Speaker 1: Pushkin. The Black Crows are one of the great rock
Speaker 1: bands of the last thirty years, and they've just been
Speaker 1: nominated for the twenty twenty six Rock and Roll Hall
Speaker 1: of Fame, alongside nominees like Lauren Hill, Phil Collins, Wu
Speaker 1: Tang Clan and Oasis, all acts i'd vote for if
Speaker 1: I were a voting member, by the way, but instead
Speaker 1: of voting, we'd figured we'd honor the Black Crows nomination
Speaker 1: by running back my interview with their singer Chris Robinson
Speaker 1: from when they released their album Happiness Bastards Enjoy. Sixteen
Speaker 1: years have passed since The Black Crows last put out
Speaker 1: an album of all new material. The world's changed a
Speaker 1: lot since then, and it appears so have the Robinson brothers.
Speaker 1: Chris and Rich Robinson are, of course, the backbone of
Speaker 1: the group. They started together back in Georgia in eighty
Speaker 1: four as Mister Crow's Garden, before moving to NYC, signing
Speaker 1: with Death American and changing their name to The Black Crows.
Speaker 1: The band's debut album, Shake Your Money Maker, set them
Speaker 1: up as torch bearers of Southern rock for the nineties
Speaker 1: and beyond. As you'll hear in our conversation the brothers
Speaker 1: Robinson have had a competitive relationship for a long time.
Speaker 1: There ups and downs have meant hiatuses for the band
Speaker 1: over the years, but now they're back united and seemingly
Speaker 1: in it for the long haul with their new album
Speaker 1: Happiness Bastards. On today's episode, I talked to Chris Robinson
Speaker 1: about his growing up in Georgia with Rich their dad's
Speaker 1: rockabilly career, his listening routine that includes Sudanese and Sufi music,
Speaker 1: and how his road habits have changed from indulging in
Speaker 1: champagne and other substances to reading Herman Melville. This is
Speaker 1: broken record liner notes for the digital age. I'm justin Mitchman.
Speaker 1: Here's my conversation with Chris Robinson of the Black Crows.
Speaker 1: Is that it gun club like the band? Sure that
Speaker 1: you got on?
Speaker 2: Yeah?
Speaker 1: Yeah, yeah, oh hell yeah.
Speaker 3: I love gunklow Man, Jeffer Lee Pierce one of my faves.
Speaker 3: And it's funny because you know, when we started, people
Speaker 3: would always say we sounded like and we did. We had,
Speaker 3: you know, there was the Jengle sort of indie pop thing, Rim.
Speaker 2: Of course being the purveyors of that, but let's active.
Speaker 3: And the DBS and then bands from California, like Game Theory.
Speaker 3: We kind of were into like this kind of jangly
Speaker 3: sixties inspired but we really sounded early days a lot
Speaker 3: like the gun Club, you know, because gun Club and
Speaker 3: X are very interesting to me, and like early punk
Speaker 3: scene here in Los Angeles because they were the well,
Speaker 3: I guess you could put the blasters and the plugs
Speaker 3: in there too.
Speaker 1: Blasters are from essef though, right, oh.
Speaker 2: Blasters are LA band too.
Speaker 1: You are they? Okay? Cool?
Speaker 2: They had those kind of roots seed.
Speaker 3: Things, you know, and it would be really early on
Speaker 3: that we would think like, okay, well, Jeffery Lee Pierce
Speaker 3: is like a punk icon, but he plays a Robert
Speaker 3: Johnson song on the first record. You know, it doesn't
Speaker 3: sell Robert Johnson, but needless to say, he found great
Speaker 3: inspiration and the mythology and the imagery and the vibration
Speaker 3: of like the blues.
Speaker 2: And stuff, which other punk bands really didn't.
Speaker 1: Whatever music is happening in LA, there's always some subset
Speaker 1: of it that countrifies it. You know. It's like even
Speaker 1: with the Birds, like Sweetheart of the Rodeo, like all
Speaker 1: that stuff, Like the Birds got into that and you know,
Speaker 1: I don't know, you could even feel that with Buffalo
Speaker 1: Springfield and I mean, I know, like Neil from Canada
Speaker 1: or whatnot. But they're making music here, you know, of course.
Speaker 3: Of course, well I mean, you know, I mean, while
Speaker 3: that's going on, Tim Buckley's here, and you know what
Speaker 3: I mean, And while that's going on, you have bands
Speaker 3: like the Chambers Brothers and Eric Burden Leaves the Animals
Speaker 3: and Northern English White Band playing blues music. And then
Speaker 3: he's the lead singer of War.
Speaker 1: It War is like such a quintessential La Long Beach
Speaker 1: of fact group, you know.
Speaker 3: I mean, I think obviously there's subsequent most famous records
Speaker 3: don't include Yeah, And it's funny. It also just goes
Speaker 3: to show how that's just how music is, isn't it.
Speaker 2: You know what I mean?
Speaker 3: I mean, I guess you obviously you can make examples
Speaker 3: of things that seem heavy handed or things that don't
Speaker 3: contain a certain authenticity. But I mean, that was a
Speaker 3: big deal when I you know, talking about growing up
Speaker 3: in a band, being from Atlanta, being like in a
Speaker 3: arguably the most progressive city in terms of race relations
Speaker 3: in if not America and maybe globally.
Speaker 1: That's interesting. It probably has to be I mean you
Speaker 1: might I might have been comping to say New Orleans,
Speaker 1: but I think when you kind of look at the
Speaker 1: musical legacy of Atlanta over the last I.
Speaker 3: Mean New Orleans most definitely, but Atlanta's different because of
Speaker 3: the black universities, yeah, like kind of concentrated there, and
Speaker 3: Atlanta having Maynard Jackson as the first black mayor, the
Speaker 3: first black police chief for the black police force in
Speaker 3: the Deep South.
Speaker 1: When I first landed in Atlanta, I got to say
Speaker 1: coming from LAA because I grew up in la When
Speaker 1: I first landed Atlanta, I'm in the airport, I'm like,
Speaker 1: with whem, Like, how is the whole airport is black?
Speaker 1: This is crazy. It was the weirdest experience for me.
Speaker 2: Funny, that's funny.
Speaker 3: And as I said, I'm a third generation Atlantan and
Speaker 3: I don't really make the connection and being like I'm
Speaker 3: a Southern person, but my connection is with Atlanta.
Speaker 1: Yeah.
Speaker 2: And so so it's funny because.
Speaker 3: Maynor Jackson's the guy who when Hartfield International Airport becomes
Speaker 3: an international airport, He's the one who's like, we're not
Speaker 3: doing anything unless black business owners are recognized and have
Speaker 3: a piece in this.
Speaker 2: And what that can mean for the community. Something very
Speaker 2: subtle like that still reverberates, I.
Speaker 3: Think, and besides the culture, because you start to see
Speaker 3: Atlanta also be a city, you know, famous for the
Speaker 3: musicians and.
Speaker 2: The hip hop and the athletes that I'll move there.
Speaker 3: But the reason that becomes attractive is because of decisions
Speaker 3: like that and the hard line that someone like Maynor
Speaker 3: Jackson would take, and how Atlanta I had been pried open.
Speaker 3: Of course, having the great Reverend Bee from there, you know,
Speaker 3: gives Atlanta a different perspective.
Speaker 2: But I do know it's a unique place in that way.
Speaker 2: And it's funny like I.
Speaker 3: Speak on it from the past, because I really left
Speaker 3: first check I got into Black Crows, I moved to
Speaker 3: New York. Being in a band to me was like,
Speaker 3: you know, shooting an arrow over the mountain, like just
Speaker 3: I wanted to get out in the world.
Speaker 1: Had you been to New York before we moved there?
Speaker 2: Yeah?
Speaker 3: Yeah, Actually, you know our dad, rich andized dad was
Speaker 3: a singer.
Speaker 2: He had a top.
Speaker 3: Forty rock and roll hit in the fifties called Boom
Speaker 3: a Dip Dip.
Speaker 2: You can check it out on Spotify.
Speaker 1: I've listened to some of that stuff good man. It's
Speaker 1: really good.
Speaker 2: Yeah, it's a good song. And so I really have
Speaker 2: been and lit at New York.
Speaker 3: And he was like, you know, into the theater and
Speaker 3: music and acting and dance.
Speaker 1: You know.
Speaker 3: So he wanted that too at a certain time in
Speaker 3: his life. And he was in New York. And it's funny.
Speaker 3: My mom was a flight attendant for the old Eastern Airlines,
Speaker 3: and you know it's funny.
Speaker 2: She told me. She goes, Oh, I served doctor King
Speaker 2: many times on flights side of Atlanta. Wow, I always
Speaker 2: really blew my mind as a kid, you.
Speaker 1: Know, of course she did. It wouldn't make I mean,
Speaker 1: how many flights out of Atlanta musty have taken that.
Speaker 2: All the time, you know? You know.
Speaker 3: So I moved to New York first, and I still
Speaker 3: love New York and some of my deepest connections and
Speaker 3: friendships are there.
Speaker 2: My wife and I just got back from there yesterday.
Speaker 3: But I came to Los Angeles, and I don't know,
Speaker 3: it was farther away.
Speaker 1: From Georgia from everything.
Speaker 2: I mean, California has an idea California. Later I would
Speaker 2: get to know far more about this state.
Speaker 3: And I lived up north for six years and I
Speaker 3: was in this little hippie band, and we started.
Speaker 2: We did nine weeks just up and down California in.
Speaker 3: The van, playing all the little beach towns and hippie towns.
Speaker 3: And you know, I got a real appreciation for do
Speaker 3: you remember Hule.
Speaker 4: Houser, Oh, come on man, California's gold Baby.
Speaker 2: I was like the psychedelic Hule Houser. You know what
Speaker 2: I mean? You know hil Hauser. I was like, so
Speaker 2: this was an Adobe. Wow.
Speaker 1: He was amazed about everything too.
Speaker 3: He's like, so this is a ball of Manuda. I
Speaker 3: love Juel Hauser, the late great man, the late great
Speaker 3: Huel Hauser.
Speaker 2: Man, I love.
Speaker 3: And you know what, he was always so excited. He
Speaker 3: saw remission from San Diego to like, you know, the
Speaker 3: Oregon border, so that the mission, You're like so excited.
Speaker 1: Everything was ecstatic to him. It was crazy. It was
Speaker 1: so that was that was a funny show to watch, man.
Speaker 2: I loved it. When I moved here, I was like,
Speaker 2: what is this? Is this good?
Speaker 3: I also am lucky that when I'm I'm so I
Speaker 3: moved here in ninety one.
Speaker 2: Early ninety two. That was the golden age of public television.
Speaker 3: Yeah, I'm the weirdest weirdest of the weird stuff would
Speaker 3: come on TV man on the couple of public stations
Speaker 3: on your cable, like Channel six and Channel fourteen or whatever,
Speaker 3: the most unimaginably, I mean obviously like Tim and Eric.
Speaker 2: I don't know if you ever got into Tim and.
Speaker 3: Hell yeah, Tim and Eric like take the inspiration of
Speaker 3: that into their twisted world for the series, which is
Speaker 3: still some of my favorite stuff. You don't need a
Speaker 3: Chinese massage, you need an Italian massage.
Speaker 2: It was fantastic, you know what I mean.
Speaker 3: And you know the other thing about things that were
Speaker 3: really I've always been interested in outsider culture, you know,
Speaker 3: when those would be like driven by like this, but
Speaker 3: because of Hollywood, it made it even weirder.
Speaker 2: Like I'm on TV now I'm famous too, you know
Speaker 2: what I mean.
Speaker 3: Yeah, pre dating the psychoses that has become social media,
Speaker 3: you know.
Speaker 1: Yeah.
Speaker 2: Yeah.
Speaker 1: People always describe LA when they come to LA as
Speaker 1: being closer to the industry, as being closer to things.
Speaker 1: But I also find that you can find your niches
Speaker 1: and stay way out of the way of the industry
Speaker 1: if you want.
Speaker 3: I did it, Yeah, I mean, when I moved to
Speaker 3: Topanga Canyon at a certain point. I moved to Topanga
Speaker 3: because I have these romantic notions of what northern California,
Speaker 3: what I've been to northern California, but what it might
Speaker 3: feel like not to be in LA, but to still
Speaker 3: be able to be in LA. For different reasons. I'm
Speaker 3: of the firm belief that Los Angeles is one of
Speaker 3: the great cities in the world, and which is also
Speaker 3: unique because of how new this city is comparatively. In
Speaker 3: eighteen sixty there's five thousand people living here that's wild
Speaker 3: ranchers and spread out, and it's just come over from
Speaker 3: Mexican rule and stuff from that government.
Speaker 2: And they had, you.
Speaker 3: Know, gave everyone deeds to these massiffincas and ranches and
Speaker 3: things that were all of California, you know.
Speaker 2: So it's not that old in the big scheme of things.
Speaker 2: But the other.
Speaker 3: Funny thing is when I game here, I was like,
Speaker 3: I laugh all the time because it was like growing
Speaker 3: up in Atlanta or whatever.
Speaker 2: In nineteen I had my first sushi in nineteen eighty nine.
Speaker 3: My guy ended up being our manager, like, took me
Speaker 3: and Rich with some friends to get sushi.
Speaker 2: And that place is called Imperial Gardens whatever it was
Speaker 2: right there on sunset.
Speaker 3: It's now like a Loco place or something, but it
Speaker 3: was the Roxbury later. But anyway, we're sitting there and like,
Speaker 3: of course I know what it is, but I'm you know, standing.
Speaker 2: Nancy Robinson in Atlanta. We didn't see you know what
Speaker 2: I mean.
Speaker 3: Like I remember being sixteen and telling my dad, like,
Speaker 3: coming downstairs one day, I was like, why have we
Speaker 3: never had Indian food? My dad was like, you're right,
Speaker 3: we should go get it. And I was like, we
Speaker 3: all drove to the one Indian restaurant, you know, and
Speaker 3: it was amazing. Wow, I'm here in nineteen eighty nine,
Speaker 3: I'm still working on the first album and I'm a
Speaker 3: kid from Atlanta. But the cool thing is it's a mentality.
Speaker 3: You get farther away from where you come from, and
Speaker 3: like anything else, you figure out what's delicious about it
Speaker 3: and what's special about it, and now it has a
Speaker 3: place in your culinary like.
Speaker 2: Thing that tonight's sushi we want to go and you
Speaker 2: know what I mean? And then you can on level.
Speaker 3: But there was one time where you're you know, I
Speaker 3: come to La I don't know anything about anything, and
Speaker 3: I don't even know what this is.
Speaker 1: How far removed from Atlanta. Do you feel now, like
Speaker 1: do you feel like an atlantin.
Speaker 3: I mean, not especially, And none of that is to
Speaker 3: be taken as if Atlanta has feelings. I do love
Speaker 3: Atlanta more than ever, but it's also I like the
Speaker 3: remnants of the Atlanta that I remember, so when you
Speaker 3: go back you don't see the I mean, man, it's changed.
Speaker 3: There was this thing on Peach Street called the Darlington Apartments,
Speaker 3: and there used to have this digital thing and it
Speaker 3: would be like two.
Speaker 2: Million nine U nine, you know what I mean that,
Speaker 2: you know, and.
Speaker 3: It was the population and it got older with the
Speaker 3: population sign and it got bigger and it went to
Speaker 3: three million in nineteen ninety.
Speaker 2: You know, we used to hang.
Speaker 3: Around this monthly thing called the mud Shack at this
Speaker 3: after hours Mexican burrito place, and it was a poetry
Speaker 3: reading and just the poet would get on stage like
Speaker 3: I live in a city of three million people, as
Speaker 3: if it was like you know this Atlanta of this.
Speaker 2: It's almost eight million people now.
Speaker 1: Yeah, yeah, right, that sounds about right. It's huge.
Speaker 2: It went out there.
Speaker 3: I mean, of course I love it, but most a
Speaker 3: lot of the Atlanta. You know, the house where we
Speaker 3: used to rehearse and have parties is now the Federal Reserve.
Speaker 2: The club that we.
Speaker 3: Based all our rock and roll dreams and mythology on
Speaker 3: is now at that, you know, a place where people
Speaker 3: go get stitches.
Speaker 2: Or whatever, you know what I mean, Like all of
Speaker 2: that kind.
Speaker 3: Of stuff from back in the eighties, whenever the world
Speaker 3: was new and music was all our career was ahead
Speaker 3: of us, that's all kind of gone. Yeah, you can
Speaker 3: see that the skeleton of it, you know what I mean.
Speaker 1: Yeah, Well, with more of my interview with Chris Robinson
Speaker 1: after this quick break, we're back with Chris Robinson. Do
Speaker 1: you get excited to tour these days? But can you
Speaker 1: still get excited about it? I do?
Speaker 2: I do. It was funny.
Speaker 3: I've done a couple of interviews for this project, and
Speaker 3: I'm like shocked that the people have said, you're the
Speaker 3: first musician who says they still find inspiration doing what
Speaker 3: you do and being on tour, they say is so boring.
Speaker 3: I'm like, I've never lost the dream. And again I've
Speaker 3: never been bored, you know what I mean. Even as
Speaker 3: a kid, like with my mom and go to your room,
Speaker 3: I'd be like, I'm amazing, That's all I want to do.
Speaker 3: All my records are in there, the books.
Speaker 2: I'm reading are in there. I can draw, I can dream,
Speaker 2: you know what I mean, daydream?
Speaker 3: I mean I was somewhere there's a permanent record of me,
Speaker 3: and all it says is prone to daydreaming. Not very
Speaker 3: good at math. But I was saying, I mean, it's
Speaker 3: just the way it is. I mean, is it tedious sometimes?
Speaker 3: Fuck yes, I'm fifty seven now. Airports fucking suck.
Speaker 1: Yeah.
Speaker 2: Not every gig is a magical experience. But you never
Speaker 2: know who you're gonna meet, and it could be anyone.
Speaker 3: It could be the Dianese uber driver who pitts you
Speaker 3: up in Saint Louis, who's fucking hilarious, an amazing, soulful
Speaker 3: person who's left a life behind to try to eke
Speaker 3: out something better, and like it's so brave and courageous,
Speaker 3: and you know, and you're only with this person eight
Speaker 3: minutes from the airport or whatever, and you just two
Speaker 3: people in the world laughing in a car.
Speaker 1: You know.
Speaker 3: But that little thing that doesn't even necessarily have to
Speaker 3: be a part of the narrative, It just has to
Speaker 3: be a.
Speaker 1: Part of that.
Speaker 3: You still believe that there's dynamic in meeting people and
Speaker 3: talking and laughing and sometimes crying. But I'm just naive
Speaker 3: enough to still see it as in the same way
Speaker 3: that I wanted.
Speaker 2: I picked music.
Speaker 3: On a lot of levels because I knew it was
Speaker 3: the one thing that I would travel all the time. Yeah,
Speaker 3: and then you set up your little thing and then
Speaker 3: you put your vibes out there.
Speaker 2: You know, that is pretty rare.
Speaker 1: I feel like listening to you talk, the only other
Speaker 1: person who has had a level of success that you've
Speaker 1: had and towards as much as you do and travels
Speaker 1: as much as you do that seems to still love it.
Speaker 1: I got lucky. I met Quincy Jones in Havana maybe
Speaker 1: ten years ago, and the joy he has to like
Speaker 1: travel and just talk to anybody. It's like he's like, yeah,
Speaker 1: he'll tell Sinatra stories, and I'll tell the story about
Speaker 1: like the Cab Driver and like Memphis, and you're like
Speaker 1: he everything is like new and fun and interesting in
Speaker 1: every person and everything and every sound and every that's
Speaker 1: a particular joy that you don't find in a lot
Speaker 1: of a lot of people.
Speaker 3: Like I said, I understand, and you know, you get older.
Speaker 3: It also helps in my life that after all the
Speaker 3: rock and roll and all the experiences that I found
Speaker 3: Camille my wife, because I found someone I knewho she
Speaker 3: understands that some of that is problematic and some of
Speaker 3: it's a pain in the ass, and some of it's
Speaker 3: like can't we just.
Speaker 2: Be do normal something?
Speaker 3: And like, by the way, we could talk about that
Speaker 3: and do our best. But then she also realizes, like
Speaker 3: she's an artist and she's Pisc's queen Moonstone child out
Speaker 3: in the world, you know, who wants to feel these
Speaker 3: things too. And you know, my thing is the pandemic
Speaker 3: was such a fucking head trip.
Speaker 2: Personally, I didn't really find it creative. I found it stifling.
Speaker 2: But we were lucky enough to live out in the.
Speaker 3: Wilds of West Marin and then we were in southwest
Speaker 3: Colorado amazing, Yeah, which was really really help. But one
Speaker 3: thing I thought I would really flip out on was
Speaker 3: it was the first time since I was basically a
Speaker 3: teenager where I wasn't working and touring and singing and
Speaker 3: playing and doing the whole spiel.
Speaker 2: And you know what it was, rat really you liked it?
Speaker 3: Wow, my head didn't fall off, you know, our lives didn't,
Speaker 3: you know, disintegrate into nothing.
Speaker 1: It was nice.
Speaker 3: I had time for a lot of other things, and
Speaker 3: it's funny the travel part of it.
Speaker 2: I was just talking to my manager Mark last night.
Speaker 3: About how at a certain point it would be nice
Speaker 3: to bow out from performing the way we perform before.
Speaker 3: I can't because I love the travel and we fit
Speaker 3: in the things that we want to But it's different
Speaker 3: to be in a place for you know, we're going
Speaker 3: to Paris. I'm gonna see my friends. I know all
Speaker 3: the restaurants I want to go to, I know all
Speaker 3: the things I want to do. But you got to
Speaker 3: leave in two days. Yeah, yeah, yeah, and you have
Speaker 3: a show. When I was a kid, I didn't care.
Speaker 3: We would just party, go out, champagne, drugs, this that,
Speaker 3: two days, do the gig, God, do the gig. You know,
Speaker 3: like all one thing was so when you're young, you
Speaker 3: can do it, you know what I mean.
Speaker 2: I don't feel that now.
Speaker 3: I'm really happy being in the Black Crows and really
Speaker 3: fulfilling and satisfying and gratifying. But at a certain point,
Speaker 3: I just want to take my wife and go to
Speaker 3: Sicily and eat linguini and clams and like you know,
Speaker 3: drink whie and you know, read Moby Dick for the
Speaker 3: third time or whatever, you know.
Speaker 2: What I mean.
Speaker 3: I just want to just be a part of everything
Speaker 3: going on. There's lots of places I have in traveled.
Speaker 3: I haven't been to Africa. I've always wanted to go
Speaker 3: to Africa, you know what I mean. That would be
Speaker 3: nice to have some time to do that. And because
Speaker 3: Africa is such a huge thing too, you know, I'm
Speaker 3: really interested in West Africa. I'd like to go to
Speaker 3: North Africa. Be cool to see the East Africa and
Speaker 3: be good, you know what I mean.
Speaker 1: What interest you in West Africa?
Speaker 2: I don't know.
Speaker 3: I think maybe it has something to do just with
Speaker 3: the I mean, I love North African music, but there's
Speaker 3: you know, a lot of those West African music could
Speaker 3: be because of the horrors of mankind and the horrors.
Speaker 2: Of the slave trade.
Speaker 3: Human beings found away somehow through the vileness of that,
Speaker 3: to communicate and share things in art.
Speaker 2: And music, cuisine.
Speaker 3: So many African parts of especially in the Deep South,
Speaker 3: and people wouldn't they don't even know they're they're under
Speaker 3: edicated anyway. But with these things, you know, it's like, oh,
Speaker 3: every Southern person loves the fried Okra, but Okra came
Speaker 3: over from.
Speaker 2: Africa, you know, right before that, Okrah came from India
Speaker 2: to Africa.
Speaker 3: So just dumb things like that, plants and fruits, vegetables,
Speaker 3: natural things and supernatural things that were brought over that
Speaker 3: could never be extingued with. And I just have some
Speaker 3: sort of and I don't even know what it is
Speaker 3: because I'm not obviously that knowledgeable as other people. But
Speaker 3: I can put a few things together and realize, you know,
Speaker 3: so much of the music, singing, rhythm things, guitar things,
Speaker 3: especially string things come from a West African musical tradition
Speaker 3: that represents like this African mysticism and magic as well
Speaker 3: that manifest when people express themselves vocally and rhythmically and
Speaker 3: with melody and things, you know, like a simple of
Speaker 3: something like a string guitar. And that is something that
Speaker 3: would draw me there first, be that in a first
Speaker 3: person and see what it feels like for me as
Speaker 3: a real outsider. Yeah, outside your culture is important to me,
Speaker 3: just because of whether my dyslexia or just whatever my tastes,
Speaker 3: and where I would find the things in life that
Speaker 3: are interesting that make me happy, things that I can
Speaker 3: understand or help me for things that I don't understand.
Speaker 2: To understand, you know, so.
Speaker 3: A lot of that you have to kind of just
Speaker 3: vibe out viscerally fine, and I would be curious to
Speaker 3: see what it feels like.
Speaker 1: Yeah, Wow, we've gone from like psychedelic Q Houser or
Speaker 1: like psychedelic like Anthony Bourdain or some shit. I've gone global.
Speaker 2: Now call my agent. I'm down to do this job.
Speaker 1: That's amazing, man. I want to check out like Robert
Speaker 1: Plant goes to rock O Goo.
Speaker 3: Yeah, he loves the Sufi music and the North African music.
Speaker 1: Yeah.
Speaker 3: And it's funny because I have this app where you
Speaker 3: can listen to radio stations all over the world. But
Speaker 3: it's like, wow, right on, man, I want to listen
Speaker 3: to some like rad Cambodia music, It's like, uh, it's Nicki.
Speaker 2: Minaj like everywhere else.
Speaker 3: I know.
Speaker 1: That's that's kind of a bummer about radio.
Speaker 2: I mean, it's like, which is cool.
Speaker 3: I'm not bagging Nicki Minads, but I'm like, I'm thinking
Speaker 3: I'm gonna like get hip to some thing I've never heard,
Speaker 3: some regional vibes or whatever.
Speaker 2: And it's like, oh, it's the same shit they're playing here.
Speaker 1: Is it that radio app like, yeah, oh so cool.
Speaker 3: But there's some in Morocco. And then there's a certain
Speaker 3: kind of music that the horrors of things. There was
Speaker 3: a slave trade in Africa for a long time too,
Speaker 3: the you know within in Africa, and they're bringing Sub
Speaker 3: Saharan Africans to North Africa. But a great musical art
Speaker 3: form is born from it that still exists, and there's
Speaker 3: whole radio stations that play it and they're basically a
Speaker 3: living blues. It's the same tradition of like the pain
Speaker 3: and suffering of the blues that these people brought with them.
Speaker 2: It still lives today and it's now celebrated as rebel songs. Almost.
Speaker 1: Yeah, it's like those North African like guitar but I
Speaker 1: don't know how to pronounce.
Speaker 2: Their names, but like or something.
Speaker 1: Yeah, right.
Speaker 2: I saw their first show in New York many years ago.
Speaker 3: Really, I love that music, and I love Sudanese music,
Speaker 3: and then you go over. I love Persian classical music,
Speaker 3: I love from Afghanistan, and I love Turkish music. You know,
Speaker 3: I really have a lot of diverse interest in things
Speaker 3: like that.
Speaker 1: After this last break, we'll be back with more of
Speaker 1: Chris Robinson We're back with the rest of my conversation
Speaker 1: with Chris Robinson within the Crows. Like maybe, like with
Speaker 1: your brother, for instance, does he have a similar music palette.
Speaker 2: I think he has an appreciation.
Speaker 3: I don't think his palette is as wide as mine,
Speaker 3: and he would admit that I'm not, you know. He
Speaker 3: always said like growing up, like Chris would bring back
Speaker 3: way more records than I would listen to, or some
Speaker 3: I wouldn't be interested in, but I got to he
Speaker 3: could be able to cherry pick what he liked, and
Speaker 3: he loves classical Indian music. I listened to like Mesopotamium,
Speaker 3: sheep Herder music and stuff, you know what I mean.
Speaker 3: Like I'm really into a lot of different things.
Speaker 1: Do you listen to that stuff more than like rock
Speaker 1: and roll? Like you'd rather reach for that than a
Speaker 1: Stones record?
Speaker 2: Yeah, I listened to all day long.
Speaker 3: Like I like to start the morning with something mellow.
Speaker 3: We'll listen to a lot of Indian classical music. Or personally,
Speaker 3: I like to start my mornings with the group late
Speaker 3: great Ben Webster or some think Lester Young. I love
Speaker 3: the pres you know, but we also love rossn Roland Kirk.
Speaker 2: And we love the Loneus Monk, and we love.
Speaker 3: Bobby Timid, but we listened to a lot of as
Speaker 3: we listened to a lot of blues, country, R M B, funk, soul,
Speaker 3: rock and roll, punk music, post punk music, electronic.
Speaker 2: Rossa music.
Speaker 4: You know, share your Spotify right now, Share that Spotify trying.
Speaker 3: To I don't have Spotify envy, man, You know, like,
Speaker 3: I'm just obsessed, you know what I mean? And my
Speaker 3: obsessions maybe made me way more difficult as a youth
Speaker 3: in the music business because I also associated a certain authenticity, passion,
Speaker 3: and purity to my obsessions and what I wanted to say.
Speaker 2: But I also have a waking life with music that
Speaker 2: has nothing to do with.
Speaker 3: Me making music or being a musician. Yeah, those things
Speaker 3: are simpatico. But I'm sure it's annoying. I'm the guy
Speaker 3: who I get the car to drive down to eat
Speaker 3: dinner in West Holly and I'm like, hey, man, can
Speaker 3: I play the Spotify?
Speaker 1: Oh yeah in the car, dude. I got to stick
Speaker 1: out of a sushi spot one time because I asked
Speaker 1: them to change the music, and then they opened the
Speaker 1: same sushi spot across town. So we tried to go
Speaker 1: there a year and a half later turned the same
Speaker 1: lady with something else. She's like, you look familiar. I
Speaker 1: was like, I don't know. I don't know. No, no, no,
Speaker 1: I wasn't. So did you ask me to turn off
Speaker 1: the music? One time? I was like no, no, no, no,
Speaker 1: it must have been my brother. I don't know.
Speaker 2: It wasn't me, Like, hey day, so I saw she's
Speaker 2: not coming in here.
Speaker 1: You know. They weren't happy, but I was just changed it.
Speaker 1: I could tell. It wasn't like pre pro It's like,
Speaker 1: it's all you're on serious or some shit. Just just
Speaker 1: change the station, I sall I'm asking.
Speaker 2: I'm just always you know what I mean.
Speaker 3: I've just been adventurous and things I can access what
Speaker 3: makes things.
Speaker 2: Interesting to me. But I do that with with a
Speaker 2: lot of art.
Speaker 3: I do that not with music, but with literature, cinema,
Speaker 3: most definitely comedy as well.
Speaker 1: So it's all that going through your mind as you're
Speaker 1: writing lyrics for the Crows or for your other groups.
Speaker 2: I imagine, yeah, I imagine it's something. It's all in there.
Speaker 3: But I think when it's time to focus, like on
Speaker 3: writing a lyric or whatever.
Speaker 2: I've written songs with other people. I've written many songs
Speaker 2: on my own.
Speaker 3: The thing that is the Black Crows is Rich and
Speaker 3: ize contribution together.
Speaker 2: You know, Rich, whatever he's coming from, will play me something.
Speaker 3: There's a lot of psychic energy involved in it as well,
Speaker 3: and music is a great conduit to open those kind
Speaker 3: of psychic channels.
Speaker 1: And do you go into it with that intention? Like
Speaker 1: do you have to set out to do that or
Speaker 1: is it happen?
Speaker 3: I think there's other musicians who can do the fucking
Speaker 3: math and know all the shit and they do another thing.
Speaker 3: I've only ever been able to access it this way,
Speaker 3: got it my process because of however, because we didn't
Speaker 3: learn music, we don't know shit about music.
Speaker 2: I don't read music. Rich doesn't read music.
Speaker 3: But we know what it feels like and we know
Speaker 3: what sounds right, and then you keep doing that.
Speaker 2: Of course, through that your vocabulary is bigger.
Speaker 3: But we maybe are using different words than people who
Speaker 3: are more knowledgeable about the inner workings and mathematics the
Speaker 3: arithmetic of music.
Speaker 2: Yeah, that has escaped us.
Speaker 3: But I think it's also in our that makes it
Speaker 3: folk and that makes you know what I mean, there's
Speaker 3: some sort of that's why we look at it more
Speaker 3: and like it's kind of magic when a song happens
Speaker 3: out of the blue.
Speaker 2: One minute, there's nothing.
Speaker 3: One little thing like this, and then I get an idea,
Speaker 3: and then that changes what Rich is doing, and then
Speaker 3: it's all dictated by whatever the vibe is that Rich
Speaker 3: plays me. There's an emotional ingredient to what he plays me,
Speaker 3: like our probably the most famous song, as she Talks
Speaker 3: to Angels.
Speaker 2: He wrote that song.
Speaker 3: He was very young with the riff, and then we
Speaker 3: probably didn't get to it till like a year later,
Speaker 3: when but we would be playing things around mom and
Speaker 3: Dad's house.
Speaker 1: He's like seventeen when he wrote that.
Speaker 2: Yeah, I would be nineteen.
Speaker 3: So there's something about the way he pulls that first
Speaker 3: in and that would just put me in a place
Speaker 3: to write a song with that kind of dark, romantic,
Speaker 3: melancholy imagery. But we do that today, and we do that,
Speaker 3: I think, especially if we get around to where we're
Speaker 3: going right now with.
Speaker 2: This Happiness Asters record and stuff.
Speaker 3: I mean, I think that's that's exactly what we've done
Speaker 3: with this. I mean, there's a lot more rock and
Speaker 3: roll on it. There's a lot more water under the bridge.
Speaker 3: We've lived a lot personally, I'm one of those people,
Speaker 3: and I have two children and we want everything to
Speaker 3: be the best. But I'm also not afraid of adversity
Speaker 3: because I don't think you should be afraid of something
Speaker 3: that you have to find acceptance with, you know what
Speaker 3: I mean, Because it doesn't matter who you are, what
Speaker 3: you do, if you do it to yourself, if someone's
Speaker 3: doing it to you, if you have the means, if
Speaker 3: you don't have the means.
Speaker 2: No one escapes adversity.
Speaker 3: And it changes, you know what I mean, how we
Speaker 3: deal with it. The great energy and power of youth
Speaker 3: and where we came from in rock and roll was
Speaker 3: the anger, the fuck you part of it.
Speaker 1: Yeah, even with each other.
Speaker 2: Yeah yeah, but that boils into that.
Speaker 3: Yeah, I mean it's like live fire, you know, and like,
Speaker 3: but it's also a great if you can get that
Speaker 3: into dude, and you can get this and.
Speaker 1: Get it on there.
Speaker 3: You know, we weren't clever enough to do the math.
Speaker 3: We were only clever enough to wear our emotions on
Speaker 3: our sleeves.
Speaker 1: Did your parents pick up on you guys's tension?
Speaker 3: Yes, I mean, fuck, I mean even more so probably
Speaker 3: the older we would get, but they weren't around when
Speaker 3: it was like for some reason, you know, we he
Speaker 3: had his own bedroom. I had my own bedroom when
Speaker 3: we lived in the suburbs, and I had like a
Speaker 3: twin bed and a desk, stereo whatever.
Speaker 2: Rich I had like a queen size beddings room for
Speaker 2: some reason.
Speaker 3: I don't know why we ever got that, but it
Speaker 3: was funny because when we were kids, and it would
Speaker 3: be like if we started getting annoyed, we'd have this
Speaker 3: game where we'd both get on the bed and he'd
Speaker 3: be like, I'm mad Max and I'm like I'm Snake
Speaker 3: plisktt and then we would like see who could who
Speaker 3: would win in a fight, Mad Max or Snake clisk
Speaker 3: getting like whoever could like fucking throw the other one
Speaker 3: off the.
Speaker 2: Bed was like the winner.
Speaker 1: Listen. Snake always was in that got a.
Speaker 3: Batch on the eye, fucking cool outfit. I was like,
Speaker 3: my motherfucker there, you know, yeah, but like dumb show
Speaker 3: like that. And then we've said it before, but we
Speaker 3: fought brothers fight, but we would never punch each other
Speaker 3: in the face. We would hit each other bodyguards, throws
Speaker 3: at each other, try to strangle each other nothing from
Speaker 3: the neck up.
Speaker 1: It was weird.
Speaker 2: I don't know that rule always applied.
Speaker 1: Unspoken, unwritten. Just yeah, as if that makes.
Speaker 2: It like worse than all the other cruel shit.
Speaker 1: I love it, man, I love it. Snake doesn't need
Speaker 1: muscles though, it's just being a pure badass is sometimes enough.
Speaker 3: Yeah, they couldn't stop, you know what I mean? The
Speaker 3: crazies come out from under the street. He gets away
Speaker 3: from all of them, didn't matter. Great soundtrack to that,
Speaker 3: amazing soundtrack. John Convererter is always a favorite.
Speaker 2: One is a movie he made called, uh is it
Speaker 2: called The Prince of Darkness? You know that movie? I
Speaker 2: don't know that one part of the trilogy he did that.
Speaker 3: I think that Escape from New York, Prince of Darkness
Speaker 3: and maybe they See or whatever.
Speaker 2: I think those are like a trilogy he made.
Speaker 3: But Prince of Darkness is a really cool movie, like
Speaker 3: in this weird church in Oakland or whatever it is,
Speaker 3: like where evil is and like this liquid container and
Speaker 3: like these people find it's really deep.
Speaker 1: Man.
Speaker 2: But the sound that one's really I listened to it
Speaker 2: all the time.
Speaker 1: I missed that one. I like Assault on Precinct thirteen.
Speaker 3: That soundtracks amazing, very far ahead of his time, actually.
Speaker 1: Way ahead of his time. It sounds like, what's you know,
Speaker 1: like a lot of like electronic composers would now go
Speaker 1: for is he from Kentucky?
Speaker 3: I think originally is from Kentucky. It's like if Tangerine
Speaker 3: Dream were from Kentucky. Yeah, yeah, right, Tangerine Dream is
Speaker 3: from Kentucky. Maybe they just call that like Pineapple upside
Speaker 3: down cake Dreamers.
Speaker 1: How do you feel with the new record? I think
Speaker 1: it sounds amazing.
Speaker 2: Yeah, we're very happy.
Speaker 3: I think we were really focused on what we wanted
Speaker 3: the record to be, touring the last few years and
Speaker 3: doing the Shake Your Money Maker show. At first, I
Speaker 3: was a little bit I had a little trepidation about it,
Speaker 3: just because.
Speaker 2: I was like, Oh, isn't that what other bands.
Speaker 3: Kind of get into sometimes, is playing their most popular
Speaker 3: record or whatever. Yeah, But once I thought about it,
Speaker 3: and I thought, Yo, don't think about it, just do it.
Speaker 3: This is important record to you know, this is where
Speaker 3: it all begins for us, and let's revisit it.
Speaker 2: Let's see what.
Speaker 3: Happens if we remove ourselves from the way of thinking before.
Speaker 2: You know, why did I think that was dumb? Maybe
Speaker 2: it's not dumb. Maybe there's something there.
Speaker 3: And I think part of where the Black Crows are
Speaker 3: today is getting out of our way and you know,
Speaker 3: don't think it, do it, and then you'll have more
Speaker 3: information about what works and what doesn't. And it was fantastic,
Speaker 3: and that was kind of the impetus to get us
Speaker 3: to like a real focus, up tempo rock and roll
Speaker 3: record that hits all the notes. I think that we
Speaker 3: finally didn't have the perspective to know what the Black
Speaker 3: Crows sound like, and to me, happens Bastards is like
Speaker 3: an arrow pointed towards the future for us of what
Speaker 3: the Black Crows could be. And once we work with
Speaker 3: a guy like Jay Joyce who produced the record, who's
Speaker 3: very successful, popular producer, We've never really worked.
Speaker 2: With like a super producer like that.
Speaker 3: And you know, we met so many talented people and
Speaker 3: had so many great conversations.
Speaker 2: There's just something about Jay.
Speaker 3: Well, first off, we felt like this guy not only
Speaker 3: can we get him, but he could get us, and
Speaker 3: we're incapable of doing something that we don't feel is sincere,
Speaker 3: sincere to us of what we want to do and.
Speaker 2: How it sounds.
Speaker 3: And of course when he comes on board, he started
Speaker 3: to help shape the songs as well, like all right,
Speaker 3: we have a discussion about what I think the record
Speaker 3: should be. What's the concept in a sense, I mean,
Speaker 3: you can't do it one hundred percent because it's music
Speaker 3: and things change. But if that's what we're going for.
Speaker 3: And so he you know, we have a bunch of songs.
Speaker 3: He comes in, tells us what he likes about these songs.
Speaker 3: We go back work on some songs, write some new
Speaker 3: ones again as we're in the studio making the record.
Speaker 3: It only took us two and a half weeks to
Speaker 3: make the record.
Speaker 1: That's quick. Yeah, yeah, it has an energy.
Speaker 2: It has to be that way.
Speaker 3: Like I said, we're not the kind of people to
Speaker 3: what are we doing, you know, and what are we selling?
Speaker 3: What do we want people to get from this? What
Speaker 3: are we putting out there in the world. And we
Speaker 3: haven't made a record long time. Basically you got to, like,
Speaker 3: you know, put your money where your mouth is and
Speaker 3: if you're going to say this is what you are,
Speaker 3: then it.
Speaker 2: Better fucking sound like that. Yeah, And I've made a
Speaker 2: record in so.
Speaker 3: Long and we've been talking about it, we've been proving
Speaker 3: it every night on tour of like what the presentation is,
Speaker 3: what the vibes are, what the band sounds like we're rich,
Speaker 3: and I are, but we're playing old songs and we're
Speaker 3: playing songs people know, and now to do it with
Speaker 3: something new. But after all the talk about we're a
Speaker 3: rock and roll band, this is where we're doing this.
Speaker 3: We're in a good place, we're creative. But then you
Speaker 3: have to do it.
Speaker 1: Yeah, do you think you could go out and play
Speaker 1: when you go out on tour. You're going on tour,
Speaker 1: se could you play a lot of this album or
Speaker 1: do you do you feel you have to do a
Speaker 1: lot of the old sung?
Speaker 2: I mean that's the purpose of the tour.
Speaker 3: And we've gone from bigger venues to a little smaller
Speaker 3: because we know, you know, there's always going to be
Speaker 3: someone like this is our new single and they go to.
Speaker 2: The bathroom or whatever.
Speaker 1: Yeah, well you want to play the new record, like
Speaker 1: that's the point of this.
Speaker 3: Yeah, Well, we feel that it's right there with the
Speaker 3: best of everything we've done. And as we move on
Speaker 3: from this new record and being able to focus on
Speaker 3: it for this period, of course, you know, we have to.
Speaker 2: Play She talks angels hard to handle, jealous again twice.
Speaker 2: It's hard during to.
Speaker 3: My pride remedy, you know, we know there's certain things
Speaker 3: wiser times, soul singer, whatever.
Speaker 2: We know there's certain songs. I think when we were younger,
Speaker 2: we were more arrogant and we didn't want to play along.
Speaker 3: We wanted to push people more into we're more than
Speaker 3: just these hit songs, and that was our right and
Speaker 3: we did it and we felt there was some importance
Speaker 3: there that wasn't just ecocentric. Yeah, But I think now
Speaker 3: we realize and that oh we can. We can say
Speaker 3: the things we want to say, but we also have
Speaker 3: to respect our audience and know that somebody's going to
Speaker 3: be mad if you don't play.
Speaker 2: She talks Danel Yeah. Yeah, And by the way I
Speaker 2: look at she.
Speaker 3: Talks to angels or hard to handle or whatever now
Speaker 3: in such a different light because I realize how special
Speaker 3: it is to have those songs in your catalog, you know,
Speaker 3: to have songs that we play for people, but that
Speaker 3: after almost soon it'll be getting there forty years that
Speaker 3: are been in people's lives and it's important to them too,
Speaker 3: and they and they want to hear it, and they
Speaker 3: want to hear you do the best you can do, yeah,
Speaker 3: and make it special and have that relationship.
Speaker 2: With the audience.
Speaker 1: Yeah, you said you feel like this is like an
Speaker 1: arrow pointing to the future, like you want to do
Speaker 1: more Black Crows music.
Speaker 3: Yeah, you know, I mean, I know it sounds weird to, like,
Speaker 3: you know, start wrapping up my fifties and talking about it,
Speaker 3: But then again, you know, there's so much about what
Speaker 3: we are as a band and as artist and as
Speaker 3: people that looks like one thing on the surface, but
Speaker 3: it's not underneath, you know, in the same way that
Speaker 3: it breaks my heart a little bit to hear like
Speaker 3: people musicians say that they are bored or listless or
Speaker 3: not inspired, and I'm like, well, I don't feel that way.
Speaker 3: And this record is really even greater sort of proof
Speaker 3: that I don't have to give up on my passion,
Speaker 3: on my creativity. I can put it all in the
Speaker 3: correct order. Yeah, and we can continue to move on.
Speaker 3: We don't have the same expectations that you had in
Speaker 3: nineteen ninety five when you made a record, When you
Speaker 3: know you're spending a million and a half dollars on
Speaker 3: a record and they want you to go out and
Speaker 3: sell fucking ten million records and have four hit singles,
Speaker 3: and everybody's trying to do that, and the radio is
Speaker 3: pumping your songs all day long, and that's that's how
Speaker 3: it used to work. Kids used to they play your
Speaker 3: records all the time on the radio, and people will
Speaker 3: go buy your records.
Speaker 2: How it works.
Speaker 3: Yeah, So even though that's gone, that doesn't mean we
Speaker 3: don't see or feel there is still some importance in that.
Speaker 3: And I don't feel that making albums is that antiquated
Speaker 3: or archaic or anything. People say, you know, you go
Speaker 3: to fucking Amiba, man, You're gonna wait in line to
Speaker 3: pay for your shit.
Speaker 2: It's not like there's Humble Weeds blowing through a record
Speaker 2: store or something.
Speaker 1: It's true there are a fewer around, but you know, like, yeah,
Speaker 1: go to.
Speaker 3: Freak Beating in the valley. There's people in that way,
Speaker 3: you know, and they have great records in there. It's
Speaker 3: like anything else. The media doesn't cover it because it
Speaker 3: would take too much imagination and interest in something that
Speaker 3: isn't status driven, in something that is collectively more dynamic,
Speaker 3: that contains more soulful information, or something of a cultural
Speaker 3: reality that's not just reality TV and going to the
Speaker 3: gym or whatever.
Speaker 1: Yeah. Yeah, And so you do feel like there's an
Speaker 1: errow pointed in the future. You want to make more music,
Speaker 1: but you mentioned earlier maybe less touring at some point.
Speaker 2: It's in deposition. I have to give you a day.
Speaker 1: No, I'm just curious. No, I'm just scarious. Like it's
Speaker 1: like I don't know, like why, I'm just trying to
Speaker 1: figure out where you're at here.
Speaker 2: I mean, answered a grand journey.
Speaker 4: Play this back to you. Remember you said it I
Speaker 4: fucking Miranda Rights man. Uh, yes, there will come a time.
Speaker 4: It's not it's not in the near future.
Speaker 2: But maybe you know, give me another.
Speaker 1: I don't know.
Speaker 3: It's hard to say, you know what I mean, because
Speaker 3: getting a bit older is.
Speaker 2: Weird because I don't feel older. But like, oh fuck
Speaker 2: my knee hurt or whatever.
Speaker 3: Yeah, okay, it doesn't dictate my dreams and passions my age.
Speaker 3: But no for the near future, and I think, you know,
Speaker 3: it would be pretty safe to say for the next
Speaker 3: decade of life.
Speaker 2: I want to keep doing it while I can.
Speaker 3: Yeah, that was another thing about the record, like, let's
Speaker 3: make a fucking rock and roll record while we can
Speaker 3: still fucking rock and roll.
Speaker 2: Man, you know what I mean, Because at a certain point
Speaker 2: it's gonna.
Speaker 3: Be like you, thank you rock and rolling, But congensity
Speaker 3: level comes down, which is totally normal and fine, but
Speaker 3: rock and roll is specific to a certain energy that
Speaker 3: you need.
Speaker 2: There's all sorts of.
Speaker 3: Things that you can be passionate and you can again
Speaker 3: have that kind of emotion and there's still a smoldering
Speaker 3: intensity to those things.
Speaker 2: But I think if you want.
Speaker 3: To get out, shake your ass a little bit, put
Speaker 3: it on a rock and roll show. Hopefully people still
Speaker 3: get up and dance, and that's what it's about.
Speaker 1: Incredible man. Well, look, man, thanks for thanks for taking
Speaker 1: the time to talk. I love the new album. Excited
Speaker 1: to see you play it and fun talking to you.
Speaker 2: Man.
Speaker 1: You've got a lot to say. I love it all.
Speaker 2: I appreciate that.
Speaker 1: Thanks to Chris Robinson for hanging out and talking about
Speaker 1: his career along with the Black Crows new album, Happiness Bastards.
Speaker 1: You can hear it along with our favorite song from
Speaker 1: Chris on a playlist a Broken Record podcast dot com.
Speaker 1: Subscribe to our YouTube channel at YouTube dot com slash
Speaker 1: Broken Record Podcast, where you can find all of our
Speaker 1: new episodes. You can follow us on Twitter at broken Record.
Speaker 1: Broken Record is produced and edited by Leah Rose, with
Speaker 1: marketing help from Eric Sandler and Jordan McMillan. Our engineer
Speaker 1: is Ben Tollinday. Broken Record is a production of Pushkin Industries.
Speaker 1: If you love this show and others from Pushkin, consider
Speaker 1: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription
Speaker 1: that offers bonus content and ad free listening for four
Speaker 1: ninety nine a month. Look for Pushkin Plus on Apple
Speaker 1: Podcasts subscriptions and if you like this show, please remember
Speaker 1: to share, rate, and review us on your podcast app.
Speaker 1: Our theme music's by Kenny Beats. I'm justin Richmond.