PATRICK OGLE: Now here's something that's since I'm still wondering. Do you -- Do your early songs, and a lot of the songs that other people did, but they tend to do them at -- A lot of times I've heard these songs [INDISCERNIBLE] when "Old Number One" came out, I think that was nine.

GUY CLARK: Yeah.

PATRICK OGLE: But, and then I always tended to hear the other songs after yours. I mean did you write songs for other people and then they wanted to bring your [OVERLAPPING]?/p>

GUY CLARK: Well, I've always done that. I mean I write songs for a publishing company. They keep me alive, and part of the way I make a living is damn getting them out there and having other people do it. The minute I write, I don't care. It's part of what I do, but I can always do exactly the way I think they go.

PATRICK OGLE: Yeah. Obviously, your name is always thrown in the songs because I think --

GUY CLARK: Oh yeah.

PATRICK OGLE: But what about what do you think about some of the publishing companies? There are friends of mine and people I knew and people I've heard of that have offers that are like, "Okay, we want this. Particular star wants your song, but we're buying it from you so it's a work for hire and it's not your name isn't going to be on it."?

GUY CLARK: Oh no. That's a [SOUNDS LIKE] no-option deal to your budget. Grand theft auto. [LAUGHING]

PATRICK OGLE: [LAUGHING] All right.

GUY CLARK: This is some wood that my friend, Donnie Wade, sent me. This is Cambodian Rosewood.

PATRICK OGLE: That's beautiful.

GUY CLARK: Yeah, especially when it gets wet. Anyway, it's lovely stuff. Really hard to work with but -- not Cambodian.

PATRICK OGLE: [OVERLAPPING]

GUY CLARK: No, this is Madagascar. Madagascar Rosewood.

PATRICK OGLE: Why is it hard to work with?

GUY CLARK: Oh it just splits so easy down these black lines, and it's brittle. It's a real hard wood.

PATRICK OGLE: Something fell off of it there.

GUY CLARK: Oh, the bridge [INDISCERNIBLE]. Maybe I've been trying to make it sound better and I thought it was going to be the best guitar ever made but it sounded like [EXPLETIVE]. [LAUGHING] I don't know why.

PATRICK OGLE: Now, do you make the same body style or did you ever?

GUY CLARK: Yeah. I offered flamencos the this is -- I mean these guitars don't even have finishes on, you know. I'm just but finish it -- or build it and string it up.

[GUY CLARK PLAYING ONE OF HIS HANDMADE GUITARS]

Brand new strings [INAUDIBLE]. We like these guitars louder than when we made these other guitars.

PATRICK OGLE: And it's a deeper body or?

GUY CLARK: A little bit.

PATRICK OGLE: A little bit.

GUY CLARK: Maybe just about the same. Maybe a little shallow. I don't know that stuff but it just happens, however.

PATRICK OGLE: Like you were saying about the not really -- you just kind of feel it out and they do what they do?

GUY CLARK: Yeah, they do it. None of them are exactly the same depth, you know. It's like I've never even --

PATRICK OGLE: This is the?

GUY CLARK: This is the first one of the steel strings I've built.

PATRICK OGLE: And this one's -- I'm sorry, and this is older? The neck?

GUY CLARK: Yeah. It's just been played and with the finish rubbed in.

PATRICK OGLE: And this is an example of, I guess, after a while what it starts to look like after you play it.

GUY CLARK: Yeah. This is when it starts to really feel good. [LAUGHING]

PATRICK OGLE: So that's the lesson. You're making a guitar, don't finish the neck.

GUY CLARK: Well, you know. That's only me. [LAUGHING]

PATRICK OGLE: That sounds like a good idea regardless. But I think we've seen everything, right?

GUY CLARK: Yeah.