S9: E3: Rod Roddy (LeRoux)- The Cajun Swampers

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Today, I'm bringing you all with me down to the
sportsman's paradise, where Iwill be joined by the keyboard
player for one of the greatestbands that has ever come out of
the great state of Louisiana.
Hey, everyone, it's RandyHolsey with Backstage Pass Radio
, and my guest today is apianist, singer-songwriter and
Louisiana Music Hall of Fameartist.
The band he co-founded hastoured the world with such

(00:21):
groups as Journey, theobiebrothers, ario, speedwagon and
more.
Sit tight, and I will be joinedby the master of the 88s, rod
roddy, of the louisiana basedband larue, right after this
this is backstage pass radio.

Speaker 2 (00:35):
Backstage pass radio a podcast by an artist for the
artist.
Each week, we take you behindthe scenes of some of your
favorite musicians and the musicthey created, from
chart-topping hits tounderground gems.
We explore the sounds that moveus and the people who make it
all happen.
Remember to please subscribe,rate and leave reviews on your

(00:57):
favorite podcast platform.
So, whether you're a casuallistener or a die-hard music fan
, tune in and discover the magicbehind the melodies.
Here is your host of backstagepass radio, randy holsey rod
roddy.

Speaker 1 (01:15):
Here we are, man.
Finally.
How about that?
A little back and forth, uh,since, uh, I don't know about a
month now we've been trying tofigure out a good date to meet
up.

Speaker 3 (01:24):
Yeah, it's been crazy on my end.

Speaker 1 (01:25):
Yeah, so it's your fault, then, it's not my fault.

Speaker 3 (01:27):
I'll take total blame .

Speaker 1 (01:30):
Well, it's good to be here.
It's nice to meet your wife,lisa.
Cool place right here on thebayou in Thibodeau, louisiana.
How long has this place beenaround here?

Speaker 3 (01:39):
Rod Since the 1930s and this bayou goes all the way
from Donaldsonville all the wayto the Gulf.
So it's not the prettiest water, but I think it's the longest
freshwater bayou to the Gulf.

Speaker 1 (01:53):
But you did say that they were doing some work to it.
That hopefully will kind of getit going in the right direction
right.

Speaker 3 (02:00):
They're building some new pumps and they should be
done within two years.
Been here two years for aboutfour years, but it should be
done pretty quick.
And yeah, it's going to helpget some silt down to the Gulf
and build some land up andhopefully help against
hurricanes Awesome.

Speaker 1 (02:17):
Well, I'm also here at your place with one of my
best friends ever, Scott Ducote.
He's sitting across the roomover there.
Scott, thanks for making theride down here with me.
It's been enjoyable to be here.
It's Scott and I were talking.
You know I was in Lafayette atUL, usl back in the day and it's
been 40 years since I've beenback to Lafayette and first time

(02:39):
.
Scott and I have caught up in along time, so so you kind of
helped bring all this backtogether.
So appreciate that.
Well, I wanted to tell you alsohow I came to kind of know
Scott.
We were going to a camptogether.
We started as little boys andas we got old enough to drive we
were coming back from.

(02:59):
Where was it Scott?
Washington, on the Brazos, Ithink, in Texas, right, and it
was probably sometime around 83,I'm guessing.
And he's like man, I got thisstuff, this music I've got to
let you hear, right, and he popsin Zebra's debut album and then

(03:19):
right after that the so FiredUp record from LaRue and it was.
You know I was telling Scottthat it was a couple of records
that shaped me as a musician,like it was.
You know I was telling Scottthat it was a couple of records
that shaped me as a musician,like it was just great stuff.
So that's kind of theconnection with Scott and I so
appreciate you being here bud,You're a music man.
Yeah, first of all, you know,rod, I wanted to thank you for

(03:40):
so many great years of music andthanks Scott again for popping
in that cassette and turning meon to LaRue back in the day.
I wanted to jump in, if youdon't mind, for just a second.
We'll kind of jump back inPeabody's time machine a little
bit.
You were born not too far fromhere, right?

Speaker 3 (03:58):
Born in Houma, Louisiana, about 18 miles south.

Speaker 1 (04:01):
Okay, yeah, and any family still back in the Houma
area.

Speaker 3 (04:05):
Yeah, well, I have a brother that's moved further
down the bayou in Lockport andmy sister's still in Houma.
Okay, parents are gone, so alot of relatives down there.

Speaker 1 (04:17):
Well, and I think you still have a bandmate that
lives in Houma as well, correct?

Speaker 3 (04:21):
Well, mark Duthu, he's been with us almost 30
years now as well, correct?
Well, mark Duthu, he's beenwith us almost 30 years now, and
, yeah, playing congas, andwe've been friends since he was
in high school.

Speaker 1 (04:32):
Well, mark was very instrumental in assisting me
locking in my interview withTony Hazleton and it was, I
think, 2021 when Tony and Ifirst spoke, and I think he was
probably the 19th artist that Iever had on the show.
So thanks to Mark.
If he listens to this interview, he certainly set that one up

(04:56):
and was somewhat instrumental ingetting you and I together.
I guess, if it wasn't for him,tony is an awesome person to
interview.

Speaker 3 (05:04):
He was so uh, so his wit.
We always talk about his wit.
He was so clever and so quickand and always funny well and
second to none songwriter.

Speaker 1 (05:14):
I mean, the guy was just a phenomenal songwriter and
you know what I didn't?
I learned about tony and that'swhat I love about the show is.
There's so much that I feellike my head is full of great
music stuff that maybe only Icare about.
But I didn't realize that Tonyhad slipped off to Nashville for
20 plus years and wrote songsfor some of the biggest country

(05:35):
artists number one hits.
Keith Whitley, george Strait,kid Rock, like I mean the, the
guy is a, a writing machineisn't.

Speaker 3 (05:43):
He wrote it's.
There was stuff on theinterview that Martin did that I
didn't realize.
He wrote for people and I'mgoing really I didn't know, tell
me like a man.

Speaker 1 (05:53):
I didn't realize that was his song Exactly yeah, he's
got a score of hits for sure.
I don't remember all of them.
I know he wrote for LeanneWomack.
It's a who's who of countryartists that recorded his stuff.

Speaker 3 (06:06):
Uri Osmond yeah, I never knew that.
Yeah, yeah, yeah, amazing.

Speaker 1 (06:10):
Well, tell me about the youth days, rod Roddy, youth
days.
What artists were shaping youas a young, up-and-coming
musician?

Speaker 3 (06:22):
Well, it's interesting, I never did really
listen to a whole lot of anybodybut my brother and I.
My brother played drums and Iwanted to play drums, but he was
probably a better drummer.
And when you take the littleband course, a little test, they
said you need to play saxophone.

(06:43):
Well, we couldn't afford asaxophone but we had a piano,
which I'm glad we had that,because I think I got more work
doing that.
But we would just, my brotherand I would put a band together
and we would play whatever waspopular I mean, it was just
whatever was on the radio andthen we would play with my dad
in a band.
So we learned how to playcountry music and old standards

(07:06):
and all that stuff.
And he'd take me to the bathroomLike somebody would give him a
$20 tip and say can you all playthat?
Oh yeah.
He'd take me and he'd hum it tome.
I'm going, dad, I don't knowthat song he goes.
It goes like this so you getout there and you kind of go
through it, fake it until youmake it right.
Yeah, and the deal about it.

(07:28):
What's great about the audienceside of it?
As long as you get part of itright, yeah, they're having a
few cocktails.
They love it, so it doesn'thave to.
Because we went to see a bandhere in past christian, uh,
mississippi and I don't want tosay they were bad, but they were
real close to it and but thecrowd loved it because they were
familiar with the songs and itdidn't matter.
And that's what you've got torealize.

(07:49):
The audience is not thatcritical.
If you're having fun, they'rehaving fun, and if they
recognize the song, great.
So I pretty much like to playwhatever people like to hear.
But now, later on, my favoriteswere Michael McDonald, the
Allman Brothers brothers, thingslike that, and um, I was more

(08:09):
on the melodic side than some ofthe bands I played with because
they were more in guitar andthey were into all that stuff.
But um, so there's nobody inone, because I like to listen to
ray charles, I like to listento Frank Sinatra.

Speaker 1 (08:22):
Sure, yeah, kind of all over from a genre
perspective.
Well, there's an old saying,you know, the more people drink,
the better you sound, right.

Speaker 3 (08:31):
There's a lot of truth to that, isn't there Much,
much?

Speaker 1 (08:35):
Just have a few more drinks and I'll sound better and
better as the night goes along.
Well, it sounds like.
Interestingly enough, you comefrom a musical family, like dad
played, brother played, and alot of the artists that I have
on the show had none of thatgrowing up.
It's just like they I don'tknow, the music was just

(08:56):
injected into them by osmosis orhowever it happens, but you
come from that background.

Speaker 3 (09:01):
Right, and it was always my dad would play what
they call swamp pop, but backthen it was Chubby Checker and
all those kind of guys playingit.
So we grew up listening to thatstuff and then when we played
with him whatever was popular atthe time, we had to learn that
stuff.
And then we'd listen to theradio and play, you know,
Enneagram of the Vita and allthis stuff, whatever it was

(09:24):
playing.
So it was just a hodgepodgejust anything.

Speaker 1 (09:29):
If it wasn't the piano, what would Rod Roddy play
?

Speaker 3 (09:34):
I tried to play guitar.

Speaker 1 (09:35):
Okay.

Speaker 3 (09:41):
And it was okay.
But it was obviously not, andI've heard Tony say how.
You know he didn't come from amusical background but the
guitar just fit him and he justtook off with it and the guitar
didn't do that for me.
The piano was interesting to meand I'd like to sit and just
listen.
I never learned how to read.
I tried, but I could play byear quicker, so I was lazy.

Speaker 1 (10:01):
Okay.

Speaker 3 (10:02):
And so that's how I do it.

Speaker 1 (10:04):
I hear quicker.
So I was lazy, okay, and sothat's how I do it.
That's interesting because Iwas a pianist.
I played 13 years of classicalpiano growing up.
That's where I got mybackground, and I've heard a lot
of people say that piano isprobably one of the hardest
instruments to learn to play, orat least play well and I don't

(10:25):
know.
Well, you kind of clarified itlike you had a little bit of
trouble with the guitar.
It didn't come to you like thepiano did, right.

Speaker 3 (10:36):
Yeah, and I took piano lessons for a year and a
half.
I was nine years old and theguy back then you could smoke in
front of kids and do all thatand we were locked up in a
little room in his house andhe'd be smoking and I'd be going
crazy and he'd say, play this.
And I didn't know the song fromAdam.
I said, well, could you play itfor me?
And he played it for me andthen I'd remember it and I'd go
home and practice that and I'msure he knew it wasn't exactly

(10:58):
how it was written.
He was getting paid.

Speaker 1 (11:00):
Sure yeah, of course it earned a paycheck.

Speaker 3 (11:03):
Yeah, so I just learned by ear.
And then which I'm glad becausethere's a lot of trained people
that you take the music awayand they're lost.

Speaker 1 (11:14):
Yeah, 100% yeah.

Speaker 3 (11:15):
And I didn't have that, so that's good.

Speaker 1 (11:17):
Well, it's interesting that you say that,
because we'll get to it in aminute.
But I wanted to talk a littlebit about studio in the country.
Right, but when you play in agroup like larue with studio

(11:38):
guys, right, um, you expectthose guys are trained and
they're, you know, they're themusicians musician.
Um, that's interesting to hearthat neither you nor tony were
formally trained in the musicand you've become world-class
players.
That's interesting to hear that.

Speaker 3 (11:49):
Well, like Jim Odom, our guitar player now he went to
Berklee.
I mean, he's a genius, okay,you know, obviously with his
company and everything, but hecould play anything.

Speaker 1 (11:59):
Yeah.

Speaker 3 (11:59):
You know.
And one thing about the studiowhen we got there, I was
probably on the low end of totempole as far as Musically.
Yeah, and capable.
But I quickly learned what wasexpected and what was doing.
And you know, pressure alwaysmakes you work better or it
makes you leave.

Speaker 2 (12:17):
Sure, you know.

Speaker 3 (12:18):
So and then later on, when the band broke up, for a
while Jim was engineer on aCinderella album and he called
me and I played three songs onHeartbreak Station.

Speaker 1 (12:30):
Okay.

Speaker 3 (12:30):
You know, and it's funny because there were young
guys on tour with Jon Bon Joviand they were saying, man, you
play really well.
What do you do?
I said, well, a couple yearsago I did what you did.
Yeah, you know what you'redoing.
And I remember I had to do asyncopated clavinet part and
Fred was.
It was the first album that heplayed drums on.

Speaker 1 (12:50):
Fred Corey.

Speaker 3 (12:54):
And in that track it dips.
I forget what track it is, butit's one that has a clavinet
part in it, so I had to learn.
I had to learn that sectionwhere I'm playing like you know,
okay, that's that.
So you, you learn by the studio.

Speaker 1 (13:10):
It's yeah, it's a pressure on you and it's it
works out to make you a betterplayer well, and I I've always
said that if whether it'sbasketball or or whatever, right
tiddly when you you name theactivity, if you're with people
that are far better than you,you can't help but come up right
, so you never want to play downright.

(13:31):
You don't want to regress inyour talent, so you don't want
to play with shitty musicians ifyou will Always play with
somebody better, right?

Speaker 3 (13:37):
Well, they say tennis players could be great, but
when they play with a weakplayer their game sucks.

Speaker 1 (13:42):
Yeah sure, it seems like you come down to that level
right or you don't try as hardthat that vibe or that energy is
no longer there.
So, yeah, I guess there's a lotof truth to that.
Well, I know you were um.
If my memory serves mecorrectly, you were a Korg
player right back in the dayright that have you carried on

(14:04):
with Korg?

Speaker 3 (14:05):
all these years, or what do you play today?
When the band broke up, I letthe Korg endorsement go away and
I bought a Yamaha weightedkeyboard.

Speaker 1 (14:17):
Okay.

Speaker 3 (14:18):
And in the studio I played the bald one.

Speaker 2 (14:23):
That's on.

Speaker 3 (14:24):
New.

Speaker 1 (14:24):
Orleans.

Speaker 3 (14:24):
Ladies, the Bald One.
And then we did an album.
We did some songs with NittyGritty Dirt Band and I played on
a Bosendorf.
Our manager at the time, billMcEwen, had a house on Ajax
Mountain and where the piano wasupstairs, the studio was
downstairs and it opened up intoa big window on Ajax Mountain.

(14:46):
Well, you had that Bosendorf upthere and that's where Steve
Martin recorded Condo Made ofStone.

Speaker 1 (14:53):
Oh, King Tut, yeah King Tut.

Speaker 3 (14:56):
So anyway, I was playing that and I said, man,
that's a good feeling piano.
Well, I played a Yamaha and itwas great and ever since then I
just love the way the Yamahafeels so and it was great.

Speaker 1 (15:03):
And ever since then I just love the way the Yamaha
feels.
So the Korg coming up throughthe Korg days, were those never?

Speaker 3 (15:10):
weighted keyboards.
I guess you could have got themweighted.
The first piano I had back whenwe first started touring.
Most of the pianos had a micsystem that went across with
Baby Grand, Okay, and it was notvery good.
And then they came out withYamaha, came out with CP-70.
And I got one right before wewent on the road with Journey,
and that one has the feel of anacoustic piano.

(15:33):
The sound was kind of tinny,but for that time period it was
awesome, you know, and so Iplayed that for a while.
And then the Korgs I usedmostly for synths.

Speaker 1 (15:44):
Synths.
Yeah, that for a while, andthen the chords I use mostly for
uh, synth synth, synths.

Speaker 3 (15:45):
Yeah, okay, and I had an oberheim at one time that I
traded out gene at the studio inthe country for yeah only
because it was so much easierthan setting up to oberheim.
But, um, now I just play asynth that has the piano sounds
with weighted keys.
Uh, yamaha, and I did add a.
I added a Roland because it's10 pounds.
Right of course yeah, and it'sgot all the sounds, but I'm

(16:10):
pretty much a diehard Yamaha.

Speaker 1 (16:16):
Yeah, it seems like going from weighted to
non-weighted would throw thegame all off.
Did you have any troubleadapting to going from weighted
to non-weighted keys?
It's still a problem.

Speaker 3 (16:24):
When I first started playing, I was playing organ.
In fact, one of the bands, theLevee band, is the band that
eventually turned into the JeffPollard band.
Yeah to LaRue Bobby Kimball.

Speaker 2 (16:37):
Sure Toto.
Yeah, of course.

Speaker 3 (16:38):
Jeff was the lead singer, bobby Kimball was the
lead singer on this side,playing piano, and I played
organ.
I had a C3 organ so I played.
From my rock days I playedmostly organ, so it was fine.
I was used to that Interesting,okay.
But then when I started playingpiano, when Bobby left and I
started playing piano, I reallyliked the way that feel was and
it felt like you were more intouch with the keyboard, of

(17:02):
course, and when I try to playpiano parts on a non-weighted or
semi-weighted keyboard, it'sreally hard for me because you
don't have that.

Speaker 2 (17:10):
I don't know, it's just.

Speaker 3 (17:11):
I don't feel it's connected.
Yeah, in fact, when I do acalculator, if it's wobbly, it's
that same kind of thing.

Speaker 1 (17:17):
Well, a non-weighted key just bounces right back up
in place so quick.
A weighted key is more of a acushioned return I guess, and a
semi-weighted is kind of theytry, try to get a hybrid of the
two, it helps but um, yeah, Iprefer weighted yeah, well, and
that's what for the non-pianopeople that will listen to this

(17:40):
podcast, non-awaited uh,instrument would be like a
regular acoustic piano, right,that's the feel, and, uh, a lot
of the synthesizers that thatrod's talking about would would
be, you know, non-weighted keysor a hybrid of the two just like
an organ, of course, of course.
So we jump back in that time andwe fast forward to 1978.

(18:05):
You co-found the band we knowtoday as LaRue right.
How did the band come about?
Walk the listeners that aremaybe not as familiar with LaRue
where LaRue came from.

Speaker 3 (18:19):
I had a band in Houma called the Levee Band and Jeff
Pollard was in a band called theWar Babies.
And Jeff showed up one day Iguess we were rehearsing or
something and he said hey, man,I want to put a band together.
I want to see if you want toplay.
I said, well, I already have aband, why don't you just join my

(18:39):
band?
So we did, and then we wentthrough some different personnel
over the years, as you do.
We even had a five-piece hornsection at one time, but it was
a levy band.
We moved to Baton Rouge and thenLeon Medica, the bass player,

(19:01):
got with us and said, hey, I canget us some studio gigs.
We said, okay, that's cool.
And we went out as the JeffPollard Band doing an acoustic
act David playing congas, leonbass, me, piano and Jeff.
And then we had Bobby on hornor flute.
And then he said, hey,gatemouth Brown's looking for a
band to tour with, and we'relike sure.

(19:23):
So we went with Gabe Muff Brown.
That eventually led to anAfrican tour in 1976.
Okay, when we toured for theState Department as Goodwill
Ambassadors, we toured up theEast Coast of Africa and then
back, leon said I got a guyinterested in hearing the band

(19:45):
wants us to go to Nashville cutsome demos, go to Nashville and
see what happens.
So we went to Nashville cutsome demos and then they liked
that and they sent us to LA andwe opened up for Muddy Waters
and Rod Stewart was in theaudience, greg Allman was in the
audience.
In fact we didn't have a name.
So they said, well, what's thename?

(20:07):
They didn't want to call itJeff Pollard Band at that time.
Sure.
So Leon said BR Burners.
And when they introduced theband they pulled the curtain up
and Jeff's microphone stand wasgoing up, and that's when he
noticed who was.

Speaker 1 (20:19):
I think Tom Petty was out there too wow, but uh, a
bunch of nobodies in theaudience, right and that's where
you you went, you know, as anew band trying to get going.

Speaker 3 (20:27):
That's why other people would like to go see
what's happening and uh, I thinkall three or four record
companies there, okay, and uh,that's how we got with capital
the levy band back before?

Speaker 1 (20:42):
um well, the levyvee Band, that was all.
Were you writing all of yourown originals?
You weren't doing anything.
Were you covering too?

Speaker 3 (20:49):
It was mostly cover tunes, and then, when we got
with Jeff, jeff had a book ofmusic, a catalog?

Speaker 1 (20:56):
yeah, he already had a catalog coming in, yeah.

Speaker 3 (20:59):
And in fact somebody just sent me I started listening
to it today a USB with musicthat he recorded.
I think it was the uh, someclub in lafayette and I can't
remember.
No, it was in lafayette, it's.
It was near a country club andI can't remember the name of it,

(21:19):
but we used to play there andhe recorded and it's got me Leon
, Bobby, tony, the core group ofLaRue, yeah, you know and sent
that to me and I'm going.
Man, I don't remember playingthose songs Because we were
doing copy tunes and then westarted doing original.
Well, when we started doingoriginals we went from playing
all over the state to about fouror five places because people

(21:41):
wanted to hear copy tunes, ofcourse.

Speaker 1 (21:46):
But it was fun If we bounce back.
We had a little bit If webounce back to the studio in the
country conversation.
Which of you guys were instudio in the country as studio

(22:07):
artists artists, studiomusicians we, our band was the
whole band was interesting.
Okay, I didn't know.

Speaker 3 (22:13):
I thought it might have been a subset but I didn't
realize it was the whole band wedid.
Uh, if they called us in to doa country act or they call us in
to do this, you know we'd go doit.
We pretty much became the theband there for a while.

Speaker 1 (22:30):
Um, I'll just, it was just kind of a natural feel
sure, so studio in the countryfor for the listeners bogalusa,
bogalusa uh, louisiana um yeah,and in the mind's eye, where is
bogalusa in the state oflouisiana.
For, for those that may not,know, I think it's highway 59.

Speaker 3 (22:54):
It's north of new orleans and it's um right before
you get to.
It's around poplarville,mississippi, that area.
Bogalusa's got a paper millthere.
You can't miss it.
And there's nothing there, yeah, just the studio.
And it's in the country.

Speaker 1 (23:09):
Yeah, Well, I think that was part of the mystique
behind the studio was that whenyou go there, you're not
distracted by anything.
You can fish, but there'snothing to distract you from,
and it was a world-class studio.
Yeah, you can fish, but there'snothing to distract you from and
it was a world-class studio,yeah Well, so this, yeah, it's a
famed studio and I've heard itspoken of as probably the best

(23:32):
studio in Louisiana to record in, and there's been so many
notable artists that haverecorded there what Kansas
Stevie Wonder, Jimmy Buffett, Ithink they even did the Dirty
Dancing soundtrack in the studioin the city.

Speaker 3 (23:46):
Well, yeah, I had some of that.
He produced one or two songs onthat, so, probably.
And you know, cinderella, Iplayed on that album when they
played there.
Yeah, a lot of people, yeah, alot of people.

Speaker 1 (23:58):
Who else musician-wise that the listeners
may know as a notable artistthese days?
So Cinderella was one, ofcourse.
Who else did you play with instudio in the country.

Speaker 3 (24:09):
That's really the only other band outside of LaRue
.
I mean, I did stuff with localguys trying to get a record deal
, trying to sell songs and stufflike that, but um, that was the
major act that I played wellyou got.

Speaker 1 (24:21):
You guys were like the, the louisiana version of
the swampers, were you not?

Speaker 3 (24:26):
I mean, you were the cajun swampers, yeah, yeah you
know it's funny, we did uhsouthern rock uh cruise in 2018.
And we used to tour with allthose guys that were on that
cruise.
A lot of them didn't even haveany original members in it
anymore, but a guy named DaveAnderson was playing guitar.

(24:46):
I met him in Huntsville when Iwas living there and he's
playing with Atlanta RhythmSection now.

Speaker 1 (24:52):
Oh, sure, yeah.

Speaker 3 (24:53):
And we did a set and and he came in after he said,
man, we love your band, he goes.
We used to call you all theSteely Dan of the South.

Speaker 1 (25:01):
Really Never heard that Wow.

Speaker 3 (25:02):
But I thought it was pretty cool, that's a huge
accolade.

Speaker 1 (25:04):
I mean, those are technical musicians, right yeah?

Speaker 3 (25:07):
Our songs aren't just straight ahead.

Speaker 1 (25:09):
No.

Speaker 3 (25:10):
It's a lot Like to sit in with our band.
You'd have to know the songspretty much.
You could wing, you could playwith a jazz band, a blues band
and do all that kind of get itby.
But our stuff has starts, stopsand just it's different.
So when he said that I wentnever thought about that.

Speaker 1 (25:31):
Time signature changes and all of that, yeah,
yeah, when we think of bandslike ACDC, who I love, it's just
straight driving rock and roll.
It's 4-4 time all the waythrough and you're just jamming,
right.
But you know, even Zebra, likethe La La song, changes time
signatures in the middle of thesong and I think that that's
kind of what separates thesemusicians from those musicians.

(25:53):
Right, it's just a little notchabove, right, that can adjust
the songs like that.
Yeah, scott, I don't know ifyou were familiar with that.
You've heard the Lynyrd Skynyrdsong.
Muscle Shoals has got theSwampers and a lot of people
don't even know who the Swamperswere.
They were the studio musiciansand Muscle Shoals in the
recording studio there they werecalled the Swampers, so the

(26:15):
Cajun Swampers.
I'm sitting with one of themright here.
How about that?
So we go from 78 to 82.
Jeff Pollard and Bobby Campoleave, leave LaRue and replaced
with Fergie Fredrickson and JimOdom, who is still current with

(26:36):
you guys today.
Right, can you speak a littlebit about that shakeup and why
Jeff may have left the band?

Speaker 3 (26:47):
Well, Jeff was always a Christian.
Okay, In fact, when we touredwith Kansas, he Kerry Leverin,
we were real close to them.
We were managed by the same BudCorp, same manager, and Jeff
would sometimes ride the buswith them and Cary would
sometimes ride the bus with usand eventually Cary left the

(27:08):
band.
You know he was into Easternreligion and stuff like that.
Okay, and Jeff had it and hegives Jeff the credit for
bringing him to god and um, it'sjust jeff.
Back then most of the concertswere put on by beer companies or

(27:28):
cigarette companies everythinghe was probably stood against,
right, yeah, yeah, okay, fairenough.
In that interview that I toldyou all you should check out, I
found out something we did thevideo to Addicted a song I wrote
and it really has nothing to dowith drug addiction.
But when we went to do thevideo they had this queen,

(27:51):
painted black and hanging fromthe ceiling and they had smoke
machines going on and it wasreal rock.
And we found out that theproducer wanted it to be real
dark, like you're coming fromaddiction, and blah, blah, blah.
And, like Jeff said in theinterview, it wasn't about drugs
, it was about a man and a woman.
We did a couple of takes andthe producer told Leon something

(28:14):
.
Leon went over to Jeff and saidhey, man, they want you to take
your Jesus sticker off theguitar.
You know the fish, oh no waySure yeah.
And Jeff in the interview saysthat you couldn't have hit him
with a ton of bricks.

Speaker 1 (28:25):
Yeah, yeah.

Speaker 3 (28:27):
So he went and begrudgingly took it off and he
said when the video was done,everybody was high-fiving, it
was like a band was loving it.
I mean, we were.
We thought it was great, wewere just new to videos.
And he said he went back to theroom and he just felt like
peter who had denied christthree times.
I never knew that, never knewthat.

(28:50):
And he said at that point herealized he was saying that the
devil wanted that off of there.
The devil wanted off of that.
And he said it came to himclear as a bell that Jesus said
I don't want to be any part ofthat.
And he said that's when Irealized I'm a part of that.
And he said he was a Christianbut he wasn't converted.

(29:14):
Now that's heavier than I canunderstand, of course.
But anyway, he said he gave usnotice that hey, I'll finish out
, I'll give you a year, I'llfinish out whatever contracts we
have.
And he said then he left theband and he hadn't done any
media for four decades.
So that was something I learnedfrom, that it was pulling at

(29:37):
him the whole time.
Sure.

Speaker 1 (29:39):
And he probably never spoke a lot about it either.
I wouldn't think right.
Well, you know he would talkabout it.

Speaker 3 (29:44):
He would read the Bible all the time.
You could tell he was smittenYep, but I don't think he felt
like he gave his whole self.
Yes, that makes sense, and thenwhen he did that, he never
looked back.
He doesn't pick up guitar hedoesn't sing.

Speaker 1 (30:01):
He's strictly a minister and he's a pure
minister yeah, you know, that'scrazy, that somebody with the,
the talent and the voice that hehad, I I mean, I can hear it,
it, I can hear it now.
I'm addicted baby.
And that powerful vocal thatjust comes out, like it's
amazing, like somebody couldjust turn and just 180 out the

(30:23):
door.

Speaker 3 (30:24):
Amazing singer, amazing guitar player but, like
he said, and you know they askedTony, Barton asked Tony in an
interview.
He said well, what did youthink?
You know, y'all were right onthe cusp of making it and Jeff
had this calling to go.
How did that affect you?

Speaker 1 (30:40):
He goes you know when you get the calling you go.

Speaker 3 (30:43):
Yeah, you go.
Whatever that calling may be,you go there.
And for Jeff, that's what itwas and he stayed true to it.
He's still doing that.
A little church and they, theydo 103 nations.
They give tracks out free ofcharge.
He is pure none of his moneyoriented, you know, it's none of
that which you don't find muchanymore.

Speaker 1 (31:05):
Right, everything's for a dollar, that's right.
He's the real deal, yeah hedoesn't drive.

Speaker 3 (31:09):
He lives in a nice house right around the church.
He's there all the time andthere's nothing.
He doesn't fly in a jet.
He doesn't drive a $200,000 car.
He's all about God.
He's the real deal.

Speaker 1 (31:22):
Well, good for him.
Everybody has their calling.
Some are drilling people, someare pastors, some are garbage
men, but I think everybody hastheir calling at the end of the
day.
So Jeff steps out.
Share your thoughts with me onthe late Fergie Fredrickson who
I believe.

(31:42):
If my.
I'm horrible with dates, but Ithink 2014 we lost Fergie right.
Is that correct?

Speaker 3 (31:52):
You're a lot closer than me.

Speaker 1 (31:54):
Yeah, share your thoughts.
A little bit about Fergie.

Speaker 3 (31:56):
Well, fergie, you know it's funny, we had Bobby
Kimball leave the band and wentout to LA and did a couple of
projects and then finally gotwith the Toto Boys.
That was a great run.
And then when LaRue broke up,fergie goes with Toto.
He did two albums with Toto.
He did really well and then hefound out he was sick.

(32:16):
He had cancer and Fergie wasamazing.
He would do backflips and doall that stuff.
He was a gymnast and just areally likable guy.
Sure, you know he could sing.
In fact we've had singers alongthe way that we've always had
to lower the key to sing thesongs.
Not him, I that we've always hadto lower the key to sing the
songs.
Not him, I bet you not?

Speaker 1 (32:38):
No, the songs that Fergie sang we always had to
lower the key Really, okay, wow,yeah, they were just up like
Carrie's Gone.

Speaker 3 (32:46):
I can't think of the name of it, anyway, but yeah,
he's just amazing, he's up therewith Steve.

Speaker 1 (32:52):
Perry oh yeah, he's way up there.

Speaker 3 (32:55):
But just a real likable guy.
Yeah, and he came down a fewtimes after he was sick and we
did some shows and just hated tosee him go.

Speaker 1 (33:04):
Yeah, you spoke a little bit about his stint with
Toto and correct me if I'm wrong, but I've often heard of, often
heard of you guys, and I don'tknow where I heard this.
It doesn't even matter, butI've often heard, as LaRue was

(33:24):
like the I wouldn't say thetraining camp for Toto, but
there was a lot of crosspollination with Toto.
Can you speak to kind of howyou guys intertwined with Toto?
Yeah, it's funny.

Speaker 3 (33:35):
We never played with him live but when we went in to
do I think it was a so Fired Upalbum that Jay Winding produced.
Jay Winding was dating a girlthat was married.
It was twin girls.
He was dating one and Lukatherwas married to the twin.

Speaker 1 (33:56):
Okay.

Speaker 3 (33:57):
And they had a girl band and so we knew them from
there too the connection.
And Jay, you know, did thealbum, produced it, and so we
had that connection, we had theBobby connection, and then we
will always do this song by themor you know that kind of stuff.

(34:17):
But I mean we love their musicbecause it was technical.

Speaker 1 (34:22):
Of course we like to do stuff.
Well, luke's a great player man, I mean there's.
Well, did you mention thatthere was a female band?

Speaker 3 (34:31):
Yeah, the two sisters had some band, but I can't
remember what the name was.

Speaker 1 (34:34):
It wasn't called Hardly Dangerous by any chance.
Does that sound familiar?
Okay, because I have a reallydear friend.
Her name is Bethany Heavenstoneand she was the bass player for
Hardly Dangerous and sheactually dated Lukather for like
10 years, I believe, but she'snow been with Grand Bonnet for a
long time, right?
So when you said the all-girlband, I wonder if that was

(34:56):
Bethany's band back in the day.

Speaker 3 (34:58):
Hollywood.
I think they had one single orsomething, but I can't remember
the name of it.
See, if Mark was here, he'dprobably know.

Speaker 1 (35:04):
Sure sure.
So when these guys joined you,they joined for the so Fired Up
record, and that was 83.
Does that sound right, 83?
Share with me your thoughtsabout the record itself.
So Fired Up?
A little different, I guess,maybe a little more rock.

(35:27):
To me it was a little morecommercial, Not commercial in a
bad way, but share with me yourthoughts around that record
specifically.

Speaker 3 (35:39):
Well, I started writing more.
I wrote Mystery, which I'mtrying to think.
If that was on that album, Ithink it is.
No, I don't think it was.
I don't think it was actually.

Speaker 1 (35:52):
Scott, take a look at the back of that record for me.
I'm calling Rod Roddy out onthe show here.
Mystery, there's no mystery onthat record.

Speaker 3 (35:59):
We were touring with all the bands.
When we first went out on theroad we went out with Seeger and
Nitty Gritty Dirt Band.
It's the bands that really weremore in line with what we were
kind of playing just middle ofthe road kind of stuff.
But then we started touringwith kansas and foreigner and
and cheap trick and all thesebands and I really liked that.
You know there's a lot ofkeyboard stuff, sure.

(36:20):
So I started writing more andand some of the songs, uh, the
record company really liked therock, that, that avenue and um.
So I guess I'm to blame fromleaving our roots, because now
we look back and we go maybe weshould have stayed with the
funky stuff, but there's a lotof people that like so Fired Up

(36:42):
and songs from those records.
So I don't know, it was justthat's where the band was headed
.
We were playing with those kindof bands.
We liked the way it sounded, wedid our version of that, that
and we did it.

(37:02):
Well, it's just um.
Now, when we play, we tend togo back more to the funky stuff
like the last album, the 2020record yeah, yeah, it was more
of that funky, yes it was feltgood.
It was just like that's kind oflike home to us.

Speaker 1 (37:12):
You know, you know I picked on you a little bit and
told you you were wrong just asecond ago and I can only say
that because that recordspecifically for me, top three
all-time front to back recordsfor me, in my opinion like, so
fired up, so fired up, likeevery song on that record was.

(37:34):
I mean, scott, tell me if I'mwrong like you probably feel the
same right, um, and I knowevery song on that record right
as a, as a fan of larue, um, butthat's to to you, that should
be a huge accolade.
And I only say that becausethink about how many wonderful
artists we spoke of, so manyjourney, kansas, toto.
We've heard this all of ourlives, but that record for me,

(37:57):
and being a musician, top threeof all time for me, so yeah, of
course I do hear people that inlast safe places, I think, maybe
where mystery was, I think thatwas kind of the turning.

Speaker 3 (38:10):
Okay, um, that was in the uh.
But there's a lot of peoplethat feel that same way.
Yeah, you know, we have ahodgepodge when you look at what
the first albums were.
The first album I had adefinite feel about it.
The second album was kind oflike a mixture, but then it
started going a little bit morebecause we were.
You know, when you're in thatenvironment 200 days a year, you

(38:41):
start picking up on I like theway that sounds.

Speaker 1 (38:42):
Like this way this comes together different feel
kind of left louisiana, so wewere in a different vibe.
Yeah, for sure, so it sticks toyou, was it?
It ain't nothing but a gree.
Gree was that before, before,that was before, so fired up,
right, that was I think it wasafter, but I'm not sure.

Speaker 3 (38:54):
That was one of the albums that I didn't play on, it
was one that they did.
I think we played some dateswith Tab and I was out of town
and they did it like that, soI'm not real familiar with that
record.

Speaker 1 (39:14):
And correct me if I'm wrong.
I think so fired up and lastsafe place were both actually
recorded in bogalusa studio inthe country.
Right, you had quite a fewwriting credits, no, I?

Speaker 3 (39:28):
think so fired up, that's.
That's the one with the rockstuff yeah, so fired up.

Speaker 1 (39:32):
Is carrie's gone?

Speaker 3 (39:33):
yeah, that was in la oh, was it in la?

Speaker 1 (39:35):
yeah, okay that jay wendy produced that one okay,
well, you, I I guess I didn'tyou know after talking to tony
and all the great songs that hewrote you, you would expect that
.
Well, gee, tony wrote all thesongs for larue.
So far from the truth.
And I look back at the linernotes and so fired up and it's

(39:56):
like Rod, roddy, rod, roddy, rod, roddy, rod, roddy, kudos to
you.
You've written a lot of greatsongs.

Speaker 3 (40:02):
You know it's funny because I had a song that was
Tony and I did together Get itRight the First Time, which was
a cool song that was.
Just I had the music and I'dplay around with it and it's
like I I wasn't much on lyricsthat time at that time I mean
I'd write.
If I wrote it it was cause ofbreakup or sad song or something
silly.

(40:22):
You know something like that.

Speaker 1 (40:23):
Sure.

Speaker 3 (40:23):
But Tony, he says he comes over there.
I mean I was sitting at thepiano playing and he said this
book and he flips through it.

Speaker 1 (40:36):
I think I got a song that'll work for that and and
the lyrics in that song areincredible, wow, incredible, um
it's, I just don't.
I I thought back to myinterview with tony and I got a
larue trivia question for you.
I'm not sure if you know thisor not, but do you happen to
know what tony's favorite laruesong of all times is?
If you were to guess what doyou think it would be?

Speaker 3 (40:57):
I have no idea you know how those boys are.
That is a great song, yeah.

Speaker 1 (41:02):
And it kind of caught me off guard Of all of them.
I would have never thought thatwas a great song, but I didn't
expect him to say that.

Speaker 3 (41:09):
It's got a turnaround riff in it that even now I play
that song and it's like I go ohwait, no, that's right, that's
it.

Speaker 1 (41:17):
Yeah.
You've got to really be lockedinto that one.
Like I mentioned earlier, youhad quite a few writings, quite
a few writing credits on the soFired Up record.
Is there a track that maybeyou're the most proud of on that
record?
And I know that's kind of likecalling one of your children
ugly, right, but is there a songthat sticks out in your mind on

(41:41):
that record that you're maybethe most proud of, or that
resonates with Rod Roddy morethan the others?

Speaker 3 (41:48):
On which album now.

Speaker 1 (41:49):
So Fired Up.

Speaker 3 (41:50):
You got that album, I don't know.
You got that Al.
I got that.

Speaker 1 (41:57):
We're cross-referencing the back of a
vinyl here.

Speaker 3 (42:05):
I think I had something to do with yours
tonight because I really likedthat and Turning Point those are
two.
Turning Point was really, Ithink, Turning Point might be it
and.
I'll tell you why.
Because it was a Turning Pointwith the band.
But we were riding in LakeDecad and wind blowing, had a
couple of drinks and we're atnight and I said I think that's

(42:27):
our Turning Point over there.
And we just look at me, jim andand and uh, fergie it's like
turning point, turning point andthat it's just, and it felt
like, okay, it was a turningpoint for the band and, you know
, I think it's probably morelike a about a girl, but yeah,
um, but yeah, those, those arereally good songs.

(42:48):
I mean, I really like thosesongs on there well, there's so
many songs.

Speaker 1 (42:51):
It's interesting because you know turning point
could be misconstrued and youcan, I think the artist write a
song and you can use thelistener or the ingester of
music can use the songs howeverthey like, right, which I think
is what artists love.
Um, and I, and I lost my, mytrain of thought of what I where

(43:17):
I was going with that.
I'll think of it in a minute,but um, gosh, dang it.
I hate when I lose my thoughtum, do you get older?
yeah, I know this.
This is why I love likerecorded interviews so you can
just like that spot.
Just wipe that out like itnever even happened.
Like randy, he's so perfect.
Um, I'll think of that in aminute.

(43:37):
But outside of um, outside offergie, um, the the last few
years has yielded the loss ofseveral of the founding members.
In 2024, of course, leon Medicapassed.
Share your thoughts on Leon,both as a person and as a

(44:02):
bandmate, if you'd be so kind.

Speaker 3 (44:05):
Leon knew the business probably better than
anybody else in the business inthe band.
He had that part and he couldbe funny, clever and ruthless
and I think to be in thatbusiness you've got to be all
those things you can't, you know, whereas Tony we lost Tony too

(44:28):
just recently and Tony was justa whole different kind of
personality.
Tony was upbeat, he had hismoments, and we all do, but he
was always nice and friendly andall that.
Now, if he got mad he got mad,but with Leon Leon kept it.
It was always business and yougot to have that when you do

(44:51):
that part of it.
And I don't think anybody elsein the band was able to capture
that when Leon started havingissues with his dementia and all
that and retired and we kind oflost that part of keeping us
centered and and that.
That was hard.

(45:11):
But um, I mean leon was therefrom the beginning, from when
larue actually sure sure youknow, so you hate losing people
like that I.

Speaker 1 (45:18):
I had reached out to randy jackson, the lead singer
for zebra, just recently, wellin 2024, when I heard of leon's
and I you know Randy's still upin Long Island when he left New
Orleans.
They went to New York or two ofthe guys him and Felix, did and
I text him one morning and Isaid, hey, I don't know if you

(45:39):
heard, but Leon Medica fromLaRue passed away and he's like
no way, I didn't, I had no ideaand I think he was kind of close
with Leon.
I had no idea and I think hewas kind of close with Leon.
Of course they had known eachother, probably closer with him
in LaRue than maybe some of theothers.
I don't know the fullrelationship, right, but yeah, I
think Randy was smitten to hearthe news about Leon as well.

(46:01):
And you mentioned it tooRecently Tony Hazelden passed
after a lengthy illness.
I know you've got a lot ofthoughts about Tony.
Share your thoughts with Tonyas a human being and then, just
from a bandmate perspective,two-part question for you.

Speaker 3 (46:18):
Well, as a human, he was just amazing.
I mean, we'd be riding togetherand I would say something funny
and then he would take it tothat level.
Okay, and he was just it, tothat level.

Speaker 1 (46:28):
Okay.

Speaker 3 (46:29):
And he was just that kind of guy.
He was quick, but if I wouldcome up with a song idea, he'd
already add stuff to it and justagain take it to another level.
And I said I never thought ofthat.
You know, it's like that.
And he was just.
He would always make you feelspecial, I don't care what level
you are in his world, he madeyou feel special and he was.

(46:52):
We'd always this was our Airbnbat one time and we'd always the
gang would come here and we'dsit out there and listen to
music and we'd just talk abouttimes and dance and my brother
would dance and do that kind ofstuff and it was just like I
said.
I've known him for 53 years.
He worked at a music store,Prof Ernie's, with my mom.

(47:12):
That's how I met him.
He got in a band with me andLee Offman who played guitar and
sang.
He was not that good, but wewent to Miami and opened up for
David Ruffin and we started thatmusic and then we felt away
from each other.
And then, when Jeff came alongand we looked for another guitar
player, we asked Tony to comejam with us at Nichols.

(47:35):
He came jam with us.
He was getting ready to go forhis, his PhD or whatever his
next level from a graduate.
And we called him two o'clockin the morning and said, hey,
man, how would you like to be inthe band?
And he goes, uh, I don't know,he's getting ready to go back to
school.
And uh, he said, okay, you know, and then we were there and

(47:59):
that's you know.
But you could, when you talk tohim you realize he had a
psychology degree.

Speaker 1 (48:03):
I mean man was yeah way up there.

Speaker 3 (48:07):
Great person.

Speaker 1 (48:08):
And you know, I of course didn't know him like you
did by any stretch of theimagination, but I was fortunate
enough to meet him and Juliafor lunch.
I guess he was in town formedical treatment Sometime back.
My wife and I met him and yousit down with these people and
it's like you've known them allyour life, like there was no you

(48:29):
know.
Some people would say, you know, I'm talking to music royalty
here.
This guy is you know, LaRuewritten hit songs for so many
different people.
But he sat at the table like hewas just like one of the boys
right and Julia was just asamazing as could be, and I know
that both of their musicalcontributions, leon's and Tony's

(48:50):
, will be certainly a missedthing in the future.

Speaker 3 (48:54):
Well, you know, tony Leon wrote New Orleans Ladies
with Hart Garrick and both aregone now and he wrote it for a
French artist that didn't use it, thank goodness.

Speaker 1 (49:05):
Yeah.

Speaker 3 (49:06):
But yeah, they're missed For sure.

Speaker 1 (49:09):
So fast, but yeah, they're missed, yeah for sure.
So fast forward, we fastforward to 2020.
The band releases an LP calledOne of those Days.
Love the record.
Going back to the roots.

Speaker 3 (49:23):
a little bit right If we talk about so Fired Up, come
forward to 2020, totallydifferent sound than than 83
wrote the majority of thatrecord and tony wrote a lot of
the lyrics and jim would bringan idea, and then tony would
just take it and run with it.
Um, and then I would say, ofall the singers we've had since

(49:45):
Jeff Pollard, jeff McCarty'sprobably the next best to do
that.
What Jeff did Is that right Tocontinue that yeah, jeff's just
got a unique voice.

Speaker 1 (49:57):
That's a huge accolade for him, like saying
that Fergie Fredrickson was agreat singer Fergie was, but
Fergie was specifically thatrock genre.

Speaker 3 (50:08):
Yes, okay fair enough when Jeff could do both.

Speaker 1 (50:10):
Versatile, versatile singer Do funky.

Speaker 3 (50:13):
And I'm not saying Fergie couldn't, but I never
heard him do it, of course, andit was probably because of the
environment he was in.
But when we were thinking abouthiring Jeff in fact it's on one
of our interviews we did I wassaying, well, I wasn't sure I
knew he could sing the funkystuff, but I wasn't sure that he
could sing rock.
And then the guy did a video ofus and he cuts to Jeff going I

(50:35):
grew up with Megadeth and allthat Right and you listen to him
sing and he wails way higher.

Speaker 1 (50:42):
Yeah, of course.

Speaker 3 (50:43):
But he's got a round, that Michael McDonald kind of a
round, smooth, warm but raspy,and he covers it all and that's
Jim says that in one of theinterviews.
He says you know, when we heardJeff, we knew we had that piece
the final piece.
The missing piece To do anotherrecord.

Speaker 1 (51:03):
Was it Jeff that wrote one of those days?
Was that his song that he wrote?

Speaker 3 (51:08):
Actually Jim wrote that.

Speaker 1 (51:10):
I'm sorry, yeah, jim, I meant Jim.

Speaker 3 (51:12):
Jim wrote the majority of the music on that
and I didn't write anything onit, and Tony, I think, helped
with the lyrics and, yeah, Jimcame up with some incredible
guitar.
It was just right in what wewere feeling at the time sure
the sad thing is, it did reallywell in europe, but covid, we

(51:32):
couldn't go, yeah, you know.

Speaker 1 (51:34):
So that was such a that was such a great vibe song
like that's uh, one of those letyour hair blow in the winds and
just go just go which is cooland there was a lyric in that,
in that song, and when I heardit for the first time I didn't
look at any liner notes.
I'm that guy that writes thedamn liner notes, right, but I
didn't read it and I justassumed for a minute that Tony

(51:57):
had written that song, becausethere was a lyric in that song
that sounded like something Tonywould write.
But it could have been Jim andkudos to Jim if he wrote it, but
it went.
I saw an been Jim and kudos toJim if he wrote it, but there
was, it went.
I saw an angel standing on theinterstate, jeans cut off, clear
up the heaven's gate.
Amen, can I get an amen?

Speaker 3 (52:17):
That sounds like Tony right there, right, yeah, 100%,
that's like, if you don't getthat, you know yeah no, you
nailed it.
That's what I'm saying Jim had,we had a basic idea.
I think Jim may have been oneof those days, that kind of
thing, just hey, have it out.
And then Tony ran with it.
I mean to think of that line.
You know.

(52:38):
And then the guy who did thevideo of it nailed it, you know.

Speaker 1 (52:44):
It's funny.
I don't think that my podcast Iit's funny.
I don't think that my podcast.
I don't think that I'm anybetter than any other podcaster,
but I listen to songsdifferently than some people do
and I get inside of the song.
I'm not on the outside of thesong, I'm dissecting inside the
song and when I heard that itwas Tony Hazelden, like no doubt
about it, it had to be TonyHazelden, right?

(53:06):
Well, and he has a song calledwho the Baby Daddy, but you got
to Scott.

Speaker 3 (53:16):
You got to watch who the Baby Daddy on YouTube.
I don't know who did that video.

Speaker 1 (53:17):
I don't know who did it, but put it.
Even the listeners around theworld that will listen to this
interview.
Who the Baby Daddy, tonyHazelden.
Youtube that and it's a I guessit's a this interview who to
baby daddy Tony Hazelden,youtube that.

Speaker 3 (53:33):
And it's a, I guess it's a.

Speaker 1 (53:34):
You can't call it a spoof, yeah, but it's to
religion, right yeah?
But it explains it Of course,and it's awesome, and I think
only Tony could pull somethingoff like that.

Speaker 3 (53:44):
Right, you should see when Tony would play like we
would do live, and then Tonywould play a song Towards toward
the end.
We would play a little bit init, but you can see the audience
because they're going.
I don't know if I should laughat that, but it's funny yeah,
you can't help, but at the endyou go oh, I get it, it's yeah
well, there was a lot, of, a lotof great songs on the record.

Speaker 1 (54:07):
You guys completely redid lifeline, which is one of
the songs that you wrote correctTotally different vibe than on
the so Fired Up record.
Really cool to hear that.
In fact I was listening to itin my studio in Cyprus last week
, kind of preparing my mindaround what I wanted to talk to
you about.
And my wife walks into thestudio and she said I've heard

(54:33):
this song before, I've heard youlistening, but it doesn't sound
like what I'm used to.
I said same band, just a remakeon the.
Well, mostly the same band namebut different musicians, but it
was a remake of that songTotally different than what you
heard off the 83 so Fired Uprecord.
Right, yeah, we went for adifferent feel.

Speaker 3 (54:55):
Okay, you know, just we liked the groove, we liked
the feel of the song, we wantedto try to make it where it
wasn't so 80s, you know thatdriving thing.

Speaker 2 (55:06):
And.

Speaker 3 (55:06):
I think it came off pretty nice.

Speaker 1 (55:10):
It almost has like a kind of miami kind of feel to it
, like a you know, yes, I triedto do some of that with the
piano um you know, uriah, he didthat song too yes, they did,
yes, they did.

Speaker 3 (55:19):
I don't think I've ever heard it yeah that's
interesting.

Speaker 1 (55:23):
Um well, that was, that's that record.
Uh went to number one on theiTunes Blues chart.

Speaker 2 (55:35):
Did it not?

Speaker 1 (55:36):
Yeah, interesting, and I guess that was one of the
first records you guys hadreleased.
In what?
18-ish years?

Speaker 3 (55:46):
somewhere around there.
That's a shame.
I wish we could have uh goneand promoted it.

Speaker 1 (55:51):
Yeah, uh well, yeah, because that was the height of
covid, right, yeah, that's aboutwhen I was starting up the
podcast.
Yeah, you couldn't go anywhere,yeah, um well, and you know,
another great track on thateffort was, uh, luciana, right,
how did that?
Do you remember how that song?

Speaker 3 (56:07):
came about when.

Speaker 1 (56:08):
When Keith uh, we were listening to that on the
way up here, hey little.

Speaker 3 (56:11):
Luciana, it's a cool tune.
Keith Landry was singing withus at the time and he was uh, a
backup singer with Bobby Kimballand Toto and he's from, uh,
Lafayette area, I think KeithLandry and he and a friend of
his wrote that and we alwaysliked it and we cut it, and then
we thought about it and then wesaid nah, nah, and then we said

(56:33):
, oh man, we've got to do it.
It feels so good and it's justa good little piano song and it
was fun.

Speaker 1 (56:40):
Well, it really showcased your talents in that
song.
You got a lot of it.
I mean the spotlight was kindof on you when it opened up,
right, yeah, it was just one ofthem old like Jerry Lee Lewis

(57:02):
kind of piano things.
Do you remember whose idea itwas to redo Lifeline, Like of
all of the songs that you couldhave redone?
Right, you have a catalog ofstuff.
Why was it Lifeline that waspicked out of that, I think?

Speaker 3 (57:10):
Jimbo really liked that song and Fergie I mean Jeff
liked it Okay.
And Jim said I hear it morelaid back.
And Jeff said yeah, let's trythat, so they would have too.

Speaker 1 (57:25):
Well, I mentioned earlier, I think it was an
18-year span between the 2020release and the last recording.
Why the gap?
Why the 18-year gap?
Was that the time Tony was inNashville, or was Nashville
before that?

Speaker 3 (57:43):
No, tony was in Nashville, I was in Alabama, had
a whole different career.
Tony was in Nashville, I was inAlabama, had a whole different
career.
We would get together but itwasn't.
I think Jim nailed it whenfinally we got Jeff.
We needed a singer and I fellupon him.
I talked to somebody and theysaid well, come see Jeff.

(58:05):
I said I heard about that guyand I went and listened to him
locally and I said I mean, y'allgot to come hear this guy and I
think after they heard him theysaid let's, let's see what we
can do.
We started getting together andjamming on songs and we said
let's do this in the studio.
And we got with Jeff Glicksmanwho did most of the Kansas
records and did an awesome job,totally different way of

(58:29):
recording than what we didbefore.

Speaker 1 (58:34):
Sure Was that, and not to geek out on the recording
too much, but was that adigital type of recording or did
you guys go analog on that?

Speaker 3 (58:44):
I think we did a bit of both what he did differently
before.
We did it almost like science.
We just went in there and wedid the basic track and then we
started doing overdubs and whatI liked about the way Jeff would
do it.
He'd go we might have a scratchvocal thing and he'd go come on
, I want you to do piano, justplay through the whole thing,

(59:08):
I'll use what I want to use.
So he just lets you kind of jamalong.
And then he found pieces.
He would take a piece and putit here, put it there, and you'd
go wow, so you're just playingthe click tracks, right?
Well, we had basic, the trackwas there, everything was there,
but you had a scratch vocal.
You really didn't have guitarsyet.

(59:29):
But he just let you play.
And then when you play you goyeah, I like that.
Okay, well, then I'd refine itand use it, you know, and he
would pull stuff that I wouldhave never played normally.
You know, you kind of gettrapped in the way you normally
play, but in the studio, becauseif a guy goes, I don't really
like that.

Speaker 1 (59:50):
That's the good stuff usually, right yeah.

Speaker 3 (59:54):
Yeah, you wind up coming back around, but that's
what I liked about Jeff.

Speaker 1 (59:59):
He threw it at us from a whole different direction
no-transcript, but sometimesthey're the highlight of the
song.
They turn out to be thehighlight of the song.
They hear things that you don'thear sometimes.

Speaker 3 (01:00:16):
Well, you know it's funny, the song Baby, you Ain't
Seen Nothin' Yet.

Speaker 1 (01:00:20):
Sure.

Speaker 3 (01:00:20):
Supposedly that was a scratch vocal.

Speaker 1 (01:00:22):
Really.

Speaker 3 (01:00:23):
That he just did out of fun and it was a hit.

Speaker 1 (01:00:26):
That was old Bachman.
Turner overdrive right.

Speaker 3 (01:00:29):
Yeah, they said he did that as just cutting up you
know, yeah, that that's it.

Speaker 1 (01:00:34):
I mean some of the garbage that you think throw
away is the biggest hit songsometimes you know, uh, daryl
hall said so.
I had elliot lewis on my showwho was a 20-year player with
hall and oats.
He was in all the live fromdaryl house videos and played
with all these guys and theythey were saying that the song

(01:00:54):
Rich Girl, right was a 10-minutewrite, was a throwaway song and
it became one of the biggestsongs that they ever wrote right
.
So one man's trash, I guess, isanother man's treasure at the
end of the day.
You guys recorded New OrleansLadies on this record for I
guess the second time rightSlowed it up, slowed it up.

Speaker 3 (01:01:19):
Got Tab to play.

Speaker 1 (01:01:20):
Featured Tab on the song.
I guess the middle of the song,which was not like the original
recording, opened up in themiddle for some guitar parts.
Right Now who was playing?
Was that Tony playing thoseparts or was that?

Speaker 3 (01:01:36):
Jimim, jim and, uh, I think, tab went back and forth
on that.
And then we had the girls, uh,who have doing really well,
chapel heart.

Speaker 1 (01:01:45):
Same background on that, yes and it and it sounds
like you know, rod it, it, it.
It sounds hauntingly like theoriginal recording.
I mean, they did a reallyfantastic job on that and Tab's
voice is special.

Speaker 3 (01:01:59):
He's a hell of an entertainer.
He's on, he's on all the time.

Speaker 1 (01:02:05):
Sure, well, I remember, I tell you, I had this
whole emotional momentlistening back to that song
after so many years, dating allthe way back when I first heard
it, and it just kind of camefull circle for me.
And I don't, you know, I wastalking to Scott this morning

(01:02:25):
and we were talking about thedeath of Leonard Skinner and
Scott got choked up talkingabout it and it's, I guess,
guess.
Unless you have that deepappreciation and love for music,
you don't connect with it onthat level.
But it becomes a very emotionalthing to you, right?
The songs take me back in time.
I dedicated New Orleans ladiesto my wife, who is from New

(01:02:49):
Orleans, and the first time Iheard I said this I didn't write
the song, of course, but if Idid write a song it would be
this one and that's just beenher song forever.
And to hear it re-recorded.
And, to be honest, I guess Ididn't let myself listen to the

(01:03:10):
song on the latest release,right, um, but I did the other
day because I just wanted to, Iwanted to listen to the whole
record, just front to back, nodistractions, and it was a, it
was an emotional thing for mebecause it's just a, it's a song
that's literally stood the testof time for you guys yeah, and
it's uh.

Speaker 3 (01:03:32):
Different people see different things in that song.
They wonder if it's about thecall girls or what it's about.
To me it's about New Orleans.
I mean, it's just, it's a.
You know, new Orleans is just amix of everything, so you can
pull out of it what you want, ofcourse, but a great song.

Speaker 1 (01:03:49):
Yes, outside of music , what keeps you busy these days
, man?

Speaker 3 (01:03:56):
I'm trying to be stress-free.
In fact, the place we have ahouse, if you figure that one
out.

Speaker 1 (01:04:02):
Please call me and let me know.

Speaker 3 (01:04:04):
We have a house right past Bay, st Louis and past
Christiane and it's on the water.
And somebody says you know,lisa and I Lisa's amazing, we've
been together 13 years and weboth, since we've been together,
we've done everything.
We've redone an old 1957Yellowstone camper, we did a

(01:04:27):
school bus, we started on a boatand then got busy doing other
stuff.
We've done 31 houses and webought that house.
I grew up on the water of StLouis Canal in Houma and we had
a place in Napoleonville.
My grandpa's place was off LakeFerret.

(01:04:47):
So we bought this place on thewater and I told her I said
people said I thought you wasn'tgoing to sell your house
downtown.
I thought you wasn't going tosell the store you redid.
Well, we just, we fall in lovewith it, we give it our all and
then we move on to somethingelse.
So I said, well, it's ourforever home.
But that's about a year and ahalf, you know.
But we bought this place on thewater and somebody said I guess

(01:05:10):
you'll sell it too and I saidyeah, I don't think so.
I said I was raised on thewater.
I'm not saying I'm ready to die, but I'm comfortable.

Speaker 1 (01:05:18):
Thanks for clearing that up.
Yeah, God don't.
He was just joking, Jesus, hewas only kidding.

Speaker 3 (01:05:25):
But I said, no, I like it there.
I can go in the backyard and gocatch a fish.
Lulu, y'all met Lulu.
She hangs there either catchingcrabs or catching fish, and she
loves it.
She follows.
She goes back and forth betweenthe pole and the cage and it's
just that's what it is.

(01:05:46):
But it's time to slow down alittle bit, yeah.

Speaker 1 (01:05:51):
I get it totally, scott, doesn't your?
Scott's a little off the micright here for the listeners of
Backstage Pass Radio.
But, scott, doesn't your familyhave quite a big plot of land
out in Mississippi somewhereNorth of?

Speaker 3 (01:06:04):
Hattiesburg about 70.
Oh wow.
Beautiful state, yeah, and mydaughter lives in Pass
Christiane on the water.

Speaker 1 (01:06:09):
Yeah, how many acres up there?
We've got 120 up there, okay.

Speaker 3 (01:06:15):
You think that's going to be enough.
Just that it never will beenough.
That's where we got up north ofHasburg and that's where my
mother was born.

Speaker 2 (01:06:24):
Oh awesome.

Speaker 3 (01:06:25):
And raised on that land.
You know what I like aboutMississippi.
You know most clocks run thisway.
It kind of tink.
Yeah, that's right.
And I lived in Brandon,mississippi, for about five or
seven years and it took me thelongest time to get used to it.
It's just laid back, but on thecoast it's the same thing.
They'll go, honey, you ain'tgot to go that you know.

(01:06:45):
Everybody loves you, everybody,and I'm sure that's eventually
going to change.
Because now they keep writingarticles about it's the secret,
the Gulf Coast and but you goover there.
And because now they keepwriting articles about it's the
secret, the Gulf Coast, but yougo over there and it's just
chill, it's a slower ride, yeah.
But I mean, I love Louisiana andwe have our place in Louisiana.
The sad thing is we come hereto see doctors and family and

(01:07:08):
then we go back to chill.

Speaker 1 (01:07:09):
Yeah.

Speaker 3 (01:07:09):
You know so we'll never give this place up.

Speaker 1 (01:07:14):
We're on the water again, yeah yeah Well, you know,
what's cool about this placethat we're sitting in right now
is you mentioned it earlier thatthe whole band used to come to
this place here, and that's kindof a cool thing.
That's kind of an honor for meto be sitting in here with such,
you know, where great musicianshave shared stories and
probably collaborated a littlebit at some point in time, right

(01:07:37):
, I'm sure, and then the generalstore that we did was built in
1928, and we would rehearsethere.

Speaker 3 (01:07:44):
In fact, if you look at our interviews of that last
album, that was all filmed inthat house Was it Okay.
Yeah, and that's all.
Was a store in 1928.
Served the plantations and allthe people around there.
It was just awesome, yeah,awesome.

Speaker 1 (01:08:01):
Well, just to my immediate right for the
listeners in their mind's eyethere's a beautiful baby grand
piano.
Do you still play today?
Do you just sit down at thepiano and just tool?
I don't hammer at it, but I'llplay, I'll sit down.

Speaker 3 (01:08:19):
It's funny.
I might have a cocktail andthen I think of a song and I
play for emotion.
Now I don't just play, ofcourse, and I'm going to tell
you why.
I've got a hearing issue goingon.
You know, you hear about theseguys that lost their hearing.
I'll be playing.
It happened on the first cruisewe did and I'll be in G, but

(01:08:39):
every bass note that the bassplayer would hit would be A, so
it'd be the ninth.
Yeah yeah, and if you listen toa song, I'll listen on the radio
and it'll start.
It'll do that and I can'tfollow the song anymore because
it's playing the ninth of every,so it changes with the song,
but it's the ninth and it drivesme crazy yeah, so I don't know
if um I don't know what I askedthe lady.

(01:09:01):
I went to the hearing thing.
She goes.
Oh, I can't help you with that.

Speaker 1 (01:09:04):
You know too many fibers laid down right, but um,
yeah, are you still writing atall?
Do you not write anymore?

Speaker 3 (01:09:12):
I started writing a song a few weeks ago and it's
it's about no stress, okay, youknow, and it's gonna have a
Mississippi vibe I hadn't workedon it much lately and then with
Tony's now we're getting readyfor a memorial service on the
29th, that we're gonna do somestuff, but no, not really.

(01:09:32):
It's kind of like Tony said,you know, he just kind of it
didn't leave him, but it wasn'tthe Predominant.
Yes, yeah.

Speaker 1 (01:09:41):
You dabble.
You dabble in it or around itIf you feel something you go
like that and then you know it'sjust.

Speaker 3 (01:09:48):
I don't want to say I lost my mojo, I just want to
say my mojo's changed Elsewhere.
Yes, yeah, I get it.

Speaker 1 (01:09:56):
It's like taste buds, I think.
Over the years they just changewhat you liked in the past you
don't have a taste for anymore.
I don't know why that happens,but it does.
It's a real thing and I thinkit's that way with musicianship
too.
Being an artist, I go throughthose lulls too, where sometimes

(01:10:17):
I want to play eight hours aday and sometimes I don't want
to play for eight days.

Speaker 2 (01:10:21):
There's no rhyme or reason to that.

Speaker 1 (01:10:25):
It's a phenomenon that I can't explain, but I
never lose the love for musicand hearing music that never
goes away right, the deep lovefor the art and the song.

Speaker 3 (01:10:36):
It's funny because Lisa loves music more than I do.
I mean she would want to go seeeverybody, which is good,
because when I'm not in thatmoment she'll drag me out and
we'll go watch somebody and thenbe like, oh, that was cool.
Yeah of course, but it's justchanged.
I can't explain it.

Speaker 1 (01:10:57):
Share with the listeners just real quick.
What does from a memberperspective?
What does LaRue look like today?

Speaker 3 (01:11:06):
Well, the core of the band is still there.
I mean, we've done shows withone guitar player and it's not
to take away from losing one,it's just obviously the songs
that we do with two guitarplayers will have to be revamped
and structured differently.
But you know, it's funnybecause we're going to have a

(01:11:27):
meeting, probably in two tothree weeks, and just visit with
what is I call it me Mark andJim and Jeff.
What do we think the band needsto be and what direction do we
want to go?
How much life is there in itstill?
So we're at that crossroadsthat you've got to go.

(01:11:50):
Do we want to chase it?
Not chase it for a record deal?
But when we get together onstage it's magic, yeah, and we
miss that part of it.
So we've got to figure out howwe're going to get that back and
that's, I think, what we'regoing to get together and talk
about.

Speaker 1 (01:12:06):
Yeah, I think both of us stole my thunder because
that was a question that I wasgoing to ask coming up, but it
was a perfect segue into it.
Like you know, with the loss ofTony you know Leon a while back
, like I was wondering what thedirection of the band.
Is there a direction for theband or is it still just kind of
let's talk about it?
We don't even know, let's justfigure it out.

Speaker 3 (01:12:29):
That's kind of where we're at right now, but you know
we did that, like I said, at2018, we did the Rockin'
Southern Rock, Molly Hatchet,not a single original member.

Speaker 1 (01:12:39):
Isn't that just a tribute band at that time right?

Speaker 3 (01:12:42):
And Foreigner has no original members.

Speaker 1 (01:12:44):
Well, did Mick Jones finally give it up?

Speaker 3 (01:12:47):
Yeah, In fact, the last thing I heard about it was
when he didn't play and thecrowd was going crazy Wait a
minute, because they've alwayshad a replacement singer.

Speaker 1 (01:12:58):
Yeah, kelly Hanson, who has sang with Foreigner for
probably 20 years now, and JeffPilsen, who was in Dokken for a
while and then he was in BlackSwan.
I mean, those guys arephenomenal musicians in and of
themselves, but they serve thosesongs, those Foreigner songs,
really really well.

Speaker 3 (01:13:18):
We went to see Chicago and Biloxi and they were
freaking awesome.
Yes, and I think it's threeoriginal members left.
The keyboard player is 81 yearsold Now.
He doesn't sing a lot of theparts he sang originally, but
they were awesome.
The show was awesome.
So age doesn't determine it.

Speaker 1 (01:13:34):
No.

Speaker 3 (01:13:35):
You just have to see where we're at.

Speaker 1 (01:13:36):
That's exactly it.
Where can the listeners and?
You made a comment earlier andI might be asking the wrong guy,
but I'm going to ask you anywaywhen can the listeners find the
band on social media?

Speaker 3 (01:13:49):
We have a website.
Well, we do have a website, butwe also have a Facebook page,
and Mark is usually in charge ofthat.
But I would say the websiteit's here lately hasn't been
updated much, but again, that'sone of the things we'll be
talking about.

Speaker 1 (01:14:07):
Awesome.
Well, Rod, listen, this hasbeen super awesome man.
I appreciate you taking thetime and Scott for coming down
here with me.
Thanks for opening up your home.
I know that sometimes might bea little weird for people, but
sometimes just being on thesegood mics is better than this
Zoom crap, because it doesn'tcome across sometimes as genuine

(01:14:27):
, and I've had some awesomein-home interviews and this is
another one that I've had, so Iappreciate this so much.
I I wish you guys the best ofluck, um and and continued
success for whatever the bandcomes up with.
And if you're ever in houston,make sure you you call and let's
have a a coffee or a beer thelast time we played there was at

(01:14:49):
uh, what's his name?

Speaker 3 (01:14:50):
uh, mike.
Um no, the radio personality.
He's a friend of mine.
I can't remember his name.
He had the Redneck Social Club.

Speaker 1 (01:15:01):
Oh, yeah, yeah, yeah, yeah, gosh dang it.

Speaker 3 (01:15:04):
Hey, what's his name?
She's sleeping probably.

Speaker 1 (01:15:09):
Yeah, I know.

Speaker 3 (01:15:10):
He's a conservative radio host.

Speaker 1 (01:15:12):
Yes, Michael Berry.
Thank you have an old person.
What did you call it?
You're having a numbers issue.
It's a numbers issue.
Yeah, 1966.

Speaker 3 (01:15:22):
Yeah, michael Berry, he had that club.
He's just a cool guy.

Speaker 1 (01:15:28):
That was a cool place , did you say you played it, we
played there.

Speaker 3 (01:15:32):
You know that's how I met him.
You don't have to keep this,but that's how I met him.
I have Alvin Ballard Roofing,my roofing company, which I'm
trying to close down, and theybrought me WJBO was advertising
and they brought me to meet theguys that we advertised with.
Well, michael Berry, I reallydidn't know of him.
I just know that I was on hisshow.
Oh, I love him.

(01:15:52):
I just know that I was on hisshow.
So we're sitting there andthey're talking about music and
all he goes.
Yeah, man, there's one band Ireally loved and he said LaRue,
and they all get this look ontheir face.
You know that's funny.
And he goes what's the deal?
What you heard of them?
No, I didn't do that.
The people at the table and hegoes and they said that's the

(01:16:15):
keyboard player, he's in it.
And he said no way, and we'vebeen friends ever since.

Speaker 1 (01:16:20):
That's funny yeah.

Speaker 3 (01:16:21):
I know and I mean he was a diehard.
He tells about when he was athigh school.
Whatever, diehard LaRue fan.

Speaker 1 (01:16:28):
Isn't it funny?
The people you least expect toknow what you did or do is one
of the biggest fans out there.
That's super cool.
And you spoke of the RedneckCountry Club and that is a
really cool place for thelisteners that don't know about
this place.
It's a really cool music typeof venue and the seating in
there is lawn chairs, right,just like you would think of a

(01:16:50):
redneck sitting out in the yardin a lawn chair.

Speaker 3 (01:16:52):
Cut-off campers yes yeah, cool, cool, cool.

Speaker 1 (01:16:57):
Very cool stuff.
So again, rod, thanks a lot forjoining me.
This has been super cool andthere's some things that I
learned today that I didn't evenknow, and that's kind of one of
the reasons that I started theshow, because I'm the music
junkieie, I love the storiesbehind the songs, the stories
behind the band, and, being ahuge larue fan myself, it did it

(01:17:19):
kind of broadened my knowledgeabout the band.

Speaker 3 (01:17:21):
So thanks for sharing .
I really like to talk to peoplewho go that in depth.
Sure, like I think it was aboutsix years ago I finally knew
the words to the old ladies.
You know it's a joke, but itwasn't that far away yes, yes,
yeah, but you know listen.

Speaker 1 (01:17:35):
I asked the listeners to check out LaRue's website at
wwwlarueband and, yes, that isband.
That's a weird DNS name, butyou can find it at wwwlarueband.

(01:17:55):
And make sure to follow them onall of the social media handles
.
I ask the listeners to like,share and subscribe to the
podcast on Facebook at BackstagePass Radio Podcast, on
Instagram at Backstage PassRadio and on the website at
BackstagePassRadiocom.
You guys remember to take careof each other and yourselves and
we'll see you right back hereon the next episode
ofstagePassRadiocom.
You guys remember to take careof each other and yourselves and

(01:18:16):
we'll see you right back hereon the next episode of Backstage
Pass Radio.

Speaker 2 (01:18:20):
Thank you for tuning into this episode of Backstage
Pass Radio.
We hope you enjoyed thisepisode and gained some new
insights into the world of music.
Backstage Pass Radio is heardin over 80 countries and the
streams continue to grow eachweek.
If you loved what you heard,don't forget to subscribe, rate
and leave reviews on yourfavorite podcast platform.

(01:18:42):
Your feedback means the worldto us and helps us bring you
even more amazing content.
So join us next time foranother deep dive into the
stories and sounds that shapeour musical landscape.
Until then, keep listening,keep exploring and keep the
passion of music alive.

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