Speaker 1: Hey, it's Bob Picket. We are on our way to
Speaker 1: the legendary Broken Spoken. Come on, let's get out of
Speaker 1: the truck and head inside.
Speaker 2: You're proud of it.
Speaker 1: Come on, it's going side. Get ready for another tale
Speaker 1: from the Broken Spoke. Hey it's Bob Pikett. Hope you're
Speaker 1: enjoying our conversation with Bob Livingston tells Broken Spoke. Now
Speaker 1: let's uh, let's get to the final part of the
Speaker 1: conversation talking about the historic album Viva Terry Lingua more
Speaker 1: from the Broken Spoke with Monty Warden, myself, Bob Pickett
Speaker 1: and the legendary Bob Levingston. Do you ever go back
Speaker 1: and listen to Viva Terry Lingua. You probably listened to
Speaker 1: it a lot differently than we do.
Speaker 3: I know, right, yeah, because I listened and I hear
Speaker 3: myself and I go, God, what a funky tone that is?
Speaker 3: Oh my god. But I mean I do listen to it,
Speaker 3: not if I can. I mean, I'm not going to
Speaker 3: put it on, but it has come across, you know,
Speaker 3: and and I like, you know, London Homestick Blues is
Speaker 3: such an exciting, you know song and at the end,
Speaker 3: you know what happened with that song. We didn't know
Speaker 3: it really. We rehearsed it a couple of times, but
Speaker 3: when we played it, the place went crazy, and you know,
Speaker 3: and it there was apparently a clam or whatever. But
Speaker 3: our engineer Sundance Marty Leonard came running in with with
Speaker 3: Michael Brobskin said, the tape broke. We got to do
Speaker 3: it again. And so what you hear on the record
Speaker 3: is the second time through, and that's when Gary says,
Speaker 3: I got to put myself back in that place because
Speaker 3: it was so crazy, you know. Uh and uh by
Speaker 3: that time, everybody kind of knew the song and the
Speaker 3: crowd was singing along from the first chorus.
Speaker 2: So is that so was that two takes spliced together?
Speaker 3: The only thing that was spliced together was the end
Speaker 3: when the crowd goes absolutely berserk the first time through,
Speaker 3: the second time through, they didn't go that crazy for
Speaker 3: some reason. But we we spliced it right three the
Speaker 3: women you ever same badam bomb. That's a that's a splice.
Speaker 3: And then the crowd ray screams for ten minutes and
Speaker 3: then we go back into I Want to go Home.
Speaker 2: And you know, and that's real, that's actual razor cutting
Speaker 2: take people to.
Speaker 1: Go out to Lucenbach though, to even find Lukenbach back.
Speaker 3: Hondo Crouch he was like his surrogate father. He met
Speaker 3: Hondo and he was just like he just imagined he
Speaker 3: wanted to be like Hondo. He would he wanted to
Speaker 3: have crows feet like Hondo. He lay in his in
Speaker 3: his swimming pool, you know, and okill squinting at the sun,
Speaker 3: and I said, what do you doing. I'm trying to
Speaker 3: get crows feet like Hondo.
Speaker 1: Have you seen that the Hondo and Jerry Jeff statue.
Speaker 3: I think, yeah, yeah, that's cool.
Speaker 1: Yeah, it's amazing.
Speaker 2: I mean it's just like you know you're doing it
Speaker 2: and you know it's a good record or it's you know,
Speaker 2: a record's good enough to tour for a whole year
Speaker 2: or something, and then you and then like I mean,
Speaker 2: I think of Beaver to Lingua. That is like the
Speaker 2: one of those major trunks of a tree, because you
Speaker 2: look at all the branches that went out from Beaver
Speaker 2: to Lingua. It is it's you know, danger created an
Speaker 2: entire genre.
Speaker 3: Well you know I didn't, I did not say this,
Speaker 3: but I'll quote it. Hector Saldonia that has this great
Speaker 3: exhibit at the Whittliff Collection in San Marcos. I urge
Speaker 3: everybody to go see it, he said. Forget Willie, forget Whalen.
Speaker 3: Viva tre Lingual was the first Texas outlaw country album.
Speaker 3: That's why I believe that. Yeah, and it was before
Speaker 3: those guys got town.
Speaker 2: Anyway, you sang right, and it's hard to refute that. Yeah,
Speaker 2: you know, and then you just look back and you go,
Speaker 2: that's just a piece of damn history. And then you
Speaker 2: know when you talk to somebody like you, that it
Speaker 2: was such an integral part of that record. And then
Speaker 2: you look back fifty years later and you know, of
Speaker 2: course y'all had no idea who you're happy to be
Speaker 2: making a record, you having to have a.
Speaker 1: Gig, you know, I can't believe it's fifty And again,
Speaker 1: that's exactly I've said this many times. That's the record
Speaker 1: that made me want to.
Speaker 2: And you think how many guitars that album sold to
Speaker 2: kids wanting to learn GC and D and see if
Speaker 2: they can write a song.
Speaker 1: Well, you're like a real estatee. How many people did?
Speaker 1: You're the reason for Austin's growth, right, Really music, you know.
Speaker 3: And a lot of people have said that you know
Speaker 3: when we did the fiftieth We did the fiftieth anniversary
Speaker 3: at Luke and bach I was in the band. Craig
Speaker 3: hillis Herbsteiner. But then they had Chris Gage and Steve
Speaker 3: Samuel on the drums and that guy from the Texas
Speaker 3: Music Brendan Anthony. Yeah, he's he's great pick he's a
Speaker 3: great picker. He and a few people. So it's a
Speaker 3: lot of fun. But why was I telling you? What
Speaker 3: were you? What were you saying right.
Speaker 1: Talking about the fiftieth album? How much you've influenced everybody?
Speaker 3: Well, it's just that we did the the Oh yeah,
Speaker 3: so they decided who could who could sing what? And
Speaker 3: of all, you know the songs and can play these songs,
Speaker 3: and so so Dennis Quaid is coming and and we
Speaker 3: said okay, because I had met him a couple of times.
Speaker 3: Maybe but he so he Dennis Quaid shows up and
Speaker 3: he's going to sing London Homesick Blues because Gary Nuns
Speaker 3: not there. Gary Nuns was not invited to this thing.
Speaker 3: That's a whole other, you know, story episode, and so
Speaker 3: he's so Gary's not there, So who else is gonna
Speaker 3: sing London Homesick Blues? But Gary Nunn, I could never
Speaker 3: figure that out. But Dennis Quaid is society. He's gonna
Speaker 3: sing it. And what Dennis says is when I was
Speaker 3: eighteen nineteen years old, I was going to high school
Speaker 3: in Houston, and viaver Tlingua came out and we all
Speaker 3: bought it. All my friends bought it. We learned every song,
Speaker 3: we all bought guitars. We'd sit around campfires and we'd
Speaker 3: sing song after song. It was our sergeant Pepper.
Speaker 1: Oh that's so great, that is cool, that.
Speaker 3: Is so cool.
Speaker 2: And and I I remember one of the one of
Speaker 2: the first gigs I picked. It was out at the pier,
Speaker 2: you know, and I was fourteen, and so this is,
Speaker 2: you know, I'm just can't believe I have a gig.
Speaker 2: You know, I feel like I'm so excited to have
Speaker 2: a gig. And this guy comes up and like, and
Speaker 2: when you picked at the pier, the uh, the fry
Speaker 2: cook Mike overrode the PA. So you're singing a song
Speaker 2: and then it's say number twenty seven, your fries already
Speaker 2: you know.
Speaker 3: Yeah, I didn't care showsiness, you know.
Speaker 2: So so I remember this guy came out and he goes, hey, man,
Speaker 2: play something off of Beaver to Lingua, and I went, well,
Speaker 2: I don't. I was fourteen, and goes well, I don't.
Speaker 2: I don't know anything. Oh, come on. And then he
Speaker 2: went to his car and got the cassette and he
Speaker 2: would read off song title, go what about this one?
Speaker 3: What about?
Speaker 2: I said? I said no, I said I know that album.
Speaker 2: I don't know well enough to play in front of people.
Speaker 2: I don't don't I want to, you know, I didn't
Speaker 2: want to insult the thing that's insult the music. And
Speaker 2: then and then it's like and I didn't see the opening,
Speaker 2: goes well I do, like, oh my god. And so
Speaker 2: the bass player was a little bit older than me,
Speaker 2: and I'm fourteen. He's like nineteen, so he's a seasoned vet,
Speaker 2: you know. And he goes, you can you can have it.
Speaker 2: You can sing anything you want off Viaver to Lingua.
Speaker 2: It'll cost you fifty bucks a song, And that son
Speaker 2: of a bitch sang the whole record, didn't drop a lyric.
Speaker 2: He was drunkard and hell it was great, and he
Speaker 2: paid us fifty bucks.
Speaker 3: It it was.
Speaker 2: It was the highest pai gig I've ever had. That
Speaker 2: time I was paid not to play. He loved that
Speaker 2: that recommend so much him. And this was when it
Speaker 2: was eight years old that he could not believe a
Speaker 2: musician in Austin didn't know it backwards and forward.
Speaker 3: Yeah, but there's only nine songs on that record, so
Speaker 3: he didn't have to you know. Yeah, if there were fourteen,
Speaker 3: it been a double album. I retired.
Speaker 1: Yeah, you talk about this book that we've been waiting for.
Speaker 1: The book. I know you. You've been working on it
Speaker 1: for years. It's got to be a big book, especially
Speaker 1: with the stories.
Speaker 3: Well, they made me cut it and cut it and
Speaker 3: cut it. It's a Texas tech Press and it's been sent. Uh,
Speaker 3: they they've got it. Now. They do a thing with
Speaker 3: peer readers. They send it to five or six people
Speaker 3: that might be in your genre that have written books
Speaker 3: or writers that kind of thing. And they asked for
Speaker 3: or comments and notes and you know, should we should we?
Speaker 3: And none of them made any one who said this
Speaker 3: is great put it out?
Speaker 2: Not long enough?
Speaker 3: Said you see. The thing is is it can can
Speaker 3: be too long with photographs, like right now I'm looking
Speaker 3: at photographs and uh that adds to it, and they
Speaker 3: just want a shorter book. Right now. It's about well,
Speaker 3: I don't know why.
Speaker 2: But you know what also lends itself to volume two.
Speaker 3: Well, like val, there's a lot of stuff taken out,
Speaker 3: but it's mine is is a you know, it's being
Speaker 3: on the road, it's it's uh. I did a lot
Speaker 3: of tours in foreign tours for the US State Department.
Speaker 3: I went to India and Pakistan and all over the
Speaker 3: Middle East and Africa and played and so a lot
Speaker 3: of that is in there too.
Speaker 2: Good now in this book because just in just this conversation,
Speaker 2: did you talk about the actual technical or lack of
Speaker 2: technology aspect of recording. I think that's so important for
Speaker 2: younger pickers and musicians to know the best music is
Speaker 2: everybody sitting in the room picking at the same.
Speaker 3: Time, exactly. I tell As a matter of fact, my
Speaker 3: editor encouraged you know, Andy Wilkinson, I don't anyways, great guy,
Speaker 3: a great songwriter. He is my editor, and he encouraged
Speaker 3: me to write about Lubbock bands in Lubbock if they
Speaker 3: had been recording or whatever, especially when I got in
Speaker 3: a studio. What was the scene like? So, I mean
Speaker 3: I explained Murphy's mood in my opinion, Jerry Jeff's what
Speaker 3: he's like. The songs we did. Herbsteiner was a great
Speaker 3: resource because he kept a journal all these years of
Speaker 3: everything he ever did or got paid for on the show. Yeah,
Speaker 3: great cat now unbelievable.
Speaker 2: I wanted to ask you because there's uh as a songwriter,
Speaker 2: a platinum record is a miracle. They're so hard to
Speaker 2: get and you're just blessed if you're ever part of
Speaker 2: anything that gets any type of heavy metal. But the
Speaker 2: most fabulous story I've ever heard of a record selling
Speaker 2: a million copies of something you've written is of course
Speaker 2: hold On.
Speaker 3: Yeah by Lloyd Bank.
Speaker 2: That's that's so great. Do you know the story?
Speaker 1: No?
Speaker 2: Would you tell it? Because the album went Warrior went
Speaker 2: to number one? Yeah right, please tell a story.
Speaker 3: Well, it's a little dicey, but Ray Hubbard and I,
Speaker 3: Ray Wiley and I wrote a song called hold On
Speaker 3: for your Life and it was back in like maybe
Speaker 3: nineteen seventy six, and we wanted to He was trying
Speaker 3: to get one for the Gonzo record that we were
Speaker 3: making a new record, And so meanwhile we're on tour
Speaker 3: with Jerry Jeff. We go to LA and down I'm
Speaker 3: up in my room and Michael Brovski, the manager, calls
Speaker 3: down the bar and says, hey, man, you need to
Speaker 3: come down here and listen to meet these people. And
Speaker 3: they were in a band called McKendree Spring and they
Speaker 3: were from Scotland and I can't remember the lead of
Speaker 3: the group. That they were looking for songs and I said, well,
Speaker 3: I you know this song that we just wrote, and
Speaker 3: I at the bar played the song and the guy went, oh, yeah,
Speaker 3: we do it, and Broski said, let's cut it. So
Speaker 3: they cut it, they recorded, and that's the last I
Speaker 3: hear of it.
Speaker 2: Now soon after you picked it for him, did they
Speaker 2: cut it like right away?
Speaker 3: Yeah, they were in they were in town in the student.
Speaker 2: So they cut it in La.
Speaker 3: Yeah.
Speaker 2: Okay, so this is seventy seven, seventy eight, something like seventy.
Speaker 3: It can't be later in seventy seven. Okay, it's seventy
Speaker 3: more like seventy six, and we may we cut the
Speaker 3: we cut our thing. It doesn't come out yet. But
Speaker 3: I'm out on the road with the James the Lost
Speaker 3: Consol band had our own albums. We were on MCA
Speaker 3: in Capital and so we would have a juggle around
Speaker 3: on what we're going to do. So meanwhile, flash forward
Speaker 3: twenty years twenty five years and the phone rings in
Speaker 3: my office here in Austin, and this woman says, are
Speaker 3: you Bob Livingston? Yes? Do you have a publishing company
Speaker 3: called doctor Livingston? I presume music. That's the name of
Speaker 3: my publishing country. He said, yees still are back then? Yeah?
Speaker 3: Back then? Still?
Speaker 2: Okay?
Speaker 3: Right? And did you write a song called hold On?
Speaker 3: With Ray Hubbard? And I go, well, yeah, what's this
Speaker 3: all about? And so I'll just add on my perception
Speaker 3: of what the way I thought it happened. So there
Speaker 3: was this rap artist named Lloyd Banks and his brother
Speaker 3: and they're in New York and they're walking down some
Speaker 3: dusty street in New York and they duck into a
Speaker 3: discount record store and they're looking through it and they
Speaker 3: come upon this record by McKendree Spring and it's called
Speaker 3: Going to the Country or something like that, and they
Speaker 3: thought cool cover, and they bought it with the two
Speaker 3: or three others and they take it home and they
Speaker 3: listen to the first track, which is hold On, and
Speaker 3: they listened to that cool groove. Let's sample it, right,
Speaker 3: So they sample and it becomes the bed of this
Speaker 3: song that they're writing, and the lyrics are absolutely filthy
Speaker 3: and I wish I could tell them to you, but
Speaker 3: I think someone come get me. But needless to say,
Speaker 3: it was somehow a big hit, and and Ray and
Speaker 3: I each had a quarter of the song, and then
Speaker 3: the two brothers had a quarter of the song. And
Speaker 3: the first quarter it sold a million, two hundred thousand.
Speaker 2: And it's double platinum now if I'm not mistaken.
Speaker 3: No, I really don't know that, but I think maybe.
Speaker 2: I think on R I A A it's CERTIFI. So
Speaker 2: you're got some nice checks off of this big, big check, right,
Speaker 2: you know. And that's his whole thing is like the
Speaker 2: Angels or God goes. You know what, what the hell
Speaker 2: I'm gonna give Bob and Ray Wyler platinum record this year.
Speaker 2: Oh and the number one album, Warrior was the number
Speaker 2: one album.
Speaker 3: You know. I don't know the song might have been,
Speaker 3: but uh yeah, Warrior, and it had all this crazy stuff,
Speaker 3: but that song was on the record. And uh, I
Speaker 3: call Michael Corcoran up, and I I said, because hay me,
Speaker 3: once in a while, i'd have a story for him
Speaker 3: or whatever. And so I call him up and rest
Speaker 3: in peace, Michael Corkoran, and I said, man, I got
Speaker 3: a story and I tell him his story. He goes,
Speaker 3: you're right, that's a great story. So he uh has
Speaker 3: a photographer. We meet him in the hip hop record
Speaker 3: store in East Austin and they had this big display
Speaker 3: of Lloyd Banks, larger than life, like seven feet tall,
Speaker 3: and he's holding all this money and they give us
Speaker 3: all this what they call warrior money. And so we
Speaker 3: have the warrior money and we're flashing around, they're taking pictures,
Speaker 3: and that ended up on the cover of the Austin
Speaker 3: American Statesman. The day that Lance Copeland Lance what's his name,
Speaker 3: the writer the bike rider Armstrong, Lance Armstrong. The day
Speaker 3: that that guy won the we were above him in
Speaker 3: the front page France.
Speaker 1: And the byeline was keep Austin Weird.
Speaker 3: Well, the byline was cosmic Cowboys hop on hip Hop
Speaker 3: gravy Train. And he told the whole story.
Speaker 2: That when I when I heard that story, I think
Speaker 2: it was somebody in Nashville told me the story, and
Speaker 2: it's like, this is the greatest story of how somebody
Speaker 2: sells a million records. And I was like, that's fantastic.
Speaker 1: Livingston's Saturday Night Buffett not about me, but he told me.
Speaker 3: He says, how does Lidby. Since Saturday he has two
Speaker 3: Livingston songs, Livingston's gone to Texas and Livingston Saturday Night.
Speaker 3: I think Livingston might be a town. But Livingston's going
Speaker 3: to texa guy named Livingston. And he told me it's
Speaker 3: not about you. It's about this guy named Lannie Feel.
Speaker 3: And I don't know if you remember Lanny Fiach from Lubbook.
Speaker 3: He's a he's a musician, artist and he was friends
Speaker 3: with Buffett. He said, it's about Lanny Field. But I
Speaker 3: liked your name better.
Speaker 2: So well, that's a compliment just to go back, just
Speaker 2: because it's so cool. So your publishing company is Doctor Levyson,
Speaker 2: I presumed.
Speaker 3: Yeah, that's so cool. That's so cool.
Speaker 1: Oh man, man, what.
Speaker 2: We're gonna have to do about four of these.
Speaker 1: When the book comes out. Let's do another one.
Speaker 2: You know, I'll be so wild. And you know, I'm
Speaker 2: sure your publishers like four steps ahead of me, because
Speaker 2: that's not really any heavy lifting. But man, you got
Speaker 2: to do some readings, man, Yeah, yeah, they were going
Speaker 2: to Oh be fantastic.
Speaker 3: I wish I could, you know, I have it here,
Speaker 3: I could get to it. I could read you the
Speaker 3: first chapter three paragraphs you want me to do that. Yes, yes, please,
Speaker 3: you need to be great. Nah no, yes, yes, of course. Okay,
Speaker 3: here's the first little chapter, the first, but not the last.
Speaker 3: Nineteen seventy two. He charged me, snarling and spitting and
Speaker 3: cussing and slobbering. I'd already hit him a few times,
Speaker 3: and it smashed him into my pickup door like a
Speaker 3: rag doll. We wrestled around to the sideyard asses and elbows,
Speaker 3: all dusty and bleeding, our bodies scraping on the limestone rocks,
Speaker 3: poking like dull knives out of the hard hill country ground.
Speaker 3: I hit him hard with an almost virgin fist, and
Speaker 3: he fell back for a few moments, then came after
Speaker 3: me again. He whacked me a good one over my
Speaker 3: left ear, the one that still rings. Some primal memory
Speaker 3: took over and I actually got into a three point stance,
Speaker 3: the one my high school football coach, Freddie Acres drilled
Speaker 3: into me at Lobocai. I threw my glasses off and crouched.
Speaker 3: Here he comes. I sprang up hard, my fist together
Speaker 3: under my chin, elbows out, a perfect battering ram up
Speaker 3: and out, smashing my forehead just under his chin. It's
Speaker 3: a wonder I didn't take his head off. I tried.
Speaker 3: He fell back in a heap, and I was on him.
Speaker 3: He got the better of me for a while, but
Speaker 3: I ended up on top in his face. Everything I
Speaker 3: grabbed was sweaty, slippery and greasy, and I couldn't get
Speaker 3: any traction. I tried to pull his hair out from
Speaker 3: the roots, but it just slipped through my fingers. No
Speaker 3: matter how hard I tried to do real damage and
Speaker 3: rip his ears off or his eyes out, I couldn't
Speaker 3: get a hold of anything, and my efforts were for nothing. Then,
Speaker 3: with my hands around his throat and looking into his eyes,
Speaker 3: I saw a fantastic sight. He was grinning like a
Speaker 3: gargyle and laughing through the spit and blood, his breath,
Speaker 3: reeking whiskey and beer. He was loving this. He wasn't
Speaker 3: taking it seriously at all. I was beating the crap
Speaker 3: out of him and he was laughing. It was surreal
Speaker 3: and demonic in a funny sort of way. I'd only
Speaker 3: had one other fight in my life, with Greg Cobb
Speaker 3: in the fifth grade, and here I was about to
Speaker 3: strangle Jerry Jeff Walker, and the day had started out
Speaker 3: so promising.
Speaker 1: I cannot wait to read the book, man.
Speaker 2: That's fantastic.
Speaker 3: Yeah, and then the second I'll just read the the second.
Speaker 3: So that's the end of the first chapter. But then
Speaker 3: the second chapter. It's called Indian Summer. It felt as
Speaker 3: though there were two suns in the yellow afternoon sky.
Speaker 3: The air was so hot. I was in a crouch
Speaker 3: trying to find some coolness. Load to the ground. As
Speaker 3: I scuddered along the filthy, dusty road towards the railway
Speaker 3: station in South India. I was fighting to breathe see
Speaker 3: all of a sudden boom and so I go back
Speaker 3: and forth in time, trying to make it make sense.
Speaker 1: You know, beautiful man, man, thank you. Will you come
Speaker 1: back from the book and oh.
Speaker 2: Yeah, or anything anytime you want to hawk anything.
Speaker 3: It's just I don't have anything to hawk, but I
Speaker 3: could tell let me just let me hawk this one.
Speaker 1: Give your website, people can con okay.
Speaker 3: So my website is Bob Livingston music dot com. Bob
Speaker 3: Livingston music dot com. I'm on Facebook. I got a
Speaker 3: couple of different Facebook pages.
Speaker 2: You know, it's so cool. We were doing something at
Speaker 2: the Saxon I think something being mind put together. I
Speaker 2: don't know what it was.
Speaker 3: Yeah, is that what it was? Yeah?
Speaker 2: Yeah, And and Brooks was there, our twenty year old
Speaker 2: and he's just nonplus and he's grown up in the
Speaker 2: music business, and it's like he didn't want to go
Speaker 2: to anything. It's like, you know, what's the green room
Speaker 2: food situation? You know that you can entice them with
Speaker 2: it they have cool ice.
Speaker 3: Cream or something, you know.
Speaker 2: And so I was like, I said, now, I know,
Speaker 2: you're really dick it this. This is really cool. You're
Speaker 2: like all right? And then he was we were done,
Speaker 2: and he had this look on it, and I had, like,
Speaker 2: really I sung some great songs and brought down the
Speaker 2: house and all this, and Brooks has had this look
Speaker 2: on his face and that was fantastic, Daddy, that was awesome.
Speaker 2: I said, well, I'm so glad you came. He goes,
Speaker 2: who the hell was that? Bob Livingston? Guy, Boy, he
Speaker 2: kicked your ass, that's.
Speaker 3: The truth, that's and he.
Speaker 2: Doesn't like anything anybody. And just Bob just killed him,
Speaker 2: I mean killed him. He went and got all all
Speaker 2: the all the records. It's so cool.
Speaker 3: That's great. Yeah, so this is hard, and both of
Speaker 3: your hearts bless you.
Speaker 1: Well, you know what I mean. You're so part of
Speaker 1: the fabric of our DNA in our life. I mean, yeah,
Speaker 1: that's why we do the stuff we do because of you.
Speaker 2: I mean, really, every time somebody plugs a guitar into
Speaker 2: an amp in Austin, whether they know it or not,
Speaker 2: they owe a debt of gratitude to Bob Livingston. And no,
Speaker 2: that's true, that's absolutely true, and just people need to
Speaker 2: know that.
Speaker 1: Bob Livingston Teals and Broken Spoke. More tales come up,
Speaker 1: and again, get the book when it comes out in
Speaker 1: a few months.
Speaker 3: Tales from the Broken Spoke is recorded live but The
Speaker 3: Broken Spoke in Austin, Texas, hosted by Country radio Hall
Speaker 3: of Fame broadcaster Bob Pickett and Monty Warden, recorded mixed
Speaker 3: down and produced by Mike Rivera