Hey, this is Paul Martin and Ray the roadie for the rock and roll Chicago podcast. What's what's going on, Ray Nelson, nothing, nothing. Well, you got to tell me something.

No, I don't have to. Okay, fine. I'll tell you something.

You tell me something. We got Scott the Bose in here today. We do.

No, we don't. Yes, we do. Yes, Scott's coming in.

Scott the Bose. Big voice. Mr. Big voice with the country sound.

Not your daddy's, not your daddy's country music. That's what it is. But but I've known Scott for many years and he's a he's a one heck of a performer.

Always giving it his all. Yes, he is. I've I've heard some of his stuff.

Sounds really good. I think everybody else would like to hear him. Well, I tell you, Scott Scott does some original stuff.

He's got some great original songs. Maybe we can get him to play a few today. Maybe he would.

And and but he does does a lot of your your good country music, your your modern day country music, I guess you might say. Your bad country music. No, no, not bad.

It's all good. OK, so good. Well, you said good country.

I thought maybe on the other hand, you'd have to have bad. Oh, I see. As opposed to bad.

As opposed to bad. Yes. No, no, no.

He's doing he's doing a lot of country stuff, played a lot of gigs and keep busy. And so let's talk to Scott and see what he has to say. Sounds good to me.

Everybody, welcome to the show. Today we're speaking with country. One of country's biggest voices.

Chicagoland's own Scott DuBose. How you doing, Scott? How you doing, fellas? Good, good. Good.

Good to see you. It's good to see you guys. Glad to be here.

This facility is awesome. This place is great. Yeah, it is.

It's coming along, coming along beautiful. Yeah, it's coming along great. So so tell tell us a little bit about let's start with Scott DuBose, the early years and how you got started in music and and why was it was it Pampers or Kimby's? All I know, all I know is that big voice right there peaking out your microphone.

Oh, my goodness. I started doing music a long time ago. I've been I've been in the bar scene one way or the other since I was 15 years old.

So all the years, you know, I literally started working in nightclubs when I was 15. I worked at a place called Lake and Park Inn, which was on the south side. Right.

OK. Oh, yeah. I got a nightclub.

Yeah, I love that place. But that was where I started. That was like I was 15 years old, a babe in the woods.

And like my family's all Southern people, like my father's family's all Southern people. My mom's family, we don't talk a whole lot. They like to fight.

And my father's family have been way closer to me ever than I've ever, you know, in my world and that we're all from southern Mississippi. So as a kid, you're going back and forth from Chicago to southern Mississippi, Chicago, southern Mississippi, boom, boom, boom. You know, country music was just part of who you were.

I was just what you listen to. I remember in the 1970s, like not to date myself, but sitting in my dad's pickup truck, listening to WJJD and, you know, AM, WJJD, all the old school country guys. And that was what I listened to as a kid growing up, you know, sitting on dad's floorboards for real, you know, and, uh, that's what we, we listened to country music in our household.

Of course, my mom, she, you know, would like other stuff occasionally she'd bring it in, but it was country music was what we listened to. And, uh, did you get a rock and roll side you too? Yeah. Well, my, uh, my, my brother and I, we went to Kmart to go get records.

Cause my mom was like, Oh, let's go, you know, let's go to the record store and get you some records and have a good time with that. And, uh, I picked out a Sean Cassidy cause I was a kid and I, you know, I knew him from like whatever TV show he was on or whatever. And my brother got Fleetwood Mac's Rumors.

And in like less than an hour, that record was mine. We got home. I listened to mine, threw it against the wall, like, give me yours, you know? And, uh, he's a year older than me, but you know, like he listened to it a little bit.

He's like, yeah, whatever to take a kid, you know? Yeah. And from then it was like, you know, and that, like I say, you know, you, that was the type of rock and roll that I heard when I first started to hear it. I didn't hear like Queens night at the opera.

You know, like I didn't know, like, you know, news of the world. Like the only thing I knew about Queens news of the world when it came out, I was a little kid was the record album had the giant robot who was killing everybody. It freaked me out.

Yeah. So it was like, that was, you know, and my dad didn't listen to it. So it's, you know, you're what you're surrounded in.

Right. So you, you generally tend to gravitate toward that. And, you know, it really played into the lifestyle that we let, you know, my dad, pure bread, hillbilly, you know, redneck from way down yonder.

And, uh, he's like, you know, I'm going to instill some of those, uh, the good Southern Southern roots. Yeah. He instilled them.

He, he definitely, um, he kind of made us respect a lot of stuff a lot differently. You know, yes, sir. No, sir.

Yes, ma'am. Yeah. Don't go in your mother's purse.

You know, my, my wife, she doesn't understand. It's like a very Southern thing where it's like, you don't go into your spouse's purse or their wallet and, um, or their phone. Yeah.

Their phone. Exactly. But I remember my dad, he would always, you know, get the purse from my mom.

He would just like basically hand it like, Oh, it wouldn't even look at it. He's just take it. I don't want to go in there and ruin your privacy.

So we had a lot of that growing up, a lot of that Southern raising, you know, and what it meant to be, what it meant to have Southern values. Where, where in Mississippi were you? Uh, a little community just South of Hattiesburg called Dixie community. And, uh, three 57 Dubose road is where the old man was born in a log cabin and all our people were from, we still have a lot of family down there.

You know, Dubose road. There's a lot of Dubose running around. Yeah.

I mean, the last of the property that was still quote unquote in our family, our direct family got sold off. So that sucks. But, uh, yeah.

When did you, when did, yeah. So you were at Lakehead park and, uh, I read that you did some bouncing there too. And I started out as a bar back, but like that lasted like all of 25 minutes where it was like, Oh, you're big and dumb.

Well gig, there's a fight going on. You better jump over the bar and get involved, you know? And, uh, I got a couple of scars from, I've seen some pretty knockdown drag out stuff. And I've been in the middle of that, you know, it's like when you're 15 years old and the kick them and you go, okay, you're 15.

Yeah. Yeah. It's the first you're 15 years old.

You don't know how to react that you just do it. Right. So I started working there, uh, everything from bar back to bouncer.

And then I worked in several other clubs all across the South side of Chicago. Uh, as I was a bouncer and security and all that fun, a big guy. So, you know, I mean, there's always use for a big guy, especially back in the nineties, you know, it's different time.

These aren't all country clubs. No, these were everything from hip hop and you name it, you know, dance clubs and, you know, you, you, you went where the work was, right. You know, and I would do that.

And it was a heck of a lot better than getting up on Monday morning. Yeah. But, you know, and still, I still went out and got jobs.

I still had other careers and stuff like that. But like, I primarily like country music and the country bars all across Chicago. I grew up in these places like A and J's, which is like the firehouse in or something now.

And, um, that place used to be open until four or five in the morning, you know, used to be able to go out to other clubs and they'd be open almost 24 hours a day, like stone park and stuff like that. Yeah. I grew up in honky-tonks, you know, how'd you make the transition to, uh, to the stage and, uh, and playing was singing, singing and playing.

I had the offer to play at Lake and park when I was younger. And I really turned it down because, um, I didn't have a whole lot of, uh, belief that I could do it. Right.

You know, I was a younger man and I didn't have a whole lot of like, God, you know, aw shucks, look at your shoes. You know, I didn't feel as though I could do that job at that time in my life. And, uh, I was looking for, I was looking for an outlet.

So I started going to acting and comedy and I figured it was a natural fit. Cause I was, you know, love second city, love Sarah live. So I studied two years at the second city and it was fun.

I got some really cool acting gigs out of it and got to meet some really cool people. Uh, I met Farley the day before he died. You know, I mean, it's, you really, you run in certain circles.

You meet a lot of really cool and interesting people and they're great. Love them all. But, um, it wasn't my world.

I did it for a couple of years and I just, um, I was acting at Tony and Tina's wedding in Chicago and I was in their house band. Cause like literally the guy who was the ex lead singer of the house band, I was there like a month and a half. And the guy who was the lead singer at their quote unquote band, like he just calls like 20 minutes before the show and he goes, ah, I'm not coming.

I quit. And I'm like, Oh, that's great. So they're like, you know the show, right? Yeah.

I know I'm an actor in the show. I know all the parts. I know all the songs.

And they go, you can sing, right? Yeah. And they're like, all right, here's a microphone. Get to work.

Oh, and it was, you know, it was sink or swim. It was, you know, sing or die. That was my first professional gig, you know, that was paying the bills.

So I got up in there and, you know, in five minutes I knew exactly where I needed to be. I knew the blocking, I knew the songs and it was tough. It was, you know, you're getting thrown into a professional environment completely off the cuff and you're not ready for it.

I, you know, I've done a couple of cover bands and I've had some fun doing a little bit of songwriting, but like nothing serious. Kind of like, kind of like the, what the bears do with their rookie quarterbacks. Right.

Throw them in there. Oh yeah. But it was, it was, you know, sink or swim and it was the perfect fit.

I just got in there, boom, nailed it, get to it. I loved performing. And I knew it was somewhere I needed to be.

I knew I needed to keep singing and being a performer. That was the only job in this world that I could do that I wouldn't get fired from, you know? And, uh, I put a band together and I was at Tony and Tina's and it was like, I was getting ready to get married and it was just, yeah, it was to a point where it was, I was doing too many country gigs and it was taken away from the Tony and Tina's. And I went, well, I'm going to do the country thing.

This is what I want to do. And what year was this? Oh God, uh, 2002. Okay.

So yeah, it was 20 years ago. Yeah. 20 years ago.

I've been doing this ever since I just said to hell with it. And just, this is what I'm going to do. This is who I'm going to be.

I'm going to do country music. It's selling, you know, refrigerators to Eskimos in Chicago. You would think that it would be really this difficult sell, but I've done really well.

I mean, um, people look, I think at what you bring to the table and you get a lot of respect for that, you know, and that's what I've lived on. I've totally, that's all I've, I'm not, I don't have the best website. I don't have the best Facebook presence.

You know, I'm not the social media guy. I'm just the guy who can sing real good and hopefully make a few people happy. And I've been able to do it now for 20 years.

Did you always play guitar too? Or did you just pick that up? You know, I, I played some, but I've got, um, really bad hands. Like my, I've had surgery on my left hand. I got a nice big wound right here.

And a couple of, uh, things right here. Some of it, a couple of times, you know, I got a couple of scars in that, but that's another story. But, uh, my hand is my left hand.

My fretting hand has a lot of physical problems with like my middle knuckles and stuff. So it's, it's difficult to play, but you really do the best you can. Right.

You know, and I'm not any great musician player, but I can get through. So, I mean, I look at guys like, you know, the Eric Clapton's of the world or, you know, like, Hey, Joel Hoekstra. Like I knew Joel from high school.

I've, yeah, I've known him a long time. And I look at him and I go, that guy's a master of his craft. A master of his instrument.

Yeah. Joel Hoekstra was episode. I forget what we, we, we interviewed him.

I used to go to his house. He used to give me guitar lessons. Oh really? Yeah.

And this is back in high school, you know, and he's just one of the greatest guys you'll ever meet. Right. Oh yeah.

And it's just, you look at him and that's what you try to attain is that you try to, you know, do the best with your instrument that you can. I hope people like what I do. I've been doing it a long time.

I must be doing something right. Right. So you started the one-on-one ranch.

Yeah. I love that name. I don't know if I've ever told you that because I, I've worked with you a lot, but, but I, but I love the name.

It's this one-on-one ranch. It's great. It's just like it's basic country music.

The one-on-one ranch was the real one-on-one ranch was a traveling Western show that traveled all over the country. And they had, you know, all Tom mix, all the old real cowboys who ended up being the movie cowboys started at the one-on-one ranch. And it was the Miller brothers, one-on-one ranch.

And they call it that because that was the amount of acreage they had in Oklahoma. So when they travel around the Miller brothers, one-on-one ranch, all the cowboys and Indians would winter there. And then when the depression hit the, you know, this, that was the last straw and they went under, but it's still a historic marker in Oklahoma.

And nobody had the use of the name one-on-one ranch. I would took my wife to Baraboo, Wisconsin and my stepson, and I'm looking at these old Western posters. When I'm starting the band, I go, I gotta come up with a name.

You know, what's the cool name? I saw this old Western poster with a cowboy riding this horse. And he's just, it's a bucking horse. He's got the one hand up in the air and he's, you know, shooting a rifle or the shooting a handgun.

And I said, Miller brothers, one-on-one ranch. And I, there's, that just hit me like a ton of bricks. You know, I was like, you can't deny that.

That's just a really cool name. So, but, and we started out as the one-on-one ranch. It was just as the years had progressed and the amount of people who've come and gone through the band that it just made more sense to call it the Scott DuBose band.

Right. You know, because, you know, it's not the same band every night. I have a lot of guys who are in other touring bands.

You know, I have a Ken, my guitar player, he's in a, his own personal band, which is called Spocket. He's also in a band that tours nationally called Minor Moon. And a lot of the guys I play with are guys who are like that, who are, you know, they're busy for a reason, but they play with me because they say, if we're going to play country music, we want to play with a guy like you, who is going to let us be who we are.

And you've seen our show. I mean, you know, the level of talent of guys that I work with, I don't just work with any schlub. Right.

So, you know. No, you've had some talented guys come through your band. I know that.

Pat Lyons, Pat Lyons, he played with us for about a year, year and a half, and now he's down in Nashville and he plays with Dustin Lynch and he's played at the Grand Ole Opry. He's played at, at Austin City Limits. And I look at guys like that and I see the guys who've been through my band and gone on and had bigger careers and I go, yeah, I'm the happiest guy in the world for him.

Yeah. You know, Frankie, Frankie Haircut from my band, he left us and he went, he's now working with 7th Heaven here in Chicago. And I was like.

And playing five gigs a day. Yeah. He's busy.

They're a busy band. I know that. Yeah.

He's a true brother. I love that guy. He's awesome.

Yeah. Yeah. Yeah.

He's a great player too. He's just a good person overall. As players go, you just won't find anybody who is as good as he is.

They just aren't. He's just a different breed. Yeah.

And not only that, but he's just, as a human being, he's just a great guy. And there's a lot of really cool, really great guys here in the city. And that's why I'm glad doing country, you would think that a lot of the rock guys would be, nah.

I mean, you look at Jim Pederick. Jim Pederick's worked with a few. He's worked with a couple of guys.

And he's, you know, Ryan Ciaverini has done stuff with him and he's produced a single for him. And guys in the rock world, they pay a lot of respect to the country guys here in Chicago. And you got to give huge props, man.

Well, I tell you. Like Mike Aquino. There's another guy, man.

Just amazing player. Right. Yeah.

And amazing person. We interviewed Mike. He's a great, great guy.

Oh, yeah. And he's worked with me several times and he's just one of those guys you can just fall back and go, he's just tremendous. Yeah.

Well, he'll play, he'll play rock and roll and play country, play jazz. He'll do anything. Yeah.

Oh, yeah. And he can do it well too. And that's the thing about country music is especially that like from here in the Midwest, you hear a lot of artists like Ashley.

What's that girl? You just had her on there. Ashley Victoria. Ashley Victoria.

If you listen to like her stuff, it's like more of that rock edge stuff mixed with country. And there's a lot to be said about country music that's being produced and made here in the Midwest. There is a scene, there is a sound.

It's just more people have to get into it and more people have to work together and try to find that stuff, you know? Right. And like, we know like when people come to see us, they want to see energy. They want to see a great show.

And I, you know, I think Paul, I think Paul's seen me perform. I think he can attest to the fact that, you know, we give a million dollar show. Oh, yeah.

Oh, yeah. You have to. You have to.

And, you know, there is a lot of really good stuff here in Chicago. I mean, even, you know, Scott from Hillbilly Rockstars, he went out and produced a bunch of stuff down in Nashville himself. And he's, you know, you look at guys like that and you look at how everybody's trying to contribute to original music made in Chicago or made from Chicago artists, not only from the country world, but you look at all the people who are included from the rock world who have decided to come over and give us a hand.

And we, you know, you can't not look at that and not be appreciative. Right, right. Well, I've often said that I have to really hand it to country music, because if it wasn't for country music, there'd be no bands anymore.

And because everything is dancing and pop pops up. And the thing is, country music has kept rock and roll alive in my mind. Well, you know, I'm sorry, but country music today is a lot more Bruce Springsteen than, you know, than a lot of, quote unquote, rock artists today are rock and roll from the era of like dance.

When you went to a club and you heard rock and roll played and people could dance to it, those ended back in the 90s when you had grunge and grunge was great stuff and it was fun, you know, I mean, but it seemed like there was like a disconnect with the clubs. There used to be this really vibrant club scene in Chicago. Oh, yeah.

Eric the Reds, you know, blah, blah, blah. And there were a lot of places bands could play. And it kind of really has pared down.

A lot of clubs have stayed straight away when they should really be doubling down on live music. They really should be asking artists to come in and say, oh, you're an original artist. You know, it's a Wednesday night.

We're going to feature you. And if they did it right, they'd see they would see a return on their investment. It's just what I've seen.

You know, it's just sad. Like right across the street is The Forge. This is a great, awesome club right across the street.

I'm so glad it's healthy. I'm so glad it's doing good. I want to see more stuff like that.

I want to see more clubs doing good, more people going out and seeing live music, country music, especially because, hey, you know, but no, I mean, clubs are playing both. I mean, they'll have a rock band in one weekend. I have a country band.

Yeah, I have, you know, they're not a lot of the rock and roll. A lot of the rock and roll that's come out in the last 20, 25 years is really given up that sonic space to country music and country music. Hey, you want to dance and party and have a good time.

I'm here for you. Right. That's what I meant by it.

Right. And you hear, you know, people get in Luke Bryan's case. Oh, hey, screw you, you know, not to, you know, use bad language or what have you.

But people, when they go out to a club, they want to have a good time. Right. Why is it so hard to, why did you give that up rock and roll? Why did you turn your back on that? People want to dance and have a good time.

That's it. Plain and simple. When they go out, this is what they want.

And, you know, you can keep the sensitive stuff for the record. I'm all for it. You know, I'm all for great art.

You know, but there's a void. And I think that country music has definitely filled it. You know, I don't think rock and roll, I don't think enough clubs and enough artists have remembered who the audience is.

It's great to have rock and roll where you can go, you know, look at your shoes and stuff and be, you know, shoegazer and that stuff's got its place. Right. It absolutely does.

But there's definitely more room for the Foo Fighters. There's definitely more room for rock and roll bands that can make you bounce. Right.

And country music has been, hey. Country music has been doing that for a while. Country music basically said, if you want to drink and have a good time and sing songs about beer and girls and trucks, we're your game.

And people give them crap about it. And I think it's bull. Well, it is.

You know, it's a stereotype. But people love the stereotype. People love the stereotype.

And like I say, you know, there's I love Sturgill Simpson as much as the next guy. I think artists like that are great. But, you know, Jason Aldean is awesome, too.

Right. You know, I mean, sorry. Ronnie Dunn has one of the best country music voices I have ever heard.

He is my idol when it comes to a country and music singer. You know, and country music has had this really great heritage of going back. And you hear people singing Country Roads.

Country Roads, that came out before I was born. I mean, that's a 50 year old song, you know, and people at the bars when you play that, they still put their beer up in there and they want to have a good time. And I think rock and roll absolutely has forgotten that.

I think that a lot of bars and a lot of clubs for a while got the hardest stuff and they wanted to be cool and blah, blah, blah. And they forgot people. Girls want to come out and have a good time.

They want to dance. They want to, you know, they want to drink a beer and they don't want to think, you know. Where the girls go out, the guys come out.

That's right. And, you know, there's something to be said about saying, hey, I'm they're there to blow off steam. I'm there to entertain them.

And they don't care what my political philosophy is. They don't care what I do on Monday morning. They don't care what slippers I wear.

It's about them. They want to hear about them having a good time, them with their truck, them with, you know, and there's absolutely nothing wrong with that. I think the music press has totally downed country music for that.

And they do not know the audience of people. They do not. And they they completely are just wiping off a whole subset of people for their musical taste.

I think it's totally ridiculous. I have one question for you, though. Yeah.

When did when did country and rap collide? Because they were in the accident right here on the corner. I think some at some point or another country and rap. Look, there's a lot of people who say, you know, crap and all the jokes and what have you.

There are some artists who. Yeah, there are some artists who have transcended that. And then there are some artists who I'm like, hey, not my bag.

Right. You know, and there's, you know, and some of it's cool moonshine bandits. If you're into that kind of thing.

Awesome. But there's a lot of it that I'm not I'm not down with. Was Florida Georgia Line really the first ones? No, no, no.

I mean, geez. First country, quote, unquote, rap, maybe Sugarland. OK.

Yeah. Other artists have tried. You've seen Tim McGraw work with Nelly and you see them.

But very few have been able to pull it off even halfway decently. It's just they're going to get it. They're going to get the mixture right.

I mean, if you listen to some of them, have you done a good job? If you listen to the initial radio release of Hurricane from Luke Combs, then listen to the release that they gave to the radio stations after about four or five weeks. What they did is they put a trap beat behind it. Put a trap beat.

The original release did not have a trap beat. And when they put the trap beat behind it and they re-released it and they gave the radio stations, hey, this is a more danceable mix. It took off.

And there's a lot to be said about where country and R&B rap. There's a big place. A lot of these people can get in here and say, hey, let's make some art.

Right. But there's also a lot of guys out there who are doing it for whatever reason. Then you just go enough.

Yeah. I've seen some bad ones. I've seen some.

Oh my God. If you go on, I think, was it mini thin or I forget there was one. Oh God.

Oh, I don't even want to think about it. Oh, just not my, it's not my world. Hey, if you're into it, awesome.

Good for you. I am not going to down your musical taste, but it is not for me, man. No way.

Well, what is, what is your style of music? What is your style of country music? Like you mentioned Brooks and Dunn. You love Brooks and Dunn. I like, I like vocalists who actually can get out there and sing and belt.

Right. And not just, you know, like have like that one lean back. You see a lot of that.

Hey, hey, you know, I'm much more of a, like I want to sing, like I want to push the envelope. And I don't like, I put a lot of emotion and energy into my performance. And if it's for no one, it's for myself.

All right. And if, if no one, You have to have that attitude, I think when you go on stage, right? Like you said earlier, you gotta give it a thousand percent, you know, or nothing at all. The only, I tell my wife and I tell people in my life all the time, I go, I am the most selfish person I know.

I do everything I do for myself first and foremost. I love my wife because I love her. And that makes me happy.

And I do music because it makes me happy. And, you know, if there are five people there, or if there are 5 million people in the audience, I'm giving the same amount of energy. I'm giving everything I can to every note because I know that someday I won't be on that stage.

Right. Well, I can attest to that, that you absolutely did do that. Yes.

And, you know, I know that someday there's going to become a point where I can't be on performing on that stage anymore and I'm going to have to turn it over to the younger generation, a younger person. So I'm milking it for everything I can. So, so tell us, tell us a little bit about, I know you've got some original stuff.

Yeah. And I know I worked with you a couple of weeks ago and, and you did, you did a couple of songs on your own there where you came up and played acoustic guitar and you did the first one you did about angels. Yeah.

New Angels. New Angels. That was a great song.

Thank you. And it really, it touched, it touches places in my heart. My, my wife's father passed away recently and it really, it really, it really was very interesting song and very cool song.

I wrote that for a girl who was a fan of the band and had become a friend of my wife's. And she was from this little town in Southern Illinois. And in her town, she was the, in her world, she was the homecoming queen.

Okay. She was the county girl who was the most beautiful girl in her county. Sure.

And that was like her pride and joy, like, Oh, I'm doing this. And she was a fan of country music and we ran with some of the same friends. So she had some friends over in the band, low cash.

And, uh, we were one, you know, we knew each other through her and they knew us through them. And she, you know, as the years go by, you know, she's doing her life. We're doing ours.

She still comes to shows and whatnot. And she's living her life. And then, um, out of the blue one day, she, uh, she's talking with her mother on her cell phone and it's the middle of the day, but it's, you know, fall, winter.

Right. And there was, I guess, a flash freeze on the road and she was coming over this hill and the hill was icy and she spun and she goes, Oh mom, this is going to hurt. And that was the last thing her mom heard.

Oh boy. And, uh, and this is a friend, you know, this is a friend. It kind of hurt, man, because, you know, she had, she had a lot of life ahead of her.

She was one of those characters who, you know, she was just everybody's friend and she and my wife had become very close and it was, it was hard in our house, you know? So, uh, I wrote new angels to honor her and I was hoping it would give anybody who's in that situation, um, some peace and some rest and some solace. It's not a party song, but it's one of those songs. It's like, if it touches you, you know, I mean, I'm, I'm glad it, it gives you some respite in this time of need.

Yeah. It was, it was quite surprising to hear that come out of you. And I mean, uh, because you give it a hundred percent or more than a thousand percent, as we talked about, but, um, to, to have that touching song and it, and it just hit me at the right, right time because of my, my father-in-law, my wife's dad.

Like I said, sorry, man, I'm really sorry, but I, dude, you've been, I've known you for many years now and you've been just one of those cats on the music scene who you could always depend on. Paul was always a great ear. He's one of those cats that you're just glad when you see him.

So, uh, so are you going to play a little something for us? Sure. How about that? I wrote some today. I saw at three 30, I said, where you said the address was and you said it was the Route 66 museum.

And I was like, I've got a little bit of time here. What can I do to, I didn't think I was going to be able to come out here and do anything interesting. So I was like, if you're not going to be handsome, be handy.

So I figured I'd write a song real quick. If you guys want to hear it for Route 66. It's cool.

The song is called mother road. Won't you mother road, seduce me with your charms, reduce my heavy load. Locked inside the asphalt as the miles they wash away.

Running from what ails me to the gold on Western base. Some say it's not the journey, but the destination's cause, but I see the folly in their logic. As I continue not to pause.

Oh, mother road, can you take me far away from all that breaks me? Mother road, it's a journey, miles and miles that wash away. Oh, mother road, it's more than little towns off the beaten path. The beauty of the highway and the strength of coming back.

The beauty in the vistas, the asphalt brink is there. Gives me time to check my heart, and bring tomorrow more to bear. Oh, mother road, can you take me far away from all that breaks me? Mother road, it's a journey, miles and miles that wash away.

Oh, mother road, can you take me far away from all that breaks me? Mother road, it's a journey, miles and miles that wash away. Oh, mother road. Oh, mother road.

Very nice. Very nice. Very nice.

I think that's a first here for us. I don't believe anybody's ever played for us. I just wrote this song like last, like an hour ago.

That's very good. I played it for my wife one time, and she goes, that's really, that sounds really wonderful. Now go sweep the floor.

Make sure the counters are wiped off before you leave the house. You're writing a song when you're supposed to be taking the garbage out? Yeah, I got to squeeze it in sometime. I wrote that song for you guys.

I didn't know nobody has performed on your podcast before. I think we had somebody strum something, but it wasn't much. Well, this is about rock and roll, man.

What's more rock and roll than getting in the studio and showing the man what you can do, brother? That's right. That's right. Rock and roll.

Country may have taken a lot of the space, but it really, you see more and more people who are in the country realm delving into rock and roll music. I think there's a real need for more of that cross-pollination. Right.

Yeah, I think so too. I agree with you. Tell us about your original stuff.

I know you've got a number of songs that you've written, right? Yeah. Have you got any of them out? Have you recorded any of them in studio? We've got some of them. I've always run into problems.

The first album I did was done for $800 and done in two days. No mixing, no mastering, just as quick as I could get it out. Now I'm taking my time with it a little bit more and just going, we've just released a song called Making My Own Dirt Road.

It's on all, of course, Spotify and all your different services and whatnot. I hope you guys go out and check it out. Yeah.

Check me out on your favorite music service there. Well, it's your permissible place. Yeah, please, please do.

Hey, did you play a little bit of that New Angels song? I don't know if New Angels is even out on, did I put it out on? I don't know. iTunes or whatnot? Hold on. I don't know if I put out, I think I did.

Believe it or not, when I had first done New Angels as a song, it was back when they first, iTunes was first, like you could actually start to do that with music. And I made like four bucks on it. Yeah.

Yeah, that's about it. All right, we'll play a little New Angels, goes like this. So those who bring the clouds away, you will bring the sun again.

Love is not a fleeting thing, but helps wipe away the pain. Memory of the ones we love, we'll let them live again. No one ever really goes, cause in our hearts they stay.

The beauty of them memories, they'll wipe away the pain. So don't shed a tear for those we love, who've gone that way before. When it comes on our time, they will open up the door.

And I can see New Angels in the sky, New Angels way up high. I can see New Angels smiling down from above. Their wings will spread oh so far to take us up on high.

One thing is for certain, they will never say goodbye. In their eyes, forgiveness for all the pain in our lives. They are clear to place for us up there in the sky.

Heaven is a place we go to be with the ones we love. Strength of their wings will carry us above. So when we see them again, put a smile upon your face.

They are there to carry us to our Father's loving grace. And I can see New Angels in the sky, New Angels way up high. I can see New Angels smiling down from above.

Light above is shown down, they open up the sky. The directions that they're heading is really no surprise. I am certain of the one thing I'd like to tell you is I love you.

And I can see New Angels in the sky, New Angels way up high. I can see New Angels smiling down from above. And I can see New Angels in the sky, New Angels way up high.

I can see New Angels smiling down from above. That really is very nice. Very good job, Scott.

Thank you. That's a great song. I really love that one.

Thank you. Like I say, man, if people listen to it and it gives them some peace in that time of need, man, that's more than anybody could ever dream of being able to attach to a song and give to people. So I hope it just lives and I hope people take it and they can find a reason to smile.

So absolutely. Call me weird. No, no, no.

That's very cool. Very cool. So tell us, what do you got coming up as far as gigs going? Are you busy or not? Yeah.

This weekend, we're supposed to be at the Old Crow Smokehouse in Chicago, Illinois. And then next weekend on Friday, we're up in Wisconsin. But on Saturday, we are at Nico's Red Mill with Mr. Neil McCoy.

Oh, very good. So we'll be there hanging out with the one and only Mr. Neil McCoy at Nico's. What's the date on it? Saturday the 9th.

The 9th, okay. All right. So Saturday the 9th.

After that, I'm not sure what we're doing. All right. But you're keeping pretty busy, huh? I gotta keep busy.

I love to perform and I may never be a household name. I may never be, as long as there's one person who's grooving along with what I'm doing, I'm a happy guy. It's a victory.

And I'm just lucky to be doing it. So how did you survive COVID? I mean, obviously, not just a disease. No.

But I mean, playing, obviously. It just didn't work. Yeah.

You know, you just sat at home and I, you know... Did you do any streaming shows or anything? I tried, but there was a lot of people who were doing it. All of a sudden, they were doing it better than me. And no, I... There were a lot of people doing them.

Yeah, I give you that much. Well, a lot of people learned how to do it. I mean... Right.

Nobody did that before. I took the time to kind of just take some time off. It'd been so many years that I've been beating my head against the wall, trying to make something of a career that when the time came to take it off, I kind of took a real serious look at what I wanted to do musically and where I was going.

And is it still worth it? Right. You know, because I mean, sometimes you're playing the lounge and sometimes you're playing for a thousand people. It makes it difficult when it's like you push real hard and people see what you can do.

But it's like, sorry, kid. You know, you're this, you're that. You're a million excuses as to why.

And I've seen it firsthand. You know, I mean, the last season... I got to the final round, the final pick round of the last season of Nashville Star. This is what really turned me off to a lot of the shows like, you know, insert your story here.

If you don't have like this great story, they kind of A, don't want to hear from you. But if you don't fit a casting type, you know, like I'm a 50 year old country singer who goes out in front of 20 year olds on a regular basis in front of a thousand of them. And here in Chicago, I'm somebody you go outside of that.

I'm nobody, you know, and it's fine. But it's, I was doing the last season of Nashville Star and I went and I got through the audition. They had the first audition.

They go, oh, we love you. We want to see you. Great.

Awesome. Bring me to Nashville. No problem.

So they go, well, we want you to come down here and to re-audition on the first day and you'll go through the line and then it'll be on the second day if you get through. And I went, no, either I'm getting to the end or I'm not coming. Cause it's, you know, I've been down this road.

You're going to string me along. I got better things to do. You know, I can go play a gig and make money for people.

And they went, no, no, no. Just come down and put food on the table. So they go, no, no, no.

Come down. You'll be in the last pick group, the last, you know, 70 people or whatever the hell it is. And they will get you through and we'll do the shots and what have you.

And, um, we got down there and my wife had a friend who was working for a record company not to be named in, uh, town. And, uh, she goes, you know, you're not getting the gig. I go, what do you mean? And she goes, they already cast it.

I go, what do you mean? She goes, well, MTV networks was casting the show and they cast it out of LA and they're just doing this for all the B roll footage. I was like, well, you could have told me that before I drove down here and she was there hanging out with us. She goes, I just kind of found out like now.

All right. And, uh, they cast, that was the last year and they've actually had, unlike some of the other shows have actually had two genuine, huge stars come out of there with Miranda Lambert. And, um, oh God, there's a couple other people.

But anyway, she's, they cast a guy who was in the Taylor Swift video called underwear boy. And he didn't even audition. They, he just sends a headshot cause he was a male model.

Yeah. And they put him on the show without a vocal audition. They literally went, oh, he's an underwear model.

Here's him and his Calvin Klein's doing an underwear shoot. We got to have him on the show. Because he's good looking.

Yeah. He's good looking, young, good, young, good looking. And the show tags, nobody watched.

It was, it was kind of, you know, shouting Freud to, uh, watch him fail. But, uh, when they did that and I've, yeah, it broke my heart. Yeah.

I can see you losing interest in that, in that, in that whole, uh, yeah. The whole process being said, it's, I'm lucky that there are organizations like this that are allowing musicians here in the Midwest to come here and talk at this great museum, not to plug, you know, the route 66 museum, but we're here. Right.

Oh, yeah. And I don't know. So please plug away.

I think the people who rock and roll museum. Yeah, it's rock and roll, but it's, it's generally it's music in general. You know, I'm looking back.

You got Larry Lou Jack. Yeah. You know, you got all the Andy, I've known Dick beyond me for 20 some odd years.

He actually used to come to Tony and Tina's all the time. And he was always just one of the greatest guys to sit and talk with. Yeah.

And, you know, he means, you know, stick behind. He was a Chicago radio legend. Right.

Absolutely. You know, a radio legend period, but the music that can come through this facility and you're going to have teaching, you're going to have all sorts of stuff here. It's going to be a living, breathing museum.

That's going to be full of music. It's going to be full of rock and roll. And I know there's going to be a space for country and blues and bluegrass and all the forms of music that you're going to see that, you know, Route 66, not to, like I say, not to promote, but the stories that have been sung about this highway are legendary for a reason.

And there's a lot of art and there's a lot of banality. You look when you're on the road. That's why I wrote this song here.

I literally was thinking about it. And my wife was like, yeah, it sounds like somebody who wants to get lost on the road. And sometimes that's what you need.

Sometimes that's, that's what sometimes a place like this can help you do is get lost on the road and let you kind of let your mind wander and recenter. And that's the thing Route 66 has come to really become analogous with. Because as the years have gone by, people have seen, well, it's not really necessary.

It's not really a necessary highway. Sometimes it's not about being necessary in the economic sense of getting from point A to point B. Sometimes you need that banality of the road, the road, you know, the miles in front of you, the mountains in front of you to help you clear your mind. The tradition and the, and the history of it is just, is what people still come from all over the world to ride Route 66.

They get on their Harleys. They come in, they come in tour groups from all over the globe. And it's got a lot to do with the music.

Yeah. And because when you listen to, you know, when you listen to Steppenwolf, you know, singing, you know, born to be wild, that elicits a certain thing. It elicits a certain freedom, which is seriously, seriously lacking nowadays.

You know, people just getting out and just doing what they want to do and the art that that reflects. Yeah. That's why I think a place like this is going to be, once you guys are fully open and you guys are really breathing, living entity is going to be really kind of cool.

I like this podcast studio. I like your performance space downstairs. I like those, the rooms down there, the music rooms you've got for people.

And I like how Joliet is really kind of putting some money behind its mouth and they're kind of making this area nice. They're really helping businesses grow. Right, right.

Yes, they are. And we, we, we wish all the success to the L&R Rock and Roll Museum and everybody involved in here. Yeah.

Yeah. And, and the venues around here that let us play like Scooter's Roadhouse. I can't leave those guys out.

Those guys are awesome. Right. And they let, you know, not only country bands play there, but they bring rock bands there too.

Yeah. They bring, you know, some of the bands that have pinched some of my players. So, so how does, how do we find out about where Scott is going to be and everything else? Go on Facebook, you're on Facebook.

Facebook, Instagram, TikTok. Scott Dubose. Scott Dubose.

D-U-B-S-O-E. No, D-U-B-O-S-E. That's what I said.

Yeah. But you got to say it right. Oh, I see.

Oh, I was just saying, I think I said that. I guess I didn't say it right. Yeah.

You got to say it smooth. Oh yeah. No, I'm just joking around with you.

I'm just. ScottDubose.com. That's correct. ScottDubose.com. Instagram, Scott Dubose.

Facebook, Scott Dubose. Your cell number. Hey, if you're on social media, come check us out.

If you're listening to your favorite music player, check us out. You know, go ahead and go on our social medias and tell us what you want to hear and tell me what you like. And if you think I'm terrible, tell me that too, I guess.

Sound good to me, Scott. Sound great. Thanks a lot.

No, you did a great job. Thanks for playing for us today. Yeah, thank you.

I'm glad I could play for you. I mean, this place, I'm glad I'm the first guy who could come in here and play some tunes and kind of showcase, you know, and the stuff that I write like that, isn't like the fun party stuff. We got fun party stuff too.

Oh yeah. And the way you find out is come see him. That's right.

That's right. Well, thanks for joining us today, Scott. We appreciate it.

Thanks a lot. I hope we had good conversation and I hope the people listening out there tune in every episode and they come back and check out all the great music that's coming through here. Thank you very much.

So that was Mr. Scott Dubose. Dubose. Ladies and gentlemen, Scott Dubose has left the building.

D-U-B-O-S-E. That's right. He told you, didn't he? That's what I said though.

I don't remember. I think I did say D-U. Maybe.

O-S-E, but he said, gotta say it right. You gotta say it the right way. Dubose.

Yeah. Yes. I mean, people don't call you Paul Martine.

No, they don't. Well, see, or Powell. Powell, hey, Powell-o.

Powell would be P-O-W-E-L-O. Yeah. Well, Scott had brought up some people he knew like Joel Hoekstra.

Yeah. Which was episodes 33 of the podcast. Mike Aquino, episode 49.

And Ashley Victoria, episode 91. There you go. So he knows a lot of our people.

And Scott is episode 96. And he's episode 96. Yeah.

We're quickly approaching 100, aren't we? Yes, we are. The episodes, not age. Wow.

Sometimes I feel like I'm almost 100 years old. Yeah. Yeah.

Sometimes you gotta go way back. Oh, I'm sorry. I didn't mean to say back.

Yeah, yeah. My back's been hurting. Yeah.

But that's, you're just being hip. I am. Oh, speaking of hips.

Oh, you're hip too. Yeah. That's not something we need.

Oh, no. Oh, he said need. Oh, my.

Oh, I tell you, I'll be at Zany's all weekend. Yeah. Oh, if you could shoulder the crowd.

Don't get ahead of yourself. I'm armed. Oh, this is getting to be a little crazy here.

Yeah. Well, we'll figure it out. Yeah, we will.

We can edit all this stuff out. Yeah. So you didn't catch that one, did you? What's that? We'll finger it out.

Oh, listen. Where's that? Don't do it. Don't we have it? Nope.

Oh, wait. There you go. All right.

Well, we want to thank Scott for coming in and getting us off the right path here. That's right. That's right.

But playing for us, playing some music for us. And is that a first for us? I don't know. I don't recall anybody ever.

Playing live? Playing live while we're doing a podcast. I just don't recall. I know.

Well, we're quickly approaching 100. So I know you forget a lot of things. That's right.

The mind is a terrible thing to waste. They say that the mind is the second thing to go. What's the first? Oh, I forgot.

Oh, that's good. Hey, that's good. All right.

Well, thanks for listening, everybody. We'll catch you next week with another interesting stories and interesting podcast about some rock and roll musician from the Chicagoland area. Or blues or country or jazz or wherever we get to come to the studio.

Yeah. Yeah. And where's the studio at? The studio is located at the Illinois Rock and Roll Museum on Route 66, 9 West Cass, Joliet, Illinois.

Beautiful downtown Joliet, Illinois. Thanks for listening, everybody. We'll see you next week.

Take care. Bye bye. Rock and Roll Chicago podcast does not own the rights to any of the music that's played on this podcast.

The music is used to promote the band or musicians that are interviewed.