00:23:21.489 europe i think but he he got to where he 00:23:21.489 --> 00:23:24.389 didn't want to fly wouldn't fly and that's why 00:23:24.389 --> 00:23:27.209 he had to leave the band and hurt the birds and then 00:23:27.209 --> 00:23:30.069 he was kind of drifting around you know a little 00:23:30.069 --> 00:23:33.409 bit aimless living very nearby where 00:23:33.409 --> 00:23:36.469 doug was in where i was living in 00:23:36.469 --> 00:23:39.709 beachwood canyon which is right below the hollywood sign 00:23:39.709 --> 00:23:42.649 that canyon and so gene was 00:23:42.649 --> 00:23:45.409 hard to read he liked 00:23:45.409 --> 00:23:48.349 martinis but in the daytime he 00:23:48.349 --> 00:23:51.729 in the daytime he was great and and he 00:23:51.729 --> 00:23:57.129 liked he was a good harmonica player and this instinctive songwriter he just 00:23:57.129 --> 00:24:01.689 he was very instinctive not not so trained about music and uh he was from missouri 00:24:01.689 --> 00:24:08.529 and so was doug so they bonded on that and you know just i i mean at that point 00:24:08.529 --> 00:24:10.089 he was very functional and. 00:24:11.375 --> 00:24:16.055 And really into it, I think he really liked, because of his Missouri roots, 00:24:16.215 --> 00:24:18.675 he really liked the acoustic thing. 00:24:20.035 --> 00:24:24.675 And we were all pretty

good players. So this was, well, I mean, 00:24:24.815 --> 00:24:27.575 you know, like I said, we wrote the stuff and went straight to the studio. 00:24:27.735 --> 00:24:31.375 So that album is the documentation of that. We were all good players. 00:24:31.995 --> 00:24:36.375 And here's a funny thing, because he would have me play banjo, Doug would. 00:24:36.375 --> 00:24:42.095 So on that album i actually played banjo on about five of those songs and doug only played on two. 00:24:43.475 --> 00:24:49.435 Amazing amazing and you guys did you did one show right at the troubadour no 00:24:49.435 --> 00:24:53.895 there were there were more than one show but yeah there was one particular notable 00:24:53.895 --> 00:24:59.175 notable notable yeah tell me i don't know what happened can i can i tell you 00:24:59.175 --> 00:25:00.855 what i read happened and you can tell me if 00:25:00.955 --> 00:25:03.655 triggers any any memory oh no i have 00:25:03.655 --> 00:25:06.355 memories yeah go you tell me okay what i 00:25:06.355 --> 00:25:09.335 what i read it was from david jackson in an interview he said 00:25:09.335 --> 00:25:12.655 prior to the show gene and doug 00:25:12.655 --> 00:25:15.735 got drunk at dan's hannah's possibly tripping 00:25:15.735 --> 00:25:20.095 on acid during the show doug broke 00:25:20.095 --> 00:25:22.995 his violin maybe jumped on his violin 00:25:22.995 --> 00:25:26.275 and don beck was 00:25:26.275 --> 00:25:29.815 this let's see the mandolin player he left 00:25:29.815 --> 00:25:32.915 the show mid-show yeah any any 00:25:32.915 --> 00:25:35.895 of this truth to your memory yeah that 00:25:35.895 --> 00:25:39.355 yeah that sounds right so the other thing is that the band had 00:25:39.355 --> 00:25:42.875 started had gone electric in the 00:25:42.875 --> 00:25:45.755 interim because i guess we well we 00:25:45.755 --> 00:25:50.315 had been listening to merle haggard classic album the one with singing me back 00:25:50.315 --> 00:25:54.775 home and mama tried and all that stuff on it yeah the one with him the one with 00:25:54.775 --> 00:25:59.315 him hanging off a box car on the railroad and we were so we were listening to 00:25:59.315 --> 00:26:02.895 that and of course the guitar players on that were fantastic. 00:26:03.435 --> 00:26:08.915 James burton was one of them yeah and so i guess so we collectively decided 00:26:08.915 --> 00:26:15.115 we would go electric which basically meant i changed to a telecaster and i'd 00:26:15.115 --> 00:26:18.995 play i'd play electric guitar in my top 40 band in Gainesville. 00:26:19.175 --> 00:26:24.735 So I was cool with that. And we got a drummer who had also played with the Byrds 00:26:24.735 --> 00:26:28.075 briefly in the early Burritos, John Corneal. 00:26:28.555 --> 00:26:33.635 And David Jackson, who was playing upright bass with us, switched to electric 00:26:33.635 --> 00:26:36.555 bass, which he was very good at already. 00:26:36.955 --> 00:26:40.075 And then Don Beck was maybe still playing mandolin. 00:26:40.515 --> 00:26:44.075 And so we're on sort of six pieces down on the troubadour stage. 00:26:44.075 --> 00:26:48.175 And something happened between Gene Clark and Doug Dillard. 00:26:48.335 --> 00:26:50.555 I don't know what, but they kind of just stopped. 00:26:51.055 --> 00:26:54.315 They just stopped doing what they were doing. They were the front people. 00:26:54.775 --> 00:26:58.175 And then there was just a silence and silence. 00:26:59.213 --> 00:27:02.173 Paralysis and then gene excuse me dug 00:27:02.173 --> 00:27:05.073 through his fiddle on the ground and then he's 00:27:05.073 --> 00:27:08.373 he stomped his his fiddle and broke it and then 00:27:08.373 --> 00:27:11.713 they kind of looked at each other and just went i think we should leave and 00:27:11.713 --> 00:27:16.373 they just walked off stage and then i think don beck thought that was just so 00:27:16.373 --> 00:27:21.193 off the wall and outrageous and not acceptable that he quit on the spot and 00:27:21.193 --> 00:27:25.853 walked off the stage so the other three of us which was the bass player me and 00:27:25.853 --> 00:27:27.993 the drummer are standing there like, 00:27:28.613 --> 00:27:31.333 holy shit you know and there's the audience everybody's just 00:27:31.333 --> 00:27:39.233 like in shock right so i said to myself we are going to exit in with with style 00:27:39.233 --> 00:27:46.133 we're not going to creep off the stage in disgrace so i said to them buckaroo 00:27:46.133 --> 00:27:50.733 which was the buck owens signature theme song. 00:27:53.153 --> 00:27:57.193 So i had to tell you and i just kicked it off and they fell in and we did about, 00:27:57.993 --> 00:28:01.493 two rounds of the A and B section finished cleanly. 00:28:02.293 --> 00:28:06.513 I walked up to the mic and said, thank you very much. And we walked off like, 00:28:06.613 --> 00:28:10.113 Hey, whatever those guys did, we're not like that. 00:28:11.613 --> 00:28:16.193 You know what I mean? So I just wanted to be a professional if I could there 00:28:16.193 --> 00:28:18.093 at that moment. Kind of bizarre. 00:28:18.753 --> 00:28:22.673 Yeah, that's classic. Thank you for sharing that. And the Dylan Clark did a 00:28:22.673 --> 00:28:25.613 second album, which I see there's a credit that you're on it. 00:28:25.613 --> 00:28:30.873 Did you play on a lot of that record or no no me me and hillman i was already 00:28:30.873 --> 00:28:36.573 in the burritos by then and hillman and i were invited together to go guest 00:28:36.573 --> 00:28:40.453 on that second jordan clark album so, 00:28:41.113 --> 00:28:44.133 maybe a couple songs there's there's 00:28:44.133 --> 00:28:47.293 maybe kansas city southern that song i'm not 00:28:47.293 --> 00:28:50.433 sure what else rob i i honestly 00:28:50.433 --> 00:28:54.313 i can't remember the credit on the album may tell you and so 00:28:54.313 --> 00:28:57.273 by that time you in the burritos so how so you left

00:28:57.273 --> 00:29:00.893 you left illidan clark how did you end up reconnecting 00:29:00.893 --> 00:29:03.733 with chris hillman and get into 00:29:03.733 --> 00:29:06.653 the the burrito brothers both bands were 00:29:06.653 --> 00:29:10.133 on a&m records and a&m records especially 00:29:10.133 --> 00:29:16.313 then herb alpert and jerry moss had bought the charlie chaplin film studio on 00:29:16.313 --> 00:29:20.613 la brea and they had built recording studios in a couple of the sound stages 00:29:20.613 --> 00:29:26.733 but it still was a This quadrangle of open space in the middle surrounded by kind of, 00:29:26.793 --> 00:29:29.813 you know, like a movie lot and with a gate in the front. 00:29:30.033 --> 00:29:35.713 And we used to rehearse in Charlie Chaplin projection where he would view films. 00:29:36.593 --> 00:29:44.193 And so anyway, we were all on the A&M lot a lot recording or rehearsing, both groups. 00:29:44.433 --> 00:29:48.213 And so I had reconnected with the burritos and gone to see them, 00:29:48.313 --> 00:29:49.233 as I said, at the entry window. 00:29:49.413 --> 00:29:53.253 And so we were aware of one another. he was aware of, I mean, 00:29:53.393 --> 00:29:58.593 he, Chris Hillman, was aware that I was in Dillard and Clark. And so, we broke up. 00:29:59.349 --> 00:30:04.669 That incident you just mentioned on stage. And so, I mean, I guess I was making 00:30:04.669 --> 00:30:05.769 it known I was available. 00:30:06.169 --> 00:30:13.009 And coincidentally, the bass player on the first Burrito album, Jeff, so he had quit. 00:30:13.389 --> 00:30:19.229 And he was a fantastic R&B bass player, rock R&B player. 00:30:19.369 --> 00:30:22.629 But Hillman had played bass in The Birds, so he went back to bass. 00:30:23.129 --> 00:30:26.389 And they thought, well, they'd get a guitar player instead of another bass player. 00:30:26.389 --> 00:30:31.769 So they got a lead guitar player with me and a harmony singer and Chris went 00:30:31.769 --> 00:30:37.329 back to bass and so that's what the Burrito Deluxe lineup was Did you get a 00:30:37.329 --> 00:30:39.169 nudie suit when you joined? 00:30:39.269 --> 00:30:45.789 No, no they had spent their budget on nudie suits and they had gone on a famous 00:30:45.789 --> 00:30:50.069 train tour where they booked the train to go around the country where they spent 00:30:50.069 --> 00:30:53.109 their advance You were on that, right? 00:30:53.209 --> 00:30:56.209 You were on the train tour is that 00:30:56.209 --> 00:30:59.129 the festival express or is that something different that was different 00:30:59.129 --> 00:31:03.269 that was the burrito brothers train tour oh wow 69 you 00:31:03.269 --> 00:31:07.209 know 68 probably so uh 00:31:07.209 --> 00:31:10.009 anyway where were we oh so 00:31:10.009 --> 00:31:12.949 you didn't you didn't get a nudie suit but you did you did you 00:31:12.949 --> 00:31:16.069 were lucky enough i'm gonna show it right here i think 00:31:16.069 --> 00:31:23.749 i hope to get a record a radiation suit yeah we yeah yeah for the burrito deluxe 00:31:23.749 --> 00:31:33.829 thing graham on this limited budget got these plastic plastic suits in the end of gloves. 00:31:34.909 --> 00:31:38.089 What is he trying to say i don't know we still don't know yeah 00:31:38.089 --> 00:31:40.829 when you got it did when you got there and he gave this 00:31:40.829 --> 00:31:43.789 to you is it just kind of like yeah put this on 00:31:43.789 --> 00:31:46.769 put it on and do it yeah it was probably a food 00:31:46.769 --> 00:31:50.869 worker suit actually you know it's such 00:31:50.869 --> 00:31:53.909 a bizarre cover the burrito and the 00:31:53.909 --> 00:31:57.109 yeah i love it i gotta 00:31:57.109 --> 00:31:59.829 tell you about the burrito survived quite a 00:31:59.829 --> 00:32:02.849 long time so grant parsons moved into the chateau 00:32:02.849 --> 00:32:06.289 marmont on the fourth floor and there 00:32:06.289 --> 00:32:09.229 was a balcony off the back of the living room and he 00:32:09.229 --> 00:32:12.969 put that burrito out there on a paper plate and it 00:32:12.969 --> 00:32:16.129 remained out there for months and months and months until the 00:32:16.129 --> 00:32:21.989 whole thing turned green but it still had the sequence on it and is that that's 00:32:21.989 --> 00:32:28.669 what that's this that's that burrito yeah classic is this early early burrito 00:32:28.669 --> 00:32:33.029 or is this after months of wear at the chateau marma no no that's that's It's 00:32:33.029 --> 00:32:34.329 the original version, yeah. 00:32:34.829 --> 00:32:41.329 And so what was the chemistry in the band like between Hillman and Graham Parsons 00:32:41.329 --> 00:32:46.209 coming after Gilded Palace of Sin, you know, probably before, 00:32:46.209 --> 00:32:47.689 obviously, recording Burrito Deluxe? 00:32:47.909 --> 00:32:51.109 Yeah, so at some point in there, the Stones came through L.A. 00:32:51.189 --> 00:32:53.009 And stayed and did a residency. 00:32:54.281 --> 00:32:59.061 And Graham was very enamored of the Stones and Keith Richard and started hanging 00:32:59.061 --> 00:33:03.201 out with them, staying up all night. And he was not writing songs. 00:33:03.421 --> 00:33:07.881 And so we didn't have, I didn't arrive into a band that had songs. 00:33:08.161 --> 00:33:11.441 We wrote some songs together, older guys. 00:33:11.781 --> 00:33:15.201 And Chris wrote Cody Cody. 00:33:16.441 --> 00:33:20.361 But it was not a song-rich environment right then. 00:33:21.721 --> 00:33:24.601 And Graham was hanging out with the Stones. he was more 00:33:24.601 --> 00:33:27.841 like in the stones than he was in the burritos at that point and 00:33:27.841 --> 00:33:32.081 that just got worse and worse until we 00:33:32.081 --> 00:33:35.121 were in some venue that we were going to play in the valley in in 00:33:35.121 --> 00:33:39.741 the afternoon to do a sound check slash rehearsal and graham just didn't show

00:33:39.741 --> 00:33:46.581 and hillman just went that's it and he he fired him fired graham and then we 00:33:46.581 --> 00:33:51.501 did the festival express tour which the the film eventually came out, 00:33:51.681 --> 00:33:53.481 and you can see the Burrito Brothers. 00:33:53.881 --> 00:33:56.721 I sang Lazy Day, that was a Graham song. 00:33:57.281 --> 00:34:02.101 Then we were a four-piece band with Sneaky Pete and Michael Clarke on drums. 00:34:02.741 --> 00:34:07.581 And actually, viewing that film, that was a pretty good little band. 00:34:07.921 --> 00:34:14.141 If I'd been a harder worker as a songwriter, maybe that could have worked. 00:34:14.541 --> 00:34:20.861 But Chris didn't think it could, so he went and he found Rick Roberts the story 00:34:20.861 --> 00:34:26.861 was busking on the street at ucla and but rick had a satchel of songs like colorado 00:34:26.861 --> 00:34:34.361 and all that and so he was invited into the band but you know he was more of a soft rock guy yeah yeah, 00:34:35.101 --> 00:34:40.761 and so it changed the whole nature changed a great deal and then sneaky quit 00:34:40.761 --> 00:34:46.141 yeah and and the steel guitar player quit and we got al perkins and we did. 00:34:47.151 --> 00:34:50.891 The Blue Burrito album. I think Sneaky was still on that maybe, 00:34:51.051 --> 00:34:54.551 but Sneaky quit first and then I quit. 00:34:54.771 --> 00:34:57.731 And I walked in. We came off the road. 00:34:58.451 --> 00:35:02.731 We'd been in New England, Cape Cod, the burritos one summer. 00:35:02.931 --> 00:35:09.631 And I went to the Caves Guitar Shop in Santa Monica and said to the lady that 00:35:09.631 --> 00:35:12.251 I knew there, yeah, I'm thinking about leaving the burritos. 00:35:12.411 --> 00:35:15.311 I'm not sure what I'm going to do. And she said, hey, John and Glenn are putting 00:35:15.311 --> 00:35:16.751 a band together. Why don't you call them? 00:35:17.251 --> 00:35:25.251 So I knew they were working with Ronstadt, and I knew Ronstadt's producer-manager, John Boylan. 00:35:25.271 --> 00:35:27.711 I called John and said, what's going on? 00:35:27.771 --> 00:35:30.031 He goes, oh, yeah, you'd be great with them. 00:35:30.331 --> 00:35:36.451 And he paid for a rehearsal hall at SIR, and we spent one afternoon there and 00:35:36.451 --> 00:35:37.491 decided to work together. 00:35:37.991 --> 00:35:44.971 And in the hallway were the Jackson 5 closed, and they were in the next big room, Jackson 5. 00:35:45.631 --> 00:35:52.391 So that was it. We started and Glenn Frey was signed with David Geffen already with J.D. Souther. 00:35:52.991 --> 00:35:56.011 But Geffen wanted to keep J.D. and not keep Glenn. 00:35:56.611 --> 00:36:00.811 So Glenn had reached out to Henley about starting a band. 00:36:01.031 --> 00:36:05.751 And it all happened really, really fast. And then we walked into Geffen's office 00:36:05.751 --> 00:36:09.511 and said, Well, we're a band. Here we are. Do you want us or not? 00:36:10.411 --> 00:36:13.451 He listened in one rehearsal and signed us. 00:36:13.551 --> 00:36:20.371 It's his first band on Asylum Records. So, again, that happened really fast. So, interesting. 00:36:21.051 --> 00:36:26.191 What I read from Geffen's recollection was that you walked in and you're like, we're here. 00:36:26.711 --> 00:36:34.131 Do you want us? You were the guy. And I got to imagine that Glenn and JD had 00:36:34.131 --> 00:36:38.031 their band, but you were the guy who had, obviously Randy was in Poco. 00:36:38.411 --> 00:36:43.691 You had been laying that foundation that they were building upon for many years, 00:36:43.791 --> 00:36:49.291 many years before. Yeah, I had more cred at that time in the industry in town. 00:36:50.248 --> 00:36:55.908 Yeah. And in terms of your songwriting, you brought in Train Leaves here this 00:36:55.908 --> 00:36:57.128 morning into the Eagles. 00:36:57.828 --> 00:37:00.828 I'm curious with the Burrito Brothers. Well, let me take a second. 00:37:01.088 --> 00:37:05.208 With Dillard and Clark, you mentioned you did a lot of the instrumentals and 00:37:05.208 --> 00:37:07.928 then Gene came in and wrote a lot of lyrics. 00:37:08.228 --> 00:37:12.568 With the Burrito Brothers and songs like Older Guys, was it the same type of 00:37:12.568 --> 00:37:18.508 dynamic where you do instrumentals or were you also getting into lyrics as well? 00:37:19.088 --> 00:37:21.908 Yeah, I'd always been into lyrics, just not with Dylan Park, 00:37:22.048 --> 00:37:24.768 because honestly, Gene was too good, you know? 00:37:25.388 --> 00:37:29.708 With the Burritos, nobody had any songs. So actually, I brought God's Own Singer, 00:37:29.888 --> 00:37:31.788 and I had written that already totally. 00:37:32.688 --> 00:37:36.968 Yeah, we kind of wrote together, older guys. We kind of wrote in the room in 00:37:36.968 --> 00:37:39.248 Charlie Chaplin' projection room. 00:37:39.788 --> 00:37:44.568 But yeah, so then I got to the Eagles. I reached back two bands and got trained Lisa this morning. 00:37:45.228 --> 00:37:49.808 And I think I wrote the music to the B section, the chorus, you know and gene 00:37:49.808 --> 00:37:54.208 wrote all the lyrics so in any way it was a song that i had i was a co-writer on, 00:37:54.768 --> 00:37:58.008 that i thought i could i could sing in the eagles 00:37:58.008 --> 00:38:03.968 and it's a twofer right yeah so so i brought it to him that you know they loved 00:38:03.968 --> 00:38:09.168 it and so that worked out so in terms of songwriting and and in the eagles there's 00:38:09.168 --> 00:38:13.928 a song called my man and it's got some lyrics in there that make me think It's 00:38:13.928 --> 00:38:16.908 about Graham Parsons, got the Hickory Wind reference. 00:38:17.288 --> 00:38:19.468 Is there truth to that? 00:38:20.228 --> 00:38:24.788 Yes, absolutely. So what happened is we had made the first two Eagle albums 00:38:24.788 --> 00:38:27.368 pretty fast because we had the songs.

00:38:27.388 --> 00:38:31.168 And then the third album, we'd been on the road, and we didn't have any songs. 00:38:31.188 --> 00:38:35.448 We went back to England to try to do a third album with Glenn Johns, 00:38:35.528 --> 00:38:40.828 and we did two songs for sure, including Best of My Life, we did with Glenn for a third one. 00:38:41.988 --> 00:38:48.528 But Graham was doing some recording solo stuff, and he had had me in to do overdubs, 00:38:48.668 --> 00:38:51.068 like play Dobro and whatever, maybe sing something. 00:38:51.548 --> 00:38:55.428 Down at Capitol Records in a small studio, like a couple of evenings, 00:38:55.868 --> 00:38:59.188 right before we flew, the Eagles flew to England to make the third album. 00:39:00.148 --> 00:39:03.008 And we said goodbye in the parking lot and all that. 00:39:03.128 --> 00:39:07.068 And then a few days later, we flew to England. And by the time I got over jet 00:39:07.068 --> 00:39:09.108 lag, I found out that Graham had passed away. 00:39:10.148 --> 00:39:16.108 And he was one of the first people I knew intimately that had passed that young. 00:39:16.108 --> 00:39:19.688 He was only 26 and I was 25 maybe. 00:39:19.908 --> 00:39:21.868 No, yeah, 24 maybe. 00:39:22.428 --> 00:39:27.308 So it hit me hard and the Eagles thing kind of bogged down partly maybe, 00:39:27.428 --> 00:39:30.768 you know, for me, I was just kind of depressed. 00:39:30.808 --> 00:39:34.348 So I started writing the My Man song and I didn't finish it there. 00:39:34.548 --> 00:39:38.588 I finished it and all that. Came back from not finishing that album and then 00:39:38.588 --> 00:39:41.228 changed producers to Bill Simczyk. 00:39:42.057 --> 00:39:47.137 And Felder started playing on the records. And we went in the record plan in L.A. 00:39:47.597 --> 00:39:52.337 And during that time, I finished My Man and recorded it for that third album for On the Border. 00:39:53.177 --> 00:39:57.417 And I heard it's been My Man. The title has been used. 00:39:57.997 --> 00:40:01.217 Or, you know, God's Own Singer. So it's not My Man. It was another one of my 00:40:01.217 --> 00:40:04.917 songs. It was used on Graham's Grafestone. 00:40:05.277 --> 00:40:06.017 Was it really? 00:40:06.477 --> 00:40:10.157 God's Own Singer, yeah. Wow. Where is his Grafestone? Is it in, 00:40:10.157 --> 00:40:12.837 like, North Carolina? or where is he from? 00:40:13.157 --> 00:40:17.277 Somewhere out there? He was from Waycross, Georgia, but I don't know if he was 00:40:17.277 --> 00:40:20.957 taken back to Winter Park, Florida, where his main family was from. 00:40:20.957 --> 00:40:22.237 I'm not really clear on that. 00:40:23.077 --> 00:40:28.037 You know, I mean, famously, Phil Kaufman stole his body from Air Freight, 00:40:28.117 --> 00:40:30.617 that whole movie that was made about that. 00:40:31.397 --> 00:40:37.177 So after Phil Kaufman set him on fire and the fire showers saw the fire and 00:40:37.177 --> 00:40:39.097 they went and put him out, then 00:40:39.097 --> 00:40:44.517 his family claimed him and took him back east and did a proper burial. 00:40:44.997 --> 00:40:52.217 Insane story. Yeah. Well, I want to wrap up with one last question that ties back to the new record. 00:40:52.637 --> 00:40:57.357 So you've got a song which has got a music video to it called Too Many Memories. 00:40:57.657 --> 00:41:02.717 And in that video behind you, there's a lot of images from your career. 00:41:02.917 --> 00:41:06.277 So I'm curious, you've just shared so many amazing memories. 00:41:06.457 --> 00:41:09.517 Is there something that you look back, 00:41:10.037 --> 00:41:13.597 and there's so many things is there something one that you can look back and 00:41:13.597 --> 00:41:19.757 be like holy shit like what a life that was this happened or this was that of 00:41:19.757 --> 00:41:24.617 all those memories is there a summation of one that you can point to. 00:41:25.492 --> 00:41:30.272 No, not one thing. And as I've said to other questioners about it, 00:41:30.392 --> 00:41:35.812 but no, the, and the title is too many memories and that's, that's actually slightly inaccurate. 00:41:36.132 --> 00:41:39.052 It's, it's, it's just, there's all these memories. The thing is, 00:41:39.092 --> 00:41:43.012 is people are often troubled about whether they have a regret or something, 00:41:43.192 --> 00:41:47.032 you know, but I can honestly say at this point, I really don't have regrets, 00:41:47.172 --> 00:41:50.572 you know, cause I've cleaned up a lot of stuff, including with Glenn Frey, 00:41:51.212 --> 00:41:54.912 which is why, which is why I went out for that tour or was invited to. 00:41:55.592 --> 00:41:58.332 So you know no it's and it was that was a 00:41:58.332 --> 00:42:02.272 fun video to do and and 00:42:02.272 --> 00:42:05.492 a lot of those photos came out of my own personal archives photo archive 00:42:05.492 --> 00:42:09.292 so yeah it was a trip to do it and revisit you 00:42:09.292 --> 00:42:12.432 know and talking with you today i mean revisiting the 00:42:12.432 --> 00:42:15.172 the bands and you know what the dynamics were and 00:42:15.172 --> 00:42:17.872 so but one thing i'll just share this is kind 00:42:17.872 --> 00:42:20.752 of cool so i i can play the tape 00:42:20.752 --> 00:42:23.812 backwards and see that it went 00:42:23.812 --> 00:42:26.892 all of those connections went back to this guy larry 00:42:26.892 --> 00:42:30.472 larry murray who was in the bluegrass group in san diego who 00:42:30.472 --> 00:42:35.592 invited me to come join him on capital records in 67 and on capital records 00:42:35.592 --> 00:42:40.672 was linda ronstadt that i played on stone ponies record for her producer and 00:42:40.672 --> 00:42:46.812 that turned into me being in her band in 1969 while i was at the burritos also 00:42:46.812 --> 00:42:50.052 i was also in ronstadt's the Corvettes. 00:42:50.832 --> 00:42:57.252 But Ronstadt led directly to the Eagles you know so it's been really just a 00:42:57.252 --> 00:43:00.112 continuum and one thing led to another and. 00:43:01.112 --> 00:43:08.092 It is pretty cool the whole thing Bernie I want to thank you so much for the 00:43:08.092 --> 00:43:12.372 time today I want to thank you for all the amazing music for the vision you 00:43:12.372 --> 00:43:17.372 had and what you've created so I appreciate you and thank you for listening 00:43:17.372 --> 00:43:19.452 to the Legends podcast by All Day Vinyl. 00:43:19.652 --> 00:43:23.832 If you enjoyed this episode, please rate it, share it, subscribe, 00:43:24.432 --> 00:43:29.892 and follow us and check us out at All Day Vinyl on Instagram and YouTube.