Bobby Ogdin, Elvis Presley / Marshall Tucker Band / Ween

If ever there was an episode that is impossible to describe in a few words, it’s this one. Bobby Ogdin has hundreds of sessions and live performances to his name across literally hundreds of artists. We attempt to cover just a fraction of that with Bobby and what a privilege it was. From Bobby’s backing...

The post Bobby Ogdin, Elvis Presley / Marshall Tucker Band / Ween appeared first on The Keyboard Chronicles.

Episode Transcript

(00:00):
I couldn't see any of my notes, so I just had to wing the whole show and I was, was cat ona hot-ton roof.
you
Hello and welcome to the keyboard chronicles a podcast for keyboard players.
I'm your host David Holloway and I'm pumped as always to be here with you.

(00:23):
I just had the true honor and privilege of spending more than an hour with Mr.
Bobby Ogden.
um Bobby Ogden quite often gets introduced as someone that people may not be aware of, butum I'm hopeful that he's got more and more notoriety as one of the most amazing Nashville
based session players of both the 20th and 21st century, I would argue as well.

(00:45):
um And for good reason, it's impossible to encapsulate the breadth of Bobby's career.
And we'll actually link in the show notes to a list of the artists Bobby has worked with,but at numbers literally in the hundreds.
And we're going to attempt to cover sort of six to eight to a dozen of those in thisinterview.

(01:06):
And as you'll hear, one of those includes Elvis Presley.
So Bobby was the keyboard player with the TCB band.
for the last 45 or so shows of Elvis's career, but that is just a tiny tip of the iceberg.
So yeah, I'm really excited for you to hear this one.
So I'll let you jump in and I'll talk to you after the show.

(01:34):
Bobby, it's an absolute pleasure and honour to have you on the show, sir.
How are you doing this fine Wednesday?
Well, I'm doing well as long as I stay inside.
is 90s degrees and 80 90 % humidity in Nashville.
This week last week, it's miserable.
Yeah.

(01:55):
No, great.
No, I said, it's lovely to have you here.
So I mean, it's I've just said in the introduction to the show, it's nearly impossible to,you know, talk about your whole career in the time we have together.
So I'm going to jump all over the place with it.
But I just thought I'd actually cover what you've done in recent weeks or months.
So the reason I approached you is we have a mutual colleague slash friend who has justbeen doing some work with you.

(02:20):
recording on one of Brandon Flowers' new solo albums.
So just tell us about your last few months and what you've been up to.
Well, as you said, I've been working, well, the last two weeks I worked with Brandon, he'sthe founder and lead of The Killers, if people don't know him by his name.

(02:42):
And I was working with, explain it, for the first time ever, I was in a studio onkeyboards with Steve Nathan.
We've both been recording here for a long time and we've never played on the samesessions.
I guess we have different producers or whatever.
That was a pleasure, but this was a real trip.

(03:05):
uh These guys are so good, so talented, so technically musically aware that we had a hugegroup in the studio.
I don't know if Steve had mentioned them or not.
ah We had a percussionist.
Uh, from here, a drummer from California, his brother on electric guitar, the two boysthat make up the band Dawes.

(03:30):
If you're familiar with them, DAWES, the Goldsmith boys.
Uh, we had, uh, myself and Steve had Charlie McCoy, the hall of famer on harmonica andvibes.
We had, Bruce Bouton on steel guitar.
had, one of the producers, Jonathan Rado, who's

(03:53):
pretty well known in the tech pop industries.
One of the top guys was playing bass.
And that's what I'm leaving that we had acoustic guitar.
We have Dave Rawlings, Todd Lombardo, I'm missing one.
had, give me a second on electrics.

(04:14):
had uh Sturgill Simpson's guitar electric player who was fabulous.
It was just fabulous.
uh
Also had Jeremy Fetzer, I his last name, who's a Nashville player that I've never metthat's an Axl.
And this was all in the room, all in one room.

(04:34):
Plus we had, know, Sean Everett was producing with Ray Doe.
He's pretty well known for the work he's done.
like the last Miley Cyrus album they produced.
So this was, that was a lot of fun.
We played some great music.
was technically great.
The professionalism was just over the top and it was a ball to mix in.

(04:57):
I started a letter to the guys in LA to explain how it feels to get a call to go play fora producer you've never met with a bunch of players from uh other side of the country that
you've never met or played with.
You don't know what, you know, you don't know what's going to happen.
And as it turned out, it was great.
They worked perfectly and we all became great friends.

(05:21):
So it was a good experience.
It really was.
I'll go on and on.
I could go on and on about those guys.
Well, I do want to ask you more Bobby about it, because you've raised a really good pointand I know in previous interviews as far back as 2018 you stated you were semi-retired and
one of the reasons was there was less of that stuff of in the room together.

(05:42):
So how rare is that becoming for you now and how much joy does it bring you when thatfinally does happen again?
It's very rare.
You know, when I started uh doing recordings, it was common to have bass drums, guitar, acouple of acoustic guitars, piano, maybe an electric piano player, uh background vocals,

(06:05):
and the singer.
And sometimes you'd have horns or strings in the room.
It all happened and it all came back.
You heard the record as it was being performed.
And for one reason or another, probably digital recording has helped.
to narrow down the number of people you'd have to have, it's dissipated.
Those sessions are very rare.

(06:27):
This was a rare occasion.
And like you say, that's why I don't do much recording anymore.
It's just no fun.
uh You're piece mealing, putting in a brick at a time, and then that Mason leaves andanother guy comes in and puts in another brick.
And there's no, what we call bouncing of ideas.

(06:47):
I really enjoy.
listening to what other people are playing and reflecting or somehow with it orharmonizing or countermelody or everything we play.
we've got a group depends on what the other people were playing.
We hear everything and we assimilate it and spit out our part, but it all goes like thisinstead of one person going in and putting on a part and then everybody is dependent on

(07:15):
that part.
can't change the original part.
So you're having to just add to instead of embellish.
it's like I say, it's just no fun anymore.
I do that stuff at home, but I don't like going into the studio and doing it, you know,under the gun, particularly at all.

(07:36):
So I don't do that many sessions anymore.
I just don't particularly want to and don't really need to.
No, that's right.
And I know you may be a bit limited, Bobby, in what you can talk about this particularalbum because it's not released yet.
I know Brandon's publicly said he's got two albums coming in, it's that Southwestern styleand like that's public knowledge.
just I assume he was a band leader from start to end.

(08:00):
had firm ideas of what he liked in the studio and loved the fact that you're all playingtogether.
Oh, very much.
You know, he's because he's a consummate performer.
If you've ever seen him, he is a consummate and he I've told him through his face, he'sgot the greatest voice I think I've ever heard.
People that haven't heard him need to hear him.

(08:21):
But they they they did demonstration recordings demos on these songs in California,probably in Utah as well, and brought them in.
and had a lot of ideas for the songs, the layout of the song, and then it was all clickedout, the timing was all clicked out.
And so we used, as part of our recording, we heard their demo as well as what we weredoing.

(08:50):
So there was more to what was in our phones than what was in the room, but it was justselect parts.
wasn't uh pushing us in any direction.
It was embellishment parts or some sort of.
a tonal melody that they wanted in the song.
they made the band even bigger.
So they had pretty specific ideas on how they wanted to do it, but it always goes throughthe mill and gets changed a little bit.

(09:13):
you know, with Sean and Ray Doe and Brandon been so tight anyway, they would make littletweaks, like all producers can do, make little tweaks here, little tweaks there, or we
would have a suggestion or, know, sometimes a song would be going along and it would be
I would think, you know, I'm thinking my mind, this is too heavy.

(09:34):
There's too much going on in this song.
It's not allowing Brandon to come through with the feeling.
And, know, so then I could stop it and say, why don't we, and anybody else could does thistoo.
Why don't we start it off like this and just sort of filter in and we change the wholesong.
You know, lyrics are the same chords are the same, but the feel is different.

(09:55):
And that came from everybody in the room was doing that at one time or the other wasthat's
Another advantage of having a room full of bright musicians, as opposed to an engineer anda musician only is just to take advantage of everybody's, that cooperative effort is, is
really supreme in recording, think.

(10:17):
No, agree totally.
it's long may it continue.
And it's lovely to see that Brandon's still pulling that sort of um troop of greatmusicians into one room.
And, you know, I hope it continues.
I do want to go back, a decade or seven and just talk a little bit about your musicalupbringing.
So again, I know you've been heavily interviewed on this.

(10:38):
I know you moved from Detroit to Knoxville, Tennessee when you were around eight, I thinkit was, and then you started piano at about age four.
So my question really is you did about 12
years of piano work, just even those sessions the last few weeks and all through yourcareer, what in those original years of training have held you in good stead as a player

(10:58):
right up until today?
Well, I think you have to learn technique on any instrument and you burn it into yourmuscle memory.
don't know what the figure is, but the number of repetitions you have to go through tolock something into muscle memory is just phenomenal.
And I got to do that at a young age when I didn't have a whole lot else to do.

(11:22):
That's because I started studying piano at four in Detroit and I wanted to.
I really wanted to play.
would play the couch because it was kind of like a piano and they finally got me a pianoand it went on and got me in good training.
I think that in learning to read music early to where it's easy, it's not a difficultchore if you have to read manuscript music or ear training was good.

(11:55):
Professor, well, it a professor.
I was 12 years old.
or eight, yeah.
Al Schmid at UT was my teacher when I moved to Knoxville.
He was the head of the fine arts department and he discovered I had perfect pitch orabsolute pitch, not perfect pitch, it's not the same.
And that helps as well because you can hear and instantly know what chords and notes arebeing played instead of having to think and figure it out.

(12:23):
So it things a lot quicker and easier.
And then as you get older, you know, you go through the rock and roll bands and learn howto play rock and roll and learn how to play in a combo and learn how to please the crowd a
little bit and learn how to show off as somewhat and all that.

(12:44):
Just doing that by the time you're 20, getting all that behind you, you've done all thehard work, then you can have fun with it because you still got all the chops.
And that's the way that same way it is now.
That make sense?
Yeah, no, it absolutely does.
that's great.
No, I think it's that solid grounding that that sets you up to be able to expand on that.

(13:06):
No, I think that makes huge sense.
So no, thank you.
And I know you have told the story before, but I will ask you, I mean, what got you fromsort of Tennessee to Nashville?
I sort of understand that broadly, but it is a story worth retelling, if you don't mind.
Well, I was, I got out of the army early and what did I do?

(13:30):
I went to Europe with a friend on motorcycles and around around Europe for a while andthen came back home and had absolutely nothing planned for the rest of my life.
I thought, well, I'll just, I was a transportation officer.
I'll just go to Atlanta and work for Delta for the rest of my life or I fly free.
That was my only plan.
And it was new years and a friend of mine from college, Tom Collins, who's produced asuper producer publisher here, Ronnie Mills, that and Sylvia and Barbara Mandrell and on

(14:00):
and on and on, uh, called and said, y'all to come over to another Fternley brothers house.
We're having a new year's Eve party.
said, wonderful.
So I took my motorcycle and went over and there's a bunch of my college friends and got totalking to Tom and he had already gotten into the publishing business in Nashville.
why don't you move over basically?

(14:21):
So once you come over and try it, you've got a good ear and you can play by ear and allthat.
And, you know, it'd be fun.
So I did.
And I visited back and forth.
I'd go over for a week and come home for a week, go over.
And then I finally just sort of moved over and he introduced me to the studio and, know,got me some early, early jobs.
And then, you know, it's all word of mouth in Nashville and you just sort of build areputation network.

(14:47):
Once they trust you, you're okay.
But if it for Tom, I'd be a retired Delta employee.
I'd be flying free.
Yeah, look, it's not to be sneezed at.
do you recall, the first couple of times you were in a studio, what was it that hookedyou?

(15:07):
Obviously you can play and you can play well, but were there other aspects of that processthat you went, yeah, look, I'd actually love to do this for the rest of my life.
Yeah, it's fun.
It's very social.
Or at least, I can only speak for Nashville, because that's the only place I've recordedin residence.

(15:29):
I've recorded other places.
But in Nashville, it's very social, especially the old days.
uh Everyone pretty well knew each other.
You could go visit other sessions and listen to your friends play, and you always met theartists, and there were no barriers.
at the time, no exclusivity.

(15:50):
So I like that.
And it's just fun.
I like playing in groups, you know, I'm, I'm not a performer.
If I have to, do.
You know, as a kid, I didn't get up on the concert stage and play and that made me nervousas a crazy.
So I like to be in a combo where everybody's collaborating.
And I like that attitude and the spontaneity.

(16:14):
And of course, I was just overwhelmed with
talent that all these people had.
The pool of talent in is just beyond belief.
Absolutely.
Now for the sake of our listeners and viewers, again, apologies, Bobby, this is based onanother interview of what should you do, but you quite rightly um outline the life of a
session player that unlike a producer that hears the song or an engineer in particular,that hears the song over and over when it's been recorded as a session player, even if

(16:41):
you're not a one and done sort of person, you may be spending an hour, two hours, threehours on a song and then it's gone.
So for the sake of our listeners and viewers, I'm not going to ask Bobby for particularmemories of particular
songs, because I know Bobby, you've said a lot of it, you just don't recall because it waspart of the business, it was a job.
That's fair to say as far as um it's more about your recollections of your experiencesmore broadly at the time.

(17:09):
So based on that, I was just interested in those first few years of working in studioswhere there's some particular sessions that do stand out to you after all these years that
either helps you learn as a
or as a performer and so on.
Oh yeah.
Matter of fact, there were two areas.

(17:31):
I did a lot of dual keyboards sessions with David Briggs, who's just passed away recently,but phenomenal player, producer, et cetera, studio, everything.
He did everything in this town and got me a gig later on, which was pretty important.

(17:53):
And I learned watching him because he was so experienced.
He moved up from Muscle Shoals when he was pretty young and had a lot of experience in thestudio.
You kind of have to learn how to get what you want, what you're playing, what you'rehearing in your head.
You got to get that through the mics or the direct boxes, through the board, to thespeaker.

(18:15):
It's got to come out to the producer the way you hear it.
And it's not always what you think it is.
ah
It's funny to sometimes solo piano parts because they sound wonky because you can't playthe whole mass of chords because you just clog things up.

(18:36):
You've got to be able to push your sound through to enhance what's going on.
So I learned that from David.
And the other one was I did a lot of sessions with Pig Robbins, who was the king ofcountry piano, uh Hall of Famer as well.
and his clean playing and the way he could get his part through no matter how big the bandwas, you could always hear Pig's part because it was so concise and so clearly played.

(19:09):
And of course he had a million great country licks that we all stole.
We've all lived on Pig's licks and everyone will admit that.
That's no secret.
But those two guys really
kind of demonstrated what it was going to take to succeed in the town.

(19:29):
Absolutely.
And look, because you've mentioned David Briggs, Bobby, we will jump into that a littlebit.
And as I mentioned at the start, we'll sort of jump between different time periods.
But obviously, David Briggs was part of Elvis's TCB band and essentially you took overfrom him.
Do want to just tell us the story of how you came into the band initially?

(19:51):
Yeah, were, Felton Jarvis was Elvis's producer.
And he was also a good friend of uh my, not my publisher, but the publisher that I hungout with.
Most of the combine music was kind of the young people's place to hang out.
It's where I kind of cut my teeth.
uh So David had been doing the...

(20:15):
Elvis stuff for a while.
And he was a good friend of Elvis's.
You know, they were very close.
He's probably one of his closest musical friends.
Uh, and it just got to where David had to come back to town.
David had too much going on and no matter what Elvis would pay him, it wouldn't, he stillcouldn't afford to leave town.
So he left and Felton and I think, and David and probably Bob Beckham, the publisher atCombine.

(20:41):
ah
All agreed that I was the guy to go in.
So that was, that was good.
That was a, that was a nice leg.
And I appreciate that from David every day.
Absolutely.
it's worth, if you don't mind, Bobby, just telling us the story of the, I was about to saythe audition process, but there was no real audition process, let alone a rehearsal

(21:04):
process.
But just tell us about the lead up to that first gig in Arizona when you did start playinglive with Elvis.
Well, you had mentioned to me something about the most scariest moment on stage.
This would be it.
Yeah, we had, I had no preparation, no rehearsals.

(21:26):
had a cassette tape of a show and that was it.
So I took, you know, I listened to the song, see how they were arranged and made littlefour by six index cards.
or something like that.
So, and wrote down the chord charts for each song.
Some of them I wasn't familiar with.

(21:46):
So I had this stack and I can look at that and play the songs.
And so we flew out to what, Albuquerque, I think, and had no rehearsal, no sound check,and just went directly to the venue and sat through the openers and went on stage.

(22:10):
and fired up 2001 and Elvis came out.
And of course I was just overwhelmed.
mean, his presence was, if you've never been around, his presence was just overwhelming.
He just radiated.
So then we started this show and it was great, except for they had these super trooperspotlights all around the thing and they were all on him.

(22:34):
So he would walk by me and I'll be blinded.
I couldn't see any of my notes.
So I just had to wing the whole show and I was, I was cat on a hot tin roof.
I was so nervous and so excited, but it was really, it was thrilling.
Really was.
Absolutely.
And it's worth noting for our viewers and listeners that you literally only laid eyes onElvis for the first time in the flesh when he walked on that stage when you're already

(23:02):
there standing ready to play.
Because I believe there was some sort of leapfrog arrangement, essentially he would go tothe next city and...
He would say he'd take the Lisa Marie the big jet and we we had our plane and He'd flyafter the show we fly the next morning and when we'd arrive he'd be asleep We'd go to the

(23:24):
venue.
He'd be waking up.
He comes then you do the show go to his plane and off to the next city So yeahleapfrogging by the way, that was the first record I ever bought was I Was looking for
you.
I can't remember.
I was looking for an Elvis
single is just started and I had to settle for don't be cruel backed with hound dog.

(23:47):
I was looking for Heartbreak Hotel.
That was my first 45.
That's amazing.
And so, I mean, as you said, it was a pinch yourself moment that first night on stageacross those 45 or so shows that you did play in 1977 up until Elvis sadly passed away.
What did you learn as a musician, both about the parts you were playing, but also from aperformance viewpoint, watching him in the band more broadly?

(24:13):
Like it must have been a massive learning experience in spite of your experience up untilthat day.
Well, it really wasn't that difficult.
The music was so familiar and the show was fairly pretty much the same every night.
ah And playing the uh electric piano on the clavinet, the burden wasn't nearly as much asit was on Tony Brown, who had to play the acoustic piano and really worked hard.

(24:42):
I could kind of, I think David Briggs designed it that way.
could kind of.
do whatever I wanted and move in and out.
There were no defined parts for me.
So it wasn't, you know, it wasn't too bad.
The most interesting thing was the, the, um, energy that came to the stage from theaudience.

(25:03):
mean, it was, you could feel it physically when he walked across the stage, you could justfeel this energy coming up to see, guess there's all that love or something, uh, focusing
on him.
And, know, it's that little stardust thing.
rubs off on everybody.
feel a little bit of it.
But uh as far as performance, I don't think I learned from

(25:26):
No, that's fine.
And I mean, I assume you were far from a stranger to either the Rhodes or the Clavernetwhen you started that gig, Bobby.
So just tell us about the reliability.
It all worked fairly well for you.
I mean, as you know, they were workhorse keyboards back then.
was an easy relationship with those boards.

(25:46):
Yeah.
Yeah.
They all work.
And I would assume they must've had a tuner come in from time to time.
Cause Clavinets are notorious for going out of tune and sounding terrible, but no,everything held up well.
I don't think there were any spares like today.
There'd be a spare of everything in a big show like that.
But no, had no technical.

(26:08):
I don't remember ever there ever being a technical problem on his show.
Yeah, that's amazing.
And I do, and so if you don't mind, Bob, I'm gonna move around a whole range of artists.
As I said in the introduction to the show, you've literally either done session work orplayed live with hundreds of artists.
So it's absolutely impossible to cover even a decent proportion of them.

(26:30):
But I do wanna cover one that showcases your skills outside of those of being a player andthat's as an arranger.
So I know you had a one-off string arrangement, for example, with Roy Orbison.
So obviously Roy Orbison is an iconic name nearly up there with Elvis and so on.
So just tell us about that and was that, uh how much arranging did you have to do duringyour career?

(26:52):
m
Not too much, not too much with live strings.
That was um Fred Foster production.
The friend I were very close and I guess they couldn't get Bergen white or something to dothe arrangement.
It's a pretty simple something.
I don't even remember the name of it.

(27:13):
It was a pretty simple arrangement.
I remember that.
And these string players are such pros.
just lay the music out there.
If it's properly written with the
what's the notation, the notation and the dynamics are, if they're properly written,they'll just tear it up and it's beautiful.

(27:34):
So I did nothing but pass out the music and sit down and listen and say, yeah, great.
That's, that's the only live string thing I've done.
I've done a lot of keyboard, uh, synth string over does something.
Not the same.
No, no absolutely.
And I assume you didn't have the opportunity to meet the great man yourself doing thatarrangement.

(27:57):
Roy?
No, don't see.
Was Roy?
No, Roy wasn't there.
No, that's fine.
And I'm going, as I said, I'm going to throw a bunch of artists at you and I would alsolove at the end, I'll prompt you to sort of talk about us that stood out to you that I may
not have mentioned, but one that as an Australian who grew up in the 1970s, Lucille Ball,tell me about what the relationship was there.

(28:24):
That's funny.
I don't know if was Lucille Ball's special or Barbara Mandrell's special, they filmed,they taped a special uh out at the Opry House and Barbara called me in to play piano
because they were going to rehearse a few things and do a skit.

(28:44):
then, Barbara plays a lot of instruments.
She plays saxophone, plays drums and all that.
uh Fairly good sax player.
So the skit was...
uh, Lucy was going to play the sax in a kind of a comedy thing, but she actually had toplay a melody and we got into, uh, I guess we're wakeups dressing room backstage with a

(29:08):
little piano and Barbara was teaching Lucille ball how to play the sax.
She never played one in her life.
Mind you.
And so she, she was honk honk and it got better and better.
by God.
Within an hour or so we were on stage and she sounded great.
I said, this woman is just a trooper talent.

(29:29):
I mean a trooper talent, but that was, I was, I was impressed.
tried to play sax one time in a combo or somebody else's combo.
just, I grabbed one of their saxes and all I could do is go on, on, on, on, on the beat.
It's horrible.

(29:50):
Tried to play a sax.
It is that damn read.
It does.
Now that's wonderful, Bobby.
Thank you for that.
To go from Lucille Ball to Kenny Rogers.
Great, great person.
Truly great person.
He's one of my favorite people to record with.

(30:10):
He is so bright, he is so kind, he is so normal, he is so curious, he's so professional,he's so talented, and he's so experienced, and he's so famous, and he's so, what, so
wealthy.

(30:32):
And it, you'd never know it.
If he walked in, you'd never know it except for, of course, he's got really nice.
He's got real nice shoes and real nice.
If you look at his accessories, but I mean, just as a person, he's just a normal, mostnormal, easy to get along with guy.
you know, he's a true friend to everybody.
He really cares about the people around him a lot.

(30:53):
That, that really, I was just, I'm always happily impressed when I meet somebody that isso famous.
And yet they are so nice.
That happens in the studio a lot because there's a, I think the artists has a good deal ofrespect for what we do.
And of course we got a great deal of respect for what they do, but it's more, we're moreon the same mental level.

(31:19):
Nobody's talking up or down to each other.
Wayne Newton came in, Larry Butler produced Wayne Newton.
did a few albums on him and uh,
I was the leader on all of them.
So I got to spend a lot of time with Wayne and Larry working arrangements.
And I was, I never liked Wayne Newton in the past.

(31:40):
I don't know why, but there was some reason I didn't like him.
And I was so disappointed that he was such a wonderful person.
Finally got to spend time with him and just ended up loving him.
He was a fabulous guy.
Same, the same thing as Kenny.
Just wonderful experience.
Yeah, it wasn't such a truth.
Yeah, look, yeah, absolutely.

(32:00):
That's amazing.
And speaking of um icons in regards to country music, Johnny Cash.
yeah.
John, uh, the thing I did with cash was, uh, a fat, uh, tribute tribute to Jimmy Rogersthat they did out at, uh, house of cash out in Hendersonville had a pretty good size

(32:22):
group, but it was, uh, cash and all the Carter sisters, all of them.
And we did it in their studio and they would all be there.
you know, barefoot sitting around, whether they were doing vocal parts or not, they werealways there having fun.

(32:44):
And they would, then they would have come dinner time and would come there cooks and servenot servants, but whatever you call it help their health would all come parading in with
this silver service of, of dinner and lay out this buffet for us.
I'll sit around barefoot cross legged.

(33:06):
with China eating off what they brought us and then go back to work.
That was fun.
It was real family uh feeling type of thing to have all of them in one room.
And that was mostly piano duties there as well, Bobby.
Yeah.
Yeah.
That's a long time ago.
Yeah.

(33:27):
But speaking of piano and um being a keyboard related podcast, was fascinated.
Bill Evans, what was your involvement there?
Well, Bill came in, I'm not sure, Bill was a good friend of Tim Smith, a bassist here, nowhe's a professor at Union.
I don't know where they met, but Bill wanted to do a country leaning, country songs, notnecessarily a country sounding, but country songs, and came in and I wasn't very familiar

(34:01):
with him, but it turned out to be a whole lot of fun.
He's a really funny guy.
and a great horn player.
Tim just put those sessions together.
can't remember.
I remember Reggie Young was on them.
I don't remember who all the personnel were, but that was just a matter of being in thegroup that Tim put together for Bill.

(34:22):
Yeah and from one extreme to another from Bill Evans to the Poynter Sisters.
How'd you find that?
That was on stage for something at the Opry House.
Oh yeah, so sort more of a live gig, yeah.
Yeah.
So a special of some kind.

(34:42):
I remember Clint Black, think was on that.
I don't m
Oh, and I mean, given the amount of sessions, that's understandable.
And I'm speaking of the Opry, a regular visitor, I assume a regular performer there, TammyWynette.
Yeah.
Well, I got to do, uh, what did we do some kind of a, um, BMI presentation or something,um, at one of the downtown hotels during the country music week, think all the label

(35:13):
people were there.
got to, I got to rehearse with her and do a number of her just piano and Tammy, which wasreally fun.
She's such a gracious lady.
And just, you know,
That era, the voices were so uh unique.
Her voice was so unique, George's was so unique.

(35:36):
She's just thrilling to listen to.
You've raised a good point there Bobby, over all your years of session work, what are thevoices that have stood out to you as being...
Sorry, I'll ask that a different way.
What makes a good quality recording voice from you just as a fellow player?
What makes them stand out to you?

(35:57):
Are there particular aspects?
It's sort of hard to quantify, isn't it?
I know what I'm trying to figure out how to say.
Honesty, ah realism, ah believability, I guess is better than honesty, where you actuallybelieve that the person means the words that they're singing.

(36:25):
ah Sort of a...
I guess a shy confidence type of thing where, you know, artists know they're good, but ifthey generate the fact that, you know, they're convinced that they are good, that's,
that's good for us.
That's good for the product and they perform well.

(36:46):
Um, of course just intonation and all that just comes with being good.
Um, I don't know.
think the believability thing is the most, you know, the lack of phoniness.
Yes.
because there's some phoniness out there.
Absolutely, I couldn't agree more.
And I might ask you, Bobby, to name two or three artists.

(37:10):
And I mean, I can't emphasize enough to our listeners and viewers just how many names I'mleaving out here.
It's insane.
I'm leaving out people like Willie Nelson, um Waylon Jennings, whole bunch of people.
But just are there some people that I've not mentioned to you that really had a big impacton you during your career or that you particularly enjoyed playing with or challenged you

(37:30):
as a player?
Well, I'm thinking, um, memorable.
can go by memorable.
Maybe, um, Steve Forbert, we did, think Jack rabbit slim down here.
Uh, he was so, uh, excited.
He's an excited person at that age.

(37:51):
And, uh, we did the entire album live.
mean, live vocals live, no overdubs.
What you performed on the track is.
what you got on the record.
Now we, that's, that's kind of hard to get through some national people's skulls becausethey want to perfect their part.
know, we're used to everything being perfect here and he's used to things feeling good.

(38:14):
So we, we were headed and it rubbed some of the players the wrong way.
And so we were headed out to dinner, to marketies, think.
And I was in the car with a few of the other musicians and, and Steve's organ player, PaulErico.
who he brought down for the sessions.
We're going to dinner and they got to discussing how this is not the way to make a record.

(38:36):
And, know, this is, you know, he'll not be doing it.
I was saying, well, this is the way he wants to do it.
That's the way he wants to do it.
It's his record.
So the next day, all the musicians were fired except me.
Not fired.
They were all paid for their time and all of the bookings that were in the next week.

(38:59):
But.
He just cleared it out, cleared it out.
And we brought in a whole nother team of musicians who were happy to accept a liverecording process.
And it came out great.
know, and that, uh, what was the song?
Romeo's tune uh ended up, ended up being a, you know, big piano starring role for me onthat song.

(39:25):
That's one of the more fun things.
Um, Dan Hill.
Up in Canada, we did a couple of albums on him and the first, it might've been the firsttime we went up, Larry London, the drummer and I went up and cut sometimes when we touch.

(39:46):
was, that was a really well known intro arrangement.
they ran, you know, the arrangement was pretty much off of the piano part.
McCauley did the strings with the symphony up there.
He basically just took the piano part and
string ass did.
But that was a big one and a lot of fun.

(40:07):
The Judds.
Of course.
terrific because they were so fresh and uh Brent Mayer produced that and it was socarefully produced and put together.
The uh economy, I guess, of instruments on those recordings is always impressed me.

(40:29):
And I don't think I, there's nothing on those records I did that was impressive, but itwas, you know, every note I played was important to that particular record whether.
whether it was grandpa telling me about the good old days where I had three notes I playedover and over through the song and that was it.

(40:49):
Some of the songs I would listen, I'd say, I don't hear anything and I just lay down andgo to sleep until it was done.
But those were really, really fun and they were a ball, they really were.
Kenny, you talked about, and there's a,
A guy I thought about this when you mentioned who I enjoyed and it may be obscure, uh,singer songwriter, Lee Clayton, really well known in Europe.

(41:22):
Now he passed away not long ago, but he was, uh, somewhere in the Bob Dylan outlaw, uh,genre, but he, I still listen to his stuff and I still think it's some of the better
stuff.
Well, the, the dream goes on was the album and, uh, it's worth listening to.

(41:45):
really is.
It's powerful music.
He's, he's, uh, not the greatest singer in the world, but man, he was driven and, it wascontagious on the records.
That's a few.
Yeah, that's amazing.
Thank you.
And I did when looked through the list before we started recording, Bobby, I'd argueyou're probably the only player that because in Australia, the Highwaymen had a huge

(42:08):
impact, which obviously is that super band consisting of all those amazing artists.
I'm pretty sure you've worked with every single one of them.
I don't think there's a person in that band that you haven't worked with.
Well, Willie, Willie Cash, Waylon and...
uh
and Chris.
yeah.
So, um you know, just amazing.

(42:28):
And I do want to go back a little bit to the live stuff.
So I know after Elvis and there are other obviously lots of other sessions and stuff, butI know you did spend five years with the Marshall Tucker band.
How was that a different experience for you as far as a regular live playing gig versus umthe previous ones that you'd had?
It was, the difference was the audience.

(42:52):
I don't want to call them an audience because we played, we played lots of huge bars.
I mean, huge bars.
Well, it's always took pride that we, they would break the beer sales record the night weplayed.
then it was, you know, rowdy crowd, but a great crowd.
Those were, those were, it was, it was more of a driven.

(43:17):
It was hard work.
Those shows were hard work.
Fun, but hard.
You ended up worn out by the end of the night.
But we got some good trial.
I some good friends there.
Doug Granger, Hugh Banks and some of the boys.
They originally took out a, when some of the original guys passed away or left the bandfor other things, they picked up a group at Nashville.

(43:47):
players did several tours, I don't know a year or so they fell away one by one.
They fell away and came back to Nashville and do their thing.
But I was enjoying it so much.
I just, I kept on for another year or two, uh, which was good and bad because I had a lotof fun.
It's a great, it's a great experience, great credential, but at the same time, about threeor four keyboard players moved to Nashville during that period of time.

(44:14):
Steve Nathan was one of them.
And you know, Bobby's not there.
Somebody's going to have to his place and that guy was pretty good.
So we call him because they have to, you have to sort of rebuild your client listclientele list when you get back.
I wouldn't trade those traveling for anything.

(44:34):
I think you miss out if you just stay here.
Yeah, no, I agree.
And I do need to ask you, on your website, Bob, you list some of the instruments you'veowned over the years.
So obviously piano has been your go-to, but I know at one stage you own things like an OBXsynthesizer and a DX7.
What was the phase at which you were using those sort of instruments?

(44:55):
I think DX came in in the 70s.
think it was very early eighties?
Early eighties?
I went to a NAMM show and all around people were just unveiling this OBX and I didn't knowanything about it, man, the guy playing it was famous.

(45:17):
So I was, I was enamored with it and bought like one of the first ones and I still don'tknow how to work it.
I've never used it on a, it's sitting over in the corner.
I've never used it on a session.
I just, don't, I didn't want to spend the time.
to learn all the technical side.
I don't understand the waveforms.

(45:38):
So it just sits and know, Shane Keister, Shane Keister could do all that stuff.
That was great.
He could have it.
uh Then the DX came out and it was pretty easy.
So I through the DX for, don't know how many years, wish I still had it.

(46:00):
And then moved to Kurzweil.
yeah.
Gotta curve the first curve, I can't remember what day, 2000?
Yeah, I think you said the K2000 and then the 2600 and yeah.
Okay.
So then I, I work with that a lot and a great big one, uh, curse, curse.
Well, DX one gigantic keyboard that I used to, but that great sounds, he used to carry itaround.

(46:26):
left it, I left it with, uh, the Cardis company to get something repaired and I've neverseen it since.
That was the one, the cards coming there flooded.
So it's gone.
I've still got the 2000 and then I got the.
2600, which is pretty versatile.
KT 2600.
And that's all I use.

(46:48):
I've got that at home.
I've got a Steinway, the 2600 and a mic, a stereo mic.
And I set headphones and, you know, monitors and that's my studio.
I'm set.
I don't have to go anywhere.

(47:09):
That's amazing.
aside from having such an enormous career and busy career, you managed somehow to alsoplay a role in supporting the industry.
So I know you're president of National Recording Musicians Association and so on.
So I just want to ask you a quick question about over so many years of working in theindustry, it's obviously changed radically.

(47:31):
Do you still have hope for the future of the industry and the ability for people to makemoney or make a living from it?
I'm not sure.
I'm leery.
There's always, uh there's room for a certain number of players to make it.

(47:52):
80s, 90s, the zeros, you know, when there were a lot of recording going on here, there uhwas enough master recording work and demonstration recordings.
It was enough to...
support a pretty good core of musicians.
You could go eight deep on piano maybe, or eight first call, go deeper than that if youwanted.

(48:17):
But we had the demo recordings for the publishers would make demos of the songs they'republishing to hand to producers and try to pitch the songs.
And then a of times they'd copy that arrangement or they'd just...
take it and do their own arrangement.
But so that was a whole segment of recording demo recording.

(48:39):
It's a whole segment.
Didn't pay as much as master recording, but you could make a living.
And there are people that made good livings just doing demos or leading demo sessions.
There were demo singers.
Uh, there was at the same time, there was a lot of jingle music being recorded here.
were three large jingle companies that were

(49:01):
producing for Chicago, New York and everywhere.
And that was a supplement and another source of revenue.
And in addition to that, TNN was broadcasting country music shows every day.
And those were all recorded pretty much using the same core musicians.
So you could really support a lot of musicians.

(49:22):
Well, most everything I just mentioned is gone.
demos you can do in your house with a computer.
or maybe with a little help, uh jingles are few and far between 10 and shut down.
And so you're left with master recording and some movie stuff, but master recording.

(49:43):
And you can cover that with four or five guitar players, four keyboard players.
the group is shrunk.
don't, I don't see how anybody can really count on.
making a decent living in the future here.

(50:03):
I mean, some, some are always going to star players here, but more and more people aredoing their own recording, um, going somewhere else to put a part on, or you can do it
with sampling and, uh, all of that and AI is coming in.
knows?
We just did, we just did a song last week.

(50:25):
Um, and they had a
Demonstrate a demo just to the idea of what they wanted for the song.
Just kind of the mood.
It was a dark, dark song and, and, uh, they wanted this mood and they played it.
And so we were kind of trying to simulate that and all.
And there was a part that I picked up and they said, you don't necessarily need to do thatpart.
That's an AI generated song.

(50:47):
So they just generated what they want and what the concept for the song.
it played a song for them to give it.
I'm going all the way.
Yeah, it's certainly a challenging time.
And relate to that, Bobby, if you did have a young person so that they're in their lateteens or early twenties and they're determined to make a life in music, are there any

(51:08):
pieces of advice you'd give them based on your experience as a musician on how to make thebest of a life in music?
Well, yeah, I was talking with somebody who was mentoring a young bass player and whowanted to come to Nashville.
The kid asked, said, what do I need to, what do I need to know how to play?

(51:30):
What music do I need to know?
And again, he said, everything you need to know everything.
Well, you need to be able to play everything in every key and you got to think it up.
He talked.
He told me about another kid that he had talked with that was doing a little recording onpiano.

(51:51):
uh he said, I can play everything that Bobby Auggie plays.
And my friend said, can you play it in every key?
He said, well, so there's a trick.
You gotta be so versatile.
You got to have a great ear.
uh You gotta...

(52:12):
Be willing to starve for a period of time, support yourself somehow for a of time.
If you've to wait tables, you've got to wait tables.
And you've got to just grab everything you can grab.
You've got to play for anybody, anywhere, anytime.
And you've got to go meet people that are kind of in your peer group, not the big shots,because they've already got their people.

(52:36):
You've got to meet the up and coming.
You've got to hope something sticks.
And if you're lucky.
Really lucky it'll work these days.
wasn't that difficult when I came here, but these days it's, there's a whole lot of chancein it.
You you get, you get on the right session with the right producer and play the right thingand the right artists liked it.

(53:00):
And it sold some records.
Then you might have a shot at doing some more.
I really don't advise anybody not to pursue their dreams, but man, it's a dream now in alot of cases.
Afraid.
Yeah, no, I agree.
And yeah, excellent perspective.

(53:20):
Thank you.
We'll move on to some of our standard questions, Bobby.
And one of them is what we call tag a keyboard player.
So is there another player that you've come across during your career that you would loveto find out more about their story?
I usually find out about people.
It's so easy now you can get on Wikipedia and you can get on YouTube.

(53:43):
And uh for instance, the people I met last couple of weeks who were all strangers to me,I've learned all kinds of incredible things about what they've been doing over the last 10
years and the music they've been making and how they grew up and where they learned toplay.
uh
I'd have to go like back to Art Tatum or somebody.

(54:05):
I'd really like to know more about Art Tatum personally.
Or, uh, you know, Vladimir Horowitz.
I'd like to know about him.
Nah, good picks.
I wish I could do them for you.
but you know current people it's all out there to find out.
Yeah, true.
No, that's a good answer.
um And then we do have the dreaded Desert Island Discs question, Bobby.

(54:28):
So the five albums that have perhaps had the biggest impact on your life.
Uh, and I gave this some thought actually.
Uh, the first one would be, uh, the Ray Charles album that had, what'd I say on it?
Because that's what made me get a werelitzer and you know, get interested in combos.

(54:51):
Uh, then another, James Brown live at the Apollo and another band, uh,
We played that entire record.
mean, we played every song on that record in one of the bands, the Sierras.
let's think.
uh, Rolling Stones, uh, live get your yas out.

(55:15):
Yep.
They've had all their great songs with a great lineup, the great lineup.
Nick Taylor.
There's a, uh, Leon Russell, Joe Conker and all them on the Mad Dogs and Englishmen tourdouble album.
I just thought had the kind of energy I like.
I like to play music just like that.

(55:38):
And, uh, let's see, I wrote these, some of these down.
I would remember, uh, of course, uh, Vladimir Horowitz, rock Mononov concerto number two,no, number three, number three.
I really had a, that was, that's my go-to for just beautiful music.

(56:00):
I'm sure, I'm sure, did I get five?
Yeah you did, you picked five persons but yeah, that was great.
Well done.
It's not an easy task.
And then our final question Bob is what we call our quick fire ten.
So just quick sort of answers to some fairly simple questions.
So do you recall the first album you ever heard as a child that had an impact on you?

(56:23):
Uh, bless Paul and Mary Ford.
I'll have the moon.
There you go, perfect.
Before, and I know um you've done a lot of session work and it's probably been a littlewhile since some live work, but before you played a live gig, there certain things you
needed to do to feel settled before you went on stage?

(56:43):
No.
And interestingly, when I was with the Marshall Tucker band, had the drummer, guitarplayer, bass player, and myself were Nashville guys.
And, and before the first gig, we were in backstage dressing room and uh Jerry, the hornplayer was warming up and drummer was warming up and we were just sitting there talking.

(57:09):
We all on stage played the show.
was a good show.
And they came back and I said, you guys never, you guys don't warm up.
You just go out there and play.
Yeah, that's kind of the way we do.
So now there's no, there's no pre show anything.
That's good.
um If you hadn't been a musician Bobby, what do you think your career choice would havebeen?

(57:32):
Well actually you've already covered it, you would have been in a Delta Transport person.
probably just because that's what I was educated and had the experience to do.
I don't know what I would have done if I'd had a choice.
I really don't know why.
That's why I'm glad I can play music instead of working.

(57:54):
I'd rather play than work.
Absolutely.
um Was there a favourite tour or part of a tour when you did sort of travel that was therea favourite tour that you did that stands out to you today?
Yeah, the Wien tour.
Okay, and I didn't ask you about Ween because that's amazing.
I'd actually love you to talk a little bit about that if you had the time.

(58:17):
because that's amazing on its own.
Yeah.
Please.
Yeah, please do.
Yeah, please do.
Uh, those guys are good friends.
uh They, you know, they had a number of albums out, which are pretty rude and in yourface.
I don't know how to describe, just listen to them.
Everybody buy a Ween album.

(58:41):
They wanted, they, they had songs that lean country that they had written and they wantedto demo them for publishing purposes, not for themselves.
they call Ben.
I can't remember Ben's last name.
The producer knew Charlie McCoy, called Charlie McCoy, and they were coming to Nashvilleto Bradley's Barn, a historic recording studio, to record these country songs and Charlie

(59:09):
put together the band.
And so we recorded all these songs and some people were shocked.
Some people, I had a lot of fun.
But anyway, we had a real good time and they submitted it.
to the label as an album.
They liked it so much.
They submitted it as an album and the label said, well, you need to go out and tour it,support it.

(59:34):
That's okay.
Charlie, of course, didn't want to do it.
And they asked me put together a band to augment their band.
They a great bass drummer, a great bass player and a great drummer that, and they wanted aguitar, steel, piano and fiddle.
So I got to put together the band and we went up for a trial run to New York and played atTramps, which is a punk club, uh a couple of nights up there.

(01:00:05):
And uh Chris Harford opened with us.
I don't know if you know him.
uh And it was such a success.
I said, you need to go out on a six week tour.
We did a tour, know, US all lap around the US and Canada and back.
And it was the most fun.
uh
It was, it was a whole audience, you know, that I had never played in front of that.

(01:00:28):
I music that I had, uh, kind of played, but not really.
It was just so aggressive.
And the kids were like gypsies.
They'd follow us from one town to the next.
I'd all be in the parking lot when you got there waiting and you look at them and they'rehere.
I am this normal type.

(01:00:49):
boring person from Nashville.
And I look at these people and they're all in leather and I'd notice all the jewelry andtattoos and this and that and the other.
And you didn't really feel comfortable.
But then after the show, lots of them would come to the dressing room.
They were invited into the dressing room and hang out.
And they were the nicest, brightest kids you will ever find.

(01:01:12):
just, uh, looks can be so deceit.
And it taught me a big lesson about kids because you kids
are either acting out or actually playing their real role and they might look odd to youand offensive, but they're not.
They're a great generation of really smart, inventive, creative kids.

(01:01:36):
That was a big lesson to me.
But that tour ended up a lot of fun.
We ended up being great friends and then it did a 20 or 25th.
anniversary concert, the boys booked the Grand Ole Opry House for two nights, sold it outin 15 minutes.

(01:01:59):
And we did two shows there and just blew the house down.
was unbelievable.
two of my favorite concerts ever.
But it was, it was, it was historic.
The tickets were extraordinarily expensive.
They had no trouble selling them.
mean, it was, it was an event and
I think now they have finally quit touring.

(01:02:22):
yeah, because I think that original tour, Bob, is around, 2008 or so, I think?
And I know there's some great video.
2007?
It's a seven night.
Yeah.
So we'll definitely link to some of that.
the, uh, the wing thing was in the nineties.
Cause the 20th anniversary was in 2023, I think.

(01:02:47):
okay.
Well, there you go.
Okay.
Yeah, well definitely some of the footage.
Yeah, no, amazing.
And thank you for answering that.
That's one of the best answers to Favourite Tour.
And you've also covered off Favourite Gig you've ever done, I'd argue.
But the one that I did want to get an answer on is Favourite City you've played, if that'spossible.

(01:03:08):
really, this might have been live or recorded.
yeah, whichever suits you, yeah.
Yep.
Central Park, uh we did a concert in Central Park uh as part of a Melanie tour.
And she was so loved in New York that uh it was just a love fest.

(01:03:34):
The crowd was enormous and they just hung on every word, every note.
It was so close.
It was really...
Great feeling, great feeling, good vibes.
Studio cities, know, Montreal or not Toronto doing the downhill things that that they werevery, cutting edge at Manta, Manta sound up there.

(01:03:59):
That was a lot of fun.
The LA studios are always fun and impressive.
But I tell you, this thing we just did is, was as complex and well handled and interestingsessions as
you know, technically and electronically and all, you know, all the links, productionlinks they went to to get exactly what they wanted to sound out of the, not out of us, but

(01:04:25):
out of the, out of the music itself.
It was like light years beyond anything I had experienced.
uh
That's amazing and I assume probably you've never been down to Australia or am I all youhave?
I have not.
I got to Japan oh once with Roger Miller.

(01:04:46):
That was fun.
There you go.
The next question, Bobby, is name a song that you used to love but through your playingcareer you've played it to death and you'd happily never play it again if there's such an
example.
And there may not be one in your case.
Because you've had such a diverse career, may not be one.
oh
I don't really, I'm trying to think something I didn't enjoy.

(01:05:10):
I'm sure there is, but I've probably watched it out of my mind.
It wasn't successful anyway, so I've never heard it again.
That's right, that's a good answer.
uh Do you have a favourite music related documentary or movie that you've enjoyed watchingover the years?
of whether it's a documentary on the industry or just a music related movie that you stilllove today?

(01:05:37):
Not, not on a repetitive basis.
I watch a lot of, a lot of YouTube stuff.
Anytime I hear something or hear of something and don't really quite know what it is, Ialways like to go in and find out who are these people?
What is that band?
Who's that artist?

(01:05:58):
uh There's, there is so much music out there now because of the streaming.
uh
You know, none of it's making any money, but it's all out there for everybody to enjoy.
Uh, but that's, that's a real kick.
Just to do a, do a deep dive and, know, I like to go get a name and go on the Wikipediapage and just go down to rabbit hole.

(01:06:25):
Start hitting the links.
Oh, that drummer, his drummer was Joe blow.
I'll go see who Joe blow Joe blow play.
Oh, he played with, and you sit there for hours and then you go through their videos.
That's a good time for that.
It is, that's what it's about.
I couldn't agree more.
um And last but not least, um what's a favourite non-musical activity or hobby, Bobby?

(01:06:48):
What keeps you sane outside of music?
Well, I, I did photography, uh baseball photography for, I live half a block from Lipscombuniversity and they've got a D one baseball team.
Um, very good friends with the coaches and the staff there.
And so I do, this is amateur photography for sure, but I, I, I do photography of the,games, trying to catch the action and the

(01:07:18):
and the kids, you know, it's living next to a university.
You're exposed to lots of kids.
It keeps you young.
It's really nice.
The, uh, the atmosphere is just, you know, charged, but these kids are so young, soexcited, so talented, uh, so athletic, but it's fun to try to capture that on a still

(01:07:39):
photography.
then I put them all up on Facebook so that they're
moms and dads and grandpa and grandma and cousins and aunts and sisters and girlfriend cango game by game and look at what happened and see their son and their, see that boy and
his friends out playing ball.
So, and I really enjoy that because it me get into the game a little more.

(01:08:02):
And I love baseball.
So that's summer activity.
uh
And that's, mean, that Bobby, that's probably a good segue that, mean, you've obviouslyhit a massive amount of home runs throughout your career.
I feel like you've got a lot more to hit still.
And um we always say to our guests, we feel like we've barely scratched the surface andit's certainly the case with your career.

(01:08:25):
And I just can't thank you enough for even spending this sort of nearly an hour and a halfwith us.
It's enormously appreciated because it's, yeah, it's just an honor to speak with you.
Well, you are so welcome.
It seemed like 15 minutes.

(01:08:46):
And there we have it.
I do hope you enjoyed that.
um I apologize, as I said in the introductions, impossible to cover the breadth of Bobby'scareer.
We could have spent eight hours um and still not gotten close to covering the depth andbreadth of what Bobby's achieved.
um So, but I hope you did enjoy what you did here.

(01:09:08):
An enormous thank to Bobby again for his time.
He's incredibly generous with his time and an enormous thanks to the amazing Steve Nathan.
who just recorded recently with Bobby alongside Brandon Flowers.
Steve, had the pleasure of having on the show probably a little bit over two years now andI could not recommend highly enough checking out the two parts of our interview with Steve

(01:09:29):
as well.
Just such amazing stories come out of Nashville and for good reason.
He's just one of the capitals of music in the world and deservedly so.
So thank you as always for listening and a quick shout out to our wonderful Gold andSilver supporters, the lovely Tammy Katcher from Tammys Musical Studio.
Thank you so much Tammy as always.
The excellent and sunburnt Dewey Evans from the Sunnyland of Wales.

(01:09:53):
Thank you sir as always.
The magnificent Mike Wilcox from Midnight Mastering.
If you've got your own creations and want a top-notch job done on the mixing and masteringthen Mike is the go-to guy at Midnight Mastering.
and last but definitely not least and where Steve Nathan and I have been hanging out forat least 20 years and that's the musicplayer.com forums and the keyboard corner in

(01:10:18):
particular.
Do check out those amazing forums.
There's such a font of knowledge and a great place to hang with like-minded individuals.
Again, thank you for listening.
We'll be back in a week or two and until then keep on playing.