By: Rick Landers
PART ONE OF THREE
Jesse Colin Young
Prolific singer-songwriter, Jesse Colin Young, and his contributions to music are forever woven into the fabric of the American Dream, where the fundamental elements of “life, liberty and the pursuit of happiness” are rooted in humane musical gifts bestowed by him to all of us.
Although his most recognizable song, “Come Together” (Chet Powers) was one he didn’t write, it is now cast as his and The Youngblood’s milestone entry into the 1960’s counter culture’s call for love and peace.
And, since he began performing and recording, Jesse Colin Young, to this day seeks to message us with a philosophy and belief in those same ideals.
In some fashion his intentions may be ironically stamped as a “call to arms”. But, his choice of music and the lyrics he writes, move us assembled as a people, as well as individuals, to find and nurture our humane, compassionate and loving connections seeking not only a common ground, but a higher ground.There’s a purity to it. A purity that is not driven by innocence or naiveté, as Young has experienced life with its many crests and troughs. Maybe, his mantra seeks us to hold on to our own sense of innocence.
Most unsettling for his family was California’s 1995 Mount Vision Fire wildfire that burned his home “Ridgetop” to the ground. They escaped physically unscathed, yet emotionally crushed, with the saving grace of his home studio still standing and precious saves y his wife Connie. It’s a painful memory, still vivid.
The Young family would move to Hawaii where they grew to love their coffee plantation home and where they contributed to their new community’s educational interests, while Jesse continued releasing music.
In 2012, Jesse was diagnosed with Lyme Disease, that led him to hang up his music shingle for four years, at which time his son, Tristan, and he began performing, then releasing an album together, Dreamers (BMG – 2016).
So, we talked about hard times endured, as well as his commitment to embody in his music and life, the need for us all to take personal responsibility to be good and to do good. It sounds simple, but it often feels Sisyphean in nature, especially as we face a nation so culturally divided, in need of better stewardship.
Along with “Get Together,” Young’s early legacy of songs included quite stunning melodies driven by his signature vocals. Some gathered more popular traction than others, yet many of his best songs never reached us. And that’s a fine reason to listen to all of his music, to focus on songs we may have overlooked or missed.
His debut album, The Soul of a City Boy (Capitol Records – 1964) is still an impressive first album, especially given its 11 tracks only took four hours to make, from start to finish. Discovered by producer and Grammy winner, Bobby Scott, Jesse was able to grab some studio time that became a pivotal moment putting him on the music industry map. Young followed up the album with another solid album, Young Blood, also produced by Scott.
His group, The Youngbloods, named after that second album, were a working band, toured Canada, then landed a gig as the house band in Greenwich Village’s Cafe Au Go Go. In 1967, the group released their debut album, The Youngbloods, that included the now legendary, “Get Together” that became a hit after being synched in a public service commercial.
By 1972, Jesse’s success with his solo album, Together, prompted him to go solo and disband The Youngbloods. Subsequently, he worked on and released his fourth solo album, Song for Juli, a loving tribute for his daughter.
Jesse Colin Young’s career highlights also include the haunting “Darkness Darkness,” the sensitively fragile “Sunlight,” the reflective “Light Shine,” the touching “Song for Juli,” and the biographical “Ridgetop” with it’s jazzy coolness and trick sax by the stellar, Jim Rothermel. For fifty years, he’s nurtured his career, always leaning forward with new releases for his friends, fans and new generations to enjoy.
Most recently, he has been working and performing with his two children, Tristan and Jazzie, from his marriage to Connie Darden-Young.
There’s more, much more substantive biographical information to convey, and it’s best to hear it from “the master’s voice,” and during our conversations Jesse explained that he’d been working on a book about his life. But, for now, its a good time to grab some of his music or catch him on tour, while he’s in the throes of writing.
Guitar International magazine is honored to present our conversations with Jesse Colin Young to our readers in a THREE PART series. (A link to PARTS TWO and THREE will be added soon!)
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Rick Landers: Hey, how are you doing?
Jesse Colin Young: Pretty good. A little tired. I’ve been working on rehearsing today and I did a half an hour version of “Light Shine”, an up tempo version of it. So, that was lots of fun.
Rick: I’ve got a question about “Light Shine”. A friend of mine is a Quaker and he said that it sounded like you were familiar with Quakers. Based on, I guess, the lyrics of that song.
Jesse Colin Young: Hmm. Yes, yes and no. I mean, I know what basically Quakers are about. I had a sweetheart that went to a Quaker school when I was a teenager. And that’s about as close as I got to it. But Quakers, I haven’t even been to a Quaker meeting. It sounds wonderful. I mean, everyone comes in and just sits there and maybe someone speaks and maybe someone doesn’t. There’s way too much speaking going on in general, in our society.
Rick: I know you just hit 80. I still feel like I’m like 20, at least mentally.
Jesse Colin Young: Yeah, I know. I know the feeling. Well, it’s very strange.
Rick: It is. Well, so I suppose you’ve been asked a lot of different things and I really don’t want to retread over stuff you talked about before, but there will be a little bit of that, obviously. So, why don’t we talk about coffee grounds or squash courts? I know that you moved to Hawaii and you’d bought a coffee plantation, is that right?
Jesse Colin Young: We went to Hawaii in 1988 to get married. We had been living together for a couple of years and just decided it was time to get married, so we went and looked for a place for Connie’s family and she was thinking maybe we can rent a house. And we kept bumping up against this wonderful, angelic real estate agent who was a friend of mine from Maui. And she kept saying, “You have to see this little farm.” I said, Well, is it for rent? No. You know, we’re really not looking for a farm.”
Little place, overgrown, beautiful, beautiful house with the very kind of Japanese rooms, thekind of tilting up on the ends. And I don’t know. Gorgeous. All kinds of fruit trees that I had no idea what they were.
There was a tree with fruit growing out of the bark. I learned about these things later. But. And we were fresh from the mainland. So, the mosquitoes ate us alive. And by the time we got to Maui, we put an offer in on the farm. I mean, it was just we spent two hours wandering around, you know, overgrown to the point of big, poor grass and stuff that grows. Human height but, just perfect.
Jesse Colin Young: We fell in love. You know, we were in love with each other, and we fell in love with that little farm, the little six acres and then we closed and honeymooned there. No coffee, though. Hmm. Macadamia nut trees. But, they’re one of the first planted on the big island and dry side. And they were giving up the ghost. When they get old and nuts won’t fall off.
I think we made $100 or something like that. We said, “Okay, we’re not going to be growing macadamia nuts.” We’re in a kind of coffee belt, you know?
So we planted coffee and nobody had cultivated it. But people on both sides, were growing it. This is family style, these little farms. Working class people could afford them. Don’t own them, you kind of lease them to keep little family style farms going. They were not big, like our coffee is just planted around the rocks on the palms and the soil until one of our neighbors got a bulldozer out and actually did it, there was nobody who planted coffee in rows. It was just people would have a day job and then they’d have some coffee and and it was kind of a family thing.
Rick: So the coffee that you’ve got for sale on your site, is that from your your property?
Jesse Colin Young: Yes. And we no longer have it for sale. We’ve had to cut down the the orchard. We just had to cut all the branches off of all the trees. There’s been rust attacking them for for a few years. We’ve been organic for too long. It’s just that I don’t want to live in a place where you have to put on a hazmat suit. I mean, I don’t want to drink the coffee.
Rick: I thought what you were probably doing is diversifying your revenue streams so that you have some money coming in from coffee mugs, some from your music, some from performing, maybe t-shirt. You’ve got diversity in that. So you grab in different demographics in the music, whether you think that way or not, I don’t know. But, it seems to me that’s a business strategy that some are doing today. What about you?
Jesse Colin Young: Well, if it’s a strategy, we kind of blundered into it, but that’s the way I do things. The coffee, we just wanted a crop. Connie grew up here in South Carolina with a lot of farming. But her mom said she was planting things from the time she was like three. Really growing the garden. Yeah. So she’s the farmer. Couple of wonderful runs it’s been; but we’re going to run out of our coffee for the first time since I think our first crop came in. And we got married in ’88 and we started planting then. But our first crop was probably 1990. So, pretty soon I will be drinking someone else’s coffee.
But all this time, I have been happily drinking up the profits too. And so I love our coffee. It’s been organic for a long time and it used to be that coffee was a poisonous crop.. But it used to be that there were no bugs that attacked. But then, ten years ago, a beetle came. They worked their way there.
From South America and maybe from Africa or South America, too. And eventually they get to Hawaii and the beetle came and then the rest. We have all lost the trees. With the branches cut off because of the attacks.
And already it’s sprouting new, little cookies, babies. I mean, this is the same thing that happens. When you prune, you usually take all the branches, you take one and then a couple of babies come out and you cultivate them and they replace them.
I worked at a coffee orchard. I learned, I went and took, classes when we were in the Nineties when I was there and we were building a Waldorf school and I was teaching ukulele, which I really didn’t know how to play, but I knew better than the kids.
And that was a great time that I was learning about coffee and how to farm because we had the orchard. It was wonderful.
Rick: So, what precipitated that move from California? There was a big forest fire and you lost your home. Apparently, you didn’t lose your studio, right? Your studio is still there? How did you approach that? I mean, were you, devastated or were you thinking, “Okay, now we’ve got to figure out what we’re going to do?” I mean, you had a couple kids, I think, at that point.
Jesse Colin Young: We had babies. No, I was devastated. And Connie had just spent three years rebuilding my my little house.
Rick: Were you able to get anything out or did you lose photographs and keepsakes?
Jesse Colin Young: We got some, we got cars out. We ended up with too many cars and not enough of everything else. It came on very fast. Connie was there. I was not there. I had taken Tristan to the acupuncturist. He was in San Francisco, which is about 30 miles away. And I guess I had a cell phone at that time, in the car anyway. And she called me up and said, “An hour ago they came and said, “Don’t worry. The wind’s not going to bring it up to the top of the ridge. ” And then she said, “Ten minutes ago, they came and said. “You’ve got 20 minutes to get out of here!” I was scared.
So what do you want? Well, right by the door. I just brought my Hawaiian shirts in from the cleaners. They’re sitting there with my two stage guitars, which I used to do a solo thing with, these smaller guitars, so I could carry them both in the back. And they were just sitting by the front door. So I said, “Yeah, get that.” She got photographs. She got papers. She missed one of her mother’s violins, which was somehow stuck under the bed in a tiny place. Where she didn’t see it. So we lost. Almost everything. And that’s really weird.
Even 20, 30 years later, it’s still hurts.
The fire was ’95. So, yeah, yeah, it took me 20 years. My doc used to say, “You have PTSD.”
Rick: Fortunately, Connie sounds amazing, very strong, like she’s a pretty industrious person.
Jesse Colin Young:Yeah, she’s amazing. Very strong.
And it’s funny. She bought a backpack after the fire and said, “I don’t ever want to have any more than this.”
But, of course, we had the house in Hawaii. It was one and a half bedrooms and really not set up for family. But, we bought a place to go to. And Connie was very interested in the Waldorf school. A couple of miles from the house, there was a Waldorf kindergarten. So, sometimes we thank that Madame Pele, who is the goddess of the volcano, had called us to come and build a school for the children of Hawaii.
Rick: Well, that would be hard to leave, too. I would think, leaving Hawaii. But, you were also something like 3000 miles away, right, from the States where you do a lot of your work? Pretty tough.
Jesse Colin Young; Yeah, I didn’t tour for the first year. Connie asked me to stay home for at least a year.
Just get the kids settled, so. Yeah, we did. And we got into studying wildlife education and taking classes about it and really wonderful stuff.
Rick: Was that like a Montessori school?
Jess Colin Young: Well, yeah, but Waldorf has a different philosophy. Education is German. We’d been called to build a school for the children of Hawaii.
Yes, it’s. And I can’t think of his name. Good Lord. And he is in charge of the Goetheanum. He was the man who was in charge of all of Goethe. His writings, painting, everything that belonged to Goethe. And a a scientist and a philosopher and probably during the First World War. The Waldorf Cigaret Company said, “We need a school for our employees.”
A cigarette company, unbelievable!
So, he said the same thing. He said, “Yes, I will. I will design the school. You put up the money, but you have no say in how the school is designed. We will build it around the philosophy that I believe is the right hand, heart and hands, a whole Waldorf curriculum, which is a kind of a philosophy. And I forget the philosophy name. (Ed: Anthroposophy)
It’s a wonderful, wonderful kind of combination of all the wonderful things there are there in the world of thought. But he had a whole idea of how how actually children developed physically and how those timings of those things could be coordinated with the education.
One of them was, you don’t try to teach the kids to read until they get their teeth really hurting. So, the kids don’t. And then they don’t learn to read in kindergarten. They learn to plant. They have to sew a doll to graduate.
That, with the new and all these, beautiful Waldorf has all these beautiful the ways of celebrating Christmas and really amazing rituals.
Jesse Colin Young and friend (Shaka) – Photo courtesy of JCY.
Rick: So what happened with your guitar playing or your songwriting? There were those one or two years where you were kind of isolated, I guess, from that kind of community. Or were you involved in Hawaii for Hawai’ian music.? I know you recorded an album about Maui.
Jesse Colin Young: Yes. Maui Sunrise..Yes, I would. Yeah, that was on the American Dream Suite album. I was falling in love with Hawaii. So, I think the first time we went there, The Youngbloods. So, that was the early Seventies. I think we opened a show for Steely Dan then. And. I realized I wanted to live in Hawaii. So it took 20 years.
I mean, I thought when the [California] house burned down, I said, “We’re not rebuilding here. I can’t do it. And it’s funny, the person from State Farm came to us the next day and said, “You don’t have to rebuild here. I mean, they insisted. They insist that you rebuild. A lot of times the insurance companies (want you to build) exactly where your house burned down. I passed.
I they didn’t know that, but I would never have done it. There’s a a whole history to that ridge. That ridge is on the Japanese plate, right above San Francisco. It kind of curves out and sticks into the ocean. And then it’s been moving north for a millennia. Yeah. And with it came these Bishop pines, which only live 60 years.
Rick: Oh, really?
Jesser Colin Young: And then they must have fire to regenerate. Nobody told us when we moved into that neighborhood. There had been a big fire in the Twenties.
And then we’re moving in there in the early Seventies.
Jesse Colin Young: No, I’m a Taylor lover. These are mostly Taylors and a couple Gibsons and Fenders that I used to play and and a couple of basses. Because I did start as a bass player in The Youngbloods, or actually became one because we couldn’t find a bass player who was any good.
Rick: Yeah, I think I see a Parker Fly in there.
Jesse Colin Young: Yes. Parker, yeah.
Rick: I see a Gibson up there, a J-45?
Jesse Colin Young: Yes, that’s what it is. But, it’s a new one built from the old wood. I don’t know what they call that kind of guitar.
Rick: Well, maybe it’s not quite a relic because relics, they bang them up, you know, to look old. I’ll show you one of my guitars. I got about fifteen.
Jesse Colin Young: Mmm.
Rick: This 1964 J-200 that was a single owner, until I got it. I tend to use old older Gibsons from the Thirties and Forties, so it just sort of goes with my vocals. So how do you pick your guitars? How do you make your decisions? I know that Taylors are great guitars.
Jesse Colin Young: I fell in love with their necks.
I guess because I had dabbled in electric guitar. And I found that Taylor in 1990, I found the Taylor factory was down the road.
Rick: South near San Diego.
Jesse Colin Young: So, I went down there and bought my first dreadnought. Gorgeous. Or actually, my father bought it for me.
Rick: Oh, that’s nice.
Jesse Colin Young; A beautiful rosewood dreadnought, a lovely thing, fell in love. And that’s sitting right over there. And then Connie bought me an old one.
Rick: Oh, yeah. Those are great.
Speaker 2: But with a with a spruce top. Yeah, and I couldn’t believe it. Couple of years ago, they stopped making dreadnoughts.
Rick: Let’s let’s talk about The Youngbloods. Your music really got ingrained into the the fabric of American music. So I mean you can listen to “Get Together” snd “Sunlight” and they all still sound good. And I think that your your voice is such a signature voice. It carries a song even 30, 40 years later. So even kids that are probably asking, “Who is this?” You’ve been able to sustain to have a legacy. So how how do you look back on that? Do you ever get tired of singing those songs?.
Jesse Colin Young: No. I hardly ever get tired of singing “Get Together”. You know it’s all about love. I didn’t write “Get Together,” I fell in love with it. Dino Valenti wrote it.
I met Dino years later at a motorcycle shop. We were both motorcycle riders in San Rafael, when I was living out in Point Reyes with the Youngbloods. But “Get Together” was there and everybody knew it and the Kingston Trio. I don’t know. I never heard it. And I walked into the Cafe Au Go Go one night, one afternoon, actually thinking I was going to rehearse. Because we were playing there and I got free rehearsal time. But, it was an open mic gig usually.
I would have passed on that and just gone home to practice, because I was a new bass player in a new band and I had a lot of practicing to do. But, I went down the stairs and there’s two floors down to the Go Go. It’s gone. We were looking for it last year, it was two floors below the street. And had that second story. Yeah, I came down, pushed the curtain. The side that was an open mic.
And a fellow named Buzzy Linhart was onstage with the bass player, a drummer. And they were playing “Get Together”. As they’re singing it, I ran backstage and said, “Can I have the lyrics? Write them for me?” He said, “You never heard that song? I said, “No, man. But, I’ve heard it now. And you will hear it from me too!”
So, he wrote them out for me and you know, that song is just pure magic.
People ask us why did The Youngbloods version take off? I don’t know. It’s got the love in it. When I heard that song, I knew my life had changed. I mean, like the link to clouds opening in the movies about the Bible when something big is happening.
And I saw the clouds in the ceiling of the jungle open up and my life changed and “Get Together” was like that. It was like a giant arrow that said, “Dude. Forget about anger in that shit. This way. This is the way.” And I’ve kind of been following it ever since.
Rick: Yeah, it’s beautiful. It reminds me of John Martyn’s song called “Head and Heart,” which you may have heard. You know John Martyn?
Jesse Colin Young: Mm hmm.
Rick: You don’t know John Martyn?. Oh, check out John. He’s passed away. He was not only a brilliant guitarist, and I don’t know how he played what he played. And he had Danny Thompson, a bass player from, I think, Pentangle or Fairport Convention.
You’ll be stunned by John Martyn and the British folk guys like Nick Drake. But, there were those British folk people from the late Sixties, early Seventies, and they were amazing. Martyn, Harper and then Americans, Tim Buckley, Jimmy Spheeris. Spheeris was from L.A., did you know him?
Jesse Colin Young: No, no. But at least I got to hear him because his name’s familiar. Yeah. And certainly Tim Buckley. Actually, it’s my son that turned me on to Tim Buckley. I had not. He was there in the Village, I think.
Rick: Yeah, he was. And you ever heard of Judy Sill? No? Anyway, your song, people hear “Get Together” and it epitomizes the Sixties and early Seventies for people, so it’s great that you still love singing it. I think it’s a wonderful legacy.
Jesse Colin Young: And it is made to inspire them. As we have wandered into another war, “Get together” is still there. I remember, I was doing the laundry once. Connie was building the Waldorf School and doing a lot of meetings. I got into doing the laundry for the kids. That was the one part of housework that I enjoyed and wasn’t planning. And I thought, “Okay, I’m here doing the laundry. “Get Together” on the radio.
You know, in Omaha, somebody is listening to “Get Together” and it’s changing their life.
Rick: Yeah. Yeah.
Jesse Colin Young: Yeah. I’m doing the laundry, and this is good. The kids need it. And, you know, here I am, burned out in California on this farm, learning how to grow coffee and even when I’m doing the laundry “Get Together” is working its magic.
I mean, I thought what so many of us thought. Really? You know, when you listen to Joni Mitchell sing about Woodstock happening, you can just think like the whole world could have, would have changed then.
And “Get Together” in the same way. But, of course it didn’t. I think we thought it would.
We thought the change would stick and that we wouldn’t just end up in more wars.
Rick: You know, it’s a crazy world.
Jesse Colin Young: And with hungry children. Yeah, even when we were the richest country in the world, we still, we’ve never learned to take care of each other.
Rick: Yeah, I think that’s true. Now, you’ve obviously worked with a lot of different musicians, besides the folks from The Youngbloods. Can you think of any special moments with people that we might know, that my readers might know from the past or even present, and it doesn’t have to be music, it can be because they’re a special person that you’re still friends with?
Jesse Colin Young: Mm hmm. I know very few rock stars.
Rick: Well, in the Village. Did you know, like Leslie West, who was with The Vagrants back then?
Jesse Colin Young: Yeah, well, I knew him. I spent a couple of hours at Manny’s with him.
But no, I never got to know him, but obviously I knew Felix Pappalardi.
Ended up in a band together. Lovely. We tried to get Felix during the Youngbloods, but he was, you know, he was ready to rock.
Jesse Colin Young: I think with me it’s probably a function of my unconscious. Songs often come in for me when I play something on the guitar in the morning that I never played before. Maybe I put two chords together that I had never put together.
I don’t think I’ve written a song in two years. Right. I wrote a bunch of new material for the band I was in with my son, Tristan, and back in 2018 we made an album called, Dreamers. On which Connie and I wrote a couple songs together, and then I wrote the rest. And all important subjects. The environment. Everything I could think of and it never caught on. And I thought, “Wow, that’s the best writing I’ve done in twenty years!”
Twenty years before that, I wrote an album called American Dreams, which kind of predicted, if we don’t run this country ourselves and stay involved, it will end up in the hands of people who love it for the power of it. And of course, I guess it’s always been in their hands. But, there was a chance, I thought there that we could. Please stay involved.
Rick: The title of my performer site is American Dreams Songs from the Heartland. So it’s interesting that you mentioned American Dreams as being one of your album titles. You know, when you go through any small town, every time you see a small nail shop or barbershop, those are all American dreams that are being being developed and realized by people. And it’s that inventiveness that makes us stronger.
Jesse Colin Young: It’s hard to tell how strong we really are these days, but, you know, the core value thing was where our core values were. We lost our way as a country. I don’t even recognize it. This is not the country I grew up in. So, I kind of miss America as it was, or at as it appeared to me.
Rick: For other people, it didn’t appear that way. Other cultures, right. You know, they saw it differently.
Jesse Colin Young: But we came through an amazing time back then. Lost our way.
Rick: Well, I tell my friends, we we were born at the right time and we’ll probably die at the right time. We saw the development of rock and roll. We saw America going to space and all this stuff. And we had Woodstock and we had the peace, love and dove and all that.
I was listening to a song. I think it was something Julie.
Jesse Colin Young: “Song for Juli.”
Rick Your guitar playing is incredible. It was it was kind of funky, kind of cool, and your fingerpicking was great. I didn’t know that you were that good of a guitar player. Were you focused on that when you were younger or have you developed that? I knew you did something with Mississippi John Hurt, Did he influence you at all in your fingerpicking style?
Jesse Colin Young: Oh, yeah. But, I just kind of wandered into it, you know, like so many guitar players, on my own, first fooling around. I didn’t even know I was ready. You know, I was 20 years old. I hadn’t played any. I must have played maybe two gigs.
Mainly, I was going to college and being bored and just playing the guitar most of the time and singing. And through my sister, she was thinking I quit my job. I was working for the Rockefeller Foundation and I don’t know how that happened, but just surviving. I was 19 or 20, and then I met Bobby Scott through her. Her husband was a CBS News man.
She said, “You know, I think Jesse’s going to starve to death here. He quit his job. I know he’s on a rent strike now, but what’s he going to do?”” So, she asked her husband, “Don’t you know anybody at CBS who has connections in the music business and could just point him at somebody?”And he did. And I cannot remember the man’s name now, but his son is a jazz pianist and he did music, I guess mostly canned music for CBS News. But, he sent me right to Bobby Scott.
I played for him live, and I was writing and I kind of had a half folk, half self-written group of songs that I was working on. Bobby Scott, a great young jazz pianist. If you go back and look at his life he was working for Bobby Darin, sitting around in the Brill Building, trying to write hit songs
They sent me to him and he just said,” God, you’re so ignorant.”
This is really wonderful, you know, because I’m playing by myself. One verse can be 13 and a half bars, and the next best could be, you know, seven, because nobody needs to follow me. And he said, “We’ve got record this stuff before you learn how it really goes together. ”
Rick: Oh, really? That’s cool.
Jesse Colin Young: I mean, he didn’t actually say that, but that’s what he saw. He knew I was ready. So, they took took me in the studio and and said, sit over there, kid, and play everything, you know.
Rick: Wow.
Jesse Colin Young: And four hours later, I had sold the City Boy (The Soul of a City Boy). I mean, I didn’t know I was ready. But, he knew. Damn. And he set it up. And I just played for four hours. I don’t know how. I played everything I knew how to play. At the end of the evening, we had already picked the songs, and, you know, we had already made a record out of them. Figured out which song went after what song and an album was done. I mean, they made it before we left. They cut a one off. It was not for me. That was for Bobby Darin…couldn’t get Darin to slow down long enough to listen to me. So he just said, I’m going to pay for this. We’re going to go in the studio now. You’re ready. And you’re great.
Rick: You got discovered.
Jesse Colin Young: Yeah. And you know, I had no idea I was ready.
PARTS TWO AND THREE WILL BE LINKED HERE – STAND BY!
