""Takin' A Walk with Robert Walter: Three Decades of West Coast Boogaloo"

Summary

Podcast Summary: "Takin' A Walk with Robert Walter: Three Decades of West Coast Boogaloo"

Introduction In the December 20, 2024 episode of "Takin' a Walk", hosted by Buzz Knight from iHeartPodcasts, Robert Walter joins the show to delve into his extensive career in the soul jazz scene. As a founding member of the renowned Gray Boy All Stars and a collaborator with notable artists like Roger Waters, Walter shares insightful stories about his musical journey, collaborations, and the evolution of his artistry over three decades.

Early Influences and Formation of Gray Boy All Stars Robert Walter's musical journey began in a household steeped in music, thanks to his father who was a drummer. Growing up in the 1980s, Walter was initially immersed in the heavy metal and punk rock scenes before finding his passion for jazz.

"I was kind of in the punk rock scene in San Diego and playing... my first band was kind of a heavy metal band... then I became interested in jazz," Walter explains (06:08). This transition was fueled by his appreciation for the rebellious and improvisational nature of jazz.

The Gray Boy All Stars originated as a one-off gig to promote DJ Gray Boy's album. Walter recounts, "We just kind of put together the band for that one gig. But the chemistry was so good... we booked some more gigs, and it just grew out of that" (04:30). What was intended to be a singular performance became a staple in the San Diego music scene, particularly at the Green Circle Bar.

Musical Philosophy and Improvisation A significant aspect of Walter's approach to music is his emphasis on collaboration and improvisation. He believes in minimal preconceived agendas to allow for genuine interaction among musicians.

"The less of an agenda you can come into improvisation with, the better it's going to sound," Walter asserts (07:20). He further elaborates on the importance of being present and responsive, likening musical improvisation to a conversation where leaving space for others enhances the overall performance.

"There’s always a give and take. That’s kind of what’s exciting about it... the more you think of it as a conversation with the other players, the more interesting it is," he adds (07:20-08:25).

Instrumentation and the Hammond B3 Organ Walter's deep connection with the Hammond B3 organ became a cornerstone of his musical identity. Inspired by classic Blue Note and Prestige records from the 60s, he immersed himself in the rich sounds of legends like Jimmy Smith and Richard Groove Holmes.

"I started collecting those records and became kind of in love with the instrument," he shares (11:12). Despite his profound affinity, Walter admits, "It's a very complex instrument. I'm still... intimidated by it sometimes," highlighting the continual learning process involved in mastering the Hammond B3 (12:19).

When discussing his setup, Walter mentions his preference for a straightforward approach:

"I play a pretty stock rig. I just turn it all the way up. That's kind of my trick because I really... don't be scared of distortion. It's part of the sound," he states (13:41). This philosophy underscores his commitment to maintaining the authentic and raw essence of his music.

Collaborations and Working with Legends like Roger Waters Working with Roger Waters of Pink Floyd has been a significant highlight in Walter's career. He reflects on how this collaboration allows him to infuse his unique style while honoring Waters' iconic legacy.

"The organ parts are pretty loose actually, and it’s... I can kind of screw around and just create textures," Walter explains (16:10). Despite the freedom, Roger Waters maintains a meticulous attention to detail, guiding Walter to refine his contributions.

"He has crazy attention to detail... He kinda likes to sculpt your parts, but out of things you’re playing sort of freely," Walter notes (16:10-17:03). This dynamic fosters a balanced environment where creativity and precision coexist.

Longevity and Evolution of Gray Boy All Stars Celebrating over three decades, the Gray Boy All Stars have maintained their relevance and cohesion through intentional breaks and side projects.

"We take time off... everybody has side things, so they all can express themselves in all these different ways," Walter explains (19:46). This approach prevents creative burnout and keeps the band's mission intact: to pay tribute to classic music while keeping it improvisational and dance-friendly.

"We never feel like we have to force every creative idea into this band. This is just this thing we do and we all agree on what it is," he adds (19:46-21:05). This clear mission statement has been pivotal in sustaining the band's longevity and magical chemistry.

Solo Projects and Recent Works Beyond the band, Walter has pursued solo endeavors that showcase his versatility and creative instincts. His latest solo project, "Better Feathers", emerged during the COVID-19 lockdown, serving as a therapeutic outlet and a means to continue making music amidst challenging times.

"I started working on music so I wouldn't go crazy. I just started recording stuff and sending tracks to my friends," Walter shares (22:57). This homegrown approach allowed for collaborative creativity despite physical distancing, resulting in a heartfelt collection of homemade music.

Future Aspirations and Dream Collaborations Looking ahead, Walter expresses a desire to collaborate with a diverse array of artists, with Björk and Joni Mitchell topping his wish list. He also reflects nostalgically on artists like Curtis Mayfield and dreams of working with legends such as Bob Dylan.

"I would love to work with Björk... I wish I could go back in time and play with Curtis Mayfield," he reveals (23:56). These aspirations reflect his deep respect for musicians who push artistic boundaries and maintain artistic integrity.

Conclusion Robert Walter's episode on "Takin' a Walk" offers a comprehensive look into his enduring passion for music, his dedication to collaboration and improvisation, and his unwavering commitment to honoring musical legacies. With his rich history in the Gray Boy All Stars and his ongoing solo projects, Walter exemplifies the spirit of West Coast Boogaloo, blending tradition with innovation to create music that resonates across generations.

Notable Quotes:

• "The less of an agenda you can come into improvisation with, the better it's going to sound." — Robert Walter (07:20)
• "We never feel like we have to force every creative idea into this band. This is just this thing we do and we all agree on what it is." — Robert Walter (19:46-21:05)
• "If you just kind of, if you... it's all about being in the moment." — Robert Walter (08:38)
• "He has crazy attention to detail... He kinda likes to sculpt your parts, but out of things you’re playing sort of freely." — Robert Walter (16:10-17:03)
• "I started working on music so I wouldn't go crazy. I just started recording stuff and sending tracks to my friends." — Robert Walter (22:57)

Timestamps:

• 06:08 Early musical influences
• 04:30 Formation of Gray Boy All Stars
• 07:20 Musical philosophy
• 08:38 Application of improvisation to business
• 09:11 Seminal concerts and collaborations
• 11:12 Connection with the Hammond B3
• 13:41 Instrument setup and sound
• 16:10 Working with Roger Waters
• 17:03 Comparing collaborators
• 19:46 Longevity of the band
• 21:05 New album "Grab Bag 2007-2023"
• 22:57 Solo project "Better Feathers"
• 23:56 Dream collaborations

Conclusion Robert Walter's insights on this episode provide a deep dive into the life of a seasoned musician who seamlessly blends respect for musical traditions with a penchant for innovation. Whether you're a long-time listener or new to his work, this episode offers valuable perspectives on collaboration, improvisation, and sustaining a vibrant music career over decades.

Transcript

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[Podcast Host]

Welcome to our musical journey as we take a walk with Robert Walter on the Taking a Walk podcast with your host Buzz Knight. Robert Walter is a key figure in the soul jazz scene and A founding member of the renowned Gray Boy All Stars, he divides his time between the band, his own project called 20th Congress, and his thriving career in film soundtrack composition in Los Angeles. Most recently, Walter has been touring with Pink Floyd co founder Roger Waters. Join Buzz night now, as we step into the world of Robert Walter on the Taking a Walk podcast.

[Robert Walter]

So, Robert, let's start with the origins of the Gray. The Gray Boy All Stars. How did you first get involved with. With DJ Gray Boy?

[Spectrum Business Representative]

So I, I had had a band with. With Zack Major and Chris Stillwell, who were the bassist and drummer, the original drummer and still bassist for Gray Boy All Stars. But I had been in the band with them previously and Zach had started to hang around with DJ Gray Boy. He had a studio in it, kind of in our neighborhood, and he had been recording some stuff with Carl Danson and he had made that record Freestyling, which was kind of like. It was like beats produced like sampled break beats and stuff, but with live horn players and live jazz over the top of it. But he, he wanted to have a live band to play the record release for that album. So we just kind of put together the band for that one gig. But the chemistry was so good on that first rehearsal that we were just like, let's book some more gigs. And it kind of just grew out of that. But that's part of why it's called the Great Boy All Stars. It was supposed to be just this one off, sort of promotional gig for his album that none of us are on except for Carl. So.

[Robert Walter]

And what was it like at the Green Circle Bar? Do I have that place correct?

[Spectrum Business Representative]

Yeah, yeah, that's. So that was San Diego. Yeah. So Grey Boy would spin there every Wednesday and we started to play a first and a second set in between his DJ sets. And then it just became this whole phenomenon where it got. It was packed every Wednesday. It was kind of cool that it was on an off night, so that it was. It wasn't for like weekend Warriors. You had to be pretty hardcore to stay out to two in the morning on a Wednesday, you know, to see this band. But, but it became kind of our home home turf and it was a good way. We, you know, you play the same room, so you're real comfortable with the sound. And we would try different songs out all the time and constantly be working on stuff and adding tunes to the repertoire. And it's really a. A great night. And then Greyboy would spin. He'd usually start off playing like sort of straight up jazz records, maybe like Boogaloo or soul jazz stuff, but not really break backbeat stuff. Then we'd play a set. Then he'd play a bunch of funky jazz stuff like Lou Donaldson Records, Grant Green, some James Brown stuff like that. And then after that he would usually play kind of hip hop that had sampled all these things. So it was kind of a whole arc in history of black American music in this. In this one night. So it was a very cool thing.

[Robert Walter]

So before you met him and when you were younger, were you always around this really unique, eclectic bunch of people like you still are?

[Spectrum Business Representative]

Yeah, I mean, my father was a musician, played drums and bands. So we had a piano, we had a bunch of synthesizers at the house. He was really into like building sort of like modular synth stuff. So. So we had that. He. My parents had pretty cool record collection with a lot of variety of music. And then I was in big bands that were totally different styles than this before. I was kind of in the. In the punk rock scene in San Diego and playing and, you know, I grew up in the 80s, so I was into to sort of heavy music. And you know, my first band was kind of a heavy metal band. And then, you know, and then I became interested in jazz. Sort of from the perspective of the sort of chance taking and the sort of rebellious nature of it, you know, from back in the day. So that's kind of what attracted me to originally. And then it just kind of grew from there. So. But yeah, I always liked all different kinds of music. Still do.

[Robert Walter]

And how did you learn or how do you continue to learn both the art of collaboration, but also, you know, the importance and the art of improvisation as well.

[Spectrum Business Representative]

I was never one to like learn a lot of licks or anything, you know, I mean, I've spent time doing that and copying people's solos and learning stuff. But I've always been worried about like how to interact with the musicians and how to egg someone on if they. If they don't have an idea, throw them something that they can grab onto or there's always a give and take. That's kind of what's exciting about it. The less you think about even when you're playing a solo as being your sort of linear thoughts. And the more you think of it as like a conversation with the other players, the more interesting it is. So, you know, you always want to leave space for people and, and sort of respond in real time to them. So, you know, I've always thought like, the less of an agenda you can come into improvisation with, the better it's going to sound, you know, if you come there with like an intention, oh, I'm going to try and do this. You're not really living in the moment and reacting to stuff. So, you know, there's always a, there's always a goal to kind of get away from your tricks and, and comfort zone and push yourself in the place where you're thinking on the spot. It's more exciting to listen to.

[Robert Walter]

I think it's almost like what you've learned and what you profess. You could probably teach CEOs and businesses how to benefit from this as.

[Spectrum Business Representative]

Yeah, I think it's, I mean, I do think it's applicable to a lot of things in life. Like if you just kind of, if you, you know, it's all about being in the moment, you know. You know, actors who improvise talk about that same thing too. It's making sure you're, you're truly there, not, not forcing your will upon it.

[Robert Walter]

You know, was there one seminal moment, concert wise with an national act, whoever, that really, you know, was so impactful for you still to this day?

[Spectrum Business Representative]

I mean, you know, one of the coolest things is part of the Gray Boy All Stars sort of philosophy has always been to pull attention to the sort of older artists that had influenced us and to make a real effort. If we're, we're. We're obviously like using so much of the things that they gave us, you know, the music that they left for us to be excited by. But we've always tried to make sure that we don't take credit for things that aren't ours. Part of that was working with a lot of people from the generation just before us. They're like on the first great boy record, Fred Wesley from, you know, from James Brown and Parliament Funkadelic and all that came into play. And then subsequently he's become a good friend of all of ours and we've done tours with him a lot. I still see him, you know, even recently, but, but to just get firsthand knowledge from those kind of guys, you know, over the years and there's been a bunch of them that we were sort of our heroes that you like always looked up to. And then you can learn so much from a record. But when you're in the room with somebody and actually working with them and playing every night, it's totally. You get something else which I think, you know, that's sort of a lost thing is that oral tradition of music and sort of learning from your elders. Now a lot of people are learning from YouTube or something like that, which. Which is cool, but it's like. There's something about actually, like, talking to people and. And seeing how they do it. You know, I remember we. We had Melvin Sparks played with us. And I think just from a couple gigs with him, we all learned to play better rhythm. Because just the way he, you know, you wouldn't know it even from the records. I mean, he's great on the records, but in the room, the way he would drive the band just by playing rhythm guitar was, you know, really great. It made us all funkier.

[Robert Walter]

So that's a great quote. It made us all funkier. So when did you get so deeply connected with the beautiful Hammond B3 organ?

[Spectrum Business Representative]

It's really at the beginning of the Great Boy Oscars. I had played piano. I started off playing drums, actually, when I was a kid in bands, and then I started writing songs. So I. The keyboard was a great instrument to write from, so I played piano and I was into synthesizers and all this stuff, but I never really played a hammered organ. And then I got turned on to all those great Blue Note and Prestige 60s records. Connor from Gray Boy and these guys. And we. I started collecting those records and became kind of in love with the instrument. And it was always a sign also that you're gonna. That the record will be soulful and funky. And, you know, if you like late 60s or mid-60s jazz record that's based on a Hammond organ, it's. It's kind of an indicator of what you're. What you're in store for. So I just started getting everything I could and collecting, you know, Jim McGriff and Jack McDuff and, you know, Richard Groove Holmes and John Patton. It goes on and on. And that just made me fall in love with it. And then you. You start learning more about it all the time. It's. It's a. It's a very complex instrument. I'm still. I still am intimidated by it sometimes.

[Robert Walter]

But I can't really believe that. That you are. I'm sorry, I don't think so.

[Spectrum Business Representative]

But it's just. There's so much to it. And then you, like, listen to Jimmy Smith and it's just so. It's, you know, Herbie Hancock said something like, if you ever feel like you're getting good, go listen to Art Tatum record. You know, and it's Jimmy Smith. Sort of the same thing for organ players where it's just, you know, he was. He kind of invented the language. And, you know, it's just. It Puts you in your place when you listen to that stuff.

[Robert Walter]

Now, I know guitar players sometimes, you know, mess around with their guitar and soup it up differently. Add, you know, add things to it, reverse engineer things differently, whatever. Do you do the same with, you know, either Hammond B3s or other organs? Do you fool around with them to. To suit your needs?

[Spectrum Business Representative]

So, yeah, I've done things like, you know, put. Put it through effects and do all these things. But basically I. I'm. I play a pretty stock rig. I just turn it all the way up. That's kind of my. My trick because I really. And it also sounds great to hit tape hard when you're recording. Kind of like, don't be scared of distortion. It's part of the sound. So I get in the back and turn the preamp all the way up and turn the LED all the way up. And that's. That's this. That's the tone.

[Robert Walter]

What are some of your other. Your favorites, if you will? You know, instruments wise, organ wise? I see one behind you. Right there.

[Spectrum Business Representative]

Yeah, that's just a piano where I write my music. And then, you know, I love electric pianos. You know, I have a big collection of instruments, so. But, you know, Fender Rhodes was sort of my. My first thing. I loved from out of this genre, from Herbie Hancock Records and Ramsey Lewis too. I always love. So Fender Rhodes and Wurlitzer Clavineth is great instrument. You know, it's unique. I love the Hohner Pianet, which a lot of people don't know about, but that's, you know, if you like. If you ever listen to Zombies back from the 60s there. The PNET is highly featured in that slice. Stone used one a lot too. And then lately I'm. I've been really interested in synthesizers. Um. I grew up loving all that stuff in the 80s, but I. I went through a phase where I was only playing sort of electromechanical old instruments. And now I'm really. I love like, analog synth.

[Robert Walter]

Do you remember the first time you heard the band's Chest Fever?

[Spectrum Business Representative]

Oh, yeah.

[Robert Walter]

And your reaction.

[Spectrum Business Representative]

Yeah, yeah. That's the crazy. And all that. That huge intro. My parents were really into the band, so I grew up with that stuff. I love the version on. What's that record, Rock of Ages with the long Garth. You know, like what they call that molecular something. I forget what they called the intro, but he has that bendy thing going on. It's a Lowry organ.

[Robert Walter]

It is a Lowry.

[Spectrum Business Representative]

Yeah, that's what they say. And I met. I met him Briefly. I did this crazy show in New York. It was supposed to be Al Cooper, Garth, Marco Benevento, and I, Will Lee was in the band. It was pretty cool. We all played some of our tunes. I didn't make it for some health thing, but Garth did play and it was great to see him play. At that time he was playing a synthesizer, but still did all those bends and that cool stuff.

[Robert Walter]

Can you imagine him playing his, his. His organ in a, in a funeral parlor?

[Spectrum Business Representative]

Right, right. Yeah, I know he said that old time kind of thing, you know.

[Robert Walter]

So tell me about working with Roger Waters and how you are able to sort of put your own unique stamp on this legacy music.

[Spectrum Business Representative]

Oh yeah. So I grew up loving Pink Floyd and I remember going in store and buying the wall when it came out when I was like 10, you know. So I've been listening to that stuff over the years. It's a great part of. I love all of rock organ players in general. So all that Rick stuff was really interesting to me. And it's, it's, it's different than like the guitar chair in that group is much more you, more sort of. You feel like you have to recreate some of that solos because it's so. They're so iconic. But the organ parts are pretty loose actually, and it's pretty, you know, I'm, I'm playing the sort of like the big footballs of it, but within that I can kind of screw around and, you know, just create textures.

[Robert Walter]

And so you've given obviously tremendous room in that relationship with Roger to. To do what you need to do, right?

[Spectrum Business Representative]

Yeah, it's freer than I would have thought, being such a classic thing. But that band always improvised a little bit and I think even a lot of the arrangements were kind of made out of those things. Although he is. He has crazy attention to detail. So he would, you know, he'll come to soundcheck every day with a yellow legal pad of notes from the night before and be like, this part you got to bring. Play, play more, play more out, or you're playing too much here or, you know, everybody in the band. He kind of hears every little detail. So he does kind of like sculpt your parts, but out of things that you're. You're playing sort of freely. And he'll be like, get more of that or less of that, you know.

[Robert Walter]

When you think about working with Roger Waters, Mike Gordon of Fish and Stanton Moore, is there one thing those three have in common in terms of the way they look at their craft?

[Spectrum Business Representative]

I don't know that there's that much in common. I mean, part of the reason why I feel blessed is to have played with such a variety of collaborators. And they're. They're all kind of have their own unique. Their unique quirks. So. But. But they're all different. Like Mike. Mike is very free with. You know, almost doesn't tell you what to play, or very often he'll just be like, we. He wants. He wants something unique to happen in the moment. It's all about setting up sort of a space where anything could go, where Roger's very, like, organized. And it's more about like, this playing around, this lyric of the song and stuff. But. But Mike wants to go off script all the time, so it's like. It's a totally different thing. He. He's inspiring because he's so fearless. Like, he doesn't really worry about if anyone's gonna like it or not. He just kind of wants something. He wants to. It to be exciting for him. And then Stanton's just. I met Stanton way back in Green Circle days. Galactic had come out from New Orleans and they played. I think it would. It might have been on our night or it could have been the night before or something, but the whole Gray Boy band went to see them because they were kind of like our counter counterparts in from New Orleans playing this funky music. So I met Stanton then and we liked each other ever since. He played on my first solo record, and I played with him on a bunch of records and written a lot of music that he still plays today. And I just saw him a couple weeks ago. He's been a great friend and collaborator.

[Robert Walter]

Great boy's been around 30ish years.

[Spectrum Business Representative]

Yeah.

[Robert Walter]

What's the secret behind longevity here as a band?

[Spectrum Business Representative]

I think. Well, I think part of it is we take time off. The first five years were amazing and the band was so tight, but we were, you know, you get where you want to kill each other if. When you're. We were playing like, date tons of dates, like, it never rested. And we'd come off the road and then play all our weekly San Diego stuff. So there was never a. A week where I didn't have a couple Gravelord gigs for five years, probably. So. But after that, we sort of started loosening things up and everybody has side things, so they all. You can kind of express yourself in all these different ways. And I think Great Boy All Stars has always kind of kept our mission statement the same, which is to play, sort of pay tribute to this great Music and. And keep it improvisational, but also sort of dance floor friendly. So it never got confused artistically. You know, it's always been like, one thing. And because we can do other things, we don't feel like we have to force every creative idea into this band. This is just this thing we do and we all agree on what it is. So it kind of never gets old. And there's just a kind of a magical chemistry. It's just one of those things you never. I played with better musicians, but I haven't ever played with a better band, you know, because that thing better. Bigger than the sum of its parts.

[Robert Walter]

You know, and you've got grab bag 2007-2023. Talk about that collection.

[Spectrum Business Representative]

So, yeah, so the new album is kind of a. It's kind of a B sides compilation, really. It's like things that were either left off the records because of time, you know, we didn't have enough space on it, or there was. They were too weird in the sequence. They didn't flow good with the other songs or for whatever reason, things. You know, things didn't make it on previous albums. And then there's a couple brand new songs. So it's kind of like a collection of odds and ends. But we. We had been all listening this stuff for years and they became kind of in. Inside the band became our favorite songs. And we were always like, we should just release this stuff. This is great. Like, you know, what are we scared if some of this stuff is a little at the sort of. At the edges of what we would normally do, genre wise? Like, there's a tune that's kind of like a real jazz song that has a lot of chord changes and. And, you know, or there's like some kind of atmospheric stuff. There's like a. Some. It's a little bit stretchy, but I was. I was pleasantly surprised when we put it all together, how well it hangs as an album. It sounds like it was conceived as a. As a set, not. Not made from, you know, sort of discarded things. But, you know, we had some time in where we couldn't tour because Carl, I think, was out with the Stones and, you know, everybody was sort of spread out. So we kind of went in the archive and started working on these things and finishing up a bunch of stuff. And I'm real proud of it. It's cool. Great record.

[Robert Walter]

Congratulations on it. And you also have your solo work, the most recent called Better Feathers. Can you talk about that project?

[Spectrum Business Representative]

Oh, yeah. So that was. That's a bunch of music I made during sort of COVID lockdown. I had always. I always made, like, sort of home recordings as demos of my tunes to bring into bands, but I never made, like, an album at home. So the good thing about that time is you had a lot of time, you know, you had a lot of time and not much to do with it. So I just started working on music so I wouldn't go crazy. And I started recording stuff and then sending tracks to my friends and they would record at home. So that's all sort of homemade music. And it was a fun way to sort of keep. Keep yourself. Feel like you're out at a gig with Stanton or whatever. You just. I. He would. I send him tracks and he'd play on them and send them back to me. And we. We started work that way so.

[Robert Walter]

Well, in closing, you've worked, as we've discussed, with so many unique people, and you continue to. So who's on the dream list to work with in some form that you haven't worked?

[Spectrum Business Representative]

I always tell people that I. I would love to work with Bjork, you know, Bjork? Yep. Yeah, I'm a huge fan, and that's way out of the realm of anyone I would normally meet, you know, but. But that's always sort of been like, oh, wow, if I could, you know, and then, you know, I don't know. I still have a bunch of heroes, but I've gotten to play with most of my heroes, which is what's really amazing, you know, I wish I could go back in time and play with Curtis Mayfield or something, you know, I.

[Robert Walter]

Could picture because of your, you know, ability to move on the run. I could picture you doing something on a Dylan tour.

[Spectrum Business Representative]

Oh, that would be amazing, too. Yep. Yep. I grew up loving that, all that music. My mom, especially, is a huge Dylan.

[Robert Walter]

Fan because he likes keeping the band guessing. And I think you know how to deal with that.

[Spectrum Business Representative]

Yeah, yeah, yeah. His gigs are interesting because he's never. He's. I think it's great when people don't sort of go out and play the hits like you expect them to call a weird set list or play a weird version of a song. I love how. I love it when older artists keep the thing vital. I just saw Joni Mitchell at the Hollywood Bowl. That's somebody also, I would love to meet someday. A huge fan, but. But it was great because she's still, like, throwing curve balls at the audience. And it's. You know, our Herbie Hancock did the same thing. When I saw him recently. He's still playing very adventurously, you know. I love that. I love it.

[Robert Walter]

Robert Walter, the Gray Boy All Stars Grab Bag the new collection. Thank you so much for being on Taking a Walk. I really enjoyed talking with you.

[Spectrum Business Representative]

Yeah, thank you. Thanks for having me. It was great.

[Podcast Host]

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.

[Discover Card Representative]

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 [e-mail] credit card based on the February 2024 Nielsen report Thursdays on ABC.

[Disney Character]

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 Cliche here 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.

[Dr. Joy Hardin Bradford]

Hey y'all, I'm Dr. Joy Hardin 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.

[Nikki Glaser]

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 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 at 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.

[Joel and Matt]

Joel, 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.

[Spectrum Business Representative]

That's right. I'm Joel.

[Joel and Matt]

And I am Matt and we're from.

[Spectrum Business Representative]

The how to Money podcast. Our show is all about helping you make sense of your personal finances so you can ditch your pesky credit card.

[Joel and Matt]

Debt once and for all, make real.

[Spectrum Business Representative]

Progress on other crucial financial goals that you've got, and just feel more in.

[Joel and Matt]

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.