Don Felder Q&A at Kinexions ’16

trees down the seven is all oh great job welcome Don thank you so much I'm gonna I'm gonna ask the question that's on everybody's mind what did you do last night after the show well you know we had a pretty early wake-up call this morning we're flying down to Orlando about noon so I went back to the hotel after the meet-and-greet stuff went back to the hotel finished packing everything went down to the bar and had a little salad with Kim Campbell who's Glen Campbell's wife who lives here in Nashville and caught up with her for a little bit and then I went to bed about 11:30 probably before most of you guys went to bed let me tell you what I'm going to tell my friends okay yeah I go back to Dawn's ID it was awesome so but yeah cuz they here are some things on Dawn's rider traditional medicinal organic lemon throat tea sparkling water gatorade fresh fruit assorted unsalted nuts when did that all go south well you know I did enough damage in the 70s to last me a lifetime okay the truth so I stopped drinking in 1980 and just decided the longevity really was in taking care of yourself and eating well getting to where I kind of sleep patterns and and being happy that's pretty much the key to my happiness is is living moving clean and living right well it showed because that was an awesome performance last night the other the other thing that caught caught my it's always amazing to hear stories when you just dropped everything and went West that and it sounded like there was no plan B you were was there a plan B here there was never a plan B I started playing guitar when I was 10 years old absolutely fell in love with it spent all the hours that I should have been studying and preparing for tests and stuff in high school in my bedroom playing guitar that wasn't plugged in and finally put together a band early on with a guy named Stephen Stills you might have heard of him yeah we were like 1415 we were just kids you know had this band and Stephen left Gainesville and moved to California and another guy showed up named Bernie Leadon who replaced even in my band we made a record and had kind of a regional hit down in the southeast in Florida and eventually I wound up Bernie left and moved to California and I moved to New York and I wound up making a record there a record producer saw my band at Fillmore East and signed us to a record contract and after the second winter in New York City being from the south in Florida and only having a jean jacket to keep myself warm I realized maybe New York is not the place for me to live I actually moved to Boston because my high school sweetheart was there and we got married and I was working in recording studios and stuff in Boston and Bernie kept calling me and saying you've got to come to California this is the place to be that's where the music business is and so finally I took his advice and saved up $600 this is 69 I think and got a u-haul trailer and hooked it on the back of my car packed what few possessions mostly guitars and amps I had in it and drove from Boston to California got to LA and Bernie was the only guy I knew there and he was just leaving to go on the road so I got an apartment I went and applied at Kelley's group or the manpower group and lied on my resume saying I knew computers and I could do this and that got a job for IBM so I put on a sports coat a tie and went into IBM put my hair back in a ponytail with the IBM and it took him about three hours four hours to figure out I knew nothing about computers so they took me out of the computer department put me in the shipping department where I was actually taking computers and putting him in boxes and taking him up putting labels on him sent it out but you know it was really one of those times where you did anything to pay the rent and then I got hired by Crosby Nash ironically enough playing Stephen Stills parts in that show and as a result of that wound up being invited to play slide guitar on an Eagles record called good day in hell on on the border and though got a call the next day after I'd played on that record and from Glenn Frey who asked me to join the band and I had to think about that for a minute - what okay yeah I mean so it was up probably one of the best decisions I ever made my life and I went to Graham Nash who I was playing with at the time and asked him what I should do because I was young and had no idea kind of I should do that or not and he said absolutely you should go join that band I'll be a sideman the rest of your life go be part of a band so although I was making fifteen hundred dollars a week which is more money than I'd ever made my life in 74 I took Rams advice and went to join the band and the rest is history Wow it sounds like you're weak Plan B may may have been supply chain and what I so I think the only difference between dawn and the musicians is all the other musicians here or living Plan B right got a plan a person up here no Plan B yeah so collaboration actually speaking of supply chains a big word for us so before you talk before we get into some Eagles questions tell us about collaborating with the band we saw last night they were incredible those guys yeah I have yeah you know at this point in my life and career I play music for fun I'd love to play music I spent years struggling and trying to make a living in New York and Boston and first in LA and then after the Eagles I really had a point where I decided you know I would rather just go play music and play things for charities play use my god-given talent to try to make people have a good time dance that's what brings me the joy in life so I put together a large part of this band about half of this band to do this early charity work I think it was about 2006 or something we started doing benefit whatever the cost for the band was the people would pay that I wouldn't take any money and I just had so much fun doing it and felt so good about doing it and enjoyed playing and using my talents to help kids with cancer or st. Jude's Children's Hospital or Autism Speaks or I've done some benefits up in Canada for the Canadian musical therapy trust I don't know if you've ever heard of that but just enjoy that kind of work and then there were some videos that this guy put together of me and said you know you should take this I'll introduce you to a booking agent a friend of mine that owns his company up in Monterey and he could probably get you some you know real jobs and I was I don't know if I really want to work you know I'm having too much fun to work so next thing I know I'm getting a call from this booking agent he says well I've got this company in this company this company wants to hire you I said as long as we could do something involved with it that actually has some good some benefit that goes on with it while I'm either in that town or the before the show or after the show we'll do something for a charity or whatnot or sign guitars and donate them to local charities for their auctions or something then I'll do it so I selected these guys mainly first and foremost because they're really great people they're super intelligent my bass player who you heard saying last night he's probably one of the most gifted people I know in the music business he he plays unbelievable guitar I hate him when he plays guitar cause he plays guitar better than I do he plays great bass he is uh pratically trained tenor he sings opera on stage in Germany and Italian in foreign languages which I couldn't pronounce half of the words in areas singing without a mic and maybe with an orchestra singing opera he composes for a full orchestra himself just multi multi talented musician and offstage probably one of the nicest guys you could sit down and have a conversation with because you spend a couple hours on stage and then you've got 22 hours you have to live with this person afterwards so I very carefully selected people that not only had a great deal of talent and a high pedigree but there were really fun to spend my day with and so everybody in the band has a really just substantial pedigree of people they've recorded with toured with their own personal accomplishments as well as together we have a ball I don't know if you noticed on stage everybody's having a good time playing there's nobody with a sour look on their face there's no ego we're just all having a great time and doing what we love doing that is awesome can we get the name of that booking agent actually maybe we could use that well we'll be known as The Late Late supply chain show bad formerly in the same room with Don fellow ok we could book that but so when you started collaborating with the Eagles so they asked you to play some slide on a song so you joined the band when did you start writing music with them was that right out of the gate well you know one of the things I did in New York before I moved to Boston and joined the band was I developed the skills to improvise I really respected jazz musicians who could walk out on a stage not play the exact same solo every night they just make it up as they go and that's the brilliance of having kind of command of your instrument and being able to have a musical thought and let it just spill out of you you know so I developed my improvisational skills not only in the studio but in onstage in New York so that when I went in and had to like make up a solo or play on a record I could just come up with four or five or six different ideas musically and when I came into that band that was the first thing I did was good day in hell which was the song I played slide guitar it turned out to be a very long good day in Hill and then they invited me back after I agreed to join the band the first thing they do was started having me play other parts like on already gone and on the border and different guitar parts and I could had developed the skills to step step into something since I was really just had learned to play by myself we grew up in very kind of impoverished conditions there was no music school I learned to play everything by ear borrowing people's records borrowing tapes and listening to it just learning how to play so I could go into a studio and listen to something once or twice and then play something on it just improvise on it so they started putting me on all these tracks but the following record one of these nights is where I really got handed the reins to co-writing and being able to have songs that I would help build from ground up not just over dubbing on it you know writing guitar parts and arrangements and stuff and collaborating with Don and Glenn who were brilliant lyricist and amazing singers but musically they didn't have really high level skills of playing an instrument Glenn was a good guitar player but Don it was a great drummer but it was hard to write songs sitting down at a set of drums you know so it was my opportunity to write things that would go underneath them and later we did that for Hotel California with those tracks and that went on that record but it gave me the freedom to start being able to collaborate and write with those guys and Randy Meisner and the people in the band right while the speeds I wasn't going to bring it out but since you brought up Hotel California okay um it's a great story maybe you can tell us how that all started I can't remember oh just give that okay do we copy a Dawn's book here we could go hi I had rented this beach house in Malibu well I had didn't run it my wife at the time rendered it because we had bought this house in Topanga which is really out in this wooded kind of mountainous area it's kind of a hippie community and we had just had our first little boy and she had taken him outside and put this blanket down and the Sun they were going to sit outside for a few minutes he was about nine months old or something and she went to set this little baby down and there was a coiled up rattlesnake which is really prevalent California and she went to put it down and saw that rattlesnake and took the baby around with a pack in the house and called me and said we're moving so I was out on the road said okay just tell me the address so would I get the airport I know where I'm living now you know so I got in a car and drove out to Malibu to this beach house that we had rented for the summer that we were out there until we could find another place we were going to live and and I was just sitting on a couch playing guitar like I do pretty much all day not just sitting on the couch but wherever I am I try to play it all day least between 3 and 5 hours a day I love to do it you know so sitting on this couch is tinkering away and you could see the Pacific Ocean out there with the Sun glistening on the waves and my kids had a swing set on the sandy beach and they were out playing on the beach and it was just well there's perfect California days and I was home with thank God I was off the road I was home off the road and out came this like chord progression and I played it 3 or 4 or 5 times I have to go record this if I don't write something down if it's a lyric idea or record it two days later you go what was that idea it kind of went like I can't remember it so I converted my daughter's bedroom she was one year old at the time and I'd put a tape recorder in there so when she was awake I could go back and record in this little studio that made back in her bedroom I went back and recorded that progression I don't know four or five times over and over and I turned it off and went out and joined my my kids on the beach and spent the day with them and then later when we were getting ready to record the Hotel California album I started going back and listening to these ideas on this reel-to-reel tape and I heard that track and said you know I'm going to finish this so I went back and got a drum machine and set it to a cha-cha beat I don't know if I've ever heard a drum play ChaCha it was the closest thing to a reggae I could kind of find in this drum machine and then I replayed those progression and mate wrote a chorus for it and played the bass parts Joe Walsh had just joined the band and Joe and I had been doing these shows together Joe Walsh shows for Don Kirshner's rock concert I think we did a show in Dodger Stadium with Elton John and where Joe and I would just jam and play great guitar against each other it was so much fun that when he joined the band I wanted to write a song that Joe and I could do that on on an Eagles record because it was just so much fun it is so when I was listening to that song I thought this would be great once I get to the parts where Joe and I can do this so I kind of wrote these two guitar parts one that's pretty much exactly like what's on the record now that I played and then I put that guitar down and said well Joe would play something kind of like this and we started kind of simulated that ending guitar solo I had finished a 15 or 16 other song ideas and put him on a cassette I don't know if anybody remembers what a cassette put it on a cassette and made copies of it and I gave copies of that cassette to everybody in the band one of the other songs that wound up on the record was a song called victim of love that was on that cassette and so Henley calls me up and says I really like that song that sounds kind of like a Mexican reggae and I knew exactly what track he was talking about so we went in and recorded the song as a band I'd written it in this great guitar key E minor which you can appreciate right and we went in and recorded it nee minor and sounded really nice and big and full but it was too fast so we went back in the studio recorded the whole track again which is six and a half minutes long recorded it all again at a slightly slower tempo that felt better and then Don and Glyn had been working on these lyrics and nobody had heard him although we had talked about nobody in the band was from California yet we became the California sound you know that's kind of strange but every one of us had driven into California like I did with my u-haul trailer on the back and as you drive down route 66 at night you could see the glow on the horizon of Los Angeles just shimmering away as you're coming in and all the concepts and ideas and propaganda you have in your mind about California through advertising and television and films of the palm trees and the sandy beaches and surfing and girls in bikinis and girls in bikinis naughtiness all those ideals are the stars on Hollywood Boulevard all that stuff to start rolling through your mind it's like our fantasy that we've all built from what we conceive California to be so we wanted to write a song about the Hotel California and once we had that that foundation of a concept Don and Glen went off into their little song writing lyric oral and wrote some just brilliant lyrics I think Don Henley is probably one of the best lyricist if not best Rock voices in America and so we after we recorded the track for the second time Don came in and started to sing on it and he sounded like Barry Gibb and that really high falsetto or like Minnie Mouse or something and I went well that's that's the wrong key so we had to figure out the whole song had to be re-recorded for the third time in the right key that Don could sing in so we had to go back in to rerecord the entire song again for the third time and when it came time to actually do those guitar parts on the end of the the record I always thought Joe and I would go into the studio set up two stools in the control room our amps out on the other side of the glass and we would just play and go at each other like we had always done right that's what I really wanted to do was capture that fire and excitement of pushing each other and trying to one-up each other in a very loving friendly way to make each other each of us play at a higher level you know so we were doing that and Don Henley walks back in the control room and goes wait stop what are you doing I went well we're putting the guitars on the end of the song he says no no you got to do it just like your demo I said I wrote that a year ago I have no idea what that is we were in the studio Hood in Miami I had to pick up the phone call my house get my housekeeper to go through my cassettes find the right set put it in a blaster play it and hold the phone up to it so we could record it in the studio and I had to sit down and learn exactly verbatim what I just made up you know as a as a rough idea and that literally became verbatim what was on the record today so there was a lot of collaboration that went on lyrically musically guitar parts stuff Don had been listening to that tape over and over and over when it got to the end that's what he expected to hear and so we we did that and I remember we had this playback party at the end of the recording of that album and we had all the record company executives the big guys from Warner Brothers and everybody there that had been pounding on our door because they wanted that product to get out and start making money we made him wait like an extra six months for it so we found a familiar yeah we played the we played the real back with all the songs on it and as Hotel California went by at the end dawn turned around to the record company execs it said that's going to be our single now I don't know if you know what AM radio used to be like in the mid-70s but there was a specific format it had to be between 3 and 3 minutes and 30 seconds long it had to be a dance or a rock track or a disco track or a drippy ballad the introduction could couldn't be longer than 30 seconds because the disc jockey didn't want to sit there and talk for more than 30 seconds before the vocals started it was a really specific format for airplay songs at that time and Hotel California was the epitome of being the opposite of that format it was six and a half minutes long the introduction is over a minute before the vocalists are singing you can't really dance to it like a rock track it stops in the middle the drums break down and you know there's no rhythm and then it's got this two-minute guitar solo and yet it's like the absolutely wrong so I'm at Donna I don't think that's right track maybe FM radio but not am radios it nope that's what we're going to do and I went okay I told you so so I couldn't be happier to have been so wrong in my life is the success of that record and Don was very wise and selecting that track to be one of the singles so you probably don't know how many times you played it but last night it looked like it was the first time you played is it is it do you have a favorite moment where you played that song I know when I saw the Rock and Roll Hall of Fame induction that was that just seemed like that was a special time to do that song it were there any other moments yeah oh we when we started regrouping for the hell freezes over to her in that era in the mid 90s everything was like unplugged Eric Clapton had done this live unplugged version of some of his songs and it was like the thing everybody was doing so we put together a section of our show that was all unplugged and we had been on a sound stage rehearsing for about two weeks and worked up all these unplugged versions different songs and then like about four days before the taping of that show Don says we need an unplugged version of hotel now I had never thought of that song being played on a couple of acoustic guitars and sound unlike some country flat pickers you know kinda hee-haw can Rd knows about so when out when I was in Boston I had one of my day jobs or early evening jobs was after I got work done working in studio I'd get on a train and ride over to Harvard Square and I'd go to the Holiday Inn and stand there or sit there and play nylon string guitar for people while they were eating their dinner and ordering more wine and stuff and every night I played there three hours from 6:00 to 9:00 and my chops or my ability on nylon string guitar got really good nights kept thinking well this song is kind of that Hispanic Latin flavor maybe I could do a version of it on nylon string guitar so I get a couple of nylon strings which are going to Joe who I don't think ever even owned a nylon string guitar if it didn't have an amp with like a big volume knob on it he didn't have it right so I said Joe maybe we should just think of this if we're going to do an unplugged version this way with acoustic kind of spanish-flavored guitar so we worked up some stuff and it started right at the beginning of the intro like the record did and went forward and we worked it out soundly good at soundcheck and rehearsals and we go on the stage at Warner Brothers Studios on the soundstage where we filmed that DVD hell freezes over and we're sitting there we're running it through and we're like about 45 minutes away from the taping Don says this song needs a really special introduction I said well what are you going to say how are you going to introduce this he says no no not that you need to just make up something so I went ok so I had developed improvisational skills which they knew I could do I said ok you play this chord a little around then play this chord all till around play this chord and although around and literally that introduction of the acoustic version of Hotel California was just made up on the spot on camera in front of an audience probably I think 600 people or something and and I said well you know first comes to worse we can always go and just start the video right at the downbeat of the song but you know it turned out that that actually worked really well and so it was one of those moments for you just somebody throws you off the building it's not really a leap of faith you're actually tossed off the building and hope that you land on your feet and I think the for me it was a just a personal accomplishment be able to be handed that task that last minute before going out on the field and make up something and have it come out so we have to play that again did you I have it I couldn't probably play it right now if I had to because I just made it up I'd have to sit down and learn it again you know it's when you listen to it it's almost I don't know if you if you haven't heard it you need to hear the host or the acoustic version but if there's almost that moment where the crowd realizes what song it is yeah and then the day that they know that they think you were just kind of yeah they didn't know what was coming and then all of a sudden we start the downbeat of the introduction and everybody it's just that that piece is incredible right to get in I listen if I'm on an airplane I've listened it to everyone every flight I've been on I I listen that but that's that's great so everyone in this room you know we collaborate with people and you know every everybody's striving for excellence and you obviously achieved it it was just to get your product out but in a situation that you were in where it was you know you didn't always degree agree I'm guessing that's a an understatement to say the least but what advice would you give the people and that's it you're like what did you do to keep focused and get the product out the door you know I think when you have multiple opinions on anything for me it's worth the time and interest and investment to take a serious look at every idea and that's what we did with the Eagles I mean the solo on I can't tell you why it was Timothy song and you know Joe's got this kind of like Joe Walsh way of playing and so he took a stab at it and it really didn't work and so then I set up and I took a stab at it and it was just a little too edgy and and picked up a guitar and he plays very simply so he played this really simple that was just so appropriate for that song so instead of saying no this is the way we should do it we let everybody take a look at it you know and then we all said that's that's that's the answer right there so I think in the course of collaboration if you can find people's strengths and talents that best fit that particular solution that's the way we did it as we would rely heavily on Don and Glenn for lyrics Joe and I for music composition and kind of the rock edge of stuff and we all helped arrange vocals and sing together so it was a it was a collaboration on just about every front and even though there was there were head banking head banging times along the way that's to be expected when you have five a type personalities that have all fronted their own band they've all had success on their own individually and they think they're right so the only way to go about it is to take a look and see what works and what does have so did you like I thought I saw you play that solo did you do the solo line well I can't tell you why then right yes I did yeah every time we played alive because Glenn played piano yeah and so I got stuck I got stuck playing pedal steel on all the records I'd never played steel pedal steel before and when Bernie left I inherited having to play pedal steel guitar on best of my love and a couple of other things and I had to learn to play five string banjo on midnight flyer and mandolin on certain stuff I'd never played this instrument before and it was like okay here's your next job was like okay I can do this and if anything this has strings I can figure out how it plays yeah yeah I heard an interview of with Glenn talking about that song he said that was one of his favorite songs to play and in the same interview he said you and Joe Walsh he said we just had two prolific guitar players in the band and he and he said you didn't get enough credit back then like but he anyway it wasn't about getting credit it was about making great record and you get a great song Jeremy you know but he just you know I'm sure there are a lot of good times and yeah and that was absolutely and speaking of collaborating when I was reading here bio I couldn't believe how many other people you played with so you have a list of we heard Kid Rock and David Gilmore for the other guys in your band who else have you played with well gosh that played with so many different people it's hard to remember I worked on a lot of Bee Gees records we used to work down in this studio in Miami that had five or six different recording studios in this long hallway and so when you went walking down the hallway somebody had come I go oh we need a guitar part on this you're coming in so I go in and play on a Bee Gees record then we'd walking down the hallway in Chicago would be in another one we need horns on this they grabbed the van from Rome guys from Chicago and it was a very kind of it was a great kind of creative place to be able to grab talent and put hands together and I remember I was walking down the hallway and Stephen Stills my high school buddy for like 14 and 15 has was in a studio and I walked down he went Felder get in here we need a guitar part and so I went in and he and our recording in the studio that there was a it was a really camaraderie and a lot of times rock and roll can be you know almost defensive where people feel their egos gets in the way but I've never felt that way so I've worked with like Bob Seger everybody from Seger to the PGS to Barbra Streisand I worked on a couple of Barbra Streisand records oh my god Peter Frampton I tons of different people you know like I said I'd have to look at my old bio to remember everybody that worked with it so um are you still you still do a lot of songwriting you get home you're playing a lot you do in the songwriting I can't stop yeah that's part of the problem you know you keep hearing things and I have a little iPhone and I'll be driving down the freeway and I'll get this idea for a lyric and put it on record be singing going down the freeway this lyric idea or a melody and then I listen to three days later and go what was I what was that and then I have a good guitars all around my house and that the life on so fight a lot of times I'll sit and watch television and play a guitar electric guitar that's not plugged in but like a film score goes by there's were like a really interesting melodic change a chord change or something I'll back that up and try to learn what that Orchestra did and how it would sound on guitar like come up with something push record and I record it and those little pieces actually are like the kernels or seeds of ideas that later blossom in a thing so I collect these little pieces and ideas and then when it comes time to write I sit down and I don't listen to anything I don't listen to radio I don't listen to television I don't watch to see who's on the late shows and what new songs are out because you wind up that goes in and then later as you're being creative it starts coming out and you go wait a minute that just sounds like this other song I just heard that you don't want to do that so I deliberately don't listen to anything and I kind of isolate myself musically and write music which I just recorded seven tracks in the studio ten days ago I go back on Sunday I have Monday off thank gosh go back in the studio on 18th the on Tuesday and record for two more days and then we travel out on Friday but those little ideas that come by you take those and kind of blow life into them and inflate them and see what they become and the stuff that really turns out to be special I finished either lyrics your guitar parts or overdubs or solos and the things that don't think of they go to digital heaven they get erased and often Godzilla retro so I'm constantly writing at do you find that technology why is the old-school guy are you you know are you using the latest and greatest well I am an old guy but I use as much technology as I possibly can I think the whole digital media to be able to use communication on the Internet's great all the modern technology of recording is brilliant but I will say back in the 70s you didn't have auto-tune you didn't have digital editing you actually had the singing tune right good songs and play together as a band what a novel idea that good like a right sing and play I think all the digital technology really enables people that don't have a really high level of skills to be corrected and and perfected where the real talent of to me are people that write sing and play their own music other people that I admire the most is like that being the triple threat yeah or the hat trick in hockey or something and now I understand I just wanted to clarify that by the way I love Canada I have a place up just outside Banff I'd hide away up there at least a couple of times yeah Canadians are the nicest people on the planet I have to say two quick stories I was driving up trans-canada highway one going up to my place and Pam and I had to make a phone call in the car I had didn't help bluetooth so I just pulled over on the side of the road I'm sitting there on the phone talking it's three cars stopped and said you okay you you need help can I help you with something I'm going that would never have Los Angeles ever you could sit there for a month and cars would just squeeze by so anyway and then another time I went into the market and I had this little basket and I just picked up three or four things I was waiting in line and this lady in front of me had this basket that was just overflowing probably have $500 worth of groceries in there she turns around looks missed oh oh you go ahead you don't want to wait for me go in front of me in a I was shocked I said this doesn't happen in the United States you know is everybody trying to cut ahead of you and cut you off on the freeway and so I really have met a lot of really wonderful Canadians and befriended some that are really special people yeah I appreciate your your wife is Canadian yes she's yeah uh-huh yeah where's she from well she was actually born in England but migrated in - the niagara-on-the-lake area which was the original province I guess where the capital was Queen was like in charge of everything why they still honor the Queen I don't know they're Canadian adieu but it's on their money it's like how does this figure you know and then I met I'm a political I am NOT a political person at all so when I mentioned these names please don't react Blythe I met Stephen and Lorraine Harper about six years ago we've become really good friends but we have some yeah and so she comes to the shows Stephens Believe It or Not a really funny guy extremely smart and when he's not talking politics and trying to be Prime Minister he's really a very entertaining and he plays great piano by the way so I've been trying to get him to come down and sit in and play piano on take it easy with me and so far he's come up with a brilliant excuse every single of offered I think he doesn't want to be the Bill Clinton with a saxophone on camera somewhere but I just had dinner at their house September 21st which was my birthday and they invited me over to their house in Calgary and had dinner and then they came to the show the next sound I said he and just really great people Don was saying he tried to he's tried to get Steve in the play Bluesfest when you're in Ottawa use the weather as the excuse yeah that was in Ottawa yeah that's right yeah yeah so what work what's the that's you jus were just in Canada weren't you yes yeah so what's that what's coming up for you what's the tour schedule well I only try to look about a week ahead because if I look too far I get really depressed that I don't have any freedive you know I got are you then okay well we're going to wind up going to China and doing the largest benefit in China for orphan children and did we go to Japan and do eight shows four in Tokyo and four Osaka and then finally I come back and things in for me like about the middle of November and that it resumes on December 30th we have a residency in Las Vegas at the Venetian anybody wants to come party in Vegas with myself and Styx will be there for I think it's from the 4th through the 12th or something there we're putting together a summer tour for 2017 with REO sticks and myself so we'll be out running around the US and hopefully through Canada gosh I've gone to Germany for four weeks end of March doing 16 shows into the middle of April a lot of private events a lot of corporate shows a lot of charity events that I can plug in and those off times trying to finish the CD for a release by spring so that I can have product on the radio next summer when I'm out on the road we shot a DVD at Las Vegas so I think a year and a half ago there's been edited it aired on access TV so we're going to print that as a blu-ray and put that out and so they're just a lot of stuff speaking of that you mentioned the hat trick it seemed like a lot of pictures I've seen you and you were in it wearing a Chicago blocks Blackhawks that's right yeah are you are you right now you're a golfer right I'm a golfer yeah yeah hey what are you like are you above 100 or below 100 or you throw the throw the 9-iron or well I was the 7.2 handicap up until about three years ago when I really started working a lot and when we're on the road touring I carry a set of golf clubs in the bottom of the bus so that we plan our days off so we wind up being staying somewhere really near a great golf course and we trade green fees for tickets to our Knox show right so we can get on anywhere you know and so that day off we go play golf and a lot of guys and sticks and foreigner Steve Miller and all the people that I tour with all plague off so we we plan our tour routing based on where we're going to play a golf on the road but when we're not touring that way it's hard for me to take the time to actually go out and play I just did a thing for Hilton and at the Riviera Country Club I've played there 50 times yapping but they wanted me to come down that day and go out and play 18 holes and then do a soundcheck and then do a show and they do a meet-and-greet I would have just been absolutely exhausted it after doing that and so I had to humbly decline on the golf and I'm a good physical shape and my strength for playing the show performing well my wife is I think is sitting in the back here she doesn't know it yet but my birthday present is to one of the shows at the Venetian oh great an you are so did you hear that yeah we might see you there so don we we you really are we really appreciate you taking the time to sign everything doing the meet and greet we can't tell you how much one we had last night and this morning we really appreciate you being here so how about one more time thank you really quickly yeah sacred I was awesome oh my god we look weak we kept saying so bad so glad [Music] give us all every day [Music]

Channel: Kinaxis

Views: 114,327

Rating: 4.7595906 out of 5

Keywords: kinaxis, supply chain management, performance tools, multi-tier chains, cloud based global control tower, enterprise S&OP, sales and operations planning, RapidResponse, don felder, kinexions

Id: S2owegNYfM4

Length: 43min 3sec (2583 seconds)

Published: Fri Dec 09 2016