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Speaker 1: Pushkin. The Black Crows are one of the great rock

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Speaker 1: bands of the last thirty years, and they've just been

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Speaker 1: nominated for the twenty twenty six Rock and Roll Hall

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Speaker 1: of Fame, alongside nominees like Lauren Hill, Phil Collins, Wu

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Speaker 1: Tang Clan and Oasis, all acts i'd vote for if

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Speaker 1: I were a voting member, by the way, but instead

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Speaker 1: of voting, we'd figured we'd honor the Black Crows nomination

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Speaker 1: by running back my interview with their singer Chris Robinson

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Speaker 1: from when they released their album Happiness Bastards Enjoy. Sixteen

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Speaker 1: years have passed since The Black Crows last put out

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Speaker 1: an album of all new material. The world's changed a

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Speaker 1: lot since then, and it appears so have the Robinson brothers.

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Speaker 1: Chris and Rich Robinson are, of course, the backbone of

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Speaker 1: the group. They started together back in Georgia in eighty

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Speaker 1: four as Mister Crow's Garden, before moving to NYC, signing

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Speaker 1: with Death American and changing their name to The Black Crows.

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Speaker 1: The band's debut album, Shake Your Money Maker, set them

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Speaker 1: up as torch bearers of Southern rock for the nineties

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Speaker 1: and beyond. As you'll hear in our conversation the brothers

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Speaker 1: Robinson have had a competitive relationship for a long time.

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Speaker 1: There ups and downs have meant hiatuses for the band

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Speaker 1: over the years, but now they're back united and seemingly

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Speaker 1: in it for the long haul with their new album

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Speaker 1: Happiness Bastards. On today's episode, I talked to Chris Robinson

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Speaker 1: about his growing up in Georgia with Rich their dad's

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Speaker 1: rockabilly career, his listening routine that includes Sudanese and Sufi music,

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Speaker 1: and how his road habits have changed from indulging in

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Speaker 1: champagne and other substances to reading Herman Melville. This is

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Speaker 1: broken record liner notes for the digital age. I'm justin Mitchman.

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Speaker 1: Here's my conversation with Chris Robinson of the Black Crows.

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Speaker 1: Is that it gun club like the band? Sure that

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Speaker 1: you got on?

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Speaker 2: Yeah?

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Speaker 1: Yeah, yeah, oh hell yeah.

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Speaker 3: I love gunklow Man, Jeffer Lee Pierce one of my faves.

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Speaker 3: And it's funny because you know, when we started, people

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Speaker 3: would always say we sounded like and we did. We had,

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Speaker 3: you know, there was the Jengle sort of indie pop thing, Rim.

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Speaker 2: Of course being the purveyors of that, but let's active.

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Speaker 3: And the DBS and then bands from California, like Game Theory.

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Speaker 3: We kind of were into like this kind of jangly

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Speaker 3: sixties inspired but we really sounded early days a lot

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Speaker 3: like the gun Club, you know, because gun Club and

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Speaker 3: X are very interesting to me, and like early punk

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Speaker 3: scene here in Los Angeles because they were the well,

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Speaker 3: I guess you could put the blasters and the plugs

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Speaker 3: in there too.

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Speaker 1: Blasters are from essef though, right, oh.

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Speaker 2: Blasters are LA band too.

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Speaker 1: You are they? Okay? Cool?

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Speaker 2: They had those kind of roots seed.

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Speaker 3: Things, you know, and it would be really early on

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Speaker 3: that we would think like, okay, well, Jeffery Lee Pierce

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Speaker 3: is like a punk icon, but he plays a Robert

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Speaker 3: Johnson song on the first record. You know, it doesn't

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Speaker 3: sell Robert Johnson, but needless to say, he found great

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Speaker 3: inspiration and the mythology and the imagery and the vibration

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Speaker 3: of like the blues.

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Speaker 2: And stuff, which other punk bands really didn't.

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Speaker 1: Whatever music is happening in LA, there's always some subset

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Speaker 1: of it that countrifies it. You know. It's like even

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Speaker 1: with the Birds, like Sweetheart of the Rodeo, like all

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Speaker 1: that stuff, Like the Birds got into that and you know,

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Speaker 1: I don't know, you could even feel that with Buffalo

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Speaker 1: Springfield and I mean, I know, like Neil from Canada

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Speaker 1: or whatnot. But they're making music here, you know, of course.

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Speaker 3: Of course, well I mean, you know, I mean, while

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Speaker 3: that's going on, Tim Buckley's here, and you know what

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Speaker 3: I mean, And while that's going on, you have bands

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Speaker 3: like the Chambers Brothers and Eric Burden Leaves the Animals

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Speaker 3: and Northern English White Band playing blues music. And then

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Speaker 3: he's the lead singer of War.

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Speaker 1: It War is like such a quintessential La Long Beach

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Speaker 1: of fact group, you know.

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Speaker 3: I mean, I think obviously there's subsequent most famous records

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Speaker 3: don't include Yeah, And it's funny. It also just goes

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Speaker 3: to show how that's just how music is, isn't it.

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Speaker 2: You know what I mean?

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Speaker 3: I mean, I guess you obviously you can make examples

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Speaker 3: of things that seem heavy handed or things that don't

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Speaker 3: contain a certain authenticity. But I mean, that was a

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Speaker 3: big deal when I you know, talking about growing up

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Speaker 3: in a band, being from Atlanta, being like in a

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Speaker 3: arguably the most progressive city in terms of race relations

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Speaker 3: in if not America and maybe globally.

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Speaker 1: That's interesting. It probably has to be I mean you

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Speaker 1: might I might have been comping to say New Orleans,

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Speaker 1: but I think when you kind of look at the

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Speaker 1: musical legacy of Atlanta over the last I.

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Speaker 3: Mean New Orleans most definitely, but Atlanta's different because of

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Speaker 3: the black universities, yeah, like kind of concentrated there, and

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Speaker 3: Atlanta having Maynard Jackson as the first black mayor, the

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Speaker 3: first black police chief for the black police force in

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Speaker 3: the Deep South.

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Speaker 1: When I first landed in Atlanta, I got to say

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Speaker 1: coming from LAA because I grew up in la When

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Speaker 1: I first landed Atlanta, I'm in the airport, I'm like,

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Speaker 1: with whem, Like, how is the whole airport is black?

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Speaker 1: This is crazy. It was the weirdest experience for me.

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Speaker 2: Funny, that's funny.

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Speaker 3: And as I said, I'm a third generation Atlantan and

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Speaker 3: I don't really make the connection and being like I'm

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Speaker 3: a Southern person, but my connection is with Atlanta.

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Speaker 1: Yeah.

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Speaker 2: And so so it's funny because.

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Speaker 3: Maynor Jackson's the guy who when Hartfield International Airport becomes

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Speaker 3: an international airport, He's the one who's like, we're not

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Speaker 3: doing anything unless black business owners are recognized and have

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Speaker 3: a piece in this.

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Speaker 2: And what that can mean for the community. Something very

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Speaker 2: subtle like that still reverberates, I.

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Speaker 3: Think, and besides the culture, because you start to see

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Speaker 3: Atlanta also be a city, you know, famous for the

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Speaker 3: musicians and.

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Speaker 2: The hip hop and the athletes that I'll move there.

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Speaker 3: But the reason that becomes attractive is because of decisions

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Speaker 3: like that and the hard line that someone like Maynor

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Speaker 3: Jackson would take, and how Atlanta I had been pried open.

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Speaker 3: Of course, having the great Reverend Bee from there, you know,

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Speaker 3: gives Atlanta a different perspective.

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Speaker 2: But I do know it's a unique place in that way.

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Speaker 2: And it's funny like I.

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Speaker 3: Speak on it from the past, because I really left

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Speaker 3: first check I got into Black Crows, I moved to

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Speaker 3: New York. Being in a band to me was like,

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Speaker 3: you know, shooting an arrow over the mountain, like just

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Speaker 3: I wanted to get out in the world.

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Speaker 1: Had you been to New York before we moved there?

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Speaker 2: Yeah?

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Speaker 3: Yeah, Actually, you know our dad, rich andized dad was

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Speaker 3: a singer.

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Speaker 2: He had a top.

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Speaker 3: Forty rock and roll hit in the fifties called Boom

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Speaker 3: a Dip Dip.

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Speaker 2: You can check it out on Spotify.

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Speaker 1: I've listened to some of that stuff good man. It's

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Speaker 1: really good.

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Speaker 2: Yeah, it's a good song. And so I really have

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Speaker 2: been and lit at New York.

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Speaker 3: And he was like, you know, into the theater and

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Speaker 3: music and acting and dance.

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Speaker 1: You know.

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Speaker 3: So he wanted that too at a certain time in

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Speaker 3: his life. And he was in New York. And it's funny.

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Speaker 3: My mom was a flight attendant for the old Eastern Airlines,

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Speaker 3: and you know it's funny.

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Speaker 2: She told me. She goes, Oh, I served doctor King

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Speaker 2: many times on flights side of Atlanta. Wow, I always

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Speaker 2: really blew my mind as a kid, you.

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Speaker 1: Know, of course she did. It wouldn't make I mean,

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Speaker 1: how many flights out of Atlanta musty have taken that.

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Speaker 2: All the time, you know? You know.

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Speaker 3: So I moved to New York first, and I still

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Speaker 3: love New York and some of my deepest connections and

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Speaker 3: friendships are there.

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Speaker 2: My wife and I just got back from there yesterday.

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Speaker 3: But I came to Los Angeles, and I don't know,

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Speaker 3: it was farther away.

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Speaker 1: From Georgia from everything.

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Speaker 2: I mean, California has an idea California. Later I would

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Speaker 2: get to know far more about this state.

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Speaker 3: And I lived up north for six years and I

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Speaker 3: was in this little hippie band, and we started.

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Speaker 2: We did nine weeks just up and down California in.

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Speaker 3: The van, playing all the little beach towns and hippie towns.

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Speaker 3: And you know, I got a real appreciation for do

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Speaker 3: you remember Hule.

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Speaker 4: Houser, Oh, come on man, California's gold Baby.

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Speaker 2: I was like the psychedelic Hule Houser. You know what

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Speaker 2: I mean? You know hil Hauser. I was like, so

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Speaker 2: this was an Adobe. Wow.

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Speaker 1: He was amazed about everything too.

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Speaker 3: He's like, so this is a ball of Manuda. I

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Speaker 3: love Juel Hauser, the late great man, the late great

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Speaker 3: Huel Hauser.

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Speaker 2: Man, I love.

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Speaker 3: And you know what, he was always so excited. He

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Speaker 3: saw remission from San Diego to like, you know, the

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Speaker 3: Oregon border, so that the mission, You're like so excited.

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Speaker 1: Everything was ecstatic to him. It was crazy. It was

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Speaker 1: so that was that was a funny show to watch, man.

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Speaker 2: I loved it. When I moved here, I was like,

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Speaker 2: what is this? Is this good?

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Speaker 3: I also am lucky that when I'm I'm so I

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Speaker 3: moved here in ninety one.

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Speaker 2: Early ninety two. That was the golden age of public television.

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Speaker 3: Yeah, I'm the weirdest weirdest of the weird stuff would

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Speaker 3: come on TV man on the couple of public stations

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Speaker 3: on your cable, like Channel six and Channel fourteen or whatever,

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Speaker 3: the most unimaginably, I mean obviously like Tim and Eric.

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Speaker 2: I don't know if you ever got into Tim and.

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Speaker 3: Hell yeah, Tim and Eric like take the inspiration of

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Speaker 3: that into their twisted world for the series, which is

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Speaker 3: still some of my favorite stuff. You don't need a

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Speaker 3: Chinese massage, you need an Italian massage.

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Speaker 2: It was fantastic, you know what I mean.

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Speaker 3: And you know the other thing about things that were

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Speaker 3: really I've always been interested in outsider culture, you know,

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Speaker 3: when those would be like driven by like this, but

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Speaker 3: because of Hollywood, it made it even weirder.

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Speaker 2: Like I'm on TV now I'm famous too, you know

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Speaker 2: what I mean.

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Speaker 3: Yeah, pre dating the psychoses that has become social media,

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Speaker 3: you know.

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Speaker 1: Yeah.

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Speaker 2: Yeah.

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Speaker 1: People always describe LA when they come to LA as

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Speaker 1: being closer to the industry, as being closer to things.

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Speaker 1: But I also find that you can find your niches

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Speaker 1: and stay way out of the way of the industry

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Speaker 1: if you want.

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Speaker 3: I did it, Yeah, I mean, when I moved to

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Speaker 3: Topanga Canyon at a certain point. I moved to Topanga

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Speaker 3: because I have these romantic notions of what northern California,

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Speaker 3: what I've been to northern California, but what it might

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Speaker 3: feel like not to be in LA, but to still

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Speaker 3: be able to be in LA. For different reasons. I'm

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Speaker 3: of the firm belief that Los Angeles is one of

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Speaker 3: the great cities in the world, and which is also

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Speaker 3: unique because of how new this city is comparatively. In

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Speaker 3: eighteen sixty there's five thousand people living here that's wild

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Speaker 3: ranchers and spread out, and it's just come over from

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Speaker 3: Mexican rule and stuff from that government.

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Speaker 2: And they had, you.

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Speaker 3: Know, gave everyone deeds to these massiffincas and ranches and

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Speaker 3: things that were all of California, you know.

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Speaker 2: So it's not that old in the big scheme of things.

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Speaker 2: But the other.

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Speaker 3: Funny thing is when I game here, I was like,

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Speaker 3: I laugh all the time because it was like growing

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Speaker 3: up in Atlanta or whatever.

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Speaker 2: In nineteen I had my first sushi in nineteen eighty nine.

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Speaker 3: My guy ended up being our manager, like, took me

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Speaker 3: and Rich with some friends to get sushi.

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Speaker 2: And that place is called Imperial Gardens whatever it was

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Speaker 2: right there on sunset.

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Speaker 3: It's now like a Loco place or something, but it

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Speaker 3: was the Roxbury later. But anyway, we're sitting there and like,

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Speaker 3: of course I know what it is, but I'm you know, standing.

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Speaker 2: Nancy Robinson in Atlanta. We didn't see you know what

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Speaker 2: I mean.

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Speaker 3: Like I remember being sixteen and telling my dad, like,

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Speaker 3: coming downstairs one day, I was like, why have we

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Speaker 3: never had Indian food? My dad was like, you're right,

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Speaker 3: we should go get it. And I was like, we

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Speaker 3: all drove to the one Indian restaurant, you know, and

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Speaker 3: it was amazing. Wow, I'm here in nineteen eighty nine,

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Speaker 3: I'm still working on the first album and I'm a

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Speaker 3: kid from Atlanta. But the cool thing is it's a mentality.

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Speaker 3: You get farther away from where you come from, and

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Speaker 3: like anything else, you figure out what's delicious about it

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Speaker 3: and what's special about it, and now it has a

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Speaker 3: place in your culinary like.

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Speaker 2: Thing that tonight's sushi we want to go and you

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Speaker 2: know what I mean? And then you can on level.

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Speaker 3: But there was one time where you're you know, I

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Speaker 3: come to La I don't know anything about anything, and

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Speaker 3: I don't even know what this is.

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Speaker 1: How far removed from Atlanta. Do you feel now, like

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Speaker 1: do you feel like an atlantin.

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Speaker 3: I mean, not especially, And none of that is to

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Speaker 3: be taken as if Atlanta has feelings. I do love

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Speaker 3: Atlanta more than ever, but it's also I like the

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Speaker 3: remnants of the Atlanta that I remember, so when you

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Speaker 3: go back you don't see the I mean, man, it's changed.

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Speaker 3: There was this thing on Peach Street called the Darlington Apartments,

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Speaker 3: and there used to have this digital thing and it

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Speaker 3: would be like two.

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Speaker 2: Million nine U nine, you know what I mean that,

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Speaker 2: you know, and.

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Speaker 3: It was the population and it got older with the

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Speaker 3: population sign and it got bigger and it went to

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Speaker 3: three million in nineteen ninety.

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Speaker 2: You know, we used to hang.

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Speaker 3: Around this monthly thing called the mud Shack at this

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Speaker 3: after hours Mexican burrito place, and it was a poetry

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Speaker 3: reading and just the poet would get on stage like

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Speaker 3: I live in a city of three million people, as

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Speaker 3: if it was like you know this Atlanta of this.

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Speaker 2: It's almost eight million people now.

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Speaker 1: Yeah, yeah, right, that sounds about right. It's huge.

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Speaker 2: It went out there.

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Speaker 3: I mean, of course I love it, but most a

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Speaker 3: lot of the Atlanta. You know, the house where we

285
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Speaker 3: used to rehearse and have parties is now the Federal Reserve.

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Speaker 2: The club that we.

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Speaker 3: Based all our rock and roll dreams and mythology on

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Speaker 3: is now at that, you know, a place where people

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Speaker 3: go get stitches.

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Speaker 2: Or whatever, you know what I mean, Like all of

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Speaker 2: that kind.

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Speaker 3: Of stuff from back in the eighties, whenever the world

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Speaker 3: was new and music was all our career was ahead

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Speaker 3: of us, that's all kind of gone. Yeah, you can

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00:14:03,916 --> 00:14:07,036
Speaker 3: see that the skeleton of it, you know what I mean.

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Speaker 1: Yeah, Well, with more of my interview with Chris Robinson

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Speaker 1: after this quick break, we're back with Chris Robinson. Do

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Speaker 1: you get excited to tour these days? But can you

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Speaker 1: still get excited about it? I do?

300
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Speaker 2: I do. It was funny.

301
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Speaker 3: I've done a couple of interviews for this project, and

302
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Speaker 3: I'm like shocked that the people have said, you're the

303
00:14:30,276 --> 00:14:34,116
Speaker 3: first musician who says they still find inspiration doing what

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Speaker 3: you do and being on tour, they say is so boring.

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00:14:37,276 --> 00:14:40,796
Speaker 3: I'm like, I've never lost the dream. And again I've

306
00:14:40,996 --> 00:14:44,236
Speaker 3: never been bored, you know what I mean. Even as

307
00:14:44,276 --> 00:14:46,796
Speaker 3: a kid, like with my mom and go to your room,

308
00:14:46,836 --> 00:14:50,276
Speaker 3: I'd be like, I'm amazing, That's all I want to do.

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Speaker 3: All my records are in there, the books.

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Speaker 2: I'm reading are in there. I can draw, I can dream,

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Speaker 2: you know what I mean, daydream?

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Speaker 3: I mean I was somewhere there's a permanent record of me,

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Speaker 3: and all it says is prone to daydreaming. Not very

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Speaker 3: good at math. But I was saying, I mean, it's

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Speaker 3: just the way it is. I mean, is it tedious sometimes?

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Speaker 3: Fuck yes, I'm fifty seven now. Airports fucking suck.

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Speaker 1: Yeah.

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Speaker 2: Not every gig is a magical experience. But you never

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Speaker 2: know who you're gonna meet, and it could be anyone.

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Speaker 3: It could be the Dianese uber driver who pitts you

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Speaker 3: up in Saint Louis, who's fucking hilarious, an amazing, soulful

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Speaker 3: person who's left a life behind to try to eke

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Speaker 3: out something better, and like it's so brave and courageous,

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Speaker 3: and you know, and you're only with this person eight

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Speaker 3: minutes from the airport or whatever, and you just two

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Speaker 3: people in the world laughing in a car.

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Speaker 1: You know.

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Speaker 3: But that little thing that doesn't even necessarily have to

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Speaker 3: be a part of the narrative, It just has to

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Speaker 3: be a.

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Speaker 1: Part of that.

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Speaker 3: You still believe that there's dynamic in meeting people and

333
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Speaker 3: talking and laughing and sometimes crying. But I'm just naive

334
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Speaker 3: enough to still see it as in the same way

335
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Speaker 3: that I wanted.

336
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Speaker 2: I picked music.

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Speaker 3: On a lot of levels because I knew it was

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Speaker 3: the one thing that I would travel all the time. Yeah,

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00:16:13,396 --> 00:16:15,556
Speaker 3: and then you set up your little thing and then

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Speaker 3: you put your vibes out there.

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Speaker 2: You know, that is pretty rare.

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Speaker 1: I feel like listening to you talk, the only other

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Speaker 1: person who has had a level of success that you've

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Speaker 1: had and towards as much as you do and travels

345
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Speaker 1: as much as you do that seems to still love it.

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Speaker 1: I got lucky. I met Quincy Jones in Havana maybe

347
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Speaker 1: ten years ago, and the joy he has to like

348
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Speaker 1: travel and just talk to anybody. It's like he's like, yeah,

349
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Speaker 1: he'll tell Sinatra stories, and I'll tell the story about

350
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Speaker 1: like the Cab Driver and like Memphis, and you're like

351
00:16:42,516 --> 00:16:46,636
Speaker 1: he everything is like new and fun and interesting in

352
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Speaker 1: every person and everything and every sound and every that's

353
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Speaker 1: a particular joy that you don't find in a lot

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Speaker 1: of a lot of people.

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Speaker 3: Like I said, I understand, and you know, you get older.

356
00:16:59,236 --> 00:17:01,916
Speaker 3: It also helps in my life that after all the

357
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Speaker 3: rock and roll and all the experiences that I found

358
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Speaker 3: Camille my wife, because I found someone I knewho she

359
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Speaker 3: understands that some of that is problematic and some of

360
00:17:13,876 --> 00:17:15,836
Speaker 3: it's a pain in the ass, and some of it's

361
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Speaker 3: like can't we just.

362
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Speaker 2: Be do normal something?

363
00:17:20,356 --> 00:17:22,236
Speaker 3: And like, by the way, we could talk about that

364
00:17:22,356 --> 00:17:26,036
Speaker 3: and do our best. But then she also realizes, like

365
00:17:26,156 --> 00:17:31,596
Speaker 3: she's an artist and she's Pisc's queen Moonstone child out

366
00:17:31,636 --> 00:17:33,596
Speaker 3: in the world, you know, who wants to feel these

367
00:17:33,636 --> 00:17:37,636
Speaker 3: things too. And you know, my thing is the pandemic

368
00:17:37,756 --> 00:17:39,796
Speaker 3: was such a fucking head trip.

369
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Speaker 2: Personally, I didn't really find it creative. I found it stifling.

370
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Speaker 2: But we were lucky enough to live out in the.

371
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Speaker 3: Wilds of West Marin and then we were in southwest

372
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Speaker 3: Colorado amazing, Yeah, which was really really help. But one

373
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Speaker 3: thing I thought I would really flip out on was

374
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Speaker 3: it was the first time since I was basically a

375
00:18:01,156 --> 00:18:04,316
Speaker 3: teenager where I wasn't working and touring and singing and

376
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Speaker 3: playing and doing the whole spiel.

377
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Speaker 2: And you know what it was, rat really you liked it?

378
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Speaker 3: Wow, my head didn't fall off, you know, our lives didn't,

379
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Speaker 3: you know, disintegrate into nothing.

380
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Speaker 1: It was nice.

381
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Speaker 3: I had time for a lot of other things, and

382
00:18:22,676 --> 00:18:25,796
Speaker 3: it's funny the travel part of it.

383
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Speaker 2: I was just talking to my manager Mark last night.

384
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Speaker 3: About how at a certain point it would be nice

385
00:18:33,876 --> 00:18:38,196
Speaker 3: to bow out from performing the way we perform before.

386
00:18:38,516 --> 00:18:42,196
Speaker 3: I can't because I love the travel and we fit

387
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Speaker 3: in the things that we want to But it's different

388
00:18:45,796 --> 00:18:47,516
Speaker 3: to be in a place for you know, we're going

389
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Speaker 3: to Paris. I'm gonna see my friends. I know all

390
00:18:49,676 --> 00:18:51,196
Speaker 3: the restaurants I want to go to, I know all

391
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Speaker 3: the things I want to do. But you got to

392
00:18:52,836 --> 00:18:55,356
Speaker 3: leave in two days. Yeah, yeah, yeah, and you have

393
00:18:55,436 --> 00:18:57,516
Speaker 3: a show. When I was a kid, I didn't care.

394
00:18:57,596 --> 00:19:01,236
Speaker 3: We would just party, go out, champagne, drugs, this that,

395
00:19:01,556 --> 00:19:05,396
Speaker 3: two days, do the gig, God, do the gig. You know,

396
00:19:05,596 --> 00:19:08,556
Speaker 3: like all one thing was so when you're young, you

397
00:19:08,596 --> 00:19:10,356
Speaker 3: can do it, you know what I mean.

398
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Speaker 2: I don't feel that now.

399
00:19:11,836 --> 00:19:14,956
Speaker 3: I'm really happy being in the Black Crows and really

400
00:19:15,116 --> 00:19:20,516
Speaker 3: fulfilling and satisfying and gratifying. But at a certain point,

401
00:19:20,716 --> 00:19:23,716
Speaker 3: I just want to take my wife and go to

402
00:19:23,796 --> 00:19:26,996
Speaker 3: Sicily and eat linguini and clams and like you know,

403
00:19:27,156 --> 00:19:29,876
Speaker 3: drink whie and you know, read Moby Dick for the

404
00:19:29,916 --> 00:19:31,196
Speaker 3: third time or whatever, you know.

405
00:19:31,196 --> 00:19:31,636
Speaker 2: What I mean.

406
00:19:32,276 --> 00:19:34,756
Speaker 3: I just want to just be a part of everything

407
00:19:34,756 --> 00:19:36,836
Speaker 3: going on. There's lots of places I have in traveled.

408
00:19:36,836 --> 00:19:38,876
Speaker 3: I haven't been to Africa. I've always wanted to go

409
00:19:38,876 --> 00:19:41,116
Speaker 3: to Africa, you know what I mean. That would be

410
00:19:41,236 --> 00:19:43,876
Speaker 3: nice to have some time to do that. And because

411
00:19:43,916 --> 00:19:47,076
Speaker 3: Africa is such a huge thing too, you know, I'm

412
00:19:47,116 --> 00:19:49,636
Speaker 3: really interested in West Africa. I'd like to go to

413
00:19:49,676 --> 00:19:52,636
Speaker 3: North Africa. Be cool to see the East Africa and

414
00:19:52,716 --> 00:19:53,516
Speaker 3: be good, you know what I mean.

415
00:19:53,636 --> 00:19:54,996
Speaker 1: What interest you in West Africa?

416
00:19:55,156 --> 00:19:55,676
Speaker 2: I don't know.

417
00:19:55,756 --> 00:19:58,836
Speaker 3: I think maybe it has something to do just with

418
00:19:58,916 --> 00:20:01,636
Speaker 3: the I mean, I love North African music, but there's

419
00:20:01,956 --> 00:20:04,596
Speaker 3: you know, a lot of those West African music could

420
00:20:04,676 --> 00:20:09,276
Speaker 3: be because of the horrors of mankind and the horrors.

421
00:20:08,876 --> 00:20:09,956
Speaker 2: Of the slave trade.

422
00:20:10,436 --> 00:20:15,756
Speaker 3: Human beings found away somehow through the vileness of that,

423
00:20:16,516 --> 00:20:19,716
Speaker 3: to communicate and share things in art.

424
00:20:19,596 --> 00:20:21,476
Speaker 2: And music, cuisine.

425
00:20:21,836 --> 00:20:25,436
Speaker 3: So many African parts of especially in the Deep South,

426
00:20:25,556 --> 00:20:29,316
Speaker 3: and people wouldn't they don't even know they're they're under

427
00:20:29,436 --> 00:20:33,956
Speaker 3: edicated anyway. But with these things, you know, it's like, oh,

428
00:20:34,036 --> 00:20:39,036
Speaker 3: every Southern person loves the fried Okra, but Okra came

429
00:20:39,076 --> 00:20:39,676
Speaker 3: over from.

430
00:20:39,476 --> 00:20:43,236
Speaker 2: Africa, you know, right before that, Okrah came from India

431
00:20:43,276 --> 00:20:43,756
Speaker 2: to Africa.

432
00:20:43,876 --> 00:20:47,356
Speaker 3: So just dumb things like that, plants and fruits, vegetables,

433
00:20:48,196 --> 00:20:52,156
Speaker 3: natural things and supernatural things that were brought over that

434
00:20:52,156 --> 00:20:55,196
Speaker 3: could never be extingued with. And I just have some

435
00:20:55,276 --> 00:20:56,876
Speaker 3: sort of and I don't even know what it is

436
00:20:56,916 --> 00:21:00,676
Speaker 3: because I'm not obviously that knowledgeable as other people. But

437
00:21:00,716 --> 00:21:03,036
Speaker 3: I can put a few things together and realize, you know,

438
00:21:03,476 --> 00:21:07,756
Speaker 3: so much of the music, singing, rhythm things, guitar things,

439
00:21:07,836 --> 00:21:11,676
Speaker 3: especially string things come from a West African musical tradition

440
00:21:12,156 --> 00:21:15,596
Speaker 3: that represents like this African mysticism and magic as well

441
00:21:16,076 --> 00:21:20,476
Speaker 3: that manifest when people express themselves vocally and rhythmically and

442
00:21:20,516 --> 00:21:23,996
Speaker 3: with melody and things, you know, like a simple of

443
00:21:24,076 --> 00:21:27,076
Speaker 3: something like a string guitar. And that is something that

444
00:21:27,116 --> 00:21:30,916
Speaker 3: would draw me there first, be that in a first

445
00:21:30,956 --> 00:21:33,116
Speaker 3: person and see what it feels like for me as

446
00:21:33,156 --> 00:21:36,756
Speaker 3: a real outsider. Yeah, outside your culture is important to me,

447
00:21:36,876 --> 00:21:40,916
Speaker 3: just because of whether my dyslexia or just whatever my tastes,

448
00:21:40,996 --> 00:21:44,116
Speaker 3: and where I would find the things in life that

449
00:21:44,156 --> 00:21:46,916
Speaker 3: are interesting that make me happy, things that I can

450
00:21:47,036 --> 00:21:49,836
Speaker 3: understand or help me for things that I don't understand.

451
00:21:49,836 --> 00:21:51,316
Speaker 2: To understand, you know, so.

452
00:21:51,276 --> 00:21:52,636
Speaker 3: A lot of that you have to kind of just

453
00:21:52,756 --> 00:21:56,156
Speaker 3: vibe out viscerally fine, and I would be curious to

454
00:21:56,196 --> 00:21:57,116
Speaker 3: see what it feels like.

455
00:21:57,636 --> 00:22:00,796
Speaker 1: Yeah, Wow, we've gone from like psychedelic Q Houser or

456
00:22:00,796 --> 00:22:06,676
Speaker 1: like psychedelic like Anthony Bourdain or some shit. I've gone global.

457
00:22:06,716 --> 00:22:09,556
Speaker 2: Now call my agent. I'm down to do this job.

458
00:22:10,076 --> 00:22:13,036
Speaker 1: That's amazing, man. I want to check out like Robert

459
00:22:13,116 --> 00:22:15,316
Speaker 1: Plant goes to rock O Goo.

460
00:22:15,916 --> 00:22:19,516
Speaker 3: Yeah, he loves the Sufi music and the North African music.

461
00:22:19,876 --> 00:22:20,236
Speaker 1: Yeah.

462
00:22:20,236 --> 00:22:22,156
Speaker 3: And it's funny because I have this app where you

463
00:22:22,156 --> 00:22:24,476
Speaker 3: can listen to radio stations all over the world. But

464
00:22:24,556 --> 00:22:26,716
Speaker 3: it's like, wow, right on, man, I want to listen

465
00:22:26,716 --> 00:22:30,316
Speaker 3: to some like rad Cambodia music, It's like, uh, it's Nicki.

466
00:22:30,036 --> 00:22:31,436
Speaker 2: Minaj like everywhere else.

467
00:22:31,676 --> 00:22:32,796
Speaker 3: I know.

468
00:22:32,836 --> 00:22:34,556
Speaker 1: That's that's kind of a bummer about radio.

469
00:22:35,076 --> 00:22:36,916
Speaker 2: I mean, it's like, which is cool.

470
00:22:36,996 --> 00:22:39,596
Speaker 3: I'm not bagging Nicki Minads, but I'm like, I'm thinking

471
00:22:39,636 --> 00:22:42,436
Speaker 3: I'm gonna like get hip to some thing I've never heard,

472
00:22:42,436 --> 00:22:44,916
Speaker 3: some regional vibes or whatever.

473
00:22:44,796 --> 00:22:48,116
Speaker 2: And it's like, oh, it's the same shit they're playing here.

474
00:22:48,396 --> 00:22:51,756
Speaker 1: Is it that radio app like, yeah, oh so cool.

475
00:22:51,796 --> 00:22:54,156
Speaker 3: But there's some in Morocco. And then there's a certain

476
00:22:54,236 --> 00:22:57,316
Speaker 3: kind of music that the horrors of things. There was

477
00:22:57,356 --> 00:22:59,796
Speaker 3: a slave trade in Africa for a long time too,

478
00:23:00,036 --> 00:23:03,076
Speaker 3: the you know within in Africa, and they're bringing Sub

479
00:23:03,116 --> 00:23:07,196
Speaker 3: Saharan Africans to North Africa. But a great musical art

480
00:23:07,236 --> 00:23:09,596
Speaker 3: form is born from it that still exists, and there's

481
00:23:09,636 --> 00:23:13,156
Speaker 3: whole radio stations that play it and they're basically a

482
00:23:13,196 --> 00:23:16,796
Speaker 3: living blues. It's the same tradition of like the pain

483
00:23:16,876 --> 00:23:19,676
Speaker 3: and suffering of the blues that these people brought with them.

484
00:23:19,956 --> 00:23:23,636
Speaker 2: It still lives today and it's now celebrated as rebel songs. Almost.

485
00:23:23,956 --> 00:23:26,276
Speaker 1: Yeah, it's like those North African like guitar but I

486
00:23:26,276 --> 00:23:27,196
Speaker 1: don't know how to pronounce.

487
00:23:26,916 --> 00:23:29,596
Speaker 2: Their names, but like or something.

488
00:23:29,756 --> 00:23:30,516
Speaker 1: Yeah, right.

489
00:23:31,276 --> 00:23:33,476
Speaker 2: I saw their first show in New York many years ago.

490
00:23:33,796 --> 00:23:37,436
Speaker 3: Really, I love that music, and I love Sudanese music,

491
00:23:37,796 --> 00:23:41,436
Speaker 3: and then you go over. I love Persian classical music,

492
00:23:41,676 --> 00:23:46,516
Speaker 3: I love from Afghanistan, and I love Turkish music. You know,

493
00:23:46,636 --> 00:23:51,036
Speaker 3: I really have a lot of diverse interest in things

494
00:23:51,076 --> 00:23:51,516
Speaker 3: like that.

495
00:23:52,516 --> 00:23:54,916
Speaker 1: After this last break, we'll be back with more of

496
00:23:54,996 --> 00:24:01,796
Speaker 1: Chris Robinson We're back with the rest of my conversation

497
00:24:02,116 --> 00:24:06,596
Speaker 1: with Chris Robinson within the Crows. Like maybe, like with

498
00:24:06,636 --> 00:24:09,716
Speaker 1: your brother, for instance, does he have a similar music palette.

499
00:24:10,036 --> 00:24:11,556
Speaker 2: I think he has an appreciation.

500
00:24:11,756 --> 00:24:14,356
Speaker 3: I don't think his palette is as wide as mine,

501
00:24:14,836 --> 00:24:17,156
Speaker 3: and he would admit that I'm not, you know. He

502
00:24:17,276 --> 00:24:20,836
Speaker 3: always said like growing up, like Chris would bring back

503
00:24:21,836 --> 00:24:24,276
Speaker 3: way more records than I would listen to, or some

504
00:24:24,356 --> 00:24:26,476
Speaker 3: I wouldn't be interested in, but I got to he

505
00:24:26,516 --> 00:24:29,676
Speaker 3: could be able to cherry pick what he liked, and

506
00:24:29,716 --> 00:24:34,876
Speaker 3: he loves classical Indian music. I listened to like Mesopotamium,

507
00:24:35,116 --> 00:24:37,396
Speaker 3: sheep Herder music and stuff, you know what I mean.

508
00:24:37,476 --> 00:24:39,596
Speaker 3: Like I'm really into a lot of different things.

509
00:24:39,716 --> 00:24:41,836
Speaker 1: Do you listen to that stuff more than like rock

510
00:24:41,876 --> 00:24:43,476
Speaker 1: and roll? Like you'd rather reach for that than a

511
00:24:43,516 --> 00:24:44,196
Speaker 1: Stones record?

512
00:24:44,396 --> 00:24:47,196
Speaker 2: Yeah, I listened to all day long.

513
00:24:47,756 --> 00:24:50,356
Speaker 3: Like I like to start the morning with something mellow.

514
00:24:51,116 --> 00:24:55,196
Speaker 3: We'll listen to a lot of Indian classical music. Or personally,

515
00:24:55,356 --> 00:24:57,516
Speaker 3: I like to start my mornings with the group late

516
00:24:57,556 --> 00:25:01,156
Speaker 3: great Ben Webster or some think Lester Young. I love

517
00:25:01,196 --> 00:25:04,356
Speaker 3: the pres you know, but we also love rossn Roland Kirk.

518
00:25:04,116 --> 00:25:06,396
Speaker 2: And we love the Loneus Monk, and we love.

519
00:25:06,276 --> 00:25:09,556
Speaker 3: Bobby Timid, but we listened to a lot of as

520
00:25:10,236 --> 00:25:14,476
Speaker 3: we listened to a lot of blues, country, R M B, funk, soul,

521
00:25:14,716 --> 00:25:19,756
Speaker 3: rock and roll, punk music, post punk music, electronic.

522
00:25:20,196 --> 00:25:21,076
Speaker 2: Rossa music.

523
00:25:21,196 --> 00:25:25,396
Speaker 4: You know, share your Spotify right now, Share that Spotify trying.

524
00:25:25,156 --> 00:25:28,836
Speaker 3: To I don't have Spotify envy, man, You know, like,

525
00:25:30,036 --> 00:25:32,756
Speaker 3: I'm just obsessed, you know what I mean? And my

526
00:25:32,916 --> 00:25:37,436
Speaker 3: obsessions maybe made me way more difficult as a youth

527
00:25:37,476 --> 00:25:42,316
Speaker 3: in the music business because I also associated a certain authenticity, passion,

528
00:25:42,396 --> 00:25:45,556
Speaker 3: and purity to my obsessions and what I wanted to say.

529
00:25:45,676 --> 00:25:47,916
Speaker 2: But I also have a waking life with music that

530
00:25:47,996 --> 00:25:49,036
Speaker 2: has nothing to do with.

531
00:25:48,916 --> 00:25:51,876
Speaker 3: Me making music or being a musician. Yeah, those things

532
00:25:51,916 --> 00:25:56,276
Speaker 3: are simpatico. But I'm sure it's annoying. I'm the guy

533
00:25:56,276 --> 00:25:59,316
Speaker 3: who I get the car to drive down to eat

534
00:25:59,396 --> 00:26:01,196
Speaker 3: dinner in West Holly and I'm like, hey, man, can

535
00:26:01,196 --> 00:26:02,276
Speaker 3: I play the Spotify?

536
00:26:02,756 --> 00:26:04,556
Speaker 1: Oh yeah in the car, dude. I got to stick

537
00:26:04,596 --> 00:26:07,636
Speaker 1: out of a sushi spot one time because I asked

538
00:26:07,676 --> 00:26:11,196
Speaker 1: them to change the music, and then they opened the

539
00:26:11,236 --> 00:26:13,516
Speaker 1: same sushi spot across town. So we tried to go

540
00:26:13,556 --> 00:26:15,676
Speaker 1: there a year and a half later turned the same

541
00:26:15,756 --> 00:26:18,516
Speaker 1: lady with something else. She's like, you look familiar. I

542
00:26:18,556 --> 00:26:20,196
Speaker 1: was like, I don't know. I don't know. No, no, no,

543
00:26:20,356 --> 00:26:21,916
Speaker 1: I wasn't. So did you ask me to turn off

544
00:26:21,916 --> 00:26:23,876
Speaker 1: the music? One time? I was like no, no, no, no,

545
00:26:23,876 --> 00:26:25,116
Speaker 1: it must have been my brother. I don't know.

546
00:26:25,156 --> 00:26:27,476
Speaker 2: It wasn't me, Like, hey day, so I saw she's

547
00:26:27,516 --> 00:26:28,276
Speaker 2: not coming in here.

548
00:26:28,676 --> 00:26:31,916
Speaker 1: You know. They weren't happy, but I was just changed it.

549
00:26:31,996 --> 00:26:33,636
Speaker 1: I could tell. It wasn't like pre pro It's like,

550
00:26:33,796 --> 00:26:35,676
Speaker 1: it's all you're on serious or some shit. Just just

551
00:26:35,956 --> 00:26:37,516
Speaker 1: change the station, I sall I'm asking.

552
00:26:37,756 --> 00:26:38,916
Speaker 2: I'm just always you know what I mean.

553
00:26:38,956 --> 00:26:42,996
Speaker 3: I've just been adventurous and things I can access what

554
00:26:43,276 --> 00:26:44,716
Speaker 3: makes things.

555
00:26:44,316 --> 00:26:47,116
Speaker 2: Interesting to me. But I do that with with a

556
00:26:47,156 --> 00:26:47,796
Speaker 2: lot of art.

557
00:26:47,836 --> 00:26:50,996
Speaker 3: I do that not with music, but with literature, cinema,

558
00:26:51,076 --> 00:26:53,516
Speaker 3: most definitely comedy as well.

559
00:26:54,156 --> 00:26:55,876
Speaker 1: So it's all that going through your mind as you're

560
00:26:55,876 --> 00:26:58,636
Speaker 1: writing lyrics for the Crows or for your other groups.

561
00:26:58,956 --> 00:27:02,676
Speaker 2: I imagine, yeah, I imagine it's something. It's all in there.

562
00:27:02,716 --> 00:27:05,396
Speaker 3: But I think when it's time to focus, like on

563
00:27:05,436 --> 00:27:06,836
Speaker 3: writing a lyric or whatever.

564
00:27:07,316 --> 00:27:09,836
Speaker 2: I've written songs with other people. I've written many songs

565
00:27:09,876 --> 00:27:10,436
Speaker 2: on my own.

566
00:27:11,476 --> 00:27:15,236
Speaker 3: The thing that is the Black Crows is Rich and

567
00:27:15,276 --> 00:27:16,956
Speaker 3: ize contribution together.

568
00:27:17,516 --> 00:27:21,276
Speaker 2: You know, Rich, whatever he's coming from, will play me something.

569
00:27:21,716 --> 00:27:24,276
Speaker 3: There's a lot of psychic energy involved in it as well,

570
00:27:24,556 --> 00:27:27,996
Speaker 3: and music is a great conduit to open those kind

571
00:27:27,996 --> 00:27:29,036
Speaker 3: of psychic channels.

572
00:27:29,156 --> 00:27:30,836
Speaker 1: And do you go into it with that intention? Like

573
00:27:30,916 --> 00:27:32,756
Speaker 1: do you have to set out to do that or

574
00:27:32,796 --> 00:27:33,276
Speaker 1: is it happen?

575
00:27:33,476 --> 00:27:35,676
Speaker 3: I think there's other musicians who can do the fucking

576
00:27:35,796 --> 00:27:38,236
Speaker 3: math and know all the shit and they do another thing.

577
00:27:38,396 --> 00:27:41,276
Speaker 3: I've only ever been able to access it this way,

578
00:27:41,716 --> 00:27:44,756
Speaker 3: got it my process because of however, because we didn't

579
00:27:44,796 --> 00:27:47,596
Speaker 3: learn music, we don't know shit about music.

580
00:27:48,156 --> 00:27:50,636
Speaker 2: I don't read music. Rich doesn't read music.

581
00:27:50,996 --> 00:27:53,236
Speaker 3: But we know what it feels like and we know

582
00:27:53,316 --> 00:27:55,516
Speaker 3: what sounds right, and then you keep doing that.

583
00:27:55,916 --> 00:27:58,236
Speaker 2: Of course, through that your vocabulary is bigger.

584
00:27:58,276 --> 00:28:00,436
Speaker 3: But we maybe are using different words than people who

585
00:28:00,476 --> 00:28:03,836
Speaker 3: are more knowledgeable about the inner workings and mathematics the

586
00:28:03,876 --> 00:28:05,076
Speaker 3: arithmetic of music.

587
00:28:05,396 --> 00:28:07,796
Speaker 2: Yeah, that has escaped us.

588
00:28:07,676 --> 00:28:10,596
Speaker 3: But I think it's also in our that makes it

589
00:28:10,676 --> 00:28:12,476
Speaker 3: folk and that makes you know what I mean, there's

590
00:28:12,516 --> 00:28:15,876
Speaker 3: some sort of that's why we look at it more

591
00:28:15,996 --> 00:28:18,596
Speaker 3: and like it's kind of magic when a song happens

592
00:28:18,636 --> 00:28:19,236
Speaker 3: out of the blue.

593
00:28:19,356 --> 00:28:20,956
Speaker 2: One minute, there's nothing.

594
00:28:20,996 --> 00:28:23,636
Speaker 3: One little thing like this, and then I get an idea,

595
00:28:24,076 --> 00:28:26,676
Speaker 3: and then that changes what Rich is doing, and then

596
00:28:26,756 --> 00:28:29,956
Speaker 3: it's all dictated by whatever the vibe is that Rich

597
00:28:29,996 --> 00:28:33,716
Speaker 3: plays me. There's an emotional ingredient to what he plays me,

598
00:28:34,196 --> 00:28:36,356
Speaker 3: like our probably the most famous song, as she Talks

599
00:28:36,396 --> 00:28:36,956
Speaker 3: to Angels.

600
00:28:37,236 --> 00:28:38,116
Speaker 2: He wrote that song.

601
00:28:38,156 --> 00:28:40,316
Speaker 3: He was very young with the riff, and then we

602
00:28:40,356 --> 00:28:42,356
Speaker 3: probably didn't get to it till like a year later,

603
00:28:42,436 --> 00:28:44,916
Speaker 3: when but we would be playing things around mom and

604
00:28:44,996 --> 00:28:45,476
Speaker 3: Dad's house.

605
00:28:45,556 --> 00:28:46,916
Speaker 1: He's like seventeen when he wrote that.

606
00:28:47,116 --> 00:28:49,036
Speaker 2: Yeah, I would be nineteen.

607
00:28:49,396 --> 00:28:52,036
Speaker 3: So there's something about the way he pulls that first

608
00:28:52,076 --> 00:28:55,476
Speaker 3: in and that would just put me in a place

609
00:28:55,596 --> 00:28:58,756
Speaker 3: to write a song with that kind of dark, romantic,

610
00:29:00,076 --> 00:29:03,516
Speaker 3: melancholy imagery. But we do that today, and we do that,

611
00:29:04,076 --> 00:29:06,956
Speaker 3: I think, especially if we get around to where we're

612
00:29:06,996 --> 00:29:08,436
Speaker 3: going right now with.

613
00:29:08,476 --> 00:29:10,356
Speaker 2: This Happiness Asters record and stuff.

614
00:29:10,356 --> 00:29:13,236
Speaker 3: I mean, I think that's that's exactly what we've done

615
00:29:13,316 --> 00:29:15,036
Speaker 3: with this. I mean, there's a lot more rock and

616
00:29:15,116 --> 00:29:18,076
Speaker 3: roll on it. There's a lot more water under the bridge.

617
00:29:18,076 --> 00:29:22,156
Speaker 3: We've lived a lot personally, I'm one of those people,

618
00:29:22,516 --> 00:29:26,236
Speaker 3: and I have two children and we want everything to

619
00:29:26,316 --> 00:29:30,076
Speaker 3: be the best. But I'm also not afraid of adversity

620
00:29:30,196 --> 00:29:32,596
Speaker 3: because I don't think you should be afraid of something

621
00:29:32,636 --> 00:29:35,716
Speaker 3: that you have to find acceptance with, you know what

622
00:29:35,796 --> 00:29:38,356
Speaker 3: I mean, Because it doesn't matter who you are, what

623
00:29:38,436 --> 00:29:41,196
Speaker 3: you do, if you do it to yourself, if someone's

624
00:29:41,236 --> 00:29:43,476
Speaker 3: doing it to you, if you have the means, if

625
00:29:43,476 --> 00:29:44,716
Speaker 3: you don't have the means.

626
00:29:45,076 --> 00:29:46,996
Speaker 2: No one escapes adversity.

627
00:29:46,676 --> 00:29:48,556
Speaker 3: And it changes, you know what I mean, how we

628
00:29:48,636 --> 00:29:51,836
Speaker 3: deal with it. The great energy and power of youth

629
00:29:51,876 --> 00:29:53,556
Speaker 3: and where we came from in rock and roll was

630
00:29:53,596 --> 00:29:55,836
Speaker 3: the anger, the fuck you part of it.

631
00:29:55,956 --> 00:29:57,116
Speaker 1: Yeah, even with each other.

632
00:29:57,516 --> 00:29:59,196
Speaker 2: Yeah yeah, but that boils into that.

633
00:29:59,436 --> 00:30:04,116
Speaker 3: Yeah, I mean it's like live fire, you know, and like,

634
00:30:04,236 --> 00:30:07,236
Speaker 3: but it's also a great if you can get that

635
00:30:07,396 --> 00:30:09,716
Speaker 3: into dude, and you can get this and.

636
00:30:09,676 --> 00:30:10,476
Speaker 1: Get it on there.

637
00:30:11,276 --> 00:30:13,356
Speaker 3: You know, we weren't clever enough to do the math.

638
00:30:13,436 --> 00:30:15,596
Speaker 3: We were only clever enough to wear our emotions on

639
00:30:15,636 --> 00:30:16,236
Speaker 3: our sleeves.

640
00:30:16,276 --> 00:30:18,516
Speaker 1: Did your parents pick up on you guys's tension?

641
00:30:19,036 --> 00:30:23,276
Speaker 3: Yes, I mean, fuck, I mean even more so probably

642
00:30:23,316 --> 00:30:25,796
Speaker 3: the older we would get, but they weren't around when

643
00:30:25,796 --> 00:30:28,276
Speaker 3: it was like for some reason, you know, we he

644
00:30:28,356 --> 00:30:30,036
Speaker 3: had his own bedroom. I had my own bedroom when

645
00:30:30,036 --> 00:30:32,636
Speaker 3: we lived in the suburbs, and I had like a

646
00:30:32,676 --> 00:30:35,516
Speaker 3: twin bed and a desk, stereo whatever.

647
00:30:35,716 --> 00:30:37,556
Speaker 2: Rich I had like a queen size beddings room for

648
00:30:37,596 --> 00:30:38,036
Speaker 2: some reason.

649
00:30:38,036 --> 00:30:40,516
Speaker 3: I don't know why we ever got that, but it

650
00:30:40,596 --> 00:30:42,436
Speaker 3: was funny because when we were kids, and it would

651
00:30:42,476 --> 00:30:45,676
Speaker 3: be like if we started getting annoyed, we'd have this

652
00:30:45,796 --> 00:30:48,236
Speaker 3: game where we'd both get on the bed and he'd

653
00:30:48,276 --> 00:30:51,516
Speaker 3: be like, I'm mad Max and I'm like I'm Snake

654
00:30:51,596 --> 00:30:55,076
Speaker 3: plisktt and then we would like see who could who

655
00:30:55,156 --> 00:30:57,516
Speaker 3: would win in a fight, Mad Max or Snake clisk

656
00:30:57,516 --> 00:30:59,956
Speaker 3: getting like whoever could like fucking throw the other one

657
00:30:59,956 --> 00:31:00,316
Speaker 3: off the.

658
00:31:00,236 --> 00:31:01,436
Speaker 2: Bed was like the winner.

659
00:31:01,556 --> 00:31:05,036
Speaker 1: Listen. Snake always was in that got a.

660
00:31:04,996 --> 00:31:07,716
Speaker 3: Batch on the eye, fucking cool outfit. I was like,

661
00:31:08,436 --> 00:31:11,556
Speaker 3: my motherfucker there, you know, yeah, but like dumb show

662
00:31:11,636 --> 00:31:13,516
Speaker 3: like that. And then we've said it before, but we

663
00:31:13,676 --> 00:31:16,436
Speaker 3: fought brothers fight, but we would never punch each other

664
00:31:16,476 --> 00:31:19,116
Speaker 3: in the face. We would hit each other bodyguards, throws

665
00:31:19,276 --> 00:31:22,996
Speaker 3: at each other, try to strangle each other nothing from

666
00:31:23,036 --> 00:31:23,716
Speaker 3: the neck up.

667
00:31:24,356 --> 00:31:24,916
Speaker 1: It was weird.

668
00:31:24,996 --> 00:31:27,396
Speaker 2: I don't know that rule always applied.

669
00:31:27,196 --> 00:31:32,836
Speaker 1: Unspoken, unwritten. Just yeah, as if that makes.

670
00:31:32,636 --> 00:31:35,076
Speaker 2: It like worse than all the other cruel shit.

671
00:31:36,116 --> 00:31:37,956
Speaker 1: I love it, man, I love it. Snake doesn't need

672
00:31:38,036 --> 00:31:41,836
Speaker 1: muscles though, it's just being a pure badass is sometimes enough.

673
00:31:42,116 --> 00:31:44,156
Speaker 3: Yeah, they couldn't stop, you know what I mean? The

674
00:31:44,196 --> 00:31:46,756
Speaker 3: crazies come out from under the street. He gets away

675
00:31:46,796 --> 00:31:50,436
Speaker 3: from all of them, didn't matter. Great soundtrack to that,

676
00:31:50,676 --> 00:31:53,356
Speaker 3: amazing soundtrack. John Convererter is always a favorite.

677
00:31:53,356 --> 00:31:56,356
Speaker 2: One is a movie he made called, uh is it

678
00:31:56,436 --> 00:31:58,836
Speaker 2: called The Prince of Darkness? You know that movie? I

679
00:31:58,876 --> 00:32:01,436
Speaker 2: don't know that one part of the trilogy he did that.

680
00:32:01,556 --> 00:32:05,196
Speaker 3: I think that Escape from New York, Prince of Darkness

681
00:32:05,236 --> 00:32:06,996
Speaker 3: and maybe they See or whatever.

682
00:32:07,116 --> 00:32:09,036
Speaker 2: I think those are like a trilogy he made.

683
00:32:09,516 --> 00:32:11,716
Speaker 3: But Prince of Darkness is a really cool movie, like

684
00:32:11,716 --> 00:32:13,956
Speaker 3: in this weird church in Oakland or whatever it is,

685
00:32:13,996 --> 00:32:17,196
Speaker 3: like where evil is and like this liquid container and

686
00:32:17,236 --> 00:32:19,196
Speaker 3: like these people find it's really deep.

687
00:32:19,276 --> 00:32:19,436
Speaker 1: Man.

688
00:32:19,756 --> 00:32:22,076
Speaker 2: But the sound that one's really I listened to it

689
00:32:22,156 --> 00:32:22,756
Speaker 2: all the time.

690
00:32:23,276 --> 00:32:26,556
Speaker 1: I missed that one. I like Assault on Precinct thirteen.

691
00:32:26,676 --> 00:32:31,716
Speaker 3: That soundtracks amazing, very far ahead of his time, actually.

692
00:32:31,596 --> 00:32:33,636
Speaker 1: Way ahead of his time. It sounds like, what's you know,

693
00:32:33,716 --> 00:32:37,076
Speaker 1: like a lot of like electronic composers would now go

694
00:32:37,156 --> 00:32:38,676
Speaker 1: for is he from Kentucky?

695
00:32:38,836 --> 00:32:42,356
Speaker 3: I think originally is from Kentucky. It's like if Tangerine

696
00:32:42,476 --> 00:32:47,316
Speaker 3: Dream were from Kentucky. Yeah, yeah, right, Tangerine Dream is

697
00:32:47,356 --> 00:32:50,876
Speaker 3: from Kentucky. Maybe they just call that like Pineapple upside

698
00:32:50,916 --> 00:32:52,036
Speaker 3: down cake Dreamers.

699
00:32:54,356 --> 00:32:55,796
Speaker 1: How do you feel with the new record? I think

700
00:32:55,796 --> 00:32:56,516
Speaker 1: it sounds amazing.

701
00:32:56,596 --> 00:32:57,636
Speaker 2: Yeah, we're very happy.

702
00:32:57,836 --> 00:33:01,036
Speaker 3: I think we were really focused on what we wanted

703
00:33:01,116 --> 00:33:03,916
Speaker 3: the record to be, touring the last few years and

704
00:33:04,036 --> 00:33:07,476
Speaker 3: doing the Shake Your Money Maker show. At first, I

705
00:33:07,596 --> 00:33:10,916
Speaker 3: was a little bit I had a little trepidation about it,

706
00:33:10,956 --> 00:33:11,676
Speaker 3: just because.

707
00:33:11,356 --> 00:33:13,316
Speaker 2: I was like, Oh, isn't that what other bands.

708
00:33:13,116 --> 00:33:16,476
Speaker 3: Kind of get into sometimes, is playing their most popular

709
00:33:16,516 --> 00:33:19,316
Speaker 3: record or whatever. Yeah, But once I thought about it,

710
00:33:19,356 --> 00:33:21,876
Speaker 3: and I thought, Yo, don't think about it, just do it.

711
00:33:21,996 --> 00:33:24,516
Speaker 3: This is important record to you know, this is where

712
00:33:24,556 --> 00:33:28,076
Speaker 3: it all begins for us, and let's revisit it.

713
00:33:28,156 --> 00:33:28,716
Speaker 2: Let's see what.

714
00:33:28,716 --> 00:33:33,156
Speaker 3: Happens if we remove ourselves from the way of thinking before.

715
00:33:33,356 --> 00:33:35,276
Speaker 2: You know, why did I think that was dumb? Maybe

716
00:33:35,276 --> 00:33:37,036
Speaker 2: it's not dumb. Maybe there's something there.

717
00:33:37,076 --> 00:33:39,236
Speaker 3: And I think part of where the Black Crows are

718
00:33:39,276 --> 00:33:42,476
Speaker 3: today is getting out of our way and you know,

719
00:33:42,556 --> 00:33:44,516
Speaker 3: don't think it, do it, and then you'll have more

720
00:33:44,516 --> 00:33:48,876
Speaker 3: information about what works and what doesn't. And it was fantastic,

721
00:33:49,076 --> 00:33:51,756
Speaker 3: and that was kind of the impetus to get us

722
00:33:51,796 --> 00:33:55,916
Speaker 3: to like a real focus, up tempo rock and roll

723
00:33:55,956 --> 00:33:59,676
Speaker 3: record that hits all the notes. I think that we

724
00:33:59,916 --> 00:34:03,756
Speaker 3: finally didn't have the perspective to know what the Black

725
00:34:03,796 --> 00:34:07,756
Speaker 3: Crows sound like, and to me, happens Bastards is like

726
00:34:07,796 --> 00:34:10,356
Speaker 3: an arrow pointed towards the future for us of what

727
00:34:10,516 --> 00:34:13,516
Speaker 3: the Black Crows could be. And once we work with

728
00:34:13,596 --> 00:34:15,916
Speaker 3: a guy like Jay Joyce who produced the record, who's

729
00:34:16,076 --> 00:34:20,556
Speaker 3: very successful, popular producer, We've never really worked.

730
00:34:20,356 --> 00:34:21,876
Speaker 2: With like a super producer like that.

731
00:34:22,276 --> 00:34:24,996
Speaker 3: And you know, we met so many talented people and

732
00:34:25,116 --> 00:34:26,636
Speaker 3: had so many great conversations.

733
00:34:26,716 --> 00:34:27,956
Speaker 2: There's just something about Jay.

734
00:34:28,636 --> 00:34:31,796
Speaker 3: Well, first off, we felt like this guy not only

735
00:34:31,836 --> 00:34:33,996
Speaker 3: can we get him, but he could get us, and

736
00:34:34,476 --> 00:34:38,076
Speaker 3: we're incapable of doing something that we don't feel is sincere,

737
00:34:38,596 --> 00:34:41,996
Speaker 3: sincere to us of what we want to do and.

738
00:34:41,956 --> 00:34:42,796
Speaker 2: How it sounds.

739
00:34:42,876 --> 00:34:45,556
Speaker 3: And of course when he comes on board, he started

740
00:34:45,596 --> 00:34:48,676
Speaker 3: to help shape the songs as well, like all right,

741
00:34:48,716 --> 00:34:51,156
Speaker 3: we have a discussion about what I think the record

742
00:34:51,196 --> 00:34:54,116
Speaker 3: should be. What's the concept in a sense, I mean,

743
00:34:54,156 --> 00:34:57,716
Speaker 3: you can't do it one hundred percent because it's music

744
00:34:57,756 --> 00:34:59,996
Speaker 3: and things change. But if that's what we're going for.

745
00:35:00,076 --> 00:35:02,796
Speaker 3: And so he you know, we have a bunch of songs.

746
00:35:02,836 --> 00:35:05,996
Speaker 3: He comes in, tells us what he likes about these songs.

747
00:35:06,076 --> 00:35:08,236
Speaker 3: We go back work on some songs, write some new

748
00:35:08,276 --> 00:35:11,276
Speaker 3: ones again as we're in the studio making the record.

749
00:35:11,476 --> 00:35:13,236
Speaker 3: It only took us two and a half weeks to

750
00:35:13,236 --> 00:35:13,916
Speaker 3: make the record.

751
00:35:14,036 --> 00:35:16,436
Speaker 1: That's quick. Yeah, yeah, it has an energy.

752
00:35:16,796 --> 00:35:17,956
Speaker 2: It has to be that way.

753
00:35:18,476 --> 00:35:20,396
Speaker 3: Like I said, we're not the kind of people to

754
00:35:21,276 --> 00:35:24,116
Speaker 3: what are we doing, you know, and what are we selling?

755
00:35:24,556 --> 00:35:27,396
Speaker 3: What do we want people to get from this? What

756
00:35:27,476 --> 00:35:28,956
Speaker 3: are we putting out there in the world. And we

757
00:35:28,996 --> 00:35:31,516
Speaker 3: haven't made a record long time. Basically you got to, like,

758
00:35:31,676 --> 00:35:33,476
Speaker 3: you know, put your money where your mouth is and

759
00:35:33,516 --> 00:35:35,116
Speaker 3: if you're going to say this is what you are,

760
00:35:35,156 --> 00:35:35,476
Speaker 3: then it.

761
00:35:35,476 --> 00:35:38,716
Speaker 2: Better fucking sound like that. Yeah, And I've made a

762
00:35:38,716 --> 00:35:39,316
Speaker 2: record in so.

763
00:35:39,276 --> 00:35:41,796
Speaker 3: Long and we've been talking about it, we've been proving

764
00:35:41,796 --> 00:35:44,356
Speaker 3: it every night on tour of like what the presentation is,

765
00:35:44,396 --> 00:35:47,876
Speaker 3: what the vibes are, what the band sounds like we're rich,

766
00:35:47,916 --> 00:35:50,876
Speaker 3: and I are, but we're playing old songs and we're

767
00:35:50,916 --> 00:35:53,556
Speaker 3: playing songs people know, and now to do it with

768
00:35:53,796 --> 00:35:57,916
Speaker 3: something new. But after all the talk about we're a

769
00:35:57,956 --> 00:36:00,716
Speaker 3: rock and roll band, this is where we're doing this.

770
00:36:00,876 --> 00:36:03,796
Speaker 3: We're in a good place, we're creative. But then you

771
00:36:03,836 --> 00:36:04,516
Speaker 3: have to do it.

772
00:36:04,876 --> 00:36:06,956
Speaker 1: Yeah, do you think you could go out and play

773
00:36:07,316 --> 00:36:08,876
Speaker 1: when you go out on tour. You're going on tour,

774
00:36:08,916 --> 00:36:12,036
Speaker 1: se could you play a lot of this album or

775
00:36:12,076 --> 00:36:14,476
Speaker 1: do you do you feel you have to do a

776
00:36:14,476 --> 00:36:15,076
Speaker 1: lot of the old sung?

777
00:36:15,396 --> 00:36:17,076
Speaker 2: I mean that's the purpose of the tour.

778
00:36:17,276 --> 00:36:21,236
Speaker 3: And we've gone from bigger venues to a little smaller

779
00:36:21,276 --> 00:36:23,956
Speaker 3: because we know, you know, there's always going to be

780
00:36:23,956 --> 00:36:25,876
Speaker 3: someone like this is our new single and they go to.

781
00:36:25,876 --> 00:36:26,796
Speaker 2: The bathroom or whatever.

782
00:36:27,236 --> 00:36:29,516
Speaker 1: Yeah, well you want to play the new record, like

783
00:36:29,516 --> 00:36:30,276
Speaker 1: that's the point of this.

784
00:36:30,476 --> 00:36:32,596
Speaker 3: Yeah, Well, we feel that it's right there with the

785
00:36:32,636 --> 00:36:35,436
Speaker 3: best of everything we've done. And as we move on

786
00:36:35,556 --> 00:36:37,756
Speaker 3: from this new record and being able to focus on

787
00:36:37,796 --> 00:36:40,996
Speaker 3: it for this period, of course, you know, we have to.

788
00:36:40,916 --> 00:36:43,636
Speaker 2: Play She talks angels hard to handle, jealous again twice.

789
00:36:43,636 --> 00:36:44,556
Speaker 2: It's hard during to.

790
00:36:44,436 --> 00:36:47,596
Speaker 3: My pride remedy, you know, we know there's certain things

791
00:36:47,716 --> 00:36:49,356
Speaker 3: wiser times, soul singer, whatever.

792
00:36:49,676 --> 00:36:52,876
Speaker 2: We know there's certain songs. I think when we were younger,

793
00:36:52,916 --> 00:36:55,516
Speaker 2: we were more arrogant and we didn't want to play along.

794
00:36:55,596 --> 00:37:00,196
Speaker 3: We wanted to push people more into we're more than

795
00:37:00,356 --> 00:37:05,436
Speaker 3: just these hit songs, and that was our right and

796
00:37:05,876 --> 00:37:10,396
Speaker 3: we did it and we felt there was some importance

797
00:37:10,436 --> 00:37:14,556
Speaker 3: there that wasn't just ecocentric. Yeah, But I think now

798
00:37:14,636 --> 00:37:18,076
Speaker 3: we realize and that oh we can. We can say

799
00:37:18,116 --> 00:37:20,596
Speaker 3: the things we want to say, but we also have

800
00:37:20,676 --> 00:37:23,116
Speaker 3: to respect our audience and know that somebody's going to

801
00:37:23,156 --> 00:37:23,956
Speaker 3: be mad if you don't play.

802
00:37:23,956 --> 00:37:26,836
Speaker 2: She talks Danel Yeah. Yeah, And by the way I

803
00:37:26,916 --> 00:37:27,396
Speaker 2: look at she.

804
00:37:27,396 --> 00:37:29,716
Speaker 3: Talks to angels or hard to handle or whatever now

805
00:37:29,836 --> 00:37:33,276
Speaker 3: in such a different light because I realize how special

806
00:37:33,276 --> 00:37:35,716
Speaker 3: it is to have those songs in your catalog, you know,

807
00:37:35,836 --> 00:37:39,476
Speaker 3: to have songs that we play for people, but that

808
00:37:39,716 --> 00:37:44,276
Speaker 3: after almost soon it'll be getting there forty years that

809
00:37:44,356 --> 00:37:46,676
Speaker 3: are been in people's lives and it's important to them too,

810
00:37:46,756 --> 00:37:48,356
Speaker 3: and they and they want to hear it, and they

811
00:37:48,356 --> 00:37:52,116
Speaker 3: want to hear you do the best you can do, yeah,

812
00:37:52,156 --> 00:37:56,156
Speaker 3: and make it special and have that relationship.

813
00:37:55,476 --> 00:37:56,196
Speaker 2: With the audience.

814
00:37:56,556 --> 00:37:59,036
Speaker 1: Yeah, you said you feel like this is like an

815
00:37:59,156 --> 00:38:01,676
Speaker 1: arrow pointing to the future, like you want to do

816
00:38:01,756 --> 00:38:03,356
Speaker 1: more Black Crows music.

817
00:38:03,596 --> 00:38:06,996
Speaker 3: Yeah, you know, I mean, I know it sounds weird to, like,

818
00:38:07,196 --> 00:38:10,276
Speaker 3: you know, start wrapping up my fifties and talking about it,

819
00:38:10,476 --> 00:38:12,876
Speaker 3: But then again, you know, there's so much about what

820
00:38:13,276 --> 00:38:16,356
Speaker 3: we are as a band and as artist and as

821
00:38:16,396 --> 00:38:19,276
Speaker 3: people that looks like one thing on the surface, but

822
00:38:19,316 --> 00:38:21,556
Speaker 3: it's not underneath, you know, in the same way that

823
00:38:21,636 --> 00:38:23,396
Speaker 3: it breaks my heart a little bit to hear like

824
00:38:23,476 --> 00:38:27,756
Speaker 3: people musicians say that they are bored or listless or

825
00:38:27,876 --> 00:38:31,636
Speaker 3: not inspired, and I'm like, well, I don't feel that way.

826
00:38:31,796 --> 00:38:36,116
Speaker 3: And this record is really even greater sort of proof

827
00:38:36,916 --> 00:38:40,636
Speaker 3: that I don't have to give up on my passion,

828
00:38:40,716 --> 00:38:43,516
Speaker 3: on my creativity. I can put it all in the

829
00:38:43,796 --> 00:38:47,076
Speaker 3: correct order. Yeah, and we can continue to move on.

830
00:38:47,156 --> 00:38:49,196
Speaker 3: We don't have the same expectations that you had in

831
00:38:49,276 --> 00:38:51,996
Speaker 3: nineteen ninety five when you made a record, When you

832
00:38:52,036 --> 00:38:54,116
Speaker 3: know you're spending a million and a half dollars on

833
00:38:54,156 --> 00:38:55,436
Speaker 3: a record and they want you to go out and

834
00:38:55,476 --> 00:38:58,716
Speaker 3: sell fucking ten million records and have four hit singles,

835
00:38:58,756 --> 00:39:01,156
Speaker 3: and everybody's trying to do that, and the radio is

836
00:39:01,236 --> 00:39:03,676
Speaker 3: pumping your songs all day long, and that's that's how

837
00:39:03,676 --> 00:39:06,596
Speaker 3: it used to work. Kids used to they play your

838
00:39:06,596 --> 00:39:08,556
Speaker 3: records all the time on the radio, and people will

839
00:39:08,596 --> 00:39:09,956
Speaker 3: go buy your records.

840
00:39:09,996 --> 00:39:10,476
Speaker 2: How it works.

841
00:39:10,556 --> 00:39:13,476
Speaker 3: Yeah, So even though that's gone, that doesn't mean we

842
00:39:14,036 --> 00:39:18,716
Speaker 3: don't see or feel there is still some importance in that.

843
00:39:18,836 --> 00:39:23,396
Speaker 3: And I don't feel that making albums is that antiquated

844
00:39:23,476 --> 00:39:26,836
Speaker 3: or archaic or anything. People say, you know, you go

845
00:39:26,916 --> 00:39:29,156
Speaker 3: to fucking Amiba, man, You're gonna wait in line to

846
00:39:29,156 --> 00:39:29,796
Speaker 3: pay for your shit.

847
00:39:30,356 --> 00:39:32,876
Speaker 2: It's not like there's Humble Weeds blowing through a record

848
00:39:32,916 --> 00:39:33,556
Speaker 2: store or something.

849
00:39:34,276 --> 00:39:37,516
Speaker 1: It's true there are a fewer around, but you know, like, yeah,

850
00:39:37,756 --> 00:39:38,036
Speaker 1: go to.

851
00:39:38,036 --> 00:39:40,356
Speaker 3: Freak Beating in the valley. There's people in that way,

852
00:39:40,516 --> 00:39:41,996
Speaker 3: you know, and they have great records in there. It's

853
00:39:42,036 --> 00:39:45,396
Speaker 3: like anything else. The media doesn't cover it because it

854
00:39:45,396 --> 00:39:48,196
Speaker 3: would take too much imagination and interest in something that

855
00:39:48,276 --> 00:39:53,836
Speaker 3: isn't status driven, in something that is collectively more dynamic,

856
00:39:53,876 --> 00:39:58,636
Speaker 3: that contains more soulful information, or something of a cultural

857
00:39:59,196 --> 00:40:03,876
Speaker 3: reality that's not just reality TV and going to the

858
00:40:03,916 --> 00:40:04,676
Speaker 3: gym or whatever.

859
00:40:04,836 --> 00:40:07,556
Speaker 1: Yeah. Yeah, And so you do feel like there's an

860
00:40:07,676 --> 00:40:09,796
Speaker 1: errow pointed in the future. You want to make more music,

861
00:40:09,876 --> 00:40:14,236
Speaker 1: but you mentioned earlier maybe less touring at some point.

862
00:40:14,556 --> 00:40:16,636
Speaker 2: It's in deposition. I have to give you a day.

863
00:40:16,716 --> 00:40:19,076
Speaker 1: No, I'm just curious. No, I'm just scarious. Like it's

864
00:40:19,076 --> 00:40:22,316
Speaker 1: like I don't know, like why, I'm just trying to

865
00:40:22,316 --> 00:40:23,516
Speaker 1: figure out where you're at here.

866
00:40:23,676 --> 00:40:25,796
Speaker 2: I mean, answered a grand journey.

867
00:40:25,876 --> 00:40:28,676
Speaker 4: Play this back to you. Remember you said it I

868
00:40:29,636 --> 00:40:35,876
Speaker 4: fucking Miranda Rights man. Uh, yes, there will come a time.

869
00:40:35,956 --> 00:40:38,596
Speaker 4: It's not it's not in the near future.

870
00:40:38,276 --> 00:40:41,076
Speaker 2: But maybe you know, give me another.

871
00:40:42,636 --> 00:40:43,156
Speaker 1: I don't know.

872
00:40:43,596 --> 00:40:45,476
Speaker 3: It's hard to say, you know what I mean, because

873
00:40:45,516 --> 00:40:46,716
Speaker 3: getting a bit older is.

874
00:40:46,636 --> 00:40:49,156
Speaker 2: Weird because I don't feel older. But like, oh fuck

875
00:40:49,196 --> 00:40:50,396
Speaker 2: my knee hurt or whatever.

876
00:40:51,156 --> 00:40:57,036
Speaker 3: Yeah, okay, it doesn't dictate my dreams and passions my age.

877
00:40:57,196 --> 00:41:00,476
Speaker 3: But no for the near future, and I think, you know,

878
00:41:00,796 --> 00:41:02,636
Speaker 3: it would be pretty safe to say for the next

879
00:41:02,676 --> 00:41:03,716
Speaker 3: decade of life.

880
00:41:03,836 --> 00:41:06,076
Speaker 2: I want to keep doing it while I can.

881
00:41:06,596 --> 00:41:08,956
Speaker 3: Yeah, that was another thing about the record, like, let's

882
00:41:08,956 --> 00:41:11,036
Speaker 3: make a fucking rock and roll record while we can

883
00:41:11,116 --> 00:41:12,676
Speaker 3: still fucking rock and roll.

884
00:41:12,716 --> 00:41:14,676
Speaker 2: Man, you know what I mean, Because at a certain point

885
00:41:15,156 --> 00:41:15,956
Speaker 2: it's gonna.

886
00:41:15,756 --> 00:41:19,676
Speaker 3: Be like you, thank you rock and rolling, But congensity

887
00:41:19,756 --> 00:41:22,636
Speaker 3: level comes down, which is totally normal and fine, but

888
00:41:22,756 --> 00:41:25,236
Speaker 3: rock and roll is specific to a certain energy that

889
00:41:25,316 --> 00:41:25,636
Speaker 3: you need.

890
00:41:25,876 --> 00:41:26,716
Speaker 2: There's all sorts of.

891
00:41:26,636 --> 00:41:30,436
Speaker 3: Things that you can be passionate and you can again

892
00:41:30,596 --> 00:41:34,636
Speaker 3: have that kind of emotion and there's still a smoldering

893
00:41:34,676 --> 00:41:35,836
Speaker 3: intensity to those things.

894
00:41:35,876 --> 00:41:36,956
Speaker 2: But I think if you want.

895
00:41:36,796 --> 00:41:39,436
Speaker 3: To get out, shake your ass a little bit, put

896
00:41:39,436 --> 00:41:42,356
Speaker 3: it on a rock and roll show. Hopefully people still

897
00:41:42,796 --> 00:41:45,196
Speaker 3: get up and dance, and that's what it's about.

898
00:41:45,396 --> 00:41:48,596
Speaker 1: Incredible man. Well, look, man, thanks for thanks for taking

899
00:41:48,636 --> 00:41:50,916
Speaker 1: the time to talk. I love the new album. Excited

900
00:41:50,916 --> 00:41:52,916
Speaker 1: to see you play it and fun talking to you.

901
00:41:52,956 --> 00:41:53,116
Speaker 2: Man.

902
00:41:53,116 --> 00:41:55,076
Speaker 1: You've got a lot to say. I love it all.

903
00:41:55,356 --> 00:41:56,196
Speaker 2: I appreciate that.

904
00:41:59,156 --> 00:42:01,516
Speaker 1: Thanks to Chris Robinson for hanging out and talking about

905
00:42:01,516 --> 00:42:05,156
Speaker 1: his career along with the Black Crows new album, Happiness Bastards.

906
00:42:05,876 --> 00:42:07,876
Speaker 1: You can hear it along with our favorite song from

907
00:42:07,916 --> 00:42:11,276
Speaker 1: Chris on a playlist a Broken Record podcast dot com.

908
00:42:11,476 --> 00:42:14,436
Speaker 1: Subscribe to our YouTube channel at YouTube dot com slash

909
00:42:14,476 --> 00:42:16,876
Speaker 1: Broken Record Podcast, where you can find all of our

910
00:42:16,916 --> 00:42:20,996
Speaker 1: new episodes. You can follow us on Twitter at broken Record.

911
00:42:21,476 --> 00:42:24,396
Speaker 1: Broken Record is produced and edited by Leah Rose, with

912
00:42:24,516 --> 00:42:27,996
Speaker 1: marketing help from Eric Sandler and Jordan McMillan. Our engineer

913
00:42:28,156 --> 00:42:32,556
Speaker 1: is Ben Tollinday. Broken Record is a production of Pushkin Industries.

914
00:42:32,916 --> 00:42:35,716
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915
00:42:35,756 --> 00:42:40,116
Speaker 1: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription

916
00:42:40,196 --> 00:42:42,996
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917
00:42:43,116 --> 00:42:46,396
Speaker 1: ninety nine a month. Look for Pushkin Plus on Apple

918
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Speaker 1: Podcasts subscriptions and if you like this show, please remember

919
00:42:50,436 --> 00:42:53,036
Speaker 1: to share, rate, and review us on your podcast app.

920
00:42:53,276 --> 00:42:56,076
Speaker 1: Our theme music's by Kenny Beats. I'm justin Richmond.