Speaker 1: Hey, it's Bob Pickett. We are on our way to
Speaker 1: the legendary Broken Spoken. Come on, let's get out the
Speaker 1: truck and head inside.
Speaker 2: And damn you're round of it.
Speaker 1: Come on, it's going side. Getting ready for another tale
Speaker 1: from the Broken Spoke? Get ready for some more tales.
Speaker 1: Tales from the Broken Spoke. Bob Pickett, Monty Warden Send
Speaker 1: at the Willie Nilson Booth B two at the Broken
Speaker 1: Spoken Mony. I'm going to have you introduce her guests,
Speaker 1: because you guys are like brothers. I mean, just watching
Speaker 1: you guys banner back and forth before we hit the
Speaker 1: record buttons.
Speaker 2: You know I had never met this man come till
Speaker 2: this morning.
Speaker 1: Come on, No.
Speaker 2: One of my dearest friends of thirty five years, great
Speaker 2: record producer, hit songwriter, hell of a drummer, hell of
Speaker 2: a drummer, amazing player, just amazing arrangement. This is mos Palermo,
Speaker 2: one of my dear friends.
Speaker 1: Most you agree with that intro. I think he forgot
Speaker 1: a few things.
Speaker 2: But you know what was so cool is is I'll
Speaker 2: say this, uh, and you were talking about this for
Speaker 2: moscot here virtually no on, no online presence of any kind,
Speaker 2: like if you google him, you will find much.
Speaker 1: It's a race. What is that?
Speaker 3: You know, I'm just not I have had I have
Speaker 3: the glasses I see behind the drums, as Moni Morden says,
Speaker 3: you know, no one loves the spotlight more than mos Pelermo.
Speaker 1: Right, so it's really you know, I like to be
Speaker 1: in the background. Well, let me tell you you're moving
Speaker 1: to the foreground right now.
Speaker 2: And that's what's so cool because Moss has been you know,
Speaker 2: instrumental literally uh and in my success and in the
Speaker 2: success of Dangerous Few. He produced both our records and
Speaker 2: our current album, Jackpot is on the charts right now.
Speaker 2: But he uh, instrumental in the early career Charlie Robinson
Speaker 2: and a lot of people don't know that Moss was
Speaker 2: Charlie's very first drummer and is really responsible for the
Speaker 2: launching of Kelly Willis's career, and virtually no one knows
Speaker 2: those three things. Moss co wrote. The Wagoneer's biggest hit
Speaker 2: he wrote was Sit a Little Closer and number one
Speaker 2: video and just a very you know, quintessential early country
Speaker 2: video that was very influential. The Mavericks took a lot
Speaker 2: of their stuff, according to them, from Sit a little closer,
Speaker 2: and Moss was going to high school with Kelly or
Speaker 2: and discovered her voice and singing. They moved down here
Speaker 2: when Charlie was Charlie wasn't even hardly picking right, he
Speaker 2: was just working the door at the Continental, right.
Speaker 3: Working the door, doing some chapel gigs. I think here
Speaker 3: and there right right.
Speaker 2: And so it's just interesting where you particularly with someone
Speaker 2: like Charlie, who's you know, we missed so much and
Speaker 2: who's beloved, and Kelly, who has such an amazing career
Speaker 2: and one of the best voices. And somebody that people
Speaker 2: are probably wholly unaware that who has been certainly not
Speaker 2: responsible for their talent, but there's responsible for people hearing them.
Speaker 2: Is Mos Palermo.
Speaker 1: How did you guys first meet? That's one thing you
Speaker 1: didn't mention. Well, oh wait, okay, what kind of story
Speaker 1: is this? Well, and you had to be a young kid,
Speaker 1: but I just moved to Austin.
Speaker 2: He was in nineteen twenties, probably eighty six or eighties.
Speaker 2: So yeah, so I'm nineteen.
Speaker 1: Pre wagoneer days and early early wagoneers.
Speaker 2: Yeah, so take it away.
Speaker 3: You know a friend of mine, we were living in
Speaker 3: DC at the time, a friend of mine, Sean Mensher,
Speaker 3: had moved down here. That's all, as well as the
Speaker 3: band the Neptunes. I don't know if you remember, Yeah, Pete,
Speaker 3: Pete Gordon.
Speaker 2: And the in Neptunes is what we called them.
Speaker 1: I did not.
Speaker 3: I didn't, hey, guys. So, so I came down and
Speaker 3: visited my friend Shawn. I was working for fedexit time
Speaker 3: and trying to figure out how do I get to
Speaker 3: Austin because that's where I wanted to be, you know,
Speaker 3: the Roy Brothers and all the music that I love.
Speaker 1: And this is the late eighties, early nineties, this is
Speaker 1: yeah eighties probably.
Speaker 2: Uh.
Speaker 3: So I came down here and visited and uh and
Speaker 3: the Wagoneers were playing at what was it called then
Speaker 3: Emo's something Ravens Raven's garage, right, yeah, Roger, Yeah yeah, Roger.
Speaker 3: So Sean brought me out there and he's like, man,
Speaker 3: you got to meet these guys. They're great, They're nice,
Speaker 3: they're the nicest guys in the world.
Speaker 2: The singer in particular, the nicest guy.
Speaker 1: I told money all about you. He wants to meet you,
Speaker 1: blah blah.
Speaker 3: So they they're playing their set, they take a break,
Speaker 3: they're walking down and Sean stands up and stops mony goes, hey,
Speaker 3: this is Moss pl Aermo And I said, hey, man,
Speaker 3: nice to meet you.
Speaker 1: Michaels, Hey, nice to meet you. And he walked off
Speaker 1: and that was it.
Speaker 2: Wow Sonny, so he goes he goes, wow, that that's
Speaker 2: the nicest guy in the world. But what Sean failed
Speaker 2: to recognize was immediately after we got off stage, I
Speaker 2: think it was a three a three set gig. So
Speaker 2: after this the first break, the drummer and I proceeded
Speaker 2: to have one of the biggest fights we ever had
Speaker 2: in our lives. And this guy, you know, he's just
Speaker 2: like looked like a lerch or Herman Monster. That's all
Speaker 2: this guy in the room, and and he's just I'm
Speaker 2: just writing his faces like a little chi wabba. I'm
Speaker 2: just just righting his face. And it's like, you know,
Speaker 2: you and just started out, and so it's kind of
Speaker 2: a band moment that you just want to stay away from.
Speaker 2: And I mean I was like, he was so tall
Speaker 2: to point at right in my face, he had to
Speaker 2: have his arm way in the air, and we were
Speaker 2: just ready to we were ready to go. And I'm
Speaker 2: one of those guys where you're gonna have to kill
Speaker 2: me if you're gonna fight me, because I'm gonna keep coming.
Speaker 2: And so in the midst of that, Sean goes, oh, hey,
Speaker 2: I want you to meet my friend from d C.
Speaker 2: And I go hey, And so in Mosqcow goes whoa
Speaker 2: and and I didn't really remember that. And then I
Speaker 2: think I saw you again at the hole in the wall.
Speaker 1: I think you know you're looking for a new drummer.
Speaker 2: After that, Oh man, I should have but uh, anyway,
Speaker 2: so like I think you were there again with Sean.
Speaker 2: Might have been Pete Gordon and uh, and I just
Speaker 2: went hey man, and then and then I said I've
Speaker 2: heard a lot about you, and and then Moss went
Speaker 2: very kind of I'm not gonna give you anything because
Speaker 2: we met the other night at Ravens, like, oh yeah,
Speaker 2: hey man. So from that our friendship was born and
Speaker 2: uh and and we just hit it off and and
Speaker 2: uh and it was really cool because the Wagoners were
Speaker 2: just getting started. But we had a you know, immediately
Speaker 2: we had buzz on us. I mean we you know,
Speaker 2: we we got offered our contract with A and m
Speaker 2: literally after like our tenth gig or something, you know.
Speaker 2: But Moss and I uh were completely sympatico about just
Speaker 2: favorite records. And I mean I don't mean like favorite
Speaker 2: records like you say, George Jones and Hank Williams. I
Speaker 2: mean like obscure uh shaking Stevens weird UK rockabilly stuff,
Speaker 2: punk stuff that was really influenced by Eddie Cocker and stuff,
Speaker 2: and not just like bands like the Clash, but specific
Speaker 2: Clash records. And so we were able immediately to speak
Speaker 2: a shorthand that not a lot of people could, you know,
Speaker 2: particularly back then. You have to put it in the
Speaker 2: context of eighty six or eighty seven, where a young
Speaker 2: country act was forty yeah, right, yeah, so there was
Speaker 2: no young country and he was looking to move down here,
Speaker 2: and he said he had a little uh band up there,
Speaker 2: and I think you said we had a chick singer.
Speaker 2: But I was under the impression like she's sang some
Speaker 2: I don't know why I thought that, maybe because like
Speaker 2: down here, like the Trouble Boys or something would have
Speaker 2: like Alice Berry come up and sing four or five songs.
Speaker 2: But anyway, and I was like, well, cool man. And
Speaker 2: and first thing I asked, anybody, is you right? You know?
Speaker 2: And MA said yeah, yeah, write a lot. So anyway,
Speaker 2: we just really hit it off. And how long from
Speaker 2: when your first trip down here to when you and
Speaker 2: kell or what just you and Kelly the whole band?
Speaker 1: Yeah, tell us what happened.
Speaker 3: So when I came down and I met you know
Speaker 3: again Wagoneers, this band that's our age that are like
Speaker 3: a talk of the town and stuff, and we're like, well,
Speaker 3: this is the place we need to be right up there.
Speaker 3: We were kind of entrenched in the Rocket. There was
Speaker 3: a big rockabilly scene in the DC area, so all
Speaker 3: our mentors were these old rockabilly guys and we kind
Speaker 3: of it was mainly Kelly and I were talking about, well,
Speaker 3: you know, let's get down there. Yeah, we had a
Speaker 3: band and everything, which was great, but we were we
Speaker 3: were really thinking about it as we were going to
Speaker 3: come down here and start something right, And so we
Speaker 3: told the guys, hey, you know, I got myself a transfer.
Speaker 3: I was working for FedEx at the time. I got
Speaker 3: myself transferred down here to Austin, and we said the guys,
Speaker 3: you know, hey.
Speaker 1: We're going to go down there. You know.
Speaker 3: It was great and they're like, oh, we're going down there,
Speaker 3: let's go. So all of a sudden it was all
Speaker 3: of us moving down here, which lasted six months.
Speaker 1: Maybe is that it was the name of the band again,
Speaker 1: Kelly and the Fireballs.
Speaker 2: Great band name, yeah, that had been a couple other
Speaker 2: band's band name fifteen.
Speaker 1: Lewis, the Fairy Day Fireball right right.
Speaker 2: Well, and also the Fireballs from Clovis.
Speaker 1: I'm thinking watch also at the same time.
Speaker 2: But what I remember was like Moss was a great drummer,
Speaker 2: like in a very I don't know how to say it,
Speaker 2: just a very lyrical drummer, because he's a songwriter and
Speaker 2: like everybody else, probably in the face of the earth.
Speaker 2: One note of hearing Kelly's voice, Kelly was nineteen eighteen
Speaker 2: then I guess she was eighteen, right, that'd be about right,
Speaker 2: eighteen or nineteen uh and.
Speaker 1: Just yeah, so yeah, nineteen Yeah.
Speaker 2: Her voice was was as there then as it is today.
Speaker 2: I mean, she's certainly more refined and you know all that,
Speaker 2: and much more mature, but just that voice just I
Speaker 2: don't know, it was like hearing Patsy Climb for the
Speaker 2: first time, or Emmy new Harris or something, but I
Speaker 2: equate it to that where you just go, oh, I'm
Speaker 2: hearing a voice I'm gonna hear for the rest of
Speaker 2: my life. And so just immediately you knew, okay that
Speaker 2: that's somebody that's gonna make records, right. And what I
Speaker 2: remember about the band, because they were just your high
Speaker 2: school buddies, is they they just they were just terrible
Speaker 2: and not like they weren't terrible people. They're great people.
Speaker 2: But it ain't show friends, it's show business. I just remember, Oh,
Speaker 2: the band won't be her band long.
Speaker 1: They're not polished or what.
Speaker 2: No, they just didn't have They just you know, it's
Speaker 2: talents derived from God. And sometimes the day you're born,
Speaker 2: you get blessed and sometimes you don't.
Speaker 1: You know, were you the leader of the band, Yeah, okay.
Speaker 3: Yeah, that was kind of I was just starting to write.
Speaker 3: But more than that, I just kind of had the
Speaker 3: vision of what we were we should be doing, and
Speaker 3: that's kind of what happened too. We came down here,
Speaker 3: you know again, the Wagoneers is kind of you know,
Speaker 3: country than what we were used to, and we started
Speaker 3: we were thinking, you know, Kelly was especially Kelly was like,
Speaker 3: I want to go more in that direction, and the
Speaker 3: other guys were like, well, we want to go more.
Speaker 3: You know r EM's direction, and Kelly and I were like, eh,
Speaker 3: so I remember having sitting down and having this conversation
Speaker 3: with the guys, and we went down to lay down
Speaker 3: and wall this is what we're going to do, and
Speaker 3: they were like no, and Kelly said Okay.
Speaker 1: Then I quit.
Speaker 3: She walked out and I was sitting there with my
Speaker 3: high school buddies and the band had just broken up. Wow,
Speaker 3: six months after being six months after being in Austin,
Speaker 3: and by that time we'd already Another huge influence on
Speaker 3: us was Evan Johns, who had moved down here. He
Speaker 3: was playing with the Liverroy Brothers at the time. He
Speaker 3: was also represented by Carlin Major, and he walked our
Speaker 3: demo over to her office. So we'd already met with Carlin.
Speaker 3: She'd already gave us some tips on what we should
Speaker 3: be working on.
Speaker 1: One of them was new band. One of them was
Speaker 1: a new band.
Speaker 2: She told me what she said she said, and Carlin
Speaker 2: talked like I've always said, if the penguin from Batman
Speaker 2: had and a chick, it would sound like Carling. So
Speaker 2: she said, she said, honey, you're you're You're such a sweetheart.
Speaker 2: I'm not going Okay, what is it okay, here we go.
Speaker 2: You need to tell those guys they're terrible. Well I'm
Speaker 2: in another bed. No, I'm not gonna do that. No. Yeah,
Speaker 2: they could hear it from you. No one wants to
Speaker 2: hear that, and nobody can hear that. They'll just they'll
Speaker 2: just figure it out. It'll just happen, And it kind
Speaker 2: of just did, right.
Speaker 1: Yeah.
Speaker 3: And at the time, Monnie's drummer was playing with actor
Speaker 3: David Keith, who just made this horrible movie down who
Speaker 3: had been kidnapped or so anyways, Uh so I started
Speaker 3: playing with him, like I read at that same time
Speaker 3: as I think I was already playing with him when
Speaker 3: the band broke up. But that was you know, lucrative
Speaker 3: at the time and and busy, and you know, who
Speaker 3: doesn't want to have actor David Keith come play their
Speaker 3: clubs so he could go wherever he wanted.
Speaker 1: You know.
Speaker 3: We get moving up to Memphis and did the Elvis
Speaker 3: Memorials show with the big you know, just because he asked.
Speaker 3: You know, so uh that that worked out and kind
Speaker 3: of transitioning me from being a working stiff.
Speaker 1: So wait a minute, you worked with with with Keith?
Speaker 1: Oh yeah, so you're part of the band. What's he
Speaker 1: doing now, He's not you never hear from the guy.
Speaker 3: No, he's he doesn't have an online presence. Uh. Our
Speaker 3: bass player at the time, Benny Guardle of Bennie, Uh,
Speaker 3: talked to him a little while ago. So he's still around.
Speaker 1: He just well, I was sitting right, he was in
Speaker 1: the role right in front of me, same timeframe, late eighties. Ye,
Speaker 1: John Mellencamp at the Iarwind Center. Oh yeah, and David
Speaker 1: was standing up man, he was enjoying the show. And yeah,
Speaker 1: he was in town. He was music, he loved.
Speaker 2: Music and a great cat thing.
Speaker 1: Was an officer and gentleman. That yeah, yeah, that's the way.
Speaker 2: Yeah.
Speaker 3: When I tried to tell to people who he is
Speaker 3: and I mentioned a few things, Everyone's like what and
Speaker 3: I go.
Speaker 1: The guy him, Oh yeah, So I mean he'd also
Speaker 1: done fire Starter, Great and Hell, which is just kind
Speaker 1: of mad. But anyway, so what that's that's interesting. Yeah.
Speaker 3: So those guys were going on the road. So that's
Speaker 3: kind of how I backed into that gig. Tom said, hey,
Speaker 3: you should have this guy playing That was Michael Ramos
Speaker 3: was playing.
Speaker 1: Keys, and uh who was playing guitar?
Speaker 2: Wouldn't Murray?
Speaker 3: No, Murray, Yeah, took over, but it was Johnny X
Speaker 3: was guitar first. That's who we had the video. He
Speaker 3: rented out the A c L studio and produced his
Speaker 3: own A c L show.
Speaker 2: Yeah right, yeah, I had a song on that.
Speaker 1: Yes, yeah, link Line and Sacred Well you had a
Speaker 1: song on his album.
Speaker 2: Well he's project. Yeah, I forgot about that.
Speaker 1: You haven't seen the check for it lately.
Speaker 3: It's on the ever Benny puts all that. He's like,
Speaker 3: he's taken clips from that and put that's right, you
Speaker 3: can find your song.
Speaker 2: But like I remember, like when the Wagoneers got signed,
Speaker 2: uh and we were you know, like mass said we were,
Speaker 2: we were a buzz band. It was just like absolutely
Speaker 2: uh A and M Records very first country act since
Speaker 2: Graham Parsons and before that They're Want and only country
Speaker 2: act had been Whalen. So it was a it was
Speaker 2: a big deal. And and so all of a sudden,
Speaker 2: what we discovered was virtually every A and R department
Speaker 2: descended on Austin to go sign another you know, the
Speaker 2: next Wagoneers or their version of the Wagoneers. And and
Speaker 2: what happens a lot still to this day is when
Speaker 2: a buzz band gets signed. The the labels that pass
Speaker 2: on you are then told to go back there and
Speaker 2: get one. I mean, you know, that's that's the oldest.
Speaker 2: You know, when Deca passed on Elvis, uh, Jim Denny
Speaker 2: was told by Decca Nash Deca, New York, I don't
Speaker 2: care who it is. The next rock and roll singer
Speaker 2: that walks through your door signed them, and it was
Speaker 2: Buddy Holly, you know. So that's that's how a lot
Speaker 2: of people get their record deals. And so what we
Speaker 2: quickly discovered is a bunch of bands that couldn't get
Speaker 2: anything going in their hometown moved to Austin, which was
Speaker 2: which was kind of a stupid way of doing things,
Speaker 2: or a backwards way of doing things, because if you
Speaker 2: if you well not y'all, if you couldn't get something
Speaker 2: going in your hometown, the last place you should move
Speaker 2: would be Austin, where we were like the on the
Speaker 2: forefront of that young country kick with. And so a
Speaker 2: bunch of these bands moved in that, you know, couldn't
Speaker 2: write home for money and couldn't play their way out
Speaker 2: of a paper sack, and they were just no good.
Speaker 2: And out of that there was this one act Kelly Willis,
Speaker 2: and we were just all going, I mean, she's not
Speaker 2: just great for here, she's great for history. This is
Speaker 2: like I mean, I remember I remember telling Emmy, I mean,
Speaker 2: lou was a huge champion of the Wags. You know,
Speaker 2: she goes what goes down, on what's going on and
Speaker 2: Austin I said, this chick, Kelly Willis, she's just this
Speaker 2: little girl, and you're gonna be hearing about her forever.
Speaker 2: It was. It was astonishing how great she was. And
Speaker 2: pretty quickly there was label interest, you know. And I
Speaker 2: remember that she had just these batch of songs that
Speaker 2: I didn't know at the time that Moss had written
Speaker 2: all of these songs and he was able and then
Speaker 2: later on with me, but he was able to immediately
Speaker 2: write songs, which it's so difficult to do. You can
Speaker 2: write a great song, which is its own miracle, but
Speaker 2: he was able to immediately write these songs that were
Speaker 2: perfect for Kelly's voice. Moss was just able to go, oh,
Speaker 2: her voice likes to go way up here suddenly, and
Speaker 2: then crash it down and melodically, I don't even know
Speaker 2: if you were conscious of it, just oh, well, we
Speaker 2: need a song that does that and how many how
Speaker 2: quickly did you write those songs and how many did
Speaker 2: you right?
Speaker 1: The first two albums? Really yeah, yeah, Uh, well it's funny.
Speaker 3: When we moved down here, I probably had only two
Speaker 3: songs that I had written that we were doing right,
Speaker 3: of course, the first batch of songs that you write
Speaker 3: that are never get out of the incubator.
Speaker 2: But uh, they had they had the thing in them
Speaker 2: though exactly.
Speaker 1: Yeah, something I go, oh, that's what I need to do. Yeah, So.
Speaker 3: I came down, Like the first song I wrote down
Speaker 3: here was when I was sleeping on the Neptunes floor
Speaker 3: trying to find a place to live, and I wrote
Speaker 3: River of Love, which ended up being.
Speaker 1: On Yeah, I remember that song certainly, Yeah, on.
Speaker 3: Kelly's first record. So I think you know, we got
Speaker 3: signed within I think a year sixteen months of being
Speaker 3: here or something like that. Uh, so by that time
Speaker 3: I had written I guess I wrote half the six
Speaker 3: six songs that were on that first record, and you
Speaker 3: had two cuts.
Speaker 2: To on the first and Paul Kennerley, I think that's
Speaker 2: the album.
Speaker 1: That's the album. Yeah, So it was, uh, the showcase
Speaker 1: was at the Continental Club to that album.
Speaker 3: I remember, yes, yes, in fact, the Continental Club is
Speaker 3: we were playing the Continental Club one night and Nancy
Speaker 3: Griffin showed up. Uh.
Speaker 1: And back then there was a.
Speaker 3: Payphone in the corner of the club, okay, and we
Speaker 3: were on stage and she picked with the phone. She
Speaker 3: called Tony Brown at mc A and she said, you
Speaker 3: got to hear this, and she held up the phone.
Speaker 1: So that's how Tony got involved. That's how that's how
Speaker 1: Tony first got involved.
Speaker 3: Yeah, and then he came down and saw played the
Speaker 3: home wall and he walked up to Kelly and said, well,
Speaker 3: I'm either going to sign you or marry you.
Speaker 1: And man, and.
Speaker 2: Did you know that he that Tony had picked with
Speaker 2: Elvis at that time?
Speaker 3: That time, I knew he had been working with all
Speaker 3: the stuff that I liked that was coming out.
Speaker 2: Of Nashville, right, yeah, most, but you didn't know he'd picked.
Speaker 1: I had no idea he'd played with Elvis at that time.
Speaker 1: I bet he had some great stories for you, didn't
Speaker 1: he did, He didn't share any with us right now,
Speaker 1: it's no I can share that's so.
Speaker 2: Great the best stories about Elvis. You go, am I
Speaker 2: going to stop the microphone? Oh, I can't tell this story.
Speaker 1: So the pay phone. Interesting. Yeah, with the late great
Speaker 1: Nancy Griffith. Wow, Mass never knew that story at all.
Speaker 2: And I'll just say this about about Nancy and about
Speaker 2: really Austin particularly at the time, is she's on MCA.
Speaker 2: She's a chick singer on mc A and still and
Speaker 2: and and you would think they would go, oh, I'm
Speaker 2: gonna never tell the hit of my label about another
Speaker 2: chick singer. But Nancy being such a precious soul in
Speaker 2: Austin just having that thing where I mean when I
Speaker 2: came up, the older cats were pulling for me, you know,
Speaker 2: e Lei and Gilmour and all those cats were pulling
Speaker 2: for me and telling people about me and and not
Speaker 2: conscious of it. But as soon as people were asking
Speaker 2: me what was going on, I was talking about Kelly there.
Speaker 2: There is not that thing where we put our arm
Speaker 2: over our plate and go this is mine.
Speaker 1: So you were immediately accepted here in Austin.
Speaker 3: Yeah, and we did not trust these people, and yeah,
Speaker 3: we got here, but he was so nice and we're like,
Speaker 3: what do these people want from us?
Speaker 2: To borrow money?
Speaker 3: Yeah, we weren't used to that kind of camaraderie up there.
Speaker 3: It was you know, every man from So.
Speaker 1: The first time you moved in here, how long did
Speaker 1: it take for you to get comfortable with? Very very quick.
Speaker 3: I mean once we figured out there's no ulterium. This
Speaker 3: is the way the people are in the music scene.
Speaker 3: The music cats were all pulling forth, like he said, wagoneers,
Speaker 3: find found our bass player, you know, Nancy Griffin called
Speaker 3: Tony Brown. It was just the community was you know,
Speaker 3: Evan John's handed our demo tape to Carl and it
Speaker 3: was everybody was sticking out their hands say and hey,
Speaker 3: what can I do for you?
Speaker 2: You know honestly, and it's like be like Kelly needed
Speaker 2: some gigs, Well great, should just open up every wagon
Speaker 2: eear show. I mean she probably opened thirty wagon ears
Speaker 2: show or something road trip yeah up north, And it
Speaker 2: was just h and really that was I think that
Speaker 2: was like our first East Coast run where every show
Speaker 2: was sold out and was like, oh, you know, and
Speaker 2: it's just but it's just wild that everybody just just
Speaker 2: dug one or not. You know. But I will say this, uh,
Speaker 2: I haven't like the thing that Austin did and still
Speaker 2: does is only for when people are great, you know,
Speaker 2: they don't they don't pull people for people because you're nice. Right,
Speaker 2: it's where they're nice and if you're great, they'll they'll
Speaker 2: help you. But it's not just hey, you're you suck,
Speaker 2: but we're nice. It's not that at all. It's it's
Speaker 2: it's like, it's also that's that's kind of a cool
Speaker 2: thread of you be interesting to see what the next
Speaker 2: If the next generations that away, it could be still possible.
Speaker 1: Yeah, I think it's possible. You just got to get
Speaker 1: it back down here. Enjoying the conversation so far. Oh,
Speaker 1: there's a lot more to go. Part two of our
Speaker 1: conversation next week on Tales from the Broken Spoking. Listen
Speaker 1: tell you friends about the podcast. I'll love it too.
Speaker 3: Tales from the Broken Spoke is recorded live at The
Speaker 3: Broken Spoke in Austin, Texas, hosted by Country Radio Hall
Speaker 3: of Fame broadcaster Bog Pickett and Monty Warden, recorded mixed
Speaker 3: down and produced by Mike Rivera