Taking a Walk.

Taking a Walk.

If you're a guitar player, play guitar. It doesn't have to be electric or acoustic.

If you're a guitar player, play guitar. It doesn't have to be electric or acoustic.

Do what you feel. It's all about doing what you really want to do and feel.

Do what you feel. It's all about doing what you really want to do and feel.

Welcome music lovers to another episode of the Taking a Walk podcast, the podcast where your host Buzz Night talks with some of the most intriguing figures in the world of music today. Buzz is joined by a guitar virtuoso and a songwriting talent, the one and only Gary Myrik. Gary's musical journey is a fascinating one that spans decades and genres, from his early days in Texas where he replaced none other than Stevie ray Vaughan in the band Crackerjack, to his breakthrough success with Gary Myrik and the Figures in the nineteen eighties, along with his hit songs she talks in stereo. Gary has consistently pushed creative boundaries as a guitarist, and we welcome him now on Taking a Walk.

Welcome music lovers to another episode of the Taking a Walk podcast, the podcast where your host Buzz Night talks with some of the most intriguing figures in the world of music today. Buzz is joined by a guitar virtuoso and a songwriting talent, the one and only Gary Myrik. Gary's musical journey is a fascinating one that spans decades and genres, from his early days in Texas where he replaced none other than Stevie ray Vaughan in the band Crackerjack, to his breakthrough success with Gary Myrik and the Figures in the nineteen eighties, along with his hit songs she talks in stereo. Gary has consistently pushed creative boundaries as a guitarist, and we welcome him now on Taking a Walk.

Well, Gary, thanks for being on Takeing a Walk.

Well, Gary, thanks for being on Takeing a Walk.

It's an honor to get to meet you. Well, nice to meet you too.

It's an honor to get to meet you. Well, nice to meet you too.

So you started writing songs at fourteen and you formed your first band. I think it was at eighteen, if I'm not mistaken. What were the inspirations that led you to music so early on in your career.

So you started writing songs at fourteen and you formed your first band. I think it was at eighteen, if I'm not mistaken. What were the inspirations that led you to music so early on in your career.

Well, my mother actually got me going.

Well, my mother actually got me going.

I was ten years old and I've always been even from an early age. I was trying to draw and paint and do some kind of artistic things. And my mom said to me, you know you're creative. You need to play an instrument. And I went okay. I mean I was real amenable as a child. I'd go, oh, I would do anything, like I don't. I don't know anything. I'm ten years old, I know nothing. Tell me what to do. So she said, well, you know I love guitar. I love like Spanish guitar, and I went okay. She said play learn guitar and I went all right. And the funny part is my dad had played trombone in high school or something. So the first thing I said to her, I said, what about trombone? And she went, no, not trombone, and I went, oh, okay, Well what do you think She said guitar and I went okay.

I was ten years old and I've always been even from an early age. I was trying to draw and paint and do some kind of artistic things. And my mom said to me, you know you're creative. You need to play an instrument. And I went okay. I mean I was real amenable as a child. I'd go, oh, I would do anything, like I don't. I don't know anything. I'm ten years old, I know nothing. Tell me what to do. So she said, well, you know I love guitar. I love like Spanish guitar, and I went okay. She said play learn guitar and I went all right. And the funny part is my dad had played trombone in high school or something. So the first thing I said to her, I said, what about trombone? And she went, no, not trombone, and I went, oh, okay, Well what do you think She said guitar and I went okay.

And then it became really my life's work.

And then it became really my life's work.

So it just shows what parents' influence can be, how important it really is, you know, I mean, I and then I started writing songs. After I took lessons for about two years, she would take me downtown Dallas and to a great music store called McCord's Music. And I ended up buying guitars there for years. And you could back then you could find like a for example, a nineteen fifty eight stratocaster and buy it for four or five hundred dollars where now it's worth thirty grand. So you know, it was a great store for finding some good, good instruments. And anyhow, I took lessons there and I was I never missed a lesson. Nobody had to tell me to practice. No, nobody had, so well, you better practice. Nobody said that. I always I was into it. And so that's that's how I got started. And then I and I wanted to write songs as soon as possible for some reason, and so I started, you know, around I think, I mean, I I was kind of dabbling at songwriting early on, but around fourteen, and I was, you know, trying to play in you know, little with some other kids in school play you know that that might play guitar, bass or drums or something. So my earliest bands were around fourteen, but my first all original band was at eighteen.

So it just shows what parents' influence can be, how important it really is, you know, I mean, I and then I started writing songs. After I took lessons for about two years, she would take me downtown Dallas and to a great music store called McCord's Music. And I ended up buying guitars there for years. And you could back then you could find like a for example, a nineteen fifty eight stratocaster and buy it for four or five hundred dollars where now it's worth thirty grand. So you know, it was a great store for finding some good, good instruments. And anyhow, I took lessons there and I was I never missed a lesson. Nobody had to tell me to practice. No, nobody had, so well, you better practice. Nobody said that. I always I was into it. And so that's that's how I got started. And then I and I wanted to write songs as soon as possible for some reason, and so I started, you know, around I think, I mean, I I was kind of dabbling at songwriting early on, but around fourteen, and I was, you know, trying to play in you know, little with some other kids in school play you know that that might play guitar, bass or drums or something. So my earliest bands were around fourteen, but my first all original band was at eighteen.

So you replaced Stevie ray Vaughan in the Austin based band called Crackerjack. What was that experience like and did you did you know Stevie personally and how did that whole experience kind of you know, shape you career wise?

So you replaced Stevie ray Vaughan in the Austin based band called Crackerjack. What was that experience like and did you did you know Stevie personally and how did that whole experience kind of you know, shape you career wise?

Well, I was I had a band in Dallas.

Well, I was I had a band in Dallas.

I'm from Dallas. Stevie's from Dallas too, But I.

I'm from Dallas. Stevie's from Dallas too, But I.

Was playing at a club in downtown Dallas. I guess I was about when he one, and it was called the Cellar and it was just a really dark, odd place, totally different. All the walls were painted black. It was kind of psychedelic. And I played there five nights a week and I was doing completely original, original material and we were doing really well. We were like kind of the top band there. They had multi bands and it was totally weird. There was like a bandstand with amps, you know, of course behind the musicians, and everybody would use the same amps. Each band would walk on and they would use whatever amps were. You know, we're there for everyone, and so that was strange. So we didn't have our own amps. So that was a little weird, but it worked fine. We had auditioned there early on and got the gig, and then we really started taking off. And another strange thing is there was a runway in front of the band, and girls from the audience would get on the runway and just kind of dance, kind of like strippers, but they're not strippers. They were just dancing and it was totally weird. And then in front of that were like a million pillows and people were laying on pillows like looking up at the band. It was very unusual, and most of the bouncers had guns on and I know it was crazy. And in fact, one of the there was a guy there that had hit his gun on a table and it went off and shot right over my head. So I said, dude, what are you doing. I said, You've got to watch out. You know, you can't. Don't be banging your gun around. Look, I mean that could have hit somebody, could have hit me, but it could have hit anybody.

Was playing at a club in downtown Dallas. I guess I was about when he one, and it was called the Cellar and it was just a really dark, odd place, totally different. All the walls were painted black. It was kind of psychedelic. And I played there five nights a week and I was doing completely original, original material and we were doing really well. We were like kind of the top band there. They had multi bands and it was totally weird. There was like a bandstand with amps, you know, of course behind the musicians, and everybody would use the same amps. Each band would walk on and they would use whatever amps were. You know, we're there for everyone, and so that was strange. So we didn't have our own amps. So that was a little weird, but it worked fine. We had auditioned there early on and got the gig, and then we really started taking off. And another strange thing is there was a runway in front of the band, and girls from the audience would get on the runway and just kind of dance, kind of like strippers, but they're not strippers. They were just dancing and it was totally weird. And then in front of that were like a million pillows and people were laying on pillows like looking up at the band. It was very unusual, and most of the bouncers had guns on and I know it was crazy. And in fact, one of the there was a guy there that had hit his gun on a table and it went off and shot right over my head. So I said, dude, what are you doing. I said, You've got to watch out. You know, you can't. Don't be banging your gun around. Look, I mean that could have hit somebody, could have hit me, but it could have hit anybody.

Yeah.

Yeah.

So anyhow, the story about the replacing Stevie was Uncle John Turner, great drummer, definitely a blues aficionado, and he came into the cellar to see me play, and of course they were based out of Austin, but he I think he was up there. I don't know what was going on, and maybe he was playing, and so he came into the cellar, came up and talked to me.

So anyhow, the story about the replacing Stevie was Uncle John Turner, great drummer, definitely a blues aficionado, and he came into the cellar to see me play, and of course they were based out of Austin, but he I think he was up there. I don't know what was going on, and maybe he was playing, and so he came into the cellar, came up and talked to me.

I knew who he was.

I knew who he was.

I think i'd met him earlier on, like when I was around eighteen in Austin. He said, I wonder if you would come down and play with our band because we're gonna we're gonna get rid of this guitarist.

I think i'd met him earlier on, like when I was around eighteen in Austin. He said, I wonder if you would come down and play with our band because we're gonna we're gonna get rid of this guitarist.

That we have.

That we have.

And I knew that they made the most money and they were doing original material and it was all blues rock, and I wanted to play with some blues people so I could learn more about the blues because I loved it. So I thought it was a good opportunity, and so I did. So I went down and the band was the singer was named Bruce Bolin, a really good singer who is now passed on, and uncle John Turner and Tommy Shannon who was later on in Double Trouble with Stevie the bass player. And then I had another guitarist that played rhythm guitar.

And I knew that they made the most money and they were doing original material and it was all blues rock, and I wanted to play with some blues people so I could learn more about the blues because I loved it. So I thought it was a good opportunity, and so I did. So I went down and the band was the singer was named Bruce Bolin, a really good singer who is now passed on, and uncle John Turner and Tommy Shannon who was later on in Double Trouble with Stevie the bass player. And then I had another guitarist that played rhythm guitar.

That I brought down too, so there was two guitars.

That I brought down too, so there was two guitars.

So I was the lead guitarist, but this guy also played rhythm and his name was Mark Stimpson.

So I was the lead guitarist, but this guy also played rhythm and his name was Mark Stimpson.

He also has passed on. So I went down there.

He also has passed on. So I went down there.

We all got together one afternoon and jammed and it sounded really good. We liked it, and then we were hired and we all lived in a band house.

We all got together one afternoon and jammed and it sounded really good. We liked it, and then we were hired and we all lived in a band house.

And I.

And I.

Didn't know why they replaced Stevie or what happened, but they did. And you know, Stevie hadn't, you know, done anything yet, and I hadn't done anything, and I was just kind of happy to be in Austin doing this new thing, and they were drawing really big crowds and it was great fun. And then later on, when I moved to California and got signed by Epic Records, Stevie was also on Epic Records, and we did some gigs together, so we knew each other, and you know, he was a sweetheart of a guy, really sweet, really nice, and we got along great, and I remember him coming to my hotel room one day and he was just it was a kind hearted soul. And you know, we did a few things, and i'd known as brother jimmy earlier. We ad met too early on too, and I met him when I was playing in cracker Jack again, and Austin was really great back then because Austin was was not so crowded like now Austin is very crowded and there's it's too crowded, to be honest. And back then it was a hippie blues musician town and it was the capital of Texas. It is the capital of Texas, so there was a total kind of hippie vibe in the town. And it was great. You know, you could you could, you could play music, you can make a living. You know, we were getting paid pretty well for the times. I had a great time, and I learned a lot from Uncle John Turner about the blues and it started me kind of using that a bit, and which I've used on this new album especially, and it's the new record is on a lot of blue stations, even though you know it's loud and it's it's raucous, but it's it's definitely rooted in the blues. And Austin was and still is a great blues town. But it was really fantastic back then.

Didn't know why they replaced Stevie or what happened, but they did. And you know, Stevie hadn't, you know, done anything yet, and I hadn't done anything, and I was just kind of happy to be in Austin doing this new thing, and they were drawing really big crowds and it was great fun. And then later on, when I moved to California and got signed by Epic Records, Stevie was also on Epic Records, and we did some gigs together, so we knew each other, and you know, he was a sweetheart of a guy, really sweet, really nice, and we got along great, and I remember him coming to my hotel room one day and he was just it was a kind hearted soul. And you know, we did a few things, and i'd known as brother jimmy earlier. We ad met too early on too, and I met him when I was playing in cracker Jack again, and Austin was really great back then because Austin was was not so crowded like now Austin is very crowded and there's it's too crowded, to be honest. And back then it was a hippie blues musician town and it was the capital of Texas. It is the capital of Texas, so there was a total kind of hippie vibe in the town. And it was great. You know, you could you could, you could play music, you can make a living. You know, we were getting paid pretty well for the times. I had a great time, and I learned a lot from Uncle John Turner about the blues and it started me kind of using that a bit, and which I've used on this new album especially, and it's the new record is on a lot of blue stations, even though you know it's loud and it's it's raucous, but it's it's definitely rooted in the blues. And Austin was and still is a great blues town. But it was really fantastic back then.

So let's talk about the new project. The Some of All My Sins is balled. I love that title, very good thank you. Yeah, tell us about the collaborators and the whole creation of that project.

So let's talk about the new project. The Some of All My Sins is balled. I love that title, very good thank you. Yeah, tell us about the collaborators and the whole creation of that project.

Well, I wanted to make this record, and I had been talking to Robert Margoliffe, who I've known since my third album. He produced my third album on Epic called Language, and that was much more of a full rock record. I had keyboards and things, and I wanted to do something that was more rooted in the blues but still was very very guitar oriented. So and he and I wanted to work together again. Robert Margeleff had done all the Stevie Wonder records back in the seventies, like he did Talking Book. He did the best Stevie Wonder stuff. So he's very knowledgeable of making things sound right. I mean he knows all the technique and all the numbers and all the things that are necessary to make things right. And I knew that, and also we were just friends too. And so I started a little record I have a little record label. I mean, anybody could start a record label. It's not a big deal. It sounds like it's a big deal, it was not. And I wanted to put it out on my own label. So I went in and I wanted to play all the instruments except for drums. So I hired a really great drummer that I had worked with before. His name is Dusty Watson, and he's fantastic. He's really really a top top great drummer, very soulful.

Well, I wanted to make this record, and I had been talking to Robert Margoliffe, who I've known since my third album. He produced my third album on Epic called Language, and that was much more of a full rock record. I had keyboards and things, and I wanted to do something that was more rooted in the blues but still was very very guitar oriented. So and he and I wanted to work together again. Robert Margeleff had done all the Stevie Wonder records back in the seventies, like he did Talking Book. He did the best Stevie Wonder stuff. So he's very knowledgeable of making things sound right. I mean he knows all the technique and all the numbers and all the things that are necessary to make things right. And I knew that, and also we were just friends too. And so I started a little record I have a little record label. I mean, anybody could start a record label. It's not a big deal. It sounds like it's a big deal, it was not. And I wanted to put it out on my own label. So I went in and I wanted to play all the instruments except for drums. So I hired a really great drummer that I had worked with before. His name is Dusty Watson, and he's fantastic. He's really really a top top great drummer, very soulful.

We didn't even really rehearse.

We didn't even really rehearse.

We just went into the studio and I was going to play all the guitars, all the bass, and I played also lap steel, slide and background vocals, and I was going to do everything except drums. So we started. We went in the studio and we cut all the basic tracks in one day. It's five songs on the album, and I already had another song that was all acoustic. Everything was very electric on this record except for one song that I did on twelve string acoustic, and it's kind of all in the Road Again, which was not the Willie Nelson on the Road Again.

We just went into the studio and I was going to play all the guitars, all the bass, and I played also lap steel, slide and background vocals, and I was going to do everything except drums. So we started. We went in the studio and we cut all the basic tracks in one day. It's five songs on the album, and I already had another song that was all acoustic. Everything was very electric on this record except for one song that I did on twelve string acoustic, and it's kind of all in the Road Again, which was not the Willie Nelson on the Road Again.

It was the one that Canned Heat did back in the.

It was the one that Canned Heat did back in the.

Day, which they had a big hit with, but I guess that was at least forty maybe fifty years ago. So I always loved the song, and so we added that I'd done another record during the pandemic that was all twelve string acoustic, and I didn't really promote it. And I'm still probably going to put that out at some again. I mean, it's out, it's available now, but I didn't promote it at all.

Day, which they had a big hit with, but I guess that was at least forty maybe fifty years ago. So I always loved the song, and so we added that I'd done another record during the pandemic that was all twelve string acoustic, and I didn't really promote it. And I'm still probably going to put that out at some again. I mean, it's out, it's available now, but I didn't promote it at all.

So we recorded.

So we recorded.

I went to another studio that was Bob Margolus Studio and did the vocals, and then we started mixing and we finished it. And then I did what a record company normally would do back in the old days, and I hired a promotion team to go to radio, and I just did everything that the.

I went to another studio that was Bob Margolus Studio and did the vocals, and then we started mixing and we finished it. And then I did what a record company normally would do back in the old days, and I hired a promotion team to go to radio, and I just did everything that the.

Record companies did.

Record companies did.

They started going and they were very experienced, these two promotion people, and they started going to radio, and it was amazing. We've gotten like over three hundred and something stations worldwide, and it's in like over eleven countries, and we even got a number one song on that acoustic song in the UK on about seven stations radio stations. So it's been kind of shocking how well it was received. And that's and so we're still working on that. That's how it all came together. But it was the fun. One part was that I did it. I got to play all the instruments, and I should have done that in other records, frankly, because I could and if you can, why not?

They started going and they were very experienced, these two promotion people, and they started going to radio, and it was amazing. We've gotten like over three hundred and something stations worldwide, and it's in like over eleven countries, and we even got a number one song on that acoustic song in the UK on about seven stations radio stations. So it's been kind of shocking how well it was received. And that's and so we're still working on that. That's how it all came together. But it was the fun. One part was that I did it. I got to play all the instruments, and I should have done that in other records, frankly, because I could and if you can, why not?

You know, amen?

You know, amen?

And Robert Margleff said, oh, yes, DV did that. Stevie Wonder did that during talking Book and some of that. He was playing drums and he was playing everything. And I said, well, if you can do it, you know, it's it's it's sure as fun because you don't have to tell anybody anything. You don't tell anybody anything. You know what you want to do. So that's how it came together. And I was I'm quite pleased with it.

And Robert Margleff said, oh, yes, DV did that. Stevie Wonder did that during talking Book and some of that. He was playing drums and he was playing everything. And I said, well, if you can do it, you know, it's it's it's sure as fun because you don't have to tell anybody anything. You don't tell anybody anything. You know what you want to do. So that's how it came together. And I was I'm quite pleased with it.

It's awesome. So your song She Talks in Stereo? I played it a few times during my radio days for sure, and a great one. And it's interesting to me you were touching on this latest release and you know sort of the international scope of it and that song, your song She Talks in Stereo. If I'm not mistaken, it really caught on in Australia among other places. So what did that do for your career when you got that international recognition on that song?

It's awesome. So your song She Talks in Stereo? I played it a few times during my radio days for sure, and a great one. And it's interesting to me you were touching on this latest release and you know sort of the international scope of it and that song, your song She Talks in Stereo. If I'm not mistaken, it really caught on in Australia among other places. So what did that do for your career when you got that international recognition on that song?

Well, I'm still able to use that, you know, like when the promotion team for this new record went to radio, everybody, you know, many of these stations knew me from my past work, and Australia was one of those and they went, oh.

Well, I'm still able to use that, you know, like when the promotion team for this new record went to radio, everybody, you know, many of these stations knew me from my past work, and Australia was one of those and they went, oh.

Yeah, Gary, myrak, what's what's he up to?

Yeah, Gary, myrak, what's what's he up to?

So they were all ready to listen to any new record that I put out, and that was really helpful. So the thing that was really good about She Talks in Stereo, even though it was a long time ago, was that people, you know, stationed radio stations and DJs know you and and they want to hear what you're doing. So that's really all. That's the way I looked at it. You know, it's just helpful.

So they were all ready to listen to any new record that I put out, and that was really helpful. So the thing that was really good about She Talks in Stereo, even though it was a long time ago, was that people, you know, stationed radio stations and DJs know you and and they want to hear what you're doing. So that's really all. That's the way I looked at it. You know, it's just helpful.

It just opens you up to future projects, future collaborations, featured concerts and all of that as well. Yeah, yeah, So tell me what it was like working with Jackson Brown.

It just opens you up to future projects, future collaborations, featured concerts and all of that as well. Yeah, yeah, So tell me what it was like working with Jackson Brown.

Jackson is a very nice person and a very sweet guy. And we had done, by accident, a homeless benefit at the Palace in Los Angeles together and there was a lot of people that were pretty well known, some of the let's see some of Fleetwood. Mac was there, and anyhow, everybody was going up and doing like one or two songs, and there was a back there was a house band, and I was playing guitar for every buddy on that show, and Jackson was going to do a song, and so I was playing guitar for him on that song. You know, I just I thought he was just a great guy. And then he asked me to come in the studio and play on a song called for America that is on his Lives in the Balance album and I was happy to do it, and so I went over there.

Jackson is a very nice person and a very sweet guy. And we had done, by accident, a homeless benefit at the Palace in Los Angeles together and there was a lot of people that were pretty well known, some of the let's see some of Fleetwood. Mac was there, and anyhow, everybody was going up and doing like one or two songs, and there was a back there was a house band, and I was playing guitar for every buddy on that show, and Jackson was going to do a song, and so I was playing guitar for him on that song. You know, I just I thought he was just a great guy. And then he asked me to come in the studio and play on a song called for America that is on his Lives in the Balance album and I was happy to do it, and so I went over there.

We had a great time.

We had a great time.

I'm still to this day, I'm very pleased with the way it came out. It was it was also track one, side one of his album, and that's when there was still vinyl records being put out by record labels and I don't even think there was CDs at that point. And I just had a great time.

I'm still to this day, I'm very pleased with the way it came out. It was it was also track one, side one of his album, and that's when there was still vinyl records being put out by record labels and I don't even think there was CDs at that point. And I just had a great time.

That's all there is to it. And you know, I like him a lot.

That's all there is to it. And you know, I like him a lot.

And you know, when you meet people and they're really nice, they're really nice, you're not disappointed, they're not like got a bad attitude or something, and he's he's the opposite.

And you know, when you meet people and they're really nice, they're really nice, you're not disappointed, they're not like got a bad attitude or something, and he's he's the opposite.

He's just a totally like good guy.

He's just a totally like good guy.

We'll be right back with more of the Taking a Walk Podcast. Welcome back to the Taking a Walk Podcast.

We'll be right back with more of the Taking a Walk Podcast. Welcome back to the Taking a Walk Podcast.

I'm fascinated by your experience when you formed.

I'm fascinated by your experience when you formed.

Havana three am H.

Havana three am H.

Can you talk about that, what that whole experience was like and how you sort of reflect on.

Can you talk about that, what that whole experience was like and how you sort of reflect on.

That well, I had.

That well, I had.

I think as a kid, I always wanted to play in an British band, and so I was playing some guitar for uh Well.

I think as a kid, I always wanted to play in an British band, and so I was playing some guitar for uh Well.

I was gonna work with one of the.

I was gonna work with one of the.

Sex pistols, Steve Jones, the guitar player. He had a solo album called Mercy, and he was going to do a tour opening up for the Kinks, and he needed a backup guitar player and I told him if he wanted me to, I'd like to do it. And so I was going to do that. And he also rode motorcycles and I rode motorcycles, and so we had that in common. And the bass play from The Clash. Paul Simonon had come to Texas with Nigel Dixon, who was the singer and rhythm guitarist for a band called Whirlwind out of England and they used to open up for The Clash a lot, and they were a rockabilly band, one of the early rockabilly bands of.

Sex pistols, Steve Jones, the guitar player. He had a solo album called Mercy, and he was going to do a tour opening up for the Kinks, and he needed a backup guitar player and I told him if he wanted me to, I'd like to do it. And so I was going to do that. And he also rode motorcycles and I rode motorcycles, and so we had that in common. And the bass play from The Clash. Paul Simonon had come to Texas with Nigel Dixon, who was the singer and rhythm guitarist for a band called Whirlwind out of England and they used to open up for The Clash a lot, and they were a rockabilly band, one of the early rockabilly bands of.

England.

England.

So they flew over to Texas. They flew to El Paso. I guess they were searching for inspiration. They was just kind of see what would happen they wanted to start a band, I think at that time, and then they bought Harley's in El Paso drove them to Los Angeles, where I met up with them through Steve Jones, and we were all riding motorcycles around. We weren't really talking about music, but we we were just kind of riding around and you know, having a cup of coffee and just talking.

So they flew over to Texas. They flew to El Paso. I guess they were searching for inspiration. They was just kind of see what would happen they wanted to start a band, I think at that time, and then they bought Harley's in El Paso drove them to Los Angeles, where I met up with them through Steve Jones, and we were all riding motorcycles around. We weren't really talking about music, but we we were just kind of riding around and you know, having a cup of coffee and just talking.

And one day we were on a.

And one day we were on a.

Ride we talked a little bit about music and they said that they were thinking about starting a band in Los Angeles and I said, well, why don't Why don't you and you guys and I write write some songs, like we could just test it out and see what's you know. And I said, I also have a really good drummer that we could you know, we could try out. Maybe all we tried out with us, write some songs. If we like them, maybe we go in and cut a demo and see what it sounds like. That's exactly what we did. We liked the demo, and then we went on a little tour of Texas and California. Now we didn't have a record house, so nobody had heard our music. But based on the clash connection, we could draw a good crowd, and that's exactly what we did. And then they wanted to go back to England for a while because we hadn't gotten signed, we didn't have a record label, so they went back to England. It was kind of based on a future wife of Paul's that was I think that they got married later, and I think she wanted to go back to England.

Ride we talked a little bit about music and they said that they were thinking about starting a band in Los Angeles and I said, well, why don't Why don't you and you guys and I write write some songs, like we could just test it out and see what's you know. And I said, I also have a really good drummer that we could you know, we could try out. Maybe all we tried out with us, write some songs. If we like them, maybe we go in and cut a demo and see what it sounds like. That's exactly what we did. We liked the demo, and then we went on a little tour of Texas and California. Now we didn't have a record house, so nobody had heard our music. But based on the clash connection, we could draw a good crowd, and that's exactly what we did. And then they wanted to go back to England for a while because we hadn't gotten signed, we didn't have a record label, so they went back to England. It was kind of based on a future wife of Paul's that was I think that they got married later, and I think she wanted to go back to England.

I'm not sure exactly why they went back to England, but.

I'm not sure exactly why they went back to England, but.

They went to England and then we just kind of just let it slide, let Havano threem slide, and we didn't even think about it much. And then they called me one day and they said, would you like to come over to England. We'll fly you over to write some more songs.

They went to England and then we just kind of just let it slide, let Havano threem slide, and we didn't even think about it much. And then they called me one day and they said, would you like to come over to England. We'll fly you over to write some more songs.

And I said, sure, I'd love to do that. That'd be fun.

And I said, sure, I'd love to do that. That'd be fun.

They had I've gotten another guitar player and a drummer in England because it was more convenient, and tried to kind of put it together there and it didn't work. Paul and his wife were not nice.

They had I've gotten another guitar player and a drummer in England because it was more convenient, and tried to kind of put it together there and it didn't work. Paul and his wife were not nice.

To these guys. They were not nice to.

To these guys. They were not nice to.

Them, and so that kind of was floundering. And so I came over wrote songs and then they said would you like to go on tour in Europe, even though we still don't have a record out, but we could because of that clash connection and Paul's reputation. So we went around Europe and then all of a sudden we were asked to come over to Tokyo and a record label in Japan wanted to sign us to just make an album in and for Japan, and they said, and you guys can keep the masters and you can license.

Them, and so that kind of was floundering. And so I came over wrote songs and then they said would you like to go on tour in Europe, even though we still don't have a record out, but we could because of that clash connection and Paul's reputation. So we went around Europe and then all of a sudden we were asked to come over to Tokyo and a record label in Japan wanted to sign us to just make an album in and for Japan, and they said, and you guys can keep the masters and you can license.

Them wherever you want.

Them wherever you want.

They're yours, will give you the masters, we just want to put it out in Japan, and we went, oh, that's a good deal.

They're yours, will give you the masters, we just want to put it out in Japan, and we went, oh, that's a good deal.

So we flew over there. I think we played a gig.

So we flew over there. I think we played a gig.

In Tokyo and then we were going We went back to England and then we flew back again and went into the recording studio with a Japanese recording engineer who couldn't speak English, and so we had to have an interpreter all the time who went with us everywhere, and that was really unusual, but we pulled it off and we made the record and then i RS Records with Miles Copeland was the owner of IRS, wanted to sign us and we would use that record that we already made that no one had heard really except in Japan out on that label, which we did, and then we toured around America and Canada and we'd already done Europe before. We had a really good time. Thanks for going well, we did, like David Letterman, and so we did a little TV and.

In Tokyo and then we were going We went back to England and then we flew back again and went into the recording studio with a Japanese recording engineer who couldn't speak English, and so we had to have an interpreter all the time who went with us everywhere, and that was really unusual, but we pulled it off and we made the record and then i RS Records with Miles Copeland was the owner of IRS, wanted to sign us and we would use that record that we already made that no one had heard really except in Japan out on that label, which we did, and then we toured around America and Canada and we'd already done Europe before. We had a really good time. Thanks for going well, we did, like David Letterman, and so we did a little TV and.

It went really well.

It went really well.

But then the thing that really threw us for a loop is our singer Nigel got cancer and it was really devastating for all of us, and he he wasn't giving a good well the doctors, you know, basically said you have about a year to live, and that was very I mean that's for anyone. That is the most shocking and horrifying thing to hear. That stopped us dead in our tracks. And then they went back to England and Nigel, you know, I actually had another little tour we could have done, and Nigel flew back over even though he had cancer because he well, you wouldn't know that he had cancer. I mean you wouldn't like look at him and go, oh, this guy's got cancer. You couldn't tell. But it was we knew it wasn't good. And we did one little Texas tour because he needed some money. Too, and I, you know, we were able to do that and we had a good time. And then he went back and I kept kept in touch and checking on him, and then he passed away in England. So that was that was the end of Havana three M. And he and I were going to you know, we were working on writing songs for a second album, and so I ended up by myself making that second second album. It's called Gary Myrick and Havana three AM. And I was really pleased with that record. I think in many ways I liked it a lot better than the first Havana three M record. And that's that record is out in the marketplace. It's available, and it was called Texas Glitter and Tombstone Tails and anyhow, that's so that that exists in the world, and that that was, That was it.

But then the thing that really threw us for a loop is our singer Nigel got cancer and it was really devastating for all of us, and he he wasn't giving a good well the doctors, you know, basically said you have about a year to live, and that was very I mean that's for anyone. That is the most shocking and horrifying thing to hear. That stopped us dead in our tracks. And then they went back to England and Nigel, you know, I actually had another little tour we could have done, and Nigel flew back over even though he had cancer because he well, you wouldn't know that he had cancer. I mean you wouldn't like look at him and go, oh, this guy's got cancer. You couldn't tell. But it was we knew it wasn't good. And we did one little Texas tour because he needed some money. Too, and I, you know, we were able to do that and we had a good time. And then he went back and I kept kept in touch and checking on him, and then he passed away in England. So that was that was the end of Havana three M. And he and I were going to you know, we were working on writing songs for a second album, and so I ended up by myself making that second second album. It's called Gary Myrick and Havana three AM. And I was really pleased with that record. I think in many ways I liked it a lot better than the first Havana three M record. And that's that record is out in the marketplace. It's available, and it was called Texas Glitter and Tombstone Tails and anyhow, that's so that that exists in the world, and that that was, That was it.

We did have a great time, but we didn't want to keep going without Nigel.

We did have a great time, but we didn't want to keep going without Nigel.

So you you played guitar on the great song Missing You by John Waite. You played on that whole session as well.

So you you played guitar on the great song Missing You by John Waite. You played on that whole session as well.

The whole album. Yeah.

The whole album. Yeah.

Yeah, and that song, you know, to this day gets a ton of airplay and all different formats on the on the radio.

Yeah, and that song, you know, to this day gets a ton of airplay and all different formats on the on the radio.

Yeah, when you hear it.

Yeah, when you hear it.

Now, how does it make you feel from you know, knowing your work and you know your collaboration with John.

Now, how does it make you feel from you know, knowing your work and you know your collaboration with John.

Waite, Well, no one knows that you're going to get a number one song. Nobody knows. The record companies don't know. You don't know. You just do stuff that you like and see how it goes. And we actually, John and I had been put together by a manager to work together and we were going to start a band and call it a band thing. It wasn't gonna be that record was never going to be a John Waite record.

Waite, Well, no one knows that you're going to get a number one song. Nobody knows. The record companies don't know. You don't know. You just do stuff that you like and see how it goes. And we actually, John and I had been put together by a manager to work together and we were going to start a band and call it a band thing. It wasn't gonna be that record was never going to be a John Waite record.

We made the whole record.

We made the whole record.

I wrote about four songs with John, and we went and started recording and everything was coming together, and we got Missing You from a couple of other writers we didn't know. We just thought, oh, it's a good song, and we recorded it and it came out good, and that's all we knew. And then near the end of the album, like an idiot, this is probably the dumbest thing I've ever done. I had gotten an offer to do another solo album from Geffen Records, and I wanted to do it, and for all I knew, the record we had just done could have easily gone nowhere.

I wrote about four songs with John, and we went and started recording and everything was coming together, and we got Missing You from a couple of other writers we didn't know. We just thought, oh, it's a good song, and we recorded it and it came out good, and that's all we knew. And then near the end of the album, like an idiot, this is probably the dumbest thing I've ever done. I had gotten an offer to do another solo album from Geffen Records, and I wanted to do it, and for all I knew, the record we had just done could have easily gone nowhere.

I didn't know that we were going to have a number one song.

I didn't know that we were going to have a number one song.

I was missing you, and so I said, you know, John and his manager didn't want me to do that, and in retrospect, it was really stupid, but I wanted to make that solo record because I didn't know.

I was missing you, and so I said, you know, John and his manager didn't want me to do that, and in retrospect, it was really stupid, but I wanted to make that solo record because I didn't know.

Where we're going to have a big success off of Missing You. I didn't know.

Where we're going to have a big success off of Missing You. I didn't know.

So I said to John, I said, well, you know, I know where we're going to do a band and you don't. But I really do want to do this solo album, so why don't you just call it a John Waite record? And I have points on the record, so I own a piece of the record anyway, and I have songs on the record, so you know, I feel like I still own a big chunk of this record, so you can just call it a John Waite record. Now, of course that's the dumbest thing in the world. I shouldn't have done that, but who knew, you know, we didn't know.

So I said to John, I said, well, you know, I know where we're going to do a band and you don't. But I really do want to do this solo album, so why don't you just call it a John Waite record? And I have points on the record, so I own a piece of the record anyway, and I have songs on the record, so you know, I feel like I still own a big chunk of this record, so you can just call it a John Waite record. Now, of course that's the dumbest thing in the world. I shouldn't have done that, but who knew, you know, we didn't know.

The bad news is, you.

The bad news is, you.

Know, he's been able to tour for many years based on that one song, and I could have done that. But yeah, but it's okay, it's okay. It was what I decided at that moment. And it's okay, and I still get paid you know, when it's when it's when missing you is on in a movie or TV or something, I still get paid.

Know, he's been able to tour for many years based on that one song, and I could have done that. But yeah, but it's okay, it's okay. It was what I decided at that moment. And it's okay, and I still get paid you know, when it's when it's when missing you is on in a movie or TV or something, I still get paid.

Nice.

Nice.

So it's okay. Yeah, it's okay, but it's kind of stupid on my part.

So it's okay. Yeah, it's okay, but it's kind of stupid on my part.

So some past guests on this podcast, I want to throw those names out to you, some guitar players, and get your reflection on them, you know, when you think about them as as your your peers. First of all, you conjured this up in my mind talking about the you know, acoustic nature of some of your work, and this guy is able to go back and forth from acoustic to electric through his career.

So some past guests on this podcast, I want to throw those names out to you, some guitar players, and get your reflection on them, you know, when you think about them as as your your peers. First of all, you conjured this up in my mind talking about the you know, acoustic nature of some of your work, and this guy is able to go back and forth from acoustic to electric through his career.

Yrma Kalkanen, Yes, you know, I played some gigs opening for him for him, and uh, what's the name of.

Yrma Kalkanen, Yes, you know, I played some gigs opening for him for him, and uh, what's the name of.

The band that he had, Hot Tuna? Hot Tuna.

The band that he had, Hot Tuna? Hot Tuna.

I had played some gigs with Hot Tuna, And uh, I think it's good too. If you're a guitar player, play guitar. It doesn't have to be electric or acoustic. Do do what you feel. It's all about doing what you really want to do and feel. And so I respect that. I think it's a good thing, and I like playing acoustic guitar and electric guitar, and I get different things from from each.

I had played some gigs with Hot Tuna, And uh, I think it's good too. If you're a guitar player, play guitar. It doesn't have to be electric or acoustic. Do do what you feel. It's all about doing what you really want to do and feel. And so I respect that. I think it's a good thing, and I like playing acoustic guitar and electric guitar, and I get different things from from each.

Like I just did a.

Like I just did a.

Solo I did three a little mini tour in California, and I did it all electric, and I did it completely solo, no band. You know, I have a great time doing that, and I can kind of jam with myself because I can turn on a dime when I'm doing it completely solo, but it's all electric. I'm getting feedback and you know, it's kind of wild and crazy. And then I've you know, I made like I mentioned, I made a completely acoustic twelve string record during the pandemic, and that's called Forever Adventures in twelve String. I think it's healthy to do what Yorma has done. I think it's very artistically healthy.

Solo I did three a little mini tour in California, and I did it all electric, and I did it completely solo, no band. You know, I have a great time doing that, and I can kind of jam with myself because I can turn on a dime when I'm doing it completely solo, but it's all electric. I'm getting feedback and you know, it's kind of wild and crazy. And then I've you know, I made like I mentioned, I made a completely acoustic twelve string record during the pandemic, and that's called Forever Adventures in twelve String. I think it's healthy to do what Yorma has done. I think it's very artistically healthy.

So let me ask you.

So let me ask you.

About another person who's been on who I know your paths have probably crossed with Mike Campbell from Dirty Knobs and the Heartbreakers.

About another person who's been on who I know your paths have probably crossed with Mike Campbell from Dirty Knobs and the Heartbreakers.

Yes, I know Mike, and I knew the original drummer of the Heartbreakers, Stan Lynch, who was on the I think he was all the way up to Damn the Torpedoes record, was my drummer in Los Angeles for about a year or two before he joined Tom Petty and so I was kind of around and we come into some of their gigs before you know, they had really done anything. And so I knew Mike, and you know, Mike's an excellent guitar player, and he also is not you know, in Texas, we're kind of brought up to not think playing super fast is the answer. That's not the answer. And that's based probably on the blues history. In blues culture, it's not about speed. It's not about going, well, I gotta play really fast. It's not about that. It's about playing and making every note count. Even if you're playing one note, just make that count instead of playing a million.

Yes, I know Mike, and I knew the original drummer of the Heartbreakers, Stan Lynch, who was on the I think he was all the way up to Damn the Torpedoes record, was my drummer in Los Angeles for about a year or two before he joined Tom Petty and so I was kind of around and we come into some of their gigs before you know, they had really done anything. And so I knew Mike, and you know, Mike's an excellent guitar player, and he also is not you know, in Texas, we're kind of brought up to not think playing super fast is the answer. That's not the answer. And that's based probably on the blues history. In blues culture, it's not about speed. It's not about going, well, I gotta play really fast. It's not about that. It's about playing and making every note count. Even if you're playing one note, just make that count instead of playing a million.

Notes, you know, as fast as you can. I mean, that's that's not really it.

Notes, you know, as fast as you can. I mean, that's that's not really it.

Mike is of that school also of make the notes count, make the sound count, and the notes, not trying to be shredder dude, not trying to be that guy be you know, make it count. And he's like that, and I think he would agree.

Mike is of that school also of make the notes count, make the sound count, and the notes, not trying to be shredder dude, not trying to be that guy be you know, make it count. And he's like that, and I think he would agree.

I hope he would. And he's a very nice guy also.

I hope he would. And he's a very nice guy also.

And then I got to ask you about this guy known as Skunk.

And then I got to ask you about this guy known as Skunk.

Oh yeah, Jeff Skunk Baxter. Skunk is a sweetheart of a guy. Skunk is the wild Man. He is also I think a member of the CIA. Did you know that? Yeah, I mean that is a trip. That is a wild trip. And Skunk and I have we played together on There was Spirit, the band Spirit from the sixties. Who I thought Spirit was great, you know when I was a kid and I had seen them play live and like Fresh.

Oh yeah, Jeff Skunk Baxter. Skunk is a sweetheart of a guy. Skunk is the wild Man. He is also I think a member of the CIA. Did you know that? Yeah, I mean that is a trip. That is a wild trip. And Skunk and I have we played together on There was Spirit, the band Spirit from the sixties. Who I thought Spirit was great, you know when I was a kid and I had seen them play live and like Fresh.

Garbage, the song Fresh Garbage, I love that song.

Garbage, the song Fresh Garbage, I love that song.

And I had written some songs with the singer Jay Ferguson. Jay Ferguson had played on My third album with Bob Margoliffe as the producer. So they were going to do a video of the reunion of Spirit, and they asked a bunch of guitar players that they liked to come in and sit in with Spirit.

And I had written some songs with the singer Jay Ferguson. Jay Ferguson had played on My third album with Bob Margoliffe as the producer. So they were going to do a video of the reunion of Spirit, and they asked a bunch of guitar players that they liked to come in and sit in with Spirit.

So Randy California.

So Randy California.

Was playing guitar, God bless him and who I was a fan of Randy California in Spirit. I thought his sound was fantastic. And Skunk was there that day. The guitar player from Heart was there. I was there, and then there was somebody else I can't quite remember, but anyhow, and of course Randy California and the whole band was there. The original bass player, original drummer. We had a great time that day, and then later on I would accidentally see Skunk somewhere or something and we would jam. But one time we did a radio interview together. We both went on at the same time. And now we have the same manager, Mike Grimley, and so that's kind of interesting and we may do some shows together. We've been talking about it. We're talking about doing a Texas tour together. And Scott has never played Texas.

Was playing guitar, God bless him and who I was a fan of Randy California in Spirit. I thought his sound was fantastic. And Skunk was there that day. The guitar player from Heart was there. I was there, and then there was somebody else I can't quite remember, but anyhow, and of course Randy California and the whole band was there. The original bass player, original drummer. We had a great time that day, and then later on I would accidentally see Skunk somewhere or something and we would jam. But one time we did a radio interview together. We both went on at the same time. And now we have the same manager, Mike Grimley, and so that's kind of interesting and we may do some shows together. We've been talking about it. We're talking about doing a Texas tour together. And Scott has never played Texas.

Can you believe that? Wow?

Can you believe that? Wow?

I know, it's it's nuts, it's crazy. He should have played Texas decades ago. I don't know why he hasn't.

I know, it's it's nuts, it's crazy. He should have played Texas decades ago. I don't know why he hasn't.

It's crazy. Yeah, that's crazy.

It's crazy. Yeah, that's crazy.

With all his history, you know, you would think he would have surely played Texas, but he hasn't.

With all his history, you know, you would think he would have surely played Texas, but he hasn't.

So we may do that. We'll see what happens.

So we may do that. We'll see what happens.

I love Skunk Man. He's amazing. So in closing, I want to ask you, when you think about your body of work and you think about the body of work of others, like the guys we just mentioned, Yeah, what are that you think the key qualities that make up a master guitar player?

I love Skunk Man. He's amazing. So in closing, I want to ask you, when you think about your body of work and you think about the body of work of others, like the guys we just mentioned, Yeah, what are that you think the key qualities that make up a master guitar player?

Well, I think not just the guitar player, but any musician of any kind, just be true to yourself, do what you love and you believe in. Don't follow other musicians. Now, of course, you can have other musicians that you like, and you appreciate other guitar players or drummers or whoever, whatever instrument you play, you can appreciate others. And of course you're probably going to to grab things out of the air from other musicians and you might hear a lick or something that you want to do. But when it comes to songwriting and playing, be yourself. I think that's always the key. Don't follow lead, be you, and it's easy. It's easy to be you. You are you, so that's it, so you don't have to figure it out.

Well, I think not just the guitar player, but any musician of any kind, just be true to yourself, do what you love and you believe in. Don't follow other musicians. Now, of course, you can have other musicians that you like, and you appreciate other guitar players or drummers or whoever, whatever instrument you play, you can appreciate others. And of course you're probably going to to grab things out of the air from other musicians and you might hear a lick or something that you want to do. But when it comes to songwriting and playing, be yourself. I think that's always the key. Don't follow lead, be you, and it's easy. It's easy to be you. You are you, so that's it, so you don't have to figure it out.

But don't think you have.

But don't think you have.

To follow trends or be what others want you to be.

To follow trends or be what others want you to be.

I think that's a mistake.

I think that's a mistake.

And I think that's so true of so many aspects of life. And you know it is various artists and you know occupations.

And I think that's so true of so many aspects of life. And you know it is various artists and you know occupations.

Right, So absolutely I think that counts for nearly everything.

Right, So absolutely I think that counts for nearly everything.

Yeah, but in the art world of all kinds.

Yeah, but in the art world of all kinds.

If you're a painter, filmmaker, actor, musician, whatever, radio DJ.

If you're a painter, filmmaker, actor, musician, whatever, radio DJ.

Make it yours.

Make it yours.

Make it your thing that you believe in, as opposed to somebody else.

Make it your thing that you believe in, as opposed to somebody else.

Oh I want to be like that guy you know. Now be you. It'll work out better than Oh.

Oh I want to be like that guy you know. Now be you. It'll work out better than Oh.

Man, Gary, I've had such a blast talking to you.

Man, Gary, I've had such a blast talking to you.

Man.

Man.

Thanks for sharing the stories, Thanks for giving us the music and continuing to give us the music. I really appreciate your time.

Thanks for sharing the stories, Thanks for giving us the music and continuing to give us the music. I really appreciate your time.

Well.

Well.

Thanks thanks for being so kind and having me on your podcast.

Thanks thanks for being so kind and having me on your podcast.

I really appreciate it.

I really appreciate it.

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.

Thanks for listening to this episode of the Taking a Walk podcast. Share this and other episodes with your friends and follow us so you never miss an episode. Taking a Walk is available on the iHeartRadio app, Apple Podcasts, and wherever you get your podcasts.