March 29, 2025
PipemanRadio Interviews Singer-Songwriter Steve Postell About New Album
It’s WTF Wednesday on Season 19, Episode 37 of The Adventures of Pipeman.
Tune in at 1PM ET on 4/9/25 for the live show on W4CY Radio at www.w4cy.com.
Subscribe to The Adventures of Pipeman at...
It’s WTF Wednesday on Season 19, Episode 37 of The Adventures of Pipeman.
Tune in at 1PM ET on 4/9/25 for the live show on W4CY Radio at www.w4cy.com.
Subscribe to The Adventures of Pipeman at https://www.spreaker.com/podcast/the-adventures-of-pipeman--941822/support
Steve Postell, new album March 14, 2025, via Quarto Valley Records, ‘Walking Through These Blues’.
The following day, a record release party will be held at McCabe’s in Santa Monica, with an all-star band backing him up, and a springtime tour to follow with OUR HOUSE: The Music of CSNY).
Glen Phillips, Leland Sklar, Danny Kortchmar, Steve Ferrone, Bekka Bramlett, Russ Kunkel, and the late David Crosby, among many other contributors.
Standout tracks features Phillips on vocals, “How Far We’ve Come,” which Postell described as: “Glen Phillips is the lead singer and primary writer for the alternative band, Toad the Wet Sprocket.
Got Tom Petty’s Heartbreaker bandmate Steve Ferrone to play drums on the track, along with my Immediate Family bandmate Leland Sklar on bass, for an iconic rhythm section.
Title track, Steve stated: “[‘Walking Through These Blues’] originated from a right-hand guitar exercise that I was showing a student. Lyrically, it’s a reminder to keep going forward in life even when things are challenging. For the recording, I was able to grab Jackson Browne band members Bob Glaub and the late Jeff Young when they were on a tour break. Iain Matthews (Fairport Convention, Matthews Southern Comfort) was in town playing with me on a duo tour and he sang background vocals on this track.”
Take some zany and serious journeys with The Pipeman aka Dean K. Piper, CST on The Adventures of Pipeman also known as Pipeman Radio syndicated globally “Where Who Knows And Anything Goes”.
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WEBVTT
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Hey, you love len to censure. Wow crazy you.
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Wake up America. It's time for the Adventures of Pipe
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Man on W four C why dot com. West Poon
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Beach is number one internet radio station. Here's your host,
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the White Man.
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I'm looking at Scot.
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M hm m h.
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Feeling kind of small.
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I'm looking at my life.
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Makes some sense of it all.
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This is the pipe Man here on the Adventure's Pipe
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Man W four c Y Radio. And I'm here with
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our next guest, who is an amazing songwriter, musician and
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just you know, like has some of the greatest sounds
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I've heard. So let's welcome to his show. Steve Postel,
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How are.
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You good to be here? Good to meet you. And
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that's a very nice introduction.
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Thank you. Well, thanks a lot. Well, you know, we're
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just going to be walking through these blues, right, That's
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what I do every day. There you go, So tell
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us about the new album. It dropped this month and
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it's got you know, not only such great music on it,
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but you brought along a lot of great musicians that
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are people you've played with and are friends of yours
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throughout your career.
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Well, that's one of the advantages of getting old. Is
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you know a lot of people. Yeah, this was a
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a little different than other records I've made in that
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in the time I was able to take to make it,
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and that was not a plan going fote going into it.
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But what happened was I started making the record and
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was pretty well into it when COVID really put its
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grips into everyone's plans. And so for the first time
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in my life since I was eighteen, there was going
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to be no gigs, and for someone like me, it
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was not a household name. There's really no reason to
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put out a record if I can't go play, because
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that's how people hear about the record and so on.
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So I decided to hold on to it and keep
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working on it. And then as it got more evolved
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and maybe was and the COVID thing was lightening up
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than the immediate family, which is this other band I'm in,
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which I'm sure we'll talk about with Leland Sklarr and
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Ruskunklawate like telling Danny Korchmar, we did a record which
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we had started during COVID and we released that. So
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that was like, Okay, I'm gonna hold on to my record.
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I don't want to compete with my own band, and
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then finally, I mean family's in between records. The timing
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was right, I'm going back on tour a lot so
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And so the advantage of that was was not only
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did I technically take my time, which means mixing it
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over and over again and adding parts, I was able
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to get all my friends on it because there was
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no scheduling it. Oh you're free in a month, no problem,
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that kind of thing. And I was able to actually
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write a couple of new songs that like when I
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wrote with Glenn Phillips Told the Wet Brocket, which would
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never have been on it if I had released it
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when I originally worked on it.
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That's pretty amazing, you know. I have said for a
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while too, like COVID, there's a lot of negative things
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about COVID, But I think one of the positive things
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about COVID is like musicians got a chance to jump
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off the hamster wheel and creating again, and like have
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the the actual time to create and and think and
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you know, not be rushing from one project to another.
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It definitely slowed things down, and and I think that's true.
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We we did a lot of work with remotely with
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the immediate family where we would all we made videos
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where we would all film ourselves in our own studio
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and then the editor would put it together, and and
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and yeah, it was. It was. There was a way
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in which, literally the first time in my life, I
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had no gigs my adult life, and there was a
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I don't want that to happen again, but it was
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refreshing for a little while.
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You Know. It's interesting too because I look back on
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that time, and you know, during it, I hated that
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there was no live music, and you know, I was
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doing all these festivals. At all sudden we're all canceled.
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And but now looking back on it, I'm like, it
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was kind of nice to get a little bit of
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a rest, you know, and just sit back and like
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evaluate everything instead of keep being on the run on
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the run. And now I think people, both the musicians,
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the songwriters, the listeners, the attendees of live concerts all
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have a different perspective now where it's appreciated more.
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I think, oh, no question about it. When I went back,
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finally went back on tour, I felt that energy from
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the audiences. I really felt like, oh, we're so glad
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to be back doing this again. I really had that,
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a real visceral sense of the audience being grateful not
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just for the music, but just for being able to
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be there. You know, a lot of things happened in
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my industry or industry during the beginning of one of them,
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which was an interesting byproduct. There were more guitar sales
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than there'd been in twenty years during the first two
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years of COVID Wow, and it brought the guitar industry
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kind of back because people were sitting home, well, I'll
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learned the guitar. I guess, you know.
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I could see that though, because like if you're an
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adult and you haven't you're not a guitarist. You don't
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really have time to learn the guitar because you got
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so many other things going on. So now yet finally
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have some downtime, and it's like probably people that always
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wanted to play guitar and they never had the time
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to do it.
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It clearly happened. I mean the statistics are in, you know,
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and I mean clothing sales probably went down. I wore
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pajamas for a year and a half.
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Right, And so tell us about what the different songs
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on this new album and what made you decide which
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artists to be part of what song.
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I feel like there's an old I don't know. It's
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one of these sayings that is attributed to different artists
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over the years, which is with sculptors, that the sculpture
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is inside of the block of wood and they just
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have to peel away the stuff till they find it.
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It's sort of a metaphor for what they're doing. And
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I feel like songs they tell me a lot. Even
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though I'm writing them, I'm kind of finding them. And
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then after I find them and write them, often they
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speak to me in the sense of, you know, what
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would be good on this song is so and So's voice.
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That happened with the song Buried Stone. I'd written it,
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I recorded the basic tracks, and as I was recording it,
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I started to say, you know, this feels like sort
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of a duet, like I should be communicating with a
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woman on this, And then I heard a voice in
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my head and whose voice is that?
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Oh?
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It's Becca Brahma's voice in my head, and I called
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her and she did it and did a beautiful job.
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So it's kind of I try to listen to the song,
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if that makes any.
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Sense, That makes a lot of sense. That's actually pretty
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cool to hear because it's it just shows that it's
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not really random. It is something like you're really in
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tune with the music and like it's it just makes
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it an easy decision.
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Yeah, it's not just oh, who's in my rolodex? No,
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I mean the song that crossed me saying on I
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didn't plan to have them necessarily on the record. I
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played on his records and we've worked together, but then
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this song. I wrote this song and I was I
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heard I heard his voice. I went, oh, this is
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definitely a cross song.
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Nice, you know, funny story. A lot of years ago
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when I was like, I think I was like fifteen
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years old, so probably, yeah, so a lot a lot
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of years ago. My dad he was in the hot
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tub business and we lived in California and he sold
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the spot and this dude that had this really cool
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cobra and that the guy took me for a drive
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and was like the real thing, and that was I
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don't even remember his name, but apparently he was the
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guitarist for David Crosby band then, which is like, you know,
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forty some odd years ago, right, So I thought it
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was cool. I think it's cool when I hear stuff
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like this because it just brings me back to a
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time because you know, for people like both of us,
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you know, music is like a lifetime When people say, well,
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they're not really into that anymore. To me, there's people
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like you and I that it's like it's music has
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been lifetime of I think therapy. You know, it's the
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thing that gives makes us feel great.
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Yeah. I I never really ever really thought about that.
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I had an option to do something else. And unfortunately
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for me and for a lot of my friends who
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are all these great musicians that we all hang out
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and work together, it's it's no less fun. It's more
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fun because I know more. I right, you know, I
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mean it's a little more tiring sometimes, but it continues
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to be for me, a real source of life force joy.
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You know, it's and curiosity and exploration. It just never
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stops being that.
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And speaking tiring. You have a spring tour, and you know,
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it's funny because my daughter always thinks, like when I
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go out and I cover all these music festivals one
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after another, weekend after weekend, She's like, I don't even
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know how you do that. I I I'm tired after
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half for the first day, and may I just don't
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get tired from it.
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Well, it's definitely tiring. I mean you have to and
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actually you know a lot more so as you get older.
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That's just the reality of it. And so a lot
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of what's what happens for me now on a tour
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I've learned how to do it is really preserving my energy.
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That means I don't talk a lot on a tour.
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I'm not on the phone all day. I do still,
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I like still work out, but a little you know,
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more of a casual like a three mile walk instead
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of a three mile run. It's a lot about what
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I eat and preserving and trying to get enough sleep
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and and really paying attention so that my peak energy
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happens for those two hours that were on stage.
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Yeah, and so what does it feel like when you
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get on stage for people that haven't had that experience,
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because it's kind of I could get in the zone, right.
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Yeah, there's a it's funny what Waddie what tell in
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our Me events said, I if you if you don't
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get nervous, you don't give a ship, right, So you're
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still there's still this it's not intense nervousness. But it's
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not stage right, but there's still like, you know, your
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adrenalines up, you're a little nervous. And for me, when
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once the first note happens, it's it's a yeah, I
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get in a unless something's really wrong, I just get
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in the zone. I'm not really I'm not really thinking
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about much, right, I'm not I'm noticing. I noticed, but
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I can see the audience. I can. But it's it's
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a really other worldly state. That's not uh, it's not
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an intellectual state. It's it's a very very present stagey.
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It's interesting. It's years ago I was at a lecture
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by a Tibetan Buddhist priest and he was and he
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said he was talking about the state that the meditation
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they get in. He said, now musicians they know that
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they get in this state when they play it. And
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I was like, well, that's interesting. So it's it's a
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very very present. You know, if you're doing it long
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enough that it's that you're comfortable, and you have enough
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years in your belt under your belt, you can get
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you just kind of get an extremely present You're just
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you're just in that moment. You're not thinking about that moment.
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You're not analyzing it and it's and then after the
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show you're like, Oh, that happened. That's cool. So it's
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something I love. I love the energy of it.
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And it yeah, and the crowd energy. It's kind of
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like a drug, right, Well, it's.
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A it's a it's a conversation to conversation with the audience.
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And and the audience is just as important as we are.
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Otherwise we wouldn't do it. Uh, and you and you
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can feel it's funny. You don't it's funny. We have
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these we're rehearsing right in an hour, we have ahearsal.
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We're rehearsing for this coming up tour. And I've been
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going over the tapes from the last tour live tapes,
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and I was a little shocked at the at the
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level of enthusiasm at the end of each song, you know,
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cheering and from the audience because you're just doing it.
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You just I mean, I notice it, but not like
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oh wow, they're but listening back and they really like
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this music.
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