WEBVTT - Rewind: Chris Robinson

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<v Speaker 1>Pushkin. The Black Crows are one of the great rock

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<v Speaker 1>bands of the last thirty years, and they've just been

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<v Speaker 1>nominated for the twenty twenty six Rock and Roll Hall

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<v Speaker 1>of Fame, alongside nominees like Lauren Hill, Phil Collins, Wu

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<v Speaker 1>Tang Clan and Oasis, all acts i'd vote for if

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<v Speaker 1>I were a voting member, by the way, but instead

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<v Speaker 1>of voting, we'd figured we'd honor the Black Crows nomination

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<v Speaker 1>by running back my interview with their singer Chris Robinson

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<v Speaker 1>from when they released their album Happiness Bastards Enjoy. Sixteen

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<v Speaker 1>years have passed since The Black Crows last put out

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<v Speaker 1>an album of all new material. The world's changed a

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<v Speaker 1>lot since then, and it appears so have the Robinson brothers.

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<v Speaker 1>Chris and Rich Robinson are, of course, the backbone of

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<v Speaker 1>the group. They started together back in Georgia in eighty

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<v Speaker 1>four as Mister Crow's Garden, before moving to NYC, signing

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<v Speaker 1>with Death American and changing their name to The Black Crows.

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<v Speaker 1>The band's debut album, Shake Your Money Maker, set them

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<v Speaker 1>up as torch bearers of Southern rock for the nineties

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<v Speaker 1>and beyond. As you'll hear in our conversation the brothers

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<v Speaker 1>Robinson have had a competitive relationship for a long time.

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<v Speaker 1>There ups and downs have meant hiatuses for the band

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<v Speaker 1>over the years, but now they're back united and seemingly

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<v Speaker 1>in it for the long haul with their new album

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

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<v Speaker 1>about his growing up in Georgia with Rich their dad's

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<v Speaker 1>rockabilly career, his listening routine that includes Sudanese and Sufi music,

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<v Speaker 1>and how his road habits have changed from indulging in

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<v Speaker 1>champagne and other substances to reading Herman Melville. This is

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

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<v Speaker 1>Here's my conversation with Chris Robinson of the Black Crows.

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<v Speaker 1>Is that it gun club like the band? Sure that

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<v Speaker 1>you got on?

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<v Speaker 2>Yeah?

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<v Speaker 1>Yeah, yeah, oh hell yeah.

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<v Speaker 3>I love gunklow Man, Jeffer Lee Pierce one of my faves.

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<v Speaker 3>And it's funny because you know, when we started, people

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<v Speaker 3>would always say we sounded like and we did. We had,

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

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

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<v Speaker 3>And the DBS and then bands from California, like Game Theory.

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<v Speaker 3>We kind of were into like this kind of jangly

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<v Speaker 3>sixties inspired but we really sounded early days a lot

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<v Speaker 3>like the gun Club, you know, because gun Club and

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<v Speaker 3>X are very interesting to me, and like early punk

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<v Speaker 3>scene here in Los Angeles because they were the well,

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<v Speaker 3>I guess you could put the blasters and the plugs

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<v Speaker 3>in there too.

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<v Speaker 1>Blasters are from essef though, right, oh.

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<v Speaker 2>Blasters are LA band too.

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<v Speaker 1>You are they? Okay? Cool?

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<v Speaker 2>They had those kind of roots seed.

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<v Speaker 3>Things, you know, and it would be really early on

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<v Speaker 3>that we would think like, okay, well, Jeffery Lee Pierce

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<v Speaker 3>is like a punk icon, but he plays a Robert

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

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<v Speaker 3>sell Robert Johnson, but needless to say, he found great

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<v Speaker 3>inspiration and the mythology and the imagery and the vibration

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<v Speaker 3>of like the blues.

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<v Speaker 2>And stuff, which other punk bands really didn't.

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<v Speaker 1>Whatever music is happening in LA, there's always some subset

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<v Speaker 1>of it that countrifies it. You know. It's like even

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<v Speaker 1>with the Birds, like Sweetheart of the Rodeo, like all

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<v Speaker 1>that stuff, Like the Birds got into that and you know,

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<v Speaker 1>I don't know, you could even feel that with Buffalo

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<v Speaker 1>Springfield and I mean, I know, like Neil from Canada

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

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<v Speaker 3>Of course, well I mean, you know, I mean, while

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<v Speaker 3>that's going on, Tim Buckley's here, and you know what

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<v Speaker 3>I mean, And while that's going on, you have bands

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<v Speaker 3>like the Chambers Brothers and Eric Burden Leaves the Animals

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<v Speaker 3>and Northern English White Band playing blues music. And then

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<v Speaker 3>he's the lead singer of War.

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<v Speaker 1>It War is like such a quintessential La Long Beach

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<v Speaker 1>of fact group, you know.

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<v Speaker 3>I mean, I think obviously there's subsequent most famous records

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

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

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<v Speaker 2>You know what I mean?

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<v Speaker 3>I mean, I guess you obviously you can make examples

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<v Speaker 3>of things that seem heavy handed or things that don't

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<v Speaker 3>contain a certain authenticity. But I mean, that was a

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<v Speaker 3>big deal when I you know, talking about growing up

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<v Speaker 3>in a band, being from Atlanta, being like in a

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<v Speaker 3>arguably the most progressive city in terms of race relations

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<v Speaker 3>in if not America and maybe globally.

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<v Speaker 1>That's interesting. It probably has to be I mean you

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<v Speaker 1>might I might have been comping to say New Orleans,

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<v Speaker 1>but I think when you kind of look at the

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<v Speaker 1>musical legacy of Atlanta over the last I.

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<v Speaker 3>Mean New Orleans most definitely, but Atlanta's different because of

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<v Speaker 3>the black universities, yeah, like kind of concentrated there, and

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<v Speaker 3>Atlanta having Maynard Jackson as the first black mayor, the

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<v Speaker 3>first black police chief for the black police force in

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<v Speaker 3>the Deep South.

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<v Speaker 1>When I first landed in Atlanta, I got to say

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<v Speaker 1>coming from LAA because I grew up in la When

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<v Speaker 1>I first landed Atlanta, I'm in the airport, I'm like,

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<v Speaker 1>with whem, Like, how is the whole airport is black?

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<v Speaker 1>This is crazy. It was the weirdest experience for me.

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<v Speaker 2>Funny, that's funny.

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<v Speaker 3>And as I said, I'm a third generation Atlantan and

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<v Speaker 3>I don't really make the connection and being like I'm

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<v Speaker 3>a Southern person, but my connection is with Atlanta.

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<v Speaker 1>Yeah.

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<v Speaker 2>And so so it's funny because.

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<v Speaker 3>Maynor Jackson's the guy who when Hartfield International Airport becomes

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

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<v Speaker 3>doing anything unless black business owners are recognized and have

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<v Speaker 3>a piece in this.

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<v Speaker 2>And what that can mean for the community. Something very

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<v Speaker 2>subtle like that still reverberates, I.

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<v Speaker 3>Think, and besides the culture, because you start to see

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<v Speaker 3>Atlanta also be a city, you know, famous for the

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<v Speaker 3>musicians and.

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<v Speaker 2>The hip hop and the athletes that I'll move there.

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<v Speaker 3>But the reason that becomes attractive is because of decisions

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<v Speaker 3>like that and the hard line that someone like Maynor

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<v Speaker 3>Jackson would take, and how Atlanta I had been pried open.

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<v Speaker 3>Of course, having the great Reverend Bee from there, you know,

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<v Speaker 3>gives Atlanta a different perspective.

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

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<v Speaker 2>And it's funny like I.

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<v Speaker 3>Speak on it from the past, because I really left

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<v Speaker 3>first check I got into Black Crows, I moved to

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<v Speaker 3>New York. Being in a band to me was like,

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<v Speaker 3>you know, shooting an arrow over the mountain, like just

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<v Speaker 3>I wanted to get out in the world.

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<v Speaker 1>Had you been to New York before we moved there?

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<v Speaker 2>Yeah?

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<v Speaker 3>Yeah, Actually, you know our dad, rich andized dad was

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<v Speaker 3>a singer.

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<v Speaker 2>He had a top.

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<v Speaker 3>Forty rock and roll hit in the fifties called Boom

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<v Speaker 3>a Dip Dip.

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<v Speaker 2>You can check it out on Spotify.

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

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<v Speaker 1>really good.

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

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<v Speaker 2>been and lit at New York.

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<v Speaker 3>And he was like, you know, into the theater and

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<v Speaker 3>music and acting and dance.

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<v Speaker 1>You know.

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<v Speaker 3>So he wanted that too at a certain time in

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<v Speaker 3>his life. And he was in New York. And it's funny.

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<v Speaker 3>My mom was a flight attendant for the old Eastern Airlines,

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<v Speaker 3>and you know it's funny.

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<v Speaker 2>She told me. She goes, Oh, I served doctor King

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<v Speaker 2>many times on flights side of Atlanta. Wow, I always

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<v Speaker 2>really blew my mind as a kid, you.

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

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<v Speaker 1>how many flights out of Atlanta musty have taken that.

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<v Speaker 2>All the time, you know? You know.

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<v Speaker 3>So I moved to New York first, and I still

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<v Speaker 3>love New York and some of my deepest connections and

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<v Speaker 3>friendships are there.

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<v Speaker 2>My wife and I just got back from there yesterday.

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<v Speaker 3>But I came to Los Angeles, and I don't know,

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<v Speaker 3>it was farther away.

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<v Speaker 1>From Georgia from everything.

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<v Speaker 2>I mean, California has an idea California. Later I would

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<v Speaker 2>get to know far more about this state.

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<v Speaker 3>And I lived up north for six years and I

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<v Speaker 3>was in this little hippie band, and we started.

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<v Speaker 2>We did nine weeks just up and down California in.

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<v Speaker 3>The van, playing all the little beach towns and hippie towns.

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<v Speaker 3>And you know, I got a real appreciation for do

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<v Speaker 3>you remember Hule.

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<v Speaker 4>Houser, Oh, come on man, California's gold Baby.

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<v Speaker 2>I was like the psychedelic Hule Houser. You know what

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<v Speaker 2>I mean? You know hil Hauser. I was like, so

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<v Speaker 2>this was an Adobe. Wow.

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<v Speaker 1>He was amazed about everything too.

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

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<v Speaker 3>love Juel Hauser, the late great man, the late great

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<v Speaker 3>Huel Hauser.

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<v Speaker 2>Man, I love.

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<v Speaker 3>And you know what, he was always so excited. He

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<v Speaker 3>saw remission from San Diego to like, you know, the

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<v Speaker 3>Oregon border, so that the mission, You're like so excited.

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<v Speaker 1>Everything was ecstatic to him. It was crazy. It was

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<v Speaker 1>so that was that was a funny show to watch, man.

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<v Speaker 2>I loved it. When I moved here, I was like,

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<v Speaker 2>what is this? Is this good?

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<v Speaker 3>I also am lucky that when I'm I'm so I

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<v Speaker 3>moved here in ninety one.

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<v Speaker 2>Early ninety two. That was the golden age of public television.

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<v Speaker 3>Yeah, I'm the weirdest weirdest of the weird stuff would

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<v Speaker 3>come on TV man on the couple of public stations

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<v Speaker 3>on your cable, like Channel six and Channel fourteen or whatever,

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<v Speaker 3>the most unimaginably, I mean obviously like Tim and Eric.

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<v Speaker 2>I don't know if you ever got into Tim and.

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<v Speaker 3>Hell yeah, Tim and Eric like take the inspiration of

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<v Speaker 3>that into their twisted world for the series, which is

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<v Speaker 3>still some of my favorite stuff. You don't need a

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<v Speaker 3>Chinese massage, you need an Italian massage.

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<v Speaker 2>It was fantastic, you know what I mean.

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<v Speaker 3>And you know the other thing about things that were

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<v Speaker 3>really I've always been interested in outsider culture, you know,

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<v Speaker 3>when those would be like driven by like this, but

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<v Speaker 3>because of Hollywood, it made it even weirder.

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<v Speaker 2>Like I'm on TV now I'm famous too, you know

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<v Speaker 2>what I mean.

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<v Speaker 3>Yeah, pre dating the psychoses that has become social media,

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<v Speaker 3>you know.

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<v Speaker 1>Yeah.

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<v Speaker 2>Yeah.

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<v Speaker 1>People always describe LA when they come to LA as

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<v Speaker 1>being closer to the industry, as being closer to things.

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<v Speaker 1>But I also find that you can find your niches

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<v Speaker 1>and stay way out of the way of the industry

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<v Speaker 1>if you want.

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<v Speaker 3>I did it, Yeah, I mean, when I moved to

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<v Speaker 3>Topanga Canyon at a certain point. I moved to Topanga

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<v Speaker 3>because I have these romantic notions of what northern California,

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<v Speaker 3>what I've been to northern California, but what it might

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<v Speaker 3>feel like not to be in LA, but to still

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<v Speaker 3>be able to be in LA. For different reasons. I'm

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<v Speaker 3>of the firm belief that Los Angeles is one of

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<v Speaker 3>the great cities in the world, and which is also

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<v Speaker 3>unique because of how new this city is comparatively. In

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<v Speaker 3>eighteen sixty there's five thousand people living here that's wild

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<v Speaker 3>ranchers and spread out, and it's just come over from

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<v Speaker 3>Mexican rule and stuff from that government.

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<v Speaker 2>And they had, you.

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<v Speaker 3>Know, gave everyone deeds to these massiffincas and ranches and

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<v Speaker 3>things that were all of California, you know.

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

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<v Speaker 2>But the other.

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<v Speaker 3>Funny thing is when I game here, I was like,

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<v Speaker 3>I laugh all the time because it was like growing

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<v Speaker 3>up in Atlanta or whatever.

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<v Speaker 2>In nineteen I had my first sushi in nineteen eighty nine.

0:11:18.756 --> 0:11:22.276
<v Speaker 3>My guy ended up being our manager, like, took me

0:11:22.316 --> 0:11:25.316
<v Speaker 3>and Rich with some friends to get sushi.

0:11:25.516 --> 0:11:28.716
<v Speaker 2>And that place is called Imperial Gardens whatever it was

0:11:28.876 --> 0:11:29.956
<v Speaker 2>right there on sunset.

0:11:29.996 --> 0:11:32.476
<v Speaker 3>It's now like a Loco place or something, but it

0:11:32.516 --> 0:11:36.836
<v Speaker 3>was the Roxbury later. But anyway, we're sitting there and like,

0:11:37.036 --> 0:11:41.236
<v Speaker 3>of course I know what it is, but I'm you know, standing.

0:11:40.996 --> 0:11:44.476
<v Speaker 2>Nancy Robinson in Atlanta. We didn't see you know what

0:11:44.476 --> 0:11:44.796
<v Speaker 2>I mean.

0:11:45.036 --> 0:11:48.636
<v Speaker 3>Like I remember being sixteen and telling my dad, like,

0:11:48.716 --> 0:11:50.876
<v Speaker 3>coming downstairs one day, I was like, why have we

0:11:50.956 --> 0:11:53.316
<v Speaker 3>never had Indian food? My dad was like, you're right,

0:11:53.356 --> 0:11:54.756
<v Speaker 3>we should go get it. And I was like, we

0:11:54.836 --> 0:11:57.396
<v Speaker 3>all drove to the one Indian restaurant, you know, and

0:11:57.436 --> 0:12:00.836
<v Speaker 3>it was amazing. Wow, I'm here in nineteen eighty nine,

0:12:00.836 --> 0:12:03.436
<v Speaker 3>I'm still working on the first album and I'm a

0:12:03.516 --> 0:12:08.236
<v Speaker 3>kid from Atlanta. But the cool thing is it's a mentality.

0:12:08.276 --> 0:12:10.476
<v Speaker 3>You get farther away from where you come from, and

0:12:10.916 --> 0:12:14.676
<v Speaker 3>like anything else, you figure out what's delicious about it

0:12:14.716 --> 0:12:16.876
<v Speaker 3>and what's special about it, and now it has a

0:12:16.916 --> 0:12:18.916
<v Speaker 3>place in your culinary like.

0:12:19.196 --> 0:12:22.156
<v Speaker 2>Thing that tonight's sushi we want to go and you

0:12:22.196 --> 0:12:24.236
<v Speaker 2>know what I mean? And then you can on level.

0:12:24.236 --> 0:12:26.996
<v Speaker 3>But there was one time where you're you know, I

0:12:27.076 --> 0:12:29.516
<v Speaker 3>come to La I don't know anything about anything, and

0:12:29.516 --> 0:12:30.836
<v Speaker 3>I don't even know what this is.

0:12:31.116 --> 0:12:33.596
<v Speaker 1>How far removed from Atlanta. Do you feel now, like

0:12:33.636 --> 0:12:35.236
<v Speaker 1>do you feel like an atlantin.

0:12:36.516 --> 0:12:41.396
<v Speaker 3>I mean, not especially, And none of that is to

0:12:41.436 --> 0:12:45.156
<v Speaker 3>be taken as if Atlanta has feelings. I do love

0:12:45.196 --> 0:12:49.036
<v Speaker 3>Atlanta more than ever, but it's also I like the

0:12:49.076 --> 0:12:52.396
<v Speaker 3>remnants of the Atlanta that I remember, so when you

0:12:52.436 --> 0:12:55.036
<v Speaker 3>go back you don't see the I mean, man, it's changed.

0:12:55.156 --> 0:12:58.236
<v Speaker 3>There was this thing on Peach Street called the Darlington Apartments,

0:12:58.236 --> 0:13:00.916
<v Speaker 3>and there used to have this digital thing and it

0:13:00.916 --> 0:13:02.476
<v Speaker 3>would be like two.

0:13:02.356 --> 0:13:04.516
<v Speaker 2>Million nine U nine, you know what I mean that,

0:13:04.556 --> 0:13:04.836
<v Speaker 2>you know, and.

0:13:05.036 --> 0:13:08.156
<v Speaker 3>It was the population and it got older with the

0:13:08.196 --> 0:13:10.396
<v Speaker 3>population sign and it got bigger and it went to

0:13:10.476 --> 0:13:12.156
<v Speaker 3>three million in nineteen ninety.

0:13:12.876 --> 0:13:14.156
<v Speaker 2>You know, we used to hang.

0:13:13.996 --> 0:13:17.196
<v Speaker 3>Around this monthly thing called the mud Shack at this

0:13:17.716 --> 0:13:20.836
<v Speaker 3>after hours Mexican burrito place, and it was a poetry

0:13:20.876 --> 0:13:23.236
<v Speaker 3>reading and just the poet would get on stage like

0:13:23.516 --> 0:13:26.436
<v Speaker 3>I live in a city of three million people, as

0:13:26.476 --> 0:13:29.036
<v Speaker 3>if it was like you know this Atlanta of this.

0:13:29.796 --> 0:13:32.076
<v Speaker 2>It's almost eight million people now.

0:13:32.356 --> 0:13:34.716
<v Speaker 1>Yeah, yeah, right, that sounds about right. It's huge.

0:13:34.836 --> 0:13:35.636
<v Speaker 2>It went out there.

0:13:35.996 --> 0:13:38.516
<v Speaker 3>I mean, of course I love it, but most a

0:13:38.556 --> 0:13:41.316
<v Speaker 3>lot of the Atlanta. You know, the house where we

0:13:41.396 --> 0:13:44.556
<v Speaker 3>used to rehearse and have parties is now the Federal Reserve.

0:13:44.756 --> 0:13:45.716
<v Speaker 2>The club that we.

0:13:46.236 --> 0:13:49.036
<v Speaker 3>Based all our rock and roll dreams and mythology on

0:13:49.236 --> 0:13:50.876
<v Speaker 3>is now at that, you know, a place where people

0:13:50.876 --> 0:13:51.996
<v Speaker 3>go get stitches.

0:13:51.716 --> 0:13:53.676
<v Speaker 2>Or whatever, you know what I mean, Like all of

0:13:53.716 --> 0:13:54.276
<v Speaker 2>that kind.

0:13:54.196 --> 0:13:56.556
<v Speaker 3>Of stuff from back in the eighties, whenever the world

0:13:56.716 --> 0:14:00.356
<v Speaker 3>was new and music was all our career was ahead

0:14:00.396 --> 0:14:03.836
<v Speaker 3>of us, that's all kind of gone. Yeah, you can

0:14:03.916 --> 0:14:07.036
<v Speaker 3>see that the skeleton of it, you know what I mean.

0:14:07.276 --> 0:14:11.036
<v Speaker 1>Yeah, Well, with more of my interview with Chris Robinson

0:14:11.276 --> 0:14:19.596
<v Speaker 1>after this quick break, we're back with Chris Robinson. Do

0:14:19.636 --> 0:14:21.876
<v Speaker 1>you get excited to tour these days? But can you

0:14:21.916 --> 0:14:23.636
<v Speaker 1>still get excited about it? I do?

0:14:23.676 --> 0:14:24.716
<v Speaker 2>I do. It was funny.

0:14:24.716 --> 0:14:27.356
<v Speaker 3>I've done a couple of interviews for this project, and

0:14:27.556 --> 0:14:30.276
<v Speaker 3>I'm like shocked that the people have said, you're the

0:14:30.276 --> 0:14:34.116
<v Speaker 3>first musician who says they still find inspiration doing what

0:14:34.156 --> 0:14:37.196
<v Speaker 3>you do and being on tour, they say is so boring.

0:14:37.276 --> 0:14:40.796
<v Speaker 3>I'm like, I've never lost the dream. And again I've

0:14:40.996 --> 0:14:44.236
<v Speaker 3>never been bored, you know what I mean. Even as

0:14:44.276 --> 0:14:46.796
<v Speaker 3>a kid, like with my mom and go to your room,

0:14:46.836 --> 0:14:50.276
<v Speaker 3>I'd be like, I'm amazing, That's all I want to do.

0:14:50.756 --> 0:14:52.756
<v Speaker 3>All my records are in there, the books.

0:14:52.436 --> 0:14:55.556
<v Speaker 2>I'm reading are in there. I can draw, I can dream,

0:14:55.836 --> 0:14:57.036
<v Speaker 2>you know what I mean, daydream?

0:14:57.116 --> 0:15:00.236
<v Speaker 3>I mean I was somewhere there's a permanent record of me,

0:15:00.276 --> 0:15:04.116
<v Speaker 3>and all it says is prone to daydreaming. Not very

0:15:04.156 --> 0:15:07.396
<v Speaker 3>good at math. But I was saying, I mean, it's

0:15:07.516 --> 0:15:11.516
<v Speaker 3>just the way it is. I mean, is it tedious sometimes?

0:15:11.596 --> 0:15:16.236
<v Speaker 3>Fuck yes, I'm fifty seven now. Airports fucking suck.

0:15:16.836 --> 0:15:17.036
<v Speaker 1>Yeah.

0:15:17.596 --> 0:15:21.836
<v Speaker 2>Not every gig is a magical experience. But you never

0:15:21.876 --> 0:15:23.756
<v Speaker 2>know who you're gonna meet, and it could be anyone.

0:15:23.836 --> 0:15:27.676
<v Speaker 3>It could be the Dianese uber driver who pitts you

0:15:27.756 --> 0:15:31.236
<v Speaker 3>up in Saint Louis, who's fucking hilarious, an amazing, soulful

0:15:31.276 --> 0:15:34.556
<v Speaker 3>person who's left a life behind to try to eke

0:15:34.596 --> 0:15:37.876
<v Speaker 3>out something better, and like it's so brave and courageous,

0:15:37.916 --> 0:15:40.876
<v Speaker 3>and you know, and you're only with this person eight

0:15:40.996 --> 0:15:43.356
<v Speaker 3>minutes from the airport or whatever, and you just two

0:15:43.516 --> 0:15:45.236
<v Speaker 3>people in the world laughing in a car.

0:15:45.436 --> 0:15:45.636
<v Speaker 1>You know.

0:15:45.916 --> 0:15:48.996
<v Speaker 3>But that little thing that doesn't even necessarily have to

0:15:48.996 --> 0:15:50.436
<v Speaker 3>be a part of the narrative, It just has to

0:15:50.436 --> 0:15:50.716
<v Speaker 3>be a.

0:15:50.636 --> 0:15:51.676
<v Speaker 1>Part of that.

0:15:51.836 --> 0:15:57.516
<v Speaker 3>You still believe that there's dynamic in meeting people and

0:15:57.556 --> 0:16:01.116
<v Speaker 3>talking and laughing and sometimes crying. But I'm just naive

0:16:01.196 --> 0:16:03.716
<v Speaker 3>enough to still see it as in the same way

0:16:03.716 --> 0:16:04.396
<v Speaker 3>that I wanted.

0:16:04.796 --> 0:16:06.196
<v Speaker 2>I picked music.

0:16:06.076 --> 0:16:08.476
<v Speaker 3>On a lot of levels because I knew it was

0:16:08.596 --> 0:16:13.236
<v Speaker 3>the one thing that I would travel all the time. Yeah,

0:16:13.396 --> 0:16:15.556
<v Speaker 3>and then you set up your little thing and then

0:16:15.556 --> 0:16:16.796
<v Speaker 3>you put your vibes out there.

0:16:16.876 --> 0:16:18.156
<v Speaker 2>You know, that is pretty rare.

0:16:18.396 --> 0:16:20.716
<v Speaker 1>I feel like listening to you talk, the only other

0:16:20.796 --> 0:16:24.436
<v Speaker 1>person who has had a level of success that you've

0:16:24.476 --> 0:16:26.636
<v Speaker 1>had and towards as much as you do and travels

0:16:26.636 --> 0:16:28.116
<v Speaker 1>as much as you do that seems to still love it.

0:16:28.156 --> 0:16:30.836
<v Speaker 1>I got lucky. I met Quincy Jones in Havana maybe

0:16:30.836 --> 0:16:34.276
<v Speaker 1>ten years ago, and the joy he has to like

0:16:34.356 --> 0:16:37.276
<v Speaker 1>travel and just talk to anybody. It's like he's like, yeah,

0:16:37.436 --> 0:16:39.636
<v Speaker 1>he'll tell Sinatra stories, and I'll tell the story about

0:16:39.636 --> 0:16:42.476
<v Speaker 1>like the Cab Driver and like Memphis, and you're like

0:16:42.516 --> 0:16:46.636
<v Speaker 1>he everything is like new and fun and interesting in

0:16:46.676 --> 0:16:49.796
<v Speaker 1>every person and everything and every sound and every that's

0:16:49.796 --> 0:16:52.436
<v Speaker 1>a particular joy that you don't find in a lot

0:16:52.436 --> 0:16:53.516
<v Speaker 1>of a lot of people.

0:16:54.236 --> 0:16:58.236
<v Speaker 3>Like I said, I understand, and you know, you get older.

0:16:59.236 --> 0:17:01.916
<v Speaker 3>It also helps in my life that after all the

0:17:02.556 --> 0:17:05.676
<v Speaker 3>rock and roll and all the experiences that I found

0:17:05.996 --> 0:17:10.316
<v Speaker 3>Camille my wife, because I found someone I knewho she

0:17:10.516 --> 0:17:13.836
<v Speaker 3>understands that some of that is problematic and some of

0:17:13.876 --> 0:17:15.836
<v Speaker 3>it's a pain in the ass, and some of it's

0:17:15.876 --> 0:17:16.756
<v Speaker 3>like can't we just.

0:17:17.316 --> 0:17:19.716
<v Speaker 2>Be do normal something?

0:17:20.356 --> 0:17:22.236
<v Speaker 3>And like, by the way, we could talk about that

0:17:22.356 --> 0:17:26.036
<v Speaker 3>and do our best. But then she also realizes, like

0:17:26.156 --> 0:17:31.596
<v Speaker 3>she's an artist and she's Pisc's queen Moonstone child out

0:17:31.636 --> 0:17:33.596
<v Speaker 3>in the world, you know, who wants to feel these

0:17:33.636 --> 0:17:37.636
<v Speaker 3>things too. And you know, my thing is the pandemic

0:17:37.756 --> 0:17:39.796
<v Speaker 3>was such a fucking head trip.

0:17:40.516 --> 0:17:43.996
<v Speaker 2>Personally, I didn't really find it creative. I found it stifling.

0:17:44.156 --> 0:17:47.596
<v Speaker 2>But we were lucky enough to live out in the.

0:17:46.996 --> 0:17:49.516
<v Speaker 3>Wilds of West Marin and then we were in southwest

0:17:49.516 --> 0:17:55.036
<v Speaker 3>Colorado amazing, Yeah, which was really really help. But one

0:17:55.116 --> 0:17:58.276
<v Speaker 3>thing I thought I would really flip out on was

0:17:58.396 --> 0:18:01.116
<v Speaker 3>it was the first time since I was basically a

0:18:01.156 --> 0:18:04.316
<v Speaker 3>teenager where I wasn't working and touring and singing and

0:18:04.356 --> 0:18:06.276
<v Speaker 3>playing and doing the whole spiel.

0:18:07.116 --> 0:18:11.156
<v Speaker 2>And you know what it was, rat really you liked it?

0:18:11.396 --> 0:18:16.436
<v Speaker 3>Wow, my head didn't fall off, you know, our lives didn't,

0:18:16.716 --> 0:18:18.636
<v Speaker 3>you know, disintegrate into nothing.

0:18:18.716 --> 0:18:19.356
<v Speaker 1>It was nice.

0:18:19.396 --> 0:18:21.996
<v Speaker 3>I had time for a lot of other things, and

0:18:22.676 --> 0:18:25.796
<v Speaker 3>it's funny the travel part of it.

0:18:26.556 --> 0:18:29.716
<v Speaker 2>I was just talking to my manager Mark last night.

0:18:29.596 --> 0:18:32.636
<v Speaker 3>About how at a certain point it would be nice

0:18:33.876 --> 0:18:38.196
<v Speaker 3>to bow out from performing the way we perform before.

0:18:38.516 --> 0:18:42.196
<v Speaker 3>I can't because I love the travel and we fit

0:18:42.276 --> 0:18:45.756
<v Speaker 3>in the things that we want to But it's different

0:18:45.796 --> 0:18:47.516
<v Speaker 3>to be in a place for you know, we're going

0:18:47.556 --> 0:18:49.676
<v Speaker 3>to Paris. I'm gonna see my friends. I know all

0:18:49.676 --> 0:18:51.196
<v Speaker 3>the restaurants I want to go to, I know all

0:18:51.196 --> 0:18:52.756
<v Speaker 3>the things I want to do. But you got to

0:18:52.836 --> 0:18:55.356
<v Speaker 3>leave in two days. Yeah, yeah, yeah, and you have

0:18:55.436 --> 0:18:57.516
<v Speaker 3>a show. When I was a kid, I didn't care.

0:18:57.596 --> 0:19:01.236
<v Speaker 3>We would just party, go out, champagne, drugs, this that,

0:19:01.556 --> 0:19:05.396
<v Speaker 3>two days, do the gig, God, do the gig. You know,

0:19:05.596 --> 0:19:08.556
<v Speaker 3>like all one thing was so when you're young, you

0:19:08.596 --> 0:19:10.356
<v Speaker 3>can do it, you know what I mean.

0:19:10.676 --> 0:19:11.756
<v Speaker 2>I don't feel that now.

0:19:11.836 --> 0:19:14.956
<v Speaker 3>I'm really happy being in the Black Crows and really

0:19:15.116 --> 0:19:20.516
<v Speaker 3>fulfilling and satisfying and gratifying. But at a certain point,

0:19:20.716 --> 0:19:23.716
<v Speaker 3>I just want to take my wife and go to

0:19:23.796 --> 0:19:26.996
<v Speaker 3>Sicily and eat linguini and clams and like you know,

0:19:27.156 --> 0:19:29.876
<v Speaker 3>drink whie and you know, read Moby Dick for the

0:19:29.916 --> 0:19:31.196
<v Speaker 3>third time or whatever, you know.

0:19:31.196 --> 0:19:31.636
<v Speaker 2>What I mean.

0:19:32.276 --> 0:19:34.756
<v Speaker 3>I just want to just be a part of everything

0:19:34.756 --> 0:19:36.836
<v Speaker 3>going on. There's lots of places I have in traveled.

0:19:36.836 --> 0:19:38.876
<v Speaker 3>I haven't been to Africa. I've always wanted to go

0:19:38.876 --> 0:19:41.116
<v Speaker 3>to Africa, you know what I mean. That would be

0:19:41.236 --> 0:19:43.876
<v Speaker 3>nice to have some time to do that. And because

0:19:43.916 --> 0:19:47.076
<v Speaker 3>Africa is such a huge thing too, you know, I'm

0:19:47.116 --> 0:19:49.636
<v Speaker 3>really interested in West Africa. I'd like to go to

0:19:49.676 --> 0:19:52.636
<v Speaker 3>North Africa. Be cool to see the East Africa and

0:19:52.716 --> 0:19:53.516
<v Speaker 3>be good, you know what I mean.

0:19:53.636 --> 0:19:54.996
<v Speaker 1>What interest you in West Africa?

0:19:55.156 --> 0:19:55.676
<v Speaker 2>I don't know.

0:19:55.756 --> 0:19:58.836
<v Speaker 3>I think maybe it has something to do just with

0:19:58.916 --> 0:20:01.636
<v Speaker 3>the I mean, I love North African music, but there's

0:20:01.956 --> 0:20:04.596
<v Speaker 3>you know, a lot of those West African music could

0:20:04.676 --> 0:20:09.276
<v Speaker 3>be because of the horrors of mankind and the horrors.

0:20:08.876 --> 0:20:09.956
<v Speaker 2>Of the slave trade.

0:20:10.436 --> 0:20:15.756
<v Speaker 3>Human beings found away somehow through the vileness of that,

0:20:16.516 --> 0:20:19.716
<v Speaker 3>to communicate and share things in art.

0:20:19.596 --> 0:20:21.476
<v Speaker 2>And music, cuisine.

0:20:21.836 --> 0:20:25.436
<v Speaker 3>So many African parts of especially in the Deep South,

0:20:25.556 --> 0:20:29.316
<v Speaker 3>and people wouldn't they don't even know they're they're under

0:20:29.436 --> 0:20:33.956
<v Speaker 3>edicated anyway. But with these things, you know, it's like, oh,

0:20:34.036 --> 0:20:39.036
<v Speaker 3>every Southern person loves the fried Okra, but Okra came

0:20:39.076 --> 0:20:39.676
<v Speaker 3>over from.

0:20:39.476 --> 0:20:43.236
<v Speaker 2>Africa, you know, right before that, Okrah came from India

0:20:43.276 --> 0:20:43.756
<v Speaker 2>to Africa.

0:20:43.876 --> 0:20:47.356
<v Speaker 3>So just dumb things like that, plants and fruits, vegetables,

0:20:48.196 --> 0:20:52.156
<v Speaker 3>natural things and supernatural things that were brought over that

0:20:52.156 --> 0:20:55.196
<v Speaker 3>could never be extingued with. And I just have some

0:20:55.276 --> 0:20:56.876
<v Speaker 3>sort of and I don't even know what it is

0:20:56.916 --> 0:21:00.676
<v Speaker 3>because I'm not obviously that knowledgeable as other people. But

0:21:00.716 --> 0:21:03.036
<v Speaker 3>I can put a few things together and realize, you know,

0:21:03.476 --> 0:21:07.756
<v Speaker 3>so much of the music, singing, rhythm things, guitar things,

0:21:07.836 --> 0:21:11.676
<v Speaker 3>especially string things come from a West African musical tradition

0:21:12.156 --> 0:21:15.596
<v Speaker 3>that represents like this African mysticism and magic as well

0:21:16.076 --> 0:21:20.476
<v Speaker 3>that manifest when people express themselves vocally and rhythmically and

0:21:20.516 --> 0:21:23.996
<v Speaker 3>with melody and things, you know, like a simple of

0:21:24.076 --> 0:21:27.076
<v Speaker 3>something like a string guitar. And that is something that

0:21:27.116 --> 0:21:30.916
<v Speaker 3>would draw me there first, be that in a first

0:21:30.956 --> 0:21:33.116
<v Speaker 3>person and see what it feels like for me as

0:21:33.156 --> 0:21:36.756
<v Speaker 3>a real outsider. Yeah, outside your culture is important to me,

0:21:36.876 --> 0:21:40.916
<v Speaker 3>just because of whether my dyslexia or just whatever my tastes,

0:21:40.996 --> 0:21:44.116
<v Speaker 3>and where I would find the things in life that

0:21:44.156 --> 0:21:46.916
<v Speaker 3>are interesting that make me happy, things that I can

0:21:47.036 --> 0:21:49.836
<v Speaker 3>understand or help me for things that I don't understand.

0:21:49.836 --> 0:21:51.316
<v Speaker 2>To understand, you know, so.

0:21:51.276 --> 0:21:52.636
<v Speaker 3>A lot of that you have to kind of just

0:21:52.756 --> 0:21:56.156
<v Speaker 3>vibe out viscerally fine, and I would be curious to

0:21:56.196 --> 0:21:57.116
<v Speaker 3>see what it feels like.

0:21:57.636 --> 0:22:00.796
<v Speaker 1>Yeah, Wow, we've gone from like psychedelic Q Houser or

0:22:00.796 --> 0:22:06.676
<v Speaker 1>like psychedelic like Anthony Bourdain or some shit. I've gone global.

0:22:06.716 --> 0:22:09.556
<v Speaker 2>Now call my agent. I'm down to do this job.

0:22:10.076 --> 0:22:13.036
<v Speaker 1>That's amazing, man. I want to check out like Robert

0:22:13.116 --> 0:22:15.316
<v Speaker 1>Plant goes to rock O Goo.

0:22:15.916 --> 0:22:19.516
<v Speaker 3>Yeah, he loves the Sufi music and the North African music.

0:22:19.876 --> 0:22:20.236
<v Speaker 1>Yeah.

0:22:20.236 --> 0:22:22.156
<v Speaker 3>And it's funny because I have this app where you

0:22:22.156 --> 0:22:24.476
<v Speaker 3>can listen to radio stations all over the world. But

0:22:24.556 --> 0:22:26.716
<v Speaker 3>it's like, wow, right on, man, I want to listen

0:22:26.716 --> 0:22:30.316
<v Speaker 3>to some like rad Cambodia music, It's like, uh, it's Nicki.

0:22:30.036 --> 0:22:31.436
<v Speaker 2>Minaj like everywhere else.

0:22:31.676 --> 0:22:32.796
<v Speaker 3>I know.

0:22:32.836 --> 0:22:34.556
<v Speaker 1>That's that's kind of a bummer about radio.

0:22:35.076 --> 0:22:36.916
<v Speaker 2>I mean, it's like, which is cool.

0:22:36.996 --> 0:22:39.596
<v Speaker 3>I'm not bagging Nicki Minads, but I'm like, I'm thinking

0:22:39.636 --> 0:22:42.436
<v Speaker 3>I'm gonna like get hip to some thing I've never heard,

0:22:42.436 --> 0:22:44.916
<v Speaker 3>some regional vibes or whatever.

0:22:44.796 --> 0:22:48.116
<v Speaker 2>And it's like, oh, it's the same shit they're playing here.

0:22:48.396 --> 0:22:51.756
<v Speaker 1>Is it that radio app like, yeah, oh so cool.

0:22:51.796 --> 0:22:54.156
<v Speaker 3>But there's some in Morocco. And then there's a certain

0:22:54.236 --> 0:22:57.316
<v Speaker 3>kind of music that the horrors of things. There was

0:22:57.356 --> 0:22:59.796
<v Speaker 3>a slave trade in Africa for a long time too,

0:23:00.036 --> 0:23:03.076
<v Speaker 3>the you know within in Africa, and they're bringing Sub

0:23:03.116 --> 0:23:07.196
<v Speaker 3>Saharan Africans to North Africa. But a great musical art

0:23:07.236 --> 0:23:09.596
<v Speaker 3>form is born from it that still exists, and there's

0:23:09.636 --> 0:23:13.156
<v Speaker 3>whole radio stations that play it and they're basically a

0:23:13.196 --> 0:23:16.796
<v Speaker 3>living blues. It's the same tradition of like the pain

0:23:16.876 --> 0:23:19.676
<v Speaker 3>and suffering of the blues that these people brought with them.

0:23:19.956 --> 0:23:23.636
<v Speaker 2>It still lives today and it's now celebrated as rebel songs. Almost.

0:23:23.956 --> 0:23:26.276
<v Speaker 1>Yeah, it's like those North African like guitar but I

0:23:26.276 --> 0:23:27.196
<v Speaker 1>don't know how to pronounce.

0:23:26.916 --> 0:23:29.596
<v Speaker 2>Their names, but like or something.

0:23:29.756 --> 0:23:30.516
<v Speaker 1>Yeah, right.

0:23:31.276 --> 0:23:33.476
<v Speaker 2>I saw their first show in New York many years ago.

0:23:33.796 --> 0:23:37.436
<v Speaker 3>Really, I love that music, and I love Sudanese music,

0:23:37.796 --> 0:23:41.436
<v Speaker 3>and then you go over. I love Persian classical music,

0:23:41.676 --> 0:23:46.516
<v Speaker 3>I love from Afghanistan, and I love Turkish music. You know,

0:23:46.636 --> 0:23:51.036
<v Speaker 3>I really have a lot of diverse interest in things

0:23:51.076 --> 0:23:51.516
<v Speaker 3>like that.

0:23:52.516 --> 0:23:54.916
<v Speaker 1>After this last break, we'll be back with more of

0:23:54.996 --> 0:24:01.796
<v Speaker 1>Chris Robinson We're back with the rest of my conversation

0:24:02.116 --> 0:24:06.596
<v Speaker 1>with Chris Robinson within the Crows. Like maybe, like with

0:24:06.636 --> 0:24:09.716
<v Speaker 1>your brother, for instance, does he have a similar music palette.

0:24:10.036 --> 0:24:11.556
<v Speaker 2>I think he has an appreciation.

0:24:11.756 --> 0:24:14.356
<v Speaker 3>I don't think his palette is as wide as mine,

0:24:14.836 --> 0:24:17.156
<v Speaker 3>and he would admit that I'm not, you know. He

0:24:17.276 --> 0:24:20.836
<v Speaker 3>always said like growing up, like Chris would bring back

0:24:21.836 --> 0:24:24.276
<v Speaker 3>way more records than I would listen to, or some

0:24:24.356 --> 0:24:26.476
<v Speaker 3>I wouldn't be interested in, but I got to he

0:24:26.516 --> 0:24:29.676
<v Speaker 3>could be able to cherry pick what he liked, and

0:24:29.716 --> 0:24:34.876
<v Speaker 3>he loves classical Indian music. I listened to like Mesopotamium,

0:24:35.116 --> 0:24:37.396
<v Speaker 3>sheep Herder music and stuff, you know what I mean.

0:24:37.476 --> 0:24:39.596
<v Speaker 3>Like I'm really into a lot of different things.

0:24:39.716 --> 0:24:41.836
<v Speaker 1>Do you listen to that stuff more than like rock

0:24:41.876 --> 0:24:43.476
<v Speaker 1>and roll? Like you'd rather reach for that than a

0:24:43.516 --> 0:24:44.196
<v Speaker 1>Stones record?

0:24:44.396 --> 0:24:47.196
<v Speaker 2>Yeah, I listened to all day long.

0:24:47.756 --> 0:24:50.356
<v Speaker 3>Like I like to start the morning with something mellow.

0:24:51.116 --> 0:24:55.196
<v Speaker 3>We'll listen to a lot of Indian classical music. Or personally,

0:24:55.356 --> 0:24:57.516
<v Speaker 3>I like to start my mornings with the group late

0:24:57.556 --> 0:25:01.156
<v Speaker 3>great Ben Webster or some think Lester Young. I love

0:25:01.196 --> 0:25:04.356
<v Speaker 3>the pres you know, but we also love rossn Roland Kirk.

0:25:04.116 --> 0:25:06.396
<v Speaker 2>And we love the Loneus Monk, and we love.

0:25:06.276 --> 0:25:09.556
<v Speaker 3>Bobby Timid, but we listened to a lot of as

0:25:10.236 --> 0:25:14.476
<v Speaker 3>we listened to a lot of blues, country, R M B, funk, soul,

0:25:14.716 --> 0:25:19.756
<v Speaker 3>rock and roll, punk music, post punk music, electronic.

0:25:20.196 --> 0:25:21.076
<v Speaker 2>Rossa music.

0:25:21.196 --> 0:25:25.396
<v Speaker 4>You know, share your Spotify right now, Share that Spotify trying.

0:25:25.156 --> 0:25:28.836
<v Speaker 3>To I don't have Spotify envy, man, You know, like,

0:25:30.036 --> 0:25:32.756
<v Speaker 3>I'm just obsessed, you know what I mean? And my

0:25:32.916 --> 0:25:37.436
<v Speaker 3>obsessions maybe made me way more difficult as a youth

0:25:37.476 --> 0:25:42.316
<v Speaker 3>in the music business because I also associated a certain authenticity, passion,

0:25:42.396 --> 0:25:45.556
<v Speaker 3>and purity to my obsessions and what I wanted to say.

0:25:45.676 --> 0:25:47.916
<v Speaker 2>But I also have a waking life with music that

0:25:47.996 --> 0:25:49.036
<v Speaker 2>has nothing to do with.

0:25:48.916 --> 0:25:51.876
<v Speaker 3>Me making music or being a musician. Yeah, those things

0:25:51.916 --> 0:25:56.276
<v Speaker 3>are simpatico. But I'm sure it's annoying. I'm the guy

0:25:56.276 --> 0:25:59.316
<v Speaker 3>who I get the car to drive down to eat

0:25:59.396 --> 0:26:01.196
<v Speaker 3>dinner in West Holly and I'm like, hey, man, can

0:26:01.196 --> 0:26:02.276
<v Speaker 3>I play the Spotify?

0:26:02.756 --> 0:26:04.556
<v Speaker 1>Oh yeah in the car, dude. I got to stick

0:26:04.596 --> 0:26:07.636
<v Speaker 1>out of a sushi spot one time because I asked

0:26:07.676 --> 0:26:11.196
<v Speaker 1>them to change the music, and then they opened the

0:26:11.236 --> 0:26:13.516
<v Speaker 1>same sushi spot across town. So we tried to go

0:26:13.556 --> 0:26:15.676
<v Speaker 1>there a year and a half later turned the same

0:26:15.756 --> 0:26:18.516
<v Speaker 1>lady with something else. She's like, you look familiar. I

0:26:18.556 --> 0:26:20.196
<v Speaker 1>was like, I don't know. I don't know. No, no, no,

0:26:20.356 --> 0:26:21.916
<v Speaker 1>I wasn't. So did you ask me to turn off

0:26:21.916 --> 0:26:23.876
<v Speaker 1>the music? One time? I was like no, no, no, no,

0:26:23.876 --> 0:26:25.116
<v Speaker 1>it must have been my brother. I don't know.

0:26:25.156 --> 0:26:27.476
<v Speaker 2>It wasn't me, Like, hey day, so I saw she's

0:26:27.516 --> 0:26:28.276
<v Speaker 2>not coming in here.

0:26:28.676 --> 0:26:31.916
<v Speaker 1>You know. They weren't happy, but I was just changed it.

0:26:31.996 --> 0:26:33.636
<v Speaker 1>I could tell. It wasn't like pre pro It's like,

0:26:33.796 --> 0:26:35.676
<v Speaker 1>it's all you're on serious or some shit. Just just

0:26:35.956 --> 0:26:37.516
<v Speaker 1>change the station, I sall I'm asking.

0:26:37.756 --> 0:26:38.916
<v Speaker 2>I'm just always you know what I mean.

0:26:38.956 --> 0:26:42.996
<v Speaker 3>I've just been adventurous and things I can access what

0:26:43.276 --> 0:26:44.716
<v Speaker 3>makes things.

0:26:44.316 --> 0:26:47.116
<v Speaker 2>Interesting to me. But I do that with with a

0:26:47.156 --> 0:26:47.796
<v Speaker 2>lot of art.

0:26:47.836 --> 0:26:50.996
<v Speaker 3>I do that not with music, but with literature, cinema,

0:26:51.076 --> 0:26:53.516
<v Speaker 3>most definitely comedy as well.

0:26:54.156 --> 0:26:55.876
<v Speaker 1>So it's all that going through your mind as you're

0:26:55.876 --> 0:26:58.636
<v Speaker 1>writing lyrics for the Crows or for your other groups.

0:26:58.956 --> 0:27:02.676
<v Speaker 2>I imagine, yeah, I imagine it's something. It's all in there.

0:27:02.716 --> 0:27:05.396
<v Speaker 3>But I think when it's time to focus, like on

0:27:05.436 --> 0:27:06.836
<v Speaker 3>writing a lyric or whatever.

0:27:07.316 --> 0:27:09.836
<v Speaker 2>I've written songs with other people. I've written many songs

0:27:09.876 --> 0:27:10.436
<v Speaker 2>on my own.

0:27:11.476 --> 0:27:15.236
<v Speaker 3>The thing that is the Black Crows is Rich and

0:27:15.276 --> 0:27:16.956
<v Speaker 3>ize contribution together.

0:27:17.516 --> 0:27:21.276
<v Speaker 2>You know, Rich, whatever he's coming from, will play me something.

0:27:21.716 --> 0:27:24.276
<v Speaker 3>There's a lot of psychic energy involved in it as well,

0:27:24.556 --> 0:27:27.996
<v Speaker 3>and music is a great conduit to open those kind

0:27:27.996 --> 0:27:29.036
<v Speaker 3>of psychic channels.

0:27:29.156 --> 0:27:30.836
<v Speaker 1>And do you go into it with that intention? Like

0:27:30.916 --> 0:27:32.756
<v Speaker 1>do you have to set out to do that or

0:27:32.796 --> 0:27:33.276
<v Speaker 1>is it happen?

0:27:33.476 --> 0:27:35.676
<v Speaker 3>I think there's other musicians who can do the fucking

0:27:35.796 --> 0:27:38.236
<v Speaker 3>math and know all the shit and they do another thing.

0:27:38.396 --> 0:27:41.276
<v Speaker 3>I've only ever been able to access it this way,

0:27:41.716 --> 0:27:44.756
<v Speaker 3>got it my process because of however, because we didn't

0:27:44.796 --> 0:27:47.596
<v Speaker 3>learn music, we don't know shit about music.

0:27:48.156 --> 0:27:50.636
<v Speaker 2>I don't read music. Rich doesn't read music.

0:27:50.996 --> 0:27:53.236
<v Speaker 3>But we know what it feels like and we know

0:27:53.316 --> 0:27:55.516
<v Speaker 3>what sounds right, and then you keep doing that.

0:27:55.916 --> 0:27:58.236
<v Speaker 2>Of course, through that your vocabulary is bigger.

0:27:58.276 --> 0:28:00.436
<v Speaker 3>But we maybe are using different words than people who

0:28:00.476 --> 0:28:03.836
<v Speaker 3>are more knowledgeable about the inner workings and mathematics the

0:28:03.876 --> 0:28:05.076
<v Speaker 3>arithmetic of music.

0:28:05.396 --> 0:28:07.796
<v Speaker 2>Yeah, that has escaped us.

0:28:07.676 --> 0:28:10.596
<v Speaker 3>But I think it's also in our that makes it

0:28:10.676 --> 0:28:12.476
<v Speaker 3>folk and that makes you know what I mean, there's

0:28:12.516 --> 0:28:15.876
<v Speaker 3>some sort of that's why we look at it more

0:28:15.996 --> 0:28:18.596
<v Speaker 3>and like it's kind of magic when a song happens

0:28:18.636 --> 0:28:19.236
<v Speaker 3>out of the blue.

0:28:19.356 --> 0:28:20.956
<v Speaker 2>One minute, there's nothing.

0:28:20.996 --> 0:28:23.636
<v Speaker 3>One little thing like this, and then I get an idea,

0:28:24.076 --> 0:28:26.676
<v Speaker 3>and then that changes what Rich is doing, and then

0:28:26.756 --> 0:28:29.956
<v Speaker 3>it's all dictated by whatever the vibe is that Rich

0:28:29.996 --> 0:28:33.716
<v Speaker 3>plays me. There's an emotional ingredient to what he plays me,

0:28:34.196 --> 0:28:36.356
<v Speaker 3>like our probably the most famous song, as she Talks

0:28:36.396 --> 0:28:36.956
<v Speaker 3>to Angels.

0:28:37.236 --> 0:28:38.116
<v Speaker 2>He wrote that song.

0:28:38.156 --> 0:28:40.316
<v Speaker 3>He was very young with the riff, and then we

0:28:40.356 --> 0:28:42.356
<v Speaker 3>probably didn't get to it till like a year later,

0:28:42.436 --> 0:28:44.916
<v Speaker 3>when but we would be playing things around mom and

0:28:44.996 --> 0:28:45.476
<v Speaker 3>Dad's house.

0:28:45.556 --> 0:28:46.916
<v Speaker 1>He's like seventeen when he wrote that.

0:28:47.116 --> 0:28:49.036
<v Speaker 2>Yeah, I would be nineteen.

0:28:49.396 --> 0:28:52.036
<v Speaker 3>So there's something about the way he pulls that first

0:28:52.076 --> 0:28:55.476
<v Speaker 3>in and that would just put me in a place

0:28:55.596 --> 0:28:58.756
<v Speaker 3>to write a song with that kind of dark, romantic,

0:29:00.076 --> 0:29:03.516
<v Speaker 3>melancholy imagery. But we do that today, and we do that,

0:29:04.076 --> 0:29:06.956
<v Speaker 3>I think, especially if we get around to where we're

0:29:06.996 --> 0:29:08.436
<v Speaker 3>going right now with.

0:29:08.476 --> 0:29:10.356
<v Speaker 2>This Happiness Asters record and stuff.

0:29:10.356 --> 0:29:13.236
<v Speaker 3>I mean, I think that's that's exactly what we've done

0:29:13.316 --> 0:29:15.036
<v Speaker 3>with this. I mean, there's a lot more rock and

0:29:15.116 --> 0:29:18.076
<v Speaker 3>roll on it. There's a lot more water under the bridge.

0:29:18.076 --> 0:29:22.156
<v Speaker 3>We've lived a lot personally, I'm one of those people,

0:29:22.516 --> 0:29:26.236
<v Speaker 3>and I have two children and we want everything to

0:29:26.316 --> 0:29:30.076
<v Speaker 3>be the best. But I'm also not afraid of adversity

0:29:30.196 --> 0:29:32.596
<v Speaker 3>because I don't think you should be afraid of something

0:29:32.636 --> 0:29:35.716
<v Speaker 3>that you have to find acceptance with, you know what

0:29:35.796 --> 0:29:38.356
<v Speaker 3>I mean, Because it doesn't matter who you are, what

0:29:38.436 --> 0:29:41.196
<v Speaker 3>you do, if you do it to yourself, if someone's

0:29:41.236 --> 0:29:43.476
<v Speaker 3>doing it to you, if you have the means, if

0:29:43.476 --> 0:29:44.716
<v Speaker 3>you don't have the means.

0:29:45.076 --> 0:29:46.996
<v Speaker 2>No one escapes adversity.

0:29:46.676 --> 0:29:48.556
<v Speaker 3>And it changes, you know what I mean, how we

0:29:48.636 --> 0:29:51.836
<v Speaker 3>deal with it. The great energy and power of youth

0:29:51.876 --> 0:29:53.556
<v Speaker 3>and where we came from in rock and roll was

0:29:53.596 --> 0:29:55.836
<v Speaker 3>the anger, the fuck you part of it.

0:29:55.956 --> 0:29:57.116
<v Speaker 1>Yeah, even with each other.

0:29:57.516 --> 0:29:59.196
<v Speaker 2>Yeah yeah, but that boils into that.

0:29:59.436 --> 0:30:04.116
<v Speaker 3>Yeah, I mean it's like live fire, you know, and like,

0:30:04.236 --> 0:30:07.236
<v Speaker 3>but it's also a great if you can get that

0:30:07.396 --> 0:30:09.716
<v Speaker 3>into dude, and you can get this and.

0:30:09.676 --> 0:30:10.476
<v Speaker 1>Get it on there.

0:30:11.276 --> 0:30:13.356
<v Speaker 3>You know, we weren't clever enough to do the math.

0:30:13.436 --> 0:30:15.596
<v Speaker 3>We were only clever enough to wear our emotions on

0:30:15.636 --> 0:30:16.236
<v Speaker 3>our sleeves.

0:30:16.276 --> 0:30:18.516
<v Speaker 1>Did your parents pick up on you guys's tension?

0:30:19.036 --> 0:30:23.276
<v Speaker 3>Yes, I mean, fuck, I mean even more so probably

0:30:23.316 --> 0:30:25.796
<v Speaker 3>the older we would get, but they weren't around when

0:30:25.796 --> 0:30:28.276
<v Speaker 3>it was like for some reason, you know, we he

0:30:28.356 --> 0:30:30.036
<v Speaker 3>had his own bedroom. I had my own bedroom when

0:30:30.036 --> 0:30:32.636
<v Speaker 3>we lived in the suburbs, and I had like a

0:30:32.676 --> 0:30:35.516
<v Speaker 3>twin bed and a desk, stereo whatever.

0:30:35.716 --> 0:30:37.556
<v Speaker 2>Rich I had like a queen size beddings room for

0:30:37.596 --> 0:30:38.036
<v Speaker 2>some reason.

0:30:38.036 --> 0:30:40.516
<v Speaker 3>I don't know why we ever got that, but it

0:30:40.596 --> 0:30:42.436
<v Speaker 3>was funny because when we were kids, and it would

0:30:42.476 --> 0:30:45.676
<v Speaker 3>be like if we started getting annoyed, we'd have this

0:30:45.796 --> 0:30:48.236
<v Speaker 3>game where we'd both get on the bed and he'd

0:30:48.276 --> 0:30:51.516
<v Speaker 3>be like, I'm mad Max and I'm like I'm Snake

0:30:51.596 --> 0:30:55.076
<v Speaker 3>plisktt and then we would like see who could who

0:30:55.156 --> 0:30:57.516
<v Speaker 3>would win in a fight, Mad Max or Snake clisk

0:30:57.516 --> 0:30:59.956
<v Speaker 3>getting like whoever could like fucking throw the other one

0:30:59.956 --> 0:31:00.316
<v Speaker 3>off the.

0:31:00.236 --> 0:31:01.436
<v Speaker 2>Bed was like the winner.

0:31:01.556 --> 0:31:05.036
<v Speaker 1>Listen. Snake always was in that got a.

0:31:04.996 --> 0:31:07.716
<v Speaker 3>Batch on the eye, fucking cool outfit. I was like,

0:31:08.436 --> 0:31:11.556
<v Speaker 3>my motherfucker there, you know, yeah, but like dumb show

0:31:11.636 --> 0:31:13.516
<v Speaker 3>like that. And then we've said it before, but we

0:31:13.676 --> 0:31:16.436
<v Speaker 3>fought brothers fight, but we would never punch each other

0:31:16.476 --> 0:31:19.116
<v Speaker 3>in the face. We would hit each other bodyguards, throws

0:31:19.276 --> 0:31:22.996
<v Speaker 3>at each other, try to strangle each other nothing from

0:31:23.036 --> 0:31:23.716
<v Speaker 3>the neck up.

0:31:24.356 --> 0:31:24.916
<v Speaker 1>It was weird.

0:31:24.996 --> 0:31:27.396
<v Speaker 2>I don't know that rule always applied.

0:31:27.196 --> 0:31:32.836
<v Speaker 1>Unspoken, unwritten. Just yeah, as if that makes.

0:31:32.636 --> 0:31:35.076
<v Speaker 2>It like worse than all the other cruel shit.

0:31:36.116 --> 0:31:37.956
<v Speaker 1>I love it, man, I love it. Snake doesn't need

0:31:38.036 --> 0:31:41.836
<v Speaker 1>muscles though, it's just being a pure badass is sometimes enough.

0:31:42.116 --> 0:31:44.156
<v Speaker 3>Yeah, they couldn't stop, you know what I mean? The

0:31:44.196 --> 0:31:46.756
<v Speaker 3>crazies come out from under the street. He gets away

0:31:46.796 --> 0:31:50.436
<v Speaker 3>from all of them, didn't matter. Great soundtrack to that,

0:31:50.676 --> 0:31:53.356
<v Speaker 3>amazing soundtrack. John Convererter is always a favorite.

0:31:53.356 --> 0:31:56.356
<v Speaker 2>One is a movie he made called, uh is it

0:31:56.436 --> 0:31:58.836
<v Speaker 2>called The Prince of Darkness? You know that movie? I

0:31:58.876 --> 0:32:01.436
<v Speaker 2>don't know that one part of the trilogy he did that.

0:32:01.556 --> 0:32:05.196
<v Speaker 3>I think that Escape from New York, Prince of Darkness

0:32:05.236 --> 0:32:06.996
<v Speaker 3>and maybe they See or whatever.

0:32:07.116 --> 0:32:09.036
<v Speaker 2>I think those are like a trilogy he made.

0:32:09.516 --> 0:32:11.716
<v Speaker 3>But Prince of Darkness is a really cool movie, like

0:32:11.716 --> 0:32:13.956
<v Speaker 3>in this weird church in Oakland or whatever it is,

0:32:13.996 --> 0:32:17.196
<v Speaker 3>like where evil is and like this liquid container and

0:32:17.236 --> 0:32:19.196
<v Speaker 3>like these people find it's really deep.

0:32:19.276 --> 0:32:19.436
<v Speaker 1>Man.

0:32:19.756 --> 0:32:22.076
<v Speaker 2>But the sound that one's really I listened to it

0:32:22.156 --> 0:32:22.756
<v Speaker 2>all the time.

0:32:23.276 --> 0:32:26.556
<v Speaker 1>I missed that one. I like Assault on Precinct thirteen.

0:32:26.676 --> 0:32:31.716
<v Speaker 3>That soundtracks amazing, very far ahead of his time, actually.

0:32:31.596 --> 0:32:33.636
<v Speaker 1>Way ahead of his time. It sounds like, what's you know,

0:32:33.716 --> 0:32:37.076
<v Speaker 1>like a lot of like electronic composers would now go

0:32:37.156 --> 0:32:38.676
<v Speaker 1>for is he from Kentucky?

0:32:38.836 --> 0:32:42.356
<v Speaker 3>I think originally is from Kentucky. It's like if Tangerine

0:32:42.476 --> 0:32:47.316
<v Speaker 3>Dream were from Kentucky. Yeah, yeah, right, Tangerine Dream is

0:32:47.356 --> 0:32:50.876
<v Speaker 3>from Kentucky. Maybe they just call that like Pineapple upside

0:32:50.916 --> 0:32:52.036
<v Speaker 3>down cake Dreamers.

0:32:54.356 --> 0:32:55.796
<v Speaker 1>How do you feel with the new record? I think

0:32:55.796 --> 0:32:56.516
<v Speaker 1>it sounds amazing.

0:32:56.596 --> 0:32:57.636
<v Speaker 2>Yeah, we're very happy.

0:32:57.836 --> 0:33:01.036
<v Speaker 3>I think we were really focused on what we wanted

0:33:01.116 --> 0:33:03.916
<v Speaker 3>the record to be, touring the last few years and

0:33:04.036 --> 0:33:07.476
<v Speaker 3>doing the Shake Your Money Maker show. At first, I

0:33:07.596 --> 0:33:10.916
<v Speaker 3>was a little bit I had a little trepidation about it,

0:33:10.956 --> 0:33:11.676
<v Speaker 3>just because.

0:33:11.356 --> 0:33:13.316
<v Speaker 2>I was like, Oh, isn't that what other bands.

0:33:13.116 --> 0:33:16.476
<v Speaker 3>Kind of get into sometimes, is playing their most popular

0:33:16.516 --> 0:33:19.316
<v Speaker 3>record or whatever. Yeah, But once I thought about it,

0:33:19.356 --> 0:33:21.876
<v Speaker 3>and I thought, Yo, don't think about it, just do it.

0:33:21.996 --> 0:33:24.516
<v Speaker 3>This is important record to you know, this is where

0:33:24.556 --> 0:33:28.076
<v Speaker 3>it all begins for us, and let's revisit it.

0:33:28.156 --> 0:33:28.716
<v Speaker 2>Let's see what.

0:33:28.716 --> 0:33:33.156
<v Speaker 3>Happens if we remove ourselves from the way of thinking before.

0:33:33.356 --> 0:33:35.276
<v Speaker 2>You know, why did I think that was dumb? Maybe

0:33:35.276 --> 0:33:37.036
<v Speaker 2>it's not dumb. Maybe there's something there.

0:33:37.076 --> 0:33:39.236
<v Speaker 3>And I think part of where the Black Crows are

0:33:39.276 --> 0:33:42.476
<v Speaker 3>today is getting out of our way and you know,

0:33:42.556 --> 0:33:44.516
<v Speaker 3>don't think it, do it, and then you'll have more

0:33:44.516 --> 0:33:48.876
<v Speaker 3>information about what works and what doesn't. And it was fantastic,

0:33:49.076 --> 0:33:51.756
<v Speaker 3>and that was kind of the impetus to get us

0:33:51.796 --> 0:33:55.916
<v Speaker 3>to like a real focus, up tempo rock and roll

0:33:55.956 --> 0:33:59.676
<v Speaker 3>record that hits all the notes. I think that we

0:33:59.916 --> 0:34:03.756
<v Speaker 3>finally didn't have the perspective to know what the Black

0:34:03.796 --> 0:34:07.756
<v Speaker 3>Crows sound like, and to me, happens Bastards is like

0:34:07.796 --> 0:34:10.356
<v Speaker 3>an arrow pointed towards the future for us of what

0:34:10.516 --> 0:34:13.516
<v Speaker 3>the Black Crows could be. And once we work with

0:34:13.596 --> 0:34:15.916
<v Speaker 3>a guy like Jay Joyce who produced the record, who's

0:34:16.076 --> 0:34:20.556
<v Speaker 3>very successful, popular producer, We've never really worked.

0:34:20.356 --> 0:34:21.876
<v Speaker 2>With like a super producer like that.

0:34:22.276 --> 0:34:24.996
<v Speaker 3>And you know, we met so many talented people and

0:34:25.116 --> 0:34:26.636
<v Speaker 3>had so many great conversations.

0:34:26.716 --> 0:34:27.956
<v Speaker 2>There's just something about Jay.

0:34:28.636 --> 0:34:31.796
<v Speaker 3>Well, first off, we felt like this guy not only

0:34:31.836 --> 0:34:33.996
<v Speaker 3>can we get him, but he could get us, and

0:34:34.476 --> 0:34:38.076
<v Speaker 3>we're incapable of doing something that we don't feel is sincere,

0:34:38.596 --> 0:34:41.996
<v Speaker 3>sincere to us of what we want to do and.

0:34:41.956 --> 0:34:42.796
<v Speaker 2>How it sounds.

0:34:42.876 --> 0:34:45.556
<v Speaker 3>And of course when he comes on board, he started

0:34:45.596 --> 0:34:48.676
<v Speaker 3>to help shape the songs as well, like all right,

0:34:48.716 --> 0:34:51.156
<v Speaker 3>we have a discussion about what I think the record

0:34:51.196 --> 0:34:54.116
<v Speaker 3>should be. What's the concept in a sense, I mean,

0:34:54.156 --> 0:34:57.716
<v Speaker 3>you can't do it one hundred percent because it's music

0:34:57.756 --> 0:34:59.996
<v Speaker 3>and things change. But if that's what we're going for.

0:35:00.076 --> 0:35:02.796
<v Speaker 3>And so he you know, we have a bunch of songs.

0:35:02.836 --> 0:35:05.996
<v Speaker 3>He comes in, tells us what he likes about these songs.

0:35:06.076 --> 0:35:08.236
<v Speaker 3>We go back work on some songs, write some new

0:35:08.276 --> 0:35:11.276
<v Speaker 3>ones again as we're in the studio making the record.

0:35:11.476 --> 0:35:13.236
<v Speaker 3>It only took us two and a half weeks to

0:35:13.236 --> 0:35:13.916
<v Speaker 3>make the record.

0:35:14.036 --> 0:35:16.436
<v Speaker 1>That's quick. Yeah, yeah, it has an energy.

0:35:16.796 --> 0:35:17.956
<v Speaker 2>It has to be that way.

0:35:18.476 --> 0:35:20.396
<v Speaker 3>Like I said, we're not the kind of people to

0:35:21.276 --> 0:35:24.116
<v Speaker 3>what are we doing, you know, and what are we selling?

0:35:24.556 --> 0:35:27.396
<v Speaker 3>What do we want people to get from this? What

0:35:27.476 --> 0:35:28.956
<v Speaker 3>are we putting out there in the world. And we

0:35:28.996 --> 0:35:31.516
<v Speaker 3>haven't made a record long time. Basically you got to, like,

0:35:31.676 --> 0:35:33.476
<v Speaker 3>you know, put your money where your mouth is and

0:35:33.516 --> 0:35:35.116
<v Speaker 3>if you're going to say this is what you are,

0:35:35.156 --> 0:35:35.476
<v Speaker 3>then it.

0:35:35.476 --> 0:35:38.716
<v Speaker 2>Better fucking sound like that. Yeah, And I've made a

0:35:38.716 --> 0:35:39.316
<v Speaker 2>record in so.

0:35:39.276 --> 0:35:41.796
<v Speaker 3>Long and we've been talking about it, we've been proving

0:35:41.796 --> 0:35:44.356
<v Speaker 3>it every night on tour of like what the presentation is,

0:35:44.396 --> 0:35:47.876
<v Speaker 3>what the vibes are, what the band sounds like we're rich,

0:35:47.916 --> 0:35:50.876
<v Speaker 3>and I are, but we're playing old songs and we're

0:35:50.916 --> 0:35:53.556
<v Speaker 3>playing songs people know, and now to do it with

0:35:53.796 --> 0:35:57.916
<v Speaker 3>something new. But after all the talk about we're a

0:35:57.956 --> 0:36:00.716
<v Speaker 3>rock and roll band, this is where we're doing this.

0:36:00.876 --> 0:36:03.796
<v Speaker 3>We're in a good place, we're creative. But then you

0:36:03.836 --> 0:36:04.516
<v Speaker 3>have to do it.

0:36:04.876 --> 0:36:06.956
<v Speaker 1>Yeah, do you think you could go out and play

0:36:07.316 --> 0:36:08.876
<v Speaker 1>when you go out on tour. You're going on tour,

0:36:08.916 --> 0:36:12.036
<v Speaker 1>se could you play a lot of this album or

0:36:12.076 --> 0:36:14.476
<v Speaker 1>do you do you feel you have to do a

0:36:14.476 --> 0:36:15.076
<v Speaker 1>lot of the old sung?

0:36:15.396 --> 0:36:17.076
<v Speaker 2>I mean that's the purpose of the tour.

0:36:17.276 --> 0:36:21.236
<v Speaker 3>And we've gone from bigger venues to a little smaller

0:36:21.276 --> 0:36:23.956
<v Speaker 3>because we know, you know, there's always going to be

0:36:23.956 --> 0:36:25.876
<v Speaker 3>someone like this is our new single and they go to.

0:36:25.876 --> 0:36:26.796
<v Speaker 2>The bathroom or whatever.

0:36:27.236 --> 0:36:29.516
<v Speaker 1>Yeah, well you want to play the new record, like

0:36:29.516 --> 0:36:30.276
<v Speaker 1>that's the point of this.

0:36:30.476 --> 0:36:32.596
<v Speaker 3>Yeah, Well, we feel that it's right there with the

0:36:32.636 --> 0:36:35.436
<v Speaker 3>best of everything we've done. And as we move on

0:36:35.556 --> 0:36:37.756
<v Speaker 3>from this new record and being able to focus on

0:36:37.796 --> 0:36:40.996
<v Speaker 3>it for this period, of course, you know, we have to.

0:36:40.916 --> 0:36:43.636
<v Speaker 2>Play She talks angels hard to handle, jealous again twice.

0:36:43.636 --> 0:36:44.556
<v Speaker 2>It's hard during to.

0:36:44.436 --> 0:36:47.596
<v Speaker 3>My pride remedy, you know, we know there's certain things

0:36:47.716 --> 0:36:49.356
<v Speaker 3>wiser times, soul singer, whatever.

0:36:49.676 --> 0:36:52.876
<v Speaker 2>We know there's certain songs. I think when we were younger,

0:36:52.916 --> 0:36:55.516
<v Speaker 2>we were more arrogant and we didn't want to play along.

0:36:55.596 --> 0:37:00.196
<v Speaker 3>We wanted to push people more into we're more than

0:37:00.356 --> 0:37:05.436
<v Speaker 3>just these hit songs, and that was our right and

0:37:05.876 --> 0:37:10.396
<v Speaker 3>we did it and we felt there was some importance

0:37:10.436 --> 0:37:14.556
<v Speaker 3>there that wasn't just ecocentric. Yeah, But I think now

0:37:14.636 --> 0:37:18.076
<v Speaker 3>we realize and that oh we can. We can say

0:37:18.116 --> 0:37:20.596
<v Speaker 3>the things we want to say, but we also have

0:37:20.676 --> 0:37:23.116
<v Speaker 3>to respect our audience and know that somebody's going to

0:37:23.156 --> 0:37:23.956
<v Speaker 3>be mad if you don't play.

0:37:23.956 --> 0:37:26.836
<v Speaker 2>She talks Danel Yeah. Yeah, And by the way I

0:37:26.916 --> 0:37:27.396
<v Speaker 2>look at she.

0:37:27.396 --> 0:37:29.716
<v Speaker 3>Talks to angels or hard to handle or whatever now

0:37:29.836 --> 0:37:33.276
<v Speaker 3>in such a different light because I realize how special

0:37:33.276 --> 0:37:35.716
<v Speaker 3>it is to have those songs in your catalog, you know,

0:37:35.836 --> 0:37:39.476
<v Speaker 3>to have songs that we play for people, but that

0:37:39.716 --> 0:37:44.276
<v Speaker 3>after almost soon it'll be getting there forty years that

0:37:44.356 --> 0:37:46.676
<v Speaker 3>are been in people's lives and it's important to them too,

0:37:46.756 --> 0:37:48.356
<v Speaker 3>and they and they want to hear it, and they

0:37:48.356 --> 0:37:52.116
<v Speaker 3>want to hear you do the best you can do, yeah,

0:37:52.156 --> 0:37:56.156
<v Speaker 3>and make it special and have that relationship.

0:37:55.476 --> 0:37:56.196
<v Speaker 2>With the audience.

0:37:56.556 --> 0:37:59.036
<v Speaker 1>Yeah, you said you feel like this is like an

0:37:59.156 --> 0:38:01.676
<v Speaker 1>arrow pointing to the future, like you want to do

0:38:01.756 --> 0:38:03.356
<v Speaker 1>more Black Crows music.

0:38:03.596 --> 0:38:06.996
<v Speaker 3>Yeah, you know, I mean, I know it sounds weird to, like,

0:38:07.196 --> 0:38:10.276
<v Speaker 3>you know, start wrapping up my fifties and talking about it,

0:38:10.476 --> 0:38:12.876
<v Speaker 3>But then again, you know, there's so much about what

0:38:13.276 --> 0:38:16.356
<v Speaker 3>we are as a band and as artist and as

0:38:16.396 --> 0:38:19.276
<v Speaker 3>people that looks like one thing on the surface, but

0:38:19.316 --> 0:38:21.556
<v Speaker 3>it's not underneath, you know, in the same way that

0:38:21.636 --> 0:38:23.396
<v Speaker 3>it breaks my heart a little bit to hear like

0:38:23.476 --> 0:38:27.756
<v Speaker 3>people musicians say that they are bored or listless or

0:38:27.876 --> 0:38:31.636
<v Speaker 3>not inspired, and I'm like, well, I don't feel that way.

0:38:31.796 --> 0:38:36.116
<v Speaker 3>And this record is really even greater sort of proof

0:38:36.916 --> 0:38:40.636
<v Speaker 3>that I don't have to give up on my passion,

0:38:40.716 --> 0:38:43.516
<v Speaker 3>on my creativity. I can put it all in the

0:38:43.796 --> 0:38:47.076
<v Speaker 3>correct order. Yeah, and we can continue to move on.

0:38:47.156 --> 0:38:49.196
<v Speaker 3>We don't have the same expectations that you had in

0:38:49.276 --> 0:38:51.996
<v Speaker 3>nineteen ninety five when you made a record, When you

0:38:52.036 --> 0:38:54.116
<v Speaker 3>know you're spending a million and a half dollars on

0:38:54.156 --> 0:38:55.436
<v Speaker 3>a record and they want you to go out and

0:38:55.476 --> 0:38:58.716
<v Speaker 3>sell fucking ten million records and have four hit singles,

0:38:58.756 --> 0:39:01.156
<v Speaker 3>and everybody's trying to do that, and the radio is

0:39:01.236 --> 0:39:03.676
<v Speaker 3>pumping your songs all day long, and that's that's how

0:39:03.676 --> 0:39:06.596
<v Speaker 3>it used to work. Kids used to they play your

0:39:06.596 --> 0:39:08.556
<v Speaker 3>records all the time on the radio, and people will

0:39:08.596 --> 0:39:09.956
<v Speaker 3>go buy your records.

0:39:09.996 --> 0:39:10.476
<v Speaker 2>How it works.

0:39:10.556 --> 0:39:13.476
<v Speaker 3>Yeah, So even though that's gone, that doesn't mean we

0:39:14.036 --> 0:39:18.716
<v Speaker 3>don't see or feel there is still some importance in that.

0:39:18.836 --> 0:39:23.396
<v Speaker 3>And I don't feel that making albums is that antiquated

0:39:23.476 --> 0:39:26.836
<v Speaker 3>or archaic or anything. People say, you know, you go

0:39:26.916 --> 0:39:29.156
<v Speaker 3>to fucking Amiba, man, You're gonna wait in line to

0:39:29.156 --> 0:39:29.796
<v Speaker 3>pay for your shit.

0:39:30.356 --> 0:39:32.876
<v Speaker 2>It's not like there's Humble Weeds blowing through a record

0:39:32.916 --> 0:39:33.556
<v Speaker 2>store or something.

0:39:34.276 --> 0:39:37.516
<v Speaker 1>It's true there are a fewer around, but you know, like, yeah,

0:39:37.756 --> 0:39:38.036
<v Speaker 1>go to.

0:39:38.036 --> 0:39:40.356
<v Speaker 3>Freak Beating in the valley. There's people in that way,

0:39:40.516 --> 0:39:41.996
<v Speaker 3>you know, and they have great records in there. It's

0:39:42.036 --> 0:39:45.396
<v Speaker 3>like anything else. The media doesn't cover it because it

0:39:45.396 --> 0:39:48.196
<v Speaker 3>would take too much imagination and interest in something that

0:39:48.276 --> 0:39:53.836
<v Speaker 3>isn't status driven, in something that is collectively more dynamic,

0:39:53.876 --> 0:39:58.636
<v Speaker 3>that contains more soulful information, or something of a cultural

0:39:59.196 --> 0:40:03.876
<v Speaker 3>reality that's not just reality TV and going to the

0:40:03.916 --> 0:40:04.676
<v Speaker 3>gym or whatever.

0:40:04.836 --> 0:40:07.556
<v Speaker 1>Yeah. Yeah, And so you do feel like there's an

0:40:07.676 --> 0:40:09.796
<v Speaker 1>errow pointed in the future. You want to make more music,

0:40:09.876 --> 0:40:14.236
<v Speaker 1>but you mentioned earlier maybe less touring at some point.

0:40:14.556 --> 0:40:16.636
<v Speaker 2>It's in deposition. I have to give you a day.

0:40:16.716 --> 0:40:19.076
<v Speaker 1>No, I'm just curious. No, I'm just scarious. Like it's

0:40:19.076 --> 0:40:22.316
<v Speaker 1>like I don't know, like why, I'm just trying to

0:40:22.316 --> 0:40:23.516
<v Speaker 1>figure out where you're at here.

0:40:23.676 --> 0:40:25.796
<v Speaker 2>I mean, answered a grand journey.

0:40:25.876 --> 0:40:28.676
<v Speaker 4>Play this back to you. Remember you said it I

0:40:29.636 --> 0:40:35.876
<v Speaker 4>fucking Miranda Rights man. Uh, yes, there will come a time.

0:40:35.956 --> 0:40:38.596
<v Speaker 4>It's not it's not in the near future.

0:40:38.276 --> 0:40:41.076
<v Speaker 2>But maybe you know, give me another.

0:40:42.636 --> 0:40:43.156
<v Speaker 1>I don't know.

0:40:43.596 --> 0:40:45.476
<v Speaker 3>It's hard to say, you know what I mean, because

0:40:45.516 --> 0:40:46.716
<v Speaker 3>getting a bit older is.

0:40:46.636 --> 0:40:49.156
<v Speaker 2>Weird because I don't feel older. But like, oh fuck

0:40:49.196 --> 0:40:50.396
<v Speaker 2>my knee hurt or whatever.

0:40:51.156 --> 0:40:57.036
<v Speaker 3>Yeah, okay, it doesn't dictate my dreams and passions my age.

0:40:57.196 --> 0:41:00.476
<v Speaker 3>But no for the near future, and I think, you know,

0:41:00.796 --> 0:41:02.636
<v Speaker 3>it would be pretty safe to say for the next

0:41:02.676 --> 0:41:03.716
<v Speaker 3>decade of life.

0:41:03.836 --> 0:41:06.076
<v Speaker 2>I want to keep doing it while I can.

0:41:06.596 --> 0:41:08.956
<v Speaker 3>Yeah, that was another thing about the record, like, let's

0:41:08.956 --> 0:41:11.036
<v Speaker 3>make a fucking rock and roll record while we can

0:41:11.116 --> 0:41:12.676
<v Speaker 3>still fucking rock and roll.

0:41:12.716 --> 0:41:14.676
<v Speaker 2>Man, you know what I mean, Because at a certain point

0:41:15.156 --> 0:41:15.956
<v Speaker 2>it's gonna.

0:41:15.756 --> 0:41:19.676
<v Speaker 3>Be like you, thank you rock and rolling, But congensity

0:41:19.756 --> 0:41:22.636
<v Speaker 3>level comes down, which is totally normal and fine, but

0:41:22.756 --> 0:41:25.236
<v Speaker 3>rock and roll is specific to a certain energy that

0:41:25.316 --> 0:41:25.636
<v Speaker 3>you need.

0:41:25.876 --> 0:41:26.716
<v Speaker 2>There's all sorts of.

0:41:26.636 --> 0:41:30.436
<v Speaker 3>Things that you can be passionate and you can again

0:41:30.596 --> 0:41:34.636
<v Speaker 3>have that kind of emotion and there's still a smoldering

0:41:34.676 --> 0:41:35.836
<v Speaker 3>intensity to those things.

0:41:35.876 --> 0:41:36.956
<v Speaker 2>But I think if you want.

0:41:36.796 --> 0:41:39.436
<v Speaker 3>To get out, shake your ass a little bit, put

0:41:39.436 --> 0:41:42.356
<v Speaker 3>it on a rock and roll show. Hopefully people still

0:41:42.796 --> 0:41:45.196
<v Speaker 3>get up and dance, and that's what it's about.

0:41:45.396 --> 0:41:48.596
<v Speaker 1>Incredible man. Well, look, man, thanks for thanks for taking

0:41:48.636 --> 0:41:50.916
<v Speaker 1>the time to talk. I love the new album. Excited

0:41:50.916 --> 0:41:52.916
<v Speaker 1>to see you play it and fun talking to you.

0:41:52.956 --> 0:41:53.116
<v Speaker 2>Man.

0:41:53.116 --> 0:41:55.076
<v Speaker 1>You've got a lot to say. I love it all.

0:41:55.356 --> 0:41:56.196
<v Speaker 2>I appreciate that.

0:41:59.156 --> 0:42:01.516
<v Speaker 1>Thanks to Chris Robinson for hanging out and talking about

0:42:01.516 --> 0:42:05.156
<v Speaker 1>his career along with the Black Crows new album, Happiness Bastards.

0:42:05.876 --> 0:42:07.876
<v Speaker 1>You can hear it along with our favorite song from

0:42:07.916 --> 0:42:11.276
<v Speaker 1>Chris on a playlist a Broken Record podcast dot com.

0:42:11.476 --> 0:42:14.436
<v Speaker 1>Subscribe to our YouTube channel at YouTube dot com slash

0:42:14.476 --> 0:42:16.876
<v Speaker 1>Broken Record Podcast, where you can find all of our

0:42:16.916 --> 0:42:20.996
<v Speaker 1>new episodes. You can follow us on Twitter at broken Record.

0:42:21.476 --> 0:42:24.396
<v Speaker 1>Broken Record is produced and edited by Leah Rose, with

0:42:24.516 --> 0:42:27.996
<v Speaker 1>marketing help from Eric Sandler and Jordan McMillan. Our engineer

0:42:28.156 --> 0:42:32.556
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0:42:32.916 --> 0:42:35.716
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0:42:53.276 --> 0:42:56.076
<v Speaker 1>Our theme music's by Kenny Beats. I'm justin Richmond.