May 19, 2026 • 39 mins
GRAMMY-winning guitarist, songwriter, and founding member of Tom Petty and the Heartbreakers, Mike Campbell joins Norah with stories from his decades of making music. He talks about his first guitar and his new book, Heartbreaker, while Norah shares how his music soundtracked her life. Hear the legend himself on a couple of his classic songs. Recorded 10/14/25.
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Speaker 1 (00:00):
This episode is also available as video on YouTube. You
can visit Nora Jones channel and be sure to subscribe
while you're there. Hey, I'm Nora Jones and today I'm
playing along with Mike Campbell.
Speaker 2 (00:10):
I'm just playing Weezy.
Speaker 3 (00:17):
I'm just playing Hell Weazy. Hi. I'm Norah Jones and
this is Sarah Oda.
Speaker 1 (00:27):
Hi.
Speaker 4 (00:28):
Hi, Welcome to our show.
Speaker 3 (00:30):
Welcome. We have an amazing episode.
Speaker 5 (00:32):
Today.
Speaker 4 (00:33):
We have the legendary Grammy winning Rock and Roll Hall
of Famer, lead guitarist and primary co writer for Tom
Petty and.
Speaker 3 (00:40):
The Heartbreakers for over forty years.
Speaker 4 (00:44):
Mike Campbell.
Speaker 3 (00:45):
You're so excited.
Speaker 2 (00:46):
I know.
Speaker 4 (00:48):
He was also in Mud Crutch and he's currently the
frontman of Mike Campbell on the Dirty Knobs, whose latest
album Vagabonds, Virgins and Misfits features guests like Graham Nash,
loosen To Williams, Chris Stapleton, and ben On Tench.
Speaker 1 (01:01):
We also want to mention that Mission of Mercy, the
fourth album by Mike Campbell in the Dirty Knabs, releases
June twelfth via Soundly thirty Tigers.
Speaker 4 (01:10):
He's also the author of the twenty twenty five memoir Heartbreaker,
which offers insight into his life story, the band's history,
his deep friendship and creative process with Tom Petty. And
now this New York Times bestselling memoir is also available
on paperback. Be sure to get a copy because the
stories are endless.
Speaker 3 (01:30):
His stories are amazing, as you shall hear.
Speaker 1 (01:32):
Yeah, we got a few of them for the show,
but the book is pretty awesome.
Speaker 3 (01:37):
Yeah, it was really fun.
Speaker 4 (01:39):
Yeah, you're going to hear about how he got his
first guitar from a pawnshop.
Speaker 3 (01:46):
You're going to hear about how he met his.
Speaker 4 (01:47):
Wife, and also the hardest part about writing a book,
which isn't writing it.
Speaker 3 (01:55):
Yes, stay tuned.
Speaker 1 (01:57):
This was really fun and I'm so excited that he
did the show. Mike Campbell, please enjoy. There is some
spicy language in this episode, so listener discretion is advised.
Speaker 3 (02:09):
It's not that bad, but just so you know it's there.
Speaker 5 (02:16):
I've been in the studio in a long time. I
always work at my house. Brings back memories.
Speaker 3 (02:24):
Yeah, how long have you had the studio in your house?
Speaker 5 (02:27):
Since I got the house, it's part of it.
Speaker 3 (02:29):
Yeah, thirty years.
Speaker 5 (02:31):
We got eighty one. Okay, I think we moved in
and it's upgraded. Here and there along the way. But yeah,
I like having a home studio. It's all set up.
I don't have to move the drums around or bass
is plugged in, guitars are set up. It's so much easier, right, Yeah, yes,
I look into music forget to moving to my extra
getting the sound, the sounds already there, drums all on, yeah, bass,
(02:57):
no dicking around, excuse me, messing around with sounds and
just you know, it's a man cave.
Speaker 3 (03:06):
That's great. It's nice to have that.
Speaker 5 (03:08):
I love it. Yeah, a lot of people do that now.
But I haven't been in a proper studio in quite
a while.
Speaker 3 (03:15):
Really.
Speaker 5 (03:15):
Yeah, we used to always work in places like this.
Speaker 3 (03:18):
Yeah, would you just stay for weeks? Months?
Speaker 1 (03:21):
Days? How was the recording process back in the day.
Speaker 5 (03:24):
Well, we used to work a lot at sound City,
which out in the valley, and it would be months,
you know, five days on a snare sound.
Speaker 3 (03:32):
Wow?
Speaker 5 (03:32):
Really, oh ridiculous and nuts.
Speaker 3 (03:35):
That's a lot.
Speaker 5 (03:36):
Okay, Now we got the snare sound. Now let's work
on the bass drone, and let's work on the guitars.
For three a's try every amp in the world and
move it around this part of the room. That part
of room. Okay, oh the sneer sound change, let's work
on that again. And two weeks later, okay, go guys.
Speaker 3 (03:53):
Yeah that would drive me bonkers.
Speaker 5 (03:54):
Yeah, I'm not even in the mood to play now, Yeah,
exactly what's wrong? But doesn't it sound good?
Speaker 3 (04:00):
Yeah? But then then it was.
Speaker 5 (04:01):
Great and then duck down, you know the great bass players.
He came in one day when we were in that
process and sorry, and we were being pissy with each
other about well, speeding up, no, you're at it, tune whatever,
and it doesn't sound right, and he's just looking at us.
You know, he has his pipe, you know, and he
you know, he is right.
Speaker 3 (04:21):
Yeah, and I've seen him. I can see the visual.
Speaker 5 (04:24):
He never he said, I never heard five guys play
real good sound bad perspective.
Speaker 3 (04:30):
Right, Oh my gosh.
Speaker 5 (04:32):
It was such a great thing to say. It's true,
you know, let them get the sounds together, quit pissing
around with it. Just play good.
Speaker 3 (04:39):
Yeah that's all that matters.
Speaker 5 (04:40):
Yeah, really in the end.
Speaker 1 (04:41):
Yeah, yeah, Well you have so many great stories probably
and they're all in your book.
Speaker 5 (04:47):
Well, yeah, after ye seventy five years, there's lots of stories.
Speaker 3 (04:51):
Yeah, it's amazing.
Speaker 5 (04:52):
I believe it.
Speaker 1 (04:53):
There's a couple things in your book that I didn't
want to ask you about, and that was, of course
meeting Tom Honey.
Speaker 3 (05:02):
You met him in jack Jacksonville, Gainesville.
Speaker 1 (05:05):
In Gainesville, that's where you were going to school college college.
Speaker 3 (05:09):
Yeah.
Speaker 1 (05:10):
The story of how you ended up at college. Yeah,
pretty special.
Speaker 5 (05:15):
Yeah, that kind of got me Missedy a little bit
remembering the guidance counselor has really much talk going down there.
Speaker 6 (05:22):
I know.
Speaker 5 (05:22):
It's pretty set me on a path, you know. And
it's funny. After I was researching the book and I
told the story, we tried to find her. So I
had never seen her again and she had passed away,
but I would love to have said thank you for
my life, you know.
Speaker 3 (05:37):
Yeah, she's a chance to. She called you into her office.
Speaker 5 (05:41):
Missus Collier, with her name she did. Guidance counselor used
to say, what's what are your plans? You know, well,
I guess I don't know. Maybe I'll go to junior
college to get a job. She's looking at my grade.
She goes, no, you need to go to University of Florida,
And I said I can't afford that. She said, well,
what is your dad, he said, in the Air Force.
(06:01):
She said, just wait here. She got me an Air
Force Society loan college loan through my dad and signed
me into the University of Florida and sit me down
to Gainesville where I met Tom. So she I owe
her a lot, you know, and I never got a
chance to thank her.
Speaker 3 (06:16):
But she knows so special.
Speaker 1 (06:18):
She must have known how special though, Like that, such
a such a beautiful story.
Speaker 5 (06:23):
It is it. It's heartwarming. There's a lot of stories
like that in the book. When I meet Morrissey and
then you meeting Tom and all through there. It's like, oh,
you know, these gifts of gratitude from and all the
songs that came. I don't know where why I was
so lucky, but I had a lot of blessings. Yeah,
(06:44):
it's a very guitar player.
Speaker 3 (06:45):
It's nice to be able to reflect on it. Who
was writing the book hard?
Speaker 5 (06:49):
No, it was easy. The audio book was a bit
because he had to read it all. No, I didn't
have to write anything. I just talked to my co
writer already heard all and he would tape it and
he would go back and put it into form. I
would just talk memories and share Oh yeah, I remember
this happened. Blah blah blah. That was easy. Yeah, okay,
Now the book is written. Now you're going to go
(07:10):
instead of a microphone and you're going to read it,
you know, and get You got to kind of perform
it a little bit, you know, you got to be
up for it. And I missed a word. Do it again.
It's like it took like days and days to read
the stupid book. That was a lot of work.
Speaker 3 (07:25):
And you're like, I.
Speaker 5 (07:27):
Was already sick of it. You know. The last thing
I'm gonna do to sit here and read it out loud.
But you'll probably do a book someday, You'll see. I
don't know if your book is hard.
Speaker 3 (07:35):
Yeah, I don't know about that. Maybe someday.
Speaker 5 (07:38):
I never thought I would either kind of talk me
into it.
Speaker 3 (07:40):
But it's nice.
Speaker 5 (07:42):
I'm glad I did it. The grandkids would be happy
to have it.
Speaker 3 (07:45):
It's beautiful.
Speaker 5 (07:47):
And the stories are we interviewing nowhere were Oh.
Speaker 3 (07:50):
Yeah, we're just doing it overgoing.
Speaker 5 (07:51):
I thought this is like a pre chat.
Speaker 3 (07:53):
No, this is it?
Speaker 5 (07:54):
Oh okay, because I started to say we'll save that
for the interview.
Speaker 3 (07:57):
No, we're doing it.
Speaker 5 (07:58):
Yeah, look at you great.
Speaker 1 (08:02):
When you met Tom and you started playing together. Yeah,
Were you guys were already writing music or were you
doing old covers?
Speaker 5 (08:10):
I was. He was beginning to write songs. He was
in a country band. It was kind of like the
Burrito Brothers, and I was in kind of a blues
jam band and I saw his band play and I
thought they were good because they had They were doing
short songs with choruses, and I was in a band
that just started blues and jam for minutes. I thought
(08:32):
they were cool and they caught They my drummer got
calls for an audition because they needed a drummer. Long
story short, My drummer and I were living in a
farmhouse and he brought them out to audition for them.
It just turns out they had lost their guitar player,
and so they said, well we needed we used to
having two guitars. And he goes, well, there's a guy
(08:52):
in the back it plays you want to try him out?
And I'm back there in my short hair and my
cutoff jeans was one T shirt that I owned in
a little Japanese guitar and you come and Mike, you
want to come out and try out for this band,
or meet these guys? I said, sure, so you know
they were cool. They had Tom had long hair. They
both had long hair, Tom Leading and Tom Petty, and
(09:13):
you know they were had cool clothes and good instruments.
She had a hop in her bass and I walk
in with this little Japanese guitar, looking like a total geek,
and I could just see their faces but going oh, no, oh,
when do we get this? When did we get this
guy out of here?
Speaker 2 (09:27):
And that?
Speaker 5 (09:28):
And then so we played a little bit and he
went okay. And then Randall, my drummer, says, Mike, why
don't you do Johnny be good? Because you know that?
And I said, do you guys know Johnny be Good?
And they go yeah. So I knew it really well.
So I kicked it off and we rocked it through
and it got to the end and Tom looks at
me and he goes, I don't know who you are,
(09:50):
but you're in my band forever.
Speaker 3 (09:52):
It's amazing.
Speaker 5 (09:53):
And it turned out to be true. Wow, So it
was kind of another serendipitous moment. But we had off
right away. He was beginning to write songs. I was
diddling with ideas. I wasn't really tuned into the craft
of writing that well. But I was trying. He was
already getting like full on formed songs and some of
(10:13):
them were pretty good. You know, he was just getting
into it. But we connected right away like we'd known
each other. We had the same influences, we had the
same dreams, and the rest is history.
Speaker 3 (10:26):
Yeah, it's beautiful.
Speaker 1 (10:29):
It's special to find that in this last Yeah, right.
Speaker 5 (10:34):
My book is really it's about gratitude. You know, I'm
very grateful all the blessings that dropped in my lap.
You know, I've been very lucky and blessed, and I
don't know why, but I'm happy that these things happened.
But it's interesting, like you talked about the guidance counselor
and then meeting Tom of course in meeting my wife,
and things that happened in your life. And you come
(10:57):
to it a moment and you can go left or right.
This person can lead you that way, or you can
decide to go this way, and it establishes the path
of your whole life. That choice, and that's happened to
me a lot, you know, and fortunately I made the
right choices, I think, And life is mysterious that way
(11:18):
it is. Yeah, So that's what the book's about. It's
just like, you know, how your life. Can you follow
a certain paths as should go along, and that defines your.
Speaker 1 (11:29):
History, and if you go on a different path, it
becomes something else.
Speaker 5 (11:33):
Oh yeah. If I hadn't met my wife, or if
I hadn't met the couidence counselor that day, I might
have ended up working at a gas station in Jacksonville
and playing in a bar band and becoming a high
school teacher. I don't know what would have happened, you know,
you wonder about that.
Speaker 3 (11:46):
I bet you would still have gratitude somehow. I don't know.
You have that energy you.
Speaker 5 (11:50):
Think about your life. You know, I'm sure the same
is to you. If you hadn't decided to be a musician,
what would you have done? Who knows?
Speaker 3 (11:57):
Who knows? It's such a wild thought, right, Well.
Speaker 5 (12:00):
We'll never know, will never know. That's the way it is.
Speaker 1 (12:04):
Yeah, yeah, Well, one of the songs we talked about
doing if you still want to do it was Listen
to Her Heart. Yeah yeah, So my history with this
music is, you know, I've I've loved Tom Petty since
forever and I've loved the band, and I also I
(12:26):
met my husband on this Tom Petty tribute show.
Speaker 3 (12:30):
You know the best fest?
Speaker 1 (12:31):
You you sang with them once on a Stones Fest,
I think I don't remember anyway. It's it's this group
of friends that does all these sort of tribute nights,
and we did a Tom Petty one for maybe five
or six years together, and I met my husband on one.
Speaker 5 (12:48):
So we're in New York.
Speaker 1 (12:49):
In New York, so there's a lot of I owe
you big. I also, I also just.
Speaker 3 (12:57):
Like this music.
Speaker 1 (12:59):
It means so much to me for so many years,
through so many things. So when people tell you that
like it must feel, do you take it in or
do you sort of like brush over it and act modest.
Speaker 5 (13:10):
The one I like is, of course I'm very grateful,
and I can't sometimes they look around, how did I
get here? But the one I love is when somebody
will come up who was very moved by the music
and it affected their life and they played here comes
my girl at their wedding or whatever, and they come
up and they're all excited. They go, your music is
a soundtrack in my life. Yeah, and I go mine too.
Speaker 3 (13:33):
That's really sweet. I like that you know.
Speaker 5 (13:35):
That's the way I look at it.
Speaker 2 (13:37):
That's nice.
Speaker 1 (13:38):
So listen to her Heart? Do you do you remember
the story of the song.
Speaker 5 (13:42):
Or listen to her Heart? With our second album, and
Tom was just beginning to really come up with good songs.
Our first album of course, had Breakdown, American Girl and
some other things. He was finding his way and his
songs were getting good. Second album he brought Listen to
Her Heart in what I remember most about it. I
(14:04):
love the song, and we cut it pretty quick, but
we didn't have a twelve string. We didn't couldn't afford
a twelve string. We're in the studio and it was
a birds type song, and they cried out for a
twelve string, you know, And so I went and got
a twelve string for one hundred and twenty bucks, which
is now worth one hundred thousand dollars, a little Rickenbacker,
(14:26):
and we used it on that song. So that's the
first song we actually used a real twelve string on it.
And that's what I remember about it because it's got
that kind of birds ye riff, and it's simple. It's
a simple song, you know, direct and a lot of
our songs are you know, boy girl there's trouble, but
(14:47):
it's all going to work out, you know, as long
as there's redemption at the end, it's okay. And that's
one of those. She's going to listen to her heart.
Speaker 3 (14:53):
That's what to do.
Speaker 5 (14:55):
I like it. She might need a lot of love it,
but she don't need you.
Speaker 3 (14:59):
It's like.
Speaker 5 (15:01):
That kind of thing, you know, tell him's good at that?
Speaker 3 (15:04):
Yeah, well you feel like trying it?
Speaker 5 (15:07):
Sure, all right, let's see if we can do it.
Listen to her fart?
Speaker 3 (15:14):
How many times was that joke made?
Speaker 5 (15:16):
Just now?
Speaker 3 (15:17):
Really? You guys got you guys put that on the
set list.
Speaker 5 (15:21):
We stand I'm sure.
Speaker 7 (15:23):
Okay.
Speaker 8 (15:41):
You thinking you're gonna take her away were your money
and your couping?
Speaker 2 (15:49):
Keep thinking that her mind is going to change. I
know everything is okay.
Speaker 8 (15:56):
She's gotta listen to her.
Speaker 2 (16:02):
It's gonna tell her what to do.
Speaker 8 (16:07):
She might need a lot of loving, but she don't
need you. You want me to thinking I'm being used?
Speaker 2 (16:24):
You want to earth think it's so.
Speaker 8 (16:25):
Over, can't see it doesn't matter what you do, buddy,
you don't even know her.
Speaker 2 (16:35):
She's gotta listen to her heart. It's gonna tell her
what to do. She might need a lot of loving,
but she don't meed you.
Speaker 8 (16:56):
You just can't creep up and man, you can't understand.
Speaker 2 (17:07):
She smiled.
Speaker 8 (17:08):
Girl, she s my girl.
Speaker 2 (17:27):
She's gotta listen to her heart.
Speaker 9 (17:33):
She's gonna tell her.
Speaker 2 (17:34):
What to do.
Speaker 8 (17:38):
She might need't love her love him, but she don't
need you.
Speaker 9 (17:46):
Oh, something like that.
Speaker 5 (18:09):
I forget the ending. That was okay, funky, yeah, funky machic.
Speaker 3 (18:15):
Funky machine. I felt the energy.
Speaker 5 (18:19):
Yeah I did too. Yeah, but that's good. That's real. Yeah,
making a record. We're just having fun.
Speaker 3 (18:24):
Yeah, exactly, that's okay.
Speaker 5 (18:26):
We're well done.
Speaker 3 (18:27):
That's fun.
Speaker 7 (18:28):
Here.
Speaker 3 (18:28):
I'm going to move back over here. When did you
start playing guitar? How old were you?
Speaker 5 (18:33):
I was fifteen verse sixteen. We couldn't afford a guitar.
My parents were divorced and my mom was struggling to
raise me and my brother and sister, and I kept
begging her for a guitar because I saw the Beatles
and went, I'm gonna do that, you know. And then
(18:53):
one Christmas she scraped together fifteen bucks and got me
a little Harmony acoustic at a pawnshop. It was unplayable,
but I didn't know. I tried to learn on it,
and my fingers would bleed, and but I started it
on that, and eventually my dad sent me a Japanese
Electric which I told earlier about when I met Thomas.
(19:14):
What I had. It was like a little Goya Goya
Tone it was called. It wasn't too bad of a guitar.
But then later on I got a strat and a
Firebird and a Rickenbacker and a Gill Gibson, and I've
got hundreds of them. Yeah, but back then I couldn't
afford one. I couldn't afford strings either. So when the
strings went dead, I would take them all off and
(19:37):
put them on a hot of boiling water, pot of
boiling water and boil them for five minutes, and then
take them out and put them back on, and they
were bright. Yeah it work.
Speaker 3 (19:46):
Did somebody tell you to do that?
Speaker 5 (19:49):
Out?
Speaker 3 (19:49):
I'm smart, You are smart.
Speaker 2 (19:51):
I would have never thought to do that.
Speaker 5 (19:53):
But you know, it didn't last long. It stayed bright
for about thirty minutes and then they go dead again.
But I couldn't afford it when so that's what we did.
Speaker 3 (20:01):
Wow, yeah, wow, do you still have it?
Speaker 5 (20:05):
I don't have that guitar. No, it's probably firewood somewhere
for somebody. It was a piece of crap.
Speaker 3 (20:12):
Do you have the Japanese one?
Speaker 5 (20:13):
The Japanese is a good story. I don't. I think
I gave it away when I got my strat, I
tavid the way to a friend. But I was talking
about it in an interview once and the Japanese fans
read it and they went and found an exact clone
of that guitar and mailed it to me on my birthday.
Can you believe that? So I have that one, which
is really pressure. It's the exact same guitar, but so sweet. Yeah,
(20:37):
it was Yeah, thank you Japan.
Speaker 3 (20:39):
Yeah, I love Japan.
Speaker 1 (20:43):
When you guys tour, did you just tour everywhere all
over the world or were you mostly in the States or.
Speaker 5 (20:50):
Well, we started out in the States. We have. Our
big break was when we went to England opening for
Nils Lofgren. Our first album was out, it wasn't doing
anything and the stage we were opening we might play
a bar on our own, but mostly were opening for
people like Jay Giles band or some Bob Seeger here
and there. Kiss. We opened for Kiss once. It was
(21:12):
a funny story in the book. I won't go into that.
But then we got this in England. For some reason,
the English press, which is kind of unique, they liked
our record more than America. So we got a tour
over there opening for North Lofgren and the precious loved us.
They built us up into the hot shit that year,
and then we came back to America. After that, nothing
(21:35):
the glory was over, you know, but there was a
little bit of a buzz that built from that. So
then we eventually ended up playing all around the world.
I mean, we never went to South America, but we've
been to you know pretty well or China, and we
never went there. We've been to Australia and Japan, all
over Europe, but mostly over the years we stuck to
the States.
Speaker 3 (21:55):
In Canada, Yeah, the life, the touring life pounded.
Speaker 5 (21:59):
A lot of stages with my boots years.
Speaker 3 (22:04):
I saw you guys at the Hollywood Bowl maybe twenty
years ago.
Speaker 5 (22:09):
That's the big time.
Speaker 3 (22:10):
Yeah, it was pretty great.
Speaker 5 (22:12):
I loved the Bowl. Have you ever played there?
Speaker 3 (22:13):
But I played there once?
Speaker 5 (22:14):
Isn't it great?
Speaker 3 (22:15):
It was beautiful?
Speaker 5 (22:16):
Yeah, I love that spot. Yeah, it's really a history too.
That was actually the last show I played with Tom
and the Heartbreakers was at the Hollywood Bowl. Was it
really twenty seventeen? It was your last show?
Speaker 10 (22:28):
That was it?
Speaker 5 (22:29):
Yeah? Yeah?
Speaker 1 (22:31):
I met him shortly before that at the Music Cares events.
That was the only time I met him.
Speaker 5 (22:36):
Yeah.
Speaker 3 (22:36):
Yeah.
Speaker 5 (22:37):
Did you like him?
Speaker 3 (22:38):
I mean it was so brief. He was very nice.
Speaker 1 (22:41):
Yeah, I blubbered something, you know, Yeah, I don't I blacked.
Speaker 3 (22:46):
Out a little.
Speaker 5 (22:47):
Sure, he loved the attention he was.
Speaker 3 (22:48):
Yeah, he was sweet.
Speaker 1 (22:50):
So many stories any particular one you'd like to tell
from the book that you find fun to tell? I
don't want to give the book away, but just kind of.
Speaker 5 (22:59):
Nice to give it away. Yeah, yeah, well there was,
of course my wife. There's a great story. I'll tell
that one. Okay, that's kind of sweet. So I'm in
LA and I'm in this band called mud Crutch. Our
record deal fell apart. We didn't know what we were doing,
and they stuck us all the whole band in a
(23:20):
house out in Canoga Park. I was sleeping on a mattress,
you know. I had one little box for my table
in the room. Pretty low ranch. Anyway, it was Halloween
and one of the guys said, we're going to a
Halloween party. It's gonna be lots of chicks there. You
got to come. And I don't feel like going out,
and they kept begging me, asai, okay, you know, I
went along. So we went to this apartment and of
(23:45):
course there was one girl and six guys, and so
I walked in and thought, all right, I should have
stayed home, you know. So I went in the other room.
I was sitting there and there's a knock at the
door and my future wife, Marcy comes walking in. It
was a Halloween party. Nobody was really dressed up except her.
She had a saloon girl and she had her dog
with her, Medina, and I kind of saw from a
(24:08):
distance in the other room, and so her dog came
over to me. Medina came over and tuned into me.
And I liked dogs, but this dog was just like
you connected. And I'm like petting the dog and We're
having this moment and then Marcy walks up and she goes,
I go, is this your dog? She goes, yeah, I said,
I think she likes me, you know, And so she
(24:29):
sat down and we talked for like an hour or whatever,
just you know, like you do when you first meet somebody.
And so I drove back that night to my other
to the band house. The next morning, I woke up
and I thought, wow, that I really liked her, but
I don't have no way to get in touch with her.
So I took a chance and I drove back, in
(24:49):
my foggy brain where I thought the apartment was. It
was on the second floor of some apartment complex, and
somehow I remember which room it was. I went to
the door to her friend's name is Marcia, and I
knocked on the door to ask Marcia for Marcy's number, right,
And so Marcia opened the door and she's on the phone,
(25:13):
and I go and she goes here. She was talking
to Marcy, who was saying that guy never asked me
for it. Oh, and I don't know how who he
was or how to get a hold of him.
Speaker 3 (25:23):
So and you knocked on the door at that moment.
Speaker 5 (25:25):
Yeah, isn't that crazy?
Speaker 2 (25:26):
That is crazy.
Speaker 5 (25:27):
That's what my life is like. Things just happened, and
so it you know, it was meant to be. Yeah,
and then we connected and you know, in December it'll
be fifty years together.
Speaker 3 (25:37):
That's incredible.
Speaker 5 (25:38):
So that's kind of a you know, brought together by
a dog and we now have a lot of dogs
and that's part of our life. But I love telling
that story. It's so unique and the timing is like magic,
you know.
Speaker 3 (25:50):
Yeah, ain't that right, Marcy? Fifty years that's nothing to
sneeze at.
Speaker 5 (25:57):
That's especially in this business.
Speaker 3 (25:58):
It's amazing. Yeah.
Speaker 5 (25:59):
With all the travel, I'm very proud of that. Yeah.
Speaker 1 (26:02):
Yeah, and you got kids like each other. It seems
like you have a good vibe.
Speaker 5 (26:07):
Oh thank you.
Speaker 1 (26:08):
Yeah, we were talking about doing this Don Henley song
heard of the matter?
Speaker 5 (26:13):
Oh yeah, yeah.
Speaker 1 (26:14):
I wanted to ask how did you get hooked up
with him? Was he just on the scene? When when
did you started writing with him? Maybe on the previous album?
Speaker 5 (26:23):
I think, yeah, Well that was Jimmy IAVN who was
producing Tom and the Heartbreakers at the time. And Jimmy
and Tom came by one day to my studio and
Jimmy loved the songs that I gave to Tom. When
he heard Refugee and Here Comes My Girl, he said,
(26:44):
we don't need any more songs. I don't care what
you do in the rest.
Speaker 7 (26:46):
Of the record.
Speaker 5 (26:47):
You got to do here, that's all I care about.
Which were you know? It was my music so he
came over with Tom to hear if I had any
new songs. And I had to just demo for Boys
a Summer on a little four track, and they listened
to it and they passed on it. It was what
was interesting about it is it had the demo I had.
The chorus went to a minor chord, which I didn't
(27:11):
really like that much, and when they went to the
chorus on the demo, they all want in a kind
of jazzy and I said, yeah, you're right, you know
so anyway, so they left and I thought about that,
and then Jimmy called me and he said, I just
spoke with Don Henley and he's looking for songs. Do
you have any I said, maybe that song that you
showed me might be good for him. And I said, well,
(27:32):
what kind of does he want? A rocker or slow someone?
He wants the image maker. I'll get right on it.
Speaker 2 (27:38):
Yeah.
Speaker 5 (27:40):
So I went back and I thought, you know that
I could change that chorus into a major chord so
it lifts up as Boys of Summer, I can see
he goes to a major chord instead of staying in
the dark chord, and so I changed that in my
little demo, and then I went over to Don's house
and met him and played it for him and he
I had never met him before, so I went into
(28:01):
his kitchen and hit this big long table. He sat
at one end. I said at the other end, and
he had yeah, like that, and so I gave nikassette.
He put it in. I went and sat at the
other end of the table and he sat like this
didn't move, and I thought he hated it. So I
said okay, and he finished and he said I'll get
(28:23):
back to you. You know. I put you usually like thanks,
but no thanks, and then I got in my car
and said, well it was interesting. He didn't like it.
And then I got a phone call and he goes,
I've just written the best song of my life to
your demo, and he said, I want to record it
right away because I'm finishing my album, my second solo album.
And that's how we met and that began a relationship.
(28:46):
So later on he was working on another album and
he called me again, said do you have any songs?
And I had this little piece of music. It turned
into the heart of the matter, which I gave to him,
and that's how that came about.
Speaker 3 (29:00):
That's pretty cool.
Speaker 5 (29:01):
Yeah, crazy, that is crazy.
Speaker 2 (29:04):
This song.
Speaker 3 (29:05):
I remember when it came out and I loved it.
Speaker 5 (29:08):
Then thank you, and.
Speaker 1 (29:11):
Listening to it again today, I'm just it's such a
moving song.
Speaker 5 (29:16):
The lyrics are very powerful.
Speaker 1 (29:17):
They're very powerful, and I was thinking about myself listening
to it as a kid, and it's such an adult
song lyrectly, but as a kid, I loved it. It's deep, yeah,
and I felt like I had a glimpse into how
hard it was going.
Speaker 3 (29:35):
To be to be an adult.
Speaker 1 (29:37):
Somehow, there's you know, there's something about it that takes us.
Speaker 5 (29:41):
I remember Don telling me after we did that song,
you said, I had to live thirty years to be
able to write.
Speaker 3 (29:46):
That song such a beautiful You have to live.
Speaker 5 (29:48):
Through those experiences to have those feelings and understand that
kind of relationship.
Speaker 1 (29:53):
I suppose for sure, But as a kid, I still
understood the song somehow.
Speaker 5 (29:58):
Well, there's songs are like that, you know, even if
you don't know all the words, that there's a spirituality
or are about certain songs that just connect. It might
be the music in the melody, or sometimes it's the lyrics.
When you get all three, you're really lucky. But that
song has an aura about it of hope, I.
Speaker 1 (30:18):
Think for sure, But I mean it also has such
a rich story in it.
Speaker 5 (30:24):
Yeah, the words are incredible. It's lucky to get that.
Speaker 3 (30:27):
Yeah, really well done. Yeah, beautiful song.
Speaker 5 (30:30):
Oh thank you very much, I think so.
Speaker 3 (30:33):
Yeah, you feel like doing it?
Speaker 5 (30:36):
You want to do it?
Speaker 2 (30:36):
Yeah, do it?
Speaker 3 (30:37):
Let me move to the back to the world.
Speaker 5 (30:39):
I hope I can remember these words too.
Speaker 3 (30:41):
Yeah, it's a word salad.
Speaker 5 (30:43):
It is word salad. Okay you three four.
Speaker 11 (31:01):
I got the call to day, didn't want to hear,
but I knew that it would come.
Speaker 5 (31:11):
Some old friends of ours.
Speaker 11 (31:13):
Were talking on the phone, said you'd found someone.
Speaker 9 (31:21):
I got them all bad luck, trouble.
Speaker 2 (31:25):
We went through.
Speaker 5 (31:26):
How I lost me, you lost you? What are these.
Speaker 9 (31:33):
Voices outside loss? Open door?
Speaker 11 (31:37):
They could throw off our contentment and bed for something more.
Speaker 8 (31:44):
I'm learning to land without you now, but I miss you, baby.
The more I learned less, I understand.
Speaker 11 (31:59):
All the things I thought i'd figured out yearning again.
In trying to get down to the heart of the matter,
everything changes and bridging the scatter.
Speaker 8 (32:14):
But of thinking is about forgiveness. Forgiveness even if even
if you don't love me anymore.
Speaker 12 (32:36):
These times are so uncertain, there's a yearning undefined, and
people filled with rage. We all need a little tendantness.
All can love survive such a graceless age, the trusting,
(32:59):
selfish durrance that leads to happiness, the very things we
all cute.
Speaker 5 (33:06):
I aes.
Speaker 6 (33:09):
Friding, competition fail, these empty arms and the work I.
Speaker 3 (33:15):
Put between us.
Speaker 12 (33:17):
You know it doesn't keep me warm.
Speaker 13 (33:21):
I'm learning to learn without you, line, I miss you, baby,
one less.
Speaker 8 (33:34):
I understand all the things that's thought. I dig it
out learning again.
Speaker 2 (33:43):
Trying to get down is a part of the matter.
Speaker 11 (33:47):
My will gets week, and my thoughts inscapable to think
it's about forgiveness, forgiveless.
Speaker 2 (33:58):
Even if, even if you don't love me, And are
all the people in your life who have come home
let you down? Oh you know they hurt your bide.
Speaker 6 (34:19):
You better put it all behind you, baby, because life
noos on.
Speaker 2 (34:25):
Keep carrying that anger, it'll lead.
Speaker 8 (34:28):
You up inside bay. Been trying to get down the heart.
Speaker 9 (34:34):
Of the matter for my will gage week.
Speaker 10 (34:39):
I thought you scatterble of think it's about forget bless,
forget bless, even if even if.
Speaker 2 (34:49):
You don't love me.
Speaker 8 (34:53):
Trying to get down harder the matter my will Gage sweep.
Speaker 10 (35:00):
Boss scout about I think it's about forgiveness.
Speaker 9 (35:06):
For goodness, even.
Speaker 2 (35:11):
You don't love me anymore.
Speaker 7 (35:33):
Yeah.
Speaker 1 (35:35):
Nice, Okay, oh that was nice. What a what a
beautiful song though, I mean.
Speaker 5 (35:40):
Yeah, yeah, I never really get to do that.
Speaker 3 (35:43):
Yeah.
Speaker 1 (35:44):
It was interesting because in the book you talk a
little bit about the bass pedaling notes. I love that
the change you were like, so, so does the walk up.
Speaker 5 (35:59):
Yeah, that's really a Brian I call it a Brian
Wilson cord. The bass is a different.
Speaker 3 (36:04):
Note in the route exactly.
Speaker 5 (36:05):
I like those kind of things.
Speaker 3 (36:07):
I know you do, and I've noticed it.
Speaker 1 (36:08):
And at school it's like a real voice leading, like
it almost comes from classical music.
Speaker 5 (36:14):
I think, Yeah, yeah, well I did. I tried to
get into music school in college, but I couldn't read
good enough, so they kicked me out.
Speaker 3 (36:21):
Wow.
Speaker 5 (36:22):
But I took music history, Oh cool. And I had
this great teacher, Missus Henderson, who played cello, and she
would talk about the theory of pedal point. Yeah, and
like I used that a lot. I didn't realize like
American Girl Dangy Dany had one note up high as
the chords change underneath. Yeah, that's a nice thing to do.
(36:42):
And the other thing, which I picked up from Beethoven
and Brian Wilson's Old People is having the base chords
being the third or the fifth, Yeah, and not always
on the route. It creates a nice suspension to I
love it.
Speaker 1 (36:58):
Yeah, I like that, and I like that you include
me in that. That was important because I knew it
but I forgot it.
Speaker 5 (37:04):
Yeah.
Speaker 3 (37:05):
Yeah, I love the way it.
Speaker 5 (37:06):
Kind of makes that song because it does know it's
going up and then instead of going back, it goes
to the e's mysterious, like oh.
Speaker 3 (37:12):
Yeah, it's like it's also kind of reminds me of
gospel music.
Speaker 2 (37:19):
Gospel, very church.
Speaker 5 (37:22):
But yeah, I love Brian Wilson. His chords and his
compositions are just genius. Yes, I listened to him quite
a bit.
Speaker 3 (37:29):
Of course.
Speaker 5 (37:30):
I try to emulate him when I can.
Speaker 3 (37:32):
That's great. But cool, Well, this was really fun.
Speaker 5 (37:36):
Yeah, thank you, thanks for doing this, Thanks for inviting me.
It's nice to meet you. You got a nice aura you too. Okay,
cut the mics. I'm gonna tell her a dirty joke.
Speaker 3 (37:45):
Tell me a dirty joke. Now a band trying to.
Speaker 2 (37:55):
Love that.
Speaker 3 (37:56):
I love that song.
Speaker 1 (37:57):
That brings me back to like serious sixth grade nineteen
eighty nine. Okay, fourth grade. He's such a sweetie. He's amazing. Yeah,
he's funny.
Speaker 3 (38:07):
He's very funny.
Speaker 1 (38:07):
Yeah, that was great. Thank you, Mike Campbell. If you
want to know what songs we did, we did Listen
to Our Heart, which is of course the classic Tom
Petty and the Heartbreaker song from You're Going to Get
It leased in nineteen seventy eight, written by Tom Petty
and Mike Campbell played lead.
Speaker 3 (38:24):
Guitar on it.
Speaker 1 (38:25):
The second song we did was Heard of the Matter.
It's a song he wrote with Don Henley for the
album End of the Innocence from nineteen eighty nine, and
they wrote it together with JD. Souther. Special thanks to
Mike Campbell for joining us today. We'll be back next
week with Brandy Younger. Norah Jones is playing along as
a production of iHeart Podcasts. Visit Norah Jones channel and
(38:48):
be sure to subscribe while you're there.
Speaker 3 (38:50):
I'm your host, Nora Jones.
Speaker 1 (38:52):
This episode was recorded at Westlake Studios in Los Angeles, California,
by Thomas Warren, Assistant engineer Dan Forth, Webster backline tech
Jason Moser mixed by Lame Lamey g Andre.
Speaker 3 (39:08):
This episode was mixed by Jamie Landry. That's his new nickname, now.
Speaker 4 (39:13):
Lamy when he's being lame all right, Lamey Pops.
Speaker 1 (39:19):
You got to keep that in audio post production and
mastering by Greg Tobler. Additional recording by Matt Marinellie. Creative
consulting by First Three. Artwork by Eliza Fry, Photography by
Shervin Lenez. Produced by Nora Jones and Sarah Oda by
executive producers Aaron Wan Kaufman and Jordan Rundog.
Speaker 3 (39:38):
Marketing Lead Alison Kantre Greeber
This episode is also available as video on YouTube. You
can visit Nora Jones channel and be sure to subscribe
while you're there. Hey, I'm Nora Jones and today I'm
playing along with Mike Campbell.
Speaker 2 (00:10):
I'm just playing Weezy.
Speaker 3 (00:17):
I'm just playing Hell Weazy. Hi. I'm Norah Jones and
this is Sarah Oda.
Speaker 1 (00:27):
Hi.
Speaker 4 (00:28):
Hi, Welcome to our show.
Speaker 3 (00:30):
Welcome. We have an amazing episode.
Speaker 5 (00:32):
Today.
Speaker 4 (00:33):
We have the legendary Grammy winning Rock and Roll Hall
of Famer, lead guitarist and primary co writer for Tom
Petty and.
Speaker 3 (00:40):
The Heartbreakers for over forty years.
Speaker 4 (00:44):
Mike Campbell.
Speaker 3 (00:45):
You're so excited.
Speaker 2 (00:46):
I know.
Speaker 4 (00:48):
He was also in Mud Crutch and he's currently the
frontman of Mike Campbell on the Dirty Knobs, whose latest
album Vagabonds, Virgins and Misfits features guests like Graham Nash,
loosen To Williams, Chris Stapleton, and ben On Tench.
Speaker 1 (01:01):
We also want to mention that Mission of Mercy, the
fourth album by Mike Campbell in the Dirty Knabs, releases
June twelfth via Soundly thirty Tigers.
Speaker 4 (01:10):
He's also the author of the twenty twenty five memoir Heartbreaker,
which offers insight into his life story, the band's history,
his deep friendship and creative process with Tom Petty. And
now this New York Times bestselling memoir is also available
on paperback. Be sure to get a copy because the
stories are endless.
Speaker 3 (01:30):
His stories are amazing, as you shall hear.
Speaker 1 (01:32):
Yeah, we got a few of them for the show,
but the book is pretty awesome.
Speaker 3 (01:37):
Yeah, it was really fun.
Speaker 4 (01:39):
Yeah, you're going to hear about how he got his
first guitar from a pawnshop.
Speaker 3 (01:46):
You're going to hear about how he met his.
Speaker 4 (01:47):
Wife, and also the hardest part about writing a book,
which isn't writing it.
Speaker 3 (01:55):
Yes, stay tuned.
Speaker 1 (01:57):
This was really fun and I'm so excited that he
did the show. Mike Campbell, please enjoy. There is some
spicy language in this episode, so listener discretion is advised.
Speaker 3 (02:09):
It's not that bad, but just so you know it's there.
Speaker 5 (02:16):
I've been in the studio in a long time. I
always work at my house. Brings back memories.
Speaker 3 (02:24):
Yeah, how long have you had the studio in your house?
Speaker 5 (02:27):
Since I got the house, it's part of it.
Speaker 3 (02:29):
Yeah, thirty years.
Speaker 5 (02:31):
We got eighty one. Okay, I think we moved in
and it's upgraded. Here and there along the way. But yeah,
I like having a home studio. It's all set up.
I don't have to move the drums around or bass
is plugged in, guitars are set up. It's so much easier, right, Yeah, yes,
I look into music forget to moving to my extra
getting the sound, the sounds already there, drums all on, yeah, bass,
(02:57):
no dicking around, excuse me, messing around with sounds and
just you know, it's a man cave.
Speaker 3 (03:06):
That's great. It's nice to have that.
Speaker 5 (03:08):
I love it. Yeah, a lot of people do that now.
But I haven't been in a proper studio in quite
a while.
Speaker 3 (03:15):
Really.
Speaker 5 (03:15):
Yeah, we used to always work in places like this.
Speaker 3 (03:18):
Yeah, would you just stay for weeks? Months?
Speaker 1 (03:21):
Days? How was the recording process back in the day.
Speaker 5 (03:24):
Well, we used to work a lot at sound City,
which out in the valley, and it would be months,
you know, five days on a snare sound.
Speaker 3 (03:32):
Wow?
Speaker 5 (03:32):
Really, oh ridiculous and nuts.
Speaker 3 (03:35):
That's a lot.
Speaker 5 (03:36):
Okay, Now we got the snare sound. Now let's work
on the bass drone, and let's work on the guitars.
For three a's try every amp in the world and
move it around this part of the room. That part
of room. Okay, oh the sneer sound change, let's work
on that again. And two weeks later, okay, go guys.
Speaker 3 (03:53):
Yeah that would drive me bonkers.
Speaker 5 (03:54):
Yeah, I'm not even in the mood to play now, Yeah,
exactly what's wrong? But doesn't it sound good?
Speaker 3 (04:00):
Yeah? But then then it was.
Speaker 5 (04:01):
Great and then duck down, you know the great bass players.
He came in one day when we were in that
process and sorry, and we were being pissy with each
other about well, speeding up, no, you're at it, tune whatever,
and it doesn't sound right, and he's just looking at us.
You know, he has his pipe, you know, and he
you know, he is right.
Speaker 3 (04:21):
Yeah, and I've seen him. I can see the visual.
Speaker 5 (04:24):
He never he said, I never heard five guys play
real good sound bad perspective.
Speaker 3 (04:30):
Right, Oh my gosh.
Speaker 5 (04:32):
It was such a great thing to say. It's true,
you know, let them get the sounds together, quit pissing
around with it. Just play good.
Speaker 3 (04:39):
Yeah that's all that matters.
Speaker 5 (04:40):
Yeah, really in the end.
Speaker 1 (04:41):
Yeah, yeah, Well you have so many great stories probably
and they're all in your book.
Speaker 5 (04:47):
Well, yeah, after ye seventy five years, there's lots of stories.
Speaker 3 (04:51):
Yeah, it's amazing.
Speaker 5 (04:52):
I believe it.
Speaker 1 (04:53):
There's a couple things in your book that I didn't
want to ask you about, and that was, of course
meeting Tom Honey.
Speaker 3 (05:02):
You met him in jack Jacksonville, Gainesville.
Speaker 1 (05:05):
In Gainesville, that's where you were going to school college college.
Speaker 3 (05:09):
Yeah.
Speaker 1 (05:10):
The story of how you ended up at college. Yeah,
pretty special.
Speaker 5 (05:15):
Yeah, that kind of got me Missedy a little bit
remembering the guidance counselor has really much talk going down there.
Speaker 6 (05:22):
I know.
Speaker 5 (05:22):
It's pretty set me on a path, you know. And
it's funny. After I was researching the book and I
told the story, we tried to find her. So I
had never seen her again and she had passed away,
but I would love to have said thank you for
my life, you know.
Speaker 3 (05:37):
Yeah, she's a chance to. She called you into her office.
Speaker 5 (05:41):
Missus Collier, with her name she did. Guidance counselor used
to say, what's what are your plans? You know, well,
I guess I don't know. Maybe I'll go to junior
college to get a job. She's looking at my grade.
She goes, no, you need to go to University of Florida,
And I said I can't afford that. She said, well,
what is your dad, he said, in the Air Force.
(06:01):
She said, just wait here. She got me an Air
Force Society loan college loan through my dad and signed
me into the University of Florida and sit me down
to Gainesville where I met Tom. So she I owe
her a lot, you know, and I never got a
chance to thank her.
Speaker 3 (06:16):
But she knows so special.
Speaker 1 (06:18):
She must have known how special though, Like that, such
a such a beautiful story.
Speaker 5 (06:23):
It is it. It's heartwarming. There's a lot of stories
like that in the book. When I meet Morrissey and
then you meeting Tom and all through there. It's like, oh,
you know, these gifts of gratitude from and all the
songs that came. I don't know where why I was
so lucky, but I had a lot of blessings. Yeah,
(06:44):
it's a very guitar player.
Speaker 3 (06:45):
It's nice to be able to reflect on it. Who
was writing the book hard?
Speaker 5 (06:49):
No, it was easy. The audio book was a bit
because he had to read it all. No, I didn't
have to write anything. I just talked to my co
writer already heard all and he would tape it and
he would go back and put it into form. I
would just talk memories and share Oh yeah, I remember
this happened. Blah blah blah. That was easy. Yeah, okay,
Now the book is written. Now you're going to go
(07:10):
instead of a microphone and you're going to read it,
you know, and get You got to kind of perform
it a little bit, you know, you got to be
up for it. And I missed a word. Do it again.
It's like it took like days and days to read
the stupid book. That was a lot of work.
Speaker 3 (07:25):
And you're like, I.
Speaker 5 (07:27):
Was already sick of it. You know. The last thing
I'm gonna do to sit here and read it out loud.
But you'll probably do a book someday, You'll see. I
don't know if your book is hard.
Speaker 3 (07:35):
Yeah, I don't know about that. Maybe someday.
Speaker 5 (07:38):
I never thought I would either kind of talk me
into it.
Speaker 3 (07:40):
But it's nice.
Speaker 5 (07:42):
I'm glad I did it. The grandkids would be happy
to have it.
Speaker 3 (07:45):
It's beautiful.
Speaker 5 (07:47):
And the stories are we interviewing nowhere were Oh.
Speaker 3 (07:50):
Yeah, we're just doing it overgoing.
Speaker 5 (07:51):
I thought this is like a pre chat.
Speaker 3 (07:53):
No, this is it?
Speaker 5 (07:54):
Oh okay, because I started to say we'll save that
for the interview.
Speaker 3 (07:57):
No, we're doing it.
Speaker 5 (07:58):
Yeah, look at you great.
Speaker 1 (08:02):
When you met Tom and you started playing together. Yeah,
Were you guys were already writing music or were you
doing old covers?
Speaker 5 (08:10):
I was. He was beginning to write songs. He was
in a country band. It was kind of like the
Burrito Brothers, and I was in kind of a blues
jam band and I saw his band play and I
thought they were good because they had They were doing
short songs with choruses, and I was in a band
that just started blues and jam for minutes. I thought
(08:32):
they were cool and they caught They my drummer got
calls for an audition because they needed a drummer. Long
story short, My drummer and I were living in a
farmhouse and he brought them out to audition for them.
It just turns out they had lost their guitar player,
and so they said, well we needed we used to
having two guitars. And he goes, well, there's a guy
(08:52):
in the back it plays you want to try him out?
And I'm back there in my short hair and my
cutoff jeans was one T shirt that I owned in
a little Japanese guitar and you come and Mike, you
want to come out and try out for this band,
or meet these guys? I said, sure, so you know
they were cool. They had Tom had long hair. They
both had long hair, Tom Leading and Tom Petty, and
(09:13):
you know they were had cool clothes and good instruments.
She had a hop in her bass and I walk
in with this little Japanese guitar, looking like a total geek,
and I could just see their faces but going oh, no, oh,
when do we get this? When did we get this
guy out of here?
Speaker 2 (09:27):
And that?
Speaker 5 (09:28):
And then so we played a little bit and he
went okay. And then Randall, my drummer, says, Mike, why
don't you do Johnny be good? Because you know that?
And I said, do you guys know Johnny be Good?
And they go yeah. So I knew it really well.
So I kicked it off and we rocked it through
and it got to the end and Tom looks at
me and he goes, I don't know who you are,
(09:50):
but you're in my band forever.
Speaker 3 (09:52):
It's amazing.
Speaker 5 (09:53):
And it turned out to be true. Wow, So it
was kind of another serendipitous moment. But we had off
right away. He was beginning to write songs. I was
diddling with ideas. I wasn't really tuned into the craft
of writing that well. But I was trying. He was
already getting like full on formed songs and some of
(10:13):
them were pretty good. You know, he was just getting
into it. But we connected right away like we'd known
each other. We had the same influences, we had the
same dreams, and the rest is history.
Speaker 3 (10:26):
Yeah, it's beautiful.
Speaker 1 (10:29):
It's special to find that in this last Yeah, right.
Speaker 5 (10:34):
My book is really it's about gratitude. You know, I'm
very grateful all the blessings that dropped in my lap.
You know, I've been very lucky and blessed, and I
don't know why, but I'm happy that these things happened.
But it's interesting, like you talked about the guidance counselor
and then meeting Tom of course in meeting my wife,
and things that happened in your life. And you come
(10:57):
to it a moment and you can go left or right.
This person can lead you that way, or you can
decide to go this way, and it establishes the path
of your whole life. That choice, and that's happened to
me a lot, you know, and fortunately I made the
right choices, I think, And life is mysterious that way
(11:18):
it is. Yeah, So that's what the book's about. It's
just like, you know, how your life. Can you follow
a certain paths as should go along, and that defines your.
Speaker 1 (11:29):
History, and if you go on a different path, it
becomes something else.
Speaker 5 (11:33):
Oh yeah. If I hadn't met my wife, or if
I hadn't met the couidence counselor that day, I might
have ended up working at a gas station in Jacksonville
and playing in a bar band and becoming a high
school teacher. I don't know what would have happened, you know,
you wonder about that.
Speaker 3 (11:46):
I bet you would still have gratitude somehow. I don't know.
You have that energy you.
Speaker 5 (11:50):
Think about your life. You know, I'm sure the same
is to you. If you hadn't decided to be a musician,
what would you have done? Who knows?
Speaker 3 (11:57):
Who knows? It's such a wild thought, right, Well.
Speaker 5 (12:00):
We'll never know, will never know. That's the way it is.
Speaker 1 (12:04):
Yeah, yeah, Well, one of the songs we talked about
doing if you still want to do it was Listen
to Her Heart. Yeah yeah, So my history with this
music is, you know, I've I've loved Tom Petty since
forever and I've loved the band, and I also I
(12:26):
met my husband on this Tom Petty tribute show.
Speaker 3 (12:30):
You know the best fest?
Speaker 1 (12:31):
You you sang with them once on a Stones Fest,
I think I don't remember anyway. It's it's this group
of friends that does all these sort of tribute nights,
and we did a Tom Petty one for maybe five
or six years together, and I met my husband on one.
Speaker 5 (12:48):
So we're in New York.
Speaker 1 (12:49):
In New York, so there's a lot of I owe
you big. I also, I also just.
Speaker 3 (12:57):
Like this music.
Speaker 1 (12:59):
It means so much to me for so many years,
through so many things. So when people tell you that
like it must feel, do you take it in or
do you sort of like brush over it and act modest.
Speaker 5 (13:10):
The one I like is, of course I'm very grateful,
and I can't sometimes they look around, how did I
get here? But the one I love is when somebody
will come up who was very moved by the music
and it affected their life and they played here comes
my girl at their wedding or whatever, and they come
up and they're all excited. They go, your music is
a soundtrack in my life. Yeah, and I go mine too.
Speaker 3 (13:33):
That's really sweet. I like that you know.
Speaker 5 (13:35):
That's the way I look at it.
Speaker 2 (13:37):
That's nice.
Speaker 1 (13:38):
So listen to her Heart? Do you do you remember
the story of the song.
Speaker 5 (13:42):
Or listen to her Heart? With our second album, and
Tom was just beginning to really come up with good songs.
Our first album of course, had Breakdown, American Girl and
some other things. He was finding his way and his
songs were getting good. Second album he brought Listen to
Her Heart in what I remember most about it. I
(14:04):
love the song, and we cut it pretty quick, but
we didn't have a twelve string. We didn't couldn't afford
a twelve string. We're in the studio and it was
a birds type song, and they cried out for a
twelve string, you know, And so I went and got
a twelve string for one hundred and twenty bucks, which
is now worth one hundred thousand dollars, a little Rickenbacker,
(14:26):
and we used it on that song. So that's the
first song we actually used a real twelve string on it.
And that's what I remember about it because it's got
that kind of birds ye riff, and it's simple. It's
a simple song, you know, direct and a lot of
our songs are you know, boy girl there's trouble, but
(14:47):
it's all going to work out, you know, as long
as there's redemption at the end, it's okay. And that's
one of those. She's going to listen to her heart.
Speaker 3 (14:53):
That's what to do.
Speaker 5 (14:55):
I like it. She might need a lot of love it,
but she don't need you.
Speaker 3 (14:59):
It's like.
Speaker 5 (15:01):
That kind of thing, you know, tell him's good at that?
Speaker 3 (15:04):
Yeah, well you feel like trying it?
Speaker 5 (15:07):
Sure, all right, let's see if we can do it.
Listen to her fart?
Speaker 3 (15:14):
How many times was that joke made?
Speaker 5 (15:16):
Just now?
Speaker 3 (15:17):
Really? You guys got you guys put that on the
set list.
Speaker 5 (15:21):
We stand I'm sure.
Speaker 7 (15:23):
Okay.
Speaker 8 (15:41):
You thinking you're gonna take her away were your money
and your couping?
Speaker 2 (15:49):
Keep thinking that her mind is going to change. I
know everything is okay.
Speaker 8 (15:56):
She's gotta listen to her.
Speaker 2 (16:02):
It's gonna tell her what to do.
Speaker 8 (16:07):
She might need a lot of loving, but she don't
need you. You want me to thinking I'm being used?
Speaker 2 (16:24):
You want to earth think it's so.
Speaker 8 (16:25):
Over, can't see it doesn't matter what you do, buddy,
you don't even know her.
Speaker 2 (16:35):
She's gotta listen to her heart. It's gonna tell her
what to do. She might need a lot of loving,
but she don't meed you.
Speaker 8 (16:56):
You just can't creep up and man, you can't understand.
Speaker 2 (17:07):
She smiled.
Speaker 8 (17:08):
Girl, she s my girl.
Speaker 2 (17:27):
She's gotta listen to her heart.
Speaker 9 (17:33):
She's gonna tell her.
Speaker 2 (17:34):
What to do.
Speaker 8 (17:38):
She might need't love her love him, but she don't
need you.
Speaker 9 (17:46):
Oh, something like that.
Speaker 5 (18:09):
I forget the ending. That was okay, funky, yeah, funky machic.
Speaker 3 (18:15):
Funky machine. I felt the energy.
Speaker 5 (18:19):
Yeah I did too. Yeah, but that's good. That's real. Yeah,
making a record. We're just having fun.
Speaker 3 (18:24):
Yeah, exactly, that's okay.
Speaker 5 (18:26):
We're well done.
Speaker 3 (18:27):
That's fun.
Speaker 7 (18:28):
Here.
Speaker 3 (18:28):
I'm going to move back over here. When did you
start playing guitar? How old were you?
Speaker 5 (18:33):
I was fifteen verse sixteen. We couldn't afford a guitar.
My parents were divorced and my mom was struggling to
raise me and my brother and sister, and I kept
begging her for a guitar because I saw the Beatles
and went, I'm gonna do that, you know. And then
(18:53):
one Christmas she scraped together fifteen bucks and got me
a little Harmony acoustic at a pawnshop. It was unplayable,
but I didn't know. I tried to learn on it,
and my fingers would bleed, and but I started it
on that, and eventually my dad sent me a Japanese
Electric which I told earlier about when I met Thomas.
(19:14):
What I had. It was like a little Goya Goya
Tone it was called. It wasn't too bad of a guitar.
But then later on I got a strat and a
Firebird and a Rickenbacker and a Gill Gibson, and I've
got hundreds of them. Yeah, but back then I couldn't
afford one. I couldn't afford strings either. So when the
strings went dead, I would take them all off and
(19:37):
put them on a hot of boiling water, pot of
boiling water and boil them for five minutes, and then
take them out and put them back on, and they
were bright. Yeah it work.
Speaker 3 (19:46):
Did somebody tell you to do that?
Speaker 5 (19:49):
Out?
Speaker 3 (19:49):
I'm smart, You are smart.
Speaker 2 (19:51):
I would have never thought to do that.
Speaker 5 (19:53):
But you know, it didn't last long. It stayed bright
for about thirty minutes and then they go dead again.
But I couldn't afford it when so that's what we did.
Speaker 3 (20:01):
Wow, yeah, wow, do you still have it?
Speaker 5 (20:05):
I don't have that guitar. No, it's probably firewood somewhere
for somebody. It was a piece of crap.
Speaker 3 (20:12):
Do you have the Japanese one?
Speaker 5 (20:13):
The Japanese is a good story. I don't. I think
I gave it away when I got my strat, I
tavid the way to a friend. But I was talking
about it in an interview once and the Japanese fans
read it and they went and found an exact clone
of that guitar and mailed it to me on my birthday.
Can you believe that? So I have that one, which
is really pressure. It's the exact same guitar, but so sweet. Yeah,
(20:37):
it was Yeah, thank you Japan.
Speaker 3 (20:39):
Yeah, I love Japan.
Speaker 1 (20:43):
When you guys tour, did you just tour everywhere all
over the world or were you mostly in the States or.
Speaker 5 (20:50):
Well, we started out in the States. We have. Our
big break was when we went to England opening for
Nils Lofgren. Our first album was out, it wasn't doing
anything and the stage we were opening we might play
a bar on our own, but mostly were opening for
people like Jay Giles band or some Bob Seeger here
and there. Kiss. We opened for Kiss once. It was
(21:12):
a funny story in the book. I won't go into that.
But then we got this in England. For some reason,
the English press, which is kind of unique, they liked
our record more than America. So we got a tour
over there opening for North Lofgren and the precious loved us.
They built us up into the hot shit that year,
and then we came back to America. After that, nothing
(21:35):
the glory was over, you know, but there was a
little bit of a buzz that built from that. So
then we eventually ended up playing all around the world.
I mean, we never went to South America, but we've
been to you know pretty well or China, and we
never went there. We've been to Australia and Japan, all
over Europe, but mostly over the years we stuck to
the States.
Speaker 3 (21:55):
In Canada, Yeah, the life, the touring life pounded.
Speaker 5 (21:59):
A lot of stages with my boots years.
Speaker 3 (22:04):
I saw you guys at the Hollywood Bowl maybe twenty
years ago.
Speaker 5 (22:09):
That's the big time.
Speaker 3 (22:10):
Yeah, it was pretty great.
Speaker 5 (22:12):
I loved the Bowl. Have you ever played there?
Speaker 3 (22:13):
But I played there once?
Speaker 5 (22:14):
Isn't it great?
Speaker 3 (22:15):
It was beautiful?
Speaker 5 (22:16):
Yeah, I love that spot. Yeah, it's really a history too.
That was actually the last show I played with Tom
and the Heartbreakers was at the Hollywood Bowl. Was it
really twenty seventeen? It was your last show?
Speaker 10 (22:28):
That was it?
Speaker 5 (22:29):
Yeah? Yeah?
Speaker 1 (22:31):
I met him shortly before that at the Music Cares events.
That was the only time I met him.
Speaker 5 (22:36):
Yeah.
Speaker 3 (22:36):
Yeah.
Speaker 5 (22:37):
Did you like him?
Speaker 3 (22:38):
I mean it was so brief. He was very nice.
Speaker 1 (22:41):
Yeah, I blubbered something, you know, Yeah, I don't I blacked.
Speaker 3 (22:46):
Out a little.
Speaker 5 (22:47):
Sure, he loved the attention he was.
Speaker 3 (22:48):
Yeah, he was sweet.
Speaker 1 (22:50):
So many stories any particular one you'd like to tell
from the book that you find fun to tell? I
don't want to give the book away, but just kind of.
Speaker 5 (22:59):
Nice to give it away. Yeah, yeah, well there was,
of course my wife. There's a great story. I'll tell
that one. Okay, that's kind of sweet. So I'm in
LA and I'm in this band called mud Crutch. Our
record deal fell apart. We didn't know what we were doing,
and they stuck us all the whole band in a
(23:20):
house out in Canoga Park. I was sleeping on a mattress,
you know. I had one little box for my table
in the room. Pretty low ranch. Anyway, it was Halloween
and one of the guys said, we're going to a
Halloween party. It's gonna be lots of chicks there. You
got to come. And I don't feel like going out,
and they kept begging me, asai, okay, you know, I
went along. So we went to this apartment and of
(23:45):
course there was one girl and six guys, and so
I walked in and thought, all right, I should have
stayed home, you know. So I went in the other room.
I was sitting there and there's a knock at the
door and my future wife, Marcy comes walking in. It
was a Halloween party. Nobody was really dressed up except her.
She had a saloon girl and she had her dog
with her, Medina, and I kind of saw from a
(24:08):
distance in the other room, and so her dog came
over to me. Medina came over and tuned into me.
And I liked dogs, but this dog was just like
you connected. And I'm like petting the dog and We're
having this moment and then Marcy walks up and she goes,
I go, is this your dog? She goes, yeah, I said,
I think she likes me, you know, And so she
(24:29):
sat down and we talked for like an hour or whatever,
just you know, like you do when you first meet somebody.
And so I drove back that night to my other
to the band house. The next morning, I woke up
and I thought, wow, that I really liked her, but
I don't have no way to get in touch with her.
So I took a chance and I drove back, in
(24:49):
my foggy brain where I thought the apartment was. It
was on the second floor of some apartment complex, and
somehow I remember which room it was. I went to
the door to her friend's name is Marcia, and I
knocked on the door to ask Marcia for Marcy's number, right,
And so Marcia opened the door and she's on the phone,
(25:13):
and I go and she goes here. She was talking
to Marcy, who was saying that guy never asked me
for it. Oh, and I don't know how who he
was or how to get a hold of him.
Speaker 3 (25:23):
So and you knocked on the door at that moment.
Speaker 5 (25:25):
Yeah, isn't that crazy?
Speaker 2 (25:26):
That is crazy.
Speaker 5 (25:27):
That's what my life is like. Things just happened, and
so it you know, it was meant to be. Yeah,
and then we connected and you know, in December it'll
be fifty years together.
Speaker 3 (25:37):
That's incredible.
Speaker 5 (25:38):
So that's kind of a you know, brought together by
a dog and we now have a lot of dogs
and that's part of our life. But I love telling
that story. It's so unique and the timing is like magic,
you know.
Speaker 3 (25:50):
Yeah, ain't that right, Marcy? Fifty years that's nothing to
sneeze at.
Speaker 5 (25:57):
That's especially in this business.
Speaker 3 (25:58):
It's amazing. Yeah.
Speaker 5 (25:59):
With all the travel, I'm very proud of that. Yeah.
Speaker 1 (26:02):
Yeah, and you got kids like each other. It seems
like you have a good vibe.
Speaker 5 (26:07):
Oh thank you.
Speaker 1 (26:08):
Yeah, we were talking about doing this Don Henley song
heard of the matter?
Speaker 5 (26:13):
Oh yeah, yeah.
Speaker 1 (26:14):
I wanted to ask how did you get hooked up
with him? Was he just on the scene? When when
did you started writing with him? Maybe on the previous album?
Speaker 5 (26:23):
I think, yeah, Well that was Jimmy IAVN who was
producing Tom and the Heartbreakers at the time. And Jimmy
and Tom came by one day to my studio and
Jimmy loved the songs that I gave to Tom. When
he heard Refugee and Here Comes My Girl, he said,
(26:44):
we don't need any more songs. I don't care what
you do in the rest.
Speaker 7 (26:46):
Of the record.
Speaker 5 (26:47):
You got to do here, that's all I care about.
Which were you know? It was my music so he
came over with Tom to hear if I had any
new songs. And I had to just demo for Boys
a Summer on a little four track, and they listened
to it and they passed on it. It was what
was interesting about it is it had the demo I had.
The chorus went to a minor chord, which I didn't
(27:11):
really like that much, and when they went to the
chorus on the demo, they all want in a kind
of jazzy and I said, yeah, you're right, you know
so anyway, so they left and I thought about that,
and then Jimmy called me and he said, I just
spoke with Don Henley and he's looking for songs. Do
you have any I said, maybe that song that you
showed me might be good for him. And I said, well,
(27:32):
what kind of does he want? A rocker or slow someone?
He wants the image maker. I'll get right on it.
Speaker 2 (27:38):
Yeah.
Speaker 5 (27:40):
So I went back and I thought, you know that
I could change that chorus into a major chord so
it lifts up as Boys of Summer, I can see
he goes to a major chord instead of staying in
the dark chord, and so I changed that in my
little demo, and then I went over to Don's house
and met him and played it for him and he
I had never met him before, so I went into
(28:01):
his kitchen and hit this big long table. He sat
at one end. I said at the other end, and
he had yeah, like that, and so I gave nikassette.
He put it in. I went and sat at the
other end of the table and he sat like this
didn't move, and I thought he hated it. So I
said okay, and he finished and he said I'll get
(28:23):
back to you. You know. I put you usually like thanks,
but no thanks, and then I got in my car
and said, well it was interesting. He didn't like it.
And then I got a phone call and he goes,
I've just written the best song of my life to
your demo, and he said, I want to record it
right away because I'm finishing my album, my second solo album.
And that's how we met and that began a relationship.
(28:46):
So later on he was working on another album and
he called me again, said do you have any songs?
And I had this little piece of music. It turned
into the heart of the matter, which I gave to him,
and that's how that came about.
Speaker 3 (29:00):
That's pretty cool.
Speaker 5 (29:01):
Yeah, crazy, that is crazy.
Speaker 2 (29:04):
This song.
Speaker 3 (29:05):
I remember when it came out and I loved it.
Speaker 5 (29:08):
Then thank you, and.
Speaker 1 (29:11):
Listening to it again today, I'm just it's such a
moving song.
Speaker 5 (29:16):
The lyrics are very powerful.
Speaker 1 (29:17):
They're very powerful, and I was thinking about myself listening
to it as a kid, and it's such an adult
song lyrectly, but as a kid, I loved it. It's deep, yeah,
and I felt like I had a glimpse into how
hard it was going.
Speaker 3 (29:35):
To be to be an adult.
Speaker 1 (29:37):
Somehow, there's you know, there's something about it that takes us.
Speaker 5 (29:41):
I remember Don telling me after we did that song,
you said, I had to live thirty years to be
able to write.
Speaker 3 (29:46):
That song such a beautiful You have to live.
Speaker 5 (29:48):
Through those experiences to have those feelings and understand that
kind of relationship.
Speaker 1 (29:53):
I suppose for sure, But as a kid, I still
understood the song somehow.
Speaker 5 (29:58):
Well, there's songs are like that, you know, even if
you don't know all the words, that there's a spirituality
or are about certain songs that just connect. It might
be the music in the melody, or sometimes it's the lyrics.
When you get all three, you're really lucky. But that
song has an aura about it of hope, I.
Speaker 1 (30:18):
Think for sure, But I mean it also has such
a rich story in it.
Speaker 5 (30:24):
Yeah, the words are incredible. It's lucky to get that.
Speaker 3 (30:27):
Yeah, really well done. Yeah, beautiful song.
Speaker 5 (30:30):
Oh thank you very much, I think so.
Speaker 3 (30:33):
Yeah, you feel like doing it?
Speaker 5 (30:36):
You want to do it?
Speaker 2 (30:36):
Yeah, do it?
Speaker 3 (30:37):
Let me move to the back to the world.
Speaker 5 (30:39):
I hope I can remember these words too.
Speaker 3 (30:41):
Yeah, it's a word salad.
Speaker 5 (30:43):
It is word salad. Okay you three four.
Speaker 11 (31:01):
I got the call to day, didn't want to hear,
but I knew that it would come.
Speaker 5 (31:11):
Some old friends of ours.
Speaker 11 (31:13):
Were talking on the phone, said you'd found someone.
Speaker 9 (31:21):
I got them all bad luck, trouble.
Speaker 2 (31:25):
We went through.
Speaker 5 (31:26):
How I lost me, you lost you? What are these.
Speaker 9 (31:33):
Voices outside loss? Open door?
Speaker 11 (31:37):
They could throw off our contentment and bed for something more.
Speaker 8 (31:44):
I'm learning to land without you now, but I miss you, baby.
The more I learned less, I understand.
Speaker 11 (31:59):
All the things I thought i'd figured out yearning again.
In trying to get down to the heart of the matter,
everything changes and bridging the scatter.
Speaker 8 (32:14):
But of thinking is about forgiveness. Forgiveness even if even
if you don't love me anymore.
Speaker 12 (32:36):
These times are so uncertain, there's a yearning undefined, and
people filled with rage. We all need a little tendantness.
All can love survive such a graceless age, the trusting,
(32:59):
selfish durrance that leads to happiness, the very things we
all cute.
Speaker 5 (33:06):
I aes.
Speaker 6 (33:09):
Friding, competition fail, these empty arms and the work I.
Speaker 3 (33:15):
Put between us.
Speaker 12 (33:17):
You know it doesn't keep me warm.
Speaker 13 (33:21):
I'm learning to learn without you, line, I miss you, baby,
one less.
Speaker 8 (33:34):
I understand all the things that's thought. I dig it
out learning again.
Speaker 2 (33:43):
Trying to get down is a part of the matter.
Speaker 11 (33:47):
My will gets week, and my thoughts inscapable to think
it's about forgiveness, forgiveless.
Speaker 2 (33:58):
Even if, even if you don't love me, And are
all the people in your life who have come home
let you down? Oh you know they hurt your bide.
Speaker 6 (34:19):
You better put it all behind you, baby, because life
noos on.
Speaker 2 (34:25):
Keep carrying that anger, it'll lead.
Speaker 8 (34:28):
You up inside bay. Been trying to get down the heart.
Speaker 9 (34:34):
Of the matter for my will gage week.
Speaker 10 (34:39):
I thought you scatterble of think it's about forget bless,
forget bless, even if even if.
Speaker 2 (34:49):
You don't love me.
Speaker 8 (34:53):
Trying to get down harder the matter my will Gage sweep.
Speaker 10 (35:00):
Boss scout about I think it's about forgiveness.
Speaker 9 (35:06):
For goodness, even.
Speaker 2 (35:11):
You don't love me anymore.
Speaker 7 (35:33):
Yeah.
Speaker 1 (35:35):
Nice, Okay, oh that was nice. What a what a
beautiful song though, I mean.
Speaker 5 (35:40):
Yeah, yeah, I never really get to do that.
Speaker 3 (35:43):
Yeah.
Speaker 1 (35:44):
It was interesting because in the book you talk a
little bit about the bass pedaling notes. I love that
the change you were like, so, so does the walk up.
Speaker 5 (35:59):
Yeah, that's really a Brian I call it a Brian
Wilson cord. The bass is a different.
Speaker 3 (36:04):
Note in the route exactly.
Speaker 5 (36:05):
I like those kind of things.
Speaker 3 (36:07):
I know you do, and I've noticed it.
Speaker 1 (36:08):
And at school it's like a real voice leading, like
it almost comes from classical music.
Speaker 5 (36:14):
I think, Yeah, yeah, well I did. I tried to
get into music school in college, but I couldn't read
good enough, so they kicked me out.
Speaker 3 (36:21):
Wow.
Speaker 5 (36:22):
But I took music history, Oh cool. And I had
this great teacher, Missus Henderson, who played cello, and she
would talk about the theory of pedal point. Yeah, and
like I used that a lot. I didn't realize like
American Girl Dangy Dany had one note up high as
the chords change underneath. Yeah, that's a nice thing to do.
(36:42):
And the other thing, which I picked up from Beethoven
and Brian Wilson's Old People is having the base chords
being the third or the fifth, Yeah, and not always
on the route. It creates a nice suspension to I
love it.
Speaker 1 (36:58):
Yeah, I like that, and I like that you include
me in that. That was important because I knew it
but I forgot it.
Speaker 5 (37:04):
Yeah.
Speaker 3 (37:05):
Yeah, I love the way it.
Speaker 5 (37:06):
Kind of makes that song because it does know it's
going up and then instead of going back, it goes
to the e's mysterious, like oh.
Speaker 3 (37:12):
Yeah, it's like it's also kind of reminds me of
gospel music.
Speaker 2 (37:19):
Gospel, very church.
Speaker 5 (37:22):
But yeah, I love Brian Wilson. His chords and his
compositions are just genius. Yes, I listened to him quite
a bit.
Speaker 3 (37:29):
Of course.
Speaker 5 (37:30):
I try to emulate him when I can.
Speaker 3 (37:32):
That's great. But cool, Well, this was really fun.
Speaker 5 (37:36):
Yeah, thank you, thanks for doing this, Thanks for inviting me.
It's nice to meet you. You got a nice aura you too. Okay,
cut the mics. I'm gonna tell her a dirty joke.
Speaker 3 (37:45):
Tell me a dirty joke. Now a band trying to.
Speaker 2 (37:55):
Love that.
Speaker 3 (37:56):
I love that song.
Speaker 1 (37:57):
That brings me back to like serious sixth grade nineteen
eighty nine. Okay, fourth grade. He's such a sweetie. He's amazing. Yeah,
he's funny.
Speaker 3 (38:07):
He's very funny.
Speaker 1 (38:07):
Yeah, that was great. Thank you, Mike Campbell. If you
want to know what songs we did, we did Listen
to Our Heart, which is of course the classic Tom
Petty and the Heartbreaker song from You're Going to Get
It leased in nineteen seventy eight, written by Tom Petty
and Mike Campbell played lead.
Speaker 3 (38:24):
Guitar on it.
Speaker 1 (38:25):
The second song we did was Heard of the Matter.
It's a song he wrote with Don Henley for the
album End of the Innocence from nineteen eighty nine, and
they wrote it together with JD. Souther. Special thanks to
Mike Campbell for joining us today. We'll be back next
week with Brandy Younger. Norah Jones is playing along as
a production of iHeart Podcasts. Visit Norah Jones channel and
(38:48):
be sure to subscribe while you're there.
Speaker 3 (38:50):
I'm your host, Nora Jones.
Speaker 1 (38:52):
This episode was recorded at Westlake Studios in Los Angeles, California,
by Thomas Warren, Assistant engineer Dan Forth, Webster backline tech
Jason Moser mixed by Lame Lamey g Andre.
Speaker 3 (39:08):
This episode was mixed by Jamie Landry. That's his new nickname, now.
Speaker 4 (39:13):
Lamy when he's being lame all right, Lamey Pops.
Speaker 1 (39:19):
You got to keep that in audio post production and
mastering by Greg Tobler. Additional recording by Matt Marinellie. Creative
consulting by First Three. Artwork by Eliza Fry, Photography by
Shervin Lenez. Produced by Nora Jones and Sarah Oda by
executive producers Aaron Wan Kaufman and Jordan Rundog.
Speaker 3 (39:38):
Marketing Lead Alison Kantre Greeber
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