← Takin' A Walk - Music History with Buzz Knight
Takin' A Walk - Music History with Buzz Knight
Classic Replay-The Top Five Most Downloaded Episodes of 2024-Russ Kunkel
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- [00:00]
Nikki Glaser
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- [01:28]
Buzz Knight
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- [02:00]
Harry Jacobs
2 is coming to Apple TV Plus.
- [02:02]
Buzz Knight
What you all did 5 months ago was one of the most painful moments in the history of this company.
- [02:07]
Nikki Glaser
Our message got out we're famous.
- [02:09]
Buzz Knight
All of us equally or one of us is like the star. What did you see? My Audi's wife was Ms. Casey. If you want to find out what happened to her, she still gentleman why I want to see my wife he.
- [02:22]
Harry Jacobs
Should have left severance new season streaming January 17th only on Apple TV plus.
- [02:30]
Buzz Knight
Taking a walk the basic connection that I had with someone that was great coming out of the whiskey was David Crosby. David I met David and Steven and Graham kind of around the same time, basically through my wife Leah, who was Cass Elliot's sister. So I was privy to being at Cass's house and meeting lots of incredible people during that time.
- [02:54]
Harry Jacobs
Welcome to our top five Taking a Walk podcast countdown the top five most downloaded episodes of Taking a Walk for 2024. I'm Buzz Knight, your host. It's my pleasure to give you this little holiday gift. Thanking all of you for your support of Taking a Walk and welcoming to the Countdown Harry Jacobs from the Taking a Walk music history desk. Hello, Harry.
- [03:17]
Russ Kunkel
Pleasure to be here. And part of the top five this week. So, yeah.
- [03:22]
Harry Jacobs
So anything been a surprise for you so far? Number five was Carlos, certainly Carlos Santana. Number four was John Oates. Any surprises to this date?
- [03:34]
Russ Kunkel
No, you know, no, there really isn't. I mean, to me, Santana, you know, really was just one of my, one of my favorites and just a huge, a huge get. But no, no surprises. I'm anxious to see what's, what's coming next. And you know, I like the idea that it's a surprise and I don't know going into it. So, yeah, I like number three.
- [03:56]
Harry Jacobs
Number three, Russ Kunkel. The legendary drummer Russ Kunkel. Loved talking to him. What a great guy. What an amazing legacy.
- [04:05]
Russ Kunkel
Russ Kunkel has the artist that he's played with. You know, he's just a huge studio player. He's one of those guys that played with everyone. Neil Young and Stevie Winwood, James Taylor, Stephen Stills, Carly Simon, Bob Dylan, Neil Diamond, Dan Fogelberg, Glenn Fry. I mean, it's like the lit when you look at, at who he's played with and when these guys, when you see guys like Kunkel talk about who they've played with, it's so matter of fact, because that list, you go, oh, yeah, I played, you know, I did a little something with Crosby, Stills and Nash or I played here. I played with Bob Dylan. I did, you know, whatever it is, it's like to any other guy, it'd be like, well, here's the centerpiece. I played with Steve Winwood or I played with Bob Dylan. That's one guy's claim to fame. Kunkel has played with everybody. Everybody, you know, even Danny Korsmar, who, who you've had on Taking a Walk was, was part of that, you know, with, with Leland Sklar. Right. I mean, he's been A part of 70s to me, 70s music was, was impacted greatly without question.
- [05:13]
Buzz Knight
Yeah.
- [05:13]
Harry Jacobs
Yeah. Well, listen, all of these that you mentioned, and the, the one I would add too, that because he's been on as well the podcast, Wadi Wachtel, all these guys from the immediate family band, also the immediate family documentary is a great take, but they're all very matter of fact about what they've really kind of accomplished. Very much that generation, that is an amazing generation to sort of, you know, take stock of.
- [05:41]
Russ Kunkel
Think about Running on Empty by Jackson Brown. That's Russ. Right, right. Plan, plan on that. How Sweet it Is by James Taylor. Yeah, a great little drum roll into the beginning of that song he played. Another, you know, Jackson Brown album I love is Holdout. You know, not one of his most popular ones, but that's one that still remains in my, in my playlist today. But he, you know, he was there for that. You know, Linda Ronstadt, you know, the Bee Gees. I mean, like, as I look down the. I just took a quick list, look at the list as we're talking about this. And it's just, you know, Bob Seeger, he's played with Roy Bitton from Springsteen's band and Carole King and It's just crazy. Dr. My eyes by Jackson Brown. He was on. I didn't realize he was. He was on that. So by the way, the other thing about Russ self taught, the guy never took a drum lesson.
- [06:33]
Buzz Knight
Like.
- [06:34]
Russ Kunkel
Yeah, it's just crazy.
- [06:36]
Harry Jacobs
Yeah, yeah, he. Very gracious man, a gentleman and really sweet to talk to. The number three most downloaded episode of 2024, Russell Kunkel on Taking a walk. Well, the great Russ Kunkel is here on the Taking a Walk podcast. We're gonna take a walk down memory lane. Russ, thanks for being here.
- [07:00]
Buzz Knight
My pleasure. Buzz.
- [07:02]
Harry Jacobs
Did it all start for you with Wipeout?
- [07:07]
Buzz Knight
No one's ever asked me that question before, but it's pretty spot on. I mean, it's certainly a song that inspired me early on because it was such a huge hit. I think it was a song was recorded by the Safaris, is that correct?
- [07:24]
Harry Jacobs
Yes.
- [07:26]
Buzz Knight
And it featured a very repetitious kind of drum part in it that everybody loved and gravitated to probably. I guess that must have come out in 1963 or 1964, somewhere around then because I think I was in high school at that time, so. Yeah, and the bands, the early bands that I was in in Long Beach, California, we certainly played that song when we were in our surf music craze, so. And at the same time, I was actually surfing. I started surfing then. So Wipeout has a double meaning for me. It was the name of a song and I actually got wiped out many times, so I understood it.
- [08:09]
Harry Jacobs
Did you have someone teaching you and mentoring you similar to the movie Whiplash?
- [08:16]
Buzz Knight
No, not at all. For the most part, I'm self taught. My brother, Gilbert Kunkel, my, my oldest brother who's passed on now was a drummer and he he sat me on his lap and put the sticks in my hand when I was probably about six or seven years old and. And he introduced me to the drums. He had a band and his band rehearsed in our house from time to time. And so, you know, I kind of grew up with a little bit of an inclination of what that meant and it was very exciting. So I give him credit for certainly setting me off in the right direction.
- [08:54]
Harry Jacobs
And the band that really began things in the big way was your band, Things to Come that ended up landing, that was it, 19 week run as the house band at the Whiskey. Is that right?
- [09:10]
Buzz Knight
It was, it was very close to that. It was a long period of time and we were taken under Mario and Elmer's wing and we were just the opening act for lots of bands that came through at that time. And it was an eye opening experience, I'll say that.
- [09:29]
Harry Jacobs
More ways than one, I bet.
- [09:32]
Buzz Knight
Yes, it definitely was. We don't have to go into detail, but I wouldn't trade that time for anything.
- [09:40]
Harry Jacobs
And you saw a few notorious bands come through during that period. Care to talk about any of those bands?
- [09:48]
Buzz Knight
Well, the. One of the bands that came through was the Hourglass, which became the Allman Brothers. And it was interesting to see them in that configuration. It was pretty much the. I can't be certain of this, but I think it was the same, the same personnel and then. And of course we know they went on to unbelievable greatness and. And another band that came through there was. Who had a different name. It was cta, which was the Chicago Transit Authority. And I think they had a different name at that time, before they were called Chicago. Oh, I forget what they were called. Anyway, they had a different name at that time, before they became Chicago. Got to see them, got to see the Hollies open for them, open for Cream, opened for the Electric Flag, Paul Butterfield, Gene Clark, the Birds. Got to see Jimi Hendrix play there. We didn't open for him, but he did a show at the Whiskey before going up to the Monterey Pop Festival. Got to see that it was, it was definitely eye opening.
- [11:01]
Harry Jacobs
And you were just in this phase, certainly that I still believe you are in, which is learning and being a sponge for everything you were witnessing. Is that fair to say?
- [11:13]
Buzz Knight
Yeah, I don't think I've given that up. I, you know, being self taught, you know, I taught myself to play the guitar enough to write and a little bit of keyboard enough to write, so. And, you know, kind of reinvented myself into a bit of a Songwriter and a producer, and I've had some success doing both. So I guess you could. You could liken it to being a sponge. I, I do like to learn new things and I, I practice drumming and guitar every day and, you know, so it's a. I, I think it's a. It's a book that you can never finish reading. So.
- [11:51]
Harry Jacobs
Can you describe what are the traits that go into being such an accomplished drummer as you are?
- [12:01]
Buzz Knight
I. When you start out, I don't think you have any idea what you're going to end up being. So to answer a question like that, it's. It's all hindsight, you know, and I just never gave up, you know, and I wanted to. I wanted to not get fired was the main objective and to listen enough to find out what people wanted from me, you know, and not. Not get caught up in doing something other than that. And more than anything, I wanted to be appreciated and hired back, you know, to. To repeat, you know, I was. I was married at a young age when I was 21. I had a. My son Nathaniel was born when I was 21, so I had to make an income, you know, my wife worked at the time, too. But, you know, I had to get serious real quick. And I think in a lot of ways that kind of kept me on the straight and narrow when a lot of other people who didn't have those kinds of responsibilities, you know, went down a different road. So. But you have to listen, I guess that's the word that I'm coming around to. You have to be aware of your surroundings and be. Be very aware of what's needed from you and really try to present it.
- [13:21]
Harry Jacobs
How do you balance the intensity of your job with the cool, calm and collected need to be the glue that holds everything together?
- [13:36]
Buzz Knight
When you walk into a situation where you're either recording or you're playing live, recording in particular, you don't necessarily know the song. It's. It's all brand new. So there's a. There's an unknown factor there, which can be scary or it can be exciting. You know, I. I try to approach every session that I do in a way that I try to play things that I've never played before. At least I make an attempt to come up with something that I've never done before. And if I'm lucky enough, it's. It suits the song and it makes everybody that I'm working for happy. Playing live is, you know, it's about connecting with an audience and really connecting with the people that you're playing with. It starts there. You know, there has to be a real simpatico with the people that you're playing for, and then that magic or that feeling or that flow can move on out to the audience, and you can see it affect an audience one way or the other. You can also see it affect an audience if they're not happy with what they're hearing.
- [14:45]
Harry Jacobs
One of the things that came out of Things to Come and the Whiskey Experience was you got on the radar with this great man, Peter Asher. Tell me about that experience.
- [15:00]
Buzz Knight
Yeah, that's. That's true, actually. The Whiskey, the basic connection that I had with someone that was great coming out of the Whiskey, was David Crosby. David. I met David and Stephen and Graham kind of around the same time, basically through my wife, Leah, who was Cass Elliot's sister. So I was privy to being at Cass's house and meeting lots of incredible people during that time, right after the. Our stint at the Whiskey. And David took a. Took notice of me, and he produced the Things single for the Things to Come. He produced a few things, and he was a real champion of me and my band at that time. After that, I was working for a man named John Stewart, who replaced Dave Guard in the Kingston Trio. And he had just had an album put out, an album on Capital called California Bloodlines. And I had met John through Henry Diltz, and he asked me to come on the road with him to promote his album and was rehearsing with John for some show. And Peter Asher came to town and contacted his friend Chris Darrow, who was also playing with John as a great fiddle player. And he told Chris that he was looking for musicians to record with his new artist, James Taylor. And he was specifically looking for a drummer. And Chris said, come to our rehearsals. There's a great drummer playing with us now. And Peter came to the rehearsal and liked what he heard. And like you've seen the documentary, he asked me to play on the album. And he doesn't really think that John ever forgave him, but I think he kind of did.
- [16:49]
Harry Jacobs
So he is such a treasure, isn't he, Peter?
- [16:53]
Buzz Knight
Yes, absolutely. Absolutely. He. Without. Without Peter's kind of intervention in my life and my career, just, you know, kind of being at the right place at the right time and a little bit of serendipity, my career wouldn't have be anywhere like it is today. So he was a major factor, and so was Lou Adler.
- [17:15]
Harry Jacobs
Tell me about Lou as a producer and what you learned from him.
- [17:20]
Buzz Knight
Lou and Peter are very Very much the same. They. They knew to stay out of the way of the artist and let the artists do their art. And they were great organizers. You know, they're. You have. The great producers are cheerleaders. You know, they. Jimmy Iovine falls into that category as well. So does Jimmy Bowen, you know, Richard Perry. A lot of the great producers that I've worked with, they all have that same quality. They're cheerleaders, and they stay out of the way of the art.
- [17:51]
Harry Jacobs
So tell me how you remember the first sessions with James Taylor.
- [17:59]
Buzz Knight
Well, Buzz, I have to say, you know, that period of time, there was a lot of inviting going on, so I don't remember every single bit of it, but I remember that it was an exhilarating experience to. To play those songs with James and Carol and Danny. I think we recorded that album inside of a week. Everything was recorded. We recorded it at Sunset Sound, and it was magical. You know, it really, really was. But it's. It's hard to recall just exactly what you were feeling, something that happened over 50 years ago, you know, But I know I was there and. And I know. I know I was just thankful. I mean, if there was a word that I can use of my dominant emotion, it was gratitude. Just thankful to be there, you know, and not until many, many years later did I realize the impact or the significance that that music has had, you know, on the world. And I'm eternally grateful for that.
- [19:11]
Harry Jacobs
Then there's the first album that I ever bought and wore the grooves off of is this little number called Tapestry by Carole King. Can you talk about how magical that was?
- [19:28]
Buzz Knight
You know, very similar to recording the. The Sweet Baby James album. It didn't take a long time to record. Carol was very prepared. She had. She had gone over the songs with Lou at her house. And what Lou wanted to do, like he says in the documentary, is just recreate what she was doing at her house. You know, playing the piano, just adding the instruments that they deemed to be necessary around the songs. I didn't play on the whole album. Joe, Joel, Bishop O'Brien played. I think he actually played on more songs than I did on Tapestry. But. But it was. Again, it happened very quickly. And this was kind of the same group of people. You know, James was there playing on some of it. Joanie was there, you know, doing some of it. Danny was there. I was there. She used. She didn't use Leland on that. She used Charlie Larkey as the bass player, and Ralph Shuckett played some other keyboard parts and lots of Lots of other wonderful background singers and horn players from la. But it was very similar to Sweet Baby James. It happened quickly. And again, it. You know, in hindsight, when you look back, you kind of have an oh, my God moment that, you know, that record was so satisfying to so many people.
- [21:05]
Harry Jacobs
Is there a similar zone, like athletes talk about, that a musician, a drummer gets into either in a session or in a live performance? Is it. Is it the zone?
- [21:21]
Buzz Knight
I refer to it as flow and. Yeah, of course. Yeah. But, you know, I. I try to get into that thing in everything that I do, you know, whether I'm surfing or swimming or working out or writing or playing an instrument. Playing an instrument. Yeah. You definitely want to find that place and stay in it, for sure.
- [21:43]
Harry Jacobs
Can you talk about the experience that happened in a session in New York City that included the likes of George Harrison and Bob Dylan?
- [21:56]
Buzz Knight
I was in New York with Peter. He took me to New York to play drums on a Tony Kossanak record, an artist he was producing. This was after Sweet Baby James, after the James Taylor albums. And we had finished recording, and I was in my hotel. We were leaving the next day, and Peter called me and said, put your. Put your drums in a cab and come down to CBS Studios. And I said, what happened? Were we cutting more tracks? He said, no, you're gonna play with Bob Dylan and George Harrison. They're in the studio and they need a drummer. So they called me. So after I composed myself, I got my. My drums down to the studio and took them inside and sat them up. And I'm jamming with Bob Dylan and George Harrison. Bob wanted to play Beatles songs and Elvis Presley songs, and George wanted to play Dylan songs. And so they kind of just traded back and forth. I think Al Cooper was there playing organ. Charlie Daniels was there, I think, playing bass at that time. And then that same configuration of people were called back by Bruce Johnston, who is not Bruce. Is it Bruce Johnson? Bob who produced Bob Johnson? Exactly. Bruce Johnson's in the Beach Boys.
- [23:23]
Harry Jacobs
Is it Rolling Bob, remember?
- [23:25]
Buzz Knight
Right, exactly. He called me two months later to come to New York and play on the new morning album with the same group of people. You know, I. I had the headphones on, and I have George Harrison in one ear and Bob Dylan in the other. And I. You know, if I don't know how, I kept my head from exploding, but it was a magnificent experience, to say the least. And I think there's a bootleg of some of that stuff that came out at some point. I seem to remember Hearing some of it.
- [23:58]
Harry Jacobs
I was going to ask you, because over time, Bob has continually released, you know, treasures that were from sessions and whatnot. So I have a feeling some of that keeps popping out as well. And it really, you know, of course, it showcases his brilliance and so many ways, you know.
- [24:20]
Buzz Knight
You know, as I. As I get older, I. I started to realize that I don't like things that are perfect. I'm. So much of music today is perfect. It's absolutely in tune. It's absolutely in time. It's all matched up to a grid. And I think there's something lacking in that. You know, I think. I think however far we've gone down that road, I hope that people jump off of it. Bob Dylan was never that way. And I think that that is part of his greatness, is that he didn't want anything to be perfect. The only thing that I could say that would approach being perfect are the amazing lyrics that he's written. You know, what he was able to do with putting words together to. To tell a story or create an emotion or a feeling. I don't know that anybody's done it any better, but doing those sessions with him and playing on New Morning and the sessions with Harrison, you only played a song one time. Like, he would. He would. On the. In on the New Morning sessions, we would jam something. Like we would be playing a Buddy Holly song or something, and then all of a sudden he'd throw in a new song like you never saw it coming. He would just go over to the piano and he starts playing, you know, Winter Lud, you know, and all of a sudden you just. You jump in and hang on. And every time he did that, I would just. I was going, God, if we could just do that one more time. Now I know what I want to play, but he doesn't. He didn't want that. And that's. I. I see the genius in that now. You know, there's so many mistakes that I think are mistakes on my. On what I played on those songs on that album, but apparently no one else thought they were, so.
- [26:21]
Harry Jacobs
Did you do work on the soundtrack of Pat Garrett and Billy the Kid?
- [26:26]
Buzz Knight
I did. Jim Keltner and I both played on that on a few songs of that soundtrack. Yeah, that was pretty amazing experience as well.
- [26:36]
Harry Jacobs
Amazing seeing Bob acting, too, you know.
- [26:40]
Buzz Knight
Oh, yeah, well, he's very good, you know, as is Levon, for sure. Yeah.
- [26:49]
Harry Jacobs
Tell me about the Blue session with Joni, which, you know, to this day, people talk about that, you know, in her, of course, in reverence, you know, she's so amazing. What do you remember about the blues session which you played on?
- [27:08]
Buzz Knight
Well, again, when it was going on, you. It was just another day, you know. I had been working with James. I was friends with Stephen and David and Graham and Neil, and we were in and out of the same studios and I got a call to come down to A and M and. And. And I knew Joan and to come down and play on some recordings that she. That she was doing at the time. And I overdubbed on some pre. Existing things. And we played a couple things live and Stephen and I overdubbed together. Steve. She had Stephen playing bass on. On a couple things, and I was playing congas and percussion and I played. I think I played drums on one or two songs, but the percussion and the drum accompaniment on Blue is very subtle, you know, it's mixed exactly in the right way. And again, when you look back on that time, I had no idea that those songs. I've worked on a little bit of Ladies of the Canyon as well, but I had no idea that those songs were gonna. The album Blue is gonna have the significance that it has, you know. And again, just unbelievably grateful that I was there. There but for fortune.
- [28:26]
Harry Jacobs
Who are the drummers that have impacted you, past and present, and maybe particular work by them that has impacted you?
- [28:37]
Buzz Knight
Oh, well, it starts with Ringo, Charlie Watts, Jim Keltner, Jeff Piccaro, Levon Helm. Huge influence every. Every drummer that you would think. You know, Philly, Joe Jones. Joe Jones, Louis Bellson, Buddy Rich, Gene Krupa, you know, for all the reasons that you would imagine, you know, the body of. Just the body of work that. That Charlie and. And Ringo and Jim Keltner and Jeff Picaro have played on is, you know, is enough. You know, I'm quite fond of Dave Grohl as well, but Dave is more than just a drummer, you know, he's just. He's a great human, a great talented individual.
- [29:27]
Harry Jacobs
You obviously observe the brilliance and the tragedy of Jim Gordon. As someone in your profession.
- [29:39]
Buzz Knight
I should have mentioned him because he was a huge influence on me.
- [29:43]
Harry Jacobs
Talk about his work, obviously, which is pretty mind blowing.
- [29:49]
Buzz Knight
Well, the first time I became really aware of Jim Gordon was on Dave Mason's Song Only, you know and I know. And that rolling snare drum part that he decided to play on that. No one ever did that before, you know, and it was that whole period of time of Delaney and Bonnie and all the musicians and Leon Russell and everybody that came in and out of that camp. And then Delaney and Bonnie, you know, then that kind of gave birth to Mad Dogs and Englishmen and just that. That whole group of musicians were incredible, and I loved every bit of it. But Jim Gordon session work, I mean, he's well known for his. His work with Clapton and stuff like that, but he. He played on so many records. I mean, he was in the studio kind of at the same time that Hal was in the studio, maybe a little bit after that and a little bit before me, before I started working a lot in the studio. And he had. He had a great groove. He had just a great pocket, you know. And it's tragic what happened to him. It almost seems like it's a. Like it's a movie instead of reality, but because he seemed to be such a nice guy, like a bad dream. But everyone has gone. Yeah, everyone. Everyone potentially can have demons, so he's got the best of them.
- [31:10]
Harry Jacobs
Man, that was that story. Just chilling, you know?
- [31:15]
Buzz Knight
Yeah, absolutely.
- [31:18]
Harry Jacobs
Talk about the joy you're experiencing with immediate family. I love the documentary also as well, and I love what you guys are up to, the camaraderie, the vibe, the speaker spirit of it. Talk about how you love it.
- [31:33]
Buzz Knight
Well, these are guys that I've spent the better part of my musical career with in one configuration or another. So for us to have a chance to do something of our own was really. It was really great. It kind of started right before COVID and having a new band during COVID kind of kept us all sane. You know, we recorded a lot of videos and we. We did a lot of recording, kind of sending each other bits and pieces, and we did a lot of writing during that time. And it's. It's been a fun journey. It really, really has. Being fortunate enough to have the documentary. Documentary made about us is profound. I mean, how lucky are we, you know, that. That Denny wanted to do it. He. That he felt that there. That was a story that needed to be told. And. And in a lot of ways, it's. It frightened me the first time that I saw it, because I felt like not only was I looking at my life, and when you look at something that kind of spans a period of time, especially when you get to be my age, you're kind of. You have less time to look at than you do, than you've lived. And so it was a reminder, I guess, of our. Of my mortality and. And the mortality of my friends. So that's the thing that hit me about it, you know, like, oh, okay, I'm old Enough now to where somebody thought we should make a documentary about the music that you played on. So. But, yeah, it's. Every time we get a chance to play, it's really fun. We really have a great time doing it, and I hope we get to do more in the future.
- [33:12]
Harry Jacobs
Do they all make you a better player?
- [33:14]
Buzz Knight
Oh, no. You can't get away with anything in this band. No, you can't make a mistake. You don't want to make a mistake because you're trounced on immediately. So, yes, they do. They. We make each other accountable.
- [33:28]
Harry Jacobs
Who's the toughest, though?
- [33:31]
Buzz Knight
Well, Waddy and Danny can be a little tough. They're particular in the ideas of the things that they want, you know, So I let them rant and rave, and then I play what I want to play anyway.
- [33:49]
Harry Jacobs
Any particular traits that you have taken on from anyone in particular you've worked with in your career that you can highlight?
- [34:00]
Buzz Knight
Traits? Well, I've learned a lot of stuff from a lot of people. You know, I learned a lot from Stephen Stills, learned a lot from David and Graham. Learned a lot from Neil. I learned a lot from the producers that I worked with. Learned a lot from Jimmy Bowen, from Jimmy Iovine, from Peter, from Lou Adler. And I guess I. And I've learned. I've learned a lot from my friend Danny Korchmore about songwriting, you know, and so I guess I've taken bits and pieces of the things that I've learned from everyone and kind of tried to mold them into how I do those things, you know? And, yeah, I definitely picked up stuff along the way.
- [34:46]
Harry Jacobs
What did you learn from Zevon?
- [34:49]
Buzz Knight
What did I learn from Warren Zevon? Genius comes in all different kinds of colors.
- [34:59]
Harry Jacobs
Bravo.
- [35:00]
Buzz Knight
Yeah.
- [35:02]
Harry Jacobs
Are you going to show up in the new Spinal Tap?
- [35:04]
Buzz Knight
I don't believe so, although I did get a.
- [35:08]
Harry Jacobs
My.
- [35:09]
Buzz Knight
One of my dear friends is C.J. vanston, and he's been involved with the guys for many, many years. And he was just down in New Orleans where they were doing some shooting, and he sent me a little video that he made of all the guys saying hi to me. So that was. That was. And they were all in costume, so that was a nice thing to get. But, no, I don't believe so.
- [35:32]
Harry Jacobs
Was Henry Diltz in New Orleans perchance.
- [35:37]
Buzz Knight
While they were shooting? I'm not sure. I don't know.
- [35:41]
Harry Jacobs
I think he. We interviewed him for an upcoming episode. He said he was heading down there. He wasn't quite sure what was going to happen, whether he would be on the cutting floor. Or not. But needless to say, he was just as Henry is, wild eyed and enthusiastic. He was looking forward to it.
- [35:59]
Buzz Knight
Henry Diltz is a beautiful human being and I'm so glad to see him getting the recognition that he so deserves. Rona Elliott just sent me a signed copy of his CSNY book, Love the One youe're With, which is amazing, amazing stuff.
- [36:24]
Harry Jacobs
He's a treasure. What do you think keeps him with that wild eyed enthusiasm, you know, that he, I'm sure started with his spirit.
- [36:34]
Buzz Knight
He loves life, you know, he's, he's a happy man. You know, he's, he's in a good place.
- [36:43]
Harry Jacobs
He's a good man.
- [36:45]
Buzz Knight
He definitely is.
- [36:46]
Harry Jacobs
In closing, what do you want to learn that you haven't necessarily learned at this point in career and life?
- [36:55]
Buzz Knight
To not be afraid of the things you don't know. To not fear, fear. There's no way of knowing what's going to happen the next minute. So I just try to concentrate on really enjoying the one that I'm in.
- [37:15]
Harry Jacobs
I enjoyed this moment. I've been in immensely.
- [37:18]
Buzz Knight
Well, thank you, Buzz. Thanks for wanting to do this with me.
- [37:21]
Harry Jacobs
I'm just grateful that you came on the podcast.
- [37:25]
Buzz Knight
It's my pleasure. My pleasure.
- [37:40]
Harry Jacobs
Foreign.
- [37:47]
Nikki Glaser
Are you still quoting 30 year old movies? Have you said cool beans in the past 90 days? Do you think Discover isn't widely accepted? If this sounds like you, you're stuck in the past. Discover is accepted at 99% of places that take credit cards nationwide. And every time you make a purchase with your card, you automatically earn cash back. Welcome to the Now It Pays to Discover. Learn more at discover.com credit card based on the February 2024 Nielsen report. Thursdays on ABC. Get ready to move that bus. The beloved series Extreme Makeover Home Edition is making a triumphant return to kick off the new year. Join the makeover mavens Joanna Teplin and Clee Shearer as they hit the road on a mission to transform lives of deserving families. They have just four days to rally communities, demolish old homes and rebuild not just houses, but lives. New episodes of Extreme Makeover Home edition Thursdays at 8, 7 Central on ABC and stream next day on Hulu. Hey, it's Nikki Glaser. So I hosted the Golden Globes at Hollywood's biggest party. Honestly, you've probably seen all the headlines this week, but like any good party, there's a lot of wild stuff that goes down behind the scenes, the scenes that you don't know about. And since I hosted the Golden Globes I'm letting my podcast listeners, my besties in on all the behind the scenes tea stuff that didn't make it to the live TV taping. What went down in rehearsals, who said what at the after party. You're going to hear it all. Listen to the Nikki Glaser podcast on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts. Hey y'all, I'm Dr. Joy Harden Bradford, host of Therapy for Black Girls this January. Join me for our third annual January Jumpstart series. Starting January 1st, we'll have inspiring conversations to give you a hand in kickstarting your personal growth. If you've been holding back or playing small, this is your all access pass to step fully into the possibilities of the new year. Listen to Therapy for Black Girls starting on January 1st on the iHeartRadio app, Apple Podcasts or wherever you get your podcasts. Jill the holidays are a blast, but the financial hangover? That can be a huge bummer. If you are out there and you're dreading the new statement email that reveals the massive balance that you may have racked up. Well, you could use our help.
- [40:05]
Buzz Knight
That's right.
- [40:06]
Nikki Glaser
I'm Joel. And I am Matt and we're from the how to Money podcast. Our show is all about helping you.
- [40:11]
Buzz Knight
Make sense of your personal finances so.
- [40:13]
Nikki Glaser
You can ditch your pesky credit card.
- [40:15]
Buzz Knight
Debt once and for all, make real.
- [40:16]
Nikki Glaser
Progress on other crucial financial goals that you've got, and just feel more in control of your money in general. You know it. For money advice without the judgment and jargon, listen to how to Money on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.