Mm

... that much in, in music these days.

Um, and, you know, it, it doesn't really matter exactly what position you're coming from, uh, because i, i, in, in reality, we all have to walk this road [laughs] together.

Um, I'll, I'll, I will, will add that, uh, you know, this song is really kind of our...

To me, the first time I ever heard the track, I thought, "This is the kind of song that, uh, really makes sense for a band like ours." It's really gospel-

Hmm.

Like you want something.

You wanna create.

you

know, nothing short of monumental.

And then he had never really recorded an album with Tom, kind of directly involved with his songs and vice versa.

Mike involved in the recording of Tommy's tunes.

And so I thought that would be really a winning combo.

So as we got started with it, you know, uh, we kind of returned to this formula we had been using with, with John Shanks, basically, uh, getting in the studio and writing with him.

That's something we, we, uh, did on the last record.

What was the story behind writing Blackwater? Yeah.

You're the

whole deal.

I think it's just a... overly obsessive need for attention.

I don't know.

But anyways, yeah, no, I'm just, you know, I am, I'm incredibly blessed to be able to get to do what I do.

And, you know, I started auctioneering about 11 years ago and I sort of, I didn't intend it to be this channel.

I thought it was going to sell cars.

I think that's where the

You're the

whole deal.

I think it's just a...

Overly obsessive need for attention.

I don't know.

But anyways, yeah, no, I'm just, you know, I am, I'm incredibly blessed to be able to get to do what I do.

And, you know, I started auctioneering about 11 years ago and I sort of, I didn't intend it to be this channel.

I think that's where the

You're the

whole deal.

I think it's just a...

Overly obsessive need for attention.

I don't know.

But anyways, yeah, no, I'm just, you know, I am, I'm incredibly blessed to be able to get to do what I do.

And, you know, I started auctioneering about 11 years ago.

I think that's where the similarities

So your friend Keith says, "Why don't you call yourselves the Doobie Brothers?" And it's a temporary name, and it just has now been temporary for around 55 years.

I think that was, uh, late '69 probably when that happened, or mid-'69.

I can't remember, you know.

But, uh, actually Tom, uh, and John, and at the time Greg Murphy left, and they ended up with a, a ba- our bass player was a guy I went to high school with, Dave Shogren.

He was a year younger than I was.

And, uh, I, uh, Tom said, you know, "We have kind of reformed the band a little bit and we have this new bass player." And, uh, they called me and said, "We have this gig at the Chateau." And I had already played there with, uh, my trio, Tyran and, uh, Mike Mendell, this fiddle, fiddle player.

So Tom called me, said, "We got this gig at the Chateau.

It's a song called Echoes of Love, and it was later covered by The Pointer Sisters.

Yeah.

It's not something that you're gonna sit around and go, "Okay, I have this flash of inspiration." It's like, you know, you gotta go in there like, like you want it, you know? Like you want something, you wanna create.

Um, you...

Uh, uh, I don't wanna say it's like a job 'cause it's not, uh, uh, a job, but it's a dedication to a process, you know? You have to go, "Okay, now it...

I wanna write a song.

How do I, how do I...

How am I gonna do that?" Well, you have to, (laughs) you know, work at it.

Mm-hmm.