Extended Interview: The Doobie Brothers

The first season of Georgie and Mandy is a bonafide hit. Be cool, okay? We don't say it out loud. Hmm, okay. Can we just say it's great? Thank you for saying that out loud. with lots and lots of laughs so everybody knows i only told mandy well i only told mom and dad that's everybody so Quick summary. Laugh at Georgie and Mandy's first marriage with all episodes now streaming on Paramount Plus and returning new CBS fall. Yes, yes, also yes. Now streaming.

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I'm Jane Pauley. You're listening to an extended interview from the latest edition of Sunday Morning. I think we all feel, needless to say, honored by it. When we started doing this... Many years ago, nobody was thinking about anything like that. You were just trying to make a buck. So to be able to write songs that people still have them resonate with you, like I hate to say it, but 50 years later on some of it. Some of it not.

Not as long as that, but a lot of it. And being with the people you just mentioned is a huge thing. I mean, these people wrote unbelievable songs. I go, where did that come from? It's amazing. And then to be...

maybe not in the same breath, but in the same building anyways, with those kind of people. It's like the Rock and Roll Hall of Fame because you went in there with musicians you studied coming up. Well, this is the case of songwriters you studied coming up. It was pretty amazing. I mean, I guess... Look, you've sold 48 million albums as a group. You're already in the Rock and Roll Hall of Fame. Four Grammys for the Doobie Brothers. Do awards matter? Does recognition like this matter?

I think the company that, you know, like Tom was saying, to be in the company of those people you mentioned, you know, is what matters, which is really kind of almost overwhelming to think about sometimes. because those are the people we a lot of them we grew up listening to you know and we just to think that you would ever you know be counted among them in any category would be

too much to wish for, you know, I think, you know, you admire songwriters songs and. That's how we learn to write songs is by listening to. other people and how they approach it and then one day you decide to write a song and all of us have done that and and you do it for pure enjoyment and the challenge of of putting your ideas down on paper and coming up with a melody to match it. And that's just a fun thing. You know, it's enjoyable and I think there's always a dream.

behind that that somebody will hear your song and go, oh, wow, good way to go. But that's the whole point of this. And that's, I think, where so much of the meaning is. Things like this mark.

the dream coming true exactly sure how's that strike you that your dreams have come true and here's all the confirmation of that anybody could ask for When you were writing a song you're actually trying to say something to somebody When you started doing that as opposed to just writing songs to go play in a bar You started writing songs for albums even before albums, but when you started doing that and you were trying to say

you really ought to listen to this, because here's why. The song that comes to mind is listening to music, because that's the first one I ever did that with. And that was about the Vietnam War, and that was not being happy about what was going on.

And saying, if you use music instead of talking, you guys would be way better off. Because if you sat on a hill and everybody had to listen to some music, it was pretty good. Instead of just doing what you're doing now, it's not working. So maybe if you did that, yeah, it was... A little out there, but it seemed to make sense at the time. And I think as you go through the evolution of writing, you start developing on that. Maybe not always a protest, honestly, but...

Trying to say stuff to people just trying to say stuff to yourself innocence when the songs write themselves It's pretty magical. I want to talk about the craft of songwriting

since we're talking to some hall of famers here but before i do just one more question about this award thing because i i think it's something a lot of people can relate to there are there are so many ways you can stumble in life. And from my experience, the search for external validation is one of the most dependable ways to knock you off balance. So how do you both avoid being tripped up by looking for external validation and enjoy it when it comes?

I think if you're lucky enough to stick around and wear yourself out doing just that until you finally give up and go, you know, I really only begun to do this because I loved sitting alone in my room. writing a song that I thought somebody might lean over and turn up their car radio to. And I want to ask specifically about Walk This Road and some of what you're doing, but just if I could ask your take on this notion of what Michael just brought up.

You all wrote songs just to maybe if it all worked out in your wildest dreams, you'd hear it on the radio driving down the street. And then you became rock stars. And that brought in a whole lot of... additional complications i'm sure so from where you're sitting now can you relate to what michael's talking about about maybe the idea when you get to the stage right now simplifying when it comes to writing

and go back to the roots of the craft, which is just creating and saying something. Does that resonate as a thought? It does. I'm just speaking from home.

point of view in that as you're going through those times you're talking about and going through multiple times of when you lock into something where you are writing Some pretty good stuff good. It's not always there at least for me anyway But there are times when somebody unlocks the key. I don't care if somebody passed away and it affected you in a big way. And you might write really positive songs. You don't know how it's going to come out.

but the songs start writing themselves and that's the best songs if you sit there and labor and labor on a song it's probably not going to be very good but if you do something you just let it be what it's going to be and you just kind of the song works for you i know that sounds a little loud there

But I'm just saying. You are a doobie after all. Last I checked, yes. Not using it, but at one time it was, yeah. More or less, it's just you let the song ride itself by saying, if I did this chord, I did that chord. And then, for me, it's always the words later as the opposite of what Bernie and Ellen were talking about, which always amazed me. And then you get this to a place, track-wise, where you get a feeling from it.

And then you start writing the lyrics. And it's, once again, they just kind of write themselves. They're easy. They come flowing out. So you always wrote the music first. Absolutely, yeah. Does that hold for all of you? Mostly, I think. Not always. Not always, but yeah. I don't know how they do that so well. That blows my mind. They do an incredible job. They being Bernie Taupin and Elton John.

It's it seems like the reverse to me have always done it and they've had unbelievable success needless to say and it works great and He can give me a set of words and Elton can just go with that. It's like the opposite of getting the chords and getting the feeling for the song going for the words. It's the other way around. But your process has always been hear a melody, hear a song, hear the music, and then write the words to follow. Is that how you... Not always.

How did you write Blackwater? Two different processes. I had the music over here and kind of going on, and then I started writing lyrics over here that I didn't really know if it was... gonna be that song and then i had those lyrics and i went hey that works over here so it wasn't really you know i didn't write the lyric for the song i wrote the lyrics

as just ideas. And then I realized, oh, I have this riff over here. I wonder if that will work with that. And it did. Maybe not all of it can be explained. as technique, it sounds like there needs to be a little magic. Accidents happened. You know, to reply to the original notion you had, you know, about... stumbling you know if if you're afraid to stumble in writing or playing or being a musician then you probably should find another vocation because that's all we do is stumble around

till we find till we get where we we want to be you know accidentally you know a lot of things kind of fall out of the sky and hit you on the head you know just the wisdom is in the scar tissue Partially, yeah. It's past experiences that you're bringing out.

Have you had the experience before? I think I read something once. McCartney was talking about how he woke up and the melody to some big hit like Let It Be or something was in his head. Have you had the experience of waking up in the morning with a melody in your head and you don't know where it came from? And that is the beginning of a song? I'd say that's... Very cool. I've never had that happen. I've had dreams of melodies and then woke up and... What makes a good songwriter?

perseverance is one I think it's got to be one of those ingredients because it's like we were all have all kind of hit on is it's really easy to give up or out of frustration and and I've many times we've all talked about this with each other like I just wondered if I could ever write another song you know I just lost that mojo or whatever that is and when you're younger

you know when you're writing songs you know i listen back to a lot of stuff that i like or not so much you know and you go uh but i remember when i was younger anything i finished was like oh this is this is it this is great you know john you've written a bunch and as you're listening to this discussion i'm just wondering what your thoughts are about this notion of whether it's something you can develop technique for or whether you just need that sort of magical

touch of inspiration? Well, I think it's probably a little bit different formula for everybody, for every songwriter. And some people have more of the, it just flows out of them, maybe. and other people work really really hard and keep going i've heard don henley is writing rewriting the lyric till as he's singing the final lead vocal and stuff you know some people are

You know, everybody does it a little differently. And I always say the only thing harder than writing lyrics is putting words to music. Well, I do wonder, you know, this idea... You all want to be good singers you want to be good players you want to be good in the studio you want to be good performing live is songwriting a Skill that's harder than all of those

It's a special place to be. I know this sounds ridiculous, but I started writing songs when I was 15. They were terrible. And we went down and recorded a couple. I was a kid. I didn't know anything. Playing Chuck Berry a riff was a big deal. But as time went on, you started developing thoughts by listening to other people. A lot of it by listening to other groups, other artists. And you started building on that. And I think...

That's when you started just falling into it. You didn't think about it. You just did it. I can remember sitting in that room in San Jose as you were talking about. I wrote a lot of songs in that room for $40 a month. Room over there in the student ghetto and they were good. They were good songs. I mean, they didn't mean chart toppers, but they were good songs. They were incredible and That just kind of as time marched on you started to you know add more to that whole process and

Things really opened up when you could use a digital workstation and you could, through MIDI, play horns, keyboards, bass, drums, all that stuff. So you could develop it pretty far and then hand it to, you know, go into the stream and say, here's what I'm thinking. And then everybody... might say well here i got an idea for that as i'm listening to everybody and i'm i'm picturing viewers watching this you're all essentially confessing

to how difficult the process is. And there are more losers than winners in what you produce. I think a lot of people will feel like, hey, if... these guys in the songwriting hall of fame are saying it that's just the way the craft works you have more l's than w's

when it comes at the end of the day. Absolutely. You have to write a lot of songs to find the nugget, I guess. But you might feel that way about a lot of them, especially if you start developing, as Mike was talking about, demo lock is what I call it.

and no, we can't change it from this is great the way it is, then you get, you haven't listened to anybody else's opinion. You can't do that to yourself or anybody else. So you gotta be nimble. You gotta be willing to pivot. You gotta be able to accept. I don't know if judgment's not the right word, but somebody else's take on it. And it's very beneficial a lot of times when you do that. How hard is that? Earlier it was a problem, maybe. Not so much now. I listen a lot because...

Number one, you want it to get accepted so it can be used. Number two, a lot of the people you're listening to are very good at the craft and what they do. And they know what they're listening to. And if the song has viability or not, they know it. I know there's a lot of challenges.

for everybody, anybody who gets older, I mean it beats the alternative, but one of the advantages may be of getting older is that you become more comfortable with ideas like listening to other people. and you take critique and suggestion a little bit more easily than at earlier points in both your life and in your writing career. Do you find that?

Yes, I mean, you live and learn a lot of things, you know, and patience and, you know, and listening to other people's perspectives. Hopefully you get a little better at that as you get older, you know. And it helps in almost every area of your life, you know, marriage, songwriting.

You start to actually listen to other people instead of thinking of your answer while they're talking. But, you know, I found that, you know, it's... the songwriting thing is just this um it has to be a malleable relationship because it's going to change you know uh music in general is kind of like that for just your physicality as you get older your voice

You kind of have to learn to go with your strengths because some of those things you used to be able to do when you were younger just aren't there anymore. So you try to navigate and renegotiate with your own. voice and your own brain and you know and and your ability from your brain to translate to your hands. A lot of musicians, I remember growing up hearing how some of the better jazz players, they actually played some of their best stuff when they couldn't play a score.

nimbly and quick and think as quickly in terms of theory and stuff like that, they actually started to become more thoughtful in there. their approach when they played and you know and improvised and I think that's kind of true and the danger in that is if you worry too much about what you can't do anymore you you don't

You forget that the door is open to doing something different and maybe having a benefit all its own, you know. Yeah. Okay, so this is the heavy lift of songwriting we're discussing. But I want to talk about...

The rewards. I know how I feel if I'm walking through an airport and I hear one of my favorite of your songs. Makes me feel happy. What I've always wondered is... If you're walking through the mall and hear Blackwater, or you are walking down an aisle of an airplane and you hear, listen to the music, or you hear what a fool believes. What goes through your heads when you see people who don't know that you're there listening and enjoying what you've created here and here?

Just waiting for people to say, there he is. Nobody does. No, that's not. It's kind of true though, especially if somebody does give you a look like. It's not you and then you try to start pretending like you don't notice. But you always notice. But just prior to that you were going. But yeah, that was always a dream of mine. I always thought early on when I first came to California that if I ever got on an elevator and heard music.

playing one of my songs, I'd know I arrived. I'd know I'd made it. You know, when you were talking about how does the gratification from getting rock and roll hall of fame or this songwriters hall of fame those awards not to denigrate that at all it's fantastic but i think for for anybody here that the the think that some one person even

has the feeling something like what I feel when I hear a great Beatles song or Ray Charles or whatever. That's the biggest reward. That's really cool. We'll have more from our Sunday morning extended interview. after this break. The first season of Georgie and Mandy is a bonafide hit. Be cool, okay? We don't say it out loud. Hmm, okay. Can we just say it's great? Thank you for saying that out loud.

With lots and lots of laughs. So everybody knows. I only told Mandy. I only told mom and dad. That's everybody. So. Quick summary. Laugh at Georgie and Mandy's first marriage with all episodes now streaming on Paramount Plus and returning new CBS fall. Yes, yes, also yes. Now streaming when people go missing I get hired help find them when lives are on the line culture

Please find my daughter. He is the man for the job. I'm gonna do everything I can. Don't miss a moment. Colter's in trouble. I can feel it. Of TV's number one show. These people are dangerous. I'm doing this alone. Not at all. Every Batman gotta have their router. Colter! and made a promise I would never stop looking. When you write a song,

Do you know they're going to be a hit? In other words, when you wrote China Grove, did you know it was going to be huge? No. I've only done that with one song in my life. I've had songs I felt like... This could be something, but it really depends on what the record company and all has changed too.

does with it. It depends on what promo is done behind it. All that has a lot to play in how well your song does, radio play. What's the song you wrote that you knew was going to be huge? It's been one. Listen to music. That's been it. I knew it when I wrote it, or at least I thought I knew it anyway. I was convinced enough to call up our new producer and say, this is a hit. It's two in the morning. He didn't want to hear this right now.

I said, come on, man. This is the thing. It's got the right words. It says something about what's going on right now. He says, call me tomorrow. He says, yeah, it's good core structure. And then he went back to bed.

does that mean in some vault somewhere there's a bunch of songs you thought were going to be huge that never broke through there's a lot i've written hundreds of songs so yes there's lots of songs that are just sitting somewhere uh i wish i had a couple of them back that i could take dust off and uh reimagine but it's it's a very uh i keep going back to what you said it's it's form of validation that you can't get anywhere else because you're the one that did it

and granted and especially on the earlier songs and even now but you need everybody else's interplay to like put the coloring and the feel to that song but the initial feel of the song comes from you and the lyrics came from you and the feeling you had when you were writing that song came from you that's that means something it does something john and tom both said john was saying you know what that that

that thought that someone might get that feeling from something you wrote that oh wow i haven't heard this in a while god i love that song or whatever

It's almost like when you're writing it, if it's only one person or a million people, that's not, you know, wonderful if it's a million people. We used to get paid for that. But, you know, but I still... if it's just one other person that's what that's what you're sitting there doing that's what you're trying to do is say something that if only one other person heard it would go oh i get that you know there's value in that yeah there's value in that for me you know

And it's that's kind of what songwriting is all about. It's just it kind of doesn't matter whether it's a million people or one person. If you could if it says something to somebody, you know, that's. that's all you're trying to do you know you've done your job yeah yeah i think so and i think it there's something to be said for just the process you know you're not when

Speaking for myself, I don't write a song thinking, I'm going to write a hit or, boy, they're going to really like this. It's more like, hey, here I am again in that mice.

my space where I feel comfortable with my instrument and I have this cool riff and and that's fun you know that feels cool and then start you know conceptualizing something and you know that reminds me of of something or someone else's song or something that happened today you know and and you create something and it's that moment it's not like

i'm going to create this and everybody's going to love it or boy i hope they like it it's not that it's that moment of just enjoyment you know pure enjoyment of writing a song for yourself you know

Michael, walk this road. What were you trying to articulate? Well, again, John Shanks had the idea for the title of the song, and I think originally it was kind of like, hey, you guys are...

Doing this first album together in a long time you've been together over the years 50 years And you walk this road together, you know, let's write a song about that, you know And and it was you know that would have been certainly good enough idea, but as we were writing it It just kind of naturally morphed into maybe a more generalized universal kind of idea, if you will, that, you know, basically we.

You know, like a lot of our songs have kind of been, you know, it's the absurdity that so many of us live in one world. our worlds apart of knowing each other's experience. And that we basically always have to bring ourselves back together. We have to remember that we all really want the same things.

And nobody wants anything that I don't want. They don't want to take anything away from me. They just want the same things I want. Tom, in Here to Stay, you write, came so close to losing, I almost said goodbye. And I changed my way of thinking. Now everything's all right. Were you talking about anything specific? That was one of the songs I mentioned earlier. I brought the whole idea. In fact, that's all it's done. I mean, at home. I brought that song in.

and john and i went through it i'd written that about keith the drummer i was mentioning a while ago when i first wrote that it had a huge impact on me and the words were my trying to figure out how i understand the concept of somebody that you're close to passing like that a friend not a parent or whatever but

What they'd meant in your life would have been like working with them on the road in the studio or whatever and to put that encapsulate that into a song we kind of Left that whole thought pattern because If you're going to try and do it for a lot of people, it's probably something you should probably... Where we ended up with it, I guess you'd say. So it became less about that topic and more about...

well, this would be good if you did this. And we try, well, if we try this, which is what everybody always asks when they're writing a song. And we came up with that song. That's what we ended up with. The other two were like written from the ground up. That one was not.

Patrick, could I ask you a question about Walk This Road? I want to read one thing that you wrote. As long as we're together, it'll always feel like home. What will be will be. The past has come and gone. We don't have much, but we keep on keeping on. Well, you were, you know, talking about life and looking back. I was thinking about it, you know, we've all made mistakes. Nobody's, you know, we all have things that we...

We wish we'd made some different choices at times than the choices we made. And you look back on that and you go, gosh, hopefully I learned something about, you know.

what to do the next time. And I think that's probably the big lesson in life is generally learn from your mistakes and your past inform your present and your future and a lot of this album I think reflects that maybe theme of redemption or whatever, however you want to express it, that you would hope that whatever you've done in the past, you can redeem yourself.

do better this time and uh i think that is reflected in a lot of the songs you know um and i you know for me we were talking about earlier you know at our age you know we of course we're a lot younger now than we were before but um you know you you're you know you You certainly want your life to move in a more positive direction. I suspect that that's...

the goal of most human beings as you live your life the next time around. And we do have many chances to make things better in our lives. And most people are... Always trying to do that. I believe that I think most human beings are looking for a better side of themselves. And, you know, I think we are for sure. Well, as far as how I feel about.

Being a Doobie brother, I mean, I was actually, I'm still the new guy. I've only been around in the band like 40-something years now. But I was a fan before I joined the band, so I can... objectively say this is a great band and so I feel very fortunate you know I feel like how did I get so lucky and it's been a great you know little journey you know musically

to be part of it. What do you make of these three guys, their songwriting? Oh, well, there's a reason for the Songwriters Hall of Fame induction, and I think... you know i mean like as you've pointed out earlier i'm a writer and i've i've had songs nominated for grammys i've had a bunch of bmi awards and stuff and i'm not really i'm a member of the band i'm not included in the song

Hall of Fame induction. That's how good these guys are. Which he should be, because the title track of one of our records was one of John's songs. One step closer. Michael, to Gabe's question. To be a doobie, what's that mean to you? Well, on a personal level, it's long friendships that I've had with these guys. From the day I started with the band, It was easy for me to kind of get the idea that everybody was pretty good people and that I was lucky to, you know.

find such a great organization to work for. And I didn't know how long it was going to last at that point in time. And even before I had met Tom, I knew Tom was a good guy just by the way everybody felt about him, you know, in the organization. from the crew to the band guys, you know. So it was a no-brainer in a way, you know, to think that, well, this is great. However long it lasts, it's going to be wonderful.

I'm really enjoying this. And then to have it unfold before me in terms of longevity with the band. You know, like I said, we've been friends all these years, even when I wasn't with the band, you know, whether any of us here were out with the band or not, you know, we were always friends, you know, and we had our moments, you know.

threw furniture at each other backstage but you know by the time we got on the plane the next day it was always over i mean it was never any grudges that we felt were worth holding about anything if we disagreed on something was just because we were all had an interest in the same thing that we love but for the most part our friendships were really what was most important about it because that's what made the whole thing

tick it was it the music we make always came from our uh what we had in common not what we disagreed on you know tom Well, getting into this business was with the Doobie Brothers. Yeah, I was banging on the door in various times in my life, but this is when it all coalesced. I mean, that's a long time ago, sitting around that table.

South 12th Street in San Jose, and we didn't have two dimes to run together. But it was cohesive, and we had joy in what we were doing. It was fun to write songs, bring them down, and then I got an idea, right? add something to it and that's still going on that hasn't changed in a sense and it's i kind of look at my life up to this point and i kind of think of myself as being a doobie brother

Pretty much what I've done. Yeah, I've done a couple of solo albums, but that's been the running thread throughout my life as being part of the spin. Nice thread. As we all mentioned, getting on stage and being able to get people to react like that. That's unbelievable. You can't really describe that to somebody if they've never done it. It's not only a feeling of joy, but it's a sheer joy with the crowd. And let's face it, without the crowd, you got nothing.

people that appreciate your music and the music that we've all made, this band has made, it's pretty amazing. It's a very cool thing. Yeah. Patrick? Boy, that is a tough question, actually. You kind of take it for granted after a while. I mean, we've been doing this together for... 55 years to me and i've been playing together um i i always wanted to be in a band you know from the time i was a little kid you know i was in surf bands with my friends and stuff but it was always

you know, transitory. It was never anything that I ever felt was gonna go anywhere or last. And when we started playing together, I had a feeling that we had something special. I never would have thought it would have lasted for this long, but I was really proud of what we were doing together. from the get-go. I mean, I always thought, you know, here's a guy that can really write a song, can really sing a song, can really play a song, and I get to play with him and great drummer.

bass player i mean we had a unit that was powerful and we kind of made it happen from day one the first gig we ever played you know I think the Chateau was our first real gig up in the Santa Cruz Mountains. And man, we nailed it. It was like, wow, there's some magic here. We have something going on. There's a chemistry here. We still have to figure out, you know, maybe write some more songs, but we have the nucleus of something special. And I was right.

i felt it and it was there the the last thing i wanted to just ask you about you go on the reddit page or whatever whenever anyone's discussing the band of course the early doobies and the later and the difference in music. That's not what I want to get into. But it does strike me that this album is maybe a bit of a synthesis of all the different iterations.

of the Doobie Brothers that have come before. Fair read? Sure. What you're getting is the people that wrote the stuff back in the day and in the middle, and they're writing now. So you're going to get, as you said, a synthesis of what's going on with the band. It's like what we do live. We do all ears of the band. Well, this is not done on purpose, I have to say that, because who's writing the song is bringing their experiences from back when till now.

and wherever they are now, but it's still that same person that wrote whatever songs you want to use as an example. Because you three have written for this album, it couldn't help but to be a synthesis of all the eras of the Doobie Brothers. Sure. Probably, yeah. We probably approached it subconsciously if only subconsciously with an idea of What could we bring that would be

maybe more cohesive than anything we've done before, you know. You know, I know I was thinking that way, like, you know, you know, a chance for me to. Maybe write something that would be more in the wheelhouse of a band then then maybe I had in the past, you know

Back then, for all kinds of reasons, I was lucky to come up with anything. And I was always amazed. The very first song I ever did with the Doobie Brothers was the last song on earth I ever thought I'd hear the Doobie Brothers do. But the producer liked it. And he heard a demo of it, you know, that I had done at Tyran's house. And he said, this could be something really different for the band, you know. And so I thought, well, hey, who am I to, you know.

say, no, I don't want to do that. But it was kind of remarkable to me that stylistically that he would even think that that was a good idea for the Doobies. So this record for me was like... Dammit, for once, I'm going to try and write something that, you know, I think is kind of in the origins of the band, you know, the nature, the original nature of the band, which is it.

You know, kind of a blues, rock, R&B, you know, because, you know, the thing about the doobies is when I joined them, people would. say oh the band changed so much but the band was always evolving long before i joined them they was a pretty eclectic band and acts in the 70s Typically tried to be eclectic and because album concepts had become a new thing wasn't no more just singles with 12 other songs, you know Related or unrelated the album

had a concept, you know, all of a sudden. So people were trying to spread their wings stylistically on one album because you had that many tracks to do that, you know. So the last word is I'm... wrap all this beautiful conversation up is what you're talking about in terms of what your goal was writing and I think this probably fits for everybody cohesion unity not just that the world needs, but also about the Doobie Brothers' cohesion of all the different eras on one album.

Yeah, and continuing to let each of us kind of express ourselves in our own way as a band. I think that's been a strength of this band in live performances. I always thought when we played live. that the audience was getting something special from us because our songs were so eclectic and so diverse in styles and things that, you know. that that was a plus to me always this could be the start of something really great yeah get another name yeah run it again for another 50 years

Listen, thank you very much, gentlemen. I really appreciate you taking the time to sit here and engage in a conversation. Thank you. Thank you. I'm Jane Pauley. Thank you for listening. And for more of our extended interviews, follow and listen to Sunday Morning on the free Odyssey app or wherever you get your podcasts. The first season of Georgie and Mandy is a bonafide hit. Be cool, okay? We don't say it out loud. Hmm, okay. Can we just say it's great? Thank you for saying that out loud.

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