December 6, 2025 • 16 mins
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Speaker 1 (00:01):
The Michael Marry Show.
Speaker 2 (00:02):
Steve Cropper, you are the soundtrack of my life.
Speaker 1 (00:07):
Wow.
Speaker 3 (00:08):
Wow.
Speaker 2 (00:09):
You know, it is interesting to walk around with a
legend and hear people tell stories about you know, my
dad listened to this and I remember when that song
came out. And you've had a charm life, My man,
you've had a charm life, a charm life. Indeed, you're
not gonna leave this. But one of the biggest questions
maybe you will, that I'm getting from people is I'm
(00:31):
I'm gonna take about fifty emails and compress them into one,
and it's basically this, my child seems to have artistic talent.
Speaker 1 (00:38):
I don't care to live off my.
Speaker 2 (00:40):
Child's musical abilities or through my child, But what is
the best way to encourage them and foster that talent?
Speaker 1 (00:48):
Is it lessons?
Speaker 2 (00:49):
How early is too is too early to start? I
know yours was a you know things are different now.
You didn't have honey booboos back when you.
Speaker 3 (00:55):
Were a kid, or exactly.
Speaker 2 (00:57):
But one of the questions is people don't want to
They don't want to push their kid too much. They
want to encourage this as a hobby and as a
passion and a lifelong thing and not a job. But
I'm sure you've received this question before.
Speaker 1 (01:08):
How do you answer that well?
Speaker 3 (01:11):
As a parent, I think one of the rules is
you want to be as supportive as you can, but
you don't really want to be the person doing all
the legwork because that can get in your way. You
just want to support your child and let them know
you're behind them one hundred percent. The other thing is,
in terms of actually making a career out of music,
(01:34):
it's almost impossible for a person to just lock up
and be an overnight success. You really have to find
somebody that is in that end of the business, meaning
like management, that's going to take that talent and take
that artist and be on that phone every day promoting
and supporting that artist and trying to find that artist's
work or placing in the music business, or get them
(01:55):
a record deal, or however you want to do it.
It really takes an organization of people to push.
Speaker 2 (02:00):
So, knowing what you know now after all these years
and all those artists, what do you wish you'd known
at the beginning of your career. What's that lesson that
it took a long time to learn about the business.
Speaker 3 (02:13):
Oh, that's a great question. That's one I'm gonna have
to stay up tonight and think about. I've led a
charm life of a sense. I've had about three different
careers and still going on another one. I'm always telling
people when they want me to do something, I said, Man,
I ain't got time for another career, you know, I'm
running out of days, and stick with what we've got
and go there.
Speaker 1 (02:33):
And you're trying to spend most of your time playing gone, well.
Speaker 3 (02:35):
They're fishing and I'm not getting to do either one.
But there was a dead spot in my life where
I took some time off. When John Belushi died, I
just kind of said, man, that's it. I've had it,
you know, because I've been through that before. We lost
our drummer, we lost Ortis Reading and some other artists
that I've worked with, and Belushi just did it all.
It was like it you talk about letting the air
(02:56):
out of a balloon. I just didn't have any you know,
reason or want or need to be successful or do anything.
We did. The movie we did great, and all of
a sudden that the wind came out of ourselves. We
were ready to make another movie. We were ready to
do another tour, another record, and boom, it's all gone.
John Belushi's gone. So I don't know what I what
(03:18):
I wish I had done different because I stayed on
that same positive path about being commercial to entertain people,
to give them what they needed, what they wanted, and
so forth. And you know, the older I got, then
I kind of lost, you know, not my way, but
lost the ability to be able to do that. And
(03:39):
when I was with Stacks and or have my own label,
I was in more control about what went on and
what went out. Let's put it that way. And when
you lose that, then you know, then you have to
depend on other people to support you.
Speaker 1 (03:53):
Steve Cropper is our guests.
Speaker 2 (03:54):
When when you look at your body of work and
we're talking last night, you're still writing songs.
Speaker 1 (03:58):
I mean, you're still write a lot of songs.
Speaker 3 (04:01):
I love to write. That's what fun? You know?
Speaker 1 (04:03):
What are you most proud of?
Speaker 3 (04:05):
You?
Speaker 1 (04:05):
If you are forced to identifying.
Speaker 3 (04:08):
I can't nail it down to one thing because I
always get off what's your favorite song? And there's so
many factors in there. But the most fun that I
get out out of life being alive and still being here.
And you know I have fun performance for people. I'm
having fun right now talking to you and talking to
your audience. That's great. But as far as getting a
(04:29):
thrill out of it, the biggest thrill I get is
hearing a song that I've written on the radio. I
get a bigger thrill out of that, believe it or not,
than I do hearing a song in a movie. There's
something about radio and you hear it on the radio,
You're sitting in your car and you go, hey, I
had something to do with it. Hey, that's me. There's
just something that's rewarding about that. And I'll never get
over it. And I try to tell students or people
(04:49):
that want to know, I said, the greatest thrill you're
ever going to have in your life is the first
time you hear your record or your song on the radio.
Speaker 2 (04:58):
We you told me some pretty fascinating stories of touring
with Jimmy Buffett, Neil Young, Eric Clapton and the Beatles.
Wanted to come to Memphis and play with you. You
You've played with some amazing people over the years. Uh
and and you being in airports, and you and Bobby Walmack,
and you and James Brown and being in a movie
(05:20):
with James Brown. Who is you can only have one
and you have to answer this, Who is the one
artist that she didn't get to play with? That you say,
if I could have one, chit that's it? And I said, chit.
Speaker 3 (05:32):
Well it's too late now. But there's only one answer.
Speaker 1 (05:35):
What's that?
Speaker 3 (05:35):
Tina Turner?
Speaker 1 (05:36):
Really? Why?
Speaker 3 (05:38):
I've always said that, I've said it for years. If
I get asked, who's the one artist that you didn't
get to work with that you would have loved to
work with? And the first name is Tina Turner. Wow,
she's just unbelievable. I saw her three times live and
couldn't believe it.
Speaker 2 (05:54):
You have a lot of respect for her because you
you were dismissive of the statement that's been made of
her that she was an overnight success, because you said
she'd been at it for forty years.
Speaker 1 (06:03):
Is it that she works so hard? He said? What
is so special about her?
Speaker 3 (06:06):
You know? I don't know, but the thing I got
out of her as an artist and seeing her live,
she was a female Otis Redding, And to me, Otis
Redding was the greatest artist I ever lived. You had
to live with him, you had to be there you
had to see it in person, because it's so hard
to describe how great somebody is. But it's easy to
see if you could take somebody to a concert. And
(06:26):
what's a nice reward for me with some of my
fans over in the UK. When I go over there
with the animals and so forth, I have people come
up and say, I saw that concert you did in
London or wherever in nineteen sixty seven. I was there.
I was twelve years old. My dad brought me, but
I remember Otis ready. He was unbelievable. And so that's
a thrill to have witnesses say the same thing I've
(06:49):
been saying. He was just fantastic.
Speaker 2 (06:51):
You know what I love is that you're a musician,
you're in the Hall of Fame, Songrise Hall of Fame,
but you're a fan.
Speaker 1 (07:01):
Wow.
Speaker 3 (07:04):
I don't want to lose this good thing that I got.
If I do, I would surely surely lose a lot.
Cause you love it's better than any love.
Speaker 2 (07:25):
I know.
Speaker 3 (07:27):
It's like under lightning. The way she loves me is frightening.
I think I better knock on.
Speaker 1 (07:39):
Wow. That's the story right there.
Speaker 2 (07:41):
You should just tell that story all the time everywhere
have you reduced all this storytelling to YouTube videos.
Speaker 1 (07:48):
This should be saved for perpetuity.
Speaker 3 (07:50):
That is.
Speaker 1 (07:51):
That is good stuff. That is.
Speaker 2 (07:54):
Can you give me, uh, in the midnight hour the
opener and then knock on wood backwards so I can
see if that's truly and we'll decide right here in
now if that's backwards.
Speaker 3 (08:04):
You. Now, if anybody out there plays guitar, there's dots
on a guitar and they're usually all in the same places.
So just go up to the decord, follow the dots.
That's midnight hour, now follow them back up.
Speaker 1 (08:26):
Well, you make it seem easy, makes.
Speaker 3 (08:30):
Life pretty simple in it.
Speaker 2 (08:31):
Wow, that almost seems like something I can do, but
I know good and well I can't. Uh, that's pretty
neat right.
Speaker 3 (08:38):
You know people come to me and they say, how
did you learn how to play guitar? And I said,
it's real simple. You just learn one note and then
you learn to play in different positions.
Speaker 2 (08:48):
Yeah, And you know what I find is that people
that are really really good at.
Speaker 1 (08:53):
What they do, they make things seem really easy.
Speaker 3 (08:56):
Absolutely. If you don't believe that, watch a golf pro
oh good, and then go try to duplicate it.
Speaker 1 (09:03):
What was it like or what is it like? You
still do it to tour with Eric Clapton.
Speaker 3 (09:08):
Well, I never did really tour with Eric. I played
on stage with him a few times. Doug Dunn did
My good buddy played bass with Eric for about two
and a half years.
Speaker 1 (09:15):
I think if you're on stage.
Speaker 3 (09:17):
It's a wonderful guy.
Speaker 1 (09:19):
Fantastic said he's got a little bit fingers compared to you.
Speaker 3 (09:21):
He's got a little, tiny, little bony fingers.
Speaker 1 (09:23):
But man, can he play.
Speaker 3 (09:25):
Oh he's unbelievable.
Speaker 1 (09:26):
Stevie Ravaugh.
Speaker 3 (09:27):
He was good when he was young, he's better now.
Speaker 1 (09:30):
Stevie Ravaugh.
Speaker 3 (09:31):
Oh, the sounds he got out of that guitar was unbelievable.
And respect he had for Albert King. And they do
a show. There's a record out where they're doing a
live show. And I'm not sure that Albert knew who
Stevie was, or if he did, he pretended didn't. He said,
I talked to the boy everything he knows with Stevie
Raven and he's one of the best guitar players ever
(09:54):
be a live period. He's awesome and a great guy.
Speaker 1 (09:57):
We mentioned Albert King, So can I ask you for
a little of the Hunter.
Speaker 3 (10:02):
I don't remember i'd ever played the Hunter. You wrote
the Hunter? Well, I wrote a lot of songs. I
had over close to seven hundred release some singles.
Speaker 1 (10:10):
Is that right?
Speaker 3 (10:11):
I don't remember all those? I know? Paul Simon remembers
all twelve thousand, he wrote, I read that he does
it for a living. I don't. I'm just a guitar
player in the band.
Speaker 1 (10:21):
No, really, you seem to be. You cannot play the
Hunter that you wrote. You know what?
Speaker 3 (10:29):
They call me the Hunter. I remember that we've.
Speaker 2 (10:32):
Got a press release. Steve Cropper doesn't know his own music.
That's what that's going to be the headline tomorrow.
Speaker 3 (10:38):
I wrote what.
Speaker 2 (10:40):
Six three, four, five, seven eight nine? You know that
I do? Can we get a little bit of it?
Speaker 3 (10:45):
Yeah?
Speaker 1 (10:46):
He wrote this. By the way, folks, most of you know.
Speaker 3 (10:54):
That's too simple. Well, if you need some of my
good hugging, you just calm, That's all you got to do.
And if you want some of my good hugging, baby,
you just calm and call me right away. Well I'll
(11:16):
be right here, right home. And all you got to
do is just pick up your cell phone and punch
it in and out. Six three foot five seven ed nine.
That's my number, But Paul.
Speaker 1 (11:31):
Paul, that don't have enough numbers in it.
Speaker 3 (11:35):
So I've been using that get your cell phone and
punch it in because they didn't have cell phones when
we wrote that, they'd have been perceived of them.
Speaker 1 (11:43):
They had what they call them field telephones.
Speaker 3 (11:45):
I guess wind up.
Speaker 1 (11:48):
How about a little mister pitiful?
Speaker 3 (11:50):
Whoa man? I'm sorry.
Speaker 1 (11:53):
I asked you to perform a song you wrote.
Speaker 3 (12:00):
They call me mister pittiful.
Speaker 1 (12:03):
I love this song.
Speaker 3 (12:04):
This everybody knows. They call me mister pittifol almost everywhere
I go. I can't even play it. There you go.
Speaker 1 (12:17):
We should have done mister pittiful when we run.
Speaker 3 (12:19):
Out since I tried to play that, ODIs redding face.
Speaker 1 (12:23):
Wow, what's scary is that? You know? Forty seven years old?
Speaker 3 (12:29):
I remember the song?
Speaker 1 (12:30):
Well, I know, but how would you know the year?
You don't know this.
Speaker 3 (12:33):
You don't know the hunter I said about, I skated
around the actual date.
Speaker 1 (12:38):
How about raise your hand?
Speaker 3 (12:39):
Oh that's a good one. And the little intro of
the little Hispanic control that's my favorite changes?
Speaker 1 (13:04):
Is that right?
Speaker 3 (13:05):
Yeah? It's a little off of the two four changes.
It's a little different.
Speaker 1 (13:09):
Does it have anything to do with the fact that
you wrote it?
Speaker 3 (13:11):
I don't know. Eddie and I had a big time.
We wrote that in the same place that the Ring
Motel we wrote six, three, four, five, seven, eight nine.
For those who don't know who where the Rain Motel
is or what it represents, it's now the National Shrine.
I guess for Martin Luther King. That's where he was assassinated.
(13:31):
We wrote let's talk about number songs. In one of
the rooms, we wrote ninety nine and a half. I
can give you part of that nine and I have.
Speaker 4 (14:07):
Just won't do Oh no, I got to have a hundred.
You got to bring it on down and stop living right.
Speaker 5 (14:32):
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(14:53):
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(15:17):
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(15:40):
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The Michael Marry Show.
Speaker 2 (00:02):
Steve Cropper, you are the soundtrack of my life.
Speaker 1 (00:07):
Wow.
Speaker 3 (00:08):
Wow.
Speaker 2 (00:09):
You know, it is interesting to walk around with a
legend and hear people tell stories about you know, my
dad listened to this and I remember when that song
came out. And you've had a charm life, My man,
you've had a charm life, a charm life. Indeed, you're
not gonna leave this. But one of the biggest questions
maybe you will, that I'm getting from people is I'm
(00:31):
I'm gonna take about fifty emails and compress them into one,
and it's basically this, my child seems to have artistic talent.
Speaker 1 (00:38):
I don't care to live off my.
Speaker 2 (00:40):
Child's musical abilities or through my child, But what is
the best way to encourage them and foster that talent?
Speaker 1 (00:48):
Is it lessons?
Speaker 2 (00:49):
How early is too is too early to start? I
know yours was a you know things are different now.
You didn't have honey booboos back when you.
Speaker 3 (00:55):
Were a kid, or exactly.
Speaker 2 (00:57):
But one of the questions is people don't want to
They don't want to push their kid too much. They
want to encourage this as a hobby and as a
passion and a lifelong thing and not a job. But
I'm sure you've received this question before.
Speaker 1 (01:08):
How do you answer that well?
Speaker 3 (01:11):
As a parent, I think one of the rules is
you want to be as supportive as you can, but
you don't really want to be the person doing all
the legwork because that can get in your way. You
just want to support your child and let them know
you're behind them one hundred percent. The other thing is,
in terms of actually making a career out of music,
(01:34):
it's almost impossible for a person to just lock up
and be an overnight success. You really have to find
somebody that is in that end of the business, meaning
like management, that's going to take that talent and take
that artist and be on that phone every day promoting
and supporting that artist and trying to find that artist's
work or placing in the music business, or get them
(01:55):
a record deal, or however you want to do it.
It really takes an organization of people to push.
Speaker 2 (02:00):
So, knowing what you know now after all these years
and all those artists, what do you wish you'd known
at the beginning of your career. What's that lesson that
it took a long time to learn about the business.
Speaker 3 (02:13):
Oh, that's a great question. That's one I'm gonna have
to stay up tonight and think about. I've led a
charm life of a sense. I've had about three different
careers and still going on another one. I'm always telling
people when they want me to do something, I said, Man,
I ain't got time for another career, you know, I'm
running out of days, and stick with what we've got
and go there.
Speaker 1 (02:33):
And you're trying to spend most of your time playing gone, well.
Speaker 3 (02:35):
They're fishing and I'm not getting to do either one.
But there was a dead spot in my life where
I took some time off. When John Belushi died, I
just kind of said, man, that's it. I've had it,
you know, because I've been through that before. We lost
our drummer, we lost Ortis Reading and some other artists
that I've worked with, and Belushi just did it all.
It was like it you talk about letting the air
(02:56):
out of a balloon. I just didn't have any you know,
reason or want or need to be successful or do anything.
We did. The movie we did great, and all of
a sudden that the wind came out of ourselves. We
were ready to make another movie. We were ready to
do another tour, another record, and boom, it's all gone.
John Belushi's gone. So I don't know what I what
(03:18):
I wish I had done different because I stayed on
that same positive path about being commercial to entertain people,
to give them what they needed, what they wanted, and
so forth. And you know, the older I got, then
I kind of lost, you know, not my way, but
lost the ability to be able to do that. And
(03:39):
when I was with Stacks and or have my own label,
I was in more control about what went on and
what went out. Let's put it that way. And when
you lose that, then you know, then you have to
depend on other people to support you.
Speaker 1 (03:53):
Steve Cropper is our guests.
Speaker 2 (03:54):
When when you look at your body of work and
we're talking last night, you're still writing songs.
Speaker 1 (03:58):
I mean, you're still write a lot of songs.
Speaker 3 (04:01):
I love to write. That's what fun? You know?
Speaker 1 (04:03):
What are you most proud of?
Speaker 3 (04:05):
You?
Speaker 1 (04:05):
If you are forced to identifying.
Speaker 3 (04:08):
I can't nail it down to one thing because I
always get off what's your favorite song? And there's so
many factors in there. But the most fun that I
get out out of life being alive and still being here.
And you know I have fun performance for people. I'm
having fun right now talking to you and talking to
your audience. That's great. But as far as getting a
(04:29):
thrill out of it, the biggest thrill I get is
hearing a song that I've written on the radio. I
get a bigger thrill out of that, believe it or not,
than I do hearing a song in a movie. There's
something about radio and you hear it on the radio,
You're sitting in your car and you go, hey, I
had something to do with it. Hey, that's me. There's
just something that's rewarding about that. And I'll never get
over it. And I try to tell students or people
(04:49):
that want to know, I said, the greatest thrill you're
ever going to have in your life is the first
time you hear your record or your song on the radio.
Speaker 2 (04:58):
We you told me some pretty fascinating stories of touring
with Jimmy Buffett, Neil Young, Eric Clapton and the Beatles.
Wanted to come to Memphis and play with you. You
You've played with some amazing people over the years. Uh
and and you being in airports, and you and Bobby Walmack,
and you and James Brown and being in a movie
(05:20):
with James Brown. Who is you can only have one
and you have to answer this, Who is the one
artist that she didn't get to play with? That you say,
if I could have one, chit that's it? And I said, chit.
Speaker 3 (05:32):
Well it's too late now. But there's only one answer.
Speaker 1 (05:35):
What's that?
Speaker 3 (05:35):
Tina Turner?
Speaker 1 (05:36):
Really? Why?
Speaker 3 (05:38):
I've always said that, I've said it for years. If
I get asked, who's the one artist that you didn't
get to work with that you would have loved to
work with? And the first name is Tina Turner. Wow,
she's just unbelievable. I saw her three times live and
couldn't believe it.
Speaker 2 (05:54):
You have a lot of respect for her because you
you were dismissive of the statement that's been made of
her that she was an overnight success, because you said
she'd been at it for forty years.
Speaker 1 (06:03):
Is it that she works so hard? He said? What
is so special about her?
Speaker 3 (06:06):
You know? I don't know, but the thing I got
out of her as an artist and seeing her live,
she was a female Otis Redding, And to me, Otis
Redding was the greatest artist I ever lived. You had
to live with him, you had to be there you
had to see it in person, because it's so hard
to describe how great somebody is. But it's easy to
see if you could take somebody to a concert. And
(06:26):
what's a nice reward for me with some of my
fans over in the UK. When I go over there
with the animals and so forth, I have people come
up and say, I saw that concert you did in
London or wherever in nineteen sixty seven. I was there.
I was twelve years old. My dad brought me, but
I remember Otis ready. He was unbelievable. And so that's
a thrill to have witnesses say the same thing I've
(06:49):
been saying. He was just fantastic.
Speaker 2 (06:51):
You know what I love is that you're a musician,
you're in the Hall of Fame, Songrise Hall of Fame,
but you're a fan.
Speaker 1 (07:01):
Wow.
Speaker 3 (07:04):
I don't want to lose this good thing that I got.
If I do, I would surely surely lose a lot.
Cause you love it's better than any love.
Speaker 2 (07:25):
I know.
Speaker 3 (07:27):
It's like under lightning. The way she loves me is frightening.
I think I better knock on.
Speaker 1 (07:39):
Wow. That's the story right there.
Speaker 2 (07:41):
You should just tell that story all the time everywhere
have you reduced all this storytelling to YouTube videos.
Speaker 1 (07:48):
This should be saved for perpetuity.
Speaker 3 (07:50):
That is.
Speaker 1 (07:51):
That is good stuff. That is.
Speaker 2 (07:54):
Can you give me, uh, in the midnight hour the
opener and then knock on wood backwards so I can
see if that's truly and we'll decide right here in
now if that's backwards.
Speaker 3 (08:04):
You. Now, if anybody out there plays guitar, there's dots
on a guitar and they're usually all in the same places.
So just go up to the decord, follow the dots.
That's midnight hour, now follow them back up.
Speaker 1 (08:26):
Well, you make it seem easy, makes.
Speaker 3 (08:30):
Life pretty simple in it.
Speaker 2 (08:31):
Wow, that almost seems like something I can do, but
I know good and well I can't. Uh, that's pretty
neat right.
Speaker 3 (08:38):
You know people come to me and they say, how
did you learn how to play guitar? And I said,
it's real simple. You just learn one note and then
you learn to play in different positions.
Speaker 2 (08:48):
Yeah, And you know what I find is that people
that are really really good at.
Speaker 1 (08:53):
What they do, they make things seem really easy.
Speaker 3 (08:56):
Absolutely. If you don't believe that, watch a golf pro
oh good, and then go try to duplicate it.
Speaker 1 (09:03):
What was it like or what is it like? You
still do it to tour with Eric Clapton.
Speaker 3 (09:08):
Well, I never did really tour with Eric. I played
on stage with him a few times. Doug Dunn did
My good buddy played bass with Eric for about two
and a half years.
Speaker 1 (09:15):
I think if you're on stage.
Speaker 3 (09:17):
It's a wonderful guy.
Speaker 1 (09:19):
Fantastic said he's got a little bit fingers compared to you.
Speaker 3 (09:21):
He's got a little, tiny, little bony fingers.
Speaker 1 (09:23):
But man, can he play.
Speaker 3 (09:25):
Oh he's unbelievable.
Speaker 1 (09:26):
Stevie Ravaugh.
Speaker 3 (09:27):
He was good when he was young, he's better now.
Speaker 1 (09:30):
Stevie Ravaugh.
Speaker 3 (09:31):
Oh, the sounds he got out of that guitar was unbelievable.
And respect he had for Albert King. And they do
a show. There's a record out where they're doing a
live show. And I'm not sure that Albert knew who
Stevie was, or if he did, he pretended didn't. He said,
I talked to the boy everything he knows with Stevie
Raven and he's one of the best guitar players ever
(09:54):
be a live period. He's awesome and a great guy.
Speaker 1 (09:57):
We mentioned Albert King, So can I ask you for
a little of the Hunter.
Speaker 3 (10:02):
I don't remember i'd ever played the Hunter. You wrote
the Hunter? Well, I wrote a lot of songs. I
had over close to seven hundred release some singles.
Speaker 1 (10:10):
Is that right?
Speaker 3 (10:11):
I don't remember all those? I know? Paul Simon remembers
all twelve thousand, he wrote, I read that he does
it for a living. I don't. I'm just a guitar
player in the band.
Speaker 1 (10:21):
No, really, you seem to be. You cannot play the
Hunter that you wrote. You know what?
Speaker 3 (10:29):
They call me the Hunter. I remember that we've.
Speaker 2 (10:32):
Got a press release. Steve Cropper doesn't know his own music.
That's what that's going to be the headline tomorrow.
Speaker 3 (10:38):
I wrote what.
Speaker 2 (10:40):
Six three, four, five, seven eight nine? You know that
I do? Can we get a little bit of it?
Speaker 3 (10:45):
Yeah?
Speaker 1 (10:46):
He wrote this. By the way, folks, most of you know.
Speaker 3 (10:54):
That's too simple. Well, if you need some of my
good hugging, you just calm, That's all you got to do.
And if you want some of my good hugging, baby,
you just calm and call me right away. Well I'll
(11:16):
be right here, right home. And all you got to
do is just pick up your cell phone and punch
it in and out. Six three foot five seven ed nine.
That's my number, But Paul.
Speaker 1 (11:31):
Paul, that don't have enough numbers in it.
Speaker 3 (11:35):
So I've been using that get your cell phone and
punch it in because they didn't have cell phones when
we wrote that, they'd have been perceived of them.
Speaker 1 (11:43):
They had what they call them field telephones.
Speaker 3 (11:45):
I guess wind up.
Speaker 1 (11:48):
How about a little mister pitiful?
Speaker 3 (11:50):
Whoa man? I'm sorry.
Speaker 1 (11:53):
I asked you to perform a song you wrote.
Speaker 3 (12:00):
They call me mister pittiful.
Speaker 1 (12:03):
I love this song.
Speaker 3 (12:04):
This everybody knows. They call me mister pittifol almost everywhere
I go. I can't even play it. There you go.
Speaker 1 (12:17):
We should have done mister pittiful when we run.
Speaker 3 (12:19):
Out since I tried to play that, ODIs redding face.
Speaker 1 (12:23):
Wow, what's scary is that? You know? Forty seven years old?
Speaker 3 (12:29):
I remember the song?
Speaker 1 (12:30):
Well, I know, but how would you know the year?
You don't know this.
Speaker 3 (12:33):
You don't know the hunter I said about, I skated
around the actual date.
Speaker 1 (12:38):
How about raise your hand?
Speaker 3 (12:39):
Oh that's a good one. And the little intro of
the little Hispanic control that's my favorite changes?
Speaker 1 (13:04):
Is that right?
Speaker 3 (13:05):
Yeah? It's a little off of the two four changes.
It's a little different.
Speaker 1 (13:09):
Does it have anything to do with the fact that
you wrote it?
Speaker 3 (13:11):
I don't know. Eddie and I had a big time.
We wrote that in the same place that the Ring
Motel we wrote six, three, four, five, seven, eight nine.
For those who don't know who where the Rain Motel
is or what it represents, it's now the National Shrine.
I guess for Martin Luther King. That's where he was assassinated.
(13:31):
We wrote let's talk about number songs. In one of
the rooms, we wrote ninety nine and a half. I
can give you part of that nine and I have.
Speaker 4 (14:07):
Just won't do Oh no, I got to have a hundred.
You got to bring it on down and stop living right.
Speaker 5 (14:32):
If you like the Michael Berry Show and Podcast, please
tell one friend, and if you're so inclined, write a
nice review of our podcast. Comments, suggestions, questions, and interest
in being a corporate sponsor and partner can be communicated
directly to the show at our email address, Michael at
(14:53):
Michael Berryshow dot com, or simply by clicking on our website,
Michael Berryshow dot com. The Michael Berry Show and Podcast
is produced by Ramon Roeblis, The King of Ding. Executive
producer is Chad Knakanishi. Jim Mudd is the creative director.
(15:17):
Voices Jingles, Tomfoolery, and Shenanigans are provided by Chance McLean.
Director of Research is Sandy Peterson. Emily Bull is our
assistant listener and super fan. Contributions are appreciated and often
incorporated into our production. Where possible, we give credit, where not,
(15:40):
we take all the credit for ourselves. God bless the
memory of Rush Limbaugh. Long live Elvis, be a simple
man like Leonard Skinnard told you, and God bless America. Finally,
if you know a veteran suffering from PTSD, call Camp
Hoe at eight seven seven seven one seven PTSD and
(16:05):
a combat veteran will answer the phone to provide free counseling.
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