Episode 41: Michael Mosely

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
I got the whiskey. Let me have a drink of your whiskey.

(00:03):
Better get out of here. My name's Ken and I clean Willie Nelson's
under hole. Under hole?
I know you don't agree but I think he's the king of country.
Get the fuck out of here. Get out of my studio.
No, hell no.

(00:25):
From the Ramona radio studios, it's the Travis Billy Ross Outlaw Country Show.
Alright, we're here. We're live.
Happy Sunday everybody. I hope everybody had a good week.
Welcome to the Travis Billy Ross Outlaw Country Show. I'm your host, Travis Billy Ross.
With me as always, Sweet Curbs. Hey, hey.

(00:47):
Sweet Curbs with the...
She always gets these fancy intros. Sweet Curbs always deserves a fancy intro.
Curbs gets her own thing all the time. There you go.
Sweet Curbs with the twinkle in her eye.
That's the stupidest song ever.

(01:08):
I love it. It fits you perfectly, Sweet Curbs.
And with me as always... And I'll leap and twirl.
Have you ever seen me leap and twirl in the golden sun?
With a spider coming across the floor maybe.
With us as always, Mr. Eric Goforth. Hi buddy.
The man behind the sound. What's happening?

(01:31):
The guy running all the crazy stuff.
All the buttons.
Eric's in the booth where the magic happens.
Hey, speaking of theme music, Lovely Curby's birthday was not too long ago.
And it was the first debut of her whole song in front of all those people.
Yeah, it was pretty cool.

(01:54):
You should have seen everybody's face light up. They're like, oh my gosh.
That is so cool. Who wrote that? It was a cool song.
A robot.
A robot wrote it in about 25 seconds.
Oh my god, that was so crazy. Alright, ladies and gentlemen.
Ladies and gentlemen, listeners of the Travis Billy Ross' Outlaw Country Show,
we have a really freaking awesome guest today.

(02:15):
Mr. Mike Mosley.
How are you, my friend? I'm very well and you?
Doing good, man. Welcome to the show, dude.
I'm honored, actually.
So those of you that don't know, or you probably have seen my posts on Facebook,
Mr. Mosley gifted me a guitar a couple weeks ago.
And tell us a little bit about that guitar, Mr. Mosley.

(02:38):
That guitar was the first one I ever built.
That's crazy.
30 years ago.
1995.
And I built it in my garage in Poway, which is just the next town over.
Remember, Mona?
And I built it as a copy of a guitar that I owned already.

(02:59):
And I still own the original.
What was the original brand?
It was James Goodall. Same specs, same size.
I was there and I measured everything, calipers and you know.
Yeah.
Really anal about it.
And after your guitar was built, it sounded nothing like the original.

(03:23):
It was completely different.
So I went back to playing the Goodall because that was the sound I was trying to get.
So it sat in a case for quite a while.
I didn't play it much. It's actually in pretty good shape for being 30 years old.
That's friggin' nice.
Vintage guitar.
That is my go-to guitar now. You know that, right?
I play that on stage.

(03:44):
You know, that wasn't a requirement.
That wasn't a requirement of you getting the guitar.
But thanks.
I tell everybody the story.
And so I built this guitar and sat in a case for a while.
And I had built a few other instruments previously.

(04:05):
But that's the first guitar.
I had two mandolins that I had built.
One of them I brought with me today.
Nice.
And an electric violin.
I made it out of rock hard maple.
You know, you don't make a...and solid.
So you put that thing on your chin and in about five minutes you start to drool.

(04:26):
And you're heading for the floor and all of a sudden your chin's swelling up and you can't take it anymore.
It's a little bit heavier than a Gibson Les Paul.
You know everything.
Proportionally? Probably.
If you would size this up to the size of a Les Paul, without a doubt.
It's right there.

(04:48):
But it was the first guitar.
And I took that guitar with me to my job interview at Tayward Guitars.
And what year was that?
That was 1995 also.
I had just finished that.
And then the mandolin.
So I took the mandolin, that guitar, and the electric violin with me.

(05:10):
So you went in there and you were like, hey look here Bob.
Let me show you some things.
Let me show you what I could do.
Let me show you how to make a guitar son.
Absolutely not.
The funny thing is that I had...well, should I tell you the whole story?
Yes please.
So I'm in this restaurant in Powaway that I used to go to for breakfast.

(05:34):
And reading the Sunday paper, going through it.
I was kind of unhappy with my job that I had at the time.
I was working in an electronics company.
And I'm going through the thing and I stop and I get to the L's and it says Lutheran's.
I said, what? Why are they advertising for Lutheran's?
And I went, no, no, no, wait, wait, wait. That's Luther's.

(05:56):
Lutheran's is someone who builds instruments.
And I look and there's this place in El Cajon that they're looking for Lutherans to build things.
So I called in sick the next day at work.
I told them I was going to the doctor or something.
And I went down to Taylor Guitars and found the lobby.
I'm sitting there and the woman behind the desk goes,

(06:19):
are you here to apply for a job? Would you like a job application?
A form to fill out?
And I said, sure. Like you're applied for the janitor job or something.
Yeah, yeah, yeah. I said, I got a great job already, lady.
And I'm not going to because I knew they weren't going to pay me to whittle wood more than they were going to managing a mechanical design department.

(06:41):
Right. I was working at.
So I was sitting in the lobby and strangest job application I've ever filled out.
And what's he like? Are you a happy person? What the hell do you care?
You know, how about none of your business?
And just odd questions like that.
You know, how do you feel about life and, you know, whatever?

(07:03):
Find out. Yeah. Well, one of the partners was into Scientology.
Oh, that's that's an interesting dynamic all in itself.
Yeah. So I'm sitting there and going, well, it was a job application and a recruitment form.
Yeah. Yeah. I don't know about that, but good.
So I'm sitting there and this guy comes through the door and I know him.

(07:25):
I took like six guitar lessons from him. I paid for six, but I only took three because he just talked about himself the whole time.
He didn't teach me anything. So you only remembered one.
Yeah. No, I don't remember any of that to tell you the truth.
Not a damn thing. And so so I said, Don, hey, you're doing well.

(07:47):
He goes, what are you doing here? I said, well, I don't know.
I'm filling out this job application. I just I didn't know there was a guitar factory here.
And he goes, oh, yeah, yeah. He goes, what have you been doing?
I said, well, I just finished this mandolin that I had built.
And he goes and I said, I got it in the car. You want to see it? He goes, yeah, yeah.
So I went in the car. I'm sorry. Oh, that's all right.

(08:08):
I did. I did. Went out to the car. The sound effects.
I went out to the car, opened the car door, closed the car door.
And and I showed him this mandolin. He was blown away.
He was blown away. And he goes, oh, you got to come. You got to show this Bob Taylor.
You got to show the guy who owns the joint.
You know, sure. So I show it to Bob and we end up playing like he picks up a guitar.

(08:32):
So this guy, Don, was someone fairly high up then, obviously, if he could take you right to.
He worked. What did he do? He was the graphic artist, graphic designer.
And he did like some advertising and work on their brochures, things like that.
It was a fairly small company, too. So anyway, so meet Bob.

(08:54):
Bob picks up a guitar and he goes, what do you know? What do you know?
And I said, well, how about sailors hornpipe?
Dun dun dun dun dun dun dun dun. And he just jammed, and we're jamming together.
We're playing along. What the hell's going on?
You know, and he looks at me and goes, well, what are you doing?
I told him about my background in electronics and I worked in CAD computer assisted drafting.

(09:18):
And he says, well, don't have a job for you right now, but I'll call you in a couple of weeks.
You know, I'll let you know. Yeah.
And I'm walking out. And then I met the personnel officer, HR lady.
And she looks at what I filled out on the job app and saw how much money I was making.
She goes, oh, we don't have a job for you.

(09:43):
You make way too much money. You're better off where you're at.
Yeah, you're better off where you're at. You know, she goes, but that's OK, you know.
So I get a call from Bob and he says, come on in. We'll talk some more.
So I brought your guitar. Yeah.
This mandolin I brought and an electric violin with me and strangest job interview I ever had.

(10:07):
You know, it's like walking in with three of your friends.
And the other thing was that I had a notebook filled with the plans of each one of those three instruments
because I was working in electronics industry and I was a documentation.
Documentation, documentation, documentation.
And it was in mechanical design work. So everything was dimensioned out to the thousandth of the inch.
So all my plans on my guitar and the mandolin and electric violin were the same way.

(10:33):
And he was impressed. And he says, I'll call you. Call you in a week.
Within the week. He's like, we've got to figure out a spot for this guy. He's freaking awesome.
I'm not sure about that. I'm telling you, that's how it went down.
I went home and talked to my wife at the time, my first wife, mind you, and said, what do I do?

(11:00):
I said, I'm making all this money. The lady told me, the HR lady told me I wasn't going to make that much money
if I came to work there. And she says, well, here's what you do.
And my first wife gave me two pieces of advice and good pieces of advice all the time we were married.
One was love animals. She loved animals.

(11:22):
Sweet curbs. They were the best.
We had a dog, three cats, and two rabbits. And so I got the love of animals from her.
But the piece of advice she gave to me, she said, OK, you write down a number.
Figure it out. Figure out what you need. What's the bottom line?
What's the bottom line you need to survive, to pay your bills and whatever, whatever.

(11:46):
And they offer you more than that. Take the job. They offer you a lesson in that.
Don't take the job. So Bob calls me up. So I was thinking, write down the number.
And I said, OK, it's this much per hour. I'm writing this down on my little pad here.
And so Bob calls me up and he says, well, what do you think? You want the job?
I said, well, you know, we really didn't talk about money yet.

(12:08):
You know, I'm not going to tell you. I'm going to take the job. He goes, oh, that.
And he tells me a figure. And it's the exact amount of money that I wrote down in my newspaper.
Wild. So there was no above or below. So you still ended up in this.
I took the job. I took the job.
But that's like a one side for sure. That's awesome, man.
So that's my story. I'll be done.

(12:29):
Now, how did you get into guitar making in the first place?
Wow. I saw the Beatles in 1964. I was 10 years old.
And I just wanted a guitar so bad. And it started, really started there.
And I was I was making them out of cardboard and fishing string line.
I was unraveling my dad's fishing string, cutting off sections.

(12:51):
I can have it making drums out of coffee cans.
You know, drums weren't bad, but the guitars were a little thin.
Thank you very much. Thank you. Thank you very much.
So but I was always interested in in guitars.
And so and I like to do things with my hands and build things.

(13:14):
So I went to when I went to school in college, I actually went to school to become an industrial arts teacher.
So I took wood shop and photography and printing and metal shop and ceramics and auto mechanics and all these these things to do with, you know, doing things with your hands.
So when I moved to California, I started going to swap meets and finding these junkers, you know, these old beat up guitars and things.

(13:41):
And I try to fix them. You know, I try to glue them back together and buy clamps and blah, blah, blah, blah.
And so, you know, after a while, a friend of mine who I was dating, she gave me a hand or dulcimer kit lap dulcimer kit that she had bought.
And she was trying to put together and she goes, I can't do this. You know, it's just a mess.

(14:02):
So I put it together for her and then just kind of evolved like that, you know, kind of slow fixing things first, though, before building.
Nice. So when did you finish your very first guitar when you sat back and you said, holy cow, from zero to 60 start beginning to end.
I designed it, built it, and there it is sitting on the table. First guitar was that guitar.
I'll be doing really. Yeah. Wow. That's so cool, man.

(14:28):
What a trip. All right. So Mike Mosley, this is the Travis Billy Ross Outlaw Country Show.
And we have something very in common when it comes to music. One of my favorite musicians is Leon Russell.
I've seen him three times before he passed away in 2016. I'd be concerned if it was after.
Well, I've seen him in dreams and stuff. But anyway, I've said I've seen him three times.

(14:54):
I think it was more than three. But as far as I can remember, I've seen him three times.
But Leon Russell is one of the one of my favorite one of my favorite musicians.
And I don't know if you would call that country, but some of it would be considered country.
You know, like the one song that I did, I covered was called Magic Mirror.

(15:17):
Oh, great song. One of my favorites, man. I did that.
Actually, I recorded it and I made a video with it with all of like the memorabilia of Leon Russell.
And I posted it on a Facebook page for Leon Russell fan page, whatever. And his wife commented on it.
She's like, thank you so much. That's so cool that you did that. I was like, oh, wow. What? I didn't know who was.

(15:41):
But I was like, what? That's his wife. That's so cool.
And you sent me a recording of a song that you did. Right. Yeah. A Leon Russell song.
One of the main songs reasons why I do love Leon Russell was what was it? Tell me the song.
I've been so many places. I can't think of a song for you.

(16:06):
A song for you. Yeah, it's a song for you. One of my favorite songs that Leon Russell ever did.
Well, shoot, man. Let's take a little music break and listen to a Leon Russell song, man.
Yeah. There we go. There we go. Yeah.
I've been so many places in my life and time.

(16:38):
I've sung a lot of songs. I've made some bad lines.
I've acted out my love in stages with 10,000 people watching.
But we're alone now and I'm singing this song to you.

(17:02):
I know your image of me is what I hope to be.
I'll treat you unkindly, but darling, can't you see?
There's no one more important to me.
Darling, can't you please see through me?

(17:26):
Cause we're alone now and I'm singing this song to you.
You taught me precious secrets of the true, withholding nothing.
You came out in front and I was hiding.

(17:50):
But now I'm so much better and if my words don't come together,
listen to the melody cause my love in there hiding.

(18:15):
I love you in a place where there's no space and time.
I love you for my life, you are a friend of mine.
And when my life is over, remember when we were together,

(18:39):
we were alone and I was singing this song to you.

(19:09):
But I love you in a place where there's no space and time.
I love you for my life, you are a friend of mine.
And when my life is over, remember when we were together,

(19:36):
we were alone and I was singing this song for you.
We were alone and I was singing this song for you.
We were alone and I was singing my song.

(19:59):
Singing this song for you.
They got a vintage Victrola 1951,

(20:33):
full of my favorite records that I grew up on.
They got old Haken, Lefty and this B-24,
set them up yo and play walking the floor.

(20:57):
I'm gonna spend the night like every night before,
playin' ET and I'll playin' some more.
I gotta have a shot of them old Troubadours.
Set them up yo and play walking the floor.

(21:32):
All my neon neighbors, they like what I play,
cause they've heard it every night since you walked away.
Every day they replay, so B-24,
cause every night I run a needle through walking the floor.

(21:55):
Every night I run a needle through walking the floor.
I'm gonna spend the night like every night before,
playin' ET and I'll playin' some more.
I gotta have a shot of them old Troubadours.

(22:18):
I said, set them up yo and play walking the floor.

(22:51):
Sittin' in the Bayou Contre, just me and my fish in a line.
Raise a lot of hell and a holler,
sippin' on that Georgia moonshine.
Well I know how to have a damn good time.

(23:17):
And I take my shot straight out of a jug,
and I like to get pure drunk in that Mississippi mud.
Well it's those little party babies,
I call a few friends of mine.
We'll dance all night till the sun comes up,

(23:40):
and we'll drink ourselves completely blind.
Then we'll rock on down the line.
and I like to do a little dance in that Mississippi mud.

(24:30):
Well I was raised by an uncle alligator,

(24:53):
he taught me how to walk the line.
Used to deal cards from the bottom of the deck,
but a Tennessee woman took his dice.
But he sure gave me some real good advice.

(25:16):
and I like to get pure drunk in that Mississippi mud.
Hey I take my shot straight out of a jug,
and I like to do a little dance in that Mississippi mud.

(25:52):
Oh yeah, good old Mississippi mud.
You know that was the grandson of the king of country?
The grandson of the king of country.
Hank Williams Sr.'s grandson.
Heck yeah, we're back.
We're hanging out with Mike Mosley, the guitar builder.
What do you call yourselves?
Lutherans.

(26:17):
Wait, now I can't remember.
God bless you.
I know, he said, I thought that the Lutherans were doing pretty good.
I didn't know they needed to put an ad out.
Luther.
Luther.
So wait, hold on, I have a question.
A luthier, is that someone that makes instruments or specific to guitars?

(26:40):
String instruments, violins, cellos, basses, guitars, mandolins, ukuleles.
His homework would say, ukulele.
Heck yeah, so you have a mandolin that you built.
Yes.
You were showing me that.
I'm going to pick it up here.

(27:01):
Yeah, check it out.
He built a mandolin.
Look at that.
That's fancy.
We're going to switch to video casting here before too long,
because people have got to see what some of these guests bring in here.
It's so beautiful.
How many instruments do you play, Mike?

(27:24):
You know, somebody asked me that recently, and it's like nine or ten.
Good night.
But none of them really well.
I don't know, I've heard you play a couple pretty well.
But not great, not great.
No, this was a mandolin that I built for my first wife as a Valentine's Day present.

(27:45):
Wow.
You've never built me a mandolin.
I mean, I don't play music, but you've never built me a mandolin.
He built you a walk-in closet.
Yeah, right.
That was for Christmas, Eric.
That wasn't Valentine's Day.
Just kidding.
And actually, it's a good thing.
You know why?
Because there's a curse involved.
When you build a musical instrument for a woman, she's going to leave you.

(28:06):
Oh, it's like getting their name tattooed.
See the curves?
So, yeah.
So, this was a Valentine's Day present, and we had holidays.
There was Christmas, and then there was her birthday, and then there was our anniversary,
and then there was Valentine's Day.

(28:28):
There's a lot of presents involved in that stretch.
So, she played mandolin.
I actually gave her some mandolin lessons, and she had a mandolin.
But she was a costumer.
She made costumes from like the turn of the century.
Really marvelous pieces, these dresses that went on forever, and the thing in the back.
I don't know what you call them.
Bustle.

(28:49):
Bustle and bustle.
And so, I thought, how cool would it be if I built her a period instrument.
So, this is a copy of a 1903 Gibson F3.
Okay.
How cool.
It's so beautiful.
I found the plans for it.
This guy had bought all the materials, tuners, stuff for the bridge, the woods, and everything.

(29:11):
Inlays.
I didn't buy the inlays, about little chunks of flat inlay and cut it all out by hand.
But I knew I wasn't going to make it in time for Valentine's Day.
So, me being a guy, I thought, well, I'll just wrap up all the individual parts,
set them all out.
We had this big oak kitchen table, turn of the century oak table.

(29:33):
Set it out there.
A dozen red roses, everything packaged up really nicely.
And I forgot what she gave me.
She gave me something.
It's gone from my memory.
But she picks up the first item and she goes, she wraps it on the kitchen table,
and she says, it sounds like a block of wood.
I said, yeah, but it's really good wood, honey.

(29:57):
It's the best wood money can buy.
And she said, what the hell did you give me?
Yeah, so here's the plans.
Look at the plans.
Look at the plans.
I unfolded the plans and showed her the whole thing.
And she looks at me and she goes, where's my real present?
Man.

(30:19):
Yeah.
Talk about deflating a little bit, huh?
Yeah, it was bad.
Your real present will be here in three weeks when I build the mandolin.
Well, but it took me five to six months to finish it.
And I spent all of my free time in the garage just working on this thing
and working on this thing, working on this thing.
And it's a remarkable piece, really, truly.

(30:44):
What would you all do if I just started playing and you had no idea?
And I was just like, they love it.
So, McGriffs, you remember when I started trying to give you lessons on how to play one of those?
Yeah, and we stopped because we would have broken up if you continued to teach me how to play the mandolin.
See?
The curse.
So I finished it and she got the mandolin and about, I don't know, a couple months later she decided,

(31:08):
you know, I think I don't want to play the mandolin anymore.
I think I'm going to start to play the guitar.
And I don't know how long after that we were divorced.
Yeah, it wasn't that long.
So probably everything probably...
And you got to keep the mandolin.
No.
Uh-oh.
No.
That's part two of the story.
No, the judge said he could keep it.

(31:29):
No, no, no, no, no.
It's part two.
We'll have to do that a little later on in the show.
That is just gorgeous.
So that's how you ensure a return guest.
So to build some...
Yeah, right.
So to build...
Yeah.
You might be back for part two.
But to start a project like that from concept to completion, how long does that normally take?

(31:55):
Giving normal working hours, not like, you know, but just knocking out a couple of hours a day.
I used to be able to build an instrument, not necessarily this one, in between four and six months.
Yeah.
Sometimes I would build two at a time, like a ukulele and a guitar, or maybe two ukuleles or something like that.
But I had a fairly decent shop.

(32:16):
I always had a pretty good shop going on.
The last instrument that I built, the guitar for Ashley E. Norton, took me seven months because I was building it in a spare bedroom.
Oh, yeah.
On the condo that I lived in.
So it saw a little vacuum.
It saw a little bit of vacuum.
Trying not to run the routers late at night.

(32:39):
Sure.
Right, right, right.
Yeah, your neighbors would love you.
Yeah, yeah.
So, but one guitar that I built for someone, my dear friend Karina, who just passed away recently, it took me 18 months to build hers.
Wow.
Because, oh, that's a long story.
But I ended up selling my house and losing the shop.

(33:03):
And then I decided I wasn't going to build it for her.
And she didn't know it was coming.
Some of the things I build are collaborations with the person getting the instrument, and others are just complete surprises.
I love the complete surprises.
Yeah, mine was a complete surprise.
It's so much better than dealing with the person who's going to get the instrument, really.

(33:25):
It's a lot more fun.
But so I decided I wasn't going to build it because I was being frustrated.
I couldn't figure out the inlay work on it.
But her husband knew about it.
So he kept on texting me and calling me, hey, how's it going, Mike?
How's the guitar coming along?
It's all right.
And finally, I just put my mind to it, finished the instrument, and she loved it.

(33:50):
Nice.
But her poor husband had to keep it a secret from her for 18 months.
And he said to me, he goes, I never kept a secret from her for that long, for anything.
This is brutal.
It's brutal.
I felt bad for him.
What have you been doing in that back room?
None of your day in business.
Nothing.
Nothing.

(34:14):
Man, so building guitars for Taylor.
Well, I didn't build guitars at Taylor.
I built them.
I was in the engineering department, and I was in charge of all engineering documentation that went to the floor.
And in the beginning, I did a lot of the drawings myself, because they had parts that had no drawings.

(34:39):
They just said, OK, we'll make it like this, and here, make another one of these.
And it wasn't really that organized.
And they had people who did CAD work, but they never kept track of anything.
They'd never documented anything.
So if you wanted another one of those things, say it broke on the line, it was a fixture or something,
you had to go back to the guy who built it in the first place and say, could I have another one?

(35:04):
And if he left, you're screwed.
So Bob, very smart man, smartest man I've ever known, he decided he wanted to get a real engineering feel to the department.
And that's basically why he hired me.
He wanted me to make drawings and create a part numbering system and how to document things and do file management and stuff like that.

(35:27):
So you were involved with the Liberty guitars.
Yeah, that was that was quite a ways down the line.
Yeah.
So I was just I was just telling talking to somebody about those those guitars.
And I went to look one up to see how much they cost like twenty five grand.
The one that's for sale right now is a used one or it's a pre-owned whatever they called it.
But it was like twenty five grand.

(35:49):
They were they were guitars made from the last standing Liberty tree in America and the 13 colonies all had their own tree, their own Liberty tree.
They would they would meet underneath it and talk about the revolution and how they wanted America to be.
And the reason they did underneath a tree was so that like they could look around and they could see if people were eavesdropping on them or not.

(36:15):
You know, so they were secluded where they were in a building and somebody's on the roof or whatever.
So this was the last standing tree in Boston.
No, Maryland, Maryland, Indianapolis, Maryland.
And so the tree died.
It went through hurricanes and some people try to blow it up like a hundred years ago.

(36:38):
And it finally died.
And they were going to cut it down.
They had a big ceremony and the college.
It was on a college campus.
They saved some wood for trinkets and memorabilia and things, little gifts and stuff.
But the majority of it was going to the landfill.
Oh, yeah. It was a tulip poplar tree.

(37:01):
And so this guy followed the truck, some guy, some guy who realized that it had some, you know, significant history, historical.
Right. He followed the truck to the landfill, paid the guy who was going to dump it, put it in his truck, big truck, took it back and started to store it in this building.

(37:23):
And it had to be humidified and everything.
And somehow they got a hold of Bob Taylor and Bob says, I'll buy it right away. And they shipped it off to a place in Washington state to process it, to cut it up into sizes that would be used for guitar.
And I think they built 400, 400 Liberty Tree guitars out of that tulip poplar.

(37:46):
Wow. So I know what I want for Christmas.
I just need about 25 grand, Eric. I got you.
I'll go have these with you.
And they weren't that much. They were probably 4000 or something when they.
Oh, wow. At the time? At the time.
When was that? It was in the early 2000s, wasn't it?
I believe it was 2000. Yeah, it was early 2000. It might have been 2001.

(38:11):
Yeah. Yeah. It was. It was because the 9-11. Oh, 2001, right? Yeah.
And so Bob started building the guitars in October of that year.
And when 9-11 happened, the guitar market bottom fell out.
Nobody was thinking about, oh, hey, I buy a new guitar. They are all thinking, oh, what the hell is going on in this world?

(38:35):
Yeah. But those 400 guitars sold right away because they had the.
Yeah, this is the history.
Yeah. Even those that weren't guitar players when it just to have just to have access to one. And the inlays had the the colonial flag.
And you're looking at one and the Declaration of Independence on the fingerboard.
Yeah. And so they really sold it.

(38:57):
That group of guitars basically saved Taylor guitarist that year.
And people thought, oh, you know, Bob, when he was. I shouldn't say that.
He had the idea to build this months and six months before 9-11 happened.
That is so cool, man. That's cool that I know a person that was part of all of that stuff.

(39:19):
Plus, I still have some chunks of the Liberty Tree wood in my wood stash.
What's that just over there with the other steps? Absolutely. Well, it's not special.
It's a special. It's a special.
No, because there's there's pieces of wood that just weren't big enough to make anything out of, you know.
So I made three ukuleles out of Liberty Tree wood.

(39:42):
I gave and I gave the one of them to Bob, the first one to Bob.
And it was the Fourth of July of one year. And that's cool. Bob, look at this.
That's got to be that's got to be a moment, right?
When you have the idea, you're like, oh, we're going to make guitars.
And then the log shows up and you're all sitting around.
Well, I'm assuming you're part of the team where he brought a few people in the room and he kind of goes, well, where to be?

(40:03):
Where do we begin? Right? No, that wasn't Bob.
Bob had the vision. He was the king.
And we did what he said.
And it was marvelous because he had the vision.
He knew what he wanted.
And, you know, you could draw something up and show it to me.
He goes, no, that's not quite right. You know, any previous suggestions and stuff.

(40:25):
So really, and he had a great inlay artist and guitar builder working for him at the time, Larry Breedlove,
who also started Breedlove Guitars and up in Oregon.
And Larry was just a phenomenal artist.
He he he and Bob at that time, they were the designers of it all.

(40:46):
And everybody else worked to make that dream design come true.
Wow. So cool. So cool.
Mike Mosley, what is your your your you dig the country music you're into the country music.
The outlaw country kind of country folk thing.
You know, who's your who's your John Prine?

(41:10):
Oh, yeah. John Prine, you know, is one of my favorites and Steve Goodman.
You know, they're going hand in hand. Yep.
Steve Goodman, man, he was a hell of a songwriter.
The city of New Orleans. Yeah. City in New Orleans.
He did well, the David Allen Coe song that I do. Yeah.
And I never that I play an A minor.
Oh, man. A friend of mine named Steve Goodman wrote that song.

(41:40):
My favorite part about that entire song listening to it now is that he said, I send him back a letter telling him,
you send him a letter, you didn't call him.
No text message, email, you have to send a letter back then. They didn't have none of that shit back.
I guess you could have called him.
It just makes me laugh.
I wrote him back a letter and I told him it was not the perfect country western song. Wrote him back a letter.

(42:03):
Oh, man. Good stuff. So John Prine, Steve Goodman.
Who else? What would be a. Well, those are early influences.
John Hartford, who is really famous fiddle player to gentle on my mind.
He wrote gentle on my mind for and Glenn Campbell recorded it afterwards.
And that is one of the most recorded songs. Really? Yeah. Yeah.

(42:29):
Oh, John Hartford's on that other. He's a David Allen co-person, too.
He's on that. Is that D.R.U.N.K.? How do you spell relief?
I get D.R.U.N.K. But there's a point in the song when he goes John Hartford, everybody, and he's going to town.
Yeah. John Hartford was amazing. He played violin, banjo and guitar all equally as well.

(42:53):
Yeah. And he would clog during. Oh, yeah. He would play.
And he was so he'd be dancing and keeping the rhythm.
And he had this piece of plywood that he had pickups in.
So he had it amplified and he could change the sounds and that's so crazy.
People are like just stupid talented. Yeah.
It just kind of oozes out of them. Oozes. Oozes.

(43:16):
All right. So we have a question we ask all the guests. All the guests.
Yeah. Guess. Guess. Guess.
So King of Country. Mine would be Hank Williams, Sr.
That's the king of country to me. It's definitely not George Strait.
But you could say George Strait. But if you say it, then we're done here.
I'm just kidding. It's time to go.

(43:39):
I'm just kidding. For me, it'd have to be Willie.
Willie Nelson. OK. Without a doubt. Yep. That's acceptable.
He he did so many. There was a jazz album that he did.
It was like standards. Yeah. It was just remarkable.
And his voice so unique. You hear him saying, you know, it's Willie.
You know what I really love about Willie, man, is his guitar.

(44:02):
And that's the same guitar he's played for ever.
This is my screensaver trigger. Oh, that's funny.
Oh, there's the under hole. Yeah.
There it is. Oh, there it is. Yeah.
Infamous under hole. Yeah.
So the intro to the show where Kirby says, I'm Ken and I clean Willie Nelson's under hole.
That's the hole she's talking about.

(44:26):
That's funny. That's a Luther's nightmare.
No, I know. Yeah, dude.
I watched this whole documentary on like the guy that he lives out in Austin.
But he's the guy that does that, cleans that and fixes it every year.
And he'll do like it is like very delicate showing us like it's like dealing with fricking paper.
That's going to be like that's going to be like an OCD nightmare.

(44:47):
Like here's a guitar that is long overdue for a little bit of love and repair.
And Willie's like, leave it alone. Clean it. Just clean it. Just clean it.
Don't fix it. Clean it. Don't fix it.
Yeah. He's had to put like extra bracing in there, like just doing a lot of stuff with glue.
It's a pretty cool documentary.
Kind of a Frankenstein guitar at this point.
But also, you know what I love though about that is that Willie Nelson could go out and buy your twenty five thousand dollar

(45:12):
You know what I mean? He could. Money's no object. He could have whatever.
And that's his guitar. Yeah.
And I truly believe it's not the guitar. It's the man or woman playing.
Oh, yeah. 100 percent. 100 percent.
You know, he doesn't need another guitar. He can be great with that guitar and the hole in it.
Yeah. The under hole. The under hole. We call it the under hole.

(45:37):
But I don't know if that's the technical term.
Sorry, Willie. Have your people reach out to people and let us know what you'd like it called.
We'll have Willie Nelson on the show in a couple weeks to talk about his under hole.
But until we hear from Willie Nelson, we're going to call it Thunder Hole.
But if that guitar ever goes to auction. Oh, oh my God.
That's priceless. It'll break all records.

(45:59):
Dude, priceless guitar. Like there's I mean, there's no money, like amount of money that would buy that.
No, but it may go to auction at some point in time.
Oh, at some point. At some point somebody is going to somebody is going to go either A,
somebody should have it that can truly appreciate it and take care of it better than I can.
Right. Or somebody is going to say, I got to pay off some bad debts.

(46:22):
Either way, I feel like it's going to go.
It's going to go into a museum. Yeah, that's true.
It'll go to a museum or something. Yeah. The Rock and Roll Hall of Fame or Country Hall of Fame or something.
Country Music Hall. Yeah. It'll it'll be in one of those things and nobody will be able to touch it.
It'll be like the Constitution. It'll be like behind like bulletproof glass.

(46:43):
Humidity controlled inside the box.
They're going to make a movie on it called Ocean's something.
Ocean's Trigger.
They try to steal it. Ocean's Underhall.
All right, dude, we got to do a quick shout out for our sponsor, Mr. Dean Outlaw BBQ.

(47:05):
Because nobody likes to party with salads. They got to have the meats.
And Dean from Outlaw BBQ's got it. Mr. Mosley, have you ever had Dean's BBQ?
Oh, yeah. Yeah. Oh, yeah. He does the stuff on Mondays over there.
Red Flats Brews.
He's working on some new stuff for some Mondays.
Yeah. So rumor has it he's working with Jessica Frankenberger, the pizza lady.

(47:30):
She was on the show a couple of weeks ago.
They're going to be working together to do some awesome pizza, like barbecue style pulled pork stuff, meatloaf.
I had the meatloaf.
And I said to him, you know, this isn't like Mom made.
This is way better. This is way better.
Oh, man. Heck, yeah, dude. So give Dean a call today.

(47:53):
858-354-7712 to book your next event.
He does catering.
He'll come to your place, come to your backyard, come to your barbecue, and he'll cook for you.
Small ones, big ones.
Yeah. One hundred fifty, one hundred fifty people.
Barbecue, whatever else kind of part. What are the kind of parties are there?
Wives, divorces.

(48:14):
Oh, yeah. Divorces. Divorces.
He'll do divorce parties for you.
Those are the best ones.
All right. We're going to take a break. We're going to listen to some tunes.
When we come back. Are you going to play a little bit for us today?
I may do it.
I would love that. Hell yeah.
Let's get some tunes in here.
Yes.

(49:02):
Thunder were desire.
This old house would have burned down a long time ago.
Make me an angel that flies from Montgomery.
Make me a poster of an old rodeo.

(49:27):
Just give me one thing that I can hold on to.
To believe in this living is just a hard way to go.
When I was a young girl, well, I had me a cowboy.

(49:54):
He weren't much to look at, just a free-rambling man.
But that was a long time. And no matter how I tried,
the years just flow by like a broken down dam.

(50:15):

(50:36):
There's flies in the kitchen. I can hear them there buzzing.
And I ain't done nothing since I woke up today.

(51:03):
How the hell can a person go to work in the morning
and come home in the evening and have nothing to say?

(51:24):

(52:08):
Riding on the city of New Orleans,
Illinois Central Monday morning rail.
There are fifteen cars and fifteen restless riders,
three conductors and twenty-five sacks of mail.

(52:32):
They're all out on the southbound Odyssey,
and the train pulls out a cankakee,
rolls past the houses, farms and fields.
Passing towns that have no name
and cragyards full of old black men
and the graveyards of rusted automobiles.

(52:54):
Singing, good morning America, how are you?
Saying, don't you know me, I'm your native son.
Yes, I'm the train they call the city of New Orleans.
And I'll be gone five hundred miles when day is done.

(53:16):
And I was stealing cards with the old men in the club car.
And it's penny a point, there ain't no one keeping score.
Won't you pass that paper bag that holds that bottle?
You can feel the wheels grumbling through the floor.

(53:38):
And the sons of Pullman Borders, the sons of engineers,
they ride their father's magic carpet made of steam.
And mothers with the babes asleep go rockin' to the gentle beat.
The rhythm of the rails is all they dream.

(53:59):
Just a singing, good morning America, how are you?
And I'm the train they call the city of New Orleans.
I'll be gone five hundred miles when day is done.

(54:21):
Nighttime on the city of New Orleans.
Changing cars in Memphis, Tennessee.
It's halfway home, we'll be there by morning.
Through the Mississippi darkness, rolling to the sea.

(54:42):
And all the towns and towns, they're all in the same place.
And all the towns and people, they seem to bait into a bad dream.
The old steel rail, it ain't hurt today.
The conductor sings his song again, it's passengers, oh please refrain.

(55:05):
This train's got the disappearing railroad blue.
Just a singing, good night America, how are you?
And I'm the train they call the city of New Orleans.

(55:26):
I'll be gone five hundred miles when day is done.
Just a singing, good night America, how are you?
Well I'm the train they call the city of New Orleans.

(55:48):
And I'll be gone a long, long time when day is done.
Well it started out to be a tow boatin' man, but I never got the hang of a ratchet bar.

(56:13):
I was growing up a-tackin' in the Illinois trade with coal dust in my ear.
I got stuck in the ice on Christmas Eve and I froze my ass, it's true.
I just a-shivering and a-shakin' with the down south gays and them steamboat whistleblows.
Oh Captain Way, I'm sorry my hat is off to you.
You've been hanging out by the old cook's stove with the steamboat whistleblows.

(56:56):
Well way up north I called your earphone but I didn't get no one to answer.
So I opened up the window and smoked a little bit and I watched the cars go by.
I'm gonna hunt you up and ask you, have you found out anything new?
Or are you hanging to the best you've had with the steamboat whistleblows?
I've been right here since nine o'clock and believe you me that's true.

(57:21):
I just a-lookin' at the waterways journal with the steamboat whistleblow.

(57:46):
Oh, how the city's grown up, where it looks all square like a crossword puzzle on the landscape.
It looks like an electric shaver now where the courthouse used to be.
The grass is all synthetic and we don't know for sure about the food.
The only thing we know for sure is the steamboat whistleblow.
I'd sit and watch my TV if I thought I could trust the news.

(58:09):
About the only thing I trust these days is the steamboat whistleblow.

(58:34):
Oh, well, a far out Johnny Weller heard him sayin' he stretched out back on the waterbed.
Bluegrass music is a thing of the past and the same for rock and roll.
And I loaned him two or three dollars and he gave me the latest news.
And he left me here with a rollin' stone and the steamboat whistleblow.
I'll tear off down the river someday before I'm through.

(58:58):
I'll then come back here and sit out with the steamboat whistleblow.
All right, we're back.
Who was that last musician that was just playing right now?

(59:20):
John Hartford.
John Hartford.
And then that was Steve Goodman.
Steve Goodman.
And then right before that, the City of New Orleans.
And then what was the first one?
Mr. Prime.
Mr. Prime.
Angel from Montgomery.
Angel from Montgomery.
That's a good one.
I like how he sings that song.
He's like, I am a woman.
I am an old woman.
Named after my mother.

(59:48):
Mr. Mosley, you good over there on your beverage?
Oh yeah.
You got the whiskeys?
No worries.
He's got his whiskey.
Got my whiskey, got my train whistle.
Oh nice.
Whenever I do something really good in my workshop, I process.
That was easy.
He's got an easy button.

(01:00:10):
That was easy.
A little self-affirmation.
We're going to have to get one of those for the studio.
I'll get on one of the buttons here.
Because most times it's a sandwich.
I can't believe I did that.
Well that was not easy at all.

(01:00:32):
Oh man.
All right, so you got your mandolin up.
No, I got my ukulele.
Oh, you got the ukulele.
So I started building ukuleles just because I had access to really great pieces of wood.
I mean, they're just stunning.
And they were in the firewood bin at work.
Oh my gosh.

(01:00:53):
Oh wow.
So can I ask another question really quick?
Sure.
Depending on if you're making a mandolin, a ukulele, a violin, a guitar, is it different
types of wood are ideal for each specific instrument or?
Without a doubt.
Violin, traditionally is maple neck, maple sides, maple back, and a spruce top.

(01:01:17):
All the great violins, sorry about that.
Had I tuned this thing before?
That's right.
I had to tune this before I embarrassed myself.
Like the Stradivaria violin?
Maple.
That was all maple.
Spruce top though.
Oh really?
Spruce top.
Even back then, like the first, like the ones worth millions of dollars now?
Yep.

(01:01:38):
And you could build a violin out of different woods.
But why?
I mean, that combination.
Well hundreds of years have proven that that's the sweetest combination.
That's the sweetest combination.
Now, ukuleles are traditionally made from koa because they originated in Hawaii.
And the koa tree is only on the two big islands in Hawaii.

(01:02:01):
So this one is all koa.
Fire bin wood koa.
Fire bin wood.
That's got to be something to just kind of walk by and go, well we're going to throw
that away.
You want to take this home and put it in your fireplace?
And the reason I started building ukuleles is one, they're small and the pieces of wood

(01:02:22):
are easier to get.
And my friend Donna, who's like, I met Donna in eighth grade.
We're still great friends.
And she was playing Somewhere Over the Rainbow, Izzy's version of it.
Oh yeah.
Yep.
The big Hawaiian guy.
Yeah, the big Hawaiian guy.
But she was playing on a mandolin and I said, well Donna, you're supposed to play it on

(01:02:45):
the ukulele.
And she goes, well I don't have a ukulele.
And so it began.
Thanks for calling it out.
Say no more.
That's what friends are for.
That's what friends are for.
So that started me on building ukuleles.
And normally, after you build your first ukulele or you buy your first ukulele, you should learn

(01:03:11):
a traditional Hawaiian song.
So I learned this song.
That's not the right key, is it?
But it turned out to be a John Prine tune.
Oh yeah.

(01:03:33):
Well I packed my bags and bought myself a ticket to the land of the tall palm tree.
Aloha old Milwaukee, hello Waikiki.
Just stepped down from the airplane when I heard her say, waka waka nuka luka, waka waka
nuka luka, would you like a lay?
Hey, let's start dirty in the Hawaiian.

(01:03:56):
Whisper in my ear, I kick a puka maca wawahini.
All the words I long to hear, lay your coconut on my tiki.
What the heck a muka muka dear?
Let's talk dirty in Hawaiian.
Say the words I long to hear.
Oh, ba ba da da da da da da da da da da da da da da da.

(01:04:23):
Oh, words.
Come on, words.
Where are you?
There we go.
It's a ukulele, hattalula sunset.
Listen to the grass skirts sway.
Drink and run from the pineapple.
On and on and on and lulu bay.
Steel guitars are playing, while she talking with her hands.
Gimme gimme oka doka, make a wish I wanna poke.

(01:04:45):
Words I understand.
Hey, let's talk dirty in Hawaiian.
What the heck a muka muka dear?

(01:05:07):
Oh, ba ba da da da da da da da da da da da da da da.
Well, I bought a lot of junka with my moola.
And I sent it to the folks back home.
Never had the chance to dance a hula.
I guess I should have known.
When you start talking to the sweet ohini.

(01:05:29):
Walking in the pale moonlight.
Okanokawata said a knocka rocka siska mba.
Cause I hope I said that right.
Hey, let's talk dirty in Hawaiian.
Well, what the heck a muka muka dear?

(01:05:52):
Oh, let's talk dirty in Hawaiian.
Aloha.
Aloha.
Aloha.
Aloha.

(01:06:14):
I've never heard that song that's so funny.
That is fantastic.
John Prine wrote that song.
That's so killer, man.
That was super cool.
That's fantastic.
That is fantastic.
So Mike Mosley, have you been in any bands?
Like any concerts or anything like that?

(01:06:35):
Yes, I was in a rock and roll band when I was 15 and 16 years old.
We were called Cold Sweat.
Cold Sweat.
Did you do original songs or cover songs?
What were your covers?
We did a lot of Three Dog Nights.
We did Alice Cooper songs.
I'm 18 and I like it.

(01:06:56):
You know, we were 16 and we were singing I'm 18 and I like it.
Honest to God.
What else did we do?
We did one Emerson Lincoln Palmer.
Oh, Emerson Lincoln Palmer.
I'd love to see Mr. Mosley just get on the Three Dog Night.

(01:07:23):
I have a funny Three Dog Night story actually.
I once used to work for an event company and we did corporate event productions, big stuff.
I was the electronics guy, did all the animatronics and made buildings move and smoke machines and all those kinds of stuff.
We worked for one of the Native American tribes in Palm Springs, had a Christmas party and they had Three Dog Night.

(01:07:48):
Part of it, we had to order this gigantic neon sign for the back of the stage, Three Dog Night.
Traditional neon, right? The tubes, the whole thing.
For one time use.
But that's not something the band would bring, that type of thing?
No, it's Three Dog Nights, we could.
We were contracted to put on a show.
And so we pitched all these ideas and concepts and they're like, oh yeah, big neon sign back there saying Three Dog Night would be really cool, right?

(01:08:14):
So we built this. It was huge. It had to have been 10 feet wide, just massive sign.
And we babyed this because it took a long time to have this thing custom built.
And we had some pretty inexpensive laborers we picked up down at Home Depot helping us set the show up.
No kidding.
They had four guys holding the sign all very carefully.
Everybody's going slow and the very last guy tripped on the steps.

(01:08:38):
Down it went.
Good night, Irene. There's no neon sign for this show.
So you said Emerson, Lincoln Palmer, ELP?
Yeah, we did. We did. Oh, Lucky Man.
Oh, Lucky Man. Yeah, from the beginning.
Yeah, that's a good song too.
We were just covering what was on the radio at the time because we played high school dances and town parks and things like that.

(01:09:02):
And I started out playing guitar and then I went to keyboards.
Okay.
And they kicked me out for playing guitar and then they kicked me out for playing keyboards.
And then I went to bass.
And for some reason, that was my instrument.
That's the one that worked. He's like, all I got left is the triangle. So this has got to work out.

(01:09:25):
I got the cowbell.
I had the train whistle.
They didn't kick me out. They kept me in the band.
They just kept on shifting me around because they found someone who could play guitar better and they found a keyboard player.
But I ended up playing bass.
And when we were turned 18, everybody wanted to get a real job and go out and work.

(01:09:46):
One guy went to work at the supermarket. Another guy went to work for U-Haul.
And I'm going, guys, are we not playing music anymore?
We're not playing music anymore? What the heck?
And I went to college and then I moved to California right after that.
But no, I was in a rock and roll band.
Where are you originally from?
Buffalo, New York.
Oh, wow.

(01:10:07):
Actually, it's a suburb, Chichitauga.
Chichitauga?
Yeah, it's Indian for land of the crab apples.
Okay.
There were a lot of crab apple trees around. I don't know.
They weren't very original back then.
No, no, no. The Indians were like, hey, let's call it like it is.
They pop over a hilltop and they go, looks like a big land of crab apples. That's what we call it.

(01:10:31):
So New York, so when did you actually come to California?
1978.
But we had a great music department. I went to high school and they had just a really, really good music department.
They had a boys glee club, which I was in, and chorus, which I was in, and a chorale where you were saying,
you know, the real music, the big music.

(01:10:53):
And they also had music theory classes. I took two years of music theory.
So, and Mr. Rogers was my music teacher.
Mr. Rogers?
Mr. Rogers.
But if you sang that song, please won't you be my neighbor.
You'd be going to the principal's office.

(01:11:14):
Oh, that's funny.
So it wasn't really Mr. Rogers.
No, but it was Mr. Rogers.
And he gave the joy of music to so many people.
There it is.
You're going to the principal's office, you know.
Would you be mine? Could you be mine?

(01:11:36):
Mr. Rogers, God bless him.
So it's his, and really, so many of my friends were taught music by him who sang songs because of him.
I would not have become a singer if it wasn't for Mr. Rogers.
And it's his 90th birthday on May 2nd this year, and I'm hoping to make it back to Buffalo.

(01:11:57):
Oh, wow.
So they're making a chorus of people, getting a group of people together,
and we're going to try to sing some of the songs he taught us while we were in chorus with him.
So yeah, you know what's crazy? You know John Hawes.
Yeah, yeah.
They have a property in, I think, Buffalo, New York.
Yeah.
It's in western New York. It's in the southern tier.

(01:12:20):
But he's saying like the music scene out there right now is just popping, going crazy.
There are some great musicians.
And I think it's because they have nothing to do in the wintertime except sit in people's basement.
Put the heat on.
Try to stay warm and play music.
Try to stay warm and play music. I swear to God, that's why they're the great musicians.

(01:12:41):
That's why we're in Buffalo, New York.
We need some more cold weather in Ramona.
No, no, no, no.
Just sit around and no, I know. I don't like the cold weather here.
I don't like all this rain we've been having either.
Even though it's like, oh, it's fucking raining.
And it's like, well, we need it. And it's like, yeah, shut up.

(01:13:02):
I know, I know we need it. But I don't like it.
Now we have to we have to cancel gigs sometimes because the weather, you know, the cold or the rain or whatever.
Yeah, in Buffalo, they never cancel a gig.
I couldn't imagine. Yeah, it's always.
You wear your raincoat. You stand outside with your beer.

(01:13:23):
Yeah. Water down.
That band that plays at RFN on Thursdays, they cancel every time the forecast shows a cloud.
I know, I know. Friggin' A, man. Over at that band, Dirty Confetti.
Funny. Speaking of RFN.
Speaking of Ramona family naturals, who ought to thank you?

(01:13:46):
Miss Victoria.
She's got her own bell mic, mostly.
And we do this when we when we're playing there.
It's in her writer, you know, every time you say my name, I want to hear it.
She's like I'll sponsor, but I need a bell.
And then it's the joke of how many times we can say Victoria while we're plugging and thank you for our sponsorship.

(01:14:09):
Oh yeah. Yeah. Mike, do you play still like solo stuff or?
I I I I I I I I I.
I know you do open mics sometimes.
Open mics. Yeah. Three songs.
My buddy Tony and I, we were playing every.
That was way back when?
Way back then.
Way back then.

(01:14:30):
There's a difference.
The sign that I made says way back then.
And it's also the title of a John Prine tune called Way Back Then.
And that's why we. OK.
Named the band or the duo that.
So, you know, you get to the point where, you know, do I have anything to say musically?
Really, truly. I'm going to say Kickapookamakawahini all my life.

(01:14:51):
You know, and.
Yes, yes, you are.
Thanks.
No, the reason why I ask it, because they do live music on Sundays and it's usually, you know, brunch time, daytime.

(01:15:14):
And it's usually a single artist or like a duo kind of thing.
Yeah. Yeah. So I've seen maybe I don't know.
My buddy Tony, I met Tony in 1983 and we've been playing music ever since then.
About the last year or so we haven't gotten together more than a handful of times.
But he's going to retire this year.

(01:15:35):
And I'm really, really hoping that we're going to start to play again.
Heck yeah, man.
You know, it's such a funny story.
Before I met Tony, I was into Tom Waits, like really, really.
I still love Tom Waits.
I think he's one of the greatest American writers, composers ever.
Singer songwriter.
But I was really getting depressed because he's like, I'm up against the register.

(01:16:00):
You know, you know, just really kind of sad.
And I met Tony and Tony was into this like bluegrass thing and it's all snappy and happy and everything.
And I had an upright bass at the time and we ended up meeting him and going to see he was in a duo.
And so he really changed my musical life in a lot of ways.
And so 40 years of playing music together.

(01:16:23):
Our set list is basically the same.
But I'm pretty sure you all click.
But we know the song so well and we can just go off on them, you know, because we know where we're going.
We know the harmonies. We know all the lyrics and stuff.
So he's going to retire in March, I think.
And I'm kind of hoping he'll come back.
All right, cool.

(01:16:44):
So we'll be looking forward to seeing you playing on a Sunday over at Ramona Family Naturals for Victoria.
Yeah.
No, honestly, so that is a super cool store.
They have all organic foods.
They got a coffee bar.
They've got the kitchen in the back.
Get a sandwich or a full meal, whatever.

(01:17:07):
They got wine.
They got local wines, which is really cool.
I love that about them.
They have local wine.
Some of the wines that they have.
They have Ramona Ranch wine there.
They have old Julian.
They have old Julian.
They have Hatfield and a lot of the local wineries around here.
She sells a lot of their stuff.
And it's awesome.

(01:17:28):
She's a very big supporter of the music scene here in Ramona.
And we love you, Miss Victoria.
Bye.
And also, I know this cool band that plays there every Thursday.
They're called Dirty Cafe.
They're really good.
Well, they're all right.
They're OK.
Sweet Curves.
Come on.
I was waiting for some salt.
Whatever.

(01:17:49):
They're OK.
Guitar player's OK.
Yeah, he's all right.
The singers are all right.
He might get a big guitar someday.
Well, now that I got the big guitar, I feel like he's a pretty cool guitar player.
He's improved greatly.
He's improved greatly.
I'm telling you, it's like when you're a kid and your parents buy you a new pair of shoes
and you think you can run faster.

(01:18:11):
And jump higher.
Look at how fast I can run.
I feel like that with that guitar that you gave me.
I feel like a way better guitar player.
All of a sudden, I can be a solo player.
All of a sudden, I can play guitar.
Way better.
No, no, no, no.
It's always the man.
It's never the guitar.
It's always the man.
Oh, man.

(01:18:32):
Or woman.
So have you ever have you made any guitars or worked with any guitars that were for somebody that might be very famous?
Yes, indeed.
Yes, yes, indeed.
So Ashley Norton, right?
She's pretty famous.
But if you ever look at her fingerboard, you'd notice it says Ashley Norton in Mother of Pearl down the fingerboard.

(01:18:57):
Yeah.
The first person that I did that for was George Strait.
Wow.
What?
Yeah.
OK.
Not the king of country George Strait.
That George Strait.
No, let me tell you.
I love George Strait.
Yeah.
I do.
I appreciate that.
People, a lot of people are like, you don't like George Strait.
I love George Strait.
So during my time at Taylor, I was sort of an inlay artist for a short period of time.

(01:19:22):
I worked with Larry Breedlove and I did some, I did the inlays for Jewel's custom signature
guitar.
And the order came through for George Strait ordered a Taylor and he wanted his name down
the fingerboard and he wanted his logo.
It's a star with a circle around it and a GS.
And he wanted that on the peg head.

(01:19:44):
And somehow I got the assignment.
You know, Larry gave it to me.
Here, Mike, you can do this.
Yeah.
I won't like it.
Figure this out.
It's only for George Strait.
Yeah.
And I got to tell you the honest truth.
I had to go and look up who George Strait was.
Oh, wow.
I'm sorry.
That's why he's not the king of country.

(01:20:05):
No, no, no, no, no, no, no, no, no.
So I picked out a bunch of fonts and, you know, put them on the fingerboard and went
back and forth between his management.
And I'm sure he, George, looked at him.
Mr. Strait or, you know, look at George.
King George.
Excuse me, Mr. Strait.

(01:20:29):
And he picked one of them.
He picked one of them.
And so I got the mother of pearl blanks and I programmed them on the numerical control
milling machine and I cut out all the parts and I got the fingerboard that was actually
going to go on his guitar and I pocketed it and then I glued them all in.
But I took it home because I wanted to add a little extra detail to it with a jeweler

(01:20:52):
saw just to make some in cuts so that it looked really, really sharp.
Yeah.
And so then I glued the parts in and I gave it to production and they made the guitar
and, you know, with the inlays that I made.
Damn.
And so and then the coolest part and I've got a picture of it too.
It's on my phone.
But he's on TV.
Then I think of the CMA Awards and he's playing that guitar.

(01:21:15):
That's gotta be so cool though.
That's gotta be fun.
It was like I had goosebumps.
Damn, dude.
I really did have goosebumps.
That's fucking cool.
And then I started listening to his music.
Turns out it's not that bad.
He's really quite good.
This guy's pretty good.
But now that was really special.

(01:21:37):
I also made a guitar, not a Taylor, but on the side for Nancy Griffith.
And I don't know if you know who Nancy Griffith is.
She did.
She wrote the song Love at the Five and Dime.
And she did a cover of a Kate Wolf song called Across a Great Divide, which I really love.
Love at the Five and Dime.

(01:21:58):
That sounds familiar.
Love at the Five and Dime.
Kathy Matteo.
Eric on that.
Oh yeah, he's got it.
I don't think so.
Oh yeah.
It's got a great guitar part to it.
A little harmonic there.
And that's the guitar you...
No, no, no, no, no.
The guitar that I made for her was after she recorded this.
See, now I want to listen to it.

(01:22:21):
We'll be back in a minute.
Yeah, let's listen to this.
I want to hear it too.
Kind of fun song.
And Eddie was a sweet romantic, and a darn good dancer.
And they'd walk the aisles of a five and dime.
And they'd sing, dance a little closer to me.

(01:22:44):
Dance a little closer now.
Dance a little closer tonight.
Dance a little closer to me.
Cause it's closing time and love's on sale tonight at this five and dime.

(01:23:05):
Eddie played the steel guitar and his mama cried cause he played in the barn.
They kept young Rita out late at night.
So they married up in Abilene.
Lost a child in Tennessee.
And still that love survived.

(01:23:28):
Cause they'd sing, dance a little closer to me.

(01:23:54):
One of the boys in Eddie's band took a shine to Rita's hand.
So Eddie ran off with the bass man's wife.
Oh, but he was back by June.
Singing a different tune.
Sporting Miss Rita back by his side.

(01:24:18):
And he sang, dance a little closer to me.

(01:25:05):
Eddie traveled with the bar room bands.
Tell our thrivers took his hands.
Now he sells insurance on his side.
Rita's got a house to keep.
Dines, store, novels and a love so sweet.

(01:25:27):
They danced to the radio late at night.
And they sing, dance a little closer to me.

(01:25:49):
Cause Rita was 16 years, pays her lies and just not here.
She really made the whole world count to shine.

(01:26:11):
And Eddie was a sweet romantic and a darn good dancer.
And they'd waltz the aisles of the five and dime.

(01:26:43):
Charlie's got a gold watch.
Don't seem like a homeboy.
After 30 years of driving up and down the interstate.
But Charlie's had a good life.
And Charlie's got a good wife.

(01:27:04):
And after tonight she'll no longer be counting the days.
Eighteen wheels and a dozen roses.
Ten more miles on his four day run.
A few more songs from the all night radio.

(01:27:31):
And he'll spend the rest of his life with the one that he loves.
The fire winner bagel set out to find America.
He'll do a lot of catching up a little at a time.

(01:27:56):
With pieces of the old dream they're gonna light the old flame.
Doing what they please leaving every other reason behind.

(01:28:23):

(01:28:47):

(01:29:08):

(01:29:38):

(01:30:04):
I have a big crush on Nancy Griffith.
I really did.
It was overwhelming.
And Taylor Guitars did build her a signature model.
Oh, yeah.
And one of my jobs was to laser her signature
on the truss rod cover.
Oh, wow.
Yeah, I have a truss rod cover that you made me.
It says TBR.
Yeah.

(01:30:24):
That was fun to do.
I milled the mother of pearl on the numerical milling machine
that I have in my bedroom.
Oh, yeah?
I got to come over to your house sometime, you know?
I want to sand some stuff.

(01:30:45):
Want to sand some stuff.
No, I do like building.
I like building stuff, too.
When I came back to California, I was doing a job
doing construction.
But it was for a small guy, small construction guy.
It was just him, actually.
One of my good friends' dad, but he did cabinets.
He would build cabinets, custom cabinets for houses.
And he let me use his shop for whatever, because I helped him.

(01:31:09):
I was helping him build the cabinets.
I was like, I want to build a cabinet.
I want to build a shelf or something.
He was like, I've had it.
So I went in.
I built this little cubby shelf thing that I built.
And I got done building.
And I was like, oh, check it out.
He's so cool.
And he's like, what is that piece right there?

(01:31:30):
I'm like, what do you mean, this piece, the trim?
He's like, yeah, that's like $60 a foot.
And I'm like, oh, sorry.
He's like, if it looks like it's $60 a foot,
it's probably $60 a foot.
It was like three feet of the cabinet.

(01:31:52):
Good wood is expensive.
Yeah, I know.
I didn't know.
He had a stack of wood stuff.
I'll just grab pieces out of it.
But he was like, yeah, this wasn't in that stack of wood.
I was like, sorry, dude.
Sorry.
Yes, it was.
See, I had a firewood bin.

(01:32:16):
That trips me out, all this exotic wood in a firewood bin.
What's the most exotic wood you've worked with?
Well, there's Brazilian rosewood.
OK?
You can't even hardly get Brazilian rosewood anymore,
because there's a ban on cutting down the trees,
because they're so rare.
It used to be really common in the 40s and 50s.

(01:32:40):
It was really common wood.
But now, the upgrade on the cost of a guitar,
you would buy the guitar, and then you would say,
but I would want Brazilian rosewood,
and it would be an extra $5,000.
Wow.
Just for the back and sides.
So yeah.
So why was it?

(01:33:00):
Do you get that much of a resonant difference?
I mean, is it really that special?
It really is.
Or is it one of those you get it simply to say,
because I can afford it?
No, no, it's really special.
OK.
If you take a piece of Brazilian rosewood
that's been sanded to thickness for like a back,
and you tap your fingernails on it, it sounds like glass.
Wow.
Really, really resonant.

(01:33:23):
It has a very unique smell to it, too.
Once you smell it, you'll never forget it.
And I was talking to Bob one day,
and I was talking about that smell,
and he goes, you know what that smells like, Mike?
And I said, what?
Money.
That's why everybody wants it.
No.

(01:33:46):
I hate to break up this little party.
We're running almost out of time.
We've got about 20 minutes left.
Got a couple housekeeping things we've got to take care of.
Housekeeping, we've got sponsors that we've got to talk about.
We want to give a shout out to The Barn here in Ramona.
I want to thank you, Vito, for your sponsorship for the show.
If you haven't been to The Barn, you

(01:34:06):
need to go there and check it out.
I recommend the chicken, The Barn Chicken.
The Barn Chicken.
The steak's pretty good, too.
But The Barn Chicken, I think that's my go-to.
My go-to.
Their Caesar salad's wicked off the hook.
It's very good.
Been to The Barn, Mike Mosley?
Yes, indeed.
Yeah, they got it.
Favorite meal.
They have a huge stage, live music.
Usually on weekends.
They're doing a Tuesday thing in the back, 21 and up.

(01:34:32):
They're calling it The Lounge, which I love that.
I love it.
Yeah, it's a really cool spot, man.
They got nice little chairs and everything.
I'm playing there.
You can sit back with a nice cavassier.
I'm going to be playing there.
The ladies, man.
Yeah.
I think Beard and the Bird's playing there this Tuesday.
I think so.
This Tuesday.
And then I'm playing the following Tuesday.
Should be good.

(01:34:52):
Should be fun.
Should be cool.
Thank you, Vito.
Thank you.
The Barn.
What hours?
What is it?
6, 32.
For the lounge thing?
Yeah, for the lounge.
You know what?
6 to 8 or 6, 30 to 8, 30, something like that.
I think it's 6.
I know.
And I'm scheduled to play there.
I don't even fucking know.
That's me, though.
I think it's 6, 30 to 8, 30.
Or 9, 30, maybe.

(01:35:14):
There's music.
There's music on Tuesday.
Just go.
Just go have some good cocktails.
When I go there, I usually get the old fashioned.
That's pretty.
A little bit of whiskey, a little bit of ice,
a little bit of cherry.
A little bit of bitters.
What are those cherries called?
Maraschinos?
No.
No.
Like Lombardo cherries or something like that.
What's the old fashioned cherry?
It's like a really dark, dark cherry.
Very sweet, very flavorful.

(01:35:35):
But very good.
Very good.
Well, there you have it.
There we have it.
Thank you, Barn.
Go check out The Barn.
Hell yeah.
All right.
Sweet Curves.
Sweet Curves with a people in her eyes.
She's around the fields where cobras lie, her smiles are.
You cannot deny.
You'll adopt every critter passing by.

(01:35:55):
Bum, bum, bum, bum.
All right.
What you got?
What you got, Sweet Curves?
Critter Corner.
Well, today we're doing Critter Corner a little different.
But because it's Critter Corner, we
are doing a call out for volunteers for Robin's Nest.
Robin's Nest is a welfare sanctuary
for animals located right here in Ramona.
They have a music fundraiser every year in October.

(01:36:18):
Dirty Confetti and many other local Ramona artists
play and support the Robin's Nest.
And they are looking for VGVs, Very Good Volunteers.
VGVs.
They're looking for people to help out with the animals
and helping with the music festival in October.
They are having a volunteer orientation

(01:36:39):
on Sunday, February 16th from 2 to 4 PM.
If you come and attend, you will get a free Robin's Nest t-shirt.
If you are interested, you can look them up at www.robbinsnesteramona.com.
Or on Facebook, they are under the Robin's Nest.
Or you can call 619-459-1985.

(01:37:04):
So if you are interested in volunteering,
they are having a meeting the 16th of February, 2 to 4
at the Robin's Nest.
Fern the Kissing Alpaca, the tortoises, Marco and Polo,
and all the many other animals cannot wait to meet you
at the Robin's Nest.
There you go.
I am.
I know.
I love that place, man.

(01:37:25):
We play there once a year for their fundraiser
for taking care of the animals, animal rescues.
And they do have, what are they called?
Alpacas.
Alpacas.
Fern the Kissing Alpaca.
Yeah, they're really sweet, really nice.
A lot of pictures of the last time we were there.
And the best thing is they all have very stylish haircuts.
One has a mullet.
They're the cutest, funniest, slickest little things.

(01:37:45):
They're so fun.
They just hang out and spike, check you out.
Yeah.
Very cool.
So there you go, sweet curves.
There's your credit card.
So before we move on, I want to ask you a question.
Yes.
We still got the bird situation tapping
on the side of the house?
Yes, but we just mentioned it was my birthday not

(01:38:06):
that long ago.
And we had some streamer decoration things
that are kind of holographic looking.
And I took them home.
So I think we're going to hang them up on our eaves
to see if the reflection in them.
Have you thought about just painting a big giant mountain
lion mouth around the holes?
I was thinking about that.
I was thinking about painting a portrait of Elmer Fudd

(01:38:28):
on the side of the house with a shotgun.
We all hunting wabbits.
Kill the wabbits.
Kill the wabbits.
Kill the wabbits.
This would be the woodpecker.
I don't know how you say that with the Elmer Fudd accent.
How did they get rid of Woody Woodpecker?
I don't know if they ever did.
They kept trying.

(01:38:48):
He was a very smart bird.
Ha ha ha ha.
I will say our wood, it's like Snoopy being a beagle.
I've never seen a beagle that looked like Snoopy.
I've never seen a woodpecker that
looked like Woody Woodpecker.
You've never seen him?
I see Woody Woodpecker.
But the woodpeckers at our house are not red and blue

(01:39:10):
and white.
They're like black and.
All the woodpeckers I've ever heard sound like.
Yep.
Yeah, so.
That's exactly it.
Because when it first started happening,
it's like at 7 o'clock in the morning.
So if it wakes me up and I'm like disoriented,
I've literally said to someone that wasn't at my bedroom door,
come in.
And then I realized, oh no, it's the woodpecker.
Who's there?

(01:39:31):
Oh no, nothing.
Who knows when his son lives with us?
And I thought someone was literally
was knocking on my door.
And I was like, what?
Come in.
And then I was like, you dummy.
Ha ha ha.
Oh man.
So what are you doing these days now?
Not much.
A lot of guitar repairs.
OK.
That's right.
People.
I still do play.

(01:39:52):
I try to keep my fingers in some kind of shape.
Have a new guitar design in mind for someone.
What?
Special someone.
I'm flattered.
Thanks, Mike.
No, thanks.
No, it's not.
It's weird.
Don't make anything you'll never hear him play it.
Is Sweet Curves getting a guitar?
No.
I'm sorry.
I've been practicing, Mike.
Ha ha ha.

(01:40:13):
This will actually be the third instrument they're getting.
So.
Wow.
Oh, OK.
Oh, we're dropping hints.
Yeah.
I think I know who it is.
Yeah.
I'm not going to say that.
Don't say that.
It's a surprise.
Because it may not happen.
Right, right, right.
It may not happen.
But I did pull the wood for it.
That sounds bad.
You pulled the wood?
Yeah, yeah, yeah.

(01:40:33):
Mike, this is a family show.
Yeah, no.
You go to.
You can't come on here talking about pulling wood.
You go to the wood stash.
You go to the wood stash, and you select the proper items
for building that instrument.
That's called pulling the wood.
I have another question.
The technical.

(01:40:54):
There's no one else I can ask these questions to.
We are so immature.
I know.
Pull it.
I'm still laughing.
Go ahead, Sweet Curves.
Could you make a guitar out of anything, or it has to be wood?
And the reason I ask is because someone we all know,
Stephanie Groot, she has a violin that does not
seem to be made of wood at all.
It is made out of wood.
Is it?
You don't know the one I'm talking about?
Yeah, the green one.

(01:41:14):
Yeah.
The green one.
Weird.
It's just a funny shape, a different shape.
Well, you can also talk about a resonator guitar.
Those are.
Steel?
Or copper or brass or whatever.
No, they're steel.
Yeah, I thought this was made out of steel, her violin.
And there are carbon fiber.
OK.
Carbon fiber now.
Ukuleles, which are completely impervious to water.

(01:41:36):
So they're very, very stable.
In case you want to go play for the fish.
Or ovations are plastic, aren't they?
The back.
The back side.
You're out on your canoe.
I'm a scuba diving guitar player.
No, you know what's funny?
I saw that about those carbon fiber guitars.
I saw a promo video of it or something.
And the guy, he had tuned it all perfectly.
And he says, I'm going to go out.
And he was in, I don't know, Montana or Colorado or something.

(01:41:57):
It was just snow.
And he's like, I just tuned this guitar.
It's all good.
I'm going to go set it out in snow overnight.
And let it freeze.
Let it do its thing.
And then after the next day, he said,
I'm going to see if it's still in tune.
So he goes out, grabs it, plays a G. Perfect.
He's like, damn, that's perfect.
That's crazy.

(01:42:17):
I mean, I guess if it's not warping because of the cold.
Carbon fiber, yeah.
Well, have you seen that Justin Johnson shovel guitar?
I don't know who Justin Johnson is.
It's pretty cool.
Yeah, electric.
It's a shovel.
Yeah, it's literally a shovel.
And he put three strings on it and called it a guitar.
The guy that I met in the lobby when I first
went to Taylor Guitar, he made an electric guitar out
of a bed pan.

(01:42:38):
Wow.
Oh my god.
Where there's a will, there's a way.
I admire people who just look at objects and go,
I could make a guitar out of that.
This bed pan, I could pee in it or I could make a guitar out
of it.
Come on.
Hopefully no one else had peed in it first.
It was fresh.
Hopefully he cleaned it.
But for an acoustic guitar, there's really, truly nothing

(01:43:03):
like the sound of real solid hardwood.
I mean, mahogany, rosewood, spruce, cedar, maple.
Yeah, that's the go-to materials for it.
Yeah, for sure.
I want a guitar made out of petrified wood.
Petrified wood?
Like, you want to rock a stone guitar?
Play heavy metal on it?

(01:43:23):
I have a couple of pieces of petrified wood
on my front porch.
Yeah.
Yeah, it's like stone.
It's like a rock.
But it's a lot.
My guitar would have casters on it.
It looks like something you would put in the fireplace,
but it's actually stone.
But it's wood, petrified wood.
That's funny.
Pretty crazy.
All right, you dare take on the champion on some music trivia?

(01:43:47):
I'll try.
What do you think?
I am not the current champion.
I think it's Travis.
I won last time.
He won last time.
I did not.
You threw me a Pam Tillis at the end.
A Pam Tillis.
I threw her a bone.
What year, what decade would be your?
How about the 40s?
You want the 40s?
Oh, shit.
Well, I'm out.
All right, it looks like Mike's going to kick our ass.

(01:44:12):
Or we could do the 60s.
Country?
Country OK?
Or you want whatever?
Whatever.
60s whatever?
Could you do where it's non-genre specific,
just like hits of the 60s and play that?
Sure.
Hits of the 60s?
All right, let's do hits of the 60s.
You go with that, Mike?
Sure.
OK.
Let's see what happens.
So here's how it goes.

(01:44:33):
Because I can tell you right now, if we did 40s,
I don't know about you, I would get no song or artist.
It would be kind of the end of it, huh?
I started listening to the 40s because of disco.
I went backwards in time.
That's funny.
All right, I'm not sure how far we'll go.
I'm not sure how we'll do on this.
Mike, so here's how it goes.
So if you hear the song and you know it, you just say, Mike.

(01:44:56):
That's your button.
And then so you can say the artist,
or you could say the name of the song, or both.
If you say both, you get two points.
If you just say one or you don't know the other,
then it's just one point.
Can I blow my whistle?
That's your buzzard.
All right.
That's your buzzard.
Oh my gosh, that's what we should do.
We should, Travis and I should each have a sound.

(01:45:18):
Oh my god, remember when we tried the button thing?
Yeah, but that's, if we just have like a whistle or something
like that.
We almost killed each other.
But Eric does a control.
All right, 60s.
Let's see how this goes.
60s music, whatever.
Let's see how this goes.
All right, here we go.
Let's start off with this one.
We'll see how this goes.
Travis.

(01:45:39):
Yeah?
And I got a DeVita, Iron Butterfly.
Iron Butterfly.
Didn't say your name.
Travis.
He did.
He said it so damn quick.
I thought he was joking.
That's great.
So there you go.
He said it so fast I didn't hear his name.
He said it so fast I had to figure out where I was.
I screed the look.

(01:46:00):
I was going, just ask me.
No.
Wow.
That was pretty crazy.
13 minutes song.
Oh, it is.
16 and 1 1.5 minutes.
13 minute drum solo.
I think we're going to move on here.
Travis, Jim Mahenerts.
Hey, Joe.
God, thanks.

(01:46:21):
I know.
He's got it.
Were you ready?
Also, he sings this song.
I love this song.
Oh, geez.
All right, let's see how this one goes.
Travis.
Go ahead.
Beatles?
Uh-uh.
Uh-uh.
Oh.

(01:46:51):
No?
All right.
It's the Kinks.
The Kinks.
And the song is Brainwash.
The Kinks.
OK.
Yeah.
All right, let's see how this one goes.
Travis.
Go ahead.
The Monkeys.
No.
Go ahead.

(01:47:11):
Paul Revere and the Raiders?
No.
But I have a no.
No?
Shape of Things by the Yardbirds.
Oh, man.
I've not heard of half of these people.
You've heard of Jim Mahenerts.
Get out of here.
Well, yeah.
All right, how did we go?

(01:47:31):
You guys are going to kick yourselves.
Anybody know the name of the song yet?
Are you ready?
Are you ready?
Oh, yeah.
Throw me a bone.
Who sings it?

(01:47:51):
I just got one.
Who sings it?
It's my only point on the board, so it's fine.
Grandfather.
Grandfather.
Grandfather.
Grandfunk Railroad.
Oh, man.
OK.
Travis.
Oh, Travis.
Five seconds.
You, D. Coo.

(01:48:12):
Let's, uh, Zeppelin.
Mike, what is it?
Oh, you were close.
Mike, what do you got?
Let's, uh, Let's Have a Whole Lotta Love.
There you go.
All right.
Let's see, how about this one?
It's a long, quiet intro.
I'm going to move in.
Travis.
Travis.
Let's Have a Whole Lotta Love.
Uh, Magic Carpet Ride.
Yeah.
There you go.
Dang.

(01:48:33):
Yeah.
All right, who's this?
Travis.
Travis.
Jimi Hendrix.
All Along the Watchtower.
Is it too late to go back to the 40s?
Please?
I can't believe how good I'm doing on these.
This is the 60s.
You didn't even know you knew all this, huh?
I love these songs.
Five seconds.

(01:48:59):
Mike.
Go ahead.
Black Sabbath.
Five more seconds.
Anybody?
It's a British band.
Travis.
Go ahead.
Alice Cooper.
No.
Fuck.
It's Boris the Spider by The Hood.
No.
No.
No.
It's Boris the Spider by The Hood.
The Who?
The Who.
Damn it.

(01:49:20):
Boris the Spider.
Mike.
Go ahead.
Cream, Strange Brew.
There you go.
Two points.
Oh, man.
That's a good one.
All right, how about this?
Mike.
Go ahead.
Led Zeppelin, Dire Maker.
Ooh, Led Zeppelin.
I'll give it five seconds for the title of the song.
Try again.
Dire, no, it's not Dire Maker.
Uh, I don't know.
I don't know.
I don't know.
I don't know.
I don't know.

(01:49:41):
I don't know.
I don't know.
I don't know.
I don't know.
It's not Dire Maker?
Anybody else?
I don't have any idea.
Moby Dick.
Moby Dick.
Fuck, I knew it was Moby Dick.
God damn it.
This is my least favorite dick.
The Moby one.
Come on, Kirby, give me the good stupid.

(01:50:04):
You're stupid.
Travis.
Travis.
The Monkees.
Five seconds, anybody?
We gotta go now.
Mike.
Go ahead, Mike.
Louis Luy.
Yeah, Mike.
Kingsman.
There you go.
Oh, man.
Damn it.
I love this song because you can't understand a word he's saying.

(01:50:28):
Okay.
He got banned for that.
I know, that's what I remember hearing.
Oh, darn, that's funny.
I'll tell you, this is how I know this song.
Bible study, not Bible study.
Vacation Bible school.
Pharaoh, Pharaoh.
Oh, baby, let me tell you.
All right, how about this one?
Travis.
Go ahead.
The Animals.
I'm just a soul whose intentions are good, don't let me be misunderstood.

(01:50:54):
Oh, I think you got it in there.
I was singing it.
I'll give it to you.
I think you got it in there.
Here we go.
Wow, this was 60s?
Yeah.
You hear the wah-wah guitar?
Yeah.

(01:51:15):
It was all over the place.
Five seconds.
Pretty sure they were at Woodstock.
All right.
Don't know it?
I don't know it.
I don't know it.
I don't know it.
I don't know it.
I don't know it.
I don't know it.
All right, don't know it?
Real cool time by the Stooges.
Stooges.
Another one I've never heard of.

(01:51:36):
All right, how about this one?
Mike.
Go ahead.
Ooh, there's your five seconds.
Anybody else?
You get five more seconds.
I'll let you come back in.
Oh, Mike.
Go ahead.
Steppenwolf, the Pusher.
There you go.
Nice.
I love Steppenwolf.

(01:51:58):
Mike.
Go ahead.
Detroit Mitterander and Detroit Wheel.
There you go.
Five seconds for the song.
Devil with the blue dress song.
There you go.
Obviously.
Mike Mosley.
Killing it.
Five more seconds.

(01:52:30):
It's tough when you have these long intros.
I know.
Mike.
Go ahead.
Stevie Ray Vaughn.
No.
No, I was going to say Travis.
BB King.
It's a blues guy.
Travis.
It's Time Machine by Grand Funk Railroad.
Grand Funk.
All right.
I'm scared.
It's just a song.
It just hauls all night.
I'm going to move in on the song here.

(01:52:51):
Let's see.
Come on, guys.
Five seconds.
Oh, Mike.
Go ahead.
Deep Purple.
There you go.
Deep Purple.
Nice.

(01:53:12):
I'm going to move in on the song here.
Let's see.
Nobody?

(01:53:34):
Stoned Woman by Ten Years After.
Ten Years After.
Wow.
I love Ten Years After.
No, I do.
I never heard of them.
They played it Woodstock.
All right.
Let's see.
How about this one?
Travis.
Who?
Travis.
This is The Beatles.
Come on.
It's called Walrus.
No.

(01:53:55):
Anybody?
Come Together.
There you go, Mike.
There you go, Mike.
This is one of those songs you just kind of let it roll.
All right.
How about this one?
Mike.
Go ahead.
Led Zeppelin.
Communication Breakdown.
Nice.
Damn it.

(01:54:16):
I think you're going to lose this one, Travis.
I think you're killing me, Mike.
How about this one?
Travis.
Go ahead.
Jimi Hendrix.
Loot A Child.
There you go.
Wow.
Bravo.
Bravo.
How about this one?
Mike.
Go ahead.

(01:54:37):
Cream.
Yeah.
Tales of Brave Ulysses.
There you go.
Nice.
It kills me that the first bump and you guys are getting these songs.
Pretty cool, right?
Travis.
Go ahead.
White Light.
There you go.
Bye.
The Velvet Underground.
Oh, yeah.

(01:54:58):
I would have never guessed.
All right.
We've got time for two more.
All right.
Mike.
Go ahead.

(01:55:22):
Moody Blues.
Oh, I love the Moody Blues.
How come they haven't been on this song?
Anybody?
The Golden Earring.
All right.
Last song.
This is Eric Throwing Me a Bone every time.
Travis.
Go ahead.

(01:55:43):
Out.
Kirby.
Small Town.
Saturday Night.
Yeah, that's what I'm talking about.
Howl Ketchum.
Eric has to throw me a bone at the end of these ones where I don't know so I don't go home
and cry myself to sleep.

(01:56:04):
That's like 1992, probably.
We do always have to close out with a country song.
She always knows she's going to get one.
Hey, I got two.
I got whatever the song was that said the name of it.
Well, there you go.
I got three.
All right.
So that was the end of that part of this show.
Who won here?
You ready?

(01:56:25):
I think Mosley won.
He did with 18 points.
No way.
Yeah.
TBR came in with 14.
Three.
Exactly.
Three.
Good job.
I feel like the last song should be worth a thousand points every time.
You had some tough ones in there.
Yeah.
Yeah, that was cool, man.
I like that 60 stuff.
All right.

(01:56:46):
So, Mosley, thank you so much, man, for hanging out with us on this beautiful Sunday evening.
It was a pleasure.
And I hope to see you, man, at Ramona Family Naturals on Sunday doing your thing, man.
I would definitely come and support that for sure.
And we love Ramona Family Naturals also.
So way back then may make an appearance.

(01:57:07):
Yes.
Nice.
Now, can people actually reach out to you if they have repair work, guitar work?
I mean, is that something people do or is this kind of like you got to know,
you got to be a friend of Mike Mosley in order to, you know.
Yeah, you got to know Mike Mosley.
The rules are complicated.
I don't think I can explain them here.
Fair enough.
Fair enough.
All right.
I'm just lucky.
I know people are going to ask.
I'm just lucky enough to know Mike Mosley and he helps me out with my guitars, man.

(01:57:29):
We appreciate you so much.
Hell yeah.
Well, thank you guys so much for listening.
Sweet Curbs, thank you, Eric, the man behind the digital stuff over here.
Thank you so much.
You guys have a great rest of your week.
And God bless you.
And drive safe if you're driving tomorrow and you're listening to this on the podcast stuff.
We'll be crashing and laughing at the same time.

(01:57:51):
That'd be crazy.
Thanks for hanging with us, Mike.
Namaste.
Mike, thanks so much, man.
It was good hanging out with you, dude.
And thank you so much for the guitar.
And we're going to take photos and we're going to show it and we're going to post it on the Travis Billy Ball Satellite Country Show Facebook page.
All the socials.
All the socials.
All right.
You guys have a good night.

(01:58:12):
And God bless.

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