Highway 322; Danny O'Keefe

This is Jesse Winchester and you're listening to KGO new Boulder County Public Radio at eighty eight point five FM. I just start by asking if you were born up in the Pacific Northwest. Yeah I am a north Westerner. I was born in Spokane and grew up in a little town called an ad Gene eventually although I spent a couple years in Minnesota. I then she came back to Seattle and. For the last. About 20 years I've sort of. Lived part of the time in Hollywood and the rest of time in the northwest. How did you happen to be a musician become a musician. Well as soon as a lot of influence from my father my father had been a college Dixieland style drummer in his youth and it was a real. Fanatical jazz collector everything up to about 1938.

So I heard a lot of music. And I thought it was very much into music. I tried to get me to play the clarinet saxophone which I did in the high school. Band but it was boring tedious to say the least. And I had always wanted to be a guitar player. Ever since. You know. When I was six years old you know any memory of what provoked that. Probably right. Gene Autry. OK you know the cowboy singers. But that was. It's interesting that Western and country western is so. Well accepted now but people sort of don't realize in 100 50. It was it was sort of anathema to a lot of the middle class and all that. But if you want to play guitar you were an Arkia gnocchi and we don't talk about it. Did you have you picked it up on radio or from the Saturday morning movies or anything like that. Well I was I was a cowboy kid. OK. You know I mean those Western

serials 10 o'clock in the morning and cartoons are a test of wills and you know so take us a few years further along how did you develop with your guitar and actually kind of out of desperation that I had wanted to. I was going through trying to go through college and working and living in a boarding house and just you know having a lot of depression as a result of it. OK. And the only thing I could think of to relieve it was to to start to play and so I bought a guy's archtop guitar and just played until my fingers are blistered and the only thing I knew I knew I had to try and play something that I was reasonably familiar with so I got Jerry Silverman's book of the blues out of the library that I knew would lose where and how they ought to sound. And I just started you know and where had you gotten exposed to the blues before that then. Oh my father collected those kind of records at the jazz blues like yeah OK all right. Yeah he had a lot of Lead Belly and a lot of and I would say a lot of Bessie Smith but

Bessie Smith and some Iranian Mamie Smith was in that. Strange and it didn't have much of Billie Holiday and and those small combo players she still was. You like to be jazz. I never got into swing. So you were then transposing that stuff for the guitar with the help of Jerry Silverman's book and. Yeah OK. And I having no real idea how did those songs sound and also that the Alan Lomax books I didn't read very well. And so I just would take the chords and learn and kind of make up my own versions and you know gradually I started writing songs. Terrific. When did you start performing in public. 63 I guess I was playing in Minneapolis coffeehouses. And Dylan had been playing there and had gone to New York and had become almost an instant legend doing certainly to the Minneapolis scene he was the first guy that had really made it out of there. And so I went to New York a village and

hitchhiked across the country from Minnesota and. Tried to play in the basket houses. Which you know would be comic if it wasn't so poignantly. I didn't make any money of course and didn't really know enough to do it but it was a good education. You know I never doing a hoot in Grease Folk City where that and the old folk city. And. You know I mean this is a 19 year old 20 year old kid. Playing trying to play blues without really having a good command of the guitar and singing things like Strange Fruit right. Well they were all that way. I mean I mean I wouldn't touch strange strange fruit for anything you know it's not a song that I think of what you can sing that. So did you run run across the a bunch of the collections of the venerable ex and the Eric Anderson period or well not Eric Anderson I didn't know him well now but it's not from that period. Actually Dave Van Ronk was very kind to me he was a very gracious guy

and gave me good advice and you know actually invited me to a party and all I mean I was. I mean I was in awe of him because I didn't know about Reverend Gary Davis and some of the other pickers at that point and he was the closest guy that really understood those styles. So did you click in New York at all yourself. That whole you know I was a joke. Cabinet How long did you stay. About a month and a half. Not even that long. Little less than a month actually. What I had was a friend of mine had moved out of her apartment. And I had she had had to pay them a month. At the. End anyway so the apartment was free from it so she let me stay there. It was my first encounter with cockroaches and it was it was a great you get at the name for you could get to like you'd be walking all over cockroaches and turn the light on and the porcelain would be Brown for roaches. So then did you go back to Minnesota or the West Coast or. I went back to Minnesota for a little while and

then went out to. When achey again and that and tried to go to school. Another year and it just I mean finally my professor just told me that. If you want to write you basically know what you need to know to write. There aren't any classes and you know what it is you want to do and there certainly aren't any degrees. In songwriting. You know the check is the degree you get in songwriting or their play I suppose. Yeah and then I played in the Seattle scene. Which had a lot of good good players. Could you run run by someone was Fahy there then or no. I only know John Fay from. The Washington DC area. I don't remember him being an OK Seattle just out of curiosity who were some of the players you were hanging out with playing with them. Well I don't think there are any very few of them are people that are known not in the folk scene but the phrases like Oreo was in a band called the

dynamics and I would occasionally work for the guy that hired them. A lot of good. Rhythm and Blues kind of rock n roll bands there at that time the Wailers the original whalers without Bob Marley. They had talk whenever a big Seattle ban actually had the first. One of the first version of Louie Louie but they had the version of Louie Louie that everybody stole from Richard Berry had the first version. But his version really didn't sound much like. The Louie Louie you think of now. And I was an anthem there in the folk players. I think the guy's name that's it was Roberts and I think his first name was Bruce Roberts. There's a Bruce in a Rick Roberts and I always going to confuse but he's the guy that wrote Hey Joe and you know Valenti copyrighted it on him. I never heard that complete story I mean I would be loath to do you know what I did. But

Hendrix gave I believe it was Bruce Roberts credit on his album and eventually got the copyright in his name. But I was a period of time of people in copyright their stuff you know I just you just played and it was yours and you didn't think that anyone would steal from you that way. So from there on you were going around in clubs up in the and out West and and playing in in organ trio's as well in on anything that I could get away with you know. Did you have to have a day job at the same time or where you live and get well. I was living on my music I didn't get a my first recording contract was a local Seattle. Label called Jordan. And I think that's. Late 66 or 67. And I mean it wasn't much of I mean it was just recording singles here and there and I had a little bit of airplay but not much. You know. But I was trying to be you know trying to play rock n roll. I said OK this is it right right about the time we were getting ready to write good time Charlie D'Agata has written

67 60 70 times. As one of the songs it just spilled out. And it was written in. In less than half an hour and then kind of got pared down over a couple days. You probably had you know. Several more verses in it what it was I mean it now is in it are in now. One of the great gifts. What were you thinking of at the time you composed it was good time Charlie. Well there's a lot of different plays on it. There was a James Baldwin book at the time called Blues for Mr. Charlie and there's a lot of references and old blues songs about Mr. Charlie. C H O L L Y. And as a white man as the boss the oppressor and also as a good friend of mine who had been a. Dealer but he was a he was a really beloved guy. But he'd been a meth a green dealer says before coke. And had a speed heart attack that put him in the hospital he was 33 and his wife left him and. You know his life sort of

collapsed in one fell swoop there and it was and I was only I don't know 20 or 25 or something. Not even that I guess they were 24. It was just one of those. Things that just kind of stuck with you that you realize that you realize my mortality. You know it's you can 33 is that the age of suicides and the age of transition. You know Christ dies at 33 and there's 33 degrees in the Masons and you know 33 is it. Is an important year. All right. So then how did good time Charlie break whom did you take it to for a recording. Well strangely enough I was like I said before I was recording for that small label. And the guy had a publishing contract on it on me. It's probably the most operative word there. And he took it around or Sen out to a lot of people in and strangely enough I mean you know Glen Campbell had

first shot at that song and a lot of people you remember in one thousand sixty eight. Any reference to drugs. Was really anathema. I mean you just couldn't get him on the air you got him on the air and such veiled ways Mello Yello I think you know I don't know when that actually maybe that 68 I remember that paranoia that I mean Puff the Magic Dragon was supposed to be a drug song right and in some places like I think New York City. But it you know I had to line it got my pills to ease the pain in that sense it was out of biographical because I've been in a really severe motorcycle accident where. My leg had been just shattered into small pieces and bone grafts and everything were necessary to put it back together. So I had kind of gotten certainly not addicted but very dependent on painkillers. Discuss it with anybody who's had that severe break it's a lot of ache for several years afterwards just get your muscles to. Come back into play again. So I was kind of crippled for a while.

But we were what were you asking me I'd like OK we were about I was asking you how it eventually got recorded. Let me just give you a little reminiscence of my own. I was in Boston at the time and this periodical called the Boston after dark so I mean it was the case with some of these records to review and I got this record called O'Keefe by Danny O'Keefe and I thought who it's on signpost records I thought what. And I listen to good time Charlies got the blues and I just went Wow. But this was 72 hours after he wrote it. So it's actually interesting story it's one of those kind of showbiz stories that nobody can believe that in fact do happen. And good friend of mine we were actually trying to put a band together called Gypsy because it seemed like the perfect name in 1000. 68 or 69. That band called Gypsy. And he had been in a band called The Daily flash which. Was. A well respected West Coast band but their records didn't sell well they were like the Byrds in

a sense they cut several Dylan songs and very good band kind of one of the first bands to introduce jazz changes into rock. Kind of head of their time in a way. And he had a manager they had a manager called by the name of Charlie green and green stone had managed Sonny and Cher and grab an act when he was done as Dr. John Fay's and. Oh the Buffalo Springfield and Iron Butterfly. They were big time they were the first rock n roll. Music People. I think even before Phil Spector that got them in they had a life cover or life story in Life magazine which was at that point that was the zenith you know in a way out of print and. Charlie Green liked the song good time Charlie and he you know would tell people that it was about him of course it had nothing to do with him but so he was one night we were just sitting in his office and. You know he was a true gonif but he was one of those kind of guys

that you couldn't help but love him you knew he was going to steal everything you had. But you still like him no matter what. You know I still like him to this day you know. And he called up Ahmet Ertegun said you got to hear this on this kid. This kid wrote a song for me. It's great. And so I he had me take my guitar out of the case and played good time Charlie and steel guitar into the phone to Ahmet Ertegun and the next day Ahmet came over with David Geffen was with him and David Geffen was just an agent at me at that point. Price EMI came in or which one comes first in the U.S. anyway. And I think David at that point was contemplating his own label but hadn't and he was slowly working around and he Naaman were allies at that point which I'm sure they still are. And they came to listen to us and they thought that we were a band but really it was just me. And we didn't have a drummer. We had a guy from paternity of man Richard Richie

Hayward who later was in Little Feet who agreed to to be in the band if we got a deal. He got the record with us and OK do a tour with us if we got a deal for him but we had to make some money for him to get it. So we didn't really even have a band. And at that point I gave Charlie some money we never knew how much we saw about three or five hundred dollars out of whatever Charlie got out of Ahmet. And our deal was that we wanted 10 grand to get equipment in a van so that we could travel we didn't have anything. We were we were stealing equipment. I was a couple members of the band were stealing equipment to play and a couple of had. One of the particular had a bad drug problem and couldn't get it together. And so I came back to Seattle and called Ahmed and he said well send me a tape of what you got. And ah listen to it and I'll get back to it and of course he didn't get back to me so I called him two weeks later and he said well you guys in our department didn't

hear much on the tape today like he said that they heard two songs that were pretty good. I suggest it was good time Charlie and steel guitar the same songs they played over the radio or the telephone. He would ask somebody in the room and he said Yeah that's right. So what do you want to do when I make a record. He said OK we'll go to Muscle Shoals or make a record. So well I got to have some money so he gave me some money. Actually I thought he was it was a very generous man he probably got me cheap in some ways because I didn't know what my value was but he was very fair with me. He bought my publishing from the man who owned it before and gave me half of it back gratis I mean that's one of the things that is actually sort of. Saved my butt over the years because my records are not sold with a few exceptions. So much Muscle Shoals and cut a record with that great section that still is down there at the Muscle Shoals studio because they did it I mean the day that I came in. RB Greaves it just cut take a letter Maria and Solomon Burke was just finishing

up his sessions and I don't know who was coming in the next couple days and it did. I mean they just were spit no out there. Good Lord yeah it was a. Great scene. I mean. It has I mean it's too bad that nobody's ever going to sit down in front of a microphone a tape recorder and just talk about the stories that you know as we all the Ray Charles stories Drifters coasters. You know I mean everybody on down the line he's known him all. But he's one of the one of the great arc collectors in America and he and his brother ness we have some of those favorite Marguerite's that are these they had a moment of they still do. So anyway the record was released then on what label. That first one was released on cotillion. It probably was a mistake to have it produce it although he has a great deal of magnetism and he really understands music in his own way. Very well. Very powerful. Magnetic guy but he's the president of a large companies getting phone calls all the time

so try to get enough attention. To your own project was very difficult. And a guy wind up finishing it up was are you Martin. And that was a good relationship and we hit it off very well and he did the next record and on that first record we cut a version of good time Charlie. But it wasn't right. If you ever hear it you'll see exactly why. It's not a bad version. But it's not a hit personally. So the one that made the charge was the version on the O'Keefe LP and we knew that it was a hit and so we just went back in and cut it right. And went to Memphis in American Studios which is Chips Moman studios which was another one of those kind of. Great moments in recording you know that everybody from Atlantic to a lot of other labels ran through there because if you didn't have your own band you were really belying it on good studio sections and there were only a few of those and not too many of them in it. In Hollywood strangely enough.

So we got that record and kind of. We had a couple different versions of good time Charlie which we kind of edited to get the hit version of it. You know taking a solo out or making the sort of pared down so it's just a turnaround instead of a full 12 bars. And it didn't start to get airplay right away. Yes it did. That was the one song. That I thought a couple other songs that I've known were hits that. Didn't get cut as hits or didn't get didn't become hits there's a song on the last record the day today called along for the ride. But I still think it's a hit. I don't think that I've cut it quite right although I got a lot of airplay up a couple of years ago. And John Denver got. Pretty good airplay on it. He had a country charted country record with it but it's on his last album for RCA. But good time Charlie was a song that I knew was a hit and you could see dollar signs go off and

record people's eyes. They started to know about the rest of it. And you would think the record guys are very cautious but in fact they're extremely cautious. And they might buy 10 of the same thing but. They sometimes have a hard time buying 10 different completely different things. Was it released as a single as well. Yes OK it was the first single off the record and actually the only single part the problem with that label was called signpost and it was run by Manny Marti mogul. And Artie mogul was. It a very interesting fellow who had been. Tommy Dorsey's band boy. Roadie when Sinatra was in the band and when he really I mean he came from a long ways back and knew everything in the business and he had at one point been president of Capitol Records and I think that he thought he should have been able to get a better position and more money out of Ahmet who would give it to him and I got in an argument and Ahmet stiffed his label and just told him to walk. Unfortunately or

fortunately depending on how you think of it. I was I was under contract to Atlantic I was only being released to sign post they didn't own the contract on me so my contract went back to Atlantic. But the record was deleted from the catalogue. They never pressed any more. So I had a Top 10 hit that the single sold at least three quarters of a million records. I mean that's many I know about. The album sold probably. 10 percent of that because after the initial pressing it was gone. And it didn't promote it. The road was the second song that came off it and they wouldn't they didn't put anything into it their attitude was Well we kicked the dirt on this one because we're not going to do anything to make arty mogul any money on this. And so we're going to cut another record with you which that next record was really stories which that was where Atlantic with Ari Martin Martin produced. And that's that. And the day today I think are the two

best. Most organized material best thought out albums that I've made. And a lot of people have covered good time Charlie since it came out everything really I think there's a couple singing dogs down in Nashville that are trying to get a version of it going now. But I mean yeah everybody. I don't even know. All of the different versions but I know that there's Wayland Jennings who actually did has my favorite version of it because he arranged it for himself rather than taking my burden which I was like to see what someone else would do with a song without just copying the way one year to go Willie cut at Leon Russell Cab Calloway still does it in his show. God bless him. Nat Stuckey had a small hit with it. Charlie McCoy had an instrumental album called good time Charlie which didn't win the Oscar winning the Oscar. The enemy are a grammy yet but was nominated for it as

was Willie's city of New Orleans was nominated for a Grammy I think won enough was the album that had good time Charlie so enormous was the single. Who else I mean Charlie Rich. Seems to me I heard all this. Oh I always got it on an album called good times which is my kind of luck which is like having no luck at all is the only album that they didn't they didn't really release immediately after his death like every one of those albums sold another million records. They didn't put out good times because it didn't ever hit but it had like Kris Kristofferson for the good times and all those kind of songs that was a theme album and actually good album I liked a lot of the stuff and I didn't think that he was slapping through it which he did on a lot of his later albums. I'm amazed you can still smile about it as a matter of fact I seem to remember going to the lab and I'm laughing to keep from crying.

I seem to remember a story about your having heard it on television once or something always you know gentle neighbors. Yeah Gomer Pyle Oh my lord. Actually a couple of different times on television which is really. I mean wailing as well as a wailing on the. I guess was with something like the midnight special and I just played a gig in Cambridge. There was just kind of. It wasn't any fun. It was just being on the road working. And came back to the motel. And turned on the television and there was wailing singing Get down Charlie and it was just like great. Everything's OK but somebody called me up one night and I wasn't too long after the time trial was a hit so I'd have to be 72 or 73 somewhere in there. And Jim Nabors was singing it on candy Williams Show or something. And he is a very nice fella but. He sings so much differently than the way he does his Gomer Pyle schtick that you trained up opera singer or something. Yeah he has that style but he is you know his lip still wrinkles and he still does that thing with his face that makes you think that you'll never be

anybody but Gomer Pyle to us and always a beloved character but it was very funny and very weeks around I went around trying to get that lease origin. I just you know it's a hard one to get down I got. And then I don't know exactly how long I guess it's within the last year or two. A Night Court Harry the judge as always had a picture of Mel Torme in his. Is that all his chambers a part of his set. He's always talking about Mel Torme with the velvet frog as I call him that is actually referred to as the Velvet Fog. We wanted to be offended. And it's the last show of the season and and at the very end of the show Mel is walking around singing good time Charlie and and Harry Anderson there Harry the judge. Keeps missing him right there doing that classic. Shtick where you know one walks by and the other walks turns his head the other way. He never sees it. That was actually that was one of the bigger thrills of that song is I'm a big fan of Mel Torme

his ability to say. I'd like to talk about something or other songs he composed. There's something about them that absolutely fingerprinted which is not the same thing as saying that they all sound similar but even it strikes me that just talking about the tunes you compose even the simplest stuff I've heard you do is musically kind of complex. Your changes thank you on flex and I don't know that that's necessarily intended but. I get I get bored very quickly was not three chord music. Or even five chord. Why would you take a lot of it. It stems from those basic patterns that you start off with whether they were folk or blues or rudimentary jazz patterns. And basically what you do. It's true of the piano but on the guitar you're just you're looking at patterns. And you just after a while your hands get. More muscled and more dextrous you keep stretching to see where. I mean I don't read music and I'm. I'm a folk musician in that sense

and I'm really only an ear player. And I don't have a good ability. To hum things back or whistle things back i. I don't hum other people's tunes very well. I do have a hard time getting in pitch when the guitar is what puts me in pitch. Hard time singing a capella in that sense and being right on what you would think that somebody who plays music would be able to do that but it's it's a deficiency that I think it surprises me about that is the vocal acrobatics last night on your on your last song. They really sort of caught me by surprise I guess. Trained singer 2. Did well in a sense in the musical aspect of it. And that I taught myself. How to sing. I went to a man who was actually in. Some sense a famous man although he's not known by the public by name Warren Berrigan he's a I wouldn't call it a

vocal teacher because he isn't really teaching you anything he's a therapist. And he does. A form of isometric vocal isometric compressions. It's very difficult to explain that as close as I could probably come is that it's. A vocal form of rapping and then it's difficult and it can be very painful. But as you. As you open up under stress. Vocally. You in fact. Rebuild a lot of that patterning. One of the things I used to do. Very commonly a lot of people do is use spacers when I would speak. Well I know I say there's a lot of reasons why one does that but for the most part it's stress and the inability to relax under that kind of stress which talking to other people strangely enough is a very stressful activity. I guess you know to be coherent and keep

a line of thought and be relaxed enough in it not to appear nervous or speak too quick going to I was always tired when I come off the air. Yeah right. It's a lot more work than people think. And he actually when I got to have a lot of very severe allergies and my lungs were were. I'd say probably a quarter full of fluid. You know it when I would talk to you you'd hear the gurgle I sounded like an old loner. And he started slowly and got all of the fluid off. And eventually. My chest my sternum was concave and I got all that musculature to come back up and you know I mean you could literally feel the whole diaphragmatic system become into play dream patterns would change and it was a very dynamic form a lot of people have had trouble with it. In that it can be emotionally wrenching as can be a very emotionally wrenching. But he's a great I think a great man and

I wish that he would write more and put more of his technique down and train people but he he's he just has never really had the time and he may not be that kind of a teacher could be where does he practice in the Los Angeles area. He's a lot of I mean a lot of famous people Unfortunately people tend not to go to. Vocal therapists are teachers until they're in trouble. So most of the voice people are doing remedial work now go to him after the O'Keefe album came out. Yes I thought there was a kind of sort of break memorable reading is in your voice back then that was attractive quality but I just didn't notice any of it when you performed since then. I don't my voice has changed. Let's talk about your lyrics a little bit I noticed that for a popular songwriter you have a lot more phrases of the type like entropic ability than more than your average popular songwriter will have. I would say there's not a great percentage of the audience that understands what it's role in tropic ability could possibly be.

That is fact is what people do to destroy themselves and and eliminate boredom in the process. OK. It must be nice that when you run across an audience that does understand now and then and then some of the stories well I wouldn't exactly say the stories that you tell as a songwriter but the situations maybe I was thinking of your song called he would have loved you more than Eva Braun. Yeah more than Eva. Yeah it's funny. I've played that song in Germany. When I first went over a few years ago four. Years ago I think the Germans would come up afterwards and say Germany is not like that. It's like you know they didn't understand that it had almost nothing to do with. With Germany it actually has nothing not much to do with Hitler and Eva Braun either. It was all Carney thing my father used to say I think it came out of World War 2. You know the fury that you have to fury you have to lose right. Which is just you know the corneas kind

of humor. It still comes off nice as well. Do you have any is there any secret satisfaction in your life anything you're really proud of that your own make up that people in general appreciate the least. That's a hard one. See that one again. It's the opposite something that you're proud of about yourself that most people don't even notice. Well it's part of the problem there is I don't know really what people notice. When I mean it's like when you're general I mean more of your general public than your friends. But it's like when you play a song. You have an understanding of how people perceive it but people perceive it in their own way. And one of things I was sort of disliked about the MTV approach. And that leaves no re would sculpt the information for you a little too heavily so that you didn't. I mean I love listening to a song and making up my own pictures to it which is one of the great things

about radio is that you can really freely associate. So I don't know I actually I don't know how to answer that. Well these days when you're listening to music who do you listen to and who do you like that is the least similar to what you write and sing yourself. Well one of the things I learned a long long time ago. And a lot of people would disagree with me especially in that same business that I'm in and maybe one of the reasons that I don't write a lot of commercial pop songs. But I listen to I never listen or rarely listen to people I consider peers. Although I will occasionally I'll buy a Randy Newman record or a Paul Simon record and listen to it once or twice. Just to kind of audit it in a way but not listen to it very seriously even though I may like the music a lot. You know when the songs I was very moved by John Paul Simon. Allergies album or whatever that album is called.

Again it was one before this last one it was just with a song on it called the late great Johnny Ace that Philip Glass does that. The ending on it. I mean it tore me up you know because it is about Johnny Ace but it's. Not John Lennon died. It's about Lennon. Not about the guy who died playing Russian Roulette the great lady that's got. OK I said but it's a very moving song. But again I can listen to that for very long so I don't want to write a song like I listen a lot of miles there are still several seminal works of Miles Davis that. They'll put me into a mood that is just I mean it's contemplative it's just perfect in a silent way and Bitches Brew are like that. When I I like and I think is one of the greatest records ever made. I was kind of blue. With John Coltrane great record and it always does that thing for me. Right it doesn't matter if I've heard it a thousand times. It puts me into that place. Listen to an easy

ECM artist by Neil Young garb Eric. Connors have done a couple records together. It's impressionism. In that. It allows you to generate pictures. He was like write songs off those pictures or is it just ammonia. OK I will put you in the mood. I mean the pictures that I mean when I do the way I write songs may be a little different from other people. And I ride in the car a lot just because I travel on the road in a car and I take a tape recorder along and I jam lines. And also when I get all those those lines on tape I put them back into another configuration on paper so I have a box full of of lines and when I sit down to write I'll pull a line off and then see where the next association comes. But a Billie Holiday and miles and things like voices of Bulgaria. Which is an exquisite record and such oh there's a song called Theodora's dozing and another song called Mother is going to marry me off. When you hear the harmonies are just.

Incredible. I don't know how they do it. All sung by virgins which is probably the key. What key is that I don't know. We could be flat. This day you know keep this thing the natural Public Radio in Boulder Country and you point five on your family. And. Not run through all these. This is Daniel. When I'm in the country I listen to KGO new Natural Public Radio. Point five on your AM dial. This is Danny O'Keefe and the place you find my music around here is down along highway to read.

This is Danny O'Keefe in a place you'll find my music around here is down along Highway 3 22. You find that highway point five FM every Monday at noon. Another one. To the road let me see if I can possibly get. Hi this is Danny O'Keefe in the place you'll find my music around here is down along Highway 320 to find out how you eighty eight point five FM every Monday at noon. It's not just another town along a road.