Episode Transcript
[00:00:12] Speaker A: Welcome to the Nathan's and Roncast. My name is Michael G. Ronstadt and you're outside with me in the 3 degree weather in Cincinnati, Ohio. It is cold, the Midwest, the East coast, we're hitting very low temperatures.
During this interview with Tishi Nahosa. I kind of introduced her during the interview. So we're going to jump right in. But before we do that, I'm going to tell you about two performances coming up. Aaron Nathans and I are playing Saturday, January 5th at 7:30pm at the Focus Concert Series in Gaithersburg, Maryland. And we are also playing Sunday, February 2nd at the South Florida Folk Festival, 2pm Come on out and without any delay, we're gonna get right into it with Tish Hinojosa. Enjoy.
We are here with Tish Hinojosa. I recently got a chance to go on the road with Tish and she was so kind to bring Ronstadt Brothers, my duo with PD Ronstadt, into the fold. We felt like we were immediately family and I always felt like with Tish, but even felt more so and it was absolutely as comfortable as could be. And we finished out at Club Passim in Cambridge and what an introduction to a legendary venue. To a full house. And as we traveled, I got to learn so much about your history, Tish. I sometimes like to be surprised by people's music histories. I don't really get starstruck, except the one time I met Victor Wooten, the crazy awesome bass player. I could hardly say two words. But usually I guess having a famous Aunt Linda who will expand upon why you know Linda and how you got to know her and how you got to know my family and hence my dad and, and everyone in Tucson. So it's like because of all the amazing things you've done, I was just so honored that you treated me and my brother like we were equal, you know, and it was, it's one of those things where we, we've run into people around the world who have had all these successes and it's almost like they wear it like a suit of armor and they're like, I've done all these things and I, I always say, you know, they probably had the B writer that said we blue and brown, M and M's and Right. And I just felt like you didn't have that. And it reminded me of my Aunt Linda in the sense that she said that anything on the be writer was her band asking for stuff. She didn't really want anything but to sit down with a burger or some nice meal. Simple Nice meal before she got to go up on stage and sing. And so it was like, I love that about Linda. And between all of us, you know, when we sat down and had conversations, I felt like I was having just a conversation with. With family, like in the living room with my Aunt Linda. It was just such a, you know, family. So important. And it felt just like that on the road. So it's a long intro to say that what an honor it was to tour with you finally and to finally meet you properly. And we got to play music together. So I feel like a musician's introduction requires playing music together sometimes. And welcome to our podcast. It's great to have you here. And so we're excited to talk about your music.
[00:03:22] Speaker B: Well, thank you, Michael. I feel the same about you and Petey. And we had. It did really feel like family. And Aaron, it's great to meet you today. I'm very honored to be on your podcast. Thank you.
[00:03:33] Speaker A: One of the things that struck me when we started touring together, and I knew this about you when I studied your music, to learn it, to be able to play along. And also what I've heard previously is you have English and Spanish in a lot of your songs. You see it in your bio. You're connecting between Mexican border music roots, you know, La Frontera, and then you're also connecting to country music, and I guess it leads into Texmax. I don't know if you ever had Flaco Jimenez on any of your albums, but, you know, like, you have musicians of that caliber.
[00:04:00] Speaker B: You know, I know Flaco very well. He's played on several.
[00:04:03] Speaker A: Oh, yeah. So there you go. So it's like that kind of defines. You're crossing borderlines with your music.
[00:04:09] Speaker B: Oh, yeah.
[00:04:10] Speaker A: And I imagine sometimes your fans don't even realize you're pulling them into a cross cultural context because they just love your music. They love your words, they love your energy on stage. When you were coming into creating music, what I read was that in 1988, you penned an album, Music from Taos. I believe you released that independently. And then in 1989, you had an official first release with A and M Records. I believe.
[00:04:37] Speaker B: That's right.
[00:04:38] Speaker A: You kind of went from not being sure where you fit in to having a record deal. Like, I'm curious how that felt after you found a record deal in Austin, where I think it sounded like you were more accepted.
[00:04:49] Speaker B: Yeah, yeah. It's kind of. It was an interesting journey. All through the 80s, I was really aiming for Nashville. I had a good friend who was A producer actually. Now he's a very famous producer. But then he was just the head of mel Tillis Publishing Co. And I demoed some songs at Mel's company and he liked me and they liked me. So I actually moved to Nashville like in 84, 83, and worked at his publishing company. And that's where I met Buddy Cannon. Buddy Cannon is now a very prominent award winning producer in Nashville. But back then he was trying to pitch us to record labels as a producer and artist. And I wasn't really writing a lot of music then. Mostly I just wanted to be, you know, a singer. That was my. My aim back then. And we kept getting turned down by all the labels and we don't know why. So finally I got frustrated and moved back to Taos, which is where I had been living before I moved to Nashville and I released my own self released little record called Taos to Tennessee in 87. And then, you know, it started making a few waves, which was really interesting. And you know, in folk circles more than country, it was really listened to more by folk people. And then once I wrote songs for that record and then just felt a lot more confident as a writer and made the big move to Austin in 88 and I felt just. It was just one of those things where everything. All the dials just. Just fit in properly and the right way and the sun shone through that little square in the. In the wall and. And then suddenly, yeah, I was at a. I played one last showcase at the Bluebird Cafe in Nashville. Three artists were there before me and a guy, Patrick Clifford from A and M Records. A and R was. He was there to listen to the other acts and somehow they just kind of threw me in at the end of it. And then he came over to me after my set and handed me his card and said, hey, send me some demos. I like your stuff. And that was it. And that was it. We're still friends. And he was my guy. Got me signed to A and m Records. By 89, I had an internationally released record, you know, so things happened pretty fast about that time.
[00:06:40] Speaker A: Did that lead to some of the things I've seen on YouTube where I think you're in Holland, I think on a TV program. I think that I found something on YouTube of you performing at some table. Just a. Acoustically, it's a beautiful performance.
[00:06:53] Speaker B: Oh yeah, we did a lot. Yeah, yeah. When I got signed to A M, we immediately got placed with a major booking. I think it was William Morris Agency. And so, I mean a lot of A lot of things have, you know, major publishing company and the whole bit. So everything kind of kicked into high gear then and we started touring Europe regularly starting in 89, through Scandinavia, northern Europe mostly, not a lot in the south, but UK and Netherlands and Germany and all those little countries all around there. But they were huge country fans and, you know, folk and country fans. They all loved people like Townes van Zant, Guy Clark, you know, and then old country like Merle Haggard, you know, and they'd come to shows dressed up in cowboy wear and those enthusiastic European fans. But, yeah, so we did a lot, a lot of radio, a lot of tv, and toured quite a bit. I, you know, when I mentioned my. My guitar player, Marvin Dykhaus, he's mentioned in my latest song called With a Guitar and a Pen. But, yeah, he's been with me through all those roads because when I moved to Austin in 88, he had just moved from Wiscons, Austin, and we just met because we were playing a lot of the same little clubs, just trying to get heard around town. And he and I just really connected and we started. I needed a guitar player to play, like, my band music. So he kind of jumped on board. And that was right about the time when I got signed to A and M. So he's been with me ever since and, you know, all the European tours and all the records and everything. So he's. He's become a huge part of my music and my life. You know, he's my bro. So anyway, you know, we know each other so well. It's kind of like you and Petey probably know each other well.
[00:08:28] Speaker A: You know, I think as musicians, we end up collaborating with people for a long time. I mean, you look at anyone's history and the movie industry or whatever, like, who are they creating movies and TV shows and albums with, who are they touring with? The people that they met before anyone was famous, you know, So I. I think that's, for me, a mark of an artist who makes these connections. And then you're like, you know what? I like working with you. Let's keep working together. And to have such a long collaborator with your guitar player, what a beautiful story. Because I think sometimes that person knows you better than anyone else because you've been on the road through everything.
[00:09:03] Speaker B: Yes.
[00:09:04] Speaker A: Now, a Guitar and a Pen sounds somewhat autobiographical.
[00:09:08] Speaker B: Oh, yeah. It kind of comes from people telling me when I tell stories on stage, you know, they always say, you've got to write a book. You've got to write a book. So this is sort of my road book in three minutes of what my road life's been through. And actually, I guess it goes to the very beginning when I first picked up a guitar, when I was like 13 or 14 years old, you know, because it's like, you know, for a wish that found a dreamer with a guitar and a pen, that was kind of me. Of course, I picked up the guitar before the pen, but eventually I picked up the pen too. You know, that became a big part of it. As a teenager, I had no dream or no aspiration to be a writer. I didn't realize anybody could be a writer. I thought. I thought you had to be selected by God or something like that to be a writer. When I worked in Nashville was the big turning point for me back in the 80s, because I was at Mel's publishing company and watching writers, all these famous guys come and go and all Mel's friends who he'd hang out with, old Web Pierce and these crazy guys that would pull up in Cadillacs and stuff. Then they'd sit around. He had a very homey office, so they'd just sit around the main room like the living room, and, you know, pass songs back and forth and, you know, shoot the bull and that kind of stuff. But I thought these are just like regular guys, and they're famous songwriters, you know. And so I started paying closer attention to what it took to write songs. And when I left and went back to Taos, I started practicing that. And sure enough, I ended up writing five or six of the songs on Taos to Tennessee. And the title song especially, which is another song, that kind of A Life on the road kind of song. But, yeah, so that kind of gave me a lot of encouragement and, you know, I had avoided. You know, I grew up in San Antonio, Texas, but I left to go move to northern New Mexico and in my early 20s, and I didn't want to go to Austin from San Antonio. I took the way long way around because Austin was a songwriter's town. You know, Willie Nelson, Kris Kristofferson, you know, everybody that was like a famous Texas songwriter. And I knew I didn't fit in. I didn't want to move to Austin playing cover songs. So I took that long way around. And then once I felt comfortable after Taosta, Tennessee, I said, this is time. It's time. And by then I had, you know, two toddlers, and it was time to be closer to my family, too. You know, I could really use all the help from San Antonio. So Austin was the closest thing That I could find that was an accepting music town. And I could actually now sing my original material and started building a following there. And it happened really quickly. Yeah, Started playing all the local little honky tonks in saloons and bars and seven, six nights a week or something. It's like. Yeah, it just kind of built. And then I got my record deal and then the audience really grew from there. But it was real grassroots in Austin though, at the beginning. So that's kind of. That's been the journey. And yes, guitar and pen is kind of like that one starts somewhere around. Yeah, when I picked up a guitar. But then the main story starts from hitting the road in those late 80s and early 90s onto the present.
[00:11:52] Speaker C: So what was it that you had to say back then when you were first starting to write? Like, I know that Michael's aunt Linda has made a. Of singing other people's songs. And I guess Joan Baez, another one of your heroes, also did a whole lot of covers throughout her life. Did you feel at some point like you had something that you wanted to say or was it more that you just kind of wanted to be accepted into the scene of the songwriters?
[00:12:16] Speaker B: That's a good question. Thanks. I didn't know what I had to say in my, you know, in those Taos and New Mexico years. Cause I was mostly. I had a country band and we were playing for honky tonk people. You know, a lot of two steppers from Texas love coming up to Taos and Red river and the little towns up there, go skiing and all that kind of stuff. And then, you know, I was. I had a band in a. In a little bar and we had a five piece band. And at that point I was singing mostly Amelie Harris, Linda, and you know, old country stuff, you know, that I learned from Mel. Because before I went to Nashville, I was not a country person at all. I was singing covers, I was a folk singer and Mexican songs. And I didn't really know a lot about country. I didn't know old country. My parents were from Mexico and we always had the Mexican, you know, the Mexican station on in the kitchen. So I grew up with wonderful old Mexican music. But country was something very new. And I learned about that in New Mexico. And so I started learning all these great country stuff. And so we were basically a country band. So when I started writing my early songs, that's kind of where I was going with it. I wanted to write, but no matter what I was trying, they still came out a little bit more like folk. They were kind of like folk country songs. But that was how that evolved. But then when I moved back to Austin, some important things that happened. Both I had my kids, and then, secondly, my mom passed away. She was my anchor to my Mexican culture. She passed away in 85 when my son was about 6 months old. And something really important struck me at that time that I thought, you know, I don't even have to speak Spanish anymore if I don't want to, because, you know, I'm more like in country world, and I'm hanging out in all these places where a bunch of Anglos are. And, you know, people in Nashville couldn't care less if I sang in Spanish. And so it became. That was the thing that changed for me when I moved to Austin and decided I didn't want for my culture to get lost for my children. I wanted to have something of my family and my parents, and I wanted to let my kids know where they came from. Because I'm a first generation, and speaking Spanish was practically mostly my first language. So writing my first bilingual Spanish song was who showed you the way to my heart? Which I wrote when my son was born in Nashville in 84. And I did the middle section in Spanish of that song. And my first all Spanish song was one called A manecer Daybreak, which is I wrote for my mom. So anyway, that was kind of the beginning. And then once I was back in Texas, I kind of got more into the Texas singer songwriter thing and wrote a song called the west side of Town about San Antonio and my family. And that was kind of a very funny thing because that's the song that got me signed to A and M. That was a song that Patrick Clifford latched onto. And to me, that was more like a very personal song. I wrote it for my family. I didn't have any idea that it would be liked beyond that. But as the years have gone and I started touring and playing that song, I realized that people connect to family stories. And, you know, it's kind of like Coal miner's Daughter or Dolly Parton's coat of many colors. There's a little sadness, but there's also a beauty of what you learn from your parents. And as, you know, Dolly would say, my mom would talk to me and she'd read for me from the Bible as she was sewing my coat of many colors. And. And I kind of took that and put my San Antonio experiences and what my parents sacrificed because we were not a family of money or anything. My father was an auto Mechanic. They raised 13 kids together, so. And I'm number 13, so I missed out on a lot of the earlier part of the family. But through stories and through my mom's and my older sisters telling me everything that I missed, then I got a better picture of my parents because they were both older by the time I was born in 55, and my mom was 40 years old. My dad was 55. So they were. To me, they were more like grandparent age, you know, as I was growing up. But it was something that I wanted to pay tribute to our family. And that's amazing because that's the song that A and M really liked the most. Funny.
[00:16:04] Speaker C: We're recording this on December 31st of 2024, and especially this time of year, as a Jewish person, I feel a lot of the push and pull between my culture and the larger culture. And I know that Linda probably dealt with this, too. But was there a push and pull between in the 80s, between wanting to preserve your culture and the perhaps need to assimilate in some way?
[00:16:29] Speaker B: Assimilation was something that a lot of my older sisters, older ones, I'm talking about the ones that were born in the 40s and stuff, they raised their families not speaking Spanish at all and really being quite separated from their culture. But all of us younger ones are the ones that really stayed mostly connected because of our mother. Our father passed away in 1972, and I was 16. So I unfortunately didn't get to know him as well as I would have loved to. But assimilation in the 80s was pretty easy. It could have been. And that's what I meant when I. When I was living in Taos. And yes, I could speak Spanish with the old Spanish people in town and stuff like that, but I didn't really. The people I was hanging out with were all the cowboys and the country people, and, you know, there was no Spanish involved. And in Nashville. Here's the funny thing that when I did get signed by A and M, my old friend Buddy Cannon had by then moved on to become the vice president of PolyGram Records. So when. When I got the. The offer from A and M, he and Harold Shedd, who was Alabama's producer, and now Harold Shedd was the president of PolyGram. I mean, I had two really powerful Nashville guys that wanted me on the PolyGram label. But the big. But there was. They didn't want my original music, and they didn't care about the Spanish music. They wanted to make me a big country star, and they said they'd find me the best songwriters. And, you know, I Mean, it was clear it would be a path to stardom for sure. I don't know. It was a huge decision I had to make because, you know, they offered me an incredible deal, and then I had to counter that with the small, skinny deal I was getting from A and M Records. And I was going, yeah, but, you know, what an honor to be. Wanted to be signed as a singer songwriter. And how long would my big star country, other people writing songs for me? How long would that last? I didn't know. It was. It was a tough decision, and I chose A and M. But speaking of assimilation, I could have really assimilated. I'm sure later in my career, I probably could have brought the Spanish music out and stuff like that. You know, I could have done a Not canciones de mi padre, but I would have done my San Antonio tribute to Tex Mex music or something like that. But, you know, it's interesting how I was faced with quite an interesting, challenging choice to make. Did I want to be a big star, or did I want to be a singer songwriter? I mean, I really wanted to be more like a guy Clark or, you know, something, because I just felt that that had more longevity to it. I guess it did. I'm still here 40 years later. So, I mean, yeah, I'm not. I'm not burning the record charts or, you know, filling stadiums or anything, but I certainly have a really nice following. And, you know, I can't complain. I still feel, you know, I'm on the map, and that's. It's always good to be on the map. Yeah.
[00:19:08] Speaker A: That's amazing. I would always joke around with people. They're like, what would you want to see your career look like? I said, well, if I could guarantee 30 people at every performance throughout our country or in some small country that will have me tour for a month, that would be awesome. Because it has its sustainability.
[00:19:29] Speaker B: That's success. Yeah.
[00:19:30] Speaker A: And I feel like if I ever get there, great. But then later on, I felt like the success was just getting someone in the audience. If they felt something or removed or smiled because of something I did on stage and if it made their day. Especially if one or two people come and travel from a long distance to see you, it's like, wow, you did this for me.
[00:19:49] Speaker B: Like.
[00:19:50] Speaker A: Like, I'm on stage just doing things, and, you know, I'm so thankful. So success changed for me. But I always had this, like, I guess in my early 20s, what you just said, hopefully will help some young songwriter who's trying to make it go, what's important, you know, what. What helps me feel like I'm going to have a career? Do I want that initial flash? And then I'm gone, You know, and country music's famous for that. You know, the next day there's a new famous person out there and I can't keep track of them all.
[00:20:18] Speaker B: Yeah.
[00:20:18] Speaker A: So what wisdom that you probably had no idea you were being wise about, I'm guessing.
[00:20:22] Speaker B: Yeah. I mean, no, actually, to tell the truth, I still. I. I still struggle with that sometimes. Like, what would have happened if. You know, what would have happened if I had done that? But at the same time, it's like, you know, the choice I made is the choice I made. And, you know, I've. I've been happy with it. You know, it's given me an incredible career and opportunity, opened other doors. And even when I got dropped, which is really sad, you know, it's like that's the unpredictableness. I mean, what if I had gone with Polygram and two years later, you know how people change over all the time? What if. What if Harold and Buddy would have been fired and then they'd get a whole new crew in there and then I'd be out on straight or something? Well, that kind of happened with me with A and M Records. I thought I signed. You know, I was so excited about A and M because they were like the label that I thought was the coolest label on earth. You know, everybody's had a couple of records on A and M. You know, even Sting was on A and M. It was everybody's beginner label, a lot of famous people. And I just. I hoped to be there for the. For lifetime. You know, it was like the Carpenters were there, you know. But two years after I signed with them, and I had just finished recording my second record, Booker T. Jones came on and recorded, started this really cool record for me. And it was about to be released, and in Europe, they had actually even already printed up the vinyl copies and all that. And we were about to hit a tour and all that bit that was like 1991, and it was late fall, and I got a phone call from A and M saying, sorry, you're not on our label anymore. And I said, like, with the record that's about to come out, like, are you kidding? They changed over. The big guys there wanted to go in a bigger pop direction. And that's when they signed Janet Jackson and went into this very big pop and R B and whatever, you know, they changed, totally changed directions and I no longer was part of their label, just like, just a phone call. That's it, you know. So I was kind of like back in the middle of nowhere. And anyway, that was kind of a dark. A dark time. But as you know, I'm a positive person. And it was Christmas time, so I wrote some Christmas songs and put out my very first Christmas record, which was directly in Marvin's house in his cat's room. And we made a little record called Memorabilia Navidena. And we just made it on cassette. I took him down to my great favorite record store in Austin, Waterloo Records, and I knew the owner really well, and I said, hey, John, can you sell some of my cassettes here? And he said, I'd love them. Let's put them at the counter. And so it was kind of like making tamales for me because it was Christmas time and that's how I was going to support my family. And so it ends up people were eating those little cassette tapes like, off the counter like crazy. So he kept calling me and saying, hey, make some more. Make some more. So we ended up. We did great. So then by the next year, I got signed to Rounder Records, and then I made five records with them. So that was a happy career. And then we also re released my Christmas record and added more to it and made it a bigger record by that point. But a lot of good things happened after that. But I learned, you know, tough lessons about the music business. You know, when it's kind of like getting married, I thought I married. I thought I had married well when I signed with A and M and I had no, no idea I was going to be dumped two years later, you know, those things happen, you know, and I just learned, okay, those are the hard, cold facts of the. Of the record industry and the music business.
[00:23:46] Speaker A: You know, I find that people I know who have been on record labels, it's such a mixed bag of, like, I left because someone asked me to do things that didn't feel like me or I wasn't selling a hundred thousand copies. I only sold 20,000. It wasn't good enough. So they dropped me, you know, like. Or they. They put me on a shelf. And I couldn't do anything with my career because we weren't as important as the other artists, but we weren't allowed to perform out, you know, like, I've heard all these horror stories and, you know, from someone I know who ended up writing custom songs in most of their career in Nashville and then also being a Girl Scout represent of, like, Official song for the Girl Scouts for a while. And I know someone who had a record label with a hard metal band, and they did the Philadelphia Flyers hockey team song one year. You like. Like these little blips of successes pop up after they get dumped, essentially.
[00:24:39] Speaker B: Well, you get connections, you know, but by then, you know, I. I had already been on Rounder Records radar since Towson, Tennessee. And so as soon as they heard that I was dropped from A and M, they said, hey. Hey, you want to come join us? I said, sure. And the weird thing was, you know, I mean, I do want to talk a little bit more about, you know, the more. More current decades of my career, too, but back then, the interesting thing was that first A and M record in my first tours to Europe and, you know, all these things, there was so much happening and, you know, press conferences and all kinds of things. It was kind of a big deal. And then I got a call one day that said, you've got a hit song in Korea. And I said, oh, man, that's insane. I think we talked about this on the road there, Michael.
Every time I talk about the. So Adon Devoy. Crazy. It went quadruple platinum in South Korea. And suddenly, before I knew it. Well, actually, back then, it's. Over the years, it's gone quadruple. In 1991, it just went platinum. That was like 50,000 records sold in one country. And I thought that that would have been a nice. I thought A and M would have really appreciated that. But compare 40,000 records in Korea to what Janet Jackson could sell.
I guess, you know, dumb question. So that's.
But, you know, the thing was that, yes, it. It meant a big deal to me, and I did go to Korea and I did accept my platinum record. And, you know, they were very, very proud, and I was proud. And, you know, I'm the only American to get one of those, so. Yeah. Anyway, so that. Yeah. So. But onward. Through the years, there's been up and down with record labels. I got signed to Warner Brothers in the middle of my Rounder deal, which is a very unheard of, having two record labels at one time. But Jim Ed Norman at Nashville, Warner Brothers was interested in signing me, but I still had two records left to make for Rounder. So we did doubles. We. Two years in a row, we released two records, one on Rounder and one on one on Warner Brothers. Yeah. So those were. Those were the wild years of living in the studio and raising my kids in the studio because they were in school age now, and they'd you know, we'd run to Austin, you know, had our favorite studio that had all the things that could keep kids entertained and do their homework and all that while I'm doing my recordings.
[00:26:50] Speaker A: And you have to take a nap on the studio couch as a kid. That was my experience as a kid. The studio couch was the best place to nap.
[00:26:57] Speaker B: Exactly. Yes. Or my son would be told to leave the room because he was making too much noise. Yeah. No, but they loved hanging out at the studio was a big deal.
Both my kids got the measles while we were in the studio, and we had to turn the break room into a little sick room for them because I had to make sure that nobody was pregnant so they wouldn't be affected by the measles.
Anyway. Yeah, that was a wild. That was a wild recording session. But yeah, a lot of memories, though, you know, as you. As y'all recall every one of my records, I have a fond memories of the crazy things that. Crazy things that happen.
[00:27:40] Speaker A: That's the end of part one. Next week we'll continue with more of the interview, but before that, I want to share the song with a guitar and a pen. We talked about it a little bit in the interview, and I think you'll really enjoy. Enjoy it. It's from her new album.
[00:27:54] Speaker D: Though I knew it from the start this guitar could break my heart.
[00:28:04] Speaker B: And.
[00:28:04] Speaker D: The ink that's in this pen.
[00:28:08] Speaker B: Could.
[00:28:09] Speaker D: Drive me mad and do me in still they gave to me a song and taught my mind to speak.
[00:28:23] Speaker B: And.
[00:28:24] Speaker D: Filled my soul with love.
[00:28:28] Speaker B: And made.
[00:28:29] Speaker D: My world complete.
[00:28:32] Speaker B: Yeah, sometimes the road's.
[00:28:34] Speaker D: Been rough I didn't always make the test Although Nashville gave me wings I think Austin got my best there's been tears and cheers and laughter A million miles plus a score oh, the stories I can't tell you Only Marvin can tell more there's the time a limousine came so we could be on tv Our limo broken Then a tow truck hauls our butts to nyc?
You know it's been a wild and crazy ride But I'd do it all.
[00:29:37] Speaker B: Again.
[00:29:40] Speaker D: For a wish that found a dreamer With a guitar and a pen Though I knew it from the start this guitar could break my heart and the ink that's in this pen could drive me mad and do me in it's been a long while Been crazy easy ride But I'd do it all again For a wish that found a.
[00:30:39] Speaker B: Dreamer.
[00:30:42] Speaker D: With a guitar and a pen For a wish that found a dreamer With a guitar and a pen.
[00:31:10] Speaker A: This.
[00:31:11] Speaker C: Has been the first half of our conversation with Tish. Come on back next week to hear the second half. I'm Aaron Nathans. Thanks for listening to the Nathanson Roncast. Peace.
