| Concert Performances |
Fred Winston Show, WLUP 97.9, Chicago, Illinois (February 9, 1994) FRED:
... I always do that. You have to work that mic pretty close
LEO:
OK. Oh yeah, you do.
FRED:
There you are.
LEO:
So, hello.
FRED:
How ya doin' man?
LEO:
I'm alright.
FRED:
Welcome to Chicago.
LEO:
Thanks, it's good to be here.
FRED:
That's a DJ euphemism. "Hey, say hi to Leo Kottke." like everybody is at home going [in a high-pitched voice] "Hi Leo, how are you?"
LEO:
Well, some of 'em are I think..
FRED:
Yeah
LEO:
...I feel very sorry for those people
FRED:
So, you're in town, you did the Park West.
LEO:
Yeah, I just played there. And I forgot that when I come off stage I usually feel like I've been immersed in motor oil for a couple of hours. But right about at this very moment I'm starting to rise out of it and feel a little more capable of speech and so forth.
FRED:
Must have been that greasy sandwich you had.
LEO:
Yeah, that helped.
FRED:
...and a couple of cups of motor oil coffee
LEO:
You have that here. I think it's a requirement.
FRED:
So tell me about the brand new album entitled Peculiaroso. I was most enthralled about the fact that Rickie Lee Jones --
LEO:
Yeah.
FRED:
-- produced it for you. I didn't know she was into producing.
LEO:
She didn't either until she was lying on the floor one day in the iso[lation] booth laughing her head off and I thought this is who I need to work with on my record and I asked her if she'd do it and she said "Uhhhh...yeah!" And whether she regretted it or not I don't know. I'm sure, as happens with any record, there were moments of deep dark despair for her...but no more than usual and we've become great friends. We met basically through a guy named John Leftowich who played on my last record and does a lot of her stuff.
FRED:
Was this her first production effort?
LEO:
Yeah, it's the first time...Yeah. She had said so. I find that hard to believe. Actually, I know what I'm getting at here, is that she's very very involved with her records on the production side of things. She's got a very strange ear. There's a tune on her record called "Beat Angels" and at one point she said "french horn." You'd have to hear the cut where it fits perfectly to maybe imagine why that sounded so strange when she said it. It's a perfect idea.
FRED:
You think that warped perspective came from all the years of spending time with Tom Waits? Huh?
LEO:
I've learned early on that Rickie likes to stick to the present and so I know very little about...except for one...there's a tune on this record called "Parade" where I mention briefly a lawn jockey drowning in the rain and she mentioned going out one night with Chuckie Weiss and Tom Waits to liberate the lawn jockeys in Beverly Hills. I think they gave up after one lawn jockey since they're made of lead or whatever it is they're made of.
FRED:
Where did the title "Peculiaroso" come from?
LEO:
I don't know. My first manager, my old manager, who was also Frank Zappa's first drummer, told me this story of Frank leaning over him when he had mono for a couple of months, still prone on the couch and being yelled at by Frank. So Frank's a genius, he knew what to say to my manager long before I ever figured it out -- what was the question?
FRED:
[Laughs]
LEO:
My manager loved working with me.
FRED:
The title of the album --
LEO:
He only had to tell me everything three times.
FRED:
-- Peculiaroso, how did you come by that title?
LEO:
Yeah, it...now I got it.
FRED:
But I think you may have just answered it for me right there.
LEO:
Yeah. That's right, I'm my own best example. He used to say, that manager, when people asked him about some of my other titles, Dreams and All that Stuff, My Feet Area Smiling, he'd say, it doesn't mean anything, but that's not true. They're very accurate little labels for me so it's sort of "Leo's world and welcome to it." In this case maybe it's a nod to Mysterioso and maybe it's a nod to my own sort of language. I don't think this word exists anywhere in anybody's vernacular.
FRED:
Kottkespeak.
LEO:
Yeah.
FRED:
All right. Well, uh...
LEO:
Many vowels. I'm better at vowels as in "bluh uhh uhh uhh" than I am at consonants.
FRED:
Would you like to talk to some listeners after you do a song? Would you like to do a song? And then would you like to talk to some folks? I would --
LEO:
Yes. Let's do a song then talk to some folks.
FRED:
OK. 591-ROCK, 591-ROLL is the phone number on the LOOP 97 point 9. Here, what we're going to do... would you like a reverb there?
LEO:
Yeah. [sound of moving about and then strumming]
FRED:
Gonna move you over. Careful, don't smash the guitar on the corner of the console there. Let me move this over [moves mic].
LEO:
I think I 'm all set. Oh, that one also?
FRED:
Yeah, you need a microphone in front of your ...
LEO:
Well, I'm probably not going to utter, but I will pick.
FRED:
All right.
LEO:
[Leo strums the guitar] Sounds good. Let me do something traditional. This is a tune that I thought I had written, but it turned out after seven months of performing to be "Cripple Creek."
[Leo plays "Cripple Creek"]
FRED:
Wooh! Leo Kottke! [claps] All right. I could hear "Cripple Creek" in that.
LEO:
Yeah, that's it. I thought it was called "The Turtle Hills," when I came up with this, I thought it. Obviously I did not.
FRED:
What's that little fancy thing in the middle of the song that you were doing that was going [in a high-pitched voice] "bing bing bing"?
[Leo plays some harmonics twice]
FRED:
Yeah, how do you do that?
LEO:
It's just harmonics. That's the Pythagorean something or other. [plays some harmonics again]
FRED:
Phythagorean?
LEO:
Yeah, Pythagorus.
FRED:
[Laughs]
LEO:
The string in the middle is the octave, that sort of deal.
FRED:
I'm a drummer, I don't know about strings.
LEO:
Ah! Flams, paradiddles...
FRED:
-- and pipefittings. It's 12:23 on the Loop ninety seven nine. Our guest is the legendary Leo Kottke. Let's hit the telephones and see who's gonna be on the line. Hi. [silence] Hello? [silence] Good morning? [silence] Yello?
LEO:
I can say something. When I turn my headphone level, do I affect your headphone level?
FRED:
Not at all.
LEO:
OK, good.
FRED:
Go right ahead. Hello? [silence] I guess you're not there. [hits another button] Hello?
LISTENER:
Are you talking to me?
FRED:
I'm talkin' to you.
LISTENER:
OK. Hey Leo, hey Jonathan [sounds like he says "Johnson"]
FRED:
Johnson?
LISTENER:
Huh?
LEO:
Johnson's doing great. I'm fine as well.
FRED:
How is my Johnson? How rude!
LISTENER:
Uh..huh..hey...what? Wait! I said Jonathan.
FRED:
Oh, excuse me.
LISTENER:
Anyways, what instrument are you using?
LEO:
This is a Jim Olsen six-string. It's made by Jim Olsen in St. Paul Minnesota.
LISTENER:
Uh huh. It's sounding really, really good. I wanna compliment you on that.
LEO:
Oh well, thanks. There's something about playing live on radio that always sounds good. They way they do their signals in these things, it's great for a guitar. For some reason, you can't really make this happen in a studio. It's strange, because some of the best guitar sounds are done on live radio.
LISTENER:
Oh, it sounded great over the radio.
LEO:
This is a cedar top and Brazilian rosewood back and sides, mahogany neck, small-bodied guitar. [strums it]
FRED:
It's looks better than most of my furniture as a matter of fact, Leo.
LEO:
Yeah.
FRED:
Hey, would you -- [to listener:] thanks for calling.
LISTENER:
[continues] Well, how long have you been playing?
LEO:
34, 35 years.
LISTENER:
[pensively and in awe] Damn.
LEO:
Yeah. [laughs] I say that every night myself.
LISTENER:
But hey you enjoy it, you know, it's your life.
LEO:
Yeah, it came and got me. I like it.
LISTENER:
That's good.
FRED:
Don't you have a guitar named after you? Don't you have your own signature model Leo?
LEO:
Yeah, yeah, thank you.
FRED:
I've read about that and I went, Wooh! this is really the big time, when they name the guitars after you.
LEO:
Yeah, yeah, no kidding. I'm right up there with Roy Smeck. It's a 12-string made by the Taylor guitar company. It's the Leo Kottke 12 string. I designed part of it and I like it. Once I got into that deal, I thought this is going to be awful if it doesn't work, but it works great.
FRED:
Mark is on the line. hey Mark, how are you?
MARK:
How ya doing, Fred, Leo?
LEO:
Hi.
MARK:
Hey Leo, I was wondering if you know of Michael Hedges?
LEO:
Sure. I've done a lot of playing with Michael.
MARK:
Have you?
FRED:
Who he?
MARK:
That was my question, I was going to see if you guys have ever done anything together.
LEO:
Yeah, we did a whole tour together. We met years ago in Palo Alto. We actually sound good together. We play well together. We've intended to do some recording for quite a while but we haven't.
MARK:
Yeah, I thought he was kind of young, how old is he?
LEO:
He's just a kid. I don't know how old he is actually.
MARK:
I saw him open for Crosby, Stills and Nash a couple of years ago and I thought, god, this guy would be great with Leo Kottke.
LEO:
Yeah, well, good choice. I agree with you. you know, he's a trained musician. There are a lot of us who are autodidacts and come to it a little late when it comes to figuring out what it is we did all these years. He knew ahead of time and that's rare and the right way to do it really. Dizzy Gillespie used to make that point, that you owe it to the people who came ahead of you to learn what's going on and he has.
FRED:
Thanks for calling Mark.
MARK:
Oh yeah, I enjoy your stuff, thanks a lot.
FRED:
Yeah, speaking of jazz guys, I was reading that you were doing some stuff with one of my favourite guitar plays, Joe Pass.
LEO:
Absolutely. Yeah, he's a wonderful musician. It's a tour that we're doing: Joe Pass, Paco Pena and Pepe Romero. And I've listened to him for years and years and I actually get to play with Joe.
FRED:
Wow.
LEO:
There are people who would eat their hearts out, who are eating their hearts out. I get a shot at that. So I'm joining Oscar Peterson, Ella Fitzgerald, by playing with Joe. He's a very generous guy.
FRED:
I'm getting goosy bumps just talking about this. Let's talk to Mike, who's got a question for you. Mike?
MIKE:
Hello?
FRED:
Hi, how are you.
LEO:
Hi Mike.
MIKE:
Hi Leo how ya doing?
LEO:
I'm all right.
MIKE:
Great show tonight.
LEO:
Thanks.
MIKE:
Leo, I was wondering --
LEO:
Oh, you were at the show?
MIKE:
Yeah.
FRED:
He was the one going "Whooh! Whooh!"
MIKE:
No, that wasn't me. I was nice and quiet.
LEO:
Ah. Well thanks for being there.
MIKE:
Leo, I'd love to sit for a couple of hours and pick your brains but real quickly, I'm a guitarist myself and, you've been an incredible inspiration. I've gone through both of the books that you have available and a lot of time I have difficulty...it seems like I have so many ideas when I'm trying to write a tune that it's very difficult for me to put anything...in concrete.
LEO:
Yeah.
MIKE:
I get that same feeling when I listen to your music. there are times when I think, Geez, I hear an entire song just in a phrase. I'm wondering how you sort all of that out and actually put it intoworkable terms.
LEO:
It really is.. there's two ways to do it and I think -- I'm playing with my level here..there we go, uh, uh, I got a left, there we go, if I put my finger here, I hear my left channel -- excuse me, I'm talking to myself
FRED:
You are, aren't you?
LEO:
I'll answer your question in a minute. There's two ways to write I think. You can write on paper. In other words, you can write outside of yourself and that's just a matter of logic. And you can write on the instrument. That's the way I do it. And that kind of runs itself, it's kind of like [you're] muscle writing. You just play until you stumble across something and, if you like it, you keep playing and that will generate something else and it happens by itself. You can go back and edit and straighten things out, put a little more shape to it but it basically comes on its own. And that's the way I like to write.
There's a tradition in Spain where they split guitar players between the guitarraro and the guitaristas.
FRED:
Who are they?
MIKE:
Yeah, what...?
LEO:
One of them, and I don't know which it is, one of them is considered superior to the other and that one is the one who plays guitar because he or she loves music. The other -- which I suspect is the guitararro --plays guitar because he loves the guitar. I think they've got it backwards: I think it's better to be playing guitar cause you like the instrument rather than because you like music. As a matter of fact, I started with violin and the trombone and I loved music, but it wasn't until I found the guitar that I realized I had been on the wrong instrument.
MIKE:
I saw you in Woodstock not too long ago and I heard you mention that you were going to be inthe area with..I can't think of them. Paco Pena...
LEO:
Sure, Pepe Romero and Joe Pass.
MIKE:
Is that still gonna happen or --
LEO:
Well, I don't know who close we get to Chicago beyond Milwaukee. I know we're playing there and I can't tell you exactly when. But it's probably late in March.
MIKE:
Is there any way to contact...get on a mailing list, or anything...
LEO:
No. You know, there should be, but there isn't and there probably will never be. I'm too --
MIKE:
There are a lot of Leo heads out there.
LEO:
Yeah.
FRED:
Write your congressman, sir, that's what I suggest.
MIKE:
Leo, thanks for your time.
LEO:
Thank you.
FRED:
Mike, thanks for calling.
MIKE:
All right. Good night.
FRED:
Boy, you know you talk about creative blocks, taking that mental enema, working over that --
LEO:
Oh God, what a thought!
FRED:
I'm a scatologist and it only took me a half hour to get into that. But how do you break that barrier? Just working through it with the instrument?
LEO:
I think it's not a matter of breaking the -- I like that question, cause it's the kind of thing I spend a lot of time thinking about -- it's not a matter of breaking the barrier, it's a matter of not creating the barrier.
FRED:
Ah!
LEO:
I'm pretty sure that's how it works. And one of the ways you can stop yourself -- you can make that barrier happen -- is by stopping in the middle of an idea. Sometimes you get these ideas and they come after you've just had three or four other ones and you're pooped. And you've been playing for 10 hours and you're on a roll and you stoop because you're worn out. that's one good way to stop it from coming for a long time. It'll kind of punish you. another way is to take it too seriously, to pay too much attention to it. So --
FRED:
Overthinking, overthinking, sure.
LEO:
So once you're in that spot, that's a good way out, is to just relax and forget it. It'll come backbut it'll take its own time.
FRED:
Our guest is the legendary songwriter, picker, Leo Kottke. He's gonna play some more tunes in a little while here on the Loop 97 point 9. It is 12:31, time for a look at traffic and weather. Her's Carol McGowan [...] Loop 97 point 9. 12:37. Fred Winston with the legendary Leo Kottke who has a brand new album called Peculiaroso. And one of the cuts is called "Parade." Now is that about your yout'
LEO:
Yeah, that's my yout'
FRED:
Your yout' in Cheyenne, Wyoming.
LEO:
That was a really grim moment in my yout'. My folks moved every couple of years. I was born in Georgia and they usually took me along when they left and I looked forward to it. I actually enjoyed getting out of town. I thought it was fun, I thought it was sort of exciting to be going to Iron Mountain ??? or Muskogee or one of these other metropoli. When we got to Cheyenne, all of the recreation went out of it and desperation seeped in. I had to get out of there because -- I was mentioning this tonight -- I wound up with guys who were criminally inclined. We were into B &E, petty thievery, general troublemaking.
FRED:
Not much else for a kid to do in Cheyenne Wyoming.
LEO:
No. No. to break this up, we'd go down to the Capital Rotunda about once every couple of weeks to view...I mean we were laughing before we were halfway there because somebody, as a symbol of municipal rectitude...
FRED:
Rectitude? Is that a pun?
LEO:
...as something to look up to, somebody had mounted the largest buffalo ever killed in the Stateof Wyoming on a tall pedestal, directly in the middle of this rotunda under the dome. So you crawl up the drooping granite steps and you open the same brass doors that are everywhere. you open the door, and they've pointed the buffalo directly away from the front door. So...you know you're alone when you see that. You may be with five other guys who are cackling away but you're all by yourself. It's an existential thrill matter of factly.
FRED:
Subtle political commentary.
LEO:
Oh yeah. At least turn that thing around. Put it 10 degrees to the left. Nope. It's still there. Somebody told me that in an audience here recently.
FRED:
You wanna do a tune from...I would like for you to do a tune from your new album. I really would.
LEO:
Oh well, unfortunately I'm gonna do one from an old album. The label always loves this, here I am promoting a new record and I play nothing from it. But I will momentarily. Right now I'm set to play something called "Little Martha." It was written by Duane Allman.
FRED:
Leo Kottke. On the Loop, 97 point 9.
[Leo plays "Little Martha" with an unusual break]
FRED:
Yeah, Leo Kottke. You know, I can picture Duane sitting on a porch down there in Macon, Georgia, just pickin' away and doing that.
LEO:
That's right. He worked on this tune for a long time. I met Dawn Allman a few years ago and she filled me in on a little bit of it. But Little Martha, whoever that is, remains obscure.
FRED:
It's a pretty tune.
LEO:
Yeah it is. It's a great guitar tune.
FRED:
Leo Kottke on the Loop 97 point 9. It is 12:41. I'll tell you what. Let's go to the telephones and talk to Wayne who has a quick question for you. Wayne?
WAYNE:
Yeah. Hey, [nice] sound you got there.
LEO:
Yeah, good.
WAYNE:
I had a question. I have an Ibanez S-Series guitar. I'm looking for a pickup at the bridge, at the neck position.
FRED:
What is all this technical...? What does that mean?
WAYNE:
Wha...the neck position?
LEO:
Yeah.
WAYNE:
Well, my guitar has three. I have a humbucker and two single-coil pickups.
LEO:
Uh huh.
FRED:
Guitar talk.
WAYNE:
I'm looking for a good bridge pickup -- not a bridge pickup, a neck pickup for [a] good blues [sound]. Do you have -- will you recommend a name.
FRED:
Now for those who don't know what the hell this kid is looking for, he's looking for what is tantamount to a microphone that would fit on the guitar so he can amplify it, right? Right Leo?
LEO:
Yeah, they're operating on a different principle but it does the same thing.
FRED:
Yeah, in layman's terms.
LEO:
We're talking about a magnet wound with wires. It was invented in about the thirties I think. It hasn't changed much. It still sounds, still the best sounding thing. And I wouldn't know which was to steer you on that except that I like the Lace pickup because they're quiet. You can get a single-coil sound without a lot of noise.
WAYNE:
So, a Lace pickup? Who makes those?
LEO:
You can get them through Fender. They seem to be the people who carry that brand.
FRED:
Or your local Ace Hardware store. This young man has been holding for over 22 minutes. Hey, Brian?
BRIAN:
How are you? Fred, I grew up with you, it's great hearing you on the radio again.
FRED:
Thanks Bri.
BRIAN:
Leo, I can verify that Fender also does the Lace. Jerry Garcia and Grisham just did a kids' album. Would you consider doing something like that? Or working with Jerry Garcia? I'm a deadhead and I think the possibility of Garcia expanding his music into jazz and different things. I mean, you guys would sound great together.
LEO:
Oh, I'd love to do it. I mixed a record over at his Maters's Wheels and that's a close as I got to the Dead. I met a couple of the guys but we haven't even really done any playing together. I did make a children's record called...well, it was the story of Paul Bunyan. He's the guy's who's married to Ruth Westhumer. (?) [everyone laughs] It was narrated by Jonathan Winters. I'd love to do more of it. It's a lot of fun and I think it's important stuff. Cause I remember what some of those things meant to me when I was a little kid and they go in and they stay there.
BRIAN:
The old folk tuns that Jerry did were really tremendous and it's really worth listening [to].
LEO:
Yeah, old and in the way.
BRIAN:
You sound absolutely great.
LEO:
Thanks.
FRED:
Brian, thanks for calling.
BRIAN:
Take care.
FRED:
It's 12:45 on the Loop 97 point 9....
[commercials]
FRED:
..."Testosterone" Isn't that a sports car? 97 point 9. It's 12:50. The legendary Leo Kottke is in the studio and did a gig tonight a the Park West. And you're going to be in town for more days or are you getting out tonight? What are you going to do?
LEO:
I leave tomorrow and hopefully the airport is open in Washington D.C. and I'll land there without running into that bridge that they've been running into there.
FRED:
Oh, that thing?
LEO:
Yeah, that's a hair-raising place to fly in and out of. National. It's really the spookiest that I know about. But I'm willing. I get to play so I'll go there.
FRED:
You write many songs on an airplane? You do any composing?
LEO:
No, no. I don't think I've written a note on an airplane. I read. I'm addicted to reading. I read everything from Moby Dick to cereal boxes. I do it all the time. And they're great for that.
FRED:
That's wonderful. The new album is called Peculiaroso and much to the delight of your record company, Leo's going to play a tune from the album. What did you call this thing? [shakes a cabasa]
LEO:
Cabasa. Cabasa.
FRED:
Not to be confused with the Polish sausage of almost the same name of Kielbasa.
LEO:
But I would think between the two of them we could arrive at something either almost edible or almost musical. If you just stick to this we might be able to play together.
FRED:
What is this called now?
LEO:
This is called "Peg Leg." It was originally called Steak Diane, who was a singer in the 60's with one of the worst record covers I've ever seen. She's covered in raw meat. And I also, for other reasons, decided to throw that title out and I've named this now after Rickie Lee's grandfather, who was a dancer in vaudeville but with one leg. He was called, obviously, Peg Leg Jones. So this is Peg Leg.
FRED:
A very busy man.
[Leo plays "Peg Leg", with Fred doing a pretty good job with rhythm]
FRED:
All right!
LEO:
Yeah.
FRED:
Leo Kottke. Now how'd you play this thing [shakes cabasa] and play the guitar at the same time? That'll amaze everybody on the Loop 97 point 9. Let's take a couple of phone calls and then we'll send you packing, OK?
LEO:
OK.
FRED:
All right. It is Matt with a question for you. Matt?
MATT:
Hi. How ya doing Leo?
LEO:
I'm doing well.
MATT:
Great show at the Park West tonight.
LEO:
Thanks.
MATT:
That was a great show.
LEO:
Thanks for coming.
MATT:
Hey, would you say hi to my friend Elizabeth? Who hit her head on the ice yesterday and couldn't go.
LEO:
Can she hear me?
MATT:
Probably not, but I'll record it for her.
LEO:
Hi Elizabeth. Get well soon.
MATT:
Thanks a lot.
LEO:
Yeah.
MATT:
I always wanted to know how you got involved with Private Music company, being a new age company and all.
LEO:
Buell Neidlinger, the great bass player from all kinds of histories and one of the bop pioneers as far as I'm concerned, really kind of negotiated me into that company and I've been there ever since.
MATT:
That's great.
LEO:
Yeah, it was a strange series of events that got me there.
MATT:
Thanks for playing "Rings" tonight. That was a great song.
FRED:
Matt, thank you for calling.
MATT:
Bye bye.
FRED:
Leo, we have Daniel on the line and he needs advice.
DANIEL:
Hi, Leo, how ya doing?
LEO:
I'm all right.
FRED:
Better not be another technical guitar question
DANIEL:
Oh no, no, not quite. I am a guitarist though. I'm asking for advice because it seems like there's only a handful of guitarist who work on their own. And I'm kind of old, I'm 32 --
LEO:
Oh yeah [laughs] you're in deep trouble.
FRED:
That's not old. I got things on my body older than that.
DANIEL:
[laughs] OK. But I'm not a professional but I would like to become [one]. I made my resolution this year I will go for it. Try to improve m y guitar playing and see if I can go t a level at which I can be professional. And I just want to know if that is a crazy idea. What the chances are that a person my age will be able to pull that off. I've been playing guitar for 15 years and I do music at work, I work with kids, I do music at work.
LEO:
Well, it can happen at any time. Joseph Conrad started writing when he was in his 30's and in a foreign language. His native tongue was not English. It can happen with anything. I never really know what to say to people except that what seems to work is just to play every chance you get anywhere you can and to keep doing it. And you'll find out if it's something that you like to do and you'll also find out if you have an audience.
DANIEL:
How long do you think a person should try for it?
LEO:
You just do it because you like to play. If you're doing it because you want to make a career of it, it won't work. At least if it does work, you'll regret it. I would just do it because you like to play and it'll come to get you, if it's gonna happen. And if it doesn't, then you haven't lost a thing.
FRED:
You never know when it's gonna happen. For example, Randolph Scott, which happens to --didn't you write a tune "Turning into Randolph Scott"?
LEO:
Yeah.
FRED:
Randolph Scott started off as a very serious dramatic actor and he couldn't buy a hit.
LEO:
Oh?
FRED:
And then he did a Western...just as a fluke and all of a sudden he was a major star and everyone knows him for his Westerns and not for his serious dramatic acting. So that's a prime example of that. How 'bout that?.
LEO:
There we are.
FRED:
All right. Well, I can't thank you enough for stopping by, Leo.
LEO:
I've had a ball doing this. I was filled momentarily with regret as I dragged myself through the slush outside of Park West trying to come back to some reality. I'm really glad I came, it's been a ball, I've enjoyed meeting you.
FRED:
Thanks very much. Me too.
LEO:
And you play great cabasa.
FRED:
Thanks a lot.
LEO:
Thank you.
FRED:
Next time I'll bring in the conga drum.
LEO:
Let's.
FRED:
I was too lazy. It was too heavy, I was too lazy. And I was cranky. Ladies and gentlemen, the name of the album is Peculiaroso. Next time you're in Chicago, I do hope you stop by, Leo.
LEO:
That's a deal.
FRED:
Take care. It is 12:58 on the Loop 97 point nine.
[Fred plays "Twilight Time" from the CD]
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