WEBVTT 1 00:00:00.640 --> 00:00:02.480 Hey, it's Bob Picket. We are on our way to 2 00:00:02.560 --> 00:00:04.799 the legendary Broken Spoken. Come on, let's get out of 3 00:00:04.799 --> 00:00:10.800 the truck and head inside. 4 00:00:11.400 --> 00:00:19.719 You're proud of it. 5 00:00:19.839 --> 00:00:23.120 Come on, it's going side. Get ready for another tale 6 00:00:23.160 --> 00:00:26.399 from the Broken Spoke. Hey it's Bob Pikett. Hope you're 7 00:00:26.440 --> 00:00:29.879 enjoying our conversation with Bob Livingston tells Broken Spoke. Now 8 00:00:29.960 --> 00:00:31.879 let's uh, let's get to the final part of the 9 00:00:31.879 --> 00:00:37.039 conversation talking about the historic album Viva Terry Lingua more 10 00:00:37.079 --> 00:00:40.039 from the Broken Spoke with Monty Warden, myself, Bob Pickett 11 00:00:40.119 --> 00:00:44.039 and the legendary Bob Levingston. Do you ever go back 12 00:00:44.039 --> 00:00:46.000 and listen to Viva Terry Lingua. You probably listened to 13 00:00:46.000 --> 00:00:47.479 it a lot differently than we do. 14 00:00:47.600 --> 00:00:50.520 I know, right, yeah, because I listened and I hear 15 00:00:50.560 --> 00:00:53.119 myself and I go, God, what a funky tone that is? 16 00:00:53.399 --> 00:00:57.359 Oh my god. But I mean I do listen to it, 17 00:00:59.240 --> 00:01:01.280 not if I can. I mean, I'm not going to 18 00:01:01.439 --> 00:01:05.480 put it on, but it has come across, you know, 19 00:01:05.560 --> 00:01:09.200 and and I like, you know, London Homestick Blues is 20 00:01:09.239 --> 00:01:14.799 such an exciting, you know song and at the end, 21 00:01:15.040 --> 00:01:18.840 you know what happened with that song. We didn't know 22 00:01:18.920 --> 00:01:21.239 it really. We rehearsed it a couple of times, but 23 00:01:21.319 --> 00:01:25.680 when we played it, the place went crazy, and you know, 24 00:01:25.879 --> 00:01:31.040 and it there was apparently a clam or whatever. But 25 00:01:31.159 --> 00:01:36.719 our engineer Sundance Marty Leonard came running in with with 26 00:01:36.760 --> 00:01:40.760 Michael Brobskin said, the tape broke. We got to do 27 00:01:40.840 --> 00:01:43.560 it again. And so what you hear on the record 28 00:01:43.680 --> 00:01:46.480 is the second time through, and that's when Gary says, 29 00:01:46.680 --> 00:01:51.120 I got to put myself back in that place because 30 00:01:51.159 --> 00:01:54.959 it was so crazy, you know. Uh and uh by 31 00:01:55.040 --> 00:01:57.000 that time, everybody kind of knew the song and the 32 00:01:57.000 --> 00:01:59.519 crowd was singing along from the first chorus. 33 00:02:00.439 --> 00:02:03.799 So is that so was that two takes spliced together? 34 00:02:04.599 --> 00:02:08.080 The only thing that was spliced together was the end 35 00:02:08.159 --> 00:02:11.759 when the crowd goes absolutely berserk the first time through, 36 00:02:12.280 --> 00:02:14.680 the second time through, they didn't go that crazy for 37 00:02:14.680 --> 00:02:19.479 some reason. But we we spliced it right three the 38 00:02:19.639 --> 00:02:26.560 women you ever same badam bomb. That's a that's a splice. 39 00:02:26.960 --> 00:02:30.039 And then the crowd ray screams for ten minutes and 40 00:02:30.080 --> 00:02:32.680 then we go back into I Want to go Home. 41 00:02:33.960 --> 00:02:36.439 And you know, and that's real, that's actual razor cutting 42 00:02:36.680 --> 00:02:38.159 take people to. 43 00:02:38.120 --> 00:02:41.199 Go out to Lucenbach though, to even find Lukenbach back. 44 00:02:42.680 --> 00:02:45.560 Hondo Crouch he was like his surrogate father. He met 45 00:02:45.840 --> 00:02:48.240 Hondo and he was just like he just imagined he 46 00:02:48.280 --> 00:02:50.560 wanted to be like Hondo. He would he wanted to 47 00:02:50.560 --> 00:02:53.879 have crows feet like Hondo. He lay in his in 48 00:02:53.960 --> 00:02:58.520 his swimming pool, you know, and okill squinting at the sun, 49 00:02:59.280 --> 00:03:01.159 and I said, what do you doing. I'm trying to 50 00:03:01.199 --> 00:03:02.759 get crows feet like Hondo. 51 00:03:04.520 --> 00:03:06.800 Have you seen that the Hondo and Jerry Jeff statue. 52 00:03:06.800 --> 00:03:08.120 I think, yeah, yeah, that's cool. 53 00:03:08.319 --> 00:03:09.879 Yeah, it's amazing. 54 00:03:10.039 --> 00:03:12.159 I mean it's just like you know you're doing it 55 00:03:12.240 --> 00:03:14.400 and you know it's a good record or it's you know, 56 00:03:14.400 --> 00:03:17.240 a record's good enough to tour for a whole year 57 00:03:17.400 --> 00:03:20.400 or something, and then you and then like I mean, 58 00:03:20.439 --> 00:03:24.039 I think of Beaver to Lingua. That is like the 59 00:03:24.759 --> 00:03:30.319 one of those major trunks of a tree, because you 60 00:03:30.360 --> 00:03:32.400 look at all the branches that went out from Beaver 61 00:03:32.520 --> 00:03:37.199 to Lingua. It is it's you know, danger created an 62 00:03:37.360 --> 00:03:38.240 entire genre. 63 00:03:38.639 --> 00:03:41.439 Well you know I didn't, I did not say this, 64 00:03:41.520 --> 00:03:44.840 but I'll quote it. Hector Saldonia that has this great 65 00:03:44.919 --> 00:03:48.759 exhibit at the Whittliff Collection in San Marcos. I urge 66 00:03:48.800 --> 00:03:55.680 everybody to go see it, he said. Forget Willie, forget Whalen. 67 00:03:56.199 --> 00:03:59.599 Viva tre Lingual was the first Texas outlaw country album. 68 00:03:59.639 --> 00:04:01.680 That's why I believe that. Yeah, and it was before 69 00:04:01.759 --> 00:04:02.719 those guys got town. 70 00:04:02.800 --> 00:04:05.840 Anyway, you sang right, and it's hard to refute that. Yeah, 71 00:04:05.960 --> 00:04:08.039 you know, and then you just look back and you go, 72 00:04:08.759 --> 00:04:11.199 that's just a piece of damn history. And then you 73 00:04:11.240 --> 00:04:15.080 know when you talk to somebody like you, that it 74 00:04:15.240 --> 00:04:18.120 was such an integral part of that record. And then 75 00:04:18.319 --> 00:04:21.720 you look back fifty years later and you know, of 76 00:04:21.759 --> 00:04:24.000 course y'all had no idea who you're happy to be 77 00:04:24.040 --> 00:04:25.439 making a record, you having to have a. 78 00:04:25.399 --> 00:04:27.560 Gig, you know, I can't believe it's fifty And again, 79 00:04:27.600 --> 00:04:29.759 that's exactly I've said this many times. That's the record 80 00:04:29.800 --> 00:04:30.639 that made me want to. 81 00:04:32.120 --> 00:04:36.360 And you think how many guitars that album sold to 82 00:04:36.800 --> 00:04:39.160 kids wanting to learn GC and D and see if 83 00:04:39.160 --> 00:04:39.879 they can write a song. 84 00:04:39.959 --> 00:04:41.800 Well, you're like a real estatee. How many people did? 85 00:04:41.800 --> 00:04:44.639 You're the reason for Austin's growth, right, Really music, you know. 86 00:04:44.920 --> 00:04:46.800 And a lot of people have said that you know 87 00:04:47.319 --> 00:04:50.839 when we did the fiftieth We did the fiftieth anniversary 88 00:04:50.920 --> 00:04:54.279 at Luke and bach I was in the band. Craig 89 00:04:54.360 --> 00:05:03.519 hillis Herbsteiner. But then they had Chris Gage and Steve 90 00:05:03.600 --> 00:05:07.680 Samuel on the drums and that guy from the Texas 91 00:05:07.759 --> 00:05:11.360 Music Brendan Anthony. Yeah, he's he's great pick he's a 92 00:05:11.360 --> 00:05:14.839 great picker. He and a few people. So it's a 93 00:05:14.839 --> 00:05:17.360 lot of fun. But why was I telling you? What 94 00:05:17.399 --> 00:05:19.800 were you? What were you saying right. 95 00:05:19.759 --> 00:05:22.759 Talking about the fiftieth album? How much you've influenced everybody? 96 00:05:22.879 --> 00:05:25.199 Well, it's just that we did the the Oh yeah, 97 00:05:25.439 --> 00:05:28.720 so they decided who could who could sing what? And 98 00:05:29.040 --> 00:05:32.720 of all, you know the songs and can play these songs, 99 00:05:32.800 --> 00:05:37.480 and so so Dennis Quaid is coming and and we 100 00:05:37.560 --> 00:05:40.079 said okay, because I had met him a couple of times. 101 00:05:40.120 --> 00:05:44.199 Maybe but he so he Dennis Quaid shows up and 102 00:05:44.240 --> 00:05:46.759 he's going to sing London Homesick Blues because Gary Nuns 103 00:05:46.800 --> 00:05:49.279 not there. Gary Nuns was not invited to this thing. 104 00:05:49.319 --> 00:05:54.879 That's a whole other, you know, story episode, and so 105 00:05:54.959 --> 00:05:57.560 he's so Gary's not there, So who else is gonna 106 00:05:57.560 --> 00:06:00.759 sing London Homesick Blues? But Gary Nunn, I could never 107 00:06:00.800 --> 00:06:04.120 figure that out. But Dennis Quaid is society. He's gonna 108 00:06:04.160 --> 00:06:07.279 sing it. And what Dennis says is when I was 109 00:06:07.480 --> 00:06:10.040 eighteen nineteen years old, I was going to high school 110 00:06:10.040 --> 00:06:13.279 in Houston, and viaver Tlingua came out and we all 111 00:06:13.399 --> 00:06:16.720 bought it. All my friends bought it. We learned every song, 112 00:06:16.800 --> 00:06:20.120 we all bought guitars. We'd sit around campfires and we'd 113 00:06:20.120 --> 00:06:23.000 sing song after song. It was our sergeant Pepper. 114 00:06:23.319 --> 00:06:25.519 Oh that's so great, that is cool, that. 115 00:06:25.560 --> 00:06:26.399 Is so cool. 116 00:06:27.680 --> 00:06:31.839 And and I I remember one of the one of 117 00:06:31.879 --> 00:06:34.040 the first gigs I picked. It was out at the pier, 118 00:06:35.079 --> 00:06:37.360 you know, and I was fourteen, and so this is, 119 00:06:37.639 --> 00:06:39.560 you know, I'm just can't believe I have a gig. 120 00:06:39.600 --> 00:06:41.519 You know, I feel like I'm so excited to have 121 00:06:41.600 --> 00:06:46.319 a gig. And this guy comes up and like, and 122 00:06:46.480 --> 00:06:51.240 when you picked at the pier, the uh, the fry 123 00:06:51.279 --> 00:06:55.439 cook Mike overrode the PA. So you're singing a song 124 00:06:55.519 --> 00:06:58.000 and then it's say number twenty seven, your fries already 125 00:06:58.079 --> 00:06:58.240 you know. 126 00:06:59.199 --> 00:07:02.079 Yeah, I didn't care showsiness, you know. 127 00:07:02.560 --> 00:07:05.839 So so I remember this guy came out and he goes, hey, man, 128 00:07:06.639 --> 00:07:10.079 play something off of Beaver to Lingua, and I went, well, 129 00:07:10.120 --> 00:07:12.759 I don't. I was fourteen, and goes well, I don't. 130 00:07:12.800 --> 00:07:16.240 I don't know anything. Oh, come on. And then he 131 00:07:16.319 --> 00:07:19.199 went to his car and got the cassette and he 132 00:07:19.240 --> 00:07:22.040 would read off song title, go what about this one? 133 00:07:22.319 --> 00:07:22.800 What about? 134 00:07:22.920 --> 00:07:25.360 I said? I said no, I said I know that album. 135 00:07:25.439 --> 00:07:27.639 I don't know well enough to play in front of people. 136 00:07:28.040 --> 00:07:29.480 I don't don't I want to, you know, I didn't 137 00:07:29.480 --> 00:07:32.160 want to insult the thing that's insult the music. And 138 00:07:32.199 --> 00:07:34.120 then and then it's like and I didn't see the opening, 139 00:07:34.160 --> 00:07:37.800 goes well I do, like, oh my god. And so 140 00:07:38.240 --> 00:07:40.160 the bass player was a little bit older than me, 141 00:07:41.360 --> 00:07:45.000 and I'm fourteen. He's like nineteen, so he's a seasoned vet, 142 00:07:45.240 --> 00:07:48.120 you know. And he goes, you can you can have it. 143 00:07:48.199 --> 00:07:50.519 You can sing anything you want off Viaver to Lingua. 144 00:07:51.120 --> 00:07:54.920 It'll cost you fifty bucks a song, And that son 145 00:07:54.959 --> 00:07:59.519 of a bitch sang the whole record, didn't drop a lyric. 146 00:08:00.000 --> 00:08:02.920 He was drunkard and hell it was great, and he 147 00:08:03.000 --> 00:08:05.920 paid us fifty bucks. 148 00:08:06.639 --> 00:08:07.319 It it was. 149 00:08:07.399 --> 00:08:09.680 It was the highest pai gig I've ever had. That 150 00:08:09.879 --> 00:08:14.879 time I was paid not to play. He loved that 151 00:08:14.879 --> 00:08:17.439 that recommend so much him. And this was when it 152 00:08:17.560 --> 00:08:21.000 was eight years old that he could not believe a 153 00:08:21.079 --> 00:08:23.639 musician in Austin didn't know it backwards and forward. 154 00:08:24.160 --> 00:08:26.560 Yeah, but there's only nine songs on that record, so 155 00:08:26.600 --> 00:08:28.920 he didn't have to you know. Yeah, if there were fourteen, 156 00:08:29.680 --> 00:08:31.560 it been a double album. I retired. 157 00:08:31.680 --> 00:08:34.799 Yeah, you talk about this book that we've been waiting for. 158 00:08:34.799 --> 00:08:36.200 The book. I know you. You've been working on it 159 00:08:36.240 --> 00:08:38.360 for years. It's got to be a big book, especially 160 00:08:38.440 --> 00:08:39.120 with the stories. 161 00:08:39.360 --> 00:08:40.960 Well, they made me cut it and cut it and 162 00:08:40.960 --> 00:08:46.039 cut it. It's a Texas tech Press and it's been sent. Uh, 163 00:08:46.519 --> 00:08:50.039 they they've got it. Now. They do a thing with 164 00:08:50.240 --> 00:08:54.000 peer readers. They send it to five or six people 165 00:08:54.039 --> 00:08:56.320 that might be in your genre that have written books 166 00:08:56.399 --> 00:08:59.919 or writers that kind of thing. And they asked for 167 00:09:00.120 --> 00:09:04.879 or comments and notes and you know, should we should we? 168 00:09:05.039 --> 00:09:08.399 And none of them made any one who said this 169 00:09:08.600 --> 00:09:09.679 is great put it out? 170 00:09:09.879 --> 00:09:10.639 Not long enough? 171 00:09:11.759 --> 00:09:15.639 Said you see. The thing is is it can can 172 00:09:15.759 --> 00:09:19.120 be too long with photographs, like right now I'm looking 173 00:09:19.159 --> 00:09:23.159 at photographs and uh that adds to it, and they 174 00:09:23.399 --> 00:09:27.879 just want a shorter book. Right now. It's about well, 175 00:09:28.039 --> 00:09:28.840 I don't know why. 176 00:09:29.759 --> 00:09:32.000 But you know what also lends itself to volume two. 177 00:09:32.320 --> 00:09:38.279 Well, like val, there's a lot of stuff taken out, 178 00:09:38.320 --> 00:09:42.039 but it's mine is is a you know, it's being 179 00:09:42.120 --> 00:09:47.679 on the road, it's it's uh. I did a lot 180 00:09:47.679 --> 00:09:50.799 of tours in foreign tours for the US State Department. 181 00:09:51.720 --> 00:09:55.240 I went to India and Pakistan and all over the 182 00:09:55.279 --> 00:09:59.480 Middle East and Africa and played and so a lot 183 00:09:59.480 --> 00:10:00.879 of that is in there too. 184 00:10:01.000 --> 00:10:04.919 Good now in this book because just in just this conversation, 185 00:10:06.480 --> 00:10:10.080 did you talk about the actual technical or lack of 186 00:10:10.960 --> 00:10:15.039 technology aspect of recording. I think that's so important for 187 00:10:15.559 --> 00:10:19.320 younger pickers and musicians to know the best music is 188 00:10:19.320 --> 00:10:21.960 everybody sitting in the room picking at the same. 189 00:10:21.799 --> 00:10:24.919 Time, exactly. I tell As a matter of fact, my 190 00:10:25.279 --> 00:10:31.120 editor encouraged you know, Andy Wilkinson, I don't anyways, great guy, 191 00:10:31.159 --> 00:10:35.159 a great songwriter. He is my editor, and he encouraged 192 00:10:35.240 --> 00:10:41.279 me to write about Lubbock bands in Lubbock if they 193 00:10:41.320 --> 00:10:44.360 had been recording or whatever, especially when I got in 194 00:10:45.120 --> 00:10:48.039 a studio. What was the scene like? So, I mean 195 00:10:48.120 --> 00:10:52.559 I explained Murphy's mood in my opinion, Jerry Jeff's what 196 00:10:52.639 --> 00:10:56.559 he's like. The songs we did. Herbsteiner was a great 197 00:10:56.600 --> 00:11:00.600 resource because he kept a journal all these years of 198 00:11:00.639 --> 00:11:05.120 everything he ever did or got paid for on the show. Yeah, 199 00:11:05.200 --> 00:11:06.759 great cat now unbelievable. 200 00:11:06.799 --> 00:11:10.960 I wanted to ask you because there's uh as a songwriter, 201 00:11:13.200 --> 00:11:15.919 a platinum record is a miracle. They're so hard to 202 00:11:16.000 --> 00:11:18.960 get and you're just blessed if you're ever part of 203 00:11:19.000 --> 00:11:22.440 anything that gets any type of heavy metal. But the 204 00:11:23.559 --> 00:11:29.679 most fabulous story I've ever heard of a record selling 205 00:11:30.480 --> 00:11:33.559 a million copies of something you've written is of course 206 00:11:34.080 --> 00:11:34.759 hold On. 207 00:11:35.120 --> 00:11:36.120 Yeah by Lloyd Bank. 208 00:11:36.399 --> 00:11:38.840 That's that's so great. Do you know the story? 209 00:11:38.919 --> 00:11:39.200 No? 210 00:11:40.200 --> 00:11:42.639 Would you tell it? Because the album went Warrior went 211 00:11:42.679 --> 00:11:45.360 to number one? Yeah right, please tell a story. 212 00:11:45.480 --> 00:11:51.840 Well, it's a little dicey, but Ray Hubbard and I, 213 00:11:51.960 --> 00:11:54.200 Ray Wiley and I wrote a song called hold On 214 00:11:54.240 --> 00:11:57.120 for your Life and it was back in like maybe 215 00:11:57.240 --> 00:12:00.559 nineteen seventy six, and we wanted to He was trying 216 00:12:00.559 --> 00:12:02.799 to get one for the Gonzo record that we were 217 00:12:02.840 --> 00:12:10.200 making a new record, And so meanwhile we're on tour 218 00:12:10.279 --> 00:12:14.919 with Jerry Jeff. We go to LA and down I'm 219 00:12:15.000 --> 00:12:17.519 up in my room and Michael Brovski, the manager, calls 220 00:12:17.720 --> 00:12:19.480 down the bar and says, hey, man, you need to 221 00:12:19.480 --> 00:12:22.559 come down here and listen to meet these people. And 222 00:12:22.600 --> 00:12:25.720 they were in a band called McKendree Spring and they 223 00:12:25.720 --> 00:12:28.759 were from Scotland and I can't remember the lead of 224 00:12:28.759 --> 00:12:34.960 the group. That they were looking for songs and I said, well, 225 00:12:35.039 --> 00:12:36.720 I you know this song that we just wrote, and 226 00:12:36.759 --> 00:12:39.840 I at the bar played the song and the guy went, oh, yeah, 227 00:12:39.879 --> 00:12:41.840 we do it, and Broski said, let's cut it. So 228 00:12:41.879 --> 00:12:46.840 they cut it, they recorded, and that's the last I 229 00:12:46.919 --> 00:12:47.440 hear of it. 230 00:12:47.600 --> 00:12:49.600 Now soon after you picked it for him, did they 231 00:12:49.639 --> 00:12:50.559 cut it like right away? 232 00:12:50.720 --> 00:12:53.559 Yeah, they were in they were in town in the student. 233 00:12:53.240 --> 00:12:54.039 So they cut it in La. 234 00:12:54.200 --> 00:12:54.960 Yeah. 235 00:12:55.120 --> 00:12:59.759 Okay, so this is seventy seven, seventy eight, something like seventy. 236 00:13:00.120 --> 00:13:02.440 It can't be later in seventy seven. Okay, it's seventy 237 00:13:02.600 --> 00:13:07.879 more like seventy six, and we may we cut the 238 00:13:08.240 --> 00:13:10.399 we cut our thing. It doesn't come out yet. But 239 00:13:10.440 --> 00:13:12.679 I'm out on the road with the James the Lost 240 00:13:12.720 --> 00:13:14.759 Consol band had our own albums. We were on MCA 241 00:13:14.759 --> 00:13:17.559 in Capital and so we would have a juggle around 242 00:13:17.559 --> 00:13:23.639 on what we're going to do. So meanwhile, flash forward 243 00:13:23.919 --> 00:13:28.480 twenty years twenty five years and the phone rings in 244 00:13:28.519 --> 00:13:34.600 my office here in Austin, and this woman says, are 245 00:13:34.639 --> 00:13:37.759 you Bob Livingston? Yes? Do you have a publishing company 246 00:13:37.840 --> 00:13:41.240 called doctor Livingston? I presume music. That's the name of 247 00:13:41.240 --> 00:13:45.159 my publishing country. He said, yees still are back then? Yeah? 248 00:13:45.399 --> 00:13:46.159 Back then? Still? 249 00:13:46.360 --> 00:13:46.639 Okay? 250 00:13:46.720 --> 00:13:49.759 Right? And did you write a song called hold On? 251 00:13:49.919 --> 00:13:52.720 With Ray Hubbard? And I go, well, yeah, what's this 252 00:13:52.840 --> 00:13:57.879 all about? And so I'll just add on my perception 253 00:13:58.000 --> 00:14:01.080 of what the way I thought it happened. So there 254 00:14:01.159 --> 00:14:05.279 was this rap artist named Lloyd Banks and his brother 255 00:14:06.080 --> 00:14:10.080 and they're in New York and they're walking down some 256 00:14:10.639 --> 00:14:13.200 dusty street in New York and they duck into a 257 00:14:13.240 --> 00:14:16.639 discount record store and they're looking through it and they 258 00:14:16.679 --> 00:14:21.320 come upon this record by McKendree Spring and it's called 259 00:14:21.440 --> 00:14:24.600 Going to the Country or something like that, and they 260 00:14:24.639 --> 00:14:29.360 thought cool cover, and they bought it with the two 261 00:14:29.440 --> 00:14:31.399 or three others and they take it home and they 262 00:14:31.440 --> 00:14:36.840 listen to the first track, which is hold On, and 263 00:14:36.919 --> 00:14:42.159 they listened to that cool groove. Let's sample it, right, 264 00:14:43.039 --> 00:14:50.000 So they sample and it becomes the bed of this 265 00:14:50.200 --> 00:14:57.639 song that they're writing, and the lyrics are absolutely filthy 266 00:14:57.679 --> 00:15:00.200 and I wish I could tell them to you, but 267 00:15:00.480 --> 00:15:03.840 I think someone come get me. But needless to say, 268 00:15:05.279 --> 00:15:09.320 it was somehow a big hit, and and Ray and 269 00:15:09.360 --> 00:15:11.519 I each had a quarter of the song, and then 270 00:15:11.559 --> 00:15:14.480 the two brothers had a quarter of the song. And 271 00:15:14.559 --> 00:15:20.039 the first quarter it sold a million, two hundred thousand. 272 00:15:20.440 --> 00:15:23.159 And it's double platinum now if I'm not mistaken. 273 00:15:23.279 --> 00:15:26.759 No, I really don't know that, but I think maybe. 274 00:15:26.480 --> 00:15:28.320 I think on R I A A it's CERTIFI. So 275 00:15:28.360 --> 00:15:31.679 you're got some nice checks off of this big, big check, right, 276 00:15:31.759 --> 00:15:34.519 you know. And that's his whole thing is like the 277 00:15:34.600 --> 00:15:36.399 Angels or God goes. You know what, what the hell 278 00:15:36.960 --> 00:15:40.279 I'm gonna give Bob and Ray Wyler platinum record this year. 279 00:15:43.519 --> 00:15:46.840 Oh and the number one album, Warrior was the number 280 00:15:46.840 --> 00:15:47.360 one album. 281 00:15:47.480 --> 00:15:49.200 You know. I don't know the song might have been, 282 00:15:49.279 --> 00:15:52.440 but uh yeah, Warrior, and it had all this crazy stuff, 283 00:15:52.440 --> 00:15:56.399 but that song was on the record. And uh, I 284 00:15:56.480 --> 00:16:01.000 call Michael Corcoran up, and I I said, because hay me, 285 00:16:01.080 --> 00:16:02.840 once in a while, i'd have a story for him 286 00:16:02.919 --> 00:16:04.720 or whatever. And so I call him up and rest 287 00:16:04.759 --> 00:16:09.440 in peace, Michael Corkoran, and I said, man, I got 288 00:16:09.480 --> 00:16:11.559 a story and I tell him his story. He goes, 289 00:16:11.960 --> 00:16:16.759 you're right, that's a great story. So he uh has 290 00:16:16.799 --> 00:16:19.519 a photographer. We meet him in the hip hop record 291 00:16:19.600 --> 00:16:22.679 store in East Austin and they had this big display 292 00:16:22.759 --> 00:16:25.559 of Lloyd Banks, larger than life, like seven feet tall, 293 00:16:25.600 --> 00:16:27.919 and he's holding all this money and they give us 294 00:16:27.960 --> 00:16:32.039 all this what they call warrior money. And so we 295 00:16:32.120 --> 00:16:34.879 have the warrior money and we're flashing around, they're taking pictures, 296 00:16:35.200 --> 00:16:37.320 and that ended up on the cover of the Austin 297 00:16:37.360 --> 00:16:42.759 American Statesman. The day that Lance Copeland Lance what's his name, 298 00:16:42.799 --> 00:16:48.120 the writer the bike rider Armstrong, Lance Armstrong. The day 299 00:16:48.320 --> 00:16:52.919 that that guy won the we were above him in 300 00:16:53.000 --> 00:16:55.720 the front page France. 301 00:16:56.879 --> 00:16:59.960 And the byeline was keep Austin Weird. 302 00:17:00.759 --> 00:17:04.440 Well, the byline was cosmic Cowboys hop on hip Hop 303 00:17:04.519 --> 00:17:09.000 gravy Train. And he told the whole story. 304 00:17:08.799 --> 00:17:13.799 That when I when I heard that story, I think 305 00:17:13.839 --> 00:17:16.960 it was somebody in Nashville told me the story, and 306 00:17:17.000 --> 00:17:20.720 it's like, this is the greatest story of how somebody 307 00:17:20.720 --> 00:17:23.200 sells a million records. And I was like, that's fantastic. 308 00:17:23.359 --> 00:17:29.240 Livingston's Saturday Night Buffett not about me, but he told me. 309 00:17:29.279 --> 00:17:35.720 He says, how does Lidby. Since Saturday he has two 310 00:17:35.799 --> 00:17:40.720 Livingston songs, Livingston's gone to Texas and Livingston Saturday Night. 311 00:17:42.000 --> 00:17:45.039 I think Livingston might be a town. But Livingston's going 312 00:17:45.079 --> 00:17:49.559 to texa guy named Livingston. And he told me it's 313 00:17:49.640 --> 00:17:54.640 not about you. It's about this guy named Lannie Feel. 314 00:17:54.839 --> 00:17:57.039 And I don't know if you remember Lanny Fiach from Lubbook. 315 00:17:57.079 --> 00:18:01.319 He's a he's a musician, artist and he was friends 316 00:18:01.319 --> 00:18:03.359 with Buffett. He said, it's about Lanny Field. But I 317 00:18:03.480 --> 00:18:04.359 liked your name better. 318 00:18:05.440 --> 00:18:08.920 So well, that's a compliment just to go back, just 319 00:18:08.920 --> 00:18:12.400 because it's so cool. So your publishing company is Doctor Levyson, 320 00:18:12.440 --> 00:18:12.880 I presumed. 321 00:18:12.960 --> 00:18:15.200 Yeah, that's so cool. That's so cool. 322 00:18:15.279 --> 00:18:16.799 Oh man, man, what. 323 00:18:18.680 --> 00:18:20.359 We're gonna have to do about four of these. 324 00:18:21.200 --> 00:18:23.480 When the book comes out. Let's do another one. 325 00:18:23.559 --> 00:18:25.559 You know, I'll be so wild. And you know, I'm 326 00:18:25.599 --> 00:18:28.200 sure your publishers like four steps ahead of me, because 327 00:18:28.200 --> 00:18:30.759 that's not really any heavy lifting. But man, you got 328 00:18:30.799 --> 00:18:33.640 to do some readings, man, Yeah, yeah, they were going 329 00:18:33.720 --> 00:18:35.319 to Oh be fantastic. 330 00:18:35.880 --> 00:18:38.119 I wish I could, you know, I have it here, 331 00:18:38.160 --> 00:18:40.039 I could get to it. I could read you the 332 00:18:40.079 --> 00:18:44.279 first chapter three paragraphs you want me to do that. Yes, yes, please, 333 00:18:44.480 --> 00:18:50.000 you need to be great. Nah no, yes, yes, of course. Okay, 334 00:18:50.039 --> 00:18:55.000 here's the first little chapter, the first, but not the last. 335 00:18:56.480 --> 00:19:01.519 Nineteen seventy two. He charged me, snarling and spitting and 336 00:19:01.519 --> 00:19:04.559 cussing and slobbering. I'd already hit him a few times, 337 00:19:04.599 --> 00:19:06.839 and it smashed him into my pickup door like a 338 00:19:06.960 --> 00:19:11.519 rag doll. We wrestled around to the sideyard asses and elbows, 339 00:19:11.559 --> 00:19:15.720 all dusty and bleeding, our bodies scraping on the limestone rocks, 340 00:19:15.759 --> 00:19:19.200 poking like dull knives out of the hard hill country ground. 341 00:19:19.720 --> 00:19:23.359 I hit him hard with an almost virgin fist, and 342 00:19:23.440 --> 00:19:26.000 he fell back for a few moments, then came after 343 00:19:26.079 --> 00:19:29.039 me again. He whacked me a good one over my 344 00:19:29.160 --> 00:19:33.240 left ear, the one that still rings. Some primal memory 345 00:19:33.279 --> 00:19:35.960 took over and I actually got into a three point stance, 346 00:19:36.319 --> 00:19:39.440 the one my high school football coach, Freddie Acres drilled 347 00:19:39.480 --> 00:19:43.240 into me at Lobocai. I threw my glasses off and crouched. 348 00:19:43.519 --> 00:19:46.559 Here he comes. I sprang up hard, my fist together 349 00:19:46.680 --> 00:19:50.599 under my chin, elbows out, a perfect battering ram up 350 00:19:50.640 --> 00:19:54.759 and out, smashing my forehead just under his chin. It's 351 00:19:54.759 --> 00:19:57.440 a wonder I didn't take his head off. I tried. 352 00:19:58.000 --> 00:20:00.400 He fell back in a heap, and I was on him. 353 00:20:00.839 --> 00:20:02.440 He got the better of me for a while, but 354 00:20:02.480 --> 00:20:05.559 I ended up on top in his face. Everything I 355 00:20:05.599 --> 00:20:08.480 grabbed was sweaty, slippery and greasy, and I couldn't get 356 00:20:08.480 --> 00:20:10.920 any traction. I tried to pull his hair out from 357 00:20:11.000 --> 00:20:13.759 the roots, but it just slipped through my fingers. No 358 00:20:13.799 --> 00:20:16.720 matter how hard I tried to do real damage and 359 00:20:16.799 --> 00:20:20.039 rip his ears off or his eyes out, I couldn't 360 00:20:20.079 --> 00:20:24.319 get a hold of anything, and my efforts were for nothing. Then, 361 00:20:24.680 --> 00:20:28.599 with my hands around his throat and looking into his eyes, 362 00:20:29.240 --> 00:20:32.279 I saw a fantastic sight. He was grinning like a 363 00:20:32.319 --> 00:20:36.160 gargyle and laughing through the spit and blood, his breath, 364 00:20:36.240 --> 00:20:39.839 reeking whiskey and beer. He was loving this. He wasn't 365 00:20:39.880 --> 00:20:43.480 taking it seriously at all. I was beating the crap 366 00:20:43.519 --> 00:20:46.079 out of him and he was laughing. It was surreal 367 00:20:46.440 --> 00:20:49.640 and demonic in a funny sort of way. I'd only 368 00:20:49.680 --> 00:20:52.079 had one other fight in my life, with Greg Cobb 369 00:20:52.160 --> 00:20:55.000 in the fifth grade, and here I was about to 370 00:20:55.039 --> 00:20:59.000 strangle Jerry Jeff Walker, and the day had started out 371 00:20:59.039 --> 00:20:59.759 so promising. 372 00:21:04.160 --> 00:21:06.920 I cannot wait to read the book, man. 373 00:21:07.640 --> 00:21:08.559 That's fantastic. 374 00:21:09.240 --> 00:21:12.599 Yeah, and then the second I'll just read the the second. 375 00:21:13.079 --> 00:21:15.839 So that's the end of the first chapter. But then 376 00:21:15.880 --> 00:21:20.559 the second chapter. It's called Indian Summer. It felt as 377 00:21:20.599 --> 00:21:23.200 though there were two suns in the yellow afternoon sky. 378 00:21:23.400 --> 00:21:25.160 The air was so hot. I was in a crouch 379 00:21:25.440 --> 00:21:27.920 trying to find some coolness. Load to the ground. As 380 00:21:27.960 --> 00:21:32.000 I scuddered along the filthy, dusty road towards the railway 381 00:21:32.000 --> 00:21:35.720 station in South India. I was fighting to breathe see 382 00:21:35.720 --> 00:21:38.720 all of a sudden boom and so I go back 383 00:21:38.759 --> 00:21:42.920 and forth in time, trying to make it make sense. 384 00:21:43.000 --> 00:21:48.920 You know, beautiful man, man, thank you. Will you come 385 00:21:48.960 --> 00:21:50.279 back from the book and oh. 386 00:21:50.240 --> 00:21:53.759 Yeah, or anything anytime you want to hawk anything. 387 00:21:53.799 --> 00:21:55.240 It's just I don't have anything to hawk, but I 388 00:21:55.240 --> 00:21:57.440 could tell let me just let me hawk this one. 389 00:21:57.839 --> 00:21:59.680 Give your website, people can con okay. 390 00:21:59.720 --> 00:22:04.640 So my website is Bob Livingston music dot com. Bob 391 00:22:04.680 --> 00:22:07.759 Livingston music dot com. I'm on Facebook. I got a 392 00:22:07.759 --> 00:22:09.319 couple of different Facebook pages. 393 00:22:09.960 --> 00:22:12.440 You know, it's so cool. We were doing something at 394 00:22:12.480 --> 00:22:15.240 the Saxon I think something being mind put together. I 395 00:22:15.440 --> 00:22:16.039 don't know what it was. 396 00:22:16.119 --> 00:22:17.759 Yeah, is that what it was? Yeah? 397 00:22:17.839 --> 00:22:21.440 Yeah, And and Brooks was there, our twenty year old 398 00:22:21.720 --> 00:22:24.960 and he's just nonplus and he's grown up in the 399 00:22:25.039 --> 00:22:27.000 music business, and it's like he didn't want to go 400 00:22:27.000 --> 00:22:30.559 to anything. It's like, you know, what's the green room 401 00:22:30.680 --> 00:22:33.200