1 00:00:15,476 --> 00:00:32,116 Speaker 1: Pushkin, Pushkin. Just a quick note here. You can listen 2 00:00:32,156 --> 00:00:34,436 Speaker 1: to all of the music mentioned in this episode on 3 00:00:34,476 --> 00:00:36,796 Speaker 1: our playlist, which you can find a link to in 4 00:00:36,876 --> 00:00:40,436 Speaker 1: the show notes for licensing reasons, each time a song 5 00:00:40,556 --> 00:00:44,556 Speaker 1: is referenced in this episode, you'll hear this sound effect. 6 00:00:45,916 --> 00:00:50,116 Speaker 1: All right, enjoyed the episode. Not long ago, I was 7 00:00:50,156 --> 00:00:52,676 Speaker 1: having dinner with some old family friends. They have two 8 00:00:52,756 --> 00:00:57,076 Speaker 1: daughters in their early twenties, Joanna and Annie. Joanna and 9 00:00:57,076 --> 00:01:01,836 Speaker 1: Annelie are serious music people, super serious. So I said 10 00:01:01,836 --> 00:01:05,956 Speaker 1: to them, if you could invite anyone, anyone on Broken Record, 11 00:01:05,956 --> 00:01:10,916 Speaker 1: who would it be? And they both answered Tonics, not Beyonce, 12 00:01:11,236 --> 00:01:15,996 Speaker 1: not Adele, not a reincarnated Elvis Presley. Pentatonics, an a 13 00:01:15,996 --> 00:01:19,276 Speaker 1: cappella group from Arlington, Texas that got its start on 14 00:01:19,316 --> 00:01:22,836 Speaker 1: YouTube that I'm going to guess most people over the 15 00:01:22,836 --> 00:01:25,436 Speaker 1: age of thirty have never heard of. So what do 16 00:01:25,516 --> 00:01:28,916 Speaker 1: we do? Well? We invited Pentatonics Unbroken Record, of course, 17 00:01:29,396 --> 00:01:31,676 Speaker 1: where I have to admit I fell in love with him, 18 00:01:32,076 --> 00:01:35,556 Speaker 1: even though I'm twice their age. My name is Malcolm Gladwell, 19 00:01:35,996 --> 00:01:57,996 Speaker 1: you're listening to Broken Record. I met I'm Kirsten, I'm Mitch, 20 00:01:58,156 --> 00:02:01,876 Speaker 1: I'm Scott and I'm Kevin and we are Pentatonics, and 21 00:02:02,316 --> 00:02:05,436 Speaker 1: our name is based off the pentatonic scale, which goes 22 00:02:08,276 --> 00:02:13,756 Speaker 1: on and on and on. Pentatonics Matt Sally bass vocals, 23 00:02:14,076 --> 00:02:19,396 Speaker 1: Kirsten Maldonano mezzo soprano, Mitch Grassi tenor, Scott Hoying baritone, 24 00:02:19,516 --> 00:02:25,036 Speaker 1: and Kevin o'lushila beatboxer, five members representing the five notes 25 00:02:25,396 --> 00:02:29,636 Speaker 1: in the pentatonic scale. They're an incredibly charismatic group of 26 00:02:29,636 --> 00:02:32,756 Speaker 1: twenty somethings who met in high school in Texas. They 27 00:02:32,796 --> 00:02:36,156 Speaker 1: started out by uploading acappella covers of pop songs on 28 00:02:36,196 --> 00:02:40,716 Speaker 1: YouTube and now they have sixteen million followers. But they 29 00:02:40,716 --> 00:02:42,596 Speaker 1: really had the big time when they earned a spot 30 00:02:42,636 --> 00:02:46,596 Speaker 1: on NBC's to Sing Off and won and now seven 31 00:02:46,716 --> 00:02:49,876 Speaker 1: Pentatonics albums later, I got to meet with the group 32 00:02:49,996 --> 00:02:53,116 Speaker 1: at GSI Studios in New York, along with friend of 33 00:02:53,116 --> 00:02:56,316 Speaker 1: the show, public radio journalist and my co host for 34 00:02:56,356 --> 00:03:00,836 Speaker 1: this episode, Daisy Rosario. By the way, they showed up 35 00:03:00,876 --> 00:03:03,796 Speaker 1: early for the interview. In the history of rock and roll, 36 00:03:03,956 --> 00:03:06,876 Speaker 1: no band has ever been early for an interview. They 37 00:03:06,916 --> 00:03:09,036 Speaker 1: may even have walked from their hotel. I have no idea. 38 00:03:09,476 --> 00:03:11,556 Speaker 1: Mitch was wearing the coolest code of I ever seen. 39 00:03:12,036 --> 00:03:14,516 Speaker 1: Before the show, I hung out with Kevin, who turns 40 00:03:14,516 --> 00:03:17,276 Speaker 1: out went to Yale speaks Chinese is half West Indian 41 00:03:17,396 --> 00:03:19,076 Speaker 1: like me, and I feel like we could have just 42 00:03:19,116 --> 00:03:22,316 Speaker 1: done a second show with Kevin riffing. They have a 43 00:03:22,396 --> 00:03:25,636 Speaker 1: fifty city tour of arenas coming up this spring, but 44 00:03:25,716 --> 00:03:29,316 Speaker 1: I don't think of Pentatonics as rock stars. There's something 45 00:03:29,356 --> 00:03:32,756 Speaker 1: way better. We all got acquainted. Then they agreed to 46 00:03:32,756 --> 00:03:35,556 Speaker 1: give Daisy and me a little demonstration of how their 47 00:03:35,596 --> 00:03:41,276 Speaker 1: songs come together. That's basically how it happens. It's a 48 00:03:41,276 --> 00:03:44,356 Speaker 1: simple formula, so that with that song. Okay, Now, on 49 00:03:44,396 --> 00:03:48,396 Speaker 1: the degree of difficulty scale, if one is dead easy 50 00:03:48,436 --> 00:03:50,876 Speaker 1: and ten is like insanely hard, where is that? That 51 00:03:50,956 --> 00:03:53,796 Speaker 1: one's probably one of the easier ones, like a three, 52 00:03:53,996 --> 00:03:57,196 Speaker 1: or it's a three? Oh yeah, can you give us 53 00:03:57,196 --> 00:04:01,636 Speaker 1: a five? Let's just work up the scale. Five well, 54 00:04:01,636 --> 00:04:04,476 Speaker 1: in terms of complexity would be like a six or seven. 55 00:04:04,996 --> 00:04:07,036 Speaker 1: Got there? Why is that you said that was a three? 56 00:04:07,076 --> 00:04:09,356 Speaker 1: Why is that a three? What's easy about is a 57 00:04:09,396 --> 00:04:13,396 Speaker 1: lot of the background parts are really repetitive bump, and 58 00:04:13,436 --> 00:04:18,156 Speaker 1: then other songs like like all over the place. Yeah, okay, 59 00:04:18,156 --> 00:04:19,996 Speaker 1: So so the next one up is going to be 60 00:04:20,076 --> 00:04:22,756 Speaker 1: like a five. Uh yeah, because that was a little 61 00:04:22,756 --> 00:04:24,876 Speaker 1: bit tougher, but not too hard. She started just at 62 00:04:24,916 --> 00:04:35,436 Speaker 1: the beginning, Yes, that's it. Yeah yeah, and then we 63 00:04:35,556 --> 00:04:38,436 Speaker 1: end right before your solo. Yeah, do like a line 64 00:04:38,436 --> 00:04:39,636 Speaker 1: of your soul and then we'll just like cut off 65 00:04:39,716 --> 00:04:47,956 Speaker 1: right okay cool? So what wait? Wait? So why is 66 00:04:47,956 --> 00:04:50,956 Speaker 1: that specifically? Why that's a little harder. Background parts are 67 00:04:50,996 --> 00:04:53,116 Speaker 1: kind of playing off of each other to form one 68 00:04:53,716 --> 00:04:57,356 Speaker 1: singular rhythm. Does that make sense? Yeah? Yeah. Also, if 69 00:04:57,396 --> 00:04:59,916 Speaker 1: you get off, you off, you know, you have to 70 00:04:59,956 --> 00:05:02,236 Speaker 1: be you have to hold down your part. Yeah. When 71 00:05:02,356 --> 00:05:05,396 Speaker 1: is it harder if you if the song is slow? 72 00:05:05,956 --> 00:05:08,396 Speaker 1: Is your job harder? If the song is just a 73 00:05:08,436 --> 00:05:11,956 Speaker 1: different reason rest support? Maybe? Yeah. Slow songs can fall 74 00:05:11,996 --> 00:05:14,796 Speaker 1: out of tune faster because we're holding long notes and 75 00:05:14,836 --> 00:05:17,076 Speaker 1: they can start to be the tonal center can be lost. 76 00:05:17,276 --> 00:05:20,756 Speaker 1: But fast songs, it can be just hard accuracy wise. Yeah, 77 00:05:20,796 --> 00:05:22,756 Speaker 1: and your song is hard in a different way for 78 00:05:22,796 --> 00:05:25,436 Speaker 1: each individual person too, Like the first like even just 79 00:05:25,476 --> 00:05:27,156 Speaker 1: for the Christmas Show for example, the first half is 80 00:05:27,156 --> 00:05:29,036 Speaker 1: so hard remain then everyone's like, oh, that's the easy 81 00:05:29,036 --> 00:05:30,876 Speaker 1: part of me, and I'm like, oh, but it just 82 00:05:30,916 --> 00:05:32,756 Speaker 1: depends on the person as well. Because that song we 83 00:05:32,836 --> 00:05:34,596 Speaker 1: just did, it's really tough for you. I feel like, 84 00:05:34,636 --> 00:05:37,236 Speaker 1: well you one of them. Yeah, but it is tough. 85 00:05:37,236 --> 00:05:39,796 Speaker 1: There's there are especially parts later on where the beats 86 00:05:39,836 --> 00:05:42,836 Speaker 1: like what's like you're just going everywhere? So I have 87 00:05:42,876 --> 00:05:46,756 Speaker 1: to think a lot. But yeah, that one we've done 88 00:05:46,876 --> 00:05:48,796 Speaker 1: a lot of times. I think god Rest is probably 89 00:05:48,836 --> 00:05:51,756 Speaker 1: even a better example of like more difficulty. Yeah, seven 90 00:05:51,836 --> 00:05:53,716 Speaker 1: or eight, because it's just okay, well to get to there, 91 00:05:53,996 --> 00:05:56,876 Speaker 1: but wait, what what happens when you make a mistake? 92 00:05:58,196 --> 00:06:00,396 Speaker 1: Like just keep on trying. No, I'm thinking, I'm thinking, 93 00:06:00,436 --> 00:06:03,436 Speaker 1: I'm looking at you, Kevin. You just said there's a 94 00:06:03,476 --> 00:06:05,836 Speaker 1: part of that song it's really hard. Sure what if 95 00:06:05,876 --> 00:06:08,036 Speaker 1: you blow it? If you make a little air or 96 00:06:08,036 --> 00:06:09,956 Speaker 1: does it so everyone else saw? I mean, honestly, you 97 00:06:10,036 --> 00:06:12,276 Speaker 1: just keep going and thankfully, to be honest, I think 98 00:06:12,316 --> 00:06:15,676 Speaker 1: there's a mystique in magic about beatboxing where nobody really 99 00:06:15,676 --> 00:06:17,916 Speaker 1: knows that I've made a mistake, so I just keep 100 00:06:17,956 --> 00:06:20,076 Speaker 1: going and like, seriously, there are times where I've drunk 101 00:06:20,116 --> 00:06:21,556 Speaker 1: too much water and then I might burp, But then 102 00:06:21,556 --> 00:06:26,116 Speaker 1: I'm like, oh, it's a beatbox. So there's there's that 103 00:06:26,196 --> 00:06:28,036 Speaker 1: mystique that kind of helps me out in that way 104 00:06:28,076 --> 00:06:29,596 Speaker 1: where people don't know. I think it's a lot more 105 00:06:29,636 --> 00:06:31,996 Speaker 1: obvious if they make a mistake. Yeah and speak on that. Yeah, 106 00:06:32,316 --> 00:06:35,396 Speaker 1: oh yeah, yeah to speak on that. Kevin's really good 107 00:06:35,396 --> 00:06:38,716 Speaker 1: at covering, so like because because the rhythm section thing 108 00:06:38,716 --> 00:06:41,036 Speaker 1: will we'll play off of each other, you know, where 109 00:06:41,076 --> 00:06:43,996 Speaker 1: the foundation foundational things. So I'll hear him a lot 110 00:06:44,036 --> 00:06:46,556 Speaker 1: of times like mess up, but he'll like come back 111 00:06:46,596 --> 00:06:48,996 Speaker 1: in on a different syncopated rhythm. So it's really cool 112 00:06:49,036 --> 00:06:51,276 Speaker 1: and people I'll geek out over that kind of stuff. 113 00:06:51,316 --> 00:06:54,396 Speaker 1: So it's so cool. Like when he messes up, he 114 00:06:54,396 --> 00:06:56,356 Speaker 1: does a mess up. So basically he does a mess up. 115 00:06:56,796 --> 00:06:58,876 Speaker 1: It's like good jazz. It's like, oh they make a 116 00:06:58,956 --> 00:07:01,316 Speaker 1: mistake and then you're like, oh no, it was purposeful. 117 00:07:01,316 --> 00:07:07,516 Speaker 1: It's like okay character, ok wait, okay, So next the 118 00:07:07,596 --> 00:07:10,756 Speaker 1: next next level up was you had mentioned a song 119 00:07:12,276 --> 00:07:15,196 Speaker 1: probably like eight to Yeah, okay, where do you want 120 00:07:15,196 --> 00:07:18,236 Speaker 1: to go from? Oh? Yeah, let's go before you go, 121 00:07:18,356 --> 00:07:20,916 Speaker 1: before you before you start? Why what's hard about this? 122 00:07:20,956 --> 00:07:23,116 Speaker 1: What I want to listen for it? This one? It's 123 00:07:23,116 --> 00:07:25,996 Speaker 1: pretty quick, it's very quick, yes, and the notes are 124 00:07:26,036 --> 00:07:27,756 Speaker 1: all over the place for all of us. And then 125 00:07:28,876 --> 00:07:30,596 Speaker 1: there's like this I don't even know how to describe it. 126 00:07:30,676 --> 00:07:32,756 Speaker 1: I mean, I would say this one is much more 127 00:07:32,796 --> 00:07:34,636 Speaker 1: based off of classical music, so that there's a lot 128 00:07:34,636 --> 00:07:37,436 Speaker 1: of like counterpunnel melodies that are going in and out. 129 00:07:37,756 --> 00:07:39,676 Speaker 1: So each thing has this very distinct part. But then 130 00:07:39,716 --> 00:07:42,436 Speaker 1: if you get off, it makes it a lot harder 131 00:07:42,476 --> 00:07:44,796 Speaker 1: to come back in. So I think that's but that's 132 00:07:44,836 --> 00:07:46,636 Speaker 1: why we liked it, because we wanted to be something intricate. 133 00:07:46,636 --> 00:07:53,916 Speaker 1: When people say I would never hear this anywhere, m 134 00:07:54,596 --> 00:07:59,996 Speaker 1: oh yeah, the hell. Oh yeah, that's true. So I 135 00:08:00,076 --> 00:08:06,076 Speaker 1: want to start there and then go through start Oh, 136 00:08:06,156 --> 00:08:08,156 Speaker 1: let's do that, okay, and then we do it again 137 00:08:08,916 --> 00:08:18,316 Speaker 1: and the end and then yeah, oh wow, wait now okay, 138 00:08:18,356 --> 00:08:22,156 Speaker 1: Now is there of that little bit you just did? 139 00:08:22,716 --> 00:08:25,116 Speaker 1: Are there specific? Is there a specific part that is 140 00:08:25,156 --> 00:08:29,236 Speaker 1: the most challenging or is it also equal you get 141 00:08:29,276 --> 00:08:31,596 Speaker 1: nervous when you're about to come to one specific part 142 00:08:31,636 --> 00:08:34,676 Speaker 1: of that song? Not really. I feel like once we 143 00:08:34,796 --> 00:08:37,076 Speaker 1: learned that one, that one's not nerve wrecking anymore. So 144 00:08:37,076 --> 00:08:39,236 Speaker 1: it's kind of an interesting thing. It was challenging to 145 00:08:39,316 --> 00:08:41,356 Speaker 1: learn and it was a scary feat to take on. 146 00:08:41,396 --> 00:08:42,796 Speaker 1: But now that we know it have sung it so 147 00:08:42,836 --> 00:08:45,116 Speaker 1: many times that I'm never really nervous about a part. 148 00:08:45,156 --> 00:08:47,156 Speaker 1: There are songs where I will get like nervous about 149 00:08:47,156 --> 00:08:49,156 Speaker 1: it every single time, but that's actually not one of them, 150 00:08:49,436 --> 00:08:52,396 Speaker 1: like Hallelujah, or like one of our ballads where there's 151 00:08:52,396 --> 00:08:54,476 Speaker 1: a high part. Do you guys get nervous about the 152 00:08:54,476 --> 00:08:57,716 Speaker 1: same things or do each have your own idiosyncratic nerves? 153 00:08:57,916 --> 00:09:02,596 Speaker 1: Really good question. Probably I'm nervous about lyrics because I'm 154 00:09:03,156 --> 00:09:08,356 Speaker 1: figured the time. Sometimes actually maybe I don't want to 155 00:09:08,396 --> 00:09:13,196 Speaker 1: rink it. I'll say it an Sometimes you feel like 156 00:09:13,236 --> 00:09:14,756 Speaker 1: you're about to forget something, feel like you're about to 157 00:09:14,756 --> 00:09:16,316 Speaker 1: forget something, and then right when it happens, do you 158 00:09:16,316 --> 00:09:19,316 Speaker 1: remember it? Because of muscle memory and your stomach drops 159 00:09:19,316 --> 00:09:20,636 Speaker 1: and your heart is pounding, and you like you can't. 160 00:09:22,596 --> 00:09:26,476 Speaker 1: So we have three prompters on our stage. You'll be like, 161 00:09:26,476 --> 00:09:31,196 Speaker 1: I don't know what when you said, you said you 162 00:09:31,236 --> 00:09:34,636 Speaker 1: get nervous sometimes when you're learning a song, you said 163 00:09:34,796 --> 00:09:37,836 Speaker 1: you it's seems overwhelming at first. How long does it 164 00:09:37,876 --> 00:09:39,916 Speaker 1: take you to learn a song? What's that? What's the 165 00:09:39,996 --> 00:09:42,916 Speaker 1: learning process? Looked like it really depends on the song. 166 00:09:43,476 --> 00:09:46,116 Speaker 1: So I mean, for example, we've done these evolution covers 167 00:09:46,316 --> 00:09:49,516 Speaker 1: right where we do a person's career, or we do 168 00:09:49,556 --> 00:09:51,356 Speaker 1: evolution of music, like he was about to say, it's 169 00:09:51,396 --> 00:09:53,276 Speaker 1: where we do. I mean we've done I think from 170 00:09:53,316 --> 00:09:56,516 Speaker 1: Gregorian Chance up to now. And I think depending on 171 00:09:56,596 --> 00:09:59,156 Speaker 1: how many songs and the difficulty of the arrangement it 172 00:09:59,196 --> 00:10:02,836 Speaker 1: can take, it takes us different amounts of time to learn. 173 00:10:03,436 --> 00:10:05,436 Speaker 1: I mean, what, there's some songs that we can learn 174 00:10:05,476 --> 00:10:07,756 Speaker 1: pretty easily. I think, problem, why aren't you on a grande? 175 00:10:07,956 --> 00:10:09,836 Speaker 1: We did that in a very very short period of time, 176 00:10:09,836 --> 00:10:11,996 Speaker 1: evolution of music. I mean, it's probably took us a 177 00:10:12,116 --> 00:10:14,796 Speaker 1: weak plus. But it was funny because that one we 178 00:10:14,876 --> 00:10:16,236 Speaker 1: learned it and then we actually did it for a 179 00:10:16,316 --> 00:10:18,396 Speaker 1: TV show, so we had to redo it and learn 180 00:10:18,436 --> 00:10:21,556 Speaker 1: it very last minute. I remember that, Yeah, we were 181 00:10:21,556 --> 00:10:23,276 Speaker 1: going to be on Ellen, and so we had to 182 00:10:23,316 --> 00:10:25,596 Speaker 1: relearn it, and so the next day we performed it 183 00:10:25,636 --> 00:10:27,996 Speaker 1: and it was just a totally it was Yeah, it 184 00:10:28,036 --> 00:10:29,956 Speaker 1: was very very difficult. So I think when you have 185 00:10:29,996 --> 00:10:31,956 Speaker 1: those situations, when when you have to learn something very 186 00:10:32,076 --> 00:10:34,636 Speaker 1: very fast and it's intricate, that's when your mind gets 187 00:10:34,676 --> 00:10:37,596 Speaker 1: muddled a little bit, and we usually learn everything on 188 00:10:37,596 --> 00:10:40,356 Speaker 1: our own and then come to rehearsal and then if 189 00:10:40,396 --> 00:10:42,476 Speaker 1: we all haven't learned, it comes together pretty quickly actually 190 00:10:42,636 --> 00:10:46,276 Speaker 1: as a group. That's interesting. That's not that completely surprises me. 191 00:10:46,916 --> 00:10:49,996 Speaker 1: So in the in the beginning, you might pick a 192 00:10:50,036 --> 00:10:51,796 Speaker 1: song and then you will all go off on your own. 193 00:10:51,916 --> 00:10:55,676 Speaker 1: And is it obvious to what your piece of it is. Well, 194 00:10:55,716 --> 00:10:57,796 Speaker 1: sometimes we'll arrange in person and then we're kind of 195 00:10:57,876 --> 00:11:00,956 Speaker 1: learning it as we're arranging it. But then more often 196 00:11:00,996 --> 00:11:03,156 Speaker 1: we'll just kind of have ideas and then arrange it 197 00:11:03,156 --> 00:11:04,796 Speaker 1: with our arranger, and then we have sheet music and 198 00:11:04,796 --> 00:11:06,676 Speaker 1: then like a MIDI track for each of us. I'll 199 00:11:06,716 --> 00:11:08,356 Speaker 1: just kind of learn our part. You can hear their 200 00:11:08,396 --> 00:11:11,636 Speaker 1: parts the MIDI track, and then we'll just kind of 201 00:11:11,636 --> 00:11:14,876 Speaker 1: come having it learned. We'll be back with more from 202 00:11:14,876 --> 00:11:25,316 Speaker 1: Pentatonics after this break. We're back with more Pentatonics and 203 00:11:25,356 --> 00:11:29,156 Speaker 1: a question from my co host this episode, journalist Daisy Rosario. 204 00:11:30,676 --> 00:11:33,236 Speaker 1: From beginning to end, let's say, if you weren't touring, 205 00:11:33,276 --> 00:11:35,676 Speaker 1: if you weren't doing everything, but you were just preparing 206 00:11:36,116 --> 00:11:39,676 Speaker 1: between purposely trying to pick some songs, creating the arrangements, 207 00:11:39,716 --> 00:11:44,476 Speaker 1: then learning. How long is that process? I think, once again, 208 00:11:44,716 --> 00:11:48,116 Speaker 1: it really depends. It depends on our timeline. It depends 209 00:11:48,196 --> 00:11:50,716 Speaker 1: on how focused we are on the project. Compare you know, 210 00:11:50,756 --> 00:11:52,716 Speaker 1: if we're on tour, it might take us longer because 211 00:11:52,716 --> 00:11:54,796 Speaker 1: we want to save our voices. I remember, we actually 212 00:11:54,836 --> 00:11:57,996 Speaker 1: did evolution of music, or at least the pre arrangement 213 00:11:58,036 --> 00:11:59,796 Speaker 1: of it. And when we say pre arrangement, it means 214 00:11:59,796 --> 00:12:02,156 Speaker 1: picking the songs, kind of getting rough ideas of what 215 00:12:02,196 --> 00:12:05,676 Speaker 1: the song is gonna sound like. I mean, I truly 216 00:12:05,716 --> 00:12:08,356 Speaker 1: believe though, if you were, like you have completely free time, 217 00:12:08,356 --> 00:12:10,036 Speaker 1: how long would it take? We could do an entire 218 00:12:10,076 --> 00:12:12,076 Speaker 1: song in a day? Yeah, I agree with that. If 219 00:12:12,076 --> 00:12:13,676 Speaker 1: we got it in the morning and picked the song 220 00:12:13,756 --> 00:12:15,876 Speaker 1: and then arranged it's been that would take a few hours, 221 00:12:16,116 --> 00:12:18,076 Speaker 1: and then each record our part or like learn it. 222 00:12:18,116 --> 00:12:19,396 Speaker 1: I feel like we could do it in a day. Yea. 223 00:12:20,556 --> 00:12:23,916 Speaker 1: How does decision making work in your in your group? 224 00:12:24,876 --> 00:12:27,156 Speaker 1: It's actually really cool and organic and we we uh, 225 00:12:27,716 --> 00:12:29,476 Speaker 1: we just all just bring an idea when we have it, 226 00:12:29,556 --> 00:12:31,316 Speaker 1: and we talk about it and we're all inspired and 227 00:12:31,356 --> 00:12:33,796 Speaker 1: you can feel the momentum, then we just go with it. 228 00:12:34,196 --> 00:12:36,476 Speaker 1: But there's no like voting process or anything, and you 229 00:12:36,476 --> 00:12:38,596 Speaker 1: don't have because you have no It's not like the 230 00:12:38,676 --> 00:12:41,596 Speaker 1: Rolling Stones, where like Mick is saying we're doing this 231 00:12:41,676 --> 00:12:45,956 Speaker 1: and everyone else is and Ron Wood is saying, okay, yeah, 232 00:12:45,996 --> 00:12:49,916 Speaker 1: it's pretty definite. Yeah, And if you see multiple members excited, 233 00:12:49,956 --> 00:12:51,916 Speaker 1: even if you're not as inspired, you'll be like, Okay, 234 00:12:51,956 --> 00:12:54,516 Speaker 1: let's go with it because they're excited, and then see 235 00:12:54,516 --> 00:12:56,356 Speaker 1: where it goes. Do you have five of you? Do 236 00:12:56,396 --> 00:12:59,996 Speaker 1: you have? Do you have very divergent tastes in music? 237 00:13:00,276 --> 00:13:03,116 Speaker 1: For sure? Yeah, tell me a little bit about what 238 00:13:03,156 --> 00:13:06,556 Speaker 1: the kind of span is actually bad? Why did you start? 239 00:13:07,476 --> 00:13:09,076 Speaker 1: I grew up on a lot of music theater like 240 00:13:09,196 --> 00:13:11,316 Speaker 1: some of us, but I also grew up in like 241 00:13:11,756 --> 00:13:14,516 Speaker 1: gospel music, in contemporary Christian music, Like I was the 242 00:13:14,516 --> 00:13:16,276 Speaker 1: only allowed to listen to that growing up for a 243 00:13:16,316 --> 00:13:19,396 Speaker 1: little bit. And then then I evolved into musical theater 244 00:13:19,516 --> 00:13:20,916 Speaker 1: and then kind of jazz. I went to work at 245 00:13:20,916 --> 00:13:22,476 Speaker 1: College of Music, so it was a lot of jazz 246 00:13:22,676 --> 00:13:25,116 Speaker 1: in that school, and so I have a really eclectic 247 00:13:25,436 --> 00:13:30,756 Speaker 1: amount of different types of music that I like and enjoy. Yeah, 248 00:13:30,796 --> 00:13:32,316 Speaker 1: I would say mine is pretty eclectic as well. I 249 00:13:32,316 --> 00:13:35,076 Speaker 1: grew up on musical theater, and then I've been listening 250 00:13:35,116 --> 00:13:38,236 Speaker 1: to like singer songwriters like Sarah Brellis, and I grew 251 00:13:38,316 --> 00:13:39,876 Speaker 1: up on like Regina Spector and then you know, all 252 00:13:39,876 --> 00:13:43,556 Speaker 1: the pop female side as well. And I listened to 253 00:13:43,636 --> 00:13:45,556 Speaker 1: some electronic music here and there, like James Blake I 254 00:13:45,596 --> 00:13:50,716 Speaker 1: really love. Yeah. I started in musical theater as well actually, 255 00:13:51,396 --> 00:13:53,596 Speaker 1: and was really really big into that and soundtracks. And 256 00:13:54,156 --> 00:13:58,636 Speaker 1: I think, uh, that's where my pitch accuracy came from, 257 00:13:58,796 --> 00:14:02,076 Speaker 1: is because I would always emulate musical theater actors, actresses 258 00:14:02,076 --> 00:14:03,996 Speaker 1: and they you know, that's like a big part of 259 00:14:04,076 --> 00:14:06,116 Speaker 1: musical theater that I really appreciated is that they were 260 00:14:06,156 --> 00:14:08,676 Speaker 1: all very very precise and pitch accurate. And then I 261 00:14:08,716 --> 00:14:13,516 Speaker 1: moved on to electronic music and specifically using vocals and 262 00:14:13,556 --> 00:14:16,476 Speaker 1: electronic music and cutting them up and using them as 263 00:14:16,476 --> 00:14:20,596 Speaker 1: instruments and and yeah, I still haven't I still haven't 264 00:14:20,596 --> 00:14:22,116 Speaker 1: gotten out of that. That's that's the genre that I 265 00:14:22,116 --> 00:14:26,916 Speaker 1: think really inspires me the most. Yeah, I like I 266 00:14:26,996 --> 00:14:30,476 Speaker 1: like anything with harmony. I also grew up doing musical theater. 267 00:14:30,516 --> 00:14:34,436 Speaker 1: That's how we all. Matt and I love pop R 268 00:14:34,476 --> 00:14:36,956 Speaker 1: and B. That's like what I listened to Beyonce and 269 00:14:37,036 --> 00:14:40,796 Speaker 1: Ariana Grande and Jasmine Sullivan. Anything where it's like pleasurable 270 00:14:40,916 --> 00:14:44,716 Speaker 1: chords and like happy sounding music but with soulful vocals. 271 00:14:44,556 --> 00:14:48,196 Speaker 1: It's really my vibe. Yeah. For myself, I grew up 272 00:14:48,236 --> 00:14:52,556 Speaker 1: on classical music. I played cello and so because that's 273 00:14:52,756 --> 00:14:56,236 Speaker 1: all kind of like him. My parents are very heavily Christian, 274 00:14:56,316 --> 00:14:58,516 Speaker 1: so that's what we could only listen to in the house. 275 00:14:58,596 --> 00:15:01,876 Speaker 1: That and then this radio station called Delilah. There's just 276 00:15:01,916 --> 00:15:06,796 Speaker 1: a lot of soft pop that's literally like all my delia. Yeah, 277 00:15:06,516 --> 00:15:09,396 Speaker 1: that's what we listen to all the time. And then 278 00:15:09,476 --> 00:15:11,756 Speaker 1: when I kind of went to boarding school and then college, 279 00:15:11,756 --> 00:15:14,876 Speaker 1: that's when I started learning about more like contemporary pop 280 00:15:14,996 --> 00:15:17,316 Speaker 1: music and I started to just take as much of 281 00:15:17,316 --> 00:15:19,516 Speaker 1: it and as I possibly can. Were you also involved 282 00:15:19,516 --> 00:15:22,436 Speaker 1: in musical theater and no, I wasn't. Literally we just 283 00:15:22,476 --> 00:15:25,036 Speaker 1: did this Wicked special and that's when I kind of 284 00:15:25,116 --> 00:15:27,676 Speaker 1: was really my first Forriento musical theater because I didn't 285 00:15:27,676 --> 00:15:31,156 Speaker 1: really know much about it and so but it's truly amazing, 286 00:15:31,196 --> 00:15:33,476 Speaker 1: like the things that these people do. Oh my gosh, 287 00:15:34,236 --> 00:15:38,796 Speaker 1: So what is it about? Since four four to five 288 00:15:38,836 --> 00:15:44,276 Speaker 1: of you eight Pentatonics comes out of musical theater. What 289 00:15:44,436 --> 00:15:48,116 Speaker 1: is it specifically about that world that prepares you for 290 00:15:48,636 --> 00:15:51,316 Speaker 1: a cappella singing. Would you have been as adept at 291 00:15:51,316 --> 00:15:52,716 Speaker 1: what you do if you would all have just been 292 00:15:52,716 --> 00:15:56,596 Speaker 1: in bands in high school? I think it obviously there's 293 00:15:56,596 --> 00:16:01,316 Speaker 1: a certain theatrical aspect, and I think acapella I don't 294 00:16:01,356 --> 00:16:02,996 Speaker 1: know what it is. I don't know if if a 295 00:16:02,996 --> 00:16:06,356 Speaker 1: cappella singers just feel like they have to what's the 296 00:16:06,356 --> 00:16:09,116 Speaker 1: word I'm looking for, not compromise, but they have to 297 00:16:09,196 --> 00:16:12,476 Speaker 1: sort of prove themselves as performers without backing tracks or 298 00:16:12,476 --> 00:16:14,236 Speaker 1: instruments or anything like that. So it's become a very 299 00:16:14,236 --> 00:16:17,996 Speaker 1: performative art and also just takes accuracy, and it takes 300 00:16:18,036 --> 00:16:20,196 Speaker 1: accurately don't have any inments behind you, so if someone 301 00:16:20,236 --> 00:16:23,156 Speaker 1: if you're flat, then it's like extremely noticeable. And so 302 00:16:23,196 --> 00:16:26,236 Speaker 1: I think that in musical theater it's all about pitch accuracy. 303 00:16:26,316 --> 00:16:28,596 Speaker 1: That's like like those are the best singers in the world. 304 00:16:28,676 --> 00:16:30,916 Speaker 1: And it's very emotional too, and that's something we all 305 00:16:30,996 --> 00:16:34,196 Speaker 1: really show emotion. I also think it takes a lot 306 00:16:34,236 --> 00:16:36,716 Speaker 1: of hard work to be doing eight shows a week. 307 00:16:36,756 --> 00:16:39,716 Speaker 1: I was very fortunate to being Kinky boot taller this year, 308 00:16:40,076 --> 00:16:42,636 Speaker 1: and I learned so many like tricks of the trade 309 00:16:42,636 --> 00:16:44,636 Speaker 1: from all these people that I was in the cast with, 310 00:16:44,716 --> 00:16:46,836 Speaker 1: and I took all of that with me into our 311 00:16:46,916 --> 00:16:49,076 Speaker 1: summer tour and onto this tour as well, and just 312 00:16:49,116 --> 00:16:51,196 Speaker 1: everyone is just an amazing workout that they know when 313 00:16:51,236 --> 00:16:52,796 Speaker 1: to say no, they know how to take care of 314 00:16:52,796 --> 00:16:56,076 Speaker 1: their body, and I just it's just really inspiring because 315 00:16:56,116 --> 00:16:57,516 Speaker 1: you think, like, you know, we go on a tour, 316 00:16:57,756 --> 00:16:59,756 Speaker 1: a two and a half month tour or this tour 317 00:16:59,796 --> 00:17:01,676 Speaker 1: and you know, this Christmas tour, and they can be 318 00:17:01,716 --> 00:17:03,956 Speaker 1: so grueling, but these people are doing it all year long, 319 00:17:04,036 --> 00:17:06,916 Speaker 1: like there is no stop and they get one day 320 00:17:06,916 --> 00:17:08,636 Speaker 1: off and yes they can call out, you know, they 321 00:17:08,636 --> 00:17:11,276 Speaker 1: can take a but that is that is their life, 322 00:17:11,316 --> 00:17:13,876 Speaker 1: their entire time. So it takes a lot of work out. 323 00:17:13,916 --> 00:17:16,356 Speaker 1: That they have families, they have you know, So I 324 00:17:16,396 --> 00:17:19,916 Speaker 1: think that's something also just really beautiful about the craft. Yeah, 325 00:17:20,036 --> 00:17:23,956 Speaker 1: does does see curious about the relationship you have to 326 00:17:23,996 --> 00:17:29,636 Speaker 1: your audience. Does the when you do something that's really 327 00:17:30,236 --> 00:17:33,436 Speaker 1: difficult in demanding that you're really proud of pulling off, 328 00:17:33,916 --> 00:17:36,556 Speaker 1: do you think your audience realizes how hard it is? 329 00:17:36,676 --> 00:17:38,756 Speaker 1: Do they are they are. They do you think you're 330 00:17:39,116 --> 00:17:41,956 Speaker 1: appreciated by the casual listener, like the craft of it? 331 00:17:42,556 --> 00:17:44,876 Speaker 1: I think they do. I think they do realize how 332 00:17:44,916 --> 00:17:46,836 Speaker 1: difficult it is and appreciate it. I think that they 333 00:17:46,876 --> 00:17:50,476 Speaker 1: appreciate more when it feels emotional, whether it's difficult or not. 334 00:17:50,596 --> 00:17:52,396 Speaker 1: I think they respond more to the emotion of the 335 00:17:52,516 --> 00:17:55,836 Speaker 1: arrangement than like the complexities. But I do think, especially 336 00:17:55,916 --> 00:18:00,436 Speaker 1: the nerdier acapella lovers really like we also arrange for that. 337 00:18:00,596 --> 00:18:04,036 Speaker 1: We make sure that we have specific quote unquote impressive 338 00:18:04,076 --> 00:18:07,436 Speaker 1: moments in our songs so people will be like, oh, wow, acapella, 339 00:18:07,476 --> 00:18:10,316 Speaker 1: I forgot they're doing it live, you know. Yeah, yeah, 340 00:18:10,396 --> 00:18:15,596 Speaker 1: I'm thinking of the Bahamian Rhapsody, which is like, you 341 00:18:15,596 --> 00:18:17,676 Speaker 1: don't have to know anyth about music. You watch your 342 00:18:17,876 --> 00:18:19,356 Speaker 1: video of you guys doing that, You're like, oh, this 343 00:18:19,476 --> 00:18:22,596 Speaker 1: is something amazing is going on here, and I don't know, 344 00:18:22,636 --> 00:18:24,596 Speaker 1: you know, So it is kind of in that case, 345 00:18:24,596 --> 00:18:26,916 Speaker 1: it really because the song, I guess is so actually 346 00:18:26,956 --> 00:18:29,036 Speaker 1: talk about that song? That song is I might write 347 00:18:29,036 --> 00:18:31,596 Speaker 1: the song is that about? Its demanding a piece of 348 00:18:31,676 --> 00:18:37,676 Speaker 1: music to do? Is sure that one's really hard? Did 349 00:18:37,716 --> 00:18:41,036 Speaker 1: you feel like you were taking a risk by trying it. Yes, 350 00:18:41,916 --> 00:18:43,316 Speaker 1: we were afraid of it for a couple of years, 351 00:18:43,396 --> 00:18:45,116 Speaker 1: put it off for six years. We talked about doing 352 00:18:45,116 --> 00:18:48,316 Speaker 1: it for wow six years. Yeah. Yeah, But I think 353 00:18:48,316 --> 00:18:51,276 Speaker 1: you touched on something that's really important, that it really 354 00:18:51,516 --> 00:18:55,036 Speaker 1: the song matters that much, especially for the casual listener, 355 00:18:55,036 --> 00:18:57,436 Speaker 1: because I think a lot of our fans are music lovers, 356 00:18:57,436 --> 00:18:59,716 Speaker 1: so they do appreciate a lot of what we do intricately. 357 00:19:00,076 --> 00:19:01,636 Speaker 1: But the thing is, we also want to reach a 358 00:19:01,676 --> 00:19:03,556 Speaker 1: wider fan base, So I think it's so important that 359 00:19:03,556 --> 00:19:05,596 Speaker 1: the song choice is so important so that people listen 360 00:19:05,636 --> 00:19:07,756 Speaker 1: to it. They say, I don't even care or know 361 00:19:07,876 --> 00:19:09,956 Speaker 1: that it's a cappella. I care that this is a 362 00:19:09,956 --> 00:19:12,036 Speaker 1: song that they're doing and it it makes me feel 363 00:19:12,076 --> 00:19:14,396 Speaker 1: so good, and I would like to listen to them more. 364 00:19:14,476 --> 00:19:16,596 Speaker 1: So I think song choice for that reason is so 365 00:19:16,596 --> 00:19:20,196 Speaker 1: important to us. We Can we do a little Can 366 00:19:20,236 --> 00:19:22,676 Speaker 1: we break down Bohemian rhapsty for a moment here? Sure? 367 00:19:23,476 --> 00:19:27,116 Speaker 1: Because I'm curious about Uh. First of all, there's so 368 00:19:27,196 --> 00:19:30,396 Speaker 1: much going on in that song, and I'm curious to 369 00:19:30,476 --> 00:19:33,356 Speaker 1: know what you think of as being the most interesting 370 00:19:34,356 --> 00:19:36,876 Speaker 1: parts of that song from your perspective. I think the 371 00:19:36,916 --> 00:19:40,156 Speaker 1: middle section of it, the Galileo. That whole part is 372 00:19:40,236 --> 00:19:43,876 Speaker 1: very interesting because there's dueling choirs, but we have two backgrounds, 373 00:19:45,116 --> 00:19:46,796 Speaker 1: so we're literally like, let them go, let me go. 374 00:19:46,836 --> 00:19:48,796 Speaker 1: I love it. We're singing all these parts, and it's 375 00:19:48,836 --> 00:19:50,756 Speaker 1: it's almost a little bit ridiculous, Like if you heard 376 00:19:50,796 --> 00:19:52,916 Speaker 1: one of us singing our part, it would be hilarious, 377 00:19:52,916 --> 00:19:59,596 Speaker 1: but we would like my word, will let you go, 378 00:19:59,756 --> 00:20:02,796 Speaker 1: let me go, will not let you go, let me go, 379 00:20:03,316 --> 00:20:07,316 Speaker 1: let you go, never, never, never, Like that's what I'm doing, 380 00:20:08,396 --> 00:20:12,916 Speaker 1: like way higher, screaming these parts. As as you're doing that, 381 00:20:13,956 --> 00:20:16,236 Speaker 1: can you give you individually do what you're doing. When 382 00:20:16,236 --> 00:20:18,076 Speaker 1: he's doing that, it's pretty much the same we're doing. 383 00:20:20,036 --> 00:20:24,316 Speaker 1: We will not let you let me go. Yeah, and 384 00:20:24,436 --> 00:20:26,276 Speaker 1: you're like trying to catch a breath at any moment 385 00:20:26,316 --> 00:20:30,316 Speaker 1: you can't let it let you go. Do you wonder 386 00:20:30,876 --> 00:20:32,676 Speaker 1: how I Every time I heard that song, all I 387 00:20:32,716 --> 00:20:34,836 Speaker 1: can think of is, how on earth did this song 388 00:20:34,916 --> 00:20:39,756 Speaker 1: get written? Like the movie? And I was like every 389 00:20:39,756 --> 00:20:41,956 Speaker 1: single song, I'm like, yeah, I kind of create a genius. 390 00:20:42,556 --> 00:20:44,996 Speaker 1: It's so it's bananas. It's like it comes from a 391 00:20:45,036 --> 00:20:50,236 Speaker 1: different musical universe. Is that what is that. What are 392 00:20:50,276 --> 00:20:52,276 Speaker 1: the songs you've done that you feel have been kind 393 00:20:52,276 --> 00:20:55,676 Speaker 1: of breakthrough? Did he know? Is what launched our first 394 00:20:55,756 --> 00:21:00,556 Speaker 1: Christmas album? And then Hallelujah was huge? Can you talk? 395 00:21:00,636 --> 00:21:04,956 Speaker 1: So it's funny you mentioned Alujah. I did a one 396 00:21:04,996 --> 00:21:07,116 Speaker 1: of my podcast episodes of my other podcast, I did 397 00:21:07,116 --> 00:21:10,956 Speaker 1: a whole episode devoted to that song, talking about all 398 00:21:10,996 --> 00:21:14,076 Speaker 1: of the different versions over the years. It took twenty 399 00:21:14,156 --> 00:21:17,956 Speaker 1: years to emerge. The original version is so different from 400 00:21:17,956 --> 00:21:20,476 Speaker 1: what we associate. You know, we think of the of 401 00:21:20,476 --> 00:21:22,476 Speaker 1: the Buckley Jeff Buckley version, or we think of the 402 00:21:23,956 --> 00:21:25,836 Speaker 1: and I'm just curious how you approach So there's a 403 00:21:25,876 --> 00:21:28,996 Speaker 1: song which exists out there in so many different done 404 00:21:29,036 --> 00:21:32,316 Speaker 1: so many different ways, in different forms. How did you 405 00:21:33,076 --> 00:21:37,356 Speaker 1: approach that song? It's and it's such a it is 406 00:21:37,596 --> 00:21:40,796 Speaker 1: it is a deeply complicated song. Did you have a 407 00:21:40,876 --> 00:21:43,236 Speaker 1: version you were kind of looking at or what was 408 00:21:43,796 --> 00:21:45,476 Speaker 1: what was the process of putting your own imprint on 409 00:21:45,516 --> 00:21:47,236 Speaker 1: something like that. We were trying to find like a 410 00:21:47,236 --> 00:21:49,716 Speaker 1: beautiful Christmas song to do. Actually, we wanted to have 411 00:21:49,756 --> 00:21:53,356 Speaker 1: a Christmas ballad for the year, and so we wanted 412 00:21:53,356 --> 00:21:56,876 Speaker 1: to use these Christmas version of this Christmas version of 413 00:21:56,876 --> 00:22:00,636 Speaker 1: Hollya with like Christmas lyrics, but then it ended up 414 00:22:00,676 --> 00:22:02,836 Speaker 1: not working out. We had to use the normal lyrics, 415 00:22:03,236 --> 00:22:05,756 Speaker 1: and we just like, but we loved the arrangement so 416 00:22:05,916 --> 00:22:07,396 Speaker 1: much that we were like, let's just put it on 417 00:22:07,396 --> 00:22:10,796 Speaker 1: the Christmas album. And I don't remember how we stumbled. 418 00:22:10,876 --> 00:22:12,636 Speaker 1: I mean, it's one of the most famous songs ever written. 419 00:22:12,636 --> 00:22:14,236 Speaker 1: I think that it was always kind of in on 420 00:22:14,276 --> 00:22:16,596 Speaker 1: our short list of stuff we would eventually do. When 421 00:22:16,636 --> 00:22:19,236 Speaker 1: it came to arranging it, I think we approached it 422 00:22:19,316 --> 00:22:22,836 Speaker 1: very gently, and we wanted to make the arrangement very humble, 423 00:22:22,876 --> 00:22:25,076 Speaker 1: and we didn't really want to do anything insane with 424 00:22:25,076 --> 00:22:29,276 Speaker 1: it because it's such a beloved song and you have 425 00:22:29,356 --> 00:22:31,396 Speaker 1: to be really careful with songs like that, you know. 426 00:22:31,836 --> 00:22:33,476 Speaker 1: I also think what I love about this song, and 427 00:22:33,796 --> 00:22:35,356 Speaker 1: I rewatched the video the other day and I hadn't 428 00:22:35,356 --> 00:22:37,436 Speaker 1: seen it in a long time. I love and like 429 00:22:37,436 --> 00:22:39,316 Speaker 1: when we're performing it on stage as well. I think 430 00:22:39,396 --> 00:22:43,436 Speaker 1: everyone's part is very well suited for their strengths, and 431 00:22:43,476 --> 00:22:46,996 Speaker 1: so it's really like touching and lovely to listen to 432 00:22:47,036 --> 00:22:50,596 Speaker 1: each person singing these specific lyrics that are doing written 433 00:22:50,596 --> 00:22:52,876 Speaker 1: in the way that it is. I think it's very 434 00:22:52,876 --> 00:22:55,316 Speaker 1: moving and appropriate for all of us, so we all 435 00:22:55,356 --> 00:22:56,716 Speaker 1: get the chance to shine, and then it all comes 436 00:22:56,716 --> 00:22:58,916 Speaker 1: together at the end and feels very moving and impactful 437 00:22:59,316 --> 00:23:02,756 Speaker 1: besides just being a beautiful song lyrically. You know, well, 438 00:23:02,756 --> 00:23:06,756 Speaker 1: what's interesting about that song is that when you so, 439 00:23:07,356 --> 00:23:09,756 Speaker 1: I've been listening to that song version of it forever 440 00:23:09,796 --> 00:23:12,596 Speaker 1: and ever and ever. It's a song about it. When 441 00:23:12,636 --> 00:23:17,316 Speaker 1: you hear it conventionally, it's one voice, you know, in 442 00:23:17,396 --> 00:23:19,876 Speaker 1: this kind of you, you you don't associate it with 443 00:23:19,876 --> 00:23:22,276 Speaker 1: the group, which is why it's so fascinating to see 444 00:23:22,276 --> 00:23:26,676 Speaker 1: it reformed in a redone. Can you actually, can you 445 00:23:26,716 --> 00:23:29,996 Speaker 1: do a little bit of it like the first verse, 446 00:23:30,876 --> 00:23:32,076 Speaker 1: Oh what I was like in her birth? And that 447 00:23:32,276 --> 00:23:49,556 Speaker 1: you get the be boxing, you get it to the 448 00:23:54,076 --> 00:23:59,916 Speaker 1: can is it okay? If I just start crying. We'll 449 00:23:59,956 --> 00:24:03,716 Speaker 1: be back with more from Pedatonics, including their recording session 450 00:24:04,036 --> 00:24:11,916 Speaker 1: with the Great Dolly Parton. We're back with more Pentatonics. 451 00:24:13,116 --> 00:24:16,636 Speaker 1: I want to talk about your the music you write yourself, 452 00:24:17,156 --> 00:24:20,396 Speaker 1: and how what sort of the relationship between your own 453 00:24:20,476 --> 00:24:22,876 Speaker 1: music and other people's music. How does that? Can you 454 00:24:22,916 --> 00:24:26,316 Speaker 1: talk a little bit about the there's a there was 455 00:24:26,476 --> 00:24:28,916 Speaker 1: is there was there a moment when you decided you 456 00:24:28,996 --> 00:24:31,356 Speaker 1: had to start doing some of your own stuff as 457 00:24:31,356 --> 00:24:35,396 Speaker 1: well to originally. Yeah. Yeah, we definitely decided to do 458 00:24:35,476 --> 00:24:37,036 Speaker 1: and that's why we did our original album. We wanted 459 00:24:37,076 --> 00:24:40,956 Speaker 1: to kind of branch out and start telling our own stories. 460 00:24:41,396 --> 00:24:44,196 Speaker 1: But we do like love cover so much, so we 461 00:24:44,916 --> 00:24:47,156 Speaker 1: started doing covers as well. But then more original stuff's 462 00:24:47,156 --> 00:24:49,396 Speaker 1: coming next year. We like to do it all. Yeah, 463 00:24:49,516 --> 00:24:53,916 Speaker 1: so you have another originals album coming in twenty nineteen. Yeah, 464 00:24:54,076 --> 00:24:56,836 Speaker 1: that's we're working on it. When it comes out, we're 465 00:24:56,836 --> 00:24:58,476 Speaker 1: not necessarily sure because I think the one thing that 466 00:24:58,476 --> 00:25:01,196 Speaker 1: we learned about the original album process is that to 467 00:25:01,356 --> 00:25:04,356 Speaker 1: write great songs takes time, and so we really don't 468 00:25:04,356 --> 00:25:06,316 Speaker 1: want to rush ourselves. The first time we did it, 469 00:25:06,636 --> 00:25:10,276 Speaker 1: we wrote i mean thirty four songs in maybe like 470 00:25:10,316 --> 00:25:13,516 Speaker 1: a month and a half, and so that was and 471 00:25:13,556 --> 00:25:15,476 Speaker 1: I think it was our first foray into songwriting. So 472 00:25:15,516 --> 00:25:17,116 Speaker 1: this time we want to give ourselves some time to 473 00:25:17,156 --> 00:25:19,836 Speaker 1: really say, let's let's see what stories we really want 474 00:25:19,836 --> 00:25:23,876 Speaker 1: to tell, what sound really accentuates these stories, and how 475 00:25:23,916 --> 00:25:26,156 Speaker 1: do we evoke the emotions that we really want to evoke. 476 00:25:26,196 --> 00:25:30,276 Speaker 1: Since we've grown so much in twenty fifteen. If you 477 00:25:30,356 --> 00:25:34,996 Speaker 1: write a acappella song from scratch, do you write it 478 00:25:35,036 --> 00:25:38,356 Speaker 1: in a different way than if you are writing it 479 00:25:38,396 --> 00:25:42,516 Speaker 1: for a kind of standard rock and roll band that 480 00:25:43,396 --> 00:25:47,076 Speaker 1: there's multiple ways to do it. You can write it 481 00:25:47,156 --> 00:25:49,996 Speaker 1: with the arrangement in mind, or I found what works. 482 00:25:50,076 --> 00:25:51,876 Speaker 1: That's just too much for me to think about. So 483 00:25:51,916 --> 00:25:53,836 Speaker 1: for me personally, I always just like to write it 484 00:25:53,876 --> 00:25:55,836 Speaker 1: with a piano or something and just write the song 485 00:25:56,036 --> 00:25:58,716 Speaker 1: and then and maybe some ideas will be inspired by 486 00:25:58,716 --> 00:26:00,116 Speaker 1: the fact that we're going to do at acapella, but 487 00:26:00,196 --> 00:26:02,996 Speaker 1: I just don't want to like get caught up in that. Yeah, 488 00:26:03,036 --> 00:26:05,396 Speaker 1: I think. And now I'm really interested to see how 489 00:26:05,476 --> 00:26:07,476 Speaker 1: the songwriting process goes in the future because now we've 490 00:26:07,476 --> 00:26:09,876 Speaker 1: all been writing in an individual product for other people 491 00:26:09,876 --> 00:26:11,956 Speaker 1: as well. So now I feel like initially when we 492 00:26:11,996 --> 00:26:14,996 Speaker 1: went into the first songwriting situation, it was like, all right, 493 00:26:15,036 --> 00:26:17,076 Speaker 1: we have to write a really cool song, but it 494 00:26:17,116 --> 00:26:18,796 Speaker 1: also has to be a cappellas there were so many 495 00:26:18,836 --> 00:26:21,876 Speaker 1: limitations already said on it. So I'm interested to see 496 00:26:22,676 --> 00:26:24,516 Speaker 1: what the new process is because I think it will 497 00:26:24,516 --> 00:26:26,516 Speaker 1: be different for everyone, just based on you know, it 498 00:26:26,556 --> 00:26:28,596 Speaker 1: can't be the same everyone's songwriting process is different in 499 00:26:28,596 --> 00:26:32,076 Speaker 1: general anyway. So yeah, or we'll have like a songwriter 500 00:26:32,476 --> 00:26:35,316 Speaker 1: pitch us the song and it'll be an amazing song, 501 00:26:35,396 --> 00:26:36,996 Speaker 1: but it's like the production that makes it cool, and 502 00:26:37,036 --> 00:26:38,876 Speaker 1: I'm like, oh, well, now I cant do it. Yeah, 503 00:26:38,876 --> 00:26:41,076 Speaker 1: this is this crazy drop. I was like, I'm not 504 00:26:41,116 --> 00:26:43,396 Speaker 1: sure that's gonna be right for us. For you guys 505 00:26:43,596 --> 00:26:47,956 Speaker 1: picking songs and when people approach you, how quickly can 506 00:26:47,996 --> 00:26:50,316 Speaker 1: you kind of assess like, oh, this is something we'd 507 00:26:50,396 --> 00:26:53,916 Speaker 1: really be able to hook into versus Oh, actually that's 508 00:26:53,956 --> 00:26:58,596 Speaker 1: a nice idea, but it doesn't play to what you do. Yeah. 509 00:26:58,836 --> 00:27:01,596 Speaker 1: I think it's gotten easier as we've done this more. 510 00:27:01,796 --> 00:27:03,516 Speaker 1: I think in the beginning, I remember, even when we 511 00:27:03,516 --> 00:27:06,116 Speaker 1: were writing original songs, we tried songs. There's one called 512 00:27:06,156 --> 00:27:08,956 Speaker 1: Love Again where we did like an electronic drop, and 513 00:27:09,196 --> 00:27:11,956 Speaker 1: then quickly afterward we realize this just does not work 514 00:27:11,996 --> 00:27:14,156 Speaker 1: for us. So I think as time is gone and 515 00:27:14,196 --> 00:27:16,476 Speaker 1: we've tried so much, because in the beginning of any 516 00:27:16,676 --> 00:27:18,476 Speaker 1: you know, band startup, if you want to call you, 517 00:27:18,476 --> 00:27:21,036 Speaker 1: you're doing a lot of experimentation. So I think now 518 00:27:21,116 --> 00:27:23,556 Speaker 1: we've really honed in on being able to say we're 519 00:27:23,556 --> 00:27:25,676 Speaker 1: working with songwriters you know, I don't think this is 520 00:27:25,716 --> 00:27:27,796 Speaker 1: going to work. But also we do try to let 521 00:27:27,836 --> 00:27:31,756 Speaker 1: things kind of see how they take form, because sometimes, 522 00:27:31,996 --> 00:27:35,156 Speaker 1: you know, when we're arranging the original song in our style, 523 00:27:35,556 --> 00:27:37,236 Speaker 1: we realize, oh wait, there's a way that we can 524 00:27:37,276 --> 00:27:39,636 Speaker 1: change it for our own purposes. So it kind of 525 00:27:39,796 --> 00:27:43,276 Speaker 1: really depends. But yeah, it's it's it's a fine balance. 526 00:27:43,276 --> 00:27:45,116 Speaker 1: It's a hard thing. What does it mean it doesn't 527 00:27:45,116 --> 00:27:49,556 Speaker 1: work for you? What is that There's a difference between 528 00:27:52,436 --> 00:27:55,316 Speaker 1: vocally being able to produce this song as opposed to 529 00:27:55,396 --> 00:27:59,956 Speaker 1: emulating a sound that is not properly going to be emulated. 530 00:28:01,196 --> 00:28:04,396 Speaker 1: It doesn't make sense. I feel like it's just sweet. 531 00:28:04,916 --> 00:28:08,196 Speaker 1: If it's gonna be boring, that's that's kind of my gauge. 532 00:28:08,316 --> 00:28:10,876 Speaker 1: Like we try to do like this Muse song and 533 00:28:10,916 --> 00:28:13,156 Speaker 1: it's like so beautiful, and we were like we have 534 00:28:13,236 --> 00:28:15,116 Speaker 1: to do it, and there's like them, they had already 535 00:28:15,116 --> 00:28:17,476 Speaker 1: had kind of a cappella things happening in it, and 536 00:28:17,516 --> 00:28:19,396 Speaker 1: so we were trying to arrange it. But there's like 537 00:28:20,356 --> 00:28:22,276 Speaker 1: it for what they did with it, it worked, but 538 00:28:22,316 --> 00:28:24,396 Speaker 1: when you put our spin on it, it it was hard 539 00:28:24,436 --> 00:28:30,156 Speaker 1: to make interesting. It was madness. Yeah, because it's kind 540 00:28:30,156 --> 00:28:32,076 Speaker 1: of like similar melodies over and over, and it just 541 00:28:32,316 --> 00:28:35,356 Speaker 1: it's like the slow build and like a ton of belting, 542 00:28:35,476 --> 00:28:38,836 Speaker 1: and like it would just kind of sound, i don't know, 543 00:28:39,636 --> 00:28:42,116 Speaker 1: lackluster if we did it and we wanted to take 544 00:28:42,156 --> 00:28:44,156 Speaker 1: something and completely flip it on its head and then 545 00:28:44,196 --> 00:28:46,236 Speaker 1: make it special for us instead of just like a 546 00:28:46,276 --> 00:28:54,476 Speaker 1: worse version of the original. The ever, I'll say this, 547 00:28:54,556 --> 00:28:56,636 Speaker 1: one thing that I think we've really learned is that 548 00:28:57,036 --> 00:28:59,476 Speaker 1: you know a lot of producers, whenever you're singing a song, 549 00:28:59,516 --> 00:29:02,116 Speaker 1: it's focused on the track, how amazing the track is. 550 00:29:02,356 --> 00:29:05,036 Speaker 1: And I'm not saying like certain production parts that are 551 00:29:05,076 --> 00:29:06,836 Speaker 1: like drops and stuff like that, but just how cool 552 00:29:06,876 --> 00:29:09,356 Speaker 1: the track is. That's the bed of the music. They're 553 00:29:09,396 --> 00:29:11,916 Speaker 1: going to say exactly. And we realize, like, that's not 554 00:29:12,036 --> 00:29:14,516 Speaker 1: something that we do very well, because I think a 555 00:29:14,516 --> 00:29:17,556 Speaker 1: lot of what a cappella is is the build and 556 00:29:17,676 --> 00:29:20,716 Speaker 1: the emotion behind the build and transitions, and so we 557 00:29:20,796 --> 00:29:22,716 Speaker 1: always have to make sure that whenever we're arranging a 558 00:29:22,716 --> 00:29:24,796 Speaker 1: song or doing a song like that has to be 559 00:29:24,956 --> 00:29:29,756 Speaker 1: a very crucial part of that arrangement. And so that 560 00:29:29,796 --> 00:29:33,036 Speaker 1: I think that's one reason that we can quickly tell 561 00:29:33,036 --> 00:29:34,396 Speaker 1: whether a song is going to work or not on it. 562 00:29:34,476 --> 00:29:36,276 Speaker 1: The track is great, but we realize there's not going 563 00:29:36,316 --> 00:29:38,996 Speaker 1: to be a build that allows us to really showcase 564 00:29:39,036 --> 00:29:41,956 Speaker 1: what we do, so well we scrap it. Is there 565 00:29:41,956 --> 00:29:44,796 Speaker 1: a can? I ask? Is there a balance that you're 566 00:29:44,836 --> 00:29:47,276 Speaker 1: looking for? Because one thing that really does strike me 567 00:29:47,316 --> 00:29:49,396 Speaker 1: when I listen to your covers is like covers are 568 00:29:50,196 --> 00:29:52,476 Speaker 1: It's lovely when somebody really like reinterprets a song and 569 00:29:52,516 --> 00:29:53,996 Speaker 1: makes you hear it in a different way. But that's 570 00:29:55,076 --> 00:29:57,116 Speaker 1: you are making me hear it in a different way 571 00:29:57,116 --> 00:30:00,036 Speaker 1: in one way and then another way you are scratching 572 00:30:00,076 --> 00:30:03,756 Speaker 1: a very satisfying itch right Like. It's like like there's 573 00:30:03,756 --> 00:30:07,636 Speaker 1: clearly the recognition of like the elements of whatever the 574 00:30:07,716 --> 00:30:09,516 Speaker 1: song is and why we love it. I think you 575 00:30:09,516 --> 00:30:14,596 Speaker 1: guys always nail that while still making it sound in 576 00:30:14,636 --> 00:30:16,796 Speaker 1: a way that highlights what you do. And the same 577 00:30:16,836 --> 00:30:19,196 Speaker 1: with your voices. I find them to be both your 578 00:30:19,276 --> 00:30:21,436 Speaker 1: Your voices are terribly distinctive and then at the same 579 00:30:21,476 --> 00:30:26,316 Speaker 1: time can disappear into mimicking you know what is familiar 580 00:30:26,316 --> 00:30:28,596 Speaker 1: about a song that we loved, And there's just to me, 581 00:30:28,676 --> 00:30:31,956 Speaker 1: such an interesting tight rope there, and that's exactly what 582 00:30:31,956 --> 00:30:34,756 Speaker 1: we try that's always our first conversation, where like, how 583 00:30:34,756 --> 00:30:36,796 Speaker 1: can we hold on to what makes the song special 584 00:30:37,396 --> 00:30:39,996 Speaker 1: and but also like make it completely different so people 585 00:30:40,036 --> 00:30:44,436 Speaker 1: won't compare. It's like, it's definitely a balance. So that's 586 00:30:44,436 --> 00:30:47,116 Speaker 1: so that's part of the criteria there is that it 587 00:30:47,156 --> 00:30:49,396 Speaker 1: has to kind of do both. It's a balance. Yeah, 588 00:30:49,556 --> 00:30:50,916 Speaker 1: you don't want to change. You don't want to flip 589 00:30:50,916 --> 00:30:53,356 Speaker 1: a cover so intensely that people are like, now it's lost. 590 00:30:53,476 --> 00:30:55,436 Speaker 1: I don't like this song. It's bad. You want to 591 00:30:55,516 --> 00:30:57,476 Speaker 1: keep that what the magic was. That's why we chose 592 00:30:57,516 --> 00:31:00,196 Speaker 1: to even cover it. So but yeah, but again make 593 00:31:00,196 --> 00:31:04,436 Speaker 1: it around. When you Scott, when you were talking about 594 00:31:04,716 --> 00:31:07,276 Speaker 1: the ones that work are the ones that tap into 595 00:31:07,356 --> 00:31:11,316 Speaker 1: the emotionality of the song. Curious about what is a 596 00:31:11,316 --> 00:31:13,716 Speaker 1: difference in Is there a difference in the way that 597 00:31:13,796 --> 00:31:19,076 Speaker 1: a listener responds to a sound made by an instrument 598 00:31:19,196 --> 00:31:22,156 Speaker 1: and a sound made by a voice. Is it easier 599 00:31:22,716 --> 00:31:25,236 Speaker 1: for n acapella band to tap into the emotionality of something? 600 00:31:25,356 --> 00:31:28,316 Speaker 1: Is voice more powerful? That's a really good question. We've 601 00:31:28,356 --> 00:31:31,996 Speaker 1: never been asked out before. I think it depends on 602 00:31:32,076 --> 00:31:35,996 Speaker 1: what specifically moves people. But I personally am more moved 603 00:31:35,996 --> 00:31:38,716 Speaker 1: by vocals because it's more people singing lyrics, it's more 604 00:31:38,716 --> 00:31:42,316 Speaker 1: people's storytelling, and so that moves me. And I'm really 605 00:31:42,316 --> 00:31:44,996 Speaker 1: moved by harmony. But everyone responds differently to things. It 606 00:31:45,036 --> 00:31:48,236 Speaker 1: seems so that the majority of people. This is quite 607 00:31:48,276 --> 00:31:51,276 Speaker 1: a broad statement, I would say, but from what I've 608 00:31:51,356 --> 00:31:54,396 Speaker 1: gathered and judging by our fan base and what they enjoy, 609 00:31:54,436 --> 00:31:59,276 Speaker 1: it seems like people really just enjoy vocals and that 610 00:31:59,396 --> 00:32:03,156 Speaker 1: really really moves people emotionally, even on like American Idol 611 00:32:03,156 --> 00:32:05,716 Speaker 1: and the Voice and like, people just really tune in 612 00:32:05,756 --> 00:32:08,036 Speaker 1: and it really moves them. I also think that people 613 00:32:08,036 --> 00:32:10,956 Speaker 1: are just really moved by passion if you're passionately singing. 614 00:32:11,316 --> 00:32:13,356 Speaker 1: One of the most amazing performances I've ever seen is 615 00:32:13,356 --> 00:32:16,436 Speaker 1: so random. Was at like a Christmas concert and it 616 00:32:16,516 --> 00:32:18,836 Speaker 1: was a girl playing violin, and she just the way 617 00:32:18,876 --> 00:32:21,996 Speaker 1: she was moving her body and performing was so beautiful 618 00:32:22,036 --> 00:32:23,756 Speaker 1: to me. It like has stuck with me, and I 619 00:32:23,836 --> 00:32:25,556 Speaker 1: that's the first time I feel like I've always been like, 620 00:32:25,796 --> 00:32:27,996 Speaker 1: you know, inquire and like move by the harmonies, and 621 00:32:28,436 --> 00:32:31,796 Speaker 1: but I think it's just like if someone's really passion 622 00:32:31,836 --> 00:32:33,516 Speaker 1: about it doesn't matter what instrument you're telling a story 623 00:32:33,516 --> 00:32:36,236 Speaker 1: your storytelling and that's their that's their voice in a way, 624 00:32:36,276 --> 00:32:39,396 Speaker 1: you know. Yeah, maybe because we have so many people singing, 625 00:32:39,436 --> 00:32:41,676 Speaker 1: we have a little bit of a head start, and yeah, 626 00:32:41,316 --> 00:32:46,436 Speaker 1: and making something emotional. I wouldn't my want to talk 627 00:32:46,476 --> 00:32:48,676 Speaker 1: about what one of my favorite of your songs, which 628 00:32:48,836 --> 00:32:55,196 Speaker 1: is Julie, how did that? First of all? First of all, 629 00:32:56,596 --> 00:32:59,156 Speaker 1: Dolly partner, I know that's Can we just say a 630 00:32:59,156 --> 00:33:05,556 Speaker 1: few words about how she is awesome and she's she's 631 00:33:05,636 --> 00:33:07,476 Speaker 1: Oh my gosh, I can't wait to tell you these stories. 632 00:33:07,556 --> 00:33:10,036 Speaker 1: She's the best person in the world. It came about 633 00:33:10,036 --> 00:33:13,556 Speaker 1: in the most random way. So we were working with 634 00:33:13,636 --> 00:33:19,516 Speaker 1: Cracker Barrel and so she shut up at the same time, 635 00:33:19,756 --> 00:33:21,876 Speaker 1: just randomly, and then they kind of brought us together 636 00:33:21,916 --> 00:33:23,356 Speaker 1: and we're like, do you want to do a medley 637 00:33:23,356 --> 00:33:25,076 Speaker 1: with her? And we were like, we'd love to do 638 00:33:25,116 --> 00:33:26,836 Speaker 1: a medley. All our songs are iconic, but maybe we 639 00:33:26,916 --> 00:33:29,476 Speaker 1: just do Joe Lee because that would be so epic. 640 00:33:29,756 --> 00:33:32,476 Speaker 1: And she was like, I'm down for whatever. I'll be there, 641 00:33:32,716 --> 00:33:36,276 Speaker 1: And then we went to the studio and showed up 642 00:33:36,276 --> 00:33:38,276 Speaker 1: at it was like seven thirty am was our call time. 643 00:33:38,316 --> 00:33:41,036 Speaker 1: We walk in with like breakfast and sweats, like not 644 00:33:41,076 --> 00:33:44,236 Speaker 1: at wake ya. She's in full glam. There are thirty 645 00:33:44,276 --> 00:33:47,236 Speaker 1: minutes early makeup, hair out. But she's like, I'm ready 646 00:33:47,236 --> 00:33:48,876 Speaker 1: when you all are. She's just I was like, you 647 00:33:48,916 --> 00:33:51,876 Speaker 1: are amazing. And we changed a few things in the song, 648 00:33:51,996 --> 00:33:55,316 Speaker 1: and what did you change? So we shortened we shortened 649 00:33:55,316 --> 00:33:59,396 Speaker 1: it and like less space between the verses, just little 650 00:33:59,596 --> 00:34:01,836 Speaker 1: tiny things. We were singing it with her, and then 651 00:34:01,876 --> 00:34:03,716 Speaker 1: she was messing up because she's used to doing her 652 00:34:03,796 --> 00:34:06,876 Speaker 1: version for the last fifty years, and we were horrified, 653 00:34:06,916 --> 00:34:08,276 Speaker 1: and I was like, we can change it back. I'm 654 00:34:08,316 --> 00:34:10,796 Speaker 1: so sorry, we're ruined masterpiece. I was like having an 655 00:34:11,036 --> 00:34:13,036 Speaker 1: anxious meltdown, and she was like, no, I want to 656 00:34:13,076 --> 00:34:15,196 Speaker 1: learn y'all's version. And she was taking notes and learning 657 00:34:15,236 --> 00:34:17,036 Speaker 1: this new version. I mean, like the best attitude, the 658 00:34:17,156 --> 00:34:20,996 Speaker 1: entire time, best attitude, so happy and like loving it. 659 00:34:21,036 --> 00:34:22,436 Speaker 1: And then she was like, this is the best version 660 00:34:22,436 --> 00:34:24,356 Speaker 1: I've ever heard of this song. I love you guys, 661 00:34:24,396 --> 00:34:26,236 Speaker 1: like I want to work with you all again. It 662 00:34:26,356 --> 00:34:28,916 Speaker 1: was so cool. Wait when I the version the video 663 00:34:28,996 --> 00:34:32,236 Speaker 1: I saw was that that would have been a I 664 00:34:32,236 --> 00:34:34,156 Speaker 1: guess this. I think it was the official video. Is 665 00:34:34,156 --> 00:34:37,276 Speaker 1: that a live performance that you're doing, which she gives 666 00:34:37,276 --> 00:34:39,516 Speaker 1: you the where she where she where? She does a 667 00:34:39,516 --> 00:34:41,196 Speaker 1: low five at the end of the song with you guys, 668 00:34:41,636 --> 00:34:43,876 Speaker 1: you know that one. So what we did is we 669 00:34:43,916 --> 00:34:45,556 Speaker 1: went into the studio and we did sing it in 670 00:34:45,596 --> 00:34:47,756 Speaker 1: one take and then and then and then we filmed 671 00:34:47,756 --> 00:34:49,556 Speaker 1: the video. Oh it is a live take, but it's 672 00:34:49,596 --> 00:34:52,236 Speaker 1: not that see yeah, yeah, I just thought that was 673 00:34:52,956 --> 00:34:55,756 Speaker 1: And did did you had she heard of you before? 674 00:34:57,276 --> 00:34:59,676 Speaker 1: I don't know, I don't know, to be very honest. 675 00:35:00,836 --> 00:35:07,076 Speaker 1: So just so Cracker Barrel brings you together and I 676 00:35:07,116 --> 00:35:11,316 Speaker 1: was like, wow, I loved that. That's a brilliant example 677 00:35:11,316 --> 00:35:14,036 Speaker 1: of what you've been talking about. The song. It's a 678 00:35:14,076 --> 00:35:17,516 Speaker 1: different song. It sounds the same and if you weren't, 679 00:35:17,516 --> 00:35:19,036 Speaker 1: if you're not paying attention to oh it's Julian and 680 00:35:19,036 --> 00:35:21,116 Speaker 1: then you're like when you see it, you're like, oh no, no, 681 00:35:21,156 --> 00:35:22,996 Speaker 1: it's a different. The feeling of it is so much, 682 00:35:23,396 --> 00:35:27,076 Speaker 1: it's so much I don't know, it seems more. I 683 00:35:27,076 --> 00:35:29,156 Speaker 1: don't know what it is. The idea of just all 684 00:35:29,196 --> 00:35:31,036 Speaker 1: of you on stage like that, it just it was 685 00:35:31,036 --> 00:35:33,476 Speaker 1: a different It's becomes a kind of group experience, it 686 00:35:33,676 --> 00:35:39,316 Speaker 1: becomes it's not as sad Okay, it's more about the 687 00:35:39,396 --> 00:35:42,396 Speaker 1: arrangement of the book. No, No, it's more the original 688 00:35:42,916 --> 00:35:46,196 Speaker 1: is super sad. I mean it's like it's all but 689 00:35:46,276 --> 00:35:49,676 Speaker 1: that one. There's a kind of joyfulness that comes the 690 00:35:49,716 --> 00:35:52,636 Speaker 1: nostalgia of the song. Maybe, yeah, you're all enjoying it. 691 00:35:52,796 --> 00:35:59,716 Speaker 1: She's having so much fun and we're just fangirling over 692 00:36:00,396 --> 00:36:03,476 Speaker 1: her energy. Is she just creates this atmosphere of happiness 693 00:36:03,556 --> 00:36:06,676 Speaker 1: that's like really amazing. I can't I didn't even want to. 694 00:36:06,756 --> 00:36:08,676 Speaker 1: I don't know how old she is. I don't think 695 00:36:08,676 --> 00:36:11,996 Speaker 1: it matters, but like it is, she is, So that 696 00:36:12,156 --> 00:36:15,156 Speaker 1: is some kind of some kind of amazing thing going on. 697 00:36:16,276 --> 00:36:21,836 Speaker 1: What are you gonna do more things like that? Yeah? Absolutely? 698 00:36:22,076 --> 00:36:25,116 Speaker 1: So who would you love to do? Who would you 699 00:36:25,156 --> 00:36:29,076 Speaker 1: not love to do? A collaboration? Yeah, we've been we've 700 00:36:29,116 --> 00:36:32,156 Speaker 1: been talking about Ariana lately. Thought that would be so awesome. 701 00:36:32,956 --> 00:36:35,356 Speaker 1: I mean, I think that we would work well with 702 00:36:35,396 --> 00:36:39,036 Speaker 1: Imagen Heap. She just because she's so she uses her 703 00:36:39,116 --> 00:36:43,356 Speaker 1: vocals in such interesting ways and she's so incredible and creative. 704 00:36:43,796 --> 00:36:46,756 Speaker 1: Can I tell you my Imagen Heap shows? Please yours? 705 00:36:46,756 --> 00:36:49,636 Speaker 1: This is years ago. I was at some random conference 706 00:36:49,716 --> 00:36:52,876 Speaker 1: in Maine of all places. It's Saturday night, and I 707 00:36:52,916 --> 00:36:56,196 Speaker 1: realized by miss by totally that Imagen Heap is there. 708 00:36:56,196 --> 00:36:58,156 Speaker 1: I have no idea why she was there. So I 709 00:36:58,196 --> 00:37:00,476 Speaker 1: find myself at like two in the morning with Imagine 710 00:37:00,516 --> 00:37:01,956 Speaker 1: Heap and these two other people. I have no idea 711 00:37:01,956 --> 00:37:04,436 Speaker 1: who they were. We were and we were singing George 712 00:37:04,476 --> 00:37:13,236 Speaker 1: Michael's songs by the water It remained, it remains probably 713 00:37:13,236 --> 00:37:14,636 Speaker 1: the greatest if to go of by life. I can't 714 00:37:14,676 --> 00:37:20,156 Speaker 1: believe that hilarious It was like and her the genuine 715 00:37:20,156 --> 00:37:22,556 Speaker 1: affection she had for George Michael, and it made me 716 00:37:22,556 --> 00:37:25,516 Speaker 1: think I had sort of like, hadn't realized what incredible 717 00:37:25,596 --> 00:37:29,396 Speaker 1: songs they were until she started singing them with us. 718 00:37:29,476 --> 00:37:31,196 Speaker 1: I mean I was doing a bad job. She was 719 00:37:31,196 --> 00:37:34,036 Speaker 1: doing an amazing job. But I can see, Oh my god, 720 00:37:34,476 --> 00:37:38,796 Speaker 1: will you please do something with him, Jennifer listening, Will 721 00:37:38,836 --> 00:37:44,436 Speaker 1: you do George Michael with Yeah? I was wondering if 722 00:37:44,476 --> 00:37:48,036 Speaker 1: if reality were not a problem, if you could go 723 00:37:48,116 --> 00:37:51,756 Speaker 1: back in time or anybody, I mean, if they're vocalists purely, 724 00:37:51,876 --> 00:37:56,956 Speaker 1: who would you love to work well, Michael Jackson, Patsy Klein. 725 00:37:57,476 --> 00:38:02,436 Speaker 1: I don't know why we were in country music world. 726 00:38:02,436 --> 00:38:06,236 Speaker 1: Matt you said Michael Jackson, which Michael Jackson saw do 727 00:38:06,236 --> 00:38:10,076 Speaker 1: you think is a Pentatonics? I think, oddly enough, human 728 00:38:10,156 --> 00:38:13,076 Speaker 1: Nature would be really cool. It's such a different type 729 00:38:13,076 --> 00:38:15,516 Speaker 1: of song, and it's I mean, man in the mirror. 730 00:38:15,516 --> 00:38:16,796 Speaker 1: You know you have all the hits. But I think 731 00:38:16,836 --> 00:38:18,756 Speaker 1: that won'd be a really cool arrangement we could do 732 00:38:18,876 --> 00:38:23,276 Speaker 1: with his voice over top. I actually we could do that. 733 00:38:23,956 --> 00:38:25,676 Speaker 1: We paid a lot of money. Can you imagine if 734 00:38:25,676 --> 00:38:28,036 Speaker 1: we did like a dueling acapella thing with Jackson five? 735 00:38:28,716 --> 00:38:35,356 Speaker 1: That would be jack and I wish you do. I 736 00:38:35,356 --> 00:38:37,396 Speaker 1: come back to this idea of this like sense of urgency. 737 00:38:37,476 --> 00:38:40,596 Speaker 1: When I'm watching you all so engaged with each other. 738 00:38:40,916 --> 00:38:43,916 Speaker 1: It doesn't just feel like you're performing because there is 739 00:38:43,956 --> 00:38:46,796 Speaker 1: an audience there, Like it feels like you're all physically 740 00:38:47,116 --> 00:38:49,716 Speaker 1: connected and would have to be physically responding in some way. 741 00:38:49,996 --> 00:38:52,636 Speaker 1: I mean, you really are using your voice as fully 742 00:38:52,676 --> 00:38:56,356 Speaker 1: as instruments, and you don't get a break the way 743 00:38:56,436 --> 00:39:02,436 Speaker 1: a lot of musicians to yeahs here exactly. I was 744 00:39:02,436 --> 00:39:05,036 Speaker 1: wondering if you notice the difference between when you're performing 745 00:39:05,036 --> 00:39:08,556 Speaker 1: as the group versus solo, just physically how you interact 746 00:39:09,396 --> 00:39:12,836 Speaker 1: It is so so different. It's very different. Hard for 747 00:39:12,916 --> 00:39:16,156 Speaker 1: me now to do anything without the group because it's 748 00:39:16,156 --> 00:39:17,636 Speaker 1: like we're such a unit now and that's just how 749 00:39:17,676 --> 00:39:19,916 Speaker 1: I perform for six years that I'll do, like I'll 750 00:39:19,996 --> 00:39:22,276 Speaker 1: like sing it. I'll even sing for like fifteen people 751 00:39:22,316 --> 00:39:25,516 Speaker 1: at a part little jam session, and I'll be like nervous, 752 00:39:25,796 --> 00:39:27,716 Speaker 1: like more nervous than I would be on stage in 753 00:39:27,716 --> 00:39:29,596 Speaker 1: front of ten thousand people. It's like it's a very 754 00:39:29,596 --> 00:39:33,196 Speaker 1: interesting way your body responds because you feel so lonely 755 00:39:33,316 --> 00:39:36,556 Speaker 1: when you're singing. It made me like sad because like 756 00:39:36,956 --> 00:39:38,756 Speaker 1: it's so cool to play off the different energies on 757 00:39:38,836 --> 00:39:40,956 Speaker 1: stage and whether it's instruments or you know, it's so 758 00:39:40,996 --> 00:39:42,716 Speaker 1: great when it's just like us and vocals and stuff. 759 00:39:42,716 --> 00:39:44,676 Speaker 1: But when you're like sitting there by yourself and if 760 00:39:44,676 --> 00:39:47,636 Speaker 1: there's a track going on, you're like where is everyone? 761 00:39:47,796 --> 00:39:52,316 Speaker 1: Like I'm just like boring too, yeah, performing by myself, 762 00:39:52,316 --> 00:39:53,916 Speaker 1: and I'll be like this is not as engaging and 763 00:39:53,956 --> 00:39:55,716 Speaker 1: I don't feel as confident in it. I feel like 764 00:39:55,756 --> 00:39:57,676 Speaker 1: what I'm doing right now is boring to them, and 765 00:39:57,716 --> 00:39:59,916 Speaker 1: I don't want to bore anyone. And and like also 766 00:39:59,956 --> 00:40:02,036 Speaker 1: our trio when we're singing parallels it's like such a 767 00:40:02,076 --> 00:40:05,476 Speaker 1: safe space you can just like sing without like feeling. Yeah, 768 00:40:05,516 --> 00:40:11,116 Speaker 1: it's very interesting. Can I you into doing one last song? 769 00:40:11,636 --> 00:40:14,476 Speaker 1: Do you have a request? Do you have a class? 770 00:40:14,516 --> 00:40:16,996 Speaker 1: Well we were talking about Joe Lee, we don't have 771 00:40:17,396 --> 00:40:23,556 Speaker 1: you don't Will you be Dolly? Okay, we'll have to 772 00:40:23,556 --> 00:40:27,876 Speaker 1: do something you can Yes we missed it, Yes we 773 00:40:27,956 --> 00:40:31,396 Speaker 1: are missing Dolly. It occurred to me I could do 774 00:40:31,476 --> 00:40:33,956 Speaker 1: like part of that Christmas to me or something, or 775 00:40:34,116 --> 00:40:37,476 Speaker 1: it won't be Christmas in the stairs or why did 776 00:40:37,516 --> 00:40:40,596 Speaker 1: you yea? Let you pick something that something that you 777 00:40:41,196 --> 00:40:44,836 Speaker 1: is there something that you really love? You can't sleep 778 00:40:44,876 --> 00:40:47,956 Speaker 1: love part I can't sleep the first person course, that's nice. 779 00:40:47,956 --> 00:40:50,676 Speaker 1: I could do that because that's pretty. So you wanted 780 00:40:50,676 --> 00:40:53,676 Speaker 1: to started out at the beginning to and it's original. 781 00:40:55,396 --> 00:40:59,036 Speaker 1: M are you coming at the pre course? Okay, we'll 782 00:40:59,036 --> 00:41:09,316 Speaker 1: go through the first chorus. Okay, cool m bomom because 783 00:41:09,356 --> 00:41:15,076 Speaker 1: A tell me right, Oh my gosh, my boys can 784 00:41:15,116 --> 00:41:24,396 Speaker 1: do this and oh my, that was really lovely. Thank you. 785 00:41:28,876 --> 00:41:32,916 Speaker 1: That was Pentatonics from GSI Studios in New York. To 786 00:41:32,916 --> 00:41:35,796 Speaker 1: see when Pentatonics are in your town, check out p 787 00:41:36,036 --> 00:41:40,196 Speaker 1: dot t dot x Dotofficial dot com and we've made 788 00:41:40,196 --> 00:41:43,116 Speaker 1: a playlist of our favorite pentatonic songs for you that 789 00:41:43,196 --> 00:41:46,956 Speaker 1: you can check out at broken record dot com. Broken 790 00:41:46,996 --> 00:41:50,596 Speaker 1: Record is produced by Justin Richmond and Jason Gambrel, with 791 00:41:50,716 --> 00:41:53,396 Speaker 1: help from me a LaBelle, Jacob Smith, Julia Barton, and 792 00:41:53,476 --> 00:41:56,996 Speaker 1: Jacob Weisberg. Special thanks to my co hosts Rick Rubin 793 00:41:57,316 --> 00:42:01,156 Speaker 1: and Bruce Hadlam and my co host this week, Daisy Mosario. 794 00:42:01,836 --> 00:42:05,076 Speaker 1: Our Broken Record theme music is by Kenny Beats. This 795 00:42:05,236 --> 00:42:09,076 Speaker 1: show is brought to you by Pushkin Industries. I'm Malcolm 796 00:42:09,156 --> 00:42:14,676 Speaker 1: that show. Yeah. I