>> shamrock then visits kunkel to get his side of the story. >> mr. kunkel. you again. this is like twice in like three weeks. what's going on? >> nothing. >> nothing? >> nope. >> you recall this incident with mr. hurd? >> no, i'm not saying nothing. >> you're not saying nothing? you don't want to work with me on this? >> there ain't nothing there. >> well, i'll tell you what, i'm going to put an extension on this incident. i'm going to investigate it, you want me to review cameras or film, i'll go ahead and do that. >> i don't want an extension. >> well, that's what you're going to get. you got an officer that's saying one thing, you're telling me you know nothing about it. i've got a guy down there that's telling me he's a victim. okay? >> that's up to you. what i'm saying, why you got to go interview tapes or keep me in here longer? >> you're looking at 30 days in here. >> i know. >> you're not helping me out in this situation. i'm here to help me, i'm here to listen to what you've got to tell me. what you're saying has nothing -- is not even jiving with t

and russ kunkel who played with the "singer/songwriter" camp, they couldn't play it.nd the quote. because i was thinking figurative like an african instead of one, two, three, four, like a school play-type person, you know? you know -- i was throwing in long figures that if you book them down and analyze them bar by bar john -- john says that you know, you got a bar of five, eight, something in there or even three men -- ♪ >> you don't have to keep sending up the bar because i'm changing key in the middle of the song or have to keep setting the bar for two bars where i change the time signature. to do it in notation it was quite eccentric. >> you mention bass and drums and your unique way of writing music. who was the drummer you fell in love with just because he played? >> john -- oh! he's the one that writes in there -- >> exactly. you loved the way he played. >> everything. first of all he could play with me. >> right. >> and he wrote through those thing. like he said, you have to know what the time signatures are. you're basically playing in a groove, and then you