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Interview with Daniel CastroOn an evening late in May, 2005 I had the pleasure of a phone conversation with Mr. Daniel Castro. What a guy! He was kind enough to reschedule the interview at a time where I could record it, but we visited quite a while anyway.He discussed his talented older sister, and how he used to sneak off with her guitar to the garage. When he was a young teenager, she finally gave up, gave him the guitar, a stack of records (Ray Charles, Aretha Franklin, Joe Tex, Joplin & Hendrix), taught him three chords, and told him to learn them – and he did – and he’s still “playing the hell out of them!”He discussed his love and passion of playing, his respect and appreciation to those who came before him, and what they taught him, and how certain songs, like Albert King’s I’ll Play the Blues for You reach out and grab that universal thing in our hearts that connects us all. Somewhere, as we were visiting that evening, he said “there’s a lot to living in struggling”. That acknowledgement of the pain in life, as well as the beauty of it shines through when he plays the Blues for us all, and makes us all so grateful he’s willing to put so much of himself into his music.June 1, 2005:Re: New album/cd:I have material for another record, and I hope to get into the studio, but I don’t see us being able to get into the studio until after the summer. The summer has gotten real busy.Re: Playing many festivals: Not as many as I’d like to, but more than last year, so that’s a good sign.Re: Inspiration to write: The writing process has always been sort of ….I’m not as disciplined at writing as I am with other musical aspects, like practicing, and playing gigs. Writing to a lot of people is…a craft. It’s a craft you have to work at - a lot. I’m not that disciplined in the writing thing, so what happens with me is I’m always hearing things in my head, and I’m constantly writing things down and putting things down in a tape recorder, and things like that. The writing process for me is 2,000 cassette tapes, an idea, a riff, some lyrics, things like that, then I need to go back and work them over a little bit and see what I end up with, and those usually change into tunes. Then the other thing that happens is that most of what I think would be my good songs come to me in 5-10 minutes. What usually happens to me is if I sit down and say, “okay, I’m going to write/finish this song”, that seems to be a lot of work for me. What usually happens is I’ll be driving down the road or doing something, I’ll be really busy doing something, and all of the sudden something will start coming to mind where I’m nowhere near a tape recorder or a guitar, and I gotta remember that. That’s how I wrote Dos Palomas. I picked up that guitar, and I kind of just started playing, and kind of had that melody, and then I said “wow, that sounds kind of nice, I really kind of like that.” I kind of worked it out, and I got in a real big hurry to get out to the studio, which was about 45 minutes away, and by the time I got to the studio, I’d already worked it out in my head. By the time I got there, I told my producer, “just set up some mikes & record this right now”, and that’s’ the way that song came along.There’s a lot of different things that will kick it off. Sometimes, I’ll just be working on a groove, and something will come to mind; the guitar riff or a phrase. There’s a song I wrote on the first CD “No Surrender” that’s called Talk About My Baby, and that’s a song about a biker guy I met. That came to me in 5 minutes and I wrote down the lyrics in 10. It’s not a very complicated song, but it’s a good story. It’s a song about a biker. I probably met him 10-12 years ago. This guy was a real biker. He was a biker from way, way back. At that time, he was almost 70 years old when I met him, maybe mid-60s. He was just a short little guy. He was nothing but hair, beard and leather; almost like Cousin It from the Adams Family. He almost looked like that. He just had this big old long beard and tattoos everywhere, but this guy was a biker. He wasn’t no weekend guy, he was an official biker. He had a girlfriend, a little bit younger than him, maybe 6’ something, and she towered over him. She was a big, very large woman. Poor thing, she wasn’t a very attractive woman, and she had a lot of real heavy makeup, blue eye shadow, red-red lipstick, red hair; you know - that kind of thing. She really stood out. The thing that stuck me about it was that he was so in love with her. He really loved his sweetheart. To him, that was his goddess. It just hit me; check this out; everybody else is making fun of this little old biker’s girlfriend; they were not making terrible awful jokes about her, you just noticed her. He was just into it. We were playing at this biker bar in Niles Canyon, which is a big stop on a Sunday afternoon in the suburb. Bikers go on these big long rides, and they come back through this canyon and end up at this bar called The Florence. It does not have a stage. It is like an old cowboy bar, wood floor, and all that business. And so he was dancing with her, and they were real good swing dancers. They were excellent. He would swing her around and take her around. You know how when you two-step, you kind of go way off to the edge of the dance floor, and come back in a circle? Every time he’d bring her around to the front of the stage, he was like showing her off to the band guys. He’d take a look at the band guys and saying stuff like “hey man, I bet you want some of this – but this is MY baby!” – that kind of thing. That was just the sweetest thing, and the cutest thing. During the night, I came to know them a little bit; I think his name was Reno. I forget what the lady’s name was. They had been together for 20-25 years, or something like that, a long, long time. They hopped on a bike that was an old WWII bike that looked like it could barely travel a ¼ mile. It was on its last legs. They got on that bike, and Reno told me “we’re going to Vegas – we’re going to get married!” After 20-some years of hanging out together, they decided they wanted to get married, so I wrote that song Talk about my Baby.It’s a great story. I always thought, “there’s a song that’s got a story I know for sure”. It inspired me that this guy was so into his old lady. It really hit me that it did not matter to this little guy – this lady was his queen, you know. They were just so happy, in love together, and it just didn’t matter. I thought it was the neatest thing to see somebody so into each other like that, then just go “bam – let’s go get married”. In that 25 year span, they could have anywhere in that time, said, “let’s make it official and get married”, 2-3 years after being together, but no 25 years later they go get married. So I always end that one, when I play it, with “I hope they live happily ever after”. There’s two people that deserve each other that needed to be together. I hope it worked out for them.I notice a lot of the places we’ve been playing…of course, we’re a really lucky band - -the people you would normally call fans, come to see us and have stuck with us through the years. They’re really not fans, but more so like friends. We call them The Tribe. It’s family. We’ve been lucky that way. Through the years out here in the Bay area, we have a lot of loyal friends who always make it a point to come see us. The shows are real special to them. What I’ve noticed, is, of course, we all get older and everything like that, and everybody’s got things they got to do, be it kids, work, or whatever but I’ve noticed a lot of younger people have gotten into what we are doing. When we play in the City especially, in places like The Saloon (the oldest bar in San Francisco). A lot of younger people come in and pay attention to what we are doing. It kind of surprised me – you would think that for a lot of these younger kids, it would be hard for them to get into Blues and all that kind of thing, you know. They do, they dig it, they’re into it.I’m blessed to have a lot of people around me that support me. They don’t even know they are supporting me. But when somebody comes up to you and tells you something that really makes your day, or your month, or your year, they’ll tell you something where you go "oh man – that’s the reason why I do this”; because you’ve touched somebody, or turned somebody onto something. I had a recent thing happen to me the other day, where we played here in this little town Alameda that I live in. Two friends of mine have a bar right down the street.. We play there about once a month. We get all of the Alameda knuckleheads to come out. There’s a lot of people on this island that don’t step off this island, they don’t go anywhere. This is where it is. If it ain’t happening here, it ain’t happening anywhere for them. That’s the big night for everybody to come out, when we’re playing down there. There’s this one lady, she’s a teacher. She’s always telling me about her son, Steven, and he just started playing guitar. He’s been playing about 3-4 years actually. He’s really into playing guitar, and she let him listen to the CDs that we have, and he’s all nuts about them. He’s “Daniel this, Daniel that, what kind of gear Daniel this, what kind of gear Daniel that..” He was really into it you know. Well it turns out he ends up working at this place, because this place also serves Pizza. It’s really kind of weird. The place is actually a pizza parlor that some friends of mine, on Thursday, Friday and Saturdays, they turn it into a club. It looks like a club, its got a stage and everything like that, but also serves pizza. He ended up working there making pizza and cleaning up. He’s just a young kid you know, only about 15-16 or something like that. He’s just a lanky, goofy-looking kid and all that. When I went there to set up, he introduced himself to me, and told me who he was, and that this friend of mine, Leanne, he was her son. I said “oh, you’re Steven, I’ve heard all about you….” And all that business. And then we were playing a Stevie Ray song, Pride and Joy, and I know he’s a Stevie Ray freak, you know, and so I see him walking around, and every time he walks by me, he gives me the thumbs up or “that’s great”. I saw him walking around with his apron, and cleaning up tables, and he had a stack of dishes with him, you know, and I pulled him over to the side of the stage while we were playing, and I said “Steven”, and he goes “what”, I said “put those dishes down and get up here - -do you know this song”. He says, “Yeah, its Pride & Joy, right”. I said, “You know it”. He says, “Well, I know the chords” I go “give me those dishes”, and I took those dishes and put them down on a table, and I got up and gave him my guitar. And the look on his face…was worth more than any money that I will ever make in my lifetime. Worth more than any kind of success I will ever achieve, even if I end up playing all over the world to thousands and millions, the look on this kid’s face was more precious than that. You know what I mean, what it meant to him to get up, and it reminded me of me when I was a kid, and how bad I wanted that; somebody to say “Daniel, get up here and play this”. His Mom was right there, and she was about ready to faint, the smile on her face when he got up……it’s not like he was a great guitar player, but he knew how to get around it. He had this look on his face that I went “that’s it – right there”. I thought, “that’s going to put such an impression on him to want to do it”. He came up to me “oh Daniel, thank you, thank you, and I’m saying, “no, Steven, thank you – you made me feel like….I’ve never lost how I felt when I started.” It’s one thing, I never lost that in all the years I’ve been playing, but he put me in touch once again with why the reason is. Part of the reason why you do what you do, and the responsibility that you have to younger kids. When somebody does come to you with an open heart, and wants to learn, it is your responsibility to say, “this is what I know”.To me and to countless of other musicians, whether they are playing Blues or classical music, whatever, the joy of music is where it puts you, where it sends you, why you did it in the first place. For me, it’s that feeling of feeling “right’. Feeling one with the world, with the universe. The energy comes from the center of the earth, it comes through the earth, and shoots right up your legs, right through every bone and vessel and piece of muscle in your body and you just go “yeah – I feel human”….every time. Mind you, I can get into a negative mind set before the gig from whatever is bugging me through the day, or if I have something going on, or something’s bugging me. Everything goes away when I start to play. If I have a pain of some sort, it goes away, I don’t even notice it. After the gig; I notice it. During the gig, it just feels like I’m where I need to be.I’m inquisitive. I always want to know what people are thinking. I want to know if we’re connecting with them. I want to know if they are feeling what I’m feeling. There’s a lot times I want to look at somebody and go “do you feel that – do you hear that?”. It matters to me because; playing is one thing – just getting up there and playing guitar and playing music with your bros – that’s’ a beautiful thing, but to put it out there and have it be received – it’s almost like you’re completing the cycle, so it really matters to me that people get into it. It doesn’t so much matter that they all understand and say “Yeah Daniel, that’s it”, so I ask a lot of people, and a lot of people close to me.I’m not the best guitar player around. I’m not the best singer around. I’m not the best Bluesman around, nor do I care to be. There’s always somebody better. You’re always somewhere on the ladder. But there’s one thing I know that I think my God-given talent is that somehow, I’m able to connect, stir people up, hit them in the heart, stir up that emotion – that I know. I’m not saying that from a pompous point of view, I’m saying it because I’ve seen that happen. People will say “ Daniel, you know, that really did something to me”.There was one time I was playing in North Beach at this dive I still play at, actually, called the Grant Green. At this time, I was living in Orange County, coming up once a month to the Bay area to do like 3-4 gigs. And I was having a lot of problems, it was something that was just very hard to do, trying to get things started, trying to get a name for myself out here, making very little money, and getting a lot of pressure from all over the place. I remember that I was in a real bad mood, and really being negative, and I was playing and I was playing this song called As the Years go Passing By, it’s a song that Albert King does. It’s a really beautiful, in a minor key, a nice slow song. We were really getting into it. I noticed this guy came in. This guy looked rough. He had that prison look. He had a real snarl on his face, his brow was down, and the guy was looking straight at me when he came in. I noticed him right out of the gate. I said to myself “oh no, this guy is going to be trouble”. He just looked that way, I had that feeling. He kept looking at me and looking at me, and when the song was over, when we took a break, I saw him walking over to me, and I said “oh no, here it goes, here it is, the guy is going to take a swing at me or something, it just looked that way. I had that feeling. He walked up to me and goes “what’s you’re name bro?” I said “my name’s Daniel”. I’ve forgotten what he said his name was, but he said “can I talk to you for a minute?” Sure man, we went over to the corner, he said, “Look, I’ve got to tell you this, and I don’t know exactly how to tell you this”. He was kind of choking up you know. I noticed there’s something wrong with this guy. He said “I just came from down the street, I had a fight with my old lady, we fight a lot, once in a while, I get a little physical with her, and I had a fight with her, I got physical with her, I slapped her a couple of times, and I had to walk out the door because I knew that I was going to get rougher with her.”. And he started welling up, he started crying, and he goes, and I heard your music from down the street, and I started walking toward the bar, and I came in the bar, and you were playing that song, and he goes “Man, I felt like you were talking right to me man. I haven’t been in a bar in months; I’m trying to stop drinking, that’s what I fight with my old lady about. Man, I felt like you were talking to me. What’s the name of that song?” I said I’ll Play the Blues for You, Albert King, and all that. He goes “God dang, he said – “you cut me right in the heart bro”. This is a big, grown man and the tears are coming out of his eyes, and I’m thinking “oh my God”. And he goes, “I just want to let you know right now that I want to thank you. I’m going to walk out of this bar, I’m going home to my old lady, and I’m not ever gonna argue with her like that and I’m not ever going to be in that position where I feel like I need to get physical with her any more”. Can you believe that? Again, he’s going “thank you Daniel”, and I’m going “Man, no you have no idea what you’ve done for me”. Because here I was, he did not know me from Adam, and here I was in this negative mood, and “I gotta this, and I gotta that, and this so hard – dragging your amplifier all over the place”, and I was just in a weird space, and here comes this guy and he does that to me. He’s thinking, “ here’s what Daniel and his band did for me”, and he has no idea what he’s done for me. It’s almost like God in some way said “okay you two – here it is”. I’ll never forget the look on that guy’s face. I’m sorry I don’t remember his name, but I’ll never forget the look on his face, and he meant it. I know for a fact, I would stake my life on it, that he meant it. I just went “that’s why we do this”.For me, playing is no messing around. It’s my thing, its what I live and breathe for, so you know.I started off playing Blues and then I went on to rock, because everybody I was going to school with was playing rock. I like all kinds of music, but there’s something about the connection that blues has. To me it’s very spiritual, it’s very Zen. And the purity, and if you want to analyze the heck out of it, take the take the idea that most blues songs are based on a three cord progression. To a lot of people, that’s not very challenging, well the 1, 4, & 5, we call it the “Holy Trinity”. It’s very simple, you take different variations of the progressions, and you can add different chords and do different things, but I think the thing about it that’s so hard it what you do with those three chords. What you put into it, and how you play over it, and the fact that so many different players take so many different approaches to it. There’s players that just like that guitar…(?), then all the sudden, BB comes around and he hits one note and slays the whole audience. You just go “wow, the power, the spiritual power of it”. I think most people, everybody, human beings alike, have that in them already. Whether it is way tucked away in the bottom of their soul, it’s in there, the one thing that connects them all together, that makes them all human beings, whether they are in touch with it or not, but somehow in Blues, there are these blues musicians that somehow are able to get to that, and thump on that nerve or that spot in their heart, or make them realize they are talking to them. That’s truly what I believe. I’ve seen it happen. Every time I go see BB King, he does that to me. He comes on, and he doesn’t even have to play anything, I just look at him, and I just start bawling because it takes me back to the very first day when I saw him when I was a kid. There used to be this place, in Hunting Beach, called the Golden Bear. It’s not there anymore. It was a small venue, a very famous venue. A small brick building, and they used to have all of these guys coming through there.. Janice Joplin, all the San Francisco bands, BB King; Albert King, Albert Collins, Freddie King, all the greats, coming through this place. I was too young to get into this place, but I used to stand in front of the front window, and if they did not close the curtains all the way, there was a spot in the corner of the window where you could see part of the stage, and that was my spot. I would just pray that when I got there and I could just peek in there; otherwise I would just stand outside the Golden Bear and listen to them play. Of course, I was so into BB King because I was just devouring the records, and when I heard him the first time he came through…He came through and played over there at the Golden Bear, and oh man –I was just a kid – probably maybe 13. I was already playing clubs when I was 14-15. Then when I got into high school, I was already playing clubs in South-Central LA in a lot of the real hard black clubs. There was a lot of drug activity, gang activity, pimps, and prostitution, that kind of stuff. The South central District over there is right around where the Bloods and Crips were.RE: That scene – drugs/etc.: That’s never been a factor for me. I’ve had run ins, but in this case, the club we started playing at, I think it was over there on Normandy in South Central, it was called the Tropicana. It was no where near the Tropicana like in Vegas. It was a real bad club, and they just kicked out the band that was there, I mean physically the patrons kicked out the band because they had a couple of white guys in the band. That’s the reason we got the gig. They had taken all their instruments and thrown them out in the street. Here we come, walking in, we are the Inner-City Blues Band, and I’m the only guy in the band that’s not black. It was a little frightening, because these were rough people. Even the women were rough. There were more fights with women over their old mans than there were with guys. The thing that saved me was I could do a real good job on The Thrill is Gone. There was this one night when we first started playing there, it was a particularly hostile night. We were playing, and we were just playing, and people were dancing and all that, but everybody was giving me a dirty look. Charles, the leader of the band, our keyboard player and singer, saw what was going on, and he was getting a little nervous too. He told me this later, but he had told the rest of the guys “keep an eye on Daniel – keep him here”. First of all I was under age, but he sensed something was going on. There was this guy from the Johnny Otis show. His name was “Loud Mouth” Delmar Evans. You can look him up; he was part of the Johnny Otis show. And he had come and played with us a couple of times. This guy was just a showman, but he came in, and he saw what was going on. He knew what was going down, and he was doing this show on this dance floor; the old James Brown things and everything like that; great singer, great showman. He started talking to the crowd, and he started talking about the bad feeling that was happening in the club, and he brought me out on the dance floor. I said “oh my God, what are you doing, what are you doing, this is like shooting fish in a barrel!” He goes “Daniel, come on down here”. He did this big rap with the people, and he tied it in so beautifully, he goes “I know what you all are thinking, and I see everybody giving my Brother Daniel these looks and all of that because he’s not a particular color.” He said, “but I’m here to tell you, this boy’s a Blues Man.” I remember him saying that; “this boy’s a bluesman. I’m here to tell you this boy can lay down some blues.” That’s what he said, and I was very young. I probably couldn’t, at that time I know I couldn’t, play blues, I was just learning. The one thing I could do is play The Thrill is Gone. So right when he said that, “I’m here to tell you, anybody messes with my Bro. Daniel, you’re messing with me.” Everybody was just sort of looking. Delmar was a big man. “You mess with my bro Daniel; you’re messing with me. I’m here to tell you this; this boy’s a bluesman.” Right there, he turns around to the band and goes “Thrill is Gone”, and they just count it out, just like they didn’t miss a beat, like a planned rehearsed thing. I’m just standing there, you know, and he goes, “Daniel, play your heart out”. I started playing the into to Thrill is Gone, and the place went nuts. It was just electrifying. I’ll never forget it. Just electrifying. I felt like I was on top of the world, the way he had set me up and told everybody what he thought of me. He sang the hell out of Thrill is Gone, and he got down on his knees, we did this big old long thing, trading back and forth, he was singing, and I was playing, man, it was magical. It was at the Tropicana Club, this crappy bar, but it was like we were playing in Montrose. It wouldn’t have mattered, but it was happening right there on that little spot on that stage. It doesn’t matter where it is, because you’re taking up that time and those notes are being played, and they’re going out into the universe, never to be heard in that way again. I went home feeling like “wow”, and that’s the feeling I want to have every time I play. If I can’t do that, then I’m done. I’m done. That’s the way it has to be for me; absolutely has to be. I could be doing anything else in this world, and not have it have any meaning. I know a million different ways to make money…I could do a lot of different things in life….but I’ve got to do this in life. It’s my passion for sure. So it doesn’t matter to me whether I make $5 or $5M, what matters to me is playing it every night. That’s really hard to do, because you’re not going to play great every night, but it sure would be nice to.I was watching Robert Randolph, he’s a young guy, young black guy and he plays pedal steel. He’s another one you’ve got to check out. He comes from this form of music, spiritual Gospel music. They actually play pedal steel guitar at these churches. There’s a long line of those people; the Campbell Brothers, just amazing. They make that pedal steel talk, almost like a voice. But anyways, he’s been hitting pretty good on the Blues Scene, and festivals and things like that. I saw him at a festival, and his pedal steel’s got his name on it, Robert Randolph, and then right next to the name Robert Randolph, right on the pedal steel, it says “more love”. I went “right on, that is it, more love”. That could mean so many things to different people. But “more love”, man, yes sir….I like it”.The core of it is where I live. That’s what I live for.Delmar saved my butt that day. He saved my day, and many days after that. There’s a lot of people in that time when I was playing those clubs – it was my going to college. I was cutting my teeth. I was learning from so many different people. A lot of those people took me under their wing and I guess when you say yeah, they must have seen something in me, I think what they really saw is that I had the heart for it; that’s what I really wanted, I was serious about it. It wanted to learn. A lot of those people, they won’t teach just anybody. They are very careful about who they take under their wing.They weren’t necessarily famous people, well-known people, but they were people who had been around. A lot of these guys were guys that had some out of Chicago, that had played with Muddy, Howling Wolf, and a lot of those guys in that area, but they were side guys, you know. There was one sax player in particular at that time, his name was Percy, and I think Percy at that time was probably about 62 or something like that. I’m talking about back in the later ‘70’s. Man, he was great, he was awesome, he was like the closest thing to a Buddhist Monk, but through his horn. His horn was his religion. I mean, this guy was connected. The awful thing about it was he was a heroin addict, at that time. I’m sure he’s passed on by now, but he really took me under his wing, and showed me a lot, just in the things he did, and how he did those things, and just taught me a lot about what playing was all about and where the playing came from. Aside from him being a heroin addict, he always told me about the drug thing and the drinking thing, but he tried really hard to show me the different ways and how to be a good musician, how to never stop learning; all of these things. He did it in a way were I never felt like he was trying to teach me; it was “just listen”. Every time we did a gig, I couldn’t wait to do the gig with Percy, because I knew I’d learn something, even just sitting at the side of the stage, listening to him and talking to him. He’d tell me all these tales about life on the road, playing with Percy Mayfield, Howling Wolf, doing gigs with Muddy and the guys from Muddy’s band, and playing through Arkansas, playing in Memphis, and those things, you know. He really showed me a lot. There’s a lot of guys like that that did those things to me. But watching him go through the heroin addiction really made an impression on me. Here was this guy, his tone was beautiful. I never in my life heard that tone out of anybody, even to this day. That tone, that tone as so pure, and it was so powerful, when he played, the notes were like painted silver, pure silver. He would do these solos where nothing was wasted, but his tone was what cut right to you. I’d see people just freak out because he was hitting them so hard, in such a passionate way. Percy, I don’t even remember what Percy’s last name was, but that guy was something. Even to this day, his drug addition his drug addiction always floored me. Wow, what a waste. That’s the one thing he couldn’t shake. Heroin. For me, it’s never been an issue. I’m 50 years old, I’ve never taken a puff of anything, I’ve never drank anything, I couldn’t even tell you what beer or hard liquor taste like, I’ve never been stoned in my life; and I’ve seen it. I’ve seen people in my life. I’ve opened up the bathroom door, and found dead friends. For me it’s never been a hard thing not to do. I just know it has not place in my life, for what I got to do, and I how I do it, it’s got no place. I can’t pass judgment on anybody that has those problems, but for me, it’s not something that I feel I need to do to go to a better place, or a different place, or some people, even Percy, would say “it sends me to that place…to tap into”. I’ve never seen it that way myself. I’ve never felt I needed that kind of thing to get to that place. I don’t want anything to get in the way of the music. I want to feel and experience every bit of it without having my mind altered, or having to depend on that to get to that place. It’s never failed me. I know the minute the first note hits on the stage, the exact split second of that first note, I know how it’s going to be, and that’s since day one. I’ve always felt that way. I hear that first note, I can tell you if it’s going to be a good, good night, or if we’re going to have a rough time. The gauge is whether I have that tone or not…for me. If I’ve got my guitar tone, if I’ve got it, I know it ‘s going to be good…for me.I try to share that. That’s the talent that God gives you. He gives you the talent, and you must share. Play good with all the other kids…be nice. I can be a rough man, I have my problems, but I need to share that with other people. Otherways, just sit and play in your room.When I first started playing, when I was just starting my own band, I would write out set lists. I haven’t done that for years. I think “how can you tell, from one song to the next, how it is going to effect people?” For me it’s all about the audience, that other member of the band. How can you tell, if you do these series of songs, this is where every body’s going to be; this is where the emotion is going to be? So I wing it every time. I do. I don’t know what we are going to play next; I don’t know what we’re going to start with.That’s where the tape ran out, and the conversation ended shortly afterward. Mr. Castro may not know what he’s going to start with, but we know he’s going to take us to the heart of the blues! |
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