Unknown: But music is our way out, because it's a meeting
place at a time where it's hard to get anybody to agree on
anything right. A person on the right sees looks at one thing.
They see it this way. A person on the left looks at the same
thing, sees it another way. But music is a place where we can
all meet in the middle, where we can all meet in the middle. And
the thing about music, this is an analogy that I use when I do
motivational speaking. If I take a chair and I drop it on the
floor and I cough, right, two things got nothing to do with
each other unless I put them on the beat. Drop, cop. Drop, drop,
drop, right at that point, these two things that used to be
unrelated, these two things that used to be unrelated now are in
a relationship, not just that they're respecting each other's
space, but it's a relationship that we
can build on. This is the rich Redmond show. So,
Joe, what was the first thing that we did together? Well, I'll
tell you this. I remember playing third and Lindsley with
this West African I think they're mostly Nigerian cats,
and we had a band called osadalos, and it was kind of
like a reggae world beat thing. You walked in one night, and I
was like, Oh, God, I hope we sound good, because there's
Joseph, and then Paul Chapman played some bass.
I miss Paul, me too, but really
do really how you got on my radar and all your brothers was
the old third and Lindsley, where there was the wall still
there, and the pinball machine in the corner. And you guys had
a residency every Wednesday night. And it was like there was
never a question what people in Nashville were going to do on a
Wednesday night, right? We're going to see the Wooten
brothers. And you, I think you guys would play and not take
breaks.
We would the closest thing we do to take a break is let somebody
take a long solo. Yeah, so that, like, we always use drummers
that had, you know, a big repertoire of stuff that they
wanted to say. So Raymond Massey. Raymond Massey would
walk off for 10 minutes, 15 minutes, and Raymond would do
his thing. Then there was neoshi Jackson. Neoshi There was, oh,
I'm looking right at him. Well. JD, Blair, Oh, yeah. JD, Blair,
a bunch. I haven't seen JD in a long time. Man, yeah, you know
JD did Shania for a long time he had done Lyle Lovett for a long
time too. And then when he was ready to stop, he stopped,
that's right. And I was I was shopping at Publix, and there he
was bagging groceries. Happy as can
be. Now that is an interesting talking point, because as
musicians, I feel like we have this, this pressure on ourselves
to be we define ourselves as human beings from making money
exclusively from playing music.
Yeah, some of some of us do. JD was one that seemed to, you
know, as as happens in music. Sometimes the artist you know
has a different idea of the band, and before you know it,
there you are out the door. But he didn't seem to be one that
had a hard time making that transition. He's working at
Publix. He liked the people. He liked meeting new people. They
liked working with him, and he seemed to be doing great, just
fine. Now, I've been talking to him a bit, and he's talking
about me playing on some sessions with him again. So as a
musician, you can't really turn the musician brain off, right?
So he's, I'm sure he's still ever right with ideas with one
of my favorite drummers to play with, but, yeah, the other
drummer is getting ready to mention Marcus Finney. Yeah,
Marcus Finney, just, you know, lots of smooth,
flip Winfield.
What's his first name? I'm having the same things. Take our
ginkgo Balboa today.
I'm taking mine every day. But I don't know if it's making a
difference.
Yeah, I'm taking my but
I forget I know exactly what you mean, Rob.
That's right. But you know, there's nice job lots of that
was the closest thing that the Wooten brothers would do to
taking a break was let somebody take a long solo, or they'd
leave the stage and I'd sing some of my songs and or, you
know, somebody else would take a long drum solo, or Reggie would
take a long guitar thing, and it would just be four hours
straight, straight music. It forever. I think when we first
started doing it was $4 to get it. It. It was $4 to get in.
Finally, Ron said, Reggie, you got it. Guys need a raise. And
we moved it up to five. And when the club owner says you guys
need a raise, that means you're doing a good job. It means
you're doing a good job. And you know, you could probably charge
a little more. That's awesome, and we but it was men. It was a
lot of fun. And the good thing about it is, you find out who
you are, not in the practice room. You find out like I when I
came to Nashville,
which what year was that? 1990 Okay, so I got here at 96 it
quickly became 97
Well, I was I arrived in Nashville, September the 18th,
1990
I love the fact that you have the exact thing, because I know,
I know it was February or March. Yeah.
So September 18, 1990 and I moved to to Mount Juliet with a
friend of mine. Now, here's, here's a crazy story. So I
wasn't married yet. I was with with who wasn't my wife yet,
Heidi. And we knew that we were getting ready to leave. We
thought, you know, I'm thinking, I pretty much run out of options
in Virginia. We were living in Newport. News, Virginia gotcha,
and I had come Victor had come to Nashville in the late 80s,
and to be part of the Fleck tone thing Baylor was. Baylor was
putting together a thing for this, this special called the
Lonesome Pine special, which was, you know, kind of like the
other Austin City Limits, kind of like back in the day, and he
was looking to put together this special kind of bank, because
Baylor obviously doesn't play regular old banjo. So Kurt
story, the late great Kurt story, now, had worked with the
brothers at Busch Gardens in Williamsburg in the earlier part
of the 80s. He said Baylor, the best bass player in the world,
lives in Virginia. His name is Victor Wooten. So on Kurt on
Kurt's story's recommendation, Kurt gives him Victor's number.
Baylor calls Victor on the phone. Victor plays some stuff
over the telephone. Baylor says, come to Nashville. So amazing a
telephone audition. Victor comes in Nashville, moves in with Jo
Nell mosser, who, at the time, was married to John Cowan, yes,
you know who's now singing with the doobies. He's also the voice
of operators. Victor moves in with him. So Baylor is looking
for a drummer. He's auditioning drummers. Victor says, Baylor, I
got her brothers doing some stuff on drums. You nobody's
ever seen before. So Victor's recommendation, electronic
thing, playing the, I call it the contraption, yeah, he was
playing the thing, you know, it was, uh, he had taken the, added
some electronics to the old synth X, synth X electric
guitar, right? So the scent sent X drama. So God Roy comes and
and, you know, they hit it off, and he knew he was going to use
Howard Levy. So, you know, that was, that was that Victor later,
was there was a competition in at the old corner music next to
forks, yes, and it was a guitar competition. They called it the
Wang off. All the rock guitarists would get there do
their thing, yeah, man, you just, that's a rough name, man,
that's a rough name. Yeah, yeah, exactly. You say it on their
imagery. That's right, yeah. Everybody just kind of ignores
where your brain obviously goes, like the Wang off if
you're listening to this podcast, it means you're already
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So Victor was going to enter on base, and they were like,
Victor, this is a guitar competition. And Victor was
like, you know, I want to enter this thing on base, like Victor,
you can't get into the wing off on base. So Victor says, Okay,
well, I got a brother. So he calls Reggie. So Reggie comes in
and he wins the guitar competition. He still has the
snake skin Randall. And the snake skin, I think, is the
Randall stack. And I think it was a baby blue, a black with
baby boo polka dots. Was it a Kramer guitar? Anyway, he still
has the stuff that he won from there. So this is that was like
in and so that was somewhere in the late 80s. So there was a
woman named Alice Randall. Alice Randall is an author. She's a
best selling author right now, my Black Country, I think, is,
but she is the name of the book that she has now. At the time,
she was doing the soundtrack to an upcoming movie called Mother
Dixie, and she wanted the title track song, but she didn't want
a normal country voice. So she was asking Victor, you know, do
you want to sing it? Victor is like, I'm not really this
singer, but I have a brother. I got four other brothers, yeah.
So he called, he called me, and I came in. This is in the latter
part of the 80s. I came in, sung it. We hit it off. She loved it.
And I'm in Nashville going, I kind of, I like the feel of
this. I was already feeling like I was running out of options in
Virginia, sure. And so I called my then girlfriend, Heidi, and
said, This feels like a good place. They said, You know,
we'll just consider it if it looks if it moves in that
direction, we'll do it. So she's waiting to pick me up at the
Trailways Greyhound station, because by then Trailways and
Greyhound emerged at Fort Eustis at the bus stop, and while she's
sitting there waiting for a sign of whether it was a good move,
sounds like, seems like. It sounds like something out of a
movie, but it's the truth. As I'm stepping off the bus next to
our Datsun 210 in the next parking space, pulls in a U haul
with Nashville, Tennessee on the side, a moving a moving truck
with Nashville
on the side that's probably had like a banjo rolling hills. It
had the banjo on the boots. You know, every every state has had
the banjo on the boots. So not long after that, a friend of
ours, her name is Patty Bishop. At the time, I had worked with
her at Busch Gardens. She said, I'm getting ready to get
married. My husband and I are going to have a house on the
lake in Mount Juliet. You can move in with us, if you want,
until you get on your feet, nice. And it all worked out. So
we jumped in like you realize how crazy you are when when you
get older. But we jumped in a, I'm not sure if it was four
doors, but it was a Datsun 210 we had two cockatiels that had
just laid eggs that wound up hatching as we got to Tennessee,
but we had a half Labrador, half Collie. We had a half Dalmatian,
half something. Yeah, we had two cats, two cockatiels, and a big
blue and gold Macaw. Exotic pets. Yes, we, well, my first
wife, you know, we've had all kinds of species in the house.
By the time I had kids, it was easy.
Joseph, you're on number two.
I'm on wife number two, okay, but I don't feel so bad. But we,
we, we moved to Nashville and and, and, you know, it all
worked out three years later, September the 12th, and I'm
sorry, March the 12th. 93 I get a call from Steve Miller. Ah.
And I was in the Steve Miller Band for 32 and a half years,
and I saw you out there at the First Bank Arena with Ron wixoe
on the drums. That's right, it was maybe two years ago.
Fantastic. Yeah, it's a man that's a fun show to play. Well,
that's the one that's part of the slice of Americana, or the
American song. It
really, was really storybook about it for me, like graduating
high school in 1979 all those Steve Miller hits that was my
middle school, high school. I always loved fly like an eagle,
because that's just, that's some of the best b3 playing in a pop
soul hit in a long time. And I grew up done it. I'm the guy
that got a chance to do it.
What's it like to get a phone call directly from Steve Miller?
I mean, how does he open up the call? Well, some people call me
the space cow.
No, nothing like that. He's, he's Steve is a pretty off the
stage, pretty straight guy. Yeah, right. So I was doing a
recording session for a man named Chris McCarthy. Chris
McCarthy wrote swing town. He wrote a song called horse and
rider. And I think he also, I mean, he co wrote with Steve. He
also co wrote, did you see the light
shoot? Is the song in a minor
I'm looking at this anyway. It'll come to me in a minute. He
wrote that too and
serenade I was
doing a recording session for him, two days of recording, and
the first day he said, You Steve Miller, just lost a keyboard
player. You'd be perfect for it. And yeah, when you're playing
music, people tell you stuff all the time. So I was polite. I
didn't blow him off. I didn't say anything rude, I just didn't
do anything. And the next day, it came for the next session. My
car was down at the time, so he came to my house and picked me
up. And he said, You should have said that audition tape
yesterday. He said, Here's his mailing address. You need. You
need to do this. You'd be perfect for this overnight,
overnight. And he said that, uh, you know, it's the kind of gig
you go out for three months. You've made your money for the
year. You can do whatever you need to do for the rest of the
year great, which, when he gave me his mailing address, I was
like, okay, I'd be really negligent not to send something
in if I have his mailing address. So Mike Webb is a
keyboard playing friend of mine. Love Mike, yeah, from Virginia,
double kick productions. I don't know why I remember that, but
double kick productions. He also
was in a band with Roy when Roy had his first prototype strap on
drum set.
That's just really quick before, just in case people are in the
dark, paint a really quick picture of who all your brothers
are and what they play.
Okay, youngest brother is Victor, and most, most people
know Victor Wooten. If you're a bass player, you certainly know
him. I'm second to the youngest Joseph, three years older than
Victor, three years older than me, was Rudy, who used to blow
two sexes at once, and Rudy's jazz room is named after him. I
did not know that. So if you if you're in Rudy's and you look at
the stage, if you look opposite of the stage. On the back wall
is his alto saxophone.
So he did not know that. Yeah, wow,
yeah. So, and then one year older than Rudy is Roy, aka
future man, one year older than less than a year older than Roy,
they're 10 days inside of a year for 10 days, they're the same
age. Tech, they're the same age right now. Reggie's birthday is
on the 23rd so the end, everyone's eight years apart.
The whole cycle from the top to bottom. Yeah, eight years nice.
And that oldest is Reggie. Reggie showed me how to play
when I was five. Showed Victor how to play when he was two. So
he showed us at the same time. And, yeah, I mean, showed us
well enough that three years after he showed us how to play,
that was in 1967 Yeah, we were opening for war. In 1970 we
opened for war in Sacramento, California at the Memorial
Auditorium. Victor was Victor was five and I was eight. Older
brothers, 1112, 13. Less than two years later, we opened for
Curtis Mayfield on on his Superfly tour. Amazing. Wow,
three different shows. Oh, yeah. So we, you know, when Reggie
showed us, he showed us really well. But back to 93 Yeah, he
was asking, what's it like when Steve calls Yeah, so I sent in
the audition tape. What I did. By then, the Wooten brothers had
been to Arista Records and had an unsuccessful record deal. So
we signed to Arista Records the same time they signed Whitney,
same label, same producer. Kashif was producing our album.
He was producing his album. Was that Narada? Narada, no, the
Narada was on the next album. I want to dance with somebody. He
was on the next album, but Kashif was. A hit maker at the
time, you know, he had the Evelyn champagne King hits. He
had the he had the he was an R, B hit maker at the time. He had
the, so far so fun. You blow my mind. Boom, boom, the boom,
boom, boom. He had the way I feel about you. There just ain't
no doubt about it. I'm in love Evelyn champagne king. He had
some hits with her. He had some hits with with Melbourne. More.
Bet you see, don't love you. He was a hit maker. So they wanted,
Clive wanted to launch Whitney R and B first. So they went to
cashif Kashif had two songs to do. One was a song called, you
know, you give good love. When she sang, you give good love, I
was there, right? I watched her sing it, come on. She was right
on the other side of the glass. The thing I remember, because
most singers, you pull a headphone off so that you can
hear. And she would push both the headphones on tightly and
just sing like you'd never heard. And at the time, nobody
was really singing like that. Yet. Now there's a bunch of
them. There's Christina aguileras, and you know, you
mean, well, yes, sort of that, that power vocal, with those
riffs, they weren't really singing just that approach yet,
like Whitney showed another way to sing, R, B before that, the
singers largely were coming out of the Aretha school. And then
there were the Chaka singers, the singers that sounded kind of
like Chaka in comes Whitney Clive knew what he had, and he
was right. And I got a chance to see it as it was happening.
Kashif's second song was supposed to be the second single
was a song called thinking about you. And because Kashif is
producing our album, Kenny G's album and his album, we're all,
yeah, we're living. He bought Jackie Robinson's place, Jackie
Robinson's place in Stanford, Connecticut. So we're living,
you know, in Jackie Robinson's old house. Yeah, there's,
there's a picture of when we first moved in. There was still
a picture of Jackie Robinson stealing home downstairs in the
game room that became the studio. There's pictures to him
and all the great athletes of the time. The coolest thing was,
just before you walked downstairs, upstairs, you walked
past his National League MVP plaque that was still on the
wall, like living in Cooperstown, right? So when
Kashif was recording Whitney songs, the second song was a
song called thinking about you. Well, she's singing, I'm in the
booth just singing along, harmonized. He goes, I like
that. Go in there and sing it. So I'm on, I'm on that song.
Amazing. Now, similar to my career, I didn't get paid for
it. I didn't get credit. You didn't sign no paper, yeah,
well, because she was also the producer, right? So you know,
you're making your sacrifices trying to, you
know when, you know when Eddie Van Halen played on, what was
the big that he played on beat it? Yeah, they just called him
in, hey, play guitar. So on this he thought he would never see
the light of day. They said. He said, Do you want to sign the
paper? And he said, I'm
fine. You know why he did that? Though? Why? Because he didn't
want the rest of the band to know he did it.
Well, the cat's out of the back. Well,
Alex Van Halen told the story in his books, and he said because
they didn't like anybody pollinating in other bands, and
Alex never played with anybody else. He expected the same from
everyone.
Wow. So the footnote is longer than the story. The reason I'm
telling it is because when I sent in my audition tape, yes,
with Steve, I sent in I had just as I'm bringing it all together.
Mike Webb, I had just bought software from him. Whenever we
see each other, we start geeking out keyboard wise, because,
like, we were two of the first that bought the D 50 back in
Virginia, and so I bought his old sequencing software. I
bought his Master Tracks. So on his Master Tracks, I did a funky
loop of abracadabra, I put a piano solo on it, an organ solo
on it, and a synth solo. This was your audition tape. This was
my audition tape. Also on that audition tape at the time, more
than gigs surviving, I was doing a lot of sound alike work where
you go into sound like the K tell what kind of like? Yeah,
more. It's more you would see it like, if you go to any place
where they needed the popular song but didn't want to pay the
licensing of so I had all the RMB and the hip hop Nice. So I
had done boys to men's acapella version of. It so hard to say
goodbye to yesterday, so I did that so that he would know that
I could sing harmony, so that he would know how I played. I sent
the audition tape, and then I sent a snippet of me singing
with Whitney, so that he would know that I had done it at a
high level. And maybe I don't remember how many days it was
later, but you know, here's a voice, a speaking voice that
sounds just like his singing voice. Hi. This is Steve Miller.
I really liked your audition tape. I'd like for you to join
the Steve Miller Band. He said, What I remember is him saying,
this is the kind of gig that you could have for the next 10
years, if you want it, right? And it was almost 33 not quite
33 congratulations, yeah. And it was, it was, it was fun. You
know it was fun? Yeah.
I mean, that effort that you made bought you the 33 years.
Absolutely, you could have just mailed it and say, yeah, here's
me blowing some changes, blah, blah, blah, you know, that's it.
But you made a nice
I did, I, uh, I was, I'm kind of like that. If I do anything, I'm
gonna put my best foot forward. Perfect. So I sent in, you know,
the three kinds of like abracadabras, do, do, do, and I
did. Boom. Then I went in and played like myself, yeah, no, I
did. I didn't. I didn't know how it was going to go. But after
getting the gig, it was really the thing that sticks in my head
was he's like, Okay, you're in the Steve Miller Band. You know,
if you in a day, you'll get your rehearsal tape. Got my rehearsal
cassette
tape, cassette audio tape.
I got my cassette tape. But the thing that I remember is, after
getting the cassette, I didn't know that I was familiar with
that much. Steve Miller music, yeah.
So you get the songbook, right? So you got Joker fly like a
needle, abracadabra jet airliner. Rock me, jungle love.
And I was fortunate enough to play, living in the USA, at the
Ryman Auditorium for the School of Rock with your brother
Victor. Cool
man, take the money and run. Yeah, yeah, that's right. Jungle
love. I mean, wow, yeah, it goes on and on swing town serenade.
Is there one that's your favorite? Is it? Would it be the
fly like an eagle? By far? Fly like an eagle is like, just
right down my alley. Now I get a chance to take a solo on it
during the show. That's sort of my big moment. It's how it
opens. Well, sometimes we change the set list slot. Yeah, we did
the set list at one point with fly like an eagle the opener.
We've done the set list with fly like an eagle, kind of, you
know, in the showcase position. But it's not my favorite,
because I get a chance to take a solo on it. It's my favorite,
and I get a solo on it. But I just, I think some of it I like
it because the groove is very similar to another song I really
like, which is slipping in the darkness by by war, yes, boom to
boom to boom. Boom to boom to boom, right? And both of those
just hit me in a good well,
the boom to boom to boom is coming right from the Latin
American clavie. It's coming right from Bo Diddley.
Absolutely, there's a lot happening there.
Absolutely, yeah, absolutely. I mean, funk is just rhythm, and
rhythm it music is rhythm, harmony, Melody, by far, the
most important component is rhythm, because not everybody is
moved by the same harmony. Melody is not the most necessary
component of music. It's like the license plate on the car, so
you know, what's the signature.
Hey, now that is incredible. I have not heard that viewpoint,
but you're, I would, I would say you're absolutely right, yeah.
I mean, you can, you can still you can play music without a
melody. You can groove without a melody, but if you want to know
what groove it is, I mean, you don't have to play the whole
concerto. You can just go, oh, yeah, okay, you know what I'm
talking about. The melody is that, yeah, the melody is the is
that is that is the identifier, yes. But the most important
component of music is rhythm, because rhythm is the thing that
puts us all on the same page. You can have a good beat and not
even have any music. I use an analogy. There's a there was an
old YouTube clip, and there was one of the world's greatest
violinists on the corner, and he was playing, and people were
just walking by, you know, playing a Stradivarius, people
just walking by, and somebody was complaining that people have
no appreciation for music. He was the world's greatest
violinist ever, ever heard and, and I was like, it's not that
people don't like violin. It's just that every violin is not
everybody's thing. You. But you could take a drummer. It doesn't
even have to be a good bucket drummer. Yes, a bucket. You
could have a drummer, and all he's got is a kick drum just
going, and he's going to draw a crowd, because people like, know
something's about to happen right here, like he's setting
something up. Because music, rhythm, rhythm is the unifier,
without anybody having to say anything, and that's what makes
music so powerful. We have a chance of unifying people
skipping over all the things that makes barriers, cultural
barriers, cultural language barriers, seminars, studies on
religion, and we skip over all of that and go right to
togetherness, right to togetherness. And that's what
makes music such a powerful tool. But largely it's the
rhythm that does. It rhythm. It rhythm is the unifier, because
if you hear a good beat, you don't even realize it. You hear
a good beat, and your head is just going, yes, yes, yes, I'm
in for whatever you're selling. Yeah. So is it safe to say that
every member of the Wooten brothers plays little drums?
Yeah? I saw a picture on your website with you behind a kid.
Yeah, I can play some drum Well, when we were young in 1970 we
saw James Brown. Now my brothers Reggie, Roy and Rudy had seen
them as children. My aunt took them to see James Brown, and
their lives were changed. But Victor and I as a family, we saw
them in 1970 James Brown at at his best back when Bootsy
Collins was in the band playing that white finger precision, and
his brother, catfish was on guitar. Jabo Stark's Clyde
Stubblefield, oh my god, yeah, Pee Wee and St Clair and Macy o
talk about over sampled and underpaid. No doubt about it. No
doubt about it. Hey. Really quick. Macy o Parker, life on
planet, groove. You heard that record, right? I haven't heard
the whole record. I've heard some of it. My god, yeah. I
mean, so we saw James Brown, and our lives were changed. Our
lives were changed. And why am I telling this story? Oh, about
the rhythm and you could play drums. So, right? Thank you. So
we, the Wooten brothers, wanted to recreate a lot of this James
Brown stuff. So Roy, believe it or not, aka future man, could
move just like James Brown, and we knew we had to have that in
our show. So he taught me to play, you know, this James Brown
groove so that he could come from behind the drums and go out
and sing and dance like James. So I learned, I learned to play,
and we had the strobe light and everything. Because James Brown
had a strobe light, we had to get a strobe light. Yeah. So the
Wooten brothers, to this day, we are still James brownified to
the to the extent that when, because Reggie was still our
Victor, and my musical mentor at that time still is, I mean, to
this day, but when he was teaching us a play, we go,
Reggie, Reggie. My kids are there, and he goes in the James
Brown key, which we we knew it was a James Brown key before we
knew it was D, what keys it in? It's two down from the James
Brown key. It's one up from the James Brown key, long before we
knew C and E flat proximity to the James Brown key, that's
incredible, and that was a fun way of growing up. Kept us out
of trouble, gave us focus. They kept other people from trying to
get us in trouble. Yes, because they recognized that we were
focused. And when people see that you're focused, other
people want to even the even the even the the wrongdoers, yes,
don't want to see you lose your focus and get pulled into that
so they they weren't trying to get us into gangs. They weren't
trying to get us to drink or do drugs. We were just focused. You
had your purpose. We had our purpose, and they knew it too.
So it's what's really gratifying as an adult, when we go back to
our old neighborhood in Virginia and people still hold us in high
esteem because we were sort of for them. We were their local
Jackson Five. Like we won. We had a we were opening for
Stephanie Mills back in the 80s, and the tour bus came down the
street and pulled right up to the house, and like, you know,
we, we might as well have been in the Jackson fire, and still
to this day, people are still proud, yeah, to tell other
people, oh, yeah, I grew up with Victor Wooten. No, I grew up
with Joseph Wooten. Or yeah, you know, as it feels, it feels
good, but that's what music that's what music does, and
largely, it's. It's the rhythm and the things that you attach
to the rhythm that does it notes by themselves. I mean, without
rhythm, music is just a pile of notes with no context. But when
you hang those notes on rhythm, it's the spaces between those
notes that give those notes purpose, yes, and that's that's
the power of it. That's why I love being a musician. And
foolishly or smartly, I'm not exactly sure I think, I think I
have a tool that can help us get out of this mess we're in.
Because music never fails. It like never if you go back to the
early 70s or the late 60s, right? There's the war effort
they're trying to fight in Vietnam. And here's this hippie
kid with a guitar and a microphone singing, give peace a
chance. There are these people. They just skip over the
government mandate. They're burning draft cards. They're
sitting in peace circles with love beads, and they burn and
they're just messing up the war effort. I'm not saying they're
right or wrong. I'm just saying that music is a disruptor. Yes,
at the highest level, at the highest level, there was
nothing, there's there's nothing that Congress could do, so they
just deported him. Gotta get out of here. We're trying to fight a
war here. And it's not like he had an AK 47 and a knife. He
had, like a guitar, just to get, not even always a microphone and
an idea. Oh, we are saying is give peace a chance. And this
idea from this guy, with some notes and some beats and a good
idea disrupted the whole machine. So that's possible.
It's possible coming out of the out of the civil rights
movement, I mean, they're arresting them, they're beating
them, sticking dogs on them, fire hoses. And they sing their
way through the misery This little light of mine, or or we
shall overcome. They sing their way out of it. Yes, the worst
oppression always gets rid of the music. Take the drums away
from the African stop the Indians from doing the Ghost
Dance, because you'll you will create yourself free if it's
allowed to happen. And
then you have Congo Square, and then there's an outlet for that,
and then there's this whole other art form that's born
Absolutely. It's like, it's incredible. I love the I love
that you
put rhythm on a pedestal, like that,
man I do. In fact, James Brown did too. So James Brown was a
drummer, right? So the beat that you learned was everything?
Well, yeah, absolutely.
Drummer that one, yeah, I mean,
but that's, in my opinion, in my opinion, that's when, that's the
turning point where James Brown goes from playing R B to playing
funk right at that point. That's just, that's not just R B, it's
swinging a little bit. Oh yeah, that's funk and that. And from
there, you know, James Brown becomes not just a R B soul
artist. He becomes a funk artist, and then Sly Stone
electrifies it, and then Parliament electrifies and then
takes it into space.
But that
Do you know brother Paul the keyboard player? Brother Paul,
Brother Paul the water boys, absolutely. He's got a funny
story about thinking that he was gonna go see kiss in his youth.
And he's goes to the, you know, the convention center, wherever
they were playing. And it was, it was wrong, it was people. And
he said, I went inside, and it just changed my life.
Yeah, absolutely, absolutely, for a reason, yeah. Interesting
thing is like that those guys knew what they were doing like
James. Let me hold that point. The point that I was getting
ready to make is James Brown would challenge his band. He
would ask them what instrument they were playing. You know,
this is a trumpet. Mr. Brown, no, no, that ain't right. It's a
guitar. Mr. Brown, no, no, that ain't right. All of you are
playing drums. He would tell him, all y'all playing drum you
play because he knew that he and Bobby bird used to talk about
the funk like, you know, they get over in a corner and they'd
be talking to each other like it was a government secret.
Somebody else came in that they didn't feel belonged in the
conversation. They stopped talking. But he knew that he had
this potent thing, because what made James Brown different is he
was doing it for a purpose. He knew his people were in trouble,
and he knew he had a vehicle for getting him out, and he knew
this rhythm and this togetherness that he could do to
get him. He also knew that money with you had enough money you
could do anything. So when we saw James Brown, he was
performing 300 35 nights a year, 30 like out of the year. He only
had took off Christmas. He only had the month up. He had
literally two bands. One band was traveling and one band was
playing, and he was in the jet playing every night. Wow, he
knew that he was bigger than the promoter. What do I need a
promoter for? I'm the promoter. I'll pay some, you know, some
little hungry cat, you know, from college. I'll give him a
few 100 make flyers, yeah, to sell it, to get on the radio and
make sure they know, make sure they know I'm coming. And he
would take all those suitcases of money out. And his plan was,
his plan was to buy up enough radio stations so black people
could get on the radio, because radio was really segregated back
in those days. That's where the term crossover artist comes
from. Black people could only play on black radio, which was
limited, you know, just a limited clientele. If you
crossed over on the white radio, you could be a national hit,
like, I feel good. Was a crossover hit. You what I mean,
I didn't, wasn't Alan Freed, the guy that would play African
American artists. Yeah,
there was a few of them. Alan Freed was the one we know about
the most. There were, there were a few of them that would there's
always throughout history, there's always some people that
bucked the system. I think it was, I think it was Betty
Wright, I think when she was younger, I hope I had the actors
right who dared to let this black tap dancer, you know,
stand beside her. I don't know if she held his arm or kissed
him on the cheek or something, but it was like, super taboo,
like for a minute. Nat King Cole had a 15 minute show back in the
50s. Just 15 minutes, and somebody can't remember they
kissed him on the cheek or something, and boom, he's gone.
It's a different time in the country, but music could always
cut through, yes, and that's what James knew. So he was all
those nights he's playing to make enough money so that his
people could play music like the rest of it. He had a grand
vision. He did. He really did. That's why he took, he took a a
lot of heat when he endorsed, when he endorsed Richard Nixon,
because Richard Nixon knew he needed some black voters. How do
you get black voters? You caught James Brown. We made a bunch of
promises to James, and James knew a president could help his
people. What? Of course, Nixon didn't live up to any of them.
And you know, word was calling the White House just causing up
a storm. Yeah, because, you know, not only did you make me
look bad, but you didn't deliver on what you said. That long
story to show the power of music and moving culture with the
right person. Because it's easy. It's easy to be unfocused when
your music is powerful and people start telling you how
good you are, it's easy to lose your focus. A regular, sensible
person, it's easy for you to lose your focus and think, I
don't know what you think, but to be unfocused. But music is
our way out, because it's a meeting place at a time where
it's hard to get anybody to agree on anything right. A
person on the right sees looks at one thing. They see it this
way. A person on the left looks at the same thing, sees it
another way. But music is a place where we can all meet in
the middle, where we can all meet in the middle. And the
thing, the thing about music, this is an analogy that I use
when I, when I,
when I do motivational speaking,
if I, if I take a chair and I drop it on the floor and I
cough, right? Two things got nothing to do with each other
unless I put them on the beat, drop, cop, drop, right at that
point, these two things that used to be unrelated, it's
awesome. These two things that used to be unrelated now are in
a relationship, not just that they're respecting each other's
space, but it's a relationship that we can build off of. We got
a baseline. I can add some keys. We can bring a rapper in before
you know this choreography, you know we're signing release forms
based off of these two things that you should be unrelated, a
chair and a cough, organized in a specific manner, the
foundation of the house,
respecting, essentially, though the moral of that story are
sounds that are different, sounds that are different that
now respect each other's space in an intelligent way that
applies to sound. It applies to people. So what happens is with
people, when we're different, rather than finding a way for us
to. Respect our space differently. I mean, I'm sorry,
intelligently. Instead, we do more like competition, like
sports, like sports is entertaining. Sports is
entertainment, but it's not a way of moving culture forward,
because sports is always creating new losers along with
the winners. We win at somebody's expense, and that's
good for entertainment. It's a terrible way to move culture
forward. I mean, that's why war is the most lethal form of it.
We win. You know, it's a lethal competition, yes, but if we
could learn the lesson of music, music takes things that are
unrelated and have them respect each and has them respect each
other's space intelligently, and it gives sounds that are
incompatible, a path forward that we can build on. And the
way that we do it culturally is just to sell respect, rather
than trying to get you to think like me, right? If G and G and a
flat. You know, they're the picture of tension. They're
right next to each other, yes, but if one of, if one of those
notes, I call it, take the high road, you're still a G, just be
a higher version of a G, right? And now you got to a flat and a
G, we can maybe play A flat major seven, and we have more of
a chance of harmony if we if they're not competing for the
same space, you should. I mean in terms of civilization, if we
can learn the lesson of music, the lesson is put respect
between the two of us. You don't have to stop being conservative
or liberal or whatever it is, I don't have to stop as long as if
I need to move a couch, if I can call you, you know what I mean?
Yeah, then hopefully your conservative self will come over
and help me move this couch, or your liberals or whatever. But
instead, we're still competing. We're still trying to make the
other person be more like us, and that's not a way to move
society for which is why politics is necessary, but it's
not the answer, because politics is competition too. Yeah, trying
to the right tries to, you know, the we're right, you're wrong,
yeah, then they're right on the right. The right tries to own
the left. When the tool that I use with people, I'll say, if
you want, if somebody voted for candidate A, you voted for
Candidate B, before you tell them why Candidate A is wrong.
Make that point first, like
I was talking to a person, I said, Okay,
you thought the last leader was weak. You wanted somebody
strong. You knew he wasn't perfect, so you went with this,
with the strong leader, even though you knew he wasn't
perfect. You didn't like the way the country is run. Businessman.
You see a business you thought you say a businessman would be
better at it. I understand that. Here's my concerns. Now we're
having a conversation, and that person knows that they're heard.
They know that whether I agree with them or not, they know that
I don't disrespect them and I don't think that they're
unreasonable. And those are the things that everybody needs.
Those are the part of the basic things that we need in life, to
feel like we're reasonable and to feel heard. Now we can, if we
do it that way, we can move forward even if we disagree.
That's me taking the high road. That's me being G up here. I
could be G right next to a flat and go, Hey, man, you're in my
space. You know what I mean. And we do that tug of war that we
see everybody do, but we we're so convinced that that we have
to succeed at somebody else's expense, and it's not the truth.
And because we don't do that with notes. That's why we can
make music. Music is a path forward for all of these sounds
that don't match what I what I do. And then I'll let you get a
word,
because you're opening up Pandora box. You know, for you
as an author and a speaker, and you've got some great concepts
on things that I want to
address. The point that I'm making is what I do is so people
can feel the beauty of music. I'll tell somebody to say
something positive that means something to you. And then,
like, one time somebody said, you live and you learn. So, you
know, I went to the key well, you live and you learn, but
you live and you learn,
or you crash and you burn, and you know everybody sang the
refrain, put a verse on it. And I said, I do that so that you
can see how music can take something ordinary and make it
extraordinary. Turns it into an anthem, turns it into something
we can all join in on. But then I said, but this is what I make
music from. And then I go to the piano and press all the keys
down. I says, Make music from a mess. That's that's the source
of music is a mess, and so is the life that we're living. It's
a mess, but like all these keys down on the piano, it's a mess
with potential. It's what the reason that is. Beautiful is
that you hear that I've given this mess, you can hear that
I've given this mess a path forward. That's what music is, a
path forward for the mess and civilization can be that too. We
just have to undo it in a different way than competition.
Competition is not it's not the way. It's entertaining. If
you're winning like people will say, Nothing brings people
together like sports, because they'll see a Super Bowl winner,
and everybody's together. But meanwhile, on the other bus,
it's the worst
day. The other side of the Super Bowl Shuffle was like the
Patriots. They weren't so happy going back to New England and
whatever that year is, and life doesn't have to be success at
somebody else's expense. It's also the reason I don't really
like music competitions, because music is really we don't really
sing to make somebody else lose,
and that's what we have now with American Idol and the voice. We
have these gamifications of people's talent and
dreams. And I'm not saying that. I'm not saying that it's a bad
thing. It's given us some great artists. But also, the detriment
of it, it has us listen to music going, Oh, that person's not as
good as that person. That's not what music is for. Well, how do
you describe how do you define good? But everybody defines it
from where they sit. Yeah, right. It's like, if I'm sitting
here, that mailbox is behind the tree. It ain't behind the tree
from where you're sitting, but for me, you know, you can't see
it. It's in the wrong place, because I can't see it. And
everybody's everybody's perspective, is different. I
would love. And then I'll let you get a word
in. This is highly educational, and we're getting a glimpse into
your talks, man,
but I would love, I would love a music show that's not
competition, a music show that just highlights a person's
positive things and gives them more ideas of where Their music
is good. Get us out of that this person is not as good as that
person. No, that person can't sing. This person can sing. It's
like, there's, there's not really a reason for that, and
that's music. We don't learn music to make somebody else lose
I mean, that's, that's why the music business is anathema to
the music because the music business is there to make you
bigger than somebody else. It'll, it'll make you kick
somebody else off the stage if you can, you know, get this, get
the headlining spot. That's not what music is for. The music
business. That's a music business. That's why musicians
make such terrible business people, because we're more
creative brand, yeah, well, also because you get good with your
humility. You get good by knowing, by by seeing how far
you are away from where you want to be. That is humbling. Yes,
it's only, it's only the ego test that goes, Man, look how
good I am, right? You're, it's like counting to infinity,
right? You can, you can count to 5 million. You're no you're no
far, you're no closer to the to the goal than when you started.
And if you're an arrogant counter, it doesn't make any
sense, because you're no closer to the distance. I mean, you're
no closer to the end. But the quality, the quality of what you
do is available to everybody really what what you should be
chasing, or what you could be chasing that is fulfilling every
every individual has a unique perspective that nobody else
has, and once you find it, you're out of the competition
like it was my brother Roy that said nobody will compare Stevie
Wonder and Ray Charles. And they're both blind piano
players, singer songwriter, you know what I mean? You don't
compare them because they're both. They're so individual that
they don't overlap. And the hardest thing, the hardest thing
on the planet is to find your voice and express from there is
like, it's such a paradox. The most unavoidable thing in life,
which is to be yourself, is the hardest thing in the world to do
something that was taught to you when you were young. Because
that's funny, we brought up the Van Halen brothers. That was
like, that was their foundation. Their father was a musician, and
they said, as long as you, when people hear you, they know it's
you that was very important,
really well for us, it wasn't my parents, it was my brother,
Reggie, for whatever reason. You know, he's Victor's two,
Reggie's 10. And Reggie, as a 10 year old, is looking for
something that he and his brothers could do together
forever. So he said he was young, he always loved running
fast. You know, at one time, he wanted to be the fastest in the
world. He realized couldn't do that forever. And and I, I. I
remember hearing we were living on a military base in Hawaii,
and I remember how exciting it would sound that somebody down
there, you know that you could hear the bass guitar carrying
and you could hear the drums carrying. It was so exciting.
And it was his idea to teach Victor and I to play because he
was already playing Roy's ukulele. Roy was already beating
on things, and Rudy was playing the recorder. They were all
really good. I never remember them sounding like they were
learning. I only remember them sounding like they could play.
So Reggie, you know, essentially said, you know, Joe, if you do
this and Vic, you do that, you can be part of the band. Well,
of course, we want to be part of whatever our older brothers were
doing, because we looked up to them. And he taught us, you
know, how to play one note. What he the first thing he did is
pretty ingenious. There was little Schroeder piano in the
house, and he said, just play this note, ding, ding, ding,
ding, ding, ding, ding. And I remember not being enthused at
all, right, but I'm doing it because he asked me to Ding,
ding, ding, ding, ding, ding, ding. And he let Victor pick up
the little Mickey Mouse guitar. He's just playing along. Not
really notes yet. He's just playing along. And then as I'm
going, ding, ding ding, he picks up the ukulele, ding ding,
dating. And in my I remember, and because my ears have always
been good. I can hear this note staying the same, but it's
changing, you know, as he goes from the one to the four, ding,
ding, ding, ding, you know, that's and then he starts
singing Midnight Hour, you know, I loved Wilson Pickett. And
instead of learning to play, on day one, I'm playing, I'm on the
bike riding, and the next day, we played a little concert out.
I think my brother Roy called my mom at work, mommy, mommy,
mommy, we have a band. We have a band. We have a band. She said,
Well, okay, practice. When you get home, I'm going to want to
hear it, and I want you to be good at it so. And she got home,
and we did our little thing, and the next day in the front yard,
all the neighbors were playing our little stuff now. Mind you,
Reggie's carrying most of it,
but Reggie taught you music theory through practical
application. He taught went right to the song. He taught us
music before he taught us theory. I mean, that's but you
were learning it in a very spoon fed practical way, pragmatic.
He's given us the joy of playing before you get to through the
Drudge to the drudgery, not so much a practice, but of learning
the terminology, yes and the same. Now, Victor is the one
that uses the analogy of you learn to talk long before you
learn English. Learn the rules of it. You just your parents
allow you to say it wrong.
That's actually really I met Reggie when in 1997 playing gigs
of pizza perfect. You know what I mean? I'm like, This cat's
over in the corner at a pizza parlor just loving life. Yeah,
you know what I mean, amazing. And then he had the thing, the
muffling device, yeah, the hairstyle, or whatever,
whenever, whenever I see because now they have, they have
official ones. But I know that somebody, at some, some kind of
way, has grabbed the elbows with the wounds, some kind of way,
because it was a, it's a thing for Reggie, you know, doing all
that tapping, it helps to muffle the back strings to make it
cleaner. So he did it. Vic said I did it because my brother did
it. And people saw Victor and Reggie do it. And now they're
all over the place.
So, so this is what's beautiful about the commitment to the
family band, is that you guys all have your other musical like
money making outlets, right? That you have your
responsibilities and you have your schedules, but then you
make it a priority to look at that schedule and say, All
right, now we're our family band is going to Europe for two
weeks, right? You found the time to make it happen. We
leave tomorrow. That's awesome.
That is, thanks for squeezing us in here. Man, oh, it's
so cool. I'm so glad I could do it. But yeah, we, we do. We
know. We know that that we are each other's largest priority.
So everybody does other stuff. Yeah, no, I have people that are
helping me. I'm getting ready to come out with a Christmas
record. Okay, should be, should be released on December 1. Now
that you know, I'm freed up from the Steve Miller thing, it's
kind of exciting having, having you're a phoenix rising. This is
like another chapter of your life, which is really, I love
your song Nashville. I actually used it on Instagram post the
other day, because it's very appropriate. Because, you know,
I don't know when you wrote it, but Nashville is so popular
right now, like all the that's where I party. Here are coming.
I love that you rhymed demon brewing. And do
mom brew on demand?
Bouillon, yeah, this place to be Nashville, Tennessee, yeah, um,
I'll probably re release that at some point, yeah. But it's, I
think Nashville is a great city, yes, and music is a great thing
a city whose foundation is music. I. Love being a part of
it. I love our greatest export from this city is music. Is
music, and I love being I love being from Nashville. I love
saying that I'm from here when I'm out of town. Everybody holds
our city in high regard. I love being a part of it, not just
being country music. Yes, because the export oftentimes
makes it look like it's that Country Music City. Yeah, I like
being a part of showing people that it's not only that, because
there's all kinds of things going on, but a city whose
identity is music, I love that. Yes, I love that. So I wanted my
my goal there was to write a song that really highlighted,
you know, Nashville, the Music City, where the girls are
pretty, where you can listen to the hands of soul, or hear
Conway Twitty, yeah. Now that's another
thing for you. Is that you have another project. Joe fought
hands of soul, right, right, right. And you always have a
birthday bash
every, every, every December, I do. So my birthday is December
the 15th. Which is I also like December the 15th, because I was
born on the 170th anniversary of the ratification of the Bill of
Rights and the First Amendment. So I have a First Amendment,
Bill of Rights, birthday Second Amendment too. But I like that.
So every Christmas I do, every December, I do a birthday slash
Christmas concert that I did the first one when I turned 50, and
I obviously skipped one during covid, but this one will be at
the Hutton hotel in the analog room, beautiful room, December
the 14th, nice and working on some some special guests. It's
going to be fun. I'll have new Christmas music that I can
present that's incredible to everybody. Oh,
you know what? So I'm thinking, because I could picture my
schedule my mind's eye. I'm going to be in Cincinnati
teaching a bunch of young kids how to play drums, darn it, but
I have to brag on you. Okay, this book. Whenever we have a
guest that's an author, I immediately download the book,
and I try to consume it, because I realize how difficult it is,
what a major task it is to write a book. And you wrote a book in
2017 you can get it from Jeff Bezos. He'll you could download
it to your your Kindle. It all matters, what I believe, words
that I live by. So I got my coffee today. I ended up
drinking a pot of coffee, read this book, and I got I got
really emotional, man, because you're a man who's lived many
lives. You definitely have some philosophies, things you've
learned from music, and I love it. It's just this, all these
little, short phrases, these wisdom nuggets, one of the
things I remembered was you have an idea about what the
difference is between the blues and funk, and there might be
even something before the blues.
It's, what do I say?
It's a musical style that that preceded the blues, and then the
difference between the blues and funk. And I wanted to have the
book on my iPad and then, like, highlight everything, but I just
consumed it on this little device right here. But anyways,
it's I learned a lot, man, and it made me do a lot of thinking,
which I assume is one of the goals.
Well, yeah, absolutely. The reason that I did it was because
my mom was full of so much wisdom, like just so much, and
she would give you these nuggets, like, what you what you
read, wisdom nuggets, wisdom nuggets that you could just hang
your life on, yeah, and we didn't write down enough of it.
I wish that she had done it. So when I'm talking to people like
I'm talking to you, you wind up saying some things that could
use saying again. So I started keeping track of them. I have
this book that has a bunch of them in there. Somebody saw it
and went, you should publish this? And I was like, Man, I
don't know. And it was a publicist that I was using for a
while. He said, if you put it into a document, I'll get it
published. So I put it into a document, and he got it
published. Yes, and it's, I wish that my mother had done it,
because so many of them I use on my kids, and in just a matter of
days, I'll be a grandfather. All right, yeah, I just, I just saw
my, my my younger son and his I just saw my younger son and his
girlfriend for the last time before their parents. I wanted
to say it one more time, because when I come back from Europe,
there'll be parents amazing. But when the day comes and they
wonder who they who her grandfather was, here will be
this thing that shows who I was. Same thing, same thing with with
my mother. We we know who she is, and we share her with so
many, yes, so many people. In fact, the brothers are getting
ready to get together and and just share the things that we
can remember for from her.
Like, it's like writing your mom's like my mom's got the
recipes, you know what I mean. So I'm gonna have to collect
these little, you know, stained olive oil, stained recipe cards,
put them in a book or something. You know what I mean?
Yeah, I've got podcast episodes like my kids will all my
grandkids will be able to find out who their
grandfather, yeah, listening to this body of work, Jim,
there's lots of there's lots of gigs, and there are lots of
people that have met you on gigs and stuff. But this, you know,
this is a concrete thing where they can go, Well, what did,
what did he think about? And then here's the thing that I
also wish, like, when, when my mother was around, I wish that
my mom had gotten a chance to meet Stephanie, the one that I'm
married to now, like, I wish she, like Stephanie, loves to
dote over people. And my mom would never admit it, but she
liked being doted on you. And I mean, ah, you don't have to do
anything.
And you know, I wish that I had gotten a chance to see that it
didn't work out, you know, but I, I know she'd be she'd be
pleased, very, very pleased and very proud. Oh, she'd be
pleased. I knew that this would be super challenging. We're on a
time constraint today, because my co host, we have to have him
back. We really, we really should have a part two, because
I knew it would be so challenging. Because you're a
keyboardist, you're a keyboardist, you're a singer,
you're a songwriter, you're an author, you're a philanthropist.
There's something happening with the Olympics that you're
involved in. Maybe we'll address that next time, absolutely, but
I just nothing but respect and reverence for you, and I thank
you for what you've done to music in Music City and around
the world. And yeah, we got to have you back on part two. Yeah,
we'll come back and we'll do it again. It's, it's fun watching
your star rise. When I first met you, you were just one more
drummer in town, but you were even motivated back then. Like,
you appreciate it. You had a plan back then. And like, every
time I see him, he's like, he's now I'm doing motivational
speaking, yeah? Now I got a podcast. Now I'm playing a jet
every time I see him, you know. So it's, it's inspiring, though,
because, because I like to mode, I like to do motivational
speaking, following you as an example, you've given me some,
some tools.
Yeah, well, I mean, everybody check out. I checked out your
TEDx talk, and that you guys filmed in Memphis, Tennessee.
It's on the internet for all to see. The talk is called why it
all matters. And there's this hook about the relationship
between one zero, and you've got some concepts on that
absolutely. So I've done a deep dive in Joseph Wooten in the
last couple of days. If people want to get in touch with you,
what's the best way for people to get
in touch? Well, there's Joseph Wooten down. There's Joseph
wooten.com he's go to the Wooten brothers.com my wife and I have
a charity called I matter you, matter nice, so you can go to I
matter you, matter y, o, u, matter.com. I'm on Facebook. I'm
on Instagram. The letter J, the word Wooten soul. Jay Wooten,
soul is me. I'm on Tiktok. Joseph Wooten with the kids,
right? Yeah, I'm trying. I'm trying. I do a daily positive
message on social media. Every day. It's on Tiktok and it's on
Instagram. It copies over to Facebook. So if you want to,
I've done 600 and I'll be on, I think today will be six, number
658, that
is a great idea, yeah, because you can impact a person, like,
frame right over their morning coffee, yeah. And then you've,
like, dropped the mic. Your work is done for the day. You know
what I mean, that's, that's, that's very impact.
It's impactful. It's, it's more work than it, you know? Then you
would think it is, because you do it, and then you do all of
that, but it's, he's trying to make as much positive impact as
possible. Is it a podcast as well? It's not a podcast, but
yeah, being here,
yeah, but yeah, I would love to come back.
I'd love to have you come back and, you know what? We bring
little, little micro keyboard, and sometimes I'll jam with my
guests. I'll get a little hand drum or something and, and you
know that happens a lot on the show, so So maybe we'll do that
thing. But we really appreciate your time, man. Thank you,
Europe, my
pleasure. Thank you for having the maps of pleasure. Meeting
you. Yeah, vice versa. Thank you for having me. I look forward to
coming back. I get back on the 10th of November. So nice. Yeah,
okay, time for
some pumpkin pie. Yeah, pumpkin pie.
Well, let's just label this part one and do a part two.
Ladies and gentlemen, it's Joseph Wooten. Joseph hooten.com
I'm going to this camera to tell all of you out in podcast land
to be sure to subscribe, share, rate and. View. It helps people
find the show. We appreciate you. Joseph, thank you, Jim.
John Rob, Jim, thanks, buddy. We'll see you next time. Thanks,
folks. This
has been the rich Redmond show. Subscribe, rate and follow along
at rich redmond.com forward, slash podcasts. You. I do.