Walter Egan, October 13 - 26, 1999
Hey Walter, I got yet another question. Some time ago someone gave me a tape with Stevie Nicks songs done by other artists. Your "Sisters Of The Moon" was on there. I always assumed that it was an album cut. But having read all these questions I see that it wasn't even released. The question of bootlegs has caused some very hot discussions among Stevie Nicks fans. My question for you is, how do you feel about bootlegs? Also, I have gotten several "Anthology" titles put together by the people at Renaissance Records and they do a fantastic job with these lost treasures!!! Thanks again! (Allen Chapman, Stafford Springs, Connecticut, USA)
Glad to hear Renaissance Records does a good job. As far as bootlegs go, I
am of two minds: The fan in me loves them and the artist in me doesn't. I
would be interested to get a copy of the tape you referred to with "Sisters
of the" on it. I wonder how they got it? Is it live? If you can, dub one
to me and send it to me if you could.
How many Malibooz albums are there? I spent a couple of years in the 80s literally trying to find the first one. I never did.Is it possible to find them anywhere now? Are they on CD? Also, I would like to know what you really like listening to at the moment.Is there an artist that you can't get enough of? Thanks. (Timothy Kee, North Huntingdon, Pennsylvania, USA)
There are three Malibooz albums:
1st one came out in '81 on Rhino Records called "Malibooz Rule"
2nd one came out in '92 on Iloki Records called "Malibu Kind of Christmas,
and the 3rd one is only available on the Malibooz website, called "Living
Water". In fact, all three are available on the website and are on cd.
Check it out: www.malibooz.com
Artists I can't get enough of:
hmmmmmm, well I'm not sure if "getting enough" of them is the question, but
I'm very fond of "Mock Tudor" by Richard Thompson and in fact most of his
stuff, which I've collected from various albums; can't go wrong listening to
the first 3 or 4 Dylan albums; of the new stuff out I like Garbage a lot and
of course the Brittany Spears videos, but I guess what I've been listening
to most is the Rhino compilation "Loud, Fast and Out of Control" which is
the hard-edge 50's stuff. Oh yeah, and I've also been listening to a lot of
old Fairport Convention and Gene Pitney.
Thanks for the questions, Tim.
Not Shy - Walter Egan
Hi- I have a question about a previous answer someone asked about magnet and steel and you said: "the third line is "with you I might try my secrets to reveal" The harmony stacking you got right, too! Well, almost. Lindsey low, Annie McLoone middle, and Stevie high". I have the cd and it doesn't list Lindsey as singing on Magnet & Steel (it says John something I think?)...don't have it in front of me right now- anyway- which is correct?? I'm also the person who mentioned having Sisters recording off the radio earlier- the reason I assumed it was taped from the radio was because you come on in the beginning and introduce yourself and the radio station... I've also just recently acquired all your albums and am going to send them away to be converted to cd and to get any lp hiss out of them ... thanks for the great music. (Laura, Richmond, Virginia, USA)
Long time no read.
This new question of yours has of course thrown me into a tizzy, so I
consulted a couple of people who were there also, that is Tom Moncrieff and
Annie McLoone, and while you're right, the cd does list John Selk as the
singer, I'm sure that it's Lindsey, Annie's sure that it's Lindsey, and Tom
is sure that it's Lindsey. I went back and listened to the solo section
where each voice is on its own and I swear it's Lindsey. So, whatever.
What station do I say that it is on the recording of "Sisters of the Moon"?
Anyway, I'm glad you got my records and thanks for your appreciation.
Your pal in Tennessee,
Is Fleetwood Mac going to get back together again and with whom? The same as the 1997 reunion tour or different? (Becky Thompson, Oshkosh, Wisconscin, USA
I don't know.
I just have to say that's an awesome middle name...it's my favorite name! Also, speaking of middle names...do you know what Lindsey's is? I have heard Ezekeil, Dwayne...and numerous other ideas...so do you know? Thanks again! (Jessica, Ballwin, Missouri, USA)
You know...I might have known at one point what Lindsey's middle name is,
but right now I really can't remember. Thanks for asking, though.
Hello again, Walter! I had another question. When you wrote "Magnet and Steel", did it have an influence over any other songs??? I've heard that it did, and I would like for you to clear this up for me. Also, I would like to know if you had the "Kingston Trio" as a major influence as a teen. I have heard that you did. Finally, I would like to know if your relationship with Stevie was ever really strong... Thanks a lot! (Brian Larsen, Laurel, Maryland, USA)
Other than "Fooled Around and Fell in Love" I'm not sure what effect
"Magnet" had on the music industry as a whole; however, allow me to digress
without being at all didactic or facetious in any way:
Of course, by now we all know of the kinship between "Hot Summer Nights" and
John Stewart's "Gold", but there's more! How about "Maybe Maybe" and Dwight
Yoakam's "Fast As You" and from the same album "Stay All Night" and Lionel
Richie's "All Night Long". Mere coincidence? I think not!
Not to mention my video for "Fool Moon Fire" which was fleshed out at ten
times the budget by Mr. Michael "Jacko" Jackson and while I'm at it --- of
course there's "Full Moon Fever" by that guy whose label I was on. And
speaking of titles I think I had "Tunnel of Love" first, Mr. Bossman! Oh,
yeah and what about Matthew Sweet's "Girlfriend"
disregarding "finally" finding this title I guess he might have listened to
"Where's the Party" once or twice and of course What about this Tuesday Weld on the cover? We all know who had that song first.
(Is everyone enjoying this little sour grapes session I'm getting into? I
At any rate, it's plain to see the music business would be a much different
place if it hadn't been for ...
Now, onto the rest, Brian...Not only were the Kingston Trio an influence on
me as a teen, but the way I learned to play guitar was by reading the chords
from their songbook. So there you go.
Finally, I guess the relationship was strong enough to write that song.
Have a bitchin' summer and stay cool.
Ok...so how much damage did she do to the cars she side-swipped?!!?...It's actually very funny!
Oh and the only "work" that I have ever done is here on The Penguin in the photo gallery...a couple of the pictures are actually published. Anyway...knowing Stevie and Lindsey...what are their strongest and weakest points? Did you know Robin Anderson as well? (LauraTN, Morristown, Tennessee, USA)
Yeah, a little damage was done to the side-swiped cars.
Good luck on getting more work.
I knew Robin Anderson. She was a very sweet person. As far as the Stevie
& Lindsey question goes, I'd rather not.
Hi! My question is regarding Stevie's writing and performing. What do you think it is about Stevie that has touched so many people who continue to support her after all these years? And, what do you like most about Stevie's writing and perfomances? Lastly, what is it like to be able to hear her wonderful voice all day? Thanks, Jason! (Jason, Indianola, MS, USA)
The thing about Stevie is she has an ability to tap into her deepest
feelings in her writing and I think this is what touches people. And, of
course, I guess that's what I like about her writing and performance too.
You could probably just listen to her all day
and understand what it's like
to just listen to her all day.
Does anyone else think these questions are getting a bit silly? I know I
But thanks anyway, Jason.
Yours in Mac,
Hello Walter..."Mr. Magnet & Steel"...I think it's so great to get to talk to you again!!!Thanks so much for answering my first batch of questions.I wasn't very clear on my John Stewart question,I guess I was just so excited about getting to talk to you,I just lost my train of thought for a moment!!The John Stewart article was something I'd heard or read several years back,John mentioned running into you,told you he loved your Not Shy album and he asked you what it was like working with Lindsey...I just wanted to know what your impression of John was and you answered that for me,thanks! Won't You Say You Will is my favorite from Fundamental Roll,I hope it's included on your best of CD. What musicians do you listen to and is their any musician(s) that you would like to work with in the future? Bob Welch redid Sentimental Lady,would you ever redo one of your songs? If so,which one and why? I've been reading a bit on this Q&A that you've done a Stevie song, would you ever cover a Lindsey song and if so which one? How did you come up the titles for your albums? Did you go to any of the Mac reunion concerts in '97 ? There was a movie a few years back that featured Matthew Sweet's version of Magnet and Steel on the ending credits before the Sabrina soundtrack,and what I also remembered too,is that your version was in the beginning of the movie,do you remember this movie? As you can tell I'm on a roll but I'll make these my last two questions of the moment,Who or what was Unloved written about? You were born in New York,did you ever come to Connecticut to visit or did you ever tour here with your band? It has been a pleasure talking to you, Walter!!!! Take Care and Thanks again for everything!!!! Your Fan in Ct. Christa........ :) (Christa, Westhaven, Connecticut, USA)
Well, I've always hankered to work with Paul McCartney, Brian Wilson
(although I'm not that sure of that anymore) and of course Brittany Spears.
Hey is there anyone out there who knows her?
I guess I would re-do my songs if I needed to, or whatever, but since
"Magnet & Steel" I have about 800 songs so I have a bit of catching up to
do. Actually, I did re-record "M&S" and "Fool Moon Fire" about 2 or 3 years
ago for some company in New Jersey. They flew me to Nashville, this was
before I had moved here, and had me sing over what essentially were karaoke
tracks or something. The good part was that the guitar player on the
session was gracious enough to let me play my lead parts, so at least that
was alright. I've never been able to get a copy of this. Apparently it was
a compilation album and I did mine sandwiched between (if you'll excuse the
image) Donna Fargo and Brewer & Shipley. They work fast here in Nashville.
So if anyone stumbles across a copy of this master work I would appreciate
their sending it to me.
Yeah, here's another fact I forgot to mention as far as covering Stevie's
songs --- I actually recorded one more than "Sisters", a song called "The
Dealer" don't ask me where the master of this is...might have burned up in
the ol' shed fire of '98.
There is one song of Lindsey's that I always thought would be good to cover
from a very early demo they did called "Up on the Road" but alas my casette
of that song has disappeared or went up in smoke.
The title of "Fundamental Roll" came from a variation on basic rock. It
also implied my first time out, had the word fun, the word mental, and of
course the word dame (there is nothing like a) in it, so it seemed like a
"Not Shy"...what can I say?
"Hi-Fi" ...what can I say? Another title for the ages.
However, "The Last Stroll" was meant to allude back to the first lp and also
expressed the fact that I wanted to get off of Columbia Records as opposed
to get off on Columbia Records. And, of course, we all know that "M&S"
(everybody now!) was a stroll.
"Wild Exhibitions" while playing on my initials intimated the artistic part
of me which was evidenced by my drawings on the liner and also...well,
originally I wanted it to be a triple fold-out album cover of a raincoat
that you could open, but that idea was just a "flash" in the pan.
"Walternative" Well, you figure it out.
Now, it was 2 days after my family moved to Nashville that my very lovely
wife, Brittan, I mean, TAMMY, and I went to the Mac's show here. As we
walked in they were just beginning "The Chain" and it sent goosebumps down
our respective spines. It was great! But I'm sure you know that already.
Thanks to Ray Lindsay, we were able to breach the incredible security
surrounding the group. We waited in a reception area with the other lucky
Nashvillians and as each member of the group proceeded down the line shaking
hands, exchanging pleasantries, in turn I greeted each of them. Funniest,
of course, was when Stevie came up giving a perfunctory smile and "so nice
to see you" I said "Stevie, hey, who loves ya babe!" she did a double/triple
take and screamed as only she can "WALTER!". It was a poot, I mean a hoot!
Oh, Christa! Yes I do remember that movie. It was called "Overnight
Delivery" but do you remember a few years before that, a movie with Matthew
Broderick called "The Night We Never Met"? Well, if you rent that, you'll
be treated to "M&S" as re-recorded by the immortal Jeffrey Gaines.
"Unloved" ?... hmmmm let me think
I'm sure it was written about being rejected by somebody or other, but
mainly it was written as a clever exercise in negativity with an eye toward
a 7-up commercial, the un-cola, remember?
As to the Connecticut question: Of course, I've been there many times and
have many relatives scattered about the "nutmeg state". As to playing
there, before I became famous, I used to play there quite a bit with my band
Sageworth at a place called the Shabu Inn...not sure where that was, but I
know it was in CT. I think I might have played Hartford on one of my tours
It's been a pleasure for me too, Christa, but we can't go on meeting like
Mr. Egan, thank you for your time. I have a couple of questions for you:
1. You mentioned that Magnet & Steel was covered by many artists. Who else covered the song? I have only heard Matthew Sweet's version with Lindsey on guitar. I love it. I also wonder if you have any input in remaking of this song by Mr. Sweet?
2. You also mentioned that you were hoping that Mac would choose you to replace Lindsey in 1987. I certainly think you're far better as a writer and singer than the two LA cowboys selected by the Mac. I wonder if you had expressed your interest in the vacant position to the Mac members in 1987?
3. How different is Lindsey's approach in the studio compared to other producers that you have worked with?
4. Did you have a chance to listen to some of tracks on Lindsey's new CD? If so, would you please give us a preview of the new album? (Drew, Westbury, NY, USA)
As far as I know "Magnet & Steel" has been covered by Jeffrey Gaines,
Matthew Sweet, and a reggae guy named Dean Frasier (this is available on
Shanachie Records 48003 "Greensleevesl sampler 2") My only input to Mr.
Sweet's version was to send a copy of the lyrics to him.
As to question 2, I think I let them know I was available. Despite losing out to Rick and Billy, I hold them in the highest esteem.
and question 3, I've only worked with a couple of other producers and
Lindsey's approach is probably the most inspiring.
question 4, Nope, haven't heard Lindsey's new cd yet. Looking forward to
See ya at the Music Fair
Hi Walter-- I have been a huge fan since your first LP, and have followed your career ever since (even when it was hard to find you). I really love your new "Walternative" CD, Its great. I have 2 questions, first can you tell us a little bit about some of the songs especially "The Truth" with Joy Lynn White. She is great as always. And second I want to know how you would feel about a web page devoted solely to you and your records...I have been toying around with the idea. Also if you need any of your LP's burned to CD I have done it for all 5 and would be happy to send copies along. Thanks for all the years of great music...I don't know how I would have gotten through my teens in the late 70s without your LPs in the cassette player of my car on Friday nites cruising all nite!! (Keith Mueller, Naugatuck, Connecticut, USA)
Thanks a lot! It's people like you who make it all worthwhile.
Joy Lynn was one of the first people I met when I came to Nashville. In
many ways she reminds me of Annie Mcloone with her personality and of course
they are both great singers in their own right.
The first song I wrote with Joy Lynn was a little ditty called "The Big
Breakup" which had to do with a certain guitar player she had been seeing
and the line about the truth kind of came out of that. After spending about
5 hours on the first song, "The Truth" was written very quickly - about an
hour. It's obviously an homage to the great Otis Redding, as well as being,
pardon my french, domage to the guitarist. I'm glad you like it. I think
she is a misunderstood and neglected artist.
I would love to talk to you about the web page. I think it's a good idea
and also the idea of the lps on cd sounds great, too! I'll be in touch.
Before closing, since I'm feeling so shameless tonight, I thought I'd throw
in some plugs: If you're anywhere near Middle Tennessee this week I'll be
playing on Monday backing up Brian Waldschlagger at Daniel Tashen's "12 at
12th" at 12th & Porter; Tuesday I'll be doing 2 songs at Billy Block's
Western Beat Revival at the Exit Inn. You should get there by seven. I'll
probably be on around 7:30. But best of all, on Wednesday at 8:30 at the
same Exit Inn I'll be doing a full hour with my Walternative band, featuring
songs from the past and songs from the present.
Don't forget this week's t.v. guide crossword puzzle and the upcoming issue
of Mojo (a great english rock magazine) which will feature an article on
Walternative. So, keep on rockin'
Since it seems that my pesky (when it comes to pelting you with questions) new husband has just plain pooped himself out, I thought I'd step up and pinch-hit for him: Said husband recently received (from someone who evidently loves him VERY much) a custom-made Rick Turner 1-C Jr., and the difference in tone compared to his other guitars is phenomenal. My questions are: Is there one model that you find yourself returning to, time after time? Were any special instruments or equipment destroyed in The Inferno? Since I've learned from Steve that musicians trade, sell and otherwise move fairly effortlessly from one instrument to another, has there been one guitar that you no longer own that you kick youself for getting rid of? (Although I suppose if EC can say good-bye to Blackie, anything's possible...).
I've become familiar with ALL (believe me when I say "ALL") of your music over the past weeks and am so glad that Steve introduced me to it...along with a running commentary and historical perspective/timeline. Quite a little journey he took me on...and now I want ALL of your albums on cd...and a convertible!
Thanks for your patience and for your unfailing good humor in the face of some silliness. (Susan Denison, Orange, California, USA)
I've always preferred the strat. I have one that's a '62 with a '64 neck,
so I guess that would be the one. Luckily, my instruments were in the house
during the fire so were spared, but I did lose an amplifier.
As far as an axe that I'm sorry I don't still have, yeah there are a few. I
had an SG with the original body style where the neck and the body were the
same width, which I had had banjo inlay applied to that I miss now and then.
Of course I traded that for a VW bus back in 1970, and then turned around
and traded the bus for a Rickenbacker 12-string. I guess I also miss my
original '64 strat which I bought new.
Yeah, I'd like a convertible too.
Take care and take care of your new husband
To refresh your memory and help out Christa a little....You appeared in Connecticut several times. Right around the time of the release of "Not Shy" at the Shaboo Inn in Wilimantic. You might remember that show...it was a small crowd but there was 1 table right up front with about 6 very loud college kids...hate to admit that was me and my friends...you even dedicated "Magnet and Steel" to my old friend Cathy...what a hoot I'll never forget her face!!! she was mad for you back then. The second time I know of was later the same year you opened the show for Heart at the New Haven Coliseum..another excellent performance I might add.
I do have a question...I want to know how hard it was recording your new CD "Walternative" considering you wrote, produced, and played all the instruments? I love all the songs, "The Truth" I already asked about. How about a little background info on the tracks: "Vergin' on Tears" (love the background vocals by Brian Waldschlager)
and "Waitin' On Fred" (thats kind of a wacky one!). Thanks a lot Walter. (Keith Mueller, Naugatuck, Connecticut, USA)
Thanks for remembering about the Shabu and the other CT gigs.
Actually, the recording process for Walternative was more like one of those
baseball fantasy camps and I enjoyed just about every minute of it. The
situation of recording it was helped greatly by my old buddy, Bobby Thompson
who was on my road crew back in '78 and now has a place called Soundcheck
here in Nashville. Additionally, the studio which is ensconced in his
facility is partly owned by Felix Cavaliere. But it was pretty much free of
stress because I could do whatever I wanted and was able to experiment
trying new things, discarding others. The hardest part was cutting down the
30-some songs to the 15 that made the cd.
"Vergin' on Tears" was written when we lived in Burbank a few years ago and
was mostly about dealing with the frustration of wanting to do something and
not being able to. I'll tell Brian that you dug his vocals.
"Waitin' for Fred" well, that's about Fred Perry, my partner in the Brooklyn
Cowboys and it was written while I was waiting for him one day.
Thanks for the interest.
Hi... Im sure you're getting sick of hearing this, but I love what I've heard of your music... Ok Ok so I've only heard two songs ("Magnet and Steel" and "Blonde in the Blue T Bird")... but I love them!
Ok enough of that stuff, now to my question. You've spoken about your new album (which i will have to get from you as soon as I get my paycheck) and about the apparent possibility for a Best Of collection. Do you plan to write and record any new songs for this compilation? (Victoria Ogawa, Vacaville, California, USA)
Thanks for the compliments! I have no plans to write any new songs for the
compilation; however I do have approximately 20 songs that didn't make
"Walternative" plus an album that was never completed in 1985 as well as
some other b-sides, etc. that could show up on the "Best of" package.
Thanks for the interest.
Ok, this seems to be my last opportunity since Marty's shutting this Q&A thing with you down tomorrow. I don't have access to a computer over the weekend, so I gave you a break for a couple of days! HAHAHA!!
Going for some technical info now. (and maybe a simple product review from you, for good measure)
Of all the times I've seen you in concert and seeing photos of you live, you're always playing either a Strat (98%) or a Tele (2%). Being that you've worked with Lindsey, have you played that Turner Model -1 of his? If so, what are/were your thoughts of it. Have you ever wanted to get one yourself?
What are you currently using for amplification & effects? (Do I sound like a Guitar Player Magazine interviewer, yet?) (if not, then) How about brand of strings & what gauge?
Have you used "Walternate" tunings? (You DO drop the low "E" to "D" on Hot Summer Nights, right?)
Thanks again for answering our sometimes intelligent, sometimes inane, often repetetive, questions! Best of luck and all the success in the world and hope to see you if/when you get to SoCal on tour. Not to mention, anxious to hear ALL your new material (and catch up on the ones that I've missed!)
And remember, if it ever gets down to where you & I are the only guitar players left alive, gimme a call. (or send me an e-mail) (Steve Denison, Long Beach, California, USA)
Hi Ho Steverino!
As I told your very lovely wife not too long ago, I really do favor the
strat and occasionally the tele and of course we all know that I played the
solo for "M&S" on a nice fat old black Les Paul that I owned for awhile, but
you know, I love the strat...what can I tell you.
Yeah, I tried Lindsey's Turner and it's a beautiful axe, but I keep coming
back to the strat.
I have a Korg tone board that I use. It has fifty pre-sets and sixteen can
be used at any one time. So that works pretty well. I recently bought one
of these little Danelectro nifty-fifty's and I love the tone on that and
it's really fun to play with and easy to carry around. I also have a Peavey
Delta Blues with one fifteen inch speaker. When I tried it out I thought it
was really cool, but on the job I've been less than satisfied with it. My
favorite amp of all time is the Fender Super Reverb or Concert with four
tens. I use GHS boomers .010 and have for 20 years.
As far as the tunings go, I've fooled around with them a little bit but none
have made it to the recordings. And the dropped low E on "HSN" was
Lindsey's lead. When I play it live I use standard tuning.
Look forward to seeing you when on tour out in So Cal...whenever that will
be and would love to jam down at the Queen Mary.
See ya later.
Thanks so much for sharing your insights on your work and your experiences with Fleetwood Mac. It's been a wonderful read and really interesting. I have a bunch of questions:
1. When you were recording the albums many of us are familiar with (and love) -- Not Shy, Hi Fi, Fundamental Roll etc., there seemed to be a lot more guest/session work by big name artists like Fleetwood Mac than we see now with today's dominating pop artists -- what do you make of that, and how much of that would you attribute to the changes in the music industry (and what are your thoughts on how the music industry has changed in the last 20+ years)?
2. We've all enjoyed the Fleetwood Mac session work on your albums -- what session work of yours do you most enjoy and how do you like doing session work?
3. This is a bit silly, but, on reading your stories about working with Stevie and Lindsey, I have to ask. Did you then or do you now think, you know, with the relationship with Stevie and writing about her while Lindsey was also there, that you were sucked into the whole drama that seems to follow Fleetwood Mac everywhere (oh no! I'm in the FM Zone!)?
4. What did you think of punk and new wave music in the early 80s? Did you find it inspiring (as Lindsey presumably did with Tusk) or were you not too impressed?
Thanks so much for taking the time to do this, and best of luck in the future. I can't wait to buy and hear Walternative! (Anusha, New York, New York, USA)
You ask questions that are not easy to answer.
I'm not sure if the business is any different now as far as name artists
guesting with other artists, see Santana and that guy from Matchbox 20. But
I think the industry has certainly changed in the fact that something like
five companies have control now. I think this is good for the indie part of
the industry and it's there that I think the most exciting music is being
I like doing session work, but there's a long, long line in Nashville. As
far as session work on my own that I enjoy, I did an album that Don Henley
produced back in 1980 or something where I got to play with Don Felder. The
name of the artist was Glena or Glenda Somethingorother.
As far as the "FM Zone" goes, I think I pretty much stayed on the periphery
of it, although I did enjoy a few of the parties.
I enjoyed a lot of the new wave and punk, feeling a certain kinship with it.
Believe it or not, when I heard the Ramones they reminded me of the early
Malibooz, and to get myself ready to go on stage I would play "Never Mind
the Bollocks" Sex Pistols. This is still one of my favorite albums.
Thank you Anusha,
Make sure to move your car --- alternate side of the street parking, you
I have read many times that Stevie has a really good sense of humor. I was wondering if this was true and what made her so funny. Do you have a favorite Stevie song? How long did you two date? Who broke it off and was Stevie touched by the fact you wrote Magnet and Steel about her and do you remember her reaction when she found out it was about her. And finally what was the funniest or most special moment you had with Stevie? Thanks for putting up with my personal questions. (Melissa, Hemet, California, USA)
I guess Stevie did have a good sense of humor in a general way, but in my
dealing with her it was her sense of humanity more than humor that struck
me. I'm not sure what made her so funny. My favorite song of hers of all
time is "Silver Spring", the original version. In fact, when that came out
as the flip side of "Go Your Own Way" on the 12" disc I made a tape with
nothing but "Silver Spring" on it, so I could just listen to that.
I'm not sure if you could actually say Stevie and I "dated". We were close
for about 3 weeks and I always felt like it was of her just allowing me to
be with her than a date. I guess you'd have to say Stevie broke it off and
she seemed very pleased when I told her that "M&S" was about her.
The most special moment I had with Stevie, I guess was doing the video for
"Blonde in the new T-Bird".
Just wanted to know how you feel about having a wife that's just about the greatest damned thing to ever hit Mother Earth? And what about those kids? One a computer expert--and the other a beautiful little blond-haired, blue-eyed girl, who happens to give hugs to cry for. Your whole family is very special to me--even you--because you've share all of them with us. We love you guys.
Your friend (of Bill),
Tammy (and Sally and Katie and Haley) (Tammy Bennett, Franklin, Tennessee, USA)
Thanks for the question.
On this day ... (on this day) I consider myself (I consider myself)
To be the luckiest man (to be the luckiest man)
On the face of the earth (on the face of the earth)!
No, seriously, I do. Thanks for the question.
Hang in there, Tam!
Howdy, Walter! I don't have a question. I just wanted to thank you so much for answering our questions the past two weeks. It's been informative and interesting. Take it easy and keep on rockin'! Your Tennessee friend, Ann :-) (Ann, Gordonsville, Tennessee, USA)
Thanks for the good wishes. Glad you enjoyed it. YOU take it easy and hope
to see you at a gig some time in Tennessee
Hi Walter, One more question from me: THE LAST STROLL... Is this album available anywhere? Thank you once again. (Timothy Kee, North Huntington, Pennsylvania, USA)
Yes, Timothy, by the way your cd is on its way. "The Last Stroll" is
available through the Bear Family in Germany on a cd that features "HiFi" as
well. I was able to find it through Goldmine.
You mentioned recording a demo of "The Dealer"--well, there are several bootleg versions of Stevie singing this song; it's also referred to as "Mistress of My Faith" and "Mistress of My Fate." Do you recall Stevie herself ever calling this song anything but "The Dealer?" (Strange question I know but there has been a lot of heated discussion among Stevie fans to know what the true title of this song is.) Thanks! (Maria, New Mexico, USA)
I'd be interested to hear Stevie's version of "The Dealer". This is the only
name I ever knew it by.
Hello once again, Walter! I have a final two questions, I promise! First of all, when you did sculpting, did you ever sell any, and, what kind of sculptures did you make??? Second, your third song on Fundamental Roll, waitin'; what is that all about (and please dont say "waitin'"!) Thanks so much. (Brian Larsen, Laurel, Maryland, USA)
Hi Brian again,
I did sell a few pieces of my sculpture and as to what kind I make, it's
kind of hard to generalize. My main work was in metal sculpture though,
incorporating found objects into the pieces.
The song "Waitin'" on Fundamental Roll is pretty self explanatory. It had
to do with a short-lived dalliance that I had at the time with a girl who
was a girlfriend of a friend of mine. It was her idea, though, not mine!
Thus the confusion expressed so well in the lyrics.
What was it like to work with Mick, Stevie and Lindsey on the album "Not Shy"? Will you work with them in the future? (Thomas Kirby, Roswell, New Mexico, USA)
It was really great to work with Mick, Stevie & Lindsey on "Not Shy". After
having done the first album together (except for Mick) by the time of the
second album we were like old friends instead of new acquaintances, which
made it that much more fun to do, and of course by this time "Rumours" had
exploded, so there was a whole surreal element of big-time show-biz going
on, which was kinda fun. As I've said before, I would love to work with
them again in the future.
I just had a closing comment rather than a question. Last night I was reading through an old BAM Magazine interview you gave in 1978. In it, as you were discussing your opportunity to work with Gram Parsons, you said:
"You absorb things from what others have done, but those people you are being affected by are rarely aware of the impact they are having. . . . Every artist has an ideal of what it is he's trying to put across in his art. What people pick up on is often very different than what is intended. Gram, for one, never knew how much his music meant to so many people."
I thought that was one of the truest things I've heard anyone say about dedicated artists generally and how their music affects audiences, whether that audience is other musicians, or musically untalented people like myself. To thank you again for having taken the time to participate in this Q&A with patience and humor, I just wanted to tell you that your music has meant a lot to me (and many others), and has been absorbed, and has provided energy for all sorts of life's endeavors -- some of which you may have intended, but others of which you never could have imagined. I wanted to say that just so you DO know, perhaps unlike Gram, how much your music and songwriting have meant and do inspire.
I have ordered your new solo album and I'm really looking forward to hearing it. Best wishes to you and your family. (Les, San Diego, California, USA) [Note from MEA: Just want to point out that Les wrote the fantastic biography on Walter that appears here on The Penguin! Thank you Les.]
Thanks so much for your thoughtful comment and I very much appreciate
knowing there are people like you out there. Makes what I do worthwhile.
Best wishes to you and your family, too.
|Closing Statement from Walter Egan:
As closing comments I would like to say that it's been really neat
connecting with the folks out there and stirring up the old memories. I
really appreciate the fact that there are people who care and thanks for the
opportunity to connect personally.
|Place your order for Walter Egan's Walternative or the Brooklyn Cowboy's Doin' Time On Planet Earth now ! The supply of these albums is limited and are in stock now. Walternative is autographed by Walter Egan and are priced at $12.50 + $1.75 S/H. Doin' Time On Planet Earth is priced at $13.25 + $1.75 S/H. (Shipping is $2.41 if you order both at the same time.) You can place your order for these albums now in The Penguin Album Corner. Thanks!