Ep 140 Matt Walsh pt 2

You definitely can't do it on Facebook. People don't go on Facebook to have their minds changed. They're not going to... Exactly.

Hello and welcome to WNC Original Music episode 140, the dubstep BPM episode. This week on the podcast is part two with Matt Walsh. Matt Walsh is a super talented guitar player, songwriter, singer, filmmaker, an actor, a bond vivant, and he's from State Silver and North Carolina. This is his second episode as I mentioned before, and we're talking about his album, Burnt Out Soul, but he's already preparing to release another album in 2022, so make sure to follow him so you don't miss when that comes out, and you can find him among other places at mattwalshmusic.net.

Also, make sure to check out Matt's YouTube channel. There's a lot of stuff on his YouTube channel. He's maybe most notable for the Friday Night Gamble. That is his Friday Night kind of variety music show.

You can hear us talking more about that in the podcast interview. But also look for the Shiloh saloon stories. That's a really cool feature. He's got where he's just telling stories from his life, especially his musical experiences and interactions with other musicians.

Out of control, vintage, cooking and butching. I don't know what that is, but I'm going to find out soon. His music videos, his live performances. He's got a lot of short films out there.

Really interesting stuff there with the short films. So Matt's just really doing a whole lot of stuff. He's really cool how he's integrated music into really, I'm not exaggerating to say, kind of an entertainment empire there. So check out the links and the show notes for all of his musical endeavors.

And right now, here is Matt Walsh. That song is funny. That one was basically really influenced by stack sound, especially croppers guitar playing, you know, I use a Telecaster. Usually I vary at guitars on an album.

For this one, for some reason, I just use a Telekmold Telecaster on pretty much everything, especially the track. So I'm meeting the song. But it had a real cool Steve Cripper feel to it. I thought, you know, and it just, to me, it's always, until lately, it's always been the one that's my least favorite on the album.

But oddly enough, just like when you put these damn things out, you know, everybody's like, Hey, I love sugar. And I think because of them loving it, I agree to love it. Now, the one thing that to me, it's always just been, there wasn't really anything special about that song. It was just a feel good, happy song.

The story on the lyrics of that song is always like that band, the guests who, the Canadian band back in the sixth, and they used to have that one song talked about a smoke filled room and a bag of goodies and we're going to get it on tonight and all this stuff. And I want to hear that song when I came, you know, when I was a kid growing up on the radio, you know, and no sugar to not. No sugar to not. No sugar to not.

My coffee. Right. How crazy is that? Yeah.

But anyway, and not that I took the title or anything from that. Yeah. Even if I did. Okay.

Okay. But yeah. So anyway, that song just always, you know, when you're 13 and 14 years old and you're acting up and, you know, being, being, going, getting ready to go down the road of experimentation and all these things, you know, when you hear that on the radio, you wonder what is, what is, where are they talking about? So to me, I kind of wrote that song thinking about the, somewhere in my mind that song came back in and I started thinking about that whole recollection of, you know, being a kid and wondering what that's about.

But that song from a young man's perspective, 16 or 17 and finds himself in a basement with a girl, maybe he's got a crush on, you know, I was really writing that as from adolescence to agree, as far as the lyrics. But as far as the song, you know, what really started getting me really interested in the song is the, the lap still hooked to it, which to me sounds kind of, you know, dreamy, almost, almost sounds like glam rocky to me. And a lot of times I describe things and put names on things that probably don't have anything to do with what the sound is. And then my weird mind, that's how it works.

But I just brought the lap still in one day and I had been noodling with the mix at home once I got back home and decided to put this lap still on it. And at the time I had just gotten this old rolling space echo. Brian Sutter uses these things a lot. In fact, I think he's bought about every damn one of them.

But anyway, I found one that he didn't, he must have skipped over and it was kind of bad shake, but I put it back together. Got a guy in Asheville to redo it and everything. And I had just gotten it back and I took it over to Alan Law's house, who was one of the engineers and the guys that helped me produce the album. And we just got really wacky with the space echo and just kind of went out of space with it, which you can totally do with one of those machines.

Space echo, if you don't know, it's a tape delay for guitar. Just like the old echo plex, same kind of effect, except as the space echo is kind of crazy because on these old echo plexes, you've got reels. You know, it's basically you have two reels and when you hit the effect, it basically takes those reels and spins them. When you look at the space echo, you take the top off and it's got all this tape, but it's not on a reel.

It just looks like a bunch of snakes moving around and all kinds of things. Kind of like a, like if you ever taken an eight track tape apart. Yes. This is an eight track tape as it goes so it can come back around.

Exactly. And it's wild and it's really a lot more unpredictable than a space echo because no matter what you play, it's never going to come out the same. Right. So it's a really fun.

You can't dial in your meter like on a boss pedal or something. Exactly. A lot of times what you get is what you just get. But it's fun and I love that thing.

I don't use pedals that much. I mean, other than just the stuff that may not be on an amp that I'm using like Trimlow or something like that. But I am a huge, huge, huge addict of tape delay, you know, because all the sun record stuff and it's got more and everything. So, but yes, that's the skinny on that one.

It just, it basically took Steve Crawford outer stays, I guess. Can we do that? Can we put Steve Crawford outer stays? Sure.

Yeah. That's another fun one. Ever since I was, you know, when I started, started playing guitars 12 years old and I kicked around with it for about, oh, getting to start 16 and all I ever did, I never learned to even play a chord. I just learned that how to do this one little kind of solo kind of thing where I would really be able to do a lot of vibrato.

I just focused on vibrato. But I could play, I could turn on the radio and learn and figure out what key they were in, even though I didn't know the key, so anything. So, after doing that for about four years and then getting into film and stuff like that, I just put the guitar up until I went to art school and when I was about 18 or so, I dug it back out and actually learned to E chord and to E chord and to E chord and to start putting that together and figuring out how to do a lot of stuff I had been trying to do for years, I guess, listening to light and Hopkins and stuff like that. So when I turned about 19, I just, my uncle had passed away.

He was a huge part of the stuff I listened to and kind of set me on a good path as far as music. He was only really gotten into blues when I was about 12 years old. I went up to his house and he was playing light and Hopkins and muddy waters on his porch and stuff out drinking mailer 40 ounces with his buddies and stuff. And when I heard that stuff, it just really struck a chord with me, that old 1950s muddy stuff and light and all that stuff.

But anyway, when he passed away, I kind of felt like I had dropped out of school when I was doing nothing with my life and just going down a road of where I need to do a U-turn basically. So I really started focusing on the guitar, you know, and I had this progression that I found. I didn't know what I was playing really or anything with Key, I was in or anything or what was happening. But there was this old progression that was basically I would play a little bit and this guy that I got back in touch with, I would go hang out with when I was young, they maxed right, real well-known guitar player around North Carolina used to play in a band named Arhooey.

And so when I turned 19 or so and got my head kind of back on straight, I contacted him, we started hanging out again. I played it for him. He said, oh wow, that's basically like a pallet is what that is. And so I carried that song around for, I mean, the better part of 20-some odd years, every once in a while, I would just take my guitar out and noodle around on it and really didn't have a purpose for it or anything like that.

And when I was writing these songs, all of a sudden I just started noodling on it again and it spoke to me and this time decided to come as a song. So that song really was like 20 years in the making since I was 19 years old. And so we wrote the song and me and Chuck, Chuck Cotton had played drums on the album. It was just he and I and my engineer, Alan Lawls, has worked on all my records pretty much, except one of them.

We went to Nashville together. And before we did, me and Chuck just had, Chuck and I just had one rehearsal where I showed him the songs and kind of told him what the feel was and all this stuff. And when we were doing Leave-In Blues, all of a sudden he came up in the middle of this kind of rest in the song between the verses, from the chorus to the verse. He just came up with this great rim shot thing.

And it goes back to some instruments and some parts really make a song what it is. And that to me was just fantastic. And the wild thing about that song too and talking about those rim shots is at the end it fades out and that's a natural fade out. That's Chuck actually just fading out naturally.

There are no faders used on that at all. And that really blew everybody's mind after we listened back to that. I mean he's just such a seasoned fantastic, fantastic drummer. And then Jerry Sharon, a good friend of mine, played some beautiful piano parts on this.

A lot of my approach to this album, the album I did before it was a real guitar heavy album and the fact that some songs I would use six guitars on. You might not know that when you listen to it. But I was doing all these colorings and using guitars in unorthodox ways. Trying to make them sound like other instruments at times and stuff like that.

So I really wanted to back away from that and to make other instruments kind of let the song dictate what instruments would make it kind of click. And I definitely wanted to back off the guitar, which I found was a turned out to be a great approach because I think it really made the album. It allowed the songs to become something different. I love that drum part and I know you're airing this later, but I'm getting ready to release a music video for it tomorrow.

And that drum part was so important to me, those rim shots, up until the time of the video shoot I started wondering because it's kind of a different, I've done four of the songs on the album as a kind of like a live music video where I go to these kind of settings that kind of click with the song to the great or feel right with the song. And I've done two that are full length, kind of almost like short films and the video is just a part of that short film. And I've got two more of those I'm going to film, one for my next movie, one for Bernal. So, but when I went to this one, this was more of a live video and I thought to myself right up until the time that we were getting ready to shoot it, I thought, how am I ever going to recreate this drum part of his in between the chorus and the next verse.

And I was wearing this jacket, this old champion spark plug jacket and it just happened to have these metal kind of grommet buttons on it. And I had a resonator metal guitar like a doe bro, I played the song on. And when I was kind of noodling around, we were setting up, the metal just kept hitting the metal on the guitar and I was really going, oh, this might not work. I'm going to have to take the jacket off.

And so I decided to roll the sleeve up once. And when I did it, it allowed me to kind of like manipulate that button backwards to where it was flat on the other side instead of sticking out the button into a grommet. And I was able to tap, find this place on the guitar that if I hit it consistently every time I could get that rim shot. And that's what happened.

So, it really made the song. I think it's because without that it just loses a lot of vibe. So in the video, you're playing it live, you're not like lip-syncing the song, the recorded track is on it. No.

I did four songs like that. I did the door, half your blue sugar, which we did in a coffee shop. You kind of see where I'm going with this. But now I want to try to take a new, I'm always trying to find something different.

And I wanted to do a music video where there was a setup, there was an idea, but to do it live, you know. And just like the opposite, I wanted to do four songs on the album like that. I also wanted to do four songs like we've done with Come Here No More and Don't Shut My Party Down to where it's basically like a 15 minute feature. And it's, to me, they're like the idea, what gave me the idea to do that, it wasn't thriller, but actually Elvis movies.

He has this little performance thing. And especially with Don't Shut My Party Down, the way we did that one was totally a rip-off of those old Elvis movies where that was just, you know, sub-sequential to the movie. Every Elvis movie is just eight long-form music videos. Right.

Exactly. And you think about the plot, you're like, wait a minute. It was a C-boat captain, and now he's racing cars. What?

But he sang three songs. So that's right. Exactly. So it sold well.

Right. It made sense. Two moments. One reminds you that you can hear all his music at matwalshmusic.com or just search Mat Walsh in any of the streaming places.

Also search Mat Walsh on YouTube for his really fascinating and very enjoyable YouTube channel. Hey, it's Andrew Scott, you from Andrew Scott, You're in the Ritter Rats. Thank you for supporting WNC Original Music. Visit Andrewscontio music.com for four dates, merch, and much more.

Don't forget to subscribe to the podcast, wherever you get your podcast. Just search WNC Original Music at any of the major or minor podcasts, carriers. Also you can ask your smart speaker to play WNC Original Music. you can find it on Pandora, a lot of different places, or you can just go to www.wncoriginalmusic.com.

If you have any comments or suggestions, people you think should be on the podcast, or if you are a band that wants to be on the podcast, just email www.wncoriginalmusic.com. Corrections and clarifications from last week's episode with Kerry Morrison. Gorilla is a large Harry primate, kind of a bad attitude, a lot of people think. Gorilla literally means small war and it's basically a form of irregular warfare, especially when a smaller group is fighting against a larger group.

So we were both right. Hey, this is Presley Partoo and you're listening to WNC original music. So could you turn it up, please? I really want to hear this.

Let's talk a little bit about the Friday night gamble. Oh yeah, I love to. That's my baby. Pretty much.

And what is that? I mean, I know what it is. But I know what I see. I know what your interpretation of it is.

The Friday night gamble in my mind is a live stream variety show and from all points gathered seems to be North Carolina's one and only and go to variety show, you know, top variety show. And you know, it was back and back when this all started in March. I was just like everyone else. I thought, okay, I can set this out for two weeks.

No big deal. I've treated music as a business and if you can't make it through two weeks, then hell man, you ain't got a business. So anyway, I was okay. I can back out and settle down and just wait for everything to pass.

But you know, it's time went on. I saw that one going to happen. I really started panicking just like everyone else. And then, you know, at the same time, I knew that, Hey, man, if you're going to if you're going to carry on, you're going to have to sink or swim and you're going to have to do what businesses do when hard time's come, you're going to have to reimagine this business.

I knew that from probably third weekend, I thought, man, if this because if you're going to run a bit of music like a business, you need to think of hit. That's an earth thing. Sorry, it's thinking ahead. Okay, what am I going to do if this don't work out?

Well, I tell you what it did. I popped a beer and sat down and drank for about a week. But then I started thinking, you know, man, you know, I started seeing so many people do these live streams. I understood why they were doing them.

And I definitely don't fault them for it. But being the person I am, I just stubbornly go the other way. And I wasn't going to do that. I didn't want to ask people for their money during this first two weeks, you know, because I went back to the whole idea of, you know, how are people going to take you seriously if you're asking them for money, you can't make two weeks of this, you know, kind of thing.

And it just made me feel like I know, you know, nobody's going to take it seriously. But I just I just didn't want to do what everyone else was doing. And I would and then hey, listen, no, I'm not trying to insult me by or anything like that. I didn't want to turn on my camera and sit there and tune the guitar for 10 minutes and be bad lighting and just, you know, I just felt like, man, you just got to do something else.

So I went back to making films and I made a monkey memory of when Tiger, this was all when Tiger King was out. So I made a monkey memory about Buddy Hardwood called werewolf King. And if anybody that knows me knows I have werewolf rotis and all this universities characters and Buddy Hardwood is someone who basically won't get out of my life. He's just one of those thrusters.

I don't know if you know that term of thirsty, just he just wants to be in the limelight. You know, he has no talent. He has no kind of anything. But he just always trying to be backstage that guy, you know.

And so anyway, I made a monkey memory about him. And I made another one about a character of mine named Cowboy and Cowboy's been a character mine since I was 14 years old. He was kind of like my claim to fame in high school. Everybody was like, you know, talking about cowboy.

It was like an underground film in high school. You know, these all these cowboy films I'd make. So I just, you know, I started doing that. And when I put those out, people loved it, especially the werewolf King thing.

I think it was just around the time it just worked out. It was perfect time. People loved it. People thought it was hilarious and all this stuff.

And somebody during that time messaged me and said, Hey, Matt, he said, you know, at the end of the day, he said, I don't even know who this guy was either or I can't remember who was. But he said, you know, at the end of the day, you're just an entertainer. And man, when he said that, it just clicked in my mind. I said, you know, this guy's got it.

And it started making me think back to like when I was a kid. And I dress up as somebody and come downstairs and put on a show for my mom and my granddad, my uncle, you know, and do all these skits and stuff. And so I just, you know, somewhere along the way, I just started thinking, I started watching George Jones show and going back and watching Johnny Carson and all these late night shows. I mean, I mean, all this stuff, you know, he haul anything, anything, he kind of arsenal hall and just studied it, you know, and I thought, man, here's what I'm going to do.

I'm going to have a live stream variety show. And I'm going to make it, try to try to make it a lot of different skits and stuff, but focus around a North Carolina musician who writes original music or in some of the early episodes, I tried to feature some Sidemen that were had been around that had played with so many famous people, but just never had a really sit down interview, you know, that would be and that's my hope with the Friday Night Gamble is that it is a lot of fun and it's a lot of skits and stuff that a lot of the idea to is to preserve candid interviews that are, well, excuse me, uncanned interviews, interviews that aren't canned that aren't like, Hey, you have to, you can't do this, you can't do this, you can't say that on our area. So, so we just kind of like, we'd come upstairs and to the attic, which is basically now a studio, as where I'm sitting right now, and it's basically like a little sound stage and everything is plug and played and wired up and there's lights and all kinds of stuff. And from start to finish, it's I just want to run it like a real show, you know, from the time that you don't start, it comes off seven o'clock on my Facebook page and then I archiving on my YouTube channel, which is just Matt Walsh music as the handle for that.

But, you know, I wanted it to run like a real show. I want to want to come on on time at seven o'clock when I think it's seven o'clock, you better believe we're gonna be on and Tony, Tony, press wood, my film making friend is the MC. So seven o'clock hits, you're going to hear it's time for the Friday night, you know, so and we run it like that from start to finish and and try to do the production right, lighting everything sound. And it's just grown, man, over we did 33 episodes the first and hour on our second season, we're into four, the fourth episode coming up.

And it's just grown, it started out with me and my drummer, Raymond Brooks. And from that, you know, I just tried to keep bringing on more outlandish, crazy stuff, you know, we'd have the dance party and that turned into the werewolf dance party. And then we had, you know, Ricky Dickerman on. And now we have a game show called High Rollers, where we give out $25 cash every week to someone that can answer, we got a wheel we spin, you know, it's like Wheel of Fortune, things.

It's just become, you know, it's been a blessing for me in so many ways, because I'm talking about going back up and down the road constantly and the perpetual gigging. You just, I just never, you know, I've always been aware of all these folks, especially in the Asheville area, some of the effects of Ashley Heath, Drew Burgess, people down here in my neck of the woods, Drew Faust, Ella Patrick, I mean, there's so many people, mom and molasses, but you know, I just, I just never had the time to really investigate their music, to be honest, guilty guilty, guilty of charge there. But, and I never had a chance to get to know these people, but it really, the show has been such a cool thing for me, because I get to, you know, play someone's original music. To me, I feel like it's like being G Smith, you know, I get to match guitar up to the sound that they're doing, you know, learning music, I try to learn it and do my best to really support them and make them feel like they have a real foundation to lay upon, you know, and take the stuff seriously, try to make them shine.

And it's just fascinating, man, the wealth of talent in the state, because, I mean, you look at people that are really hot right now, and a lot of these genres of songwriting, you know, be like Sir Ifearell and Charlie Crockett, some of these names like that, you know, I know of, I mean, these cats that come on the show, they're just as good, they really are, you know, they may not have been around as long or been had opportunities to grow with some of these cats have, but you know. The show itself reminds me kind of a couple of things, it reminds me of like the tonight, the mid-70s Tonight Show, when like, you know, you always think of like Johnny Carson being on like Bert Reynolds, and them getting kind of, you know, a little bit silly and stuff like that. But also from musical point of view, I don't know if you ever saw like the original MTV Unplugged, and for like first year, it wasn't just a band coming on and playing Unplugged, there was a guy who hosted it. And it was usually just like one of the person would come on and they would play together or something like that.

And it was, you know, a little more give and take versus hey, here's just a acoustic concert for everybody. Just a bunch of, yeah. Yes, a little bit like that, but then a little bit of the comedy, you know, just people, you know, sometimes they're your friends and sometimes there are people you don't know, but then they're, you know, also entertaining. So, yeah, very interesting stuff.

And the thing is, you know, I just, my thing from the get-go is I just wanted, I've always just wanted to be a place where people can come and have a good time. You know, there's bars that I've played at when I'm closed down recently. We made actually, we made a documentary about it over the summer and Tony did called Bourbon Street in Hickory. But you know, some places, you know, as a musician, when I go to them, you know, there's some places you go where you just know that you're not going to have a problem.

You know, it's just you're going to have a good time. The people are good folks, everybody's trying to get along, you know, it's a welcoming. So that's my big thing with the Friday again. Well, I just want it to be a place where people can actually go on Facebook or whatever and feel like, hey, you're you're wanted here.

Yeah, you know, you can have a good time. You can sit back. Hopefully I think and I think I've gotten this from a lot of the audience that watch the people tell me the most common thing they say, I feel like I'm there with y'all. And I feel like I'm there with the musician.

And the other thing I get is that, hey, I watch the show to find out, to come across new musicians because a lot of them tell me and a lot of them are older folks too, you know, they're in their 50s and 60s and they don't know how to find a lot of the times. I mean, they're not they're not actively in a music scene to where they but they hear, you know, something that comes on the show. And next thing you know, I mean, we've had people that come on the show and like as soon as they come off, I've had people email me from from places I've played and they're like, well, how do we get a hold of this person to book him for a gig? So it's been a really just a really fantastic thing.

And and and and honestly, you know, a lot of it wasn't I can't sit here and claim that this was my idea was to get people within you are a platform, but I have a lot of musicians that came up here really like, you know, poured their heart out to me and say, hey, man, you know, you're really giving people a platform to play, you know, when we can't. So it's just kind of crazy that I never thought of that. But it wasn't my intention. I just want to have a funny, you know, feel good varieties.

Yeah. And it's also I mean, it's also a way for them to because there might be people who are either self-conscious about doing their own live stream or just have already done it and don't want to just do the same thing over and over. Can you do it? Can you do it?

Can you do it? That song, I think that song is what it was written as a musician or as an artist. And or four artists or four musicians because it's definitely something I don't think I think that anybody that's not one of those things, I'm sure they've had the feelings that are expressed in that song, but it's definitely speaks to someone that's, I guess, struggling to get their art known or struggling to be heard. All the things that you go through, all the, you know, the long nights, pandas driving around all day, you know, and it was just like I said, driving around all day, counting the dues you have to pay, you know, that you pay.

So it's always, I guess, you know, the door is just a metaphor for finding that, you know, there's lots of doors, I guess, as artists, it goes back to the same yes to everything. You know, you say yes to this door and you walk through it and it may be the door that, you know, takes you somewhere great and it may be that thing that they sometimes put on you, you know, when you're young and you're doing this and they say, Hey kid, you can get a lot exposure for this. And then it turns out that, you know, you got like a hot dog and, you know, a lot of people walk by and they don't even get you, you know, like being on a podcast. Well, I like the podcast a lot easier than sitting out in the heat, but, but no, it's just, it's just looking for that, you know, I really believe that a lot of it is hard work and dedication and, but it's a lot of it's, you know, making good decisions and good choices and being business minded, but there's always no matter how much you do, there's always going to be that trying to find that door.

And I think there's, I think there's a lot of doors. I mean, you know, people measure success on in different ways and everybody, you know, it's different for everyone, you know, but I think, I think we're always, you know, struggling to find that door that's going to, for me at least, I'm trying to find a door that's going to make me like, you know, $30 million. I mean, because honestly, I don't know if I don't know if other musicians are like this, but I mean, really, I mean, I want to make a lot of money. I mean, I always try to make a lot of money, but I mean, I want to make millions of dollars.

I want to be the point where I don't have to, where I don't have to, I can just go play for two months out of the year in the next, you know, 10, I can just sit around and make music with all my music friends and then go make films, all my, you know, film friends and all that kind of stuff. But, you know, so just trying to find the door to, you know, I think all these, I think every, I think every musician and artist and person actor, we're all trying to find that door to walk through. And that's all just about, you know, the process of frustration and failure and success too, you know, all of it. It's a tragedy, why do you think everything?

Everything, the teaching, I want you, you can ruin me. It's not the best thing to happen, but come on, let's keep on destroying, find instructions, raise your hand, get on the knees, it's so old, why am I thinking? It's nothing at all, I want you, you can ruin me. 20 times over, I won't get enough, connect the screens, better be fair.

I'm only you, you can ruin me. You know, I wrote that one too before things are like they are today. I just, you know, I think a lot of that was just like opening Facebook, you know, to post something, because I don't really look at Facebook. You probably know that through our conversations.

I'm kind of ignorant to some of that stuff about what's going on and stuff. But I'll talk your show a couple times, you know, and that's, you know, just happen to find it and then join the group and everything. But when I think, you know, when I open Facebook or any social media things, it's pretty self-serving on just promoting. That's great.

And anybody out there listening to this, don't let anybody ever guilt you for self-promotion because some people frown on that, but you know, nobody's going to promote you like yourself. But so anyway, you know, a lot of that song was just opening Facebook and just seeing people just being so hateful to each other and just, you know, it goes back to, I don't understand why people subscribe so much to politicians and worship politicians. And because in my mind, you know, these people don't give a flying, you know, what about us? And I'm just not a political guy in the first place.

Like I said, I just stay my own realm kind of. It's a lot more satisfying. And I don't think it's going to infect my soul enough to where I get like cancer and early age negativity. But it just, you know, just came from the idea.

It doesn't make you happier. I mean, do you want to tear each other down and be hateful to each other? Does that make you happier? Does it make you feel good?

Does it make you feel bad? You know, so it's just a way to kind of ask folks, you know, I guess, or folks that behave that way, you know, what would you rather, you know, how would you like things to be? And it's definitely no political song or anything like that. But it's definitely geared towards more social ideas.

Yeah, it's a constant song. Yeah. Yeah, to where you know, it's so easy just to treat people right. Yeah.

You know, there's a, you know, there's a, there's a, I don't know what you would call her, but she's, she's author and there's a, there's a thing, it's almost like a joke now where there's this woman who she talks about like cleaning things out of your house, like getting rid of junk in your house. And her, her like tagline is you had to, you're supposed to look at something and say, does this bring me joy? And if it doesn't bring you joy, you get rid of it. And people don't really have like kind of latched onto that and people do that.

If you don't really think about that about the things they do, like, does this thing I do, does this way I act to bring me joy? Or does it not? If it doesn't, I mean, you should think about getting rid of that, you know, just kind of, you know, that's not my hope. I don't, you know, I'm definitely not someone that I learned a long time ago that you don't go, you know, you don't, you can't change people and there's no reason to necessarily change them, you know, because, but you definitely can't do it on Facebook.

Right. Yeah. People don't go on Facebook to have their minds changed. They're not going to.

Exactly. But same at the same time, you know, it makes me kind of hope, not hope, but just kind of, I guess kind of, BB King always heard, had way of saying things to people that were out of line. And I'm not saying that first, but this goes back to the, BB King always had a really polite way of bringing somebody down to earth. But he always doing a polite way in a real classy way.

You never insult him, you know. So I think that's just goes along the same lines. It just kind of make you make you just pay man, step back and just, you know, take a breath. Yeah.

Check out what you're doing here. And all this shit, all this stuff that you're spreading so bad, you know. So, I'm basically what that was about. All right.

I want to thank Matt for being on the show. Always great to have him on just a delight to talk to. Make sure to check out his YouTube channel. As I mentioned before, a lot of cool stuff up there, especially the stories he tells us.

Those are really cool. Also, this is going to be an extended episode because we did have such a good time talking that I want to get our closing song up at some time before the hour ends. So the rest of the interview is going to be after that. Don't forget to look for Matt's music at mattwalshmusic.com and also don't forget to follow him on Instagram and Facebook, but especially on YouTube.

Basically, if you follow him on Instagram and Facebook, he's just telling you to follow him on YouTube anyway. So it all works out. Don't forget to follow the podcast, wherever you get your podcast. I forgot what this was for a second.

Just search wnc original music wherever you get your podcast. Follow on Facebook and Instagram. Really, you can just Google wnc original music and it'll point in the right direction in general. And finally to the closing song, which I referenced before, closing song this week comes from Iris Marlow.

Iris is actually returning to the show. She was nice enough to send another song to play here. Iris is a folk singer songwriter from Chicago, Illinois. Make sure to check the show notes for her music or you can search Iris Marlow on Spotify or all the streaming services.

She also has a great YouTube channel. This song is called Cowboy Chords and it's the second single from Iris's upcoming album, which should be out this year. Here's Iris Marlow. Have a good week.

In the morning, you got me singing out of key. You do to me. Thank you back with the show. What you know, moms are changing.

No matter what I'm saying. So I'll learn to walk for me. You got me singing cowboy chords. I'm singing out of key.

You do to me. So I'll just keep singing. That's promised here is the extended interview with Matt Walsh. All right.

It's been a fun thing. We're going to play a game here. I got a lot of game. This is to win a...

I told you, I'm going to tell you that you... That's how you were going to do something like this. I don't think I did. I love surprise.

I love the stuff I don't want to show. I don't tell Tony P about which drives it crazy. I'm always throwing stuff off. This is a new thing though.

So you're the first one to play. Then I'm going to hit you up for the prize for next time. The prize for this week is this week's prize is for a hustle soul's teacher, the band hustle souls. Are you familiar with them?

They're fantastic. They're kind of like jazz. I need to probably have them on the show probably. Yeah.

The game is I'm going to name six bands. You have to name two people, two of the members of each band. Of each six. Right.

So if I say the Beatles, I'm not going to say the Beatles, but you could say John Lennon, Paul McCartney. Then you win. And you only have to get four out of the six. This is the part where I'm going to like absolutely bomb.

And these are... They're going to be like, you're not going to be like, you're not going to be talking about musical history and all that stuff. Right. But these are also, yeah, just to make it hard.

This might be easy for some people, but I'm going to pick fairly mainstream bands, but no blues bands. So the first one is, this would be easy. Van Halen. Oh, Eddie Van Halen.

You want Sammy Hagar? You want David Lee? Oh, yeah. There you go.

Good. Okay. All right. The police.

Oh, Stuart Copeland. Oh my God. Sting. Wow.

You want to go for three? Andy Summers. There you go. All right.

Yeah. All right. I love those guys. I mean, this is going to be quick.

NWA. Ice Cube and Dr. Dre. Yeah.

Dang. I tell you, I was going to make this harder. I mean, I'm going to hit pop man. Well, certainly hit pop.

No, Uncle Tupelo. I think I've done a bill with them. Really? I have no idea.

You stumped me there. Oh, say Uncle... Okay. Yes.

Uncle Tupelo became Wilco and or split up and then became Wilco and... I never got into Wilco. Absolutely nothing about Wilco. That's all right.

That's all right. You still don't have to get one. The rest of them. Red Hot Chili Peppers.

Oh, Flea Anthony Quitas. You got it? What's the guy? What's the drummer's name?

Oh, I don't know. Watch him interview Ginger Baker. Yeah. And that's the funny.

Chad Smith, right? I don't know. If there were anything... I didn't know that you...

Chad Smith's the drunk. I was just going to look it up. Yeah. But if you haven't seen it, he doesn't interview with Ginger Baker.

That's fantastic. I mean, everything, you know, everything, every interview with... They had that movie about Ginger Baker. was called as a documentary.

Anyway, everything. It's so funny. Chad Smith's like, Hey man, don't you remember like back in 19, such as such? We did that thing.

And you were up there on the thing, and Ginger sitting back in a recliner, smoking a cigarette. He's like, no! All right. You want to t-shirt?

I'll let him know. Got to lay you right out to you. Congratulations. Fantastic, man.

That's the second thing I've ever wanted in my life. Oh, really? Yes, it is probably. Congratulations.

I'm not... The only other thing I wanted in my life, I went when 2000, I went to Tulsa, Oklahoma. I got the wild idea of mood with you, Docanza's when I was young. And for about six years, I wrote the intro down to Tulsa, Oklahoma.

And participated in this blues challenge that went to this international blues challenge in Memphis. They had every year still, but I beat out 12 bands by myself with an acoustic guitar. Oh, wow. I think two or three of them had horn sections.

Uh-huh. And I had never won anything in my life. I never played sports, so I never met trophy. How old were you?

Twenty-two, twenty-three. And they said my name, it was just like... I remember, I couldn't hear anything like, you know? It was like dreamy.

And then they come with this big trophy. I still got it over here in the other room. So yes, it's fantastic. Oh, that sounds weird a lot of stuff.

Well, you kind of just did Ginger Baker, but do you have any musical impressions that you do? Yeah, I got one. All right. Man, he probably killed me for it, too.

I don't even know if I should do it. Okay. He probably won't hear it, but my... One of my dearest friends in the world is Mookie Brill.

And if anybody knows Mookie, he's an Italian guy. He lived in... He's from New York. He'd be family thanks from New York.

But he's just a fantastic stand-up bass player. And he's probably never heard me do it, but yeah, I can do a fantastic Mookie Brill imitation. And then it just goes like this, you know? It's like running out of bounds.

It's like, you know, Willie. And a pawn top. And we're gonna conceal. Well, there you go.

Very good. I don't know. No, I don't mean no harm by Mookie. You can hear this.

You're one of my favorite people in the world. Can we get... Can you get us a video of Mookie talking? Yeah, he was on the...

I think he was on the fourth episode of the Friday night. Oh, okay. Yeah, yeah. Oh, he did a...

Splice of Clippin' There. Yeah, he did some great country songs, man. And he did a couple of blues numbers. I mean, he knows more country songs than you can shake a stick.

Right here. Let me see if I can find him talking. I was a big deal of that a lot of listeners. I can listen to them.

I don't even like to listen to them. Most stuff, too. You know, I was listening to that. I was listening to that.

I was listening to that too. Yeah. Yeah, that was very good. All right.

He's fantastic, man. He has a fantastic... I mean, he won... You know, he won the...

They used to call it the Handy Blues Award, but I think they caught a camera with it. I think they caught the Blues Foundation. He won that thing so many times for bass that they basically just had to give it to somebody else. I mean, he is a fantastic, fantastic musician, fantastic guy.

Do you have a music lesson or a quick music lesson or tip you can give to people? You've given them like 30 tips so far, I think. Yeah, I don't know. Yeah.

Yeah. Mm. You know, I would say this. Well, yeah, I tell you what, this day and age, you know, here's the thing I find about musicians, this day and age.

They aren't backed by a big label or don't have a huge name. It's like, you know, there are all these things that do yourself musician. I get them too. I mean, I've signed up to them and I don't read them anymore.

Except to laugh at them, basically. But, you know, they give all this advice to all these musicians and they... You know, everybody follows it. I see what people do and stuff, you know, young folks, especially.

And it's like, in my mind, it goes back to being stubborn and wanting to do things totally different than everybody else. Because really, that's kind of what has got me through to a degree too. And it's the theory that, hey, if y'all all read the same damn thing, y'all all do the same damn thing, y'all will definitely be doing the same damn thing. So my thing is, if you're young, think outside the box, listen to what people tell you.

Don't just blow them off, but evaluate that. And don't think just... Here's the biggest one. Here's the biggest one right here.

Just because somebody you respect and you think it's cool or is it's a great musician, just because something works for them or they tell you to do something or they tell you that this kind of music is what you're not should be listening to or you got to do it this way, you got to be up here. Don't get hung up on that. Take what you can from them and learn, but don't let them dictate what you're going to do. That's a huge mistake.

I think it is. And definitely another big one, I think, is don't play for other musicians. Don't care what they think. I mean, be respectful to people.

And if they get in what you like and on it, but don't say, well, oh, that guy's so good. We got to play better than them. My thing is play for your audience, play for people because what I've experienced from a lot of musicians is musicians may act like they like each other, but a lot of times there's a lot of competition and there's a lot of, we don't always act like that. But if you have to be truthful, music is a highly competitive thing.

So you can't be playing for other musicians. You have to play for what people, what your audience is. And I guess that's what I always say. The biggest blessing for me, and I think it's just because I'm so into what I am in my own world.

You know what I mean? Is that I just do what makes me happy. I just follow my own little path and just shut the world out most of the time. But it produces great results.

I mean, it's why I don't get hung up in all the noise. I just call it the noise. And I just worry about what I'm doing. I try to intentionally try to look at what's going on, but I don't let it affect me as much or inform what I do.

I'm still that guy that goes back to the old music, tries to find something to make new out of that. And I just don't worry about what other people, whatever musicians think. And a lot of the time, especially as I get further down the road, I mean, a lot of times I'm guilty of not caring about the audience things. To me, if I find something that's good and if it interests me, I'm probably going to go down that road.

And that might work and that might not. But if it does, it does. I heard someone once I forget who it was, but he said, the audience and your fans even, he was talking about your face. His fans don't know they're tired of what you're doing until you've done it three times too many times.

So yeah, they might think they want to hear those songs again. They might think they want to hear your greatest hits. But they don't realize, once they realize they're tired of it, they're realizing they have been tired of it for a while. Which goes back to the reason I think, well, I don't want to play live music all the time.

That's just not my bag. It's because every time I go out and play, I want it to be different. I want, I mean, right down to the performance, right down to, you know what I mean? I just don't want it to ever be the same.

And I think you can't do that if you're playing every damn, you know, four nights a week. It's just so hard to tailor that. You know, whereas, you know, if you did two months out of the year, well, they can go say they saw this show, but it was completely different from what happened over here. You know, kind of thing.

That's a big one. That's definitely a big one.