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Hey, it's Bob Pickett. We
are on our way to the legendary Broken

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Spoke. Come on, let's get
out the truck and head inside. Proud

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of it. Come on, it's
going side. Getting ready for another tale

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from the Broken Spoke. We had
so much fun talking with Terry McBride at

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the Broken Spoker. You're ready for
part tuber conversation Terry McBride on tails the

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Broken Spoke. So Tony signs you
and Tony, by the way, let's

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say why Tony was the piano player
for Elvis. Yeah, right, I

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think Elvis is last piano He was
at the He was at the airport the

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day that Elvis passed. They were
getting ready to go on tour, and

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they came in and he overheard someone
on a radio saying mister Presley has died.

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They thought it was the day he's
dead, and then they realized that's

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it, you know. But yeah, he has great stories. I mean

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he he was a piano player,
so Elvis took him everywhere. If he

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wanted to sing gospel at two am, he needed his piano player there and

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Palm Springs or wherever. He has
some great stories of And Tony was a

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teenager then too, he was the
youngest cat in the band by a lot.

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He was in the He was in
the band called the Voice Right and

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they were hand picked as Elvis's opening
act on all the shows. Our old

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tour manager Tom Hinsley was the bass
player in that band, and they they'd

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play the opening slot. Then they
would take the programs and whatever and work

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the crowd. That was part of
their deal. They had to go sell

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merge and before Elvis came on,
double duty old school. Yeah, Colonel

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Parker, how bad do you want
to be in show? How bad you

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want to get paid? Here's what
you're gonna do. You're gonna play,

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You're gonna sell, and this is
what you're gonna do. But yeah.

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Then Tony went on from there and
of course became he's responsible for signing Alabama

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and produced all those fantastic records with
Patty Love, Steve Warner early on that

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I Love Guitar Town with Steve Earl. Then he went into George and Reeb

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and Vince and he he was the
hottest producer, like over one hundred number

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ones as a producer and George's exclusive
producer since the Pure Country Soundtrack. That's

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right. He was his first album, So for thirty plus years, he's

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you know all those George Strait,
you know, quintessential, you know country

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music history types. We've all been
singing along time over the years. Phenomenal

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record and he's a wonderful guy,
you know, a label. When I

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my deal was over, the band
broke up, and he didn't he didn't

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let me go. He'd let me
go from the deal, but he wouldn't

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let me go personally. He continued
to be in my life and even to

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this day. I mean we talk, he calls he's going to be part

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of this induction for me to the
Songwriter Hall of Fame. Fantastic coming up.

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He'll be part of that. He's
been interviewed for it. But he's

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Yeah, he's more than just my
producer. He's become one of my dear

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friends over the years, you know
which I love that about it. Let's

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talk about the Songwriters Hall of Fame. You kind of glossed over it right

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there. No, come on,
give us a scoop. When's it happening.

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I didn't know anything about it.
You know, people have been telling

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me leading up to this, like
you need to be in that. I

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said well, I don't know how
you know. I've done all I can.

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I do what I do. And
then Ronnie Done reached out and he

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called me one day. He says, hey, maam, what are you

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doing February twenty fourth, in twenty
twenty four. I said, man,

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I don't know, I don't think
anything, and he goes, well,

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You're going to be inducted into the
Texas Song Right Hall of Fame that night,

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so mark it on your calendar,
you know, and Ronnie's going to

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be the host, and I'll get
to perform some of our songs that I've

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written with Brooks and Dune that night, and so we don't gloss over that

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your writing relationship with Ronnie. Ronnie
Done is one of the great success stories,

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not just commercial success but artistic success
in country music. That's some of

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the best country songs and by god
country songs in the past fifteen years.

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Oh thanks, Monie, No,
that's true. Those guys. I tell

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you. We had a song with
mcbriden and The Right Sacred Ground and Kicks

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co wrote it back in ninety two. So that's how I met Kicks,

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you know, through that song.
And then I didn't know Ronnie as well.

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Then the band broke up, and
you know, this is this is

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basic for anybody out there. You
know, you've got to be tough to

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be in this business only because of
the rejection side of it is you got

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to wear a cup, you got
to wear curly do. Even if you've

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had success and you've you've experienced that
or you've made it to that level,

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it can bring you down quickly.
You know, not everything might not line

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up from there on out. For
those who do, like George and people

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like that, it's unbelievable. It's
not the norm, you know, for

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a songwriter if you've had success and
you've had a whole lot of you know,

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moments that aren't as successful, a
lot of rejections. So the band

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broke up. I cut this song
called I Am That Man, and I

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went, I thought this might and
Tony Brown said, this might be a

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single for you. Is a solo
project, and you need to consider that.

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I played it for one of my
promo guys, and I remember one

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of the promo guys it labels like
I don't know, man, I don't

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know, I don't hear it.
Oh No. About two weeks later,

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Ronnie cut it and then I told
the promo guy, you're gonna hear it

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now, right because they're gonna it's
gonna be a single. And it was.

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And through that Ronnie said, mem
I love you songwriting, and I'm

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a fan. Janine and I were
fighting in the kitchen one night. We

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were having an argument and all of
a sudden we heard this country voice over

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the television and it was you guys
on Nashville now Ralph Emery back in the

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day. You know. They went
and bought the cassette the next day.

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I didn't know any of this.
He just telling me this, you know,

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as I'm meeting him. He said, come over the house. Let's

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hang out, you know, and
let's get to know each other a little

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bit better. Because I love this
song we just cut of yours. I

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am that man, it's gonna be
a single. It's gonna be a big

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Ol'd hit. You know that all
sounds great, you know. So I

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went over there. We hit it
off. We had so much in common,

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you know, musically, our family, uh, growing up, and

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just so many things in common.
He said, Man, I'm just getting

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off the band bus. I got
my own bus. Why don't you come

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go with me. I'm going to
California for fifteen days. You know,

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I said, man, I'll do
it, and then he told me later

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he goes, man. You know, I almost called and canceled that trip

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because I never had anybody out with
me. I didn't know, you will.

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He's an introvert, and he didn't
know being on a bus fifteen days

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is somebody if that was even going
to work, but something that he told

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him to do it, and so
we did. We wrote about ten songs

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on that fifteen day, and that
not only sort of solidified my relationship,

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but it also saved me in a
way where I didn't know what I was

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going to do other than pull myself
back up and write songs because that's how

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I got to Nashville in the first
place. But having a hit with those

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guys at the time, they were
on top of the world. Then that

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one bus trip led to thirteen years
of me going down the road and bringing

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ideas to Ronnie. If I had
a good idea, I had a place

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to go with them. You know. I mean, you've had a lot

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of good ideas where you didn't even
song didn't even live up to the idea,

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you know, or you pitched it, it didn't get cut. But

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I had a built in if I
had a good song and we a good

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idea, we wrote a good song, I had a home for it well.

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And I just think, as a
like me and a hundred million of

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my closest friends, always being such
a big Brooks and dun fans included,

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I think this stuff that that you
and Ronnie wrote. And you know,

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and I've told you this before and
I'm not blowing smoke up your ass to

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me just as a fan because because
you were probably writing it as a fan,

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I think the songs y'all wrote were
the best suited for his voice,

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right, you know what the voice
and what a great country voice. But

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but you just but for the thing
is and I'm talking about like the like

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the little shit you learned as a
songwriter, which just like where you cut

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off the consonant, how long you
go with about and key selection given be

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the greatest singer in the world,
because seeing about Ronnie done, he's such

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a great singer. All the keys
sound good, but then there's that one

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sweet spot key yeah man, And
in y'all's relationship, it just seemed to

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me as like, Okay, this
is the Ronnie dunnanist sound and stuff I've

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heard and I know that's not on
accident. Well, you're right, because

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I didn't have an outlet for it
anymore. As a singer. I'm a

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tenor, you know, like Tony
said, tenors, they live and die

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by your voice. You know,
either can hit those notes at night or

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you can't. And Ronnie's a strong
singer, one of my favorite vocalists in

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country. No. I just happened
to hook up creatively with him and have

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an outlet for these ideas and Melodi's. I wrote this song called He's Got

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You and it was the last night
of that fifteen day run in California.

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They were at the Puolip Fair up
in Washington. We'd already written some cool

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stuff and I thought just one more
idea, maybe just one more cool idea.

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And I was watching from the bus
and them do their show, and

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I just had this little melody and
I had a little bit of the chorus,

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what see God that I don't you
know? And of course Ronnie we

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later went in and cut it,
made it even bigger and very dramatic.

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But we wrote that on the way
back to the hotel on about forty five

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minutes. Then Ronnie decided, Terry, you need a deal man. You're

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you're good. You're just too good
of a singer not to have a deal.

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I went, oh gosh, you
know, so he went in and

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cut that on me. He's got
you and I think you know our uh

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sony Joe Gilani ree Bell. They
really ruminated, Bell really wanted to sign

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me. Joe Gilani did not,
and so I didn't get the deal.

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So Ronnie, fortunately RONI cut that
song. But when it hits the big

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note, it's very dramatic in that
song, it's it's something I would have

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loved to have done, but thank
god I had a guy like Ronnie Done

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who could do it, you know, and pull it off in such a

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fashion that you know, went on
to be a hit, and that and

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several other things was for me just
just as a fan just listening to radio.

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I don't know what y'all wrote it, you know where, but it

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just seemed like that was like his
and y'all's musical tribute to Orbison. Oh

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most definitely, of course you nailed
it. But okay, now go sing

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like that every night. And he
was able to do it, and he

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could well, said I mean,
we had the even and I am that

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even, and I am that man. I had a little parties. It's

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like a you need someone who's true
and strong, you know. I knew

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Ronnie could milk that, you know, And that happened to me on the

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album with my Maria, which she
really nailed that sort of false set of

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thing that became kind of part of
what he does and we went on to

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write more of those. But you're
right, the Orbison thing is just mysterious.

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I wrote for Barbara for eight years
over to Orbison, and I lived

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to tell the tale. But I
came out the other side a good point.

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Good point. They the ransom.
They got you, You got you

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out. They found me. I
tapped on the wall long enough and they

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finally tracked me down and got me. But yeah, it was a crazy

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I will say this. She was
so eccentric. It was just crazy.

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And she was always so good to
me. And when Brandy, my wife,

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started her publishing company, you know, she get Brandy gets called this,

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this is Barbara Orbison calling from Nashville. We women publishers got to stick

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together. Had her company too weeks. You still don't know how' she heard

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so I've heard a lot of stories
about Barbara Orbison. Always a princess to

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me, always a deer to Brady. But a nut job, Yeah,

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she really was, but in a
good one. She loved Ronnie so much

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that she wanted to have me over
there no matter what. And it allowed

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me to create a publishing agreement that
was unlike any traditional deal I could get

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in Nashville, right, because everybody
wants at least half of what you got.

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She was willing to take a lesser
piece just to have me an a

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type deal. Yeah, and wh
I cut out a little section of any

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future Brooks and Dunn performances, which
made me feel better about it. And

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she's still you know, the first
time I signed that deal the next album,

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I had five songs on that next
album, including play Something Country,

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which was the first thing on number
one song. Right. So she was

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happy about the deal too. She
came out of it all right. But

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she was so crazy. Like you
said, she goes she love Ronnie.

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But she's telling me one time,
Terry, I love that Ronnie Brooks.

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She's telling me she couldn't keep anything
straight at all. She was you know,

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she was very you know, she
was a hard business woman, but

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she allowed me to also do business
with her in a way that other people

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wouldn't. Then I did a more
traditional deal. Also had this young kid,

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Jed Hughes. I just gat I
just produced a record on Jed.

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He was nineteen. I brought him
to Nashville and you know, signed into

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my publishing company, and you know, we just knew he was one of

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the most talented young guys I'd ever
seen. And went out to South Plains

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College to speak out there. And
my dad's old guitar player, Steve Williams,

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was teaching out there, and he
said, once you come talk to

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these kids, you know. And
Jed happened to be one of them,

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all the way from Australia, you
know, and he was amazing. He

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played a cool Buddy Miller's song that
night, he did all this chicken picking.

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I said, I don't know what
you're gonna do. First thing I

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asked him was do you write songs? He went no. I said,

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well, start your talented kid,
start jotting down ideas and start sending them

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to me. I said, what
are you gonna do when you graduate?

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I don't know. I said,
well, ma'am, come live on my

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couch if you want, and let's
introduce you to some songwriters. Let's take

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you around town and see we can
stir up. And that's what happened,

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and it didn't end up being I
proceed the whole record on Transcontinental, which

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would cut some cool stuff and just
featured his playing ability and cut luxury liner

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and we had Alison Krauss on the
record, Patty Loveless, and you know,

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he was almost just too hip for
the room. And then Keith Urban

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comes along with the same stuff that
he has. Yeah, and then he

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took Jed in his band. And
now for people who don't know, and

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he's gone to be an eight team
session guy. He's played on tons of

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hit records and still release his music
as well. He's he lived in Austin

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for a while, he moved back
here for a whiles, moved back to

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Nashville now. But he's a phenomenally
talented, gifted guitar player and it's a

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great cat and he's just the can
the sweetest guy ever. Man. He

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really love helping people like that.
Not a negotistical, bone, humble,

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humble individual even with all that talent, which is kind of rare these days.

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But he's uh. Now he's almost
forty year old, kid, you

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know, it's nineteen when I met. He was shocking that all these people

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have grown up around and said,
we're not getting any older. I don't

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know, you don't look like you
at all. But what was so wild?

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It's like, you know, Brandon
and now were having U lunch with

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supper with rock Morton just a little
while ago. Oh and uh, and

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I was talking about how they so
we were, you know, we're just

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because he was so good to me
when I first started coming up to Nashville

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and introduced me to everybody and all
these people and da da dad. And

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I was telling him about these other
younger guys coming up there in their twenties

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and he goes say, they're pumping, that's your turn. Is how many

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people helped you? Man? You
know? All without that, I mean

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trying to think about this, you
know, Texas Songwriter Hall of Fame.

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I'm trying to think about that.
I'm trying to look at the people who

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are in there, and I'm trying
to think about and all I can think

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about is just everyone who's helped me. Right, It's not about me at

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all. It's really about all these
opportunities from recent whinings to my dad to

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you know, Tony Brown, to
people that gave you an opportunity, and

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then what are you gonna do with
it? You know, Tony just opened

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the door. I mean I left
Austin. I wasn't even I was still

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living in Austin. And Renee Bell
said she was at the label. She

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was Tony's assistant. She said,
I'm gonna help you through this deal.

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I'm gonna be your person. I'm
gonna be your point person, and I'm

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gonna help you and I'm gonna start
booking your calendar to write. You need

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to get up here and start writing
with a bunch of people. I said,

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that's cool. So in her mind, here's a guy from Texas.

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So my first co write after Bill
and Ruth, was a guy Clark.

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That's my first co ride. I'm
going, oh no. I mean,

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I wanted to do it so bad
and I did. But when I was

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in high school, I'd get those
Jerry Jeff records, those albums, and

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I start looking on there and I
was like, who is this guy Clark

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when he's writing these songs that I
love, my favorite songs? Who is

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this guy you know, and I
was just oh. And then all these

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years later, I go to E
M I. He's on the third floor.

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He's got this little office with this
little oval window. He pop out

260
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so we could smoke out this window. And he's a big hulk of a

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guy. He's not all warm fuzzy
either. He's having to write with some

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guy doesn't know, you know,
because I've got a deal and I'm having

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to write with some guy that doesn't
need a guy to write a great song.

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And it's all in my head.
But I've got about five six titles

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that I've been working on for Guy
Clark, you know, because I do

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not want to disappoint God Clark.
And so I get in there. I

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start girming. He's like, oh
the hell with that shit. That's the

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last thing. He doesn't want to
hear that shit. I went, okay,

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all right. I quickly went off
to something else. I was trying

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to tell him how great he was. He's like, I don't want to

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hear that shit. I was like, okay. Then I pitched these ideas.

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He goes, man, that first
idea. I like that idea.

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He's let's work on that. So
we did work on it, and then

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we're getting he's opening up a little
bit, he's becoming a little more comfortable,

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you know, I can tell.
And then he goes, hey,

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man, you want to get high? And I went, yes, sir,

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Now I'm high with guy. And
then he said he did. He

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did a beautiful thing. He's like, hey man, let me take this

279
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home and just work on Oh,
thank God, please do. And then

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after that he no longer had me
come to Iami. He said, meet

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me at my house. Come over
the house, let's go get some Mexican

282
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food, and let's let's hang out. Uh. And I loved it.

283
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I mean I was always I was
still so intimidated, even though he was

284
00:17:25.319 --> 00:17:29.240
being so kind. I just it's
like a hero like that. It was

285
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hard for me to just get comfortable
with even though I wanted to so bad.

286
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You know, we wrote several things. I took Jed over there.

287
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He fell in love with Jed and
he has a little wood working room.

288
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You know, he's building these fantastic
handmade guitar down there, a little fan

289
00:17:44.359 --> 00:17:48.519
in the window to suck the sawdust
out the window. And it was just

290
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it was in heaven, really just
hanging out. I just enjoyed every moment

291
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every conversation he had, more so
than even some of the songs. Just

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being with him and learning from him
and just being around a guy like that.

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00:18:00.279 --> 00:18:03.440
Wow, it's a dying breed people
like that. He remember. I

294
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was about twenty or twenty one when
I first started to hang with him a

295
00:18:06.599 --> 00:18:10.079
little bit. And then he and
I were just talking one day and and

296
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he said the main thing, he
said, you know, just all I

297
00:18:12.799 --> 00:18:15.079
do said, I just you know, I'm just always trying to get better.

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And I remember thinking to myself,
oh, fuck, guy Clark's trying

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00:18:18.759 --> 00:18:25.960
to get better. What does that
mean for me? Waiting over a train?

300
00:18:26.079 --> 00:18:29.200
And he was so if he dug
you, oh he dug you.

301
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Really, all the stories about him
being a contrarian and stuff is just he

302
00:18:32.759 --> 00:18:34.160
just he just did not suffer fools. But no, he did. He

303
00:18:34.160 --> 00:18:37.200
didn't have time for that. But
if he dug you, you were in.

304
00:18:37.279 --> 00:18:40.599
And I could tell when I first
walked in, because here he is.

305
00:18:40.680 --> 00:18:41.960
He's trying to make a living.
He's up in Nashville. Part of

306
00:18:41.960 --> 00:18:45.720
his job is bringing in these people. The guy these deals. You know,

307
00:18:45.759 --> 00:18:48.480
I've done the same thing. I
can't tell you how many young people

308
00:18:48.480 --> 00:18:52.680
have come through my door that I
don't know him from Adam. You know,

309
00:18:52.720 --> 00:18:55.880
you got to sit down and figure
out do I have anything in common

310
00:18:55.920 --> 00:18:57.759
with this person? And can we
write a song? Is the next question

311
00:18:57.839 --> 00:19:02.839
now? Or even or is this
person even a writer? Yeah? Really,

312
00:19:03.440 --> 00:19:10.079
Unfortunately, once Nashville became the model
for every artist is now a songwriter,

313
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it really changed everything. It really
did it. It's wild because it

314
00:19:14.880 --> 00:19:18.599
is Elvis didn't right, Jim Reeves
didn't write, Patsy didn't right straight,

315
00:19:18.640 --> 00:19:22.319
didn't write for the first forty years
of his career and made pretty good right

316
00:19:22.319 --> 00:19:23.839
now. And most of those songs
were either written by a person or two

317
00:19:23.920 --> 00:19:26.079
people. I mean, all of
a sudden, it's three, four or

318
00:19:26.119 --> 00:19:30.400
five people. You know, it's
just it is what it is. It's

319
00:19:30.440 --> 00:19:33.680
generational type of stuff that's happening.
I get it. The industry is moving

320
00:19:33.720 --> 00:19:38.599
forward and all that's gonna happen.
But you still can't replace an incredible song

321
00:19:38.680 --> 00:19:41.799
that was you know, from the
heart and all that stuff we grew up

322
00:19:41.839 --> 00:19:45.000
on loving and longing and wanting.
But you know, I just think if

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00:19:45.039 --> 00:19:48.720
you're a writer, then you're a
writer, and if you're a great singer,

324
00:19:48.799 --> 00:19:49.799
that you're a great singer. That
doesn't mean you're you know, it's

325
00:19:49.799 --> 00:19:53.920
like it's no, it's like trying
to make every great football player a quarterback.

326
00:19:55.000 --> 00:19:57.400
Yep. Well some of them are
offensive linemen, some of them are

327
00:19:57.480 --> 00:20:00.480
right tackle, some of them is
a kicker. Well, it became it

328
00:20:00.559 --> 00:20:03.799
became about money at the point.
You know, here's an opportunity to get

329
00:20:03.880 --> 00:20:08.279
a third of something otherwise we wouldn't
even have. But it doesn't make a

330
00:20:08.279 --> 00:20:11.359
better record, and we don't have
and I know for a fact, we

331
00:20:11.400 --> 00:20:17.000
do not have a higher percentage of
great songs. It's the same amount of

332
00:20:17.000 --> 00:20:19.680
great song of standard classic songs that
we're going to hear for thirty years.

333
00:20:19.720 --> 00:20:26.200
I mean, it's more of a
disposable music scene at the moment. And

334
00:20:26.240 --> 00:20:30.319
you said for the moment this two
shell pass. Yeah, yeah, And

335
00:20:30.359 --> 00:20:33.519
it is in a way you can
see already with these the alternative acts,

336
00:20:33.880 --> 00:20:40.119
whether it's Tyler Childers or Zach Bryant, these guys that are singing something different

337
00:20:40.440 --> 00:20:42.319
and they're finding this big audience that's
wanting it, you know. And you

338
00:20:42.359 --> 00:20:45.680
know, and I think I also
think that the cut of the Tracy Chapman

339
00:20:45.759 --> 00:20:49.920
song Fasketball, you just go,
there's just there's just an old cover.

340
00:20:51.359 --> 00:20:53.559
Yeah, I did it great,
sounds great, yeah, and it's a

341
00:20:53.599 --> 00:20:59.240
great song. Yeah. And cool
of him to want to have the vision

342
00:20:59.640 --> 00:21:03.000
act somebody who influenced him. And
you know, and it's just like these

343
00:21:03.039 --> 00:21:07.799
little things like like Stapleton has Patty
dough do You'll never leave Harlan a lot.

344
00:21:07.960 --> 00:21:10.759
Yeah, And within six months he's
on the Rolling Stone list of the

345
00:21:10.799 --> 00:21:12.640
Greatest Singers of all Time. Now
she's in the Hall of Fame, all

346
00:21:12.680 --> 00:21:17.400
these things she should have been.
Yeah, you're right, that duet of

347
00:21:17.440 --> 00:21:22.359
that cover put it on that path
because why because you'll never leave herd on

348
00:21:22.440 --> 00:21:23.440
life. It's one of the best
songs I've ever heard. You know.

349
00:21:23.480 --> 00:21:26.079
When I saw that video for the
first time, I had to send her

350
00:21:26.079 --> 00:21:29.720
a little message. But I did
the same thing next morning. I stayed

351
00:21:29.759 --> 00:21:32.160
in touch with her. You know, she's singing on my last album,

352
00:21:32.279 --> 00:21:36.440
a little duet Rebels and Angels that
I wrote with Chris, and she killed

353
00:21:36.440 --> 00:21:37.160
that. I sent it to Chris. He couldn't believe that. You know,

354
00:21:37.200 --> 00:21:41.359
he just thrilled. We all are
because we all love Patty. But

355
00:21:41.440 --> 00:21:42.839
of course she hit me right back. She's just a sweet person like that.

356
00:21:44.240 --> 00:21:45.559
I saw it at the Hall of
Fame induction. You know, she

357
00:21:45.680 --> 00:21:48.440
looked great, but there's nobody quiet
like it. But you're right there.

358
00:21:48.480 --> 00:21:55.200
She is a proven, legitimate Hall
of Famer. But it took maybe that

359
00:21:55.400 --> 00:22:00.359
moment little and just really did take
off after the Year's a cover. Here's

360
00:22:00.400 --> 00:22:04.799
a cover song, and Chris Stableson's
pretty great writer all on his own,

361
00:22:06.119 --> 00:22:10.920
but it was the best song.
And I for the moment as well,

362
00:22:11.000 --> 00:22:14.200
what they were doing and trying to
raise money. And when Patty did that

363
00:22:14.400 --> 00:22:18.480
was on the Rolling Stone list of
one hundred Greatest Vocalists of All Time.

364
00:22:18.880 --> 00:22:22.240
And I emailed her and Emory,
her husband. Em Yeah, I said,

365
00:22:22.240 --> 00:22:29.279
congratulations on. Emory got right back
and I had to take a picture

366
00:22:29.319 --> 00:22:32.640
on my phone and text it to
him and he goes, oh my gosh.

367
00:22:33.160 --> 00:22:37.559
And there's another Elvis connection with Emory. Absolutely, he's He's amazing.

368
00:22:37.920 --> 00:22:41.799
I got to know him only through
emails because when I asked Patty to sing

369
00:22:41.839 --> 00:22:48.119
on this album with me, she
said, you know, Terry, I

370
00:22:48.240 --> 00:22:52.279
sing with Bob Seger last year,
and now this year I'm going to sing

371
00:22:52.319 --> 00:22:56.279
with you. I went to Thanks
Bad, she was going and don Helly

372
00:22:56.279 --> 00:22:57.440
SIMI song. I just didn't like
it. I didn't do it. I

373
00:22:57.480 --> 00:23:00.839
was like, oh my god,
turned down Don Henley, Yes she really

374
00:23:00.839 --> 00:23:04.319
did, and and then the but
but they wanted to record her part there

375
00:23:04.319 --> 00:23:07.640
because Emory wants to be involved.
I thought, that's a beautiful thing.

376
00:23:07.880 --> 00:23:11.119
Let it would be whatever he wants
to do. So I started corresponding with

377
00:23:11.160 --> 00:23:15.119
Emery like daily. He sent the
coolest emails. But I had never met

378
00:23:15.200 --> 00:23:19.680
him personally until the other night.
There he was sitting there, he It

379
00:23:19.799 --> 00:23:23.839
was just so nice to see him. What a cool person and what a

380
00:23:25.079 --> 00:23:30.119
history as far as a bass player
idol, because that guy has done it

381
00:23:30.200 --> 00:23:33.359
all. He's played it, he's
produced it, he's it's amazing what his

382
00:23:33.400 --> 00:23:37.519
career is. And people who don't
know him look him up. You will

383
00:23:37.519 --> 00:23:42.200
be able to go listen to Burning
Love. That's his baseline. That's baseline.

384
00:23:44.279 --> 00:23:48.160
Oh and it doesn't stop there,
it just goes night for NEI,

385
00:23:48.440 --> 00:23:52.519
that whole era of stuff, it's
just it's unbelievable. But yeah, there

386
00:23:52.559 --> 00:23:56.240
he is. He's an older guy
now, but sitting there looking at him,

387
00:23:56.279 --> 00:23:59.799
going wow, that is stuff that
gets me still excited to this.

388
00:24:00.279 --> 00:24:03.359
Meeting somebody like that was a thrill
and He's the only guy that ever quit

389
00:24:03.440 --> 00:24:07.039
Elvis's band that he wasn't fired.
He yeah, well he was. He

390
00:24:07.119 --> 00:24:11.160
wanted to go pick full time with
Emmy. Oh yeah, yeah, no,

391
00:24:11.240 --> 00:24:14.039
I've been right, yeah, which
Tony Brown did too, right,

392
00:24:14.119 --> 00:24:17.279
And and Elvis just said, you
know, whatever you want, because Glenn,

393
00:24:17.359 --> 00:24:18.839
well, I want to sing.
I want to pick with Amy new

394
00:24:18.880 --> 00:24:21.960
Harris, But how much money do
you want to go? I want to

395
00:24:21.960 --> 00:24:23.880
pick with Emmy. I'm tired of
all these brawls getting thrown at me,

396
00:24:25.039 --> 00:24:30.960
right, you know wow, because
Emory gave me They were given Elvis on

397
00:24:30.039 --> 00:24:34.480
tour patches, and and Emory gave
me his patch because he never put it

398
00:24:34.519 --> 00:24:38.000
on his jacket. He said.
The happily married guys never put the patch

399
00:24:38.079 --> 00:24:42.200
on. And the guys that would
chase women, they chase the chicks always,

400
00:24:42.839 --> 00:24:48.680
always, he said. He said, I never put it on my

401
00:24:48.759 --> 00:24:53.960
jacket, and I could walk through
the hotel lobby said. Tales from The

402
00:24:53.960 --> 00:24:59.559
Broken Spoke is recorded live but The
Broken Spoke in Austin, Texas, hosted

403
00:24:59.599 --> 00:25:04.279
by Street Radio Hall of Fame broadcaster
Bob Pickett and Monty Warden, recorded mixed

404
00:25:04.279 --> 00:25:07.960
down and produced by Mike Rivera