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Speaker 1: Hey, I'm Norah Jones and today I'm playing along with

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Speaker 1: Margaret Glassby. I'm just playing louy, I'm just playing lone

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Speaker 1: with you. Hey. Hello, I'm Nora, and welcome to the show.

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Speaker 1: The show, Sarah Odah, go you go.

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Speaker 2: I'm Sarah Oda and with me as always is Norah Jones.

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Speaker 3: Yay, we did it.

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Speaker 2: How are you?

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Speaker 1: I'm good?

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Speaker 2: How are you I'm good? Today we have the incredible singer,

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Speaker 2: songwriter and bad beat guitar player.

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Speaker 1: Margaret Glassy Did you just beep yourself.

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Speaker 2: From saying self censor a descriptive bad?

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Speaker 1: Margaret Glassby is an incredible singer, songwriter, guitar player based

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Speaker 1: in New York City. And I got to see her

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Speaker 1: a few months back and she played solo. And I've

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Speaker 1: known her a long time, but I've never seen her

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Speaker 1: play and she just I just was blown away at

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Speaker 1: how powerful she is solo, especially.

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Speaker 2: She just released her latest album, Echo the Diamond, which

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Speaker 2: she co produced with her partner Julian Luge, And she

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Speaker 2: has a bunch of tour dads coming up. Check her out.

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Speaker 2: You don't want to miss her. She's an incredible performer.

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Speaker 1: We had so much fun playing together She's a gem.

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Speaker 1: Please enjoy Margrete Glassy.

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Speaker 4: Oh Once I had it all?

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Speaker 1: Or did it all?

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Speaker 5: Have me? When you're driven in your which you don't

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Speaker 5: know the difference between.

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Speaker 4: What you want and what you need.

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Speaker 5: When nothing is enough, it gets tough just to smile.

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Speaker 5: When every crack is a canyon, every inch feels like

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Speaker 5: a mile.

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Speaker 6: Get back to the place you start from.

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Speaker 5: Get back chip to get back to its.

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Speaker 7: Once I thought I was the only or I was

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Speaker 7: so lonely.

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Speaker 5: When you're only thinking of yourself, you're missing out on

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Speaker 5: everybody else.

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Speaker 8: Get back to the place you started from.

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Speaker 4: Get back, shut up.

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Speaker 8: To get back to us good.

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Speaker 4: In the middle of the night, I was on my.

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Speaker 9: To borry that my house was not at home to

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Speaker 9: surprise sticks and stones.

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Speaker 10: Oh and you told me to You told me to

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Speaker 10: get back, Oh.

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Speaker 4: To the place started first.

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Speaker 1: I love this song. That's so liberating to just bang

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Speaker 1: awound the piano of you.

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Speaker 3: You rock, Thank you so much. Oh my god, I

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Speaker 3: love your git Thank you.

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Speaker 1: What is that?

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Speaker 3: What do you have? It's a It's a Dano caster,

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Speaker 3: so it's like a it's like a kind of a

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Speaker 3: boutique builder that makes like Fender instruments.

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Speaker 1: Essentially.

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Speaker 3: Yeah, so it looks old, but it's not so old.

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Speaker 1: Oh it's old.

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Speaker 11: Yeah.

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Speaker 3: I think this is like I stole it from my husband. Actually,

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Speaker 3: I think this is like maybe I don't know, seven

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Speaker 3: or eight years old. Okay, thing like that.

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Speaker 1: Okay, you just beat it up.

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Speaker 3: They beat he beat it up. Yeah, the build, the

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Speaker 3: builder beat it up. I didn't have to do that.

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Speaker 3: But yeah, totally, I think that's free age.

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Speaker 1: That's great, Yeah, totally. Yeah. What was your first electric

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Speaker 1: guitar sound?

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Speaker 3: My first electric guitar was a Harmony stratotone Jupiter that

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Speaker 3: I remember my mom helped me buy.

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Speaker 1: Really, how old were you?

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Speaker 12: Yeah?

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Speaker 3: I was probably How old was I? I was probably

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Speaker 3: like twenty two. I'm thirty four now, so it's probably like, yeah,

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Speaker 3: about twelve years ago something like that. And before that,

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Speaker 3: I just played acoustic guitar. I was just like kind

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Speaker 3: of like on a I don't know, I guess a

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Speaker 3: little folk here.

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Speaker 11: Yeah.

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Speaker 3: My first instrument was the fiddle.

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Speaker 1: How were you for that?

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Speaker 3: I was a I think I started when I was

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Speaker 3: in the third grade.

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Speaker 1: Okay, so you say fiddle in that violin? Yeah, pretty key. Yeah,

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Speaker 1: I was like a fiddler. I was not a violinist,

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Speaker 1: so you didn't do classical at all.

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Speaker 3: Nothing. No, I went straight to like the folky stuff.

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Speaker 3: So I was I was a Texas style fiddle player.

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Speaker 3: So I played it was like a very particular strain

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Speaker 3: of fiddle music. So it was mostly competition based, so

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Speaker 3: you would go to these competitions. It was actually a

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Speaker 3: very sweet thing to grow up in because you would

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Speaker 3: go to these competitions and there would be these other sweet,

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Speaker 3: you know, nerdy young kids and you. Of course it

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Speaker 3: was like a competition, but really everyone was going there

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Speaker 3: because they were all loved fiddle.

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Speaker 13: You know.

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Speaker 3: It was competitive kind of, but mostly it was just

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Speaker 3: like a really interesting hang. So I did that as

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Speaker 3: I was growing up, and I started in the third grade,

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Speaker 3: so it was probably like eight or nine, and then

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Speaker 3: I did it till I was like sixteen or seventeen,

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Speaker 3: and then I started to just sing and play guitar

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Speaker 3: around probably fifteen or so. Oh wow, yeah, totally.

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Speaker 1: That's funny that it wasn't classical but it was competition based.

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Speaker 3: Yeah, I was like there was it was kind of

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Speaker 3: its own discipline.

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Speaker 1: It's like its own thing.

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Speaker 3: Yeah, it was very particular, but I feel like that

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Speaker 3: was kind of my music school in a way because

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Speaker 3: I was only I went to Berkeley for like a blush,

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Speaker 3: like I was there very very briefly.

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Speaker 1: Oh in Boston.

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Speaker 3: Yeah, in Boston, but or guitar.

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Speaker 8: I was.

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Speaker 3: I was like a vocal performance major. But I was

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Speaker 3: there for I was there for a semester. I mean

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Speaker 3: I was like barely there.

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Speaker 1: Yeah, wow, yeah what did I'm like, what was that like?

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Speaker 1: But you you left very quick?

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Speaker 3: It was very quick, but I was there. I stayed

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Speaker 3: in Boston for like three years, so I was like

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Speaker 3: I was in the the vibe of Berkeley. I felt

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Speaker 3: like I went to music school, but I only paid

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Speaker 3: for a semester of music school.

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Speaker 1: But you got all the good stuff.

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Speaker 3: But I got all the good stuff. I got the

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Speaker 3: community out of it. Yeah, I mean I met my partner,

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Speaker 3: you know, I met Julian there, which was so special,

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Speaker 3: and you know, a big that's like my friend group

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Speaker 3: and everything was there, which was great. So I think

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Speaker 3: I got the pluses out of music school without you know,

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Speaker 3: the I didn't have, I think, like the the money

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Speaker 3: nor the maybe like attention, like I just couldn't sit

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Speaker 3: still that long. Yeah, so it was it suited me

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Speaker 3: to like work a job, write songs and just do

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Speaker 3: my own thing until I figured it out. Essentially, that

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Speaker 3: was like my path.

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Speaker 1: That's cool.

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Speaker 3: Yeah, it was cool.

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Speaker 1: And you were doing acoustic e strummy songwriting or not

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Speaker 1: strummy necessarily, I was.

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Speaker 3: Strummy, You're not, Okay? It was pretty strummy. Okay, Yeah,

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Speaker 3: it was like it was I think it has. It

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Speaker 3: was funny. I was thinking about like the you know,

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Speaker 3: earlier songs I wrote the other day, and it still

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Speaker 3: had quite a bit of the DNA I think I

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Speaker 3: still have today. But it was just you know, younger

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Speaker 3: and of a certain style. Yeah, for sure.

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Speaker 1: When you were so when you were at Berkeley as

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Speaker 1: a vocal major before that, were you just singing your

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Speaker 1: songs at home or were you already gigging like before

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Speaker 1: you went to college. Why not choose guitar or right?

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Speaker 3: That is interesting. I didn't. I didn't actually think that

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Speaker 3: was an option. For some reason. I thought that like that.

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Speaker 3: It was really weird actually coming into Berkeley because I

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Speaker 3: was coming from such a small town. I lived in

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Speaker 3: a really tiny town northern California, super north, almost to

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Speaker 3: the Oregon border. Like I was born in Sacramento and

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Speaker 3: then raised two hours north of Sacramento Inland, so you know,

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Speaker 3: like orchards and cattle and that kind of thing. It

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Speaker 3: wasn't really maybe like California, and I think a lot

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Speaker 3: of people imagine you could have been in like Middle

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Speaker 3: America probably in terms of just it was really agriculture centric.

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Speaker 3: And then I feel like coming from that environment and

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Speaker 3: what I had in my mind as music school, I

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Speaker 3: thought that I was singing like jazz standards and stuff

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Speaker 3: when I was young, and I felt like that's my

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Speaker 3: inn to Berkeley, and so when I went from my

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Speaker 3: auditions to Berkeley, I sang like find Me to the

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Speaker 3: Moon or something like. It was like in my head,

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Speaker 3: I was like, we're just going to do the jazz thing,

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Speaker 3: and that'll be my way of doing it. And it

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Speaker 3: was kind of like not really what I did, but

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Speaker 3: that's what you want. But I thought that that was

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Speaker 3: like that was my in, but it was what I

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Speaker 3: was fascinated with at a young age. Like I did

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Speaker 3: kind of get in there, and I did sing a

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Speaker 3: lot of standards when I was young, and my family

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Speaker 3: listened to a lot of jazz growing up, so that

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Speaker 3: was actually pretty native to me. But it also wasn't

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Speaker 3: like what I had to bring to the table. Probably,

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Speaker 3: But so I remember I had like a bad track

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Speaker 3: of like piano, like MIDI piano.

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Speaker 1: It's like Jamie Aber saw something and it was.

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Speaker 3: Like a like a fly Me to the Moon track

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Speaker 3: or some some you know, like similar standard, very standard standard.

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Speaker 3: And then I sang that just you know, white knuckled

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Speaker 3: my way through. And then I like barely got into

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Speaker 3: music school and then you know, I just kind of

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Speaker 3: found my way. It was a lot of just finding

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Speaker 3: my own way. I didn't really feel like I had

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Speaker 3: much of a roadmap in a way, but but I did.

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Speaker 3: So that's an important part.

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Speaker 1: You've made your own map. Yeah, you had to make

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Speaker 1: your own map's a little bit. That's what everybody has

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Speaker 1: to do.

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Speaker 3: Yeah, totally, that's true. There's some truth to that.

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Speaker 1: Was it like a did you have to be in

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Speaker 1: a jazz vocal choir?

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Speaker 3: I didn't have to be in a jazz vocal choir.

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Speaker 3: I think I was considered like a pop vocalist or something.

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Speaker 1: Oh yeah, because that's the difference. I went to North Texas,

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Speaker 1: which is right. It's a it's a big jazz school,

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Speaker 1: classical department, but there's no pop aspect, So it has

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Speaker 1: this whole pop music sort of department that I'm I'm like,

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Speaker 1: how do you teach that?

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Speaker 3: Yeah?

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Speaker 1: What is that about?

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Speaker 3: Yeah? I remember it was really interesting. I think that Berkeley.

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Speaker 3: You know, there's so many different sides to music education. Yea,

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Speaker 3: like as we both know, there's like it's like good

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Speaker 3: and bad and all the things. But I think the

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Speaker 3: cool thing about Berkeley is that there was like a

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Speaker 3: lot of open endedness. It didn't like whatever you were

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Speaker 3: looking for you could probably find it.

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Speaker 1: They didn't want to have to put you in a box.

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Speaker 3: Yeah, And it wasn't like a conservatory in that sense,

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Speaker 3: like any c was right down the street, and there

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Speaker 3: was a lot more maybe classical things happening at New Conservatory.

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Speaker 3: But then there was also like the CI program where

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Speaker 3: everyone was doing kind of you know arts, a lot

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Speaker 3: more artsy kind of music. And then at Berkeley it

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Speaker 3: was like I think that like people from the outside,

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Speaker 3: especially from anc were kind of looking at Berkeley, or

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Speaker 3: at least that's how it felt of like it was

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Speaker 3: just like all the yeah, all the people that wanted

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Speaker 3: to be pop stars were going to Berkeley. Yeah, but

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Speaker 3: really it wasn't like that. It was just like a

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Speaker 3: bunch of creative people trying to find.

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Speaker 1: Their way, yeah, trying to figure it out.

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Speaker 3: Yeah, but you could go to Berkeley and there would

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Speaker 3: be like a pop ensemble. For any given artist that

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Speaker 3: you liked, there would be an ensemble created for that artists.

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Speaker 3: So it was class or is it like separate like

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Speaker 3: you could get credit for it. Yeah, like it was

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Speaker 3: a class, like you could go and be a part

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Speaker 3: of like the you know, maybe there was like a

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Speaker 3: Lauren Hill ensemble or something like that. There was like there.

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Speaker 3: It was cool in that way where people could just

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Speaker 3: go learn the whole repertoire of one artist play in

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Speaker 3: that style, and so you were kind of, yeah, your

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Speaker 3: cri like the curriculum could be very different for sure

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Speaker 3: going to Berkeley. But yeah, it was a it was

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Speaker 3: a really unique experience being there, and I feel like

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Speaker 3: as a I guess, as like a singer I was,

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Speaker 3: I remember, I mean I was only there for a semester,

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Speaker 3: so if you really think about it was like three

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Speaker 3: or four months, so it's not very actually. So I

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Speaker 3: would be in with like a vocal teacher who I

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Speaker 3: really didn't know very well, and I would show up

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Speaker 3: and I would kind of despise it. I really didn't

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Speaker 3: like going to vocal lessons.

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Speaker 1: That I feel like vocal lessons are one of the

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Speaker 1: trickier things too, Yeah, because because it's the human voice

256
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Speaker 1: is so unique. Yeah, and it's really hard to teach

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Speaker 1: the good parts about it, the unique parts about it,

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Speaker 1: right right, right, Yeah.

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Speaker 3: I think I think at the time it's funny because

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Speaker 3: now I think I would probably enjoy it more because

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Speaker 3: I think it's kind of fascinating and cool. But at

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Speaker 3: the time, it was like, what are we doing? This

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Speaker 3: is so boring and I don't get it. It was

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Speaker 3: so like the last thing that was on my mind,

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Speaker 3: like I can already sing, what else is this? Well, also,

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Speaker 3: it was just like, you know, we were singing. They

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Speaker 3: would do like classical exercises the whole time, and it

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Speaker 3: would be like, you know, I can't even remember maybe

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Speaker 3: it was Arias or something. You'd just be kind of

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Speaker 3: going through these workbooks and singing intervals and things like that,

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Speaker 3: and I just I actually knew that I had things

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Speaker 3: to learn, but I didn't think that those were the things.

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Speaker 3: So I would leave. I remember leaving crying and all

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Speaker 3: you know, it's just like young.

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Speaker 1: Oh well, you don't want that young, hard college stuff.

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Speaker 11: You know.

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Speaker 1: It's just like what crying through my headed You're crying

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Speaker 1: through the like the mess hall, running through past the

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Speaker 1: salad bar.

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Speaker 3: Yeah, like tears on my cafeteria tray. Yeah, it was really, really,

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Speaker 3: really bad. Totally those were the days. Yeah, exactly. Yeah,

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Speaker 3: I'm glad that those were the days for sure. O.

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Speaker 1: Fun, Yeah, you want to do another song, Yeah, let's do

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Speaker 1: another song. So that last song was from your new album, right, Yeah,

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Speaker 1: totally love it. It's so great, Thank you so much. Uh,

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Speaker 1: it will be out by the time this is out,

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Speaker 1: but it's not out.

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Speaker 3: Yet, right, it's not out yet. Yeah, it's coming out,

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Speaker 3: and I'm really excited about it. It's COVID happened. I

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Speaker 3: released a record doing that, and I couldn't actually tour

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Speaker 3: that record, which is kind of rough. Yeah, So I'm excited.

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Speaker 3: I'm excited to like have a record out and do

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Speaker 3: all the stuff.

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Speaker 1: It's exciting. When I was playing along to that last

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00:16:08,760 --> 00:16:12,000
Speaker 1: song to learn it, I was just all I wanted

296
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Speaker 1: to do was air drum. Actually he was playing drums

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Speaker 1: on the recording.

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Speaker 3: That's Dave King is playing drums. Oh yeah, fun, he's

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Speaker 3: so incredible.

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Speaker 1: It's such a great live sounding.

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Speaker 3: Thank you so much. Yeah, Dave King and Chris Morrissey play.

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Speaker 1: Oh I know, Chris, Yes you do, Yes you do.

303
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Speaker 3: They're the band for that whole record. And it was

304
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Speaker 3: probably like one of the easiest records I've ever made

305
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Speaker 3: in terms of it just it felt like wind kind

306
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Speaker 3: of like blew through the studio and then it just happened,

307
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Speaker 3: which is really cool. So it was special and those

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Speaker 3: musicians were perfect for it. And yeah, it felt like

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Speaker 3: just like one of those ones you know that was

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Speaker 3: easy and interesting and like.

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Speaker 1: Well the songs are great.

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Speaker 3: Thank you.

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Speaker 1: When the songs are great, they kind of play makes

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Speaker 1: it easier.

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Speaker 3: Thank you so much.

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Speaker 1: I appreciate hope.

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Speaker 3: Right, yeah, totally, Yeah, that is the hope.

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Speaker 1: Well, I was wondering if we could do a song

319
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Speaker 1: from is this from your last album? To somebody?

320
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Speaker 3: That's for my first record? So that's from this.

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Speaker 1: From your first record?

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Speaker 3: Yeah, I mean my first full length record. I had

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Speaker 3: Lily P's before then, but yeah, this is from a record,

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Speaker 3: my record, Emotions and Math.

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Speaker 1: I love this record too, Thank you so much. I

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Speaker 1: love that song Emotions and Math also, thank you. But

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Speaker 1: so when did that record come out.

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Speaker 3: That was was it twenty sixteen? Okay, yeah, that was

329
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Speaker 3: your first record, Yeah, my first full length record.

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Speaker 1: I feel like that might be around the time I

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Speaker 1: met you over at Jesse's.

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Speaker 3: Oh, probably, yeah, it might have been. Yeah, it was

333
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Speaker 3: probably around that time. I feel like maybe it was

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Speaker 3: like a Christmas or something like that, or one of

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Speaker 3: the hangs, one.

336
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Speaker 1: Of the hangs. I kind of missed a lot of them.

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Speaker 1: That was when my kids were really little, so I

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Speaker 1: kind of dropped out a little bit right iated a

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Speaker 1: couple of the Christmas ones. Yep, do you tune down

340
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Speaker 1: for this?

341
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Speaker 3: I do?

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Speaker 1: Oh fun? Yeah, I heard that low D.

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Speaker 3: I was like, yeah down, m.

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Speaker 12: M hmmm.

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Speaker 4: I'm a little rock on a big mountain.

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Speaker 11: Nobody's called my name, nobody's par me mind.

347
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Speaker 4: I'm a little drop from a big fountain. Oh widland

348
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Speaker 4: And that's fine.

349
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Speaker 8: Fine.

350
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Speaker 3: And my sister.

351
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Speaker 11: She's gonna I try and with her heart ablaze and.

352
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Speaker 14: A fighting soul.

353
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Speaker 1: Not me.

354
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Speaker 4: I'll be in any life.

355
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Speaker 11: Give a gust to wind and I'm gone, gone because.

356
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Speaker 4: I don't wanna be somebody. Anybody know, I'm good.

357
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Speaker 11: No once hours loved, and I wouldn't dare take a compliment.

358
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Speaker 14: Or give a kiss.

359
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Speaker 4: Just thinking of being a pair hand me suffering made

360
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Speaker 4: me split. Oh, because I.

361
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Speaker 11: Don't wanna be somebody to anybody.

362
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Speaker 15: Know I'm good.

363
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Speaker 16: No, I keep my head down and both eyes wise,

364
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Speaker 16: I don't look up beside to side, and I stay

365
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Speaker 16: where kept so they can see.

366
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Speaker 4: Oh, there's nothing wrong with me.

367
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Speaker 13: It's just that I don't wanna be somebody to anybody,

368
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Speaker 13: you know. No, No, no, I don't wanna be.

369
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Speaker 6: Somebody to anybody.

370
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Speaker 15: Know.

371
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Speaker 11: No, I don't wanna be somebody to anybody.

372
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Speaker 7: I'm good at noor.

373
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Speaker 1: So what made you start playing electric guitar?

374
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Speaker 3: I think I just wanted to rock. Yeah, that was

375
00:21:22,560 --> 00:21:24,640
Speaker 3: what made me start wanting to do it. I think

376
00:21:24,640 --> 00:21:27,919
Speaker 3: I just well, actually, there was a weird There was

377
00:21:28,000 --> 00:21:30,280
Speaker 3: kind of a weird detail that I felt living in

378
00:21:30,320 --> 00:21:32,960
Speaker 3: New York. Very quickly, I think you can. Moved to

379
00:21:32,960 --> 00:21:35,119
Speaker 3: New York when I was twenty one, Okay, and very

380
00:21:35,200 --> 00:21:40,040
Speaker 3: quickly I realized that like I loved playing the acoustic guitar,

381
00:21:41,000 --> 00:21:45,200
Speaker 3: but playing the acoustic guitar without a DII, oh yeah,

382
00:21:45,440 --> 00:21:48,320
Speaker 3: it was a nightmare, especially in all these like little

383
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Speaker 3: tiny clubs in.

384
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Speaker 1: New York and playing it with a di I sounded

385
00:21:51,440 --> 00:21:52,560
Speaker 1: like terrible poo poo.

386
00:21:52,680 --> 00:21:55,840
Speaker 3: Yeah yeah, yeah, so and I was just like I can't,

387
00:21:55,920 --> 00:21:57,280
Speaker 3: I can't like go down that room.

388
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Speaker 1: Yeah that makes a lot of sense.

389
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Speaker 3: But nowadays I feel like you can pull it off

390
00:22:01,320 --> 00:22:03,760
Speaker 3: and it you know, things have improved, but you know,

391
00:22:03,960 --> 00:22:09,480
Speaker 3: like whatever, thirteen years ago, it was just like you couldn't.

392
00:22:10,000 --> 00:22:16,159
Speaker 3: It was just sounded terrible. So I I was just like,

393
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Speaker 3: either it's going to be acoustic miked, or it's going

394
00:22:18,720 --> 00:22:21,399
Speaker 3: to be electric through like an app and that's I

395
00:22:21,400 --> 00:22:24,520
Speaker 3: don't have no in between, And so I went electric

396
00:22:24,560 --> 00:22:27,199
Speaker 3: and that that felt like so much easier to do

397
00:22:27,280 --> 00:22:30,080
Speaker 3: in clubs. And I think there was also a part

398
00:22:30,080 --> 00:22:32,920
Speaker 3: of me that was kind of like people will.

399
00:22:32,760 --> 00:22:36,359
Speaker 1: Like it more because it's going to rock just because

400
00:22:36,400 --> 00:22:36,760
Speaker 1: it's like.

401
00:22:36,800 --> 00:22:38,960
Speaker 3: Electric guitar, Like I like it more, you know, like

402
00:22:39,000 --> 00:22:42,720
Speaker 3: I just I want to hear that. So I think

403
00:22:42,760 --> 00:22:45,600
Speaker 3: it was like like the salesman in me was like,

404
00:22:46,640 --> 00:22:47,879
Speaker 3: that's the better way to go.

405
00:22:48,960 --> 00:22:52,000
Speaker 1: You just did it. But didn't it change everything? Like

406
00:22:52,119 --> 00:22:53,600
Speaker 1: change writing and change?

407
00:22:53,640 --> 00:22:53,880
Speaker 3: Yeah?

408
00:22:54,000 --> 00:22:54,200
Speaker 8: Yeah.

409
00:22:54,240 --> 00:22:56,119
Speaker 3: Probably. It's funny though, because I think I've always written

410
00:22:56,119 --> 00:22:58,840
Speaker 3: on acoustic and then performed on electric. Do you still

411
00:22:59,200 --> 00:23:01,440
Speaker 3: for the most part. Yeah, I kind of rarely write

412
00:23:01,480 --> 00:23:02,280
Speaker 3: on electric guitar.

413
00:23:02,800 --> 00:23:05,000
Speaker 1: But when you're writing on acoustic, aren't you still kind

414
00:23:05,000 --> 00:23:07,480
Speaker 1: of embodying like how it's going to sound on electric

415
00:23:07,520 --> 00:23:08,719
Speaker 1: guitar line? Yeah, totally.

416
00:23:08,720 --> 00:23:11,080
Speaker 3: For me, it's almost like you're covering your own songs,

417
00:23:11,160 --> 00:23:12,760
Speaker 3: is how it feels for me. So I write it

418
00:23:12,800 --> 00:23:15,040
Speaker 3: on acoustic, and then when I start to think about

419
00:23:15,040 --> 00:23:17,560
Speaker 3: making the record, then I start to interpret them with

420
00:23:17,600 --> 00:23:21,440
Speaker 3: electric guitar. So there's kind of, I would say, almost

421
00:23:21,440 --> 00:23:26,520
Speaker 3: two phases of feeling like and actually I think it

422
00:23:26,720 --> 00:23:31,440
Speaker 3: kind of in my own experience, the degree of separation

423
00:23:31,600 --> 00:23:35,199
Speaker 3: from the original kind of demos is nice because I

424
00:23:35,280 --> 00:23:37,159
Speaker 3: kind of approach it as though someone else wrote it

425
00:23:37,200 --> 00:23:39,280
Speaker 3: in a way like I don't feel precious because I'm

426
00:23:39,320 --> 00:23:41,600
Speaker 3: not writing it in the original state.

427
00:23:41,440 --> 00:23:44,160
Speaker 1: And you're not married to a demo that's so special. Yeah,

428
00:23:44,200 --> 00:23:45,600
Speaker 1: totally doing it totally different.

429
00:23:45,680 --> 00:23:47,640
Speaker 3: I know it's going to change anyway, So it's kind

430
00:23:47,680 --> 00:23:50,080
Speaker 3: of like a fun process.

431
00:23:49,760 --> 00:23:52,520
Speaker 1: That is fun. So that last song, for instance, like,

432
00:23:52,560 --> 00:23:56,080
Speaker 1: did you write that cool guitar line? I did acoustic still, though.

433
00:23:56,000 --> 00:23:58,600
Speaker 3: This one was more of like a parallel move, like

434
00:23:58,640 --> 00:24:00,520
Speaker 3: it was just like pretty much stayed the same because

435
00:24:00,520 --> 00:24:02,600
Speaker 3: I usually play that solo. I usually don't play with

436
00:24:02,600 --> 00:24:04,840
Speaker 3: the band or anything, which is why it's so fun

437
00:24:04,880 --> 00:24:06,320
Speaker 3: to play with you. It's so fun to play with

438
00:24:06,320 --> 00:24:09,360
Speaker 3: those lines and stuff with you when I get them

439
00:24:09,600 --> 00:24:13,320
Speaker 3: to hear, yeah, to hear like you know, like musicality

440
00:24:13,359 --> 00:24:16,600
Speaker 3: on that song, especially yours is really cool. So I'm

441
00:24:16,680 --> 00:24:18,760
Speaker 3: used to playing it just completely solo all the time,

442
00:24:18,800 --> 00:24:21,679
Speaker 3: so it always kind of worked the same with you know,

443
00:24:21,720 --> 00:24:25,359
Speaker 3: electric acoustic, but then playing with the band, it's like

444
00:24:25,400 --> 00:24:26,760
Speaker 3: I kind of feel like a bass player half the

445
00:24:26,800 --> 00:24:29,480
Speaker 3: time and an electric guitar player. Ah yeah, because I

446
00:24:29,640 --> 00:24:32,520
Speaker 3: think I kind of, or at least Julian says that

447
00:24:32,560 --> 00:24:34,040
Speaker 3: all the time. My husband says that all the time,

448
00:24:34,040 --> 00:24:35,760
Speaker 3: Like you kind of play guitar like a bass player.

449
00:24:37,000 --> 00:24:38,240
Speaker 1: You do have a lot of.

450
00:24:38,400 --> 00:24:41,240
Speaker 3: It's like a lot of movement on the Yeah, totally.

451
00:24:41,320 --> 00:24:44,280
Speaker 3: So I think that there's also something about the electric

452
00:24:44,320 --> 00:24:47,000
Speaker 3: guitar that I love about that where you can kind

453
00:24:47,000 --> 00:24:48,800
Speaker 3: of get a lot out of one string because there's

454
00:24:48,800 --> 00:24:52,040
Speaker 3: so much sustain and I like that.

455
00:24:52,480 --> 00:24:54,040
Speaker 1: I like it too, and I feel like it's what

456
00:24:54,240 --> 00:24:58,440
Speaker 1: makes your guitar playing unique. It's Oh, thank you it's

457
00:24:58,480 --> 00:25:01,800
Speaker 1: it's just cool the way you voice things, in the

458
00:25:01,840 --> 00:25:03,800
Speaker 1: way you rely on that low end.

459
00:25:04,040 --> 00:25:05,840
Speaker 3: Thank you. I think I think of the guitar as

460
00:25:05,880 --> 00:25:07,399
Speaker 3: like three strings and not six.

461
00:25:07,880 --> 00:25:10,159
Speaker 1: I think that's cool, thank you. I wonder if that

462
00:25:10,200 --> 00:25:12,600
Speaker 1: goes back to playing fiddle when you only had four strings.

463
00:25:12,880 --> 00:25:14,920
Speaker 3: I think it kind of does. Because I was actually

464
00:25:14,960 --> 00:25:17,600
Speaker 3: thinking about this the other day too, that fiddle players are.

465
00:25:18,359 --> 00:25:21,280
Speaker 3: I mean, I was rarely thinking about chords. I was

466
00:25:21,359 --> 00:25:24,320
Speaker 3: only thinking about the melody all the time. So I

467
00:25:24,320 --> 00:25:28,720
Speaker 3: think there was an aspect of it that I carried

468
00:25:28,800 --> 00:25:31,359
Speaker 3: over from the fiddle, just thinking like I'm always just

469
00:25:31,400 --> 00:25:33,919
Speaker 3: playing melody and never really playing chords. Of course I'm

470
00:25:33,960 --> 00:25:36,560
Speaker 3: playing chords all the time, but I think I think

471
00:25:36,600 --> 00:25:39,080
Speaker 3: of guitar that way and trying to find melodies rather

472
00:25:39,119 --> 00:25:43,600
Speaker 3: than trying to like strum the whole time, because interesting well,

473
00:25:43,640 --> 00:25:46,280
Speaker 3: and because it also was just what I was kind

474
00:25:46,320 --> 00:25:48,440
Speaker 3: of trained to do as a younger person. I wasn't

475
00:25:48,440 --> 00:25:50,520
Speaker 3: really trained to like strum when I was little. I

476
00:25:50,560 --> 00:25:52,000
Speaker 3: was trained to like, you know.

477
00:25:56,520 --> 00:25:59,480
Speaker 1: My favorite fiddle I used to I bought it.

478
00:25:59,520 --> 00:26:03,119
Speaker 3: I really like fiddle. Yeah, do that one more time.

479
00:26:04,440 --> 00:26:07,679
Speaker 1: That's my fiddle impression, My favorite. I tried to play violin.

480
00:26:08,040 --> 00:26:09,880
Speaker 1: I really wanted to play fiddle, like ten years ago,

481
00:26:09,880 --> 00:26:11,879
Speaker 1: and I had one somebody had given me, and I

482
00:26:11,920 --> 00:26:14,480
Speaker 1: was trying, and my dream was just to play the

483
00:26:14,480 --> 00:26:17,359
Speaker 1: fiddle part on Comes a Time, do you know what

484
00:26:17,320 --> 00:26:21,280
Speaker 1: I tude? And then I just always saw this like

485
00:26:21,560 --> 00:26:25,520
Speaker 1: totally somebody just dancing like fiddle dancing too.

486
00:26:26,000 --> 00:26:28,639
Speaker 3: Fiddle dancing totally. That's amazing.

487
00:26:28,880 --> 00:26:31,520
Speaker 1: Yeah, it's like my dream. Yeah, the happy fiddle, I like.

488
00:26:31,440 --> 00:26:33,360
Speaker 3: It was a fiddle player. Yeah, I need to.

489
00:26:33,320 --> 00:26:34,960
Speaker 1: Pick it up again because I was enjoying it.

490
00:26:35,000 --> 00:26:37,359
Speaker 3: Yeah, totally, that's amazing. We can jam.

491
00:26:37,720 --> 00:26:38,400
Speaker 1: Let's do it.

492
00:26:38,760 --> 00:26:39,840
Speaker 3: Get mine out of the closet.

493
00:26:40,359 --> 00:26:44,720
Speaker 1: Mine's in the closet. Do you never ever touch it anymore?

494
00:26:44,840 --> 00:26:46,879
Speaker 3: I don't actually touch it anymore. There was like a

495
00:26:47,440 --> 00:26:51,040
Speaker 3: like a pretty sharp divide when I stopped playing it.

496
00:26:51,119 --> 00:26:54,200
Speaker 3: I remember there was one no more competition, Yeah, yeah,

497
00:26:54,280 --> 00:26:56,159
Speaker 3: yeah I think there was one. There was actually a

498
00:26:56,160 --> 00:26:58,560
Speaker 3: point I think psychologically where I was like, oh wait,

499
00:26:59,160 --> 00:27:03,240
Speaker 3: this isn't for me, very personal. It wasn't for anybody else,

500
00:27:03,280 --> 00:27:06,000
Speaker 3: but for me, I knew this isn't going anywhere like it.

501
00:27:06,240 --> 00:27:08,520
Speaker 3: I don't actually see like where it's going to lead

502
00:27:08,560 --> 00:27:11,080
Speaker 3: to and I remember there was one point. I remember

503
00:27:11,080 --> 00:27:12,960
Speaker 3: my mom is like reminded me of this a couple

504
00:27:13,000 --> 00:27:15,200
Speaker 3: of times that I wanted to put my fiddle on

505
00:27:15,240 --> 00:27:15,919
Speaker 3: the fireplace.

506
00:27:15,960 --> 00:27:18,159
Speaker 1: Oh no, that would have been the saddest.

507
00:27:18,320 --> 00:27:20,800
Speaker 3: It would have been so sad. Yeah, But there was

508
00:27:20,840 --> 00:27:23,199
Speaker 3: like a definitely like a like a breakup at some

509
00:27:23,240 --> 00:27:25,640
Speaker 3: point where it was just like, this isn't happening anymore.

510
00:27:26,359 --> 00:27:28,560
Speaker 3: I actually continued to do it after I wanted to

511
00:27:28,560 --> 00:27:31,119
Speaker 3: put in the fireplace, but there was it kind of

512
00:27:31,160 --> 00:27:34,080
Speaker 3: gradually turned into this like I don't think this is

513
00:27:34,080 --> 00:27:37,240
Speaker 3: the right thing. And then in my early probably when

514
00:27:37,280 --> 00:27:38,960
Speaker 3: I was like eighteen or nineteen, was when I like

515
00:27:39,080 --> 00:27:40,480
Speaker 3: never touched it again for sure.

516
00:27:41,000 --> 00:27:41,600
Speaker 1: Yeah.

517
00:27:41,840 --> 00:27:44,199
Speaker 3: Yeah, did you have any early instruments that were like

518
00:27:44,240 --> 00:27:48,080
Speaker 3: before piano that you were playing or was it always piano.

519
00:27:47,920 --> 00:27:51,240
Speaker 1: Not before piano, but I started piano seven, But I

520
00:27:51,320 --> 00:27:56,240
Speaker 1: definitely had a saxophone band phase and junior high incredible.

521
00:27:56,280 --> 00:28:01,160
Speaker 1: But I have not touched it since ninth grade at all.

522
00:28:01,240 --> 00:28:03,480
Speaker 1: In fact, I think I still have the saxophone with

523
00:28:03,640 --> 00:28:07,480
Speaker 1: like the gross read like still attached to the mouthpiece.

524
00:28:07,040 --> 00:28:09,320
Speaker 3: Probably the same saliva growing mold.

525
00:28:09,400 --> 00:28:11,959
Speaker 1: It's like it's like the last of Us Zombies.

526
00:28:12,040 --> 00:28:12,639
Speaker 3: Incredible.

527
00:28:12,760 --> 00:28:13,080
Speaker 14: Yeah.

528
00:28:13,200 --> 00:28:15,439
Speaker 1: Yeah, but yeah, I haven't had a desire to touch it.

529
00:28:15,440 --> 00:28:19,600
Speaker 1: But I think mostly because of the gross mouthpiece situation.

530
00:28:19,760 --> 00:28:21,320
Speaker 1: That's really the reason I haven't.

531
00:28:21,080 --> 00:28:23,160
Speaker 3: Touched it, right, right, It's like.

532
00:28:22,920 --> 00:28:24,439
Speaker 1: If I could just take it out of case and

533
00:28:24,480 --> 00:28:26,560
Speaker 1: play it without dealing with that, you might do it.

534
00:28:26,600 --> 00:28:30,600
Speaker 3: I might. But there's like like a funny like hygiene.

535
00:28:30,880 --> 00:28:34,880
Speaker 1: Yes, there's a hygiene aspect. My son said he wanted

536
00:28:34,880 --> 00:28:36,639
Speaker 1: to start playing the saxophone, and I was like, oh,

537
00:28:36,640 --> 00:28:38,680
Speaker 1: I actually have a Nope, never mind, we might have

538
00:28:38,720 --> 00:28:39,160
Speaker 1: to get in.

539
00:28:39,160 --> 00:28:41,960
Speaker 3: You just tell your son to rip off the mouthpiece,

540
00:28:42,440 --> 00:28:44,320
Speaker 3: just don't look at it. Just don't know.

541
00:28:44,480 --> 00:28:45,600
Speaker 1: I have to figure that out.

542
00:28:46,040 --> 00:28:47,200
Speaker 3: Yeah, I hear you.

543
00:28:47,600 --> 00:28:50,240
Speaker 1: It's sad when you're you have an instrument that hasn't

544
00:28:50,280 --> 00:28:52,800
Speaker 1: been that you don't touch. It's actually kind of sad.

545
00:28:53,080 --> 00:28:54,240
Speaker 1: Somebody could use it.

546
00:28:54,360 --> 00:28:56,480
Speaker 3: Yeah, we feel like we mat guitars. I think between

547
00:28:56,480 --> 00:28:57,760
Speaker 3: my husband and I we have like a lot.

548
00:28:58,000 --> 00:29:00,880
Speaker 1: We have a lot of oh you must you must

549
00:29:00,880 --> 00:29:03,800
Speaker 1: haven't done. Yeah, but you probably touched those.

550
00:29:03,920 --> 00:29:05,680
Speaker 3: We actually touched quite a bit of them. But then

551
00:29:05,720 --> 00:29:08,520
Speaker 3: there are kind of like an amount that just kind

552
00:29:08,520 --> 00:29:10,760
Speaker 3: of does sit in the backseat that don't really get

553
00:29:10,800 --> 00:29:13,360
Speaker 3: a lot of love. But I feel like, honestly, we

554
00:29:13,760 --> 00:29:16,280
Speaker 3: do keep quite a few in rotation because they all

555
00:29:16,320 --> 00:29:18,600
Speaker 3: do kind of have their own things, yeah, places in

556
00:29:18,600 --> 00:29:21,120
Speaker 3: the world. But sometimes it get starts to be a

557
00:29:21,160 --> 00:29:23,400
Speaker 3: little bit like, hmm, that's a lot of guitars.

558
00:29:23,480 --> 00:29:25,080
Speaker 1: Yeah, do we need to clean house?

559
00:29:25,120 --> 00:29:25,280
Speaker 8: Yeah?

560
00:29:25,360 --> 00:29:27,120
Speaker 3: Yeah, yeah, a little bit like maybe we need to

561
00:29:27,160 --> 00:29:29,120
Speaker 3: go through this and figure out what to do.

562
00:29:29,840 --> 00:29:31,800
Speaker 1: Your partner is Julian Julian Lange.

563
00:29:32,080 --> 00:29:36,560
Speaker 3: Yes, totally Julian Lage. My my husband, amazing guitar player

564
00:29:36,600 --> 00:29:38,440
Speaker 3: and my wonderful partner.

565
00:29:38,720 --> 00:29:42,040
Speaker 1: Yeah. How long have you guys known each other since college?

566
00:29:42,120 --> 00:29:45,880
Speaker 1: You met? Did you meet like your freshman year? I'm yeah,

567
00:29:45,880 --> 00:29:47,960
Speaker 1: I mean when you were there for probably or later.

568
00:29:47,960 --> 00:29:51,920
Speaker 3: I met Julian. I came to Berkeley right when I

569
00:29:51,960 --> 00:29:55,720
Speaker 3: turn eighteen, and I probably met Julian when I was

570
00:29:55,760 --> 00:29:58,800
Speaker 3: like nineteen and a half or something like that. Yeah. Yeah,

571
00:29:58,800 --> 00:30:01,400
Speaker 3: totally so special, I know, and we were best buds

572
00:30:01,440 --> 00:30:04,880
Speaker 3: for like six years or so before we started dating.

573
00:30:04,920 --> 00:30:06,080
Speaker 1: Oh, even more special.

574
00:30:06,240 --> 00:30:08,600
Speaker 3: Yeah, and then we and then we started dating, and

575
00:30:08,640 --> 00:30:11,080
Speaker 3: we dated for like six years and then we got married.

576
00:30:11,080 --> 00:30:11,840
Speaker 3: A couple years ago.

577
00:30:11,960 --> 00:30:15,480
Speaker 1: So you guys moved to New York as friends, Yeah, separately, Yes,

578
00:30:15,680 --> 00:30:16,520
Speaker 1: at the same time.

579
00:30:16,800 --> 00:30:18,280
Speaker 3: I moved to New York and then he moved a

580
00:30:18,280 --> 00:30:18,800
Speaker 3: month later.

581
00:30:19,000 --> 00:30:19,840
Speaker 1: Oh he was following.

582
00:30:21,080 --> 00:30:24,400
Speaker 3: He jokes that he was, Yeah, that's really sweet, very sweet.

583
00:30:24,840 --> 00:30:27,200
Speaker 1: So you were already gether together probably when I met

584
00:30:27,240 --> 00:30:27,719
Speaker 1: you guys.

585
00:30:27,760 --> 00:30:30,880
Speaker 3: I think probably or maybe had maybe was like just

586
00:30:30,920 --> 00:30:32,760
Speaker 3: about to start dating or something. There was like a

587
00:30:32,760 --> 00:30:35,080
Speaker 3: phase in New York where it was like this very

588
00:30:35,120 --> 00:30:38,760
Speaker 3: special time. Actually, if it was around twenty sixteen, then yes,

589
00:30:38,800 --> 00:30:41,880
Speaker 3: we were dating. It was probably very early days for sure.

590
00:30:42,480 --> 00:30:44,880
Speaker 1: Did you guys play together from the beginning ever?

591
00:30:45,160 --> 00:30:47,320
Speaker 3: Or we had? We Actually that was kind of our

592
00:30:47,360 --> 00:30:49,520
Speaker 3: introduction to one another. We had a lot of mutual friends,

593
00:30:49,960 --> 00:30:52,120
Speaker 3: and I think we kind of met at kind of

594
00:30:52,840 --> 00:30:54,280
Speaker 3: friends is like house parties.

595
00:30:55,800 --> 00:30:58,480
Speaker 1: Yeah, so college super college fun.

596
00:30:58,320 --> 00:31:01,080
Speaker 3: And kind of like not honestly, it wasn't like the

597
00:31:01,080 --> 00:31:03,360
Speaker 3: college you think it would be like and like like

598
00:31:03,480 --> 00:31:05,560
Speaker 3: raging house parties. It was like a music. House party

599
00:31:05,680 --> 00:31:08,400
Speaker 3: was like music, like sweet nerdy music house parties and

600
00:31:08,440 --> 00:31:11,360
Speaker 3: people just hanging out and playing music, which was so sweet.

601
00:31:12,040 --> 00:31:13,720
Speaker 3: And we had actually the thing that we had in

602
00:31:13,800 --> 00:31:16,880
Speaker 3: common because Julian was was raised around a lot of

603
00:31:16,880 --> 00:31:20,680
Speaker 3: folk music when he was young A, yeah, totally, and

604
00:31:20,720 --> 00:31:23,040
Speaker 3: so and David Grisman at a young age kind of

605
00:31:23,640 --> 00:31:25,360
Speaker 3: you know, kept him under his wing and oh, I

606
00:31:25,360 --> 00:31:27,720
Speaker 3: didn't know that introduced him to like the kind of

607
00:31:27,760 --> 00:31:29,960
Speaker 3: folk music scene in California a little bit more when

608
00:31:29,960 --> 00:31:33,040
Speaker 3: he was very very young. And so we had a

609
00:31:33,080 --> 00:31:35,520
Speaker 3: lot of mutual friends in the folk world because I

610
00:31:35,600 --> 00:31:38,720
Speaker 3: came up through the fiddle scene. And it's funny because

611
00:31:38,720 --> 00:31:42,080
Speaker 3: he and I share that, but then don't have you know,

612
00:31:42,160 --> 00:31:44,520
Speaker 3: like we aren't in that world anymore. But it was

613
00:31:44,560 --> 00:31:47,080
Speaker 3: like our common ground. Yeah, so we would go to

614
00:31:47,560 --> 00:31:50,120
Speaker 3: you know, our friends house parties and stuff where like

615
00:31:50,160 --> 00:31:52,360
Speaker 3: fiddle music would be happening, and then like this kind

616
00:31:52,400 --> 00:31:56,240
Speaker 3: of jazz fiddle music would be happening, this kind of

617
00:31:56,240 --> 00:31:59,680
Speaker 3: like fusiony you know world. And then he and I

618
00:31:59,760 --> 00:32:02,240
Speaker 3: played a gig together. We set up a gig ourselves

619
00:32:02,280 --> 00:32:05,960
Speaker 3: actually at an assisted living center. He and I went, yeah,

620
00:32:06,600 --> 00:32:09,920
Speaker 3: this is horrible in Boston. In Boston, we went and

621
00:32:09,960 --> 00:32:14,160
Speaker 3: played for the elderly in Boston. I remember Julian wrote

622
00:32:14,200 --> 00:32:16,200
Speaker 3: up like a very formal email, like we'd like to

623
00:32:16,200 --> 00:32:21,320
Speaker 3: play for your center and it's really all of our accolades.

624
00:32:23,360 --> 00:32:25,360
Speaker 3: Can we please do this? And we did and we

625
00:32:25,400 --> 00:32:28,400
Speaker 3: played I sang Standards with Julian and he backed me

626
00:32:28,520 --> 00:32:32,640
Speaker 3: up and that was like our our first uh you know,

627
00:32:32,680 --> 00:32:34,840
Speaker 3: it was like it felt like at first we were like,

628
00:32:34,880 --> 00:32:36,800
Speaker 3: this will be like a low pressure gig that we

629
00:32:36,840 --> 00:32:39,320
Speaker 3: can try out, you know, playing together, and it was

630
00:32:39,360 --> 00:32:40,760
Speaker 3: actually like a really.

631
00:32:40,520 --> 00:32:43,880
Speaker 1: Hard, really a tough crowd, like.

632
00:32:45,480 --> 00:32:48,120
Speaker 3: They didn't want any banter, like it was like they

633
00:32:48,240 --> 00:32:50,440
Speaker 3: just they just were kind of over it, you know

634
00:32:50,440 --> 00:32:51,880
Speaker 3: what I mean. They were kind of like, you know,

635
00:32:52,000 --> 00:32:53,800
Speaker 3: like life is short, like get on.

636
00:32:53,640 --> 00:32:57,560
Speaker 1: With but you were playing music from their era.

637
00:32:57,880 --> 00:33:00,720
Speaker 3: It was true. And also that wasn't ironic to them too,

638
00:33:00,920 --> 00:33:03,080
Speaker 3: which was like kind of funny because I feel like

639
00:33:03,520 --> 00:33:06,080
Speaker 3: we're like these young people playing standards and feel like

640
00:33:06,120 --> 00:33:07,840
Speaker 3: we're so cool because we know all this like old

641
00:33:07,880 --> 00:33:09,800
Speaker 3: cool music, and they were just like yeah, I mean

642
00:33:09,800 --> 00:33:11,440
Speaker 3: that was like what I grew up with. It's not

643
00:33:11,520 --> 00:33:12,560
Speaker 3: like special, yeah.

644
00:33:12,560 --> 00:33:15,920
Speaker 1: Like I know that song, Like why.

645
00:33:15,800 --> 00:33:20,240
Speaker 3: Are you playing all this old music? So it was

646
00:33:20,280 --> 00:33:22,480
Speaker 3: funny because I remember us leaving there and being like, wow,

647
00:33:22,520 --> 00:33:25,640
Speaker 3: it was kind of kind of hard. Actually you just

648
00:33:25,680 --> 00:33:27,920
Speaker 3: did it once we did that once and then we

649
00:33:27,960 --> 00:33:30,000
Speaker 3: started to play. I would have my own gigs and

650
00:33:30,040 --> 00:33:32,240
Speaker 3: I would hire Julian to play with me all the time.

651
00:33:32,880 --> 00:33:35,400
Speaker 3: He would have some gigs. We would just play duo

652
00:33:35,480 --> 00:33:39,480
Speaker 3: as a duo together sometimes and then and then progressively

653
00:33:39,520 --> 00:33:42,160
Speaker 3: we really started to do like our own things. But

654
00:33:42,240 --> 00:33:44,480
Speaker 3: that was our reason for hanging out was playing music.

655
00:33:44,720 --> 00:33:47,240
Speaker 3: And once we started dating, we totally didn't play music. Yeah,

656
00:33:47,640 --> 00:33:50,040
Speaker 3: if we're asked, yeah, yeah, totally. We don't even do

657
00:33:50,040 --> 00:33:52,800
Speaker 3: it any we now we're we actually kind of consciously

658
00:33:52,840 --> 00:33:54,680
Speaker 3: try to do it because we do have a project

659
00:33:54,680 --> 00:33:56,640
Speaker 3: that were wed love to make a record together, because

660
00:33:56,640 --> 00:33:58,920
Speaker 3: we've actually written a lot of music together. We have

661
00:33:59,000 --> 00:34:01,520
Speaker 3: to actively try, yeah, totally, because we have like our

662
00:34:01,560 --> 00:34:04,360
Speaker 3: lives together now and we you know, if with our downtime,

663
00:34:04,400 --> 00:34:06,000
Speaker 3: we don't really want to like make music, We want

664
00:34:06,000 --> 00:34:08,320
Speaker 3: to just like chill and watch Netflix or whatever.

665
00:34:08,760 --> 00:34:12,360
Speaker 1: So funny, you know, yeah, it's such a funny dynamic

666
00:34:12,600 --> 00:34:14,560
Speaker 1: it is when you're with someone.

667
00:34:15,000 --> 00:34:18,000
Speaker 3: Yeah, yeah, yeah, I know it is. It's funny to like,

668
00:34:18,520 --> 00:34:20,360
Speaker 3: I think we cherish that. I mean, to get to

669
00:34:20,400 --> 00:34:23,240
Speaker 3: play music together is like wild. Now we're like, WHOA

670
00:34:23,280 --> 00:34:25,480
Speaker 3: isn't this crazy that we both do.

671
00:34:25,520 --> 00:34:27,960
Speaker 1: That, that we found somebody who kind of.

672
00:34:28,280 --> 00:34:31,560
Speaker 3: Weird that you like and you kind of anticipate musical

673
00:34:31,600 --> 00:34:34,840
Speaker 3: things that I like, and you know, like you're a

674
00:34:34,960 --> 00:34:36,960
Speaker 3: musician I love to play with and you're my husband.

675
00:34:37,000 --> 00:34:40,440
Speaker 3: It's it is kind of bizarre. But I think the

676
00:34:40,520 --> 00:34:42,839
Speaker 3: thing that we cherish the most nowadays is just being

677
00:34:42,840 --> 00:34:44,120
Speaker 3: in the same room, you know, and.

678
00:34:44,120 --> 00:34:45,680
Speaker 1: Like because you both travel so much.

679
00:34:45,760 --> 00:34:49,520
Speaker 3: Yeah, totally, and just like kind of like the you know,

680
00:34:49,600 --> 00:34:52,439
Speaker 3: having like a house and doing our things is special and.

681
00:34:52,360 --> 00:34:53,959
Speaker 1: Cool being like a regular couple.

682
00:34:54,160 --> 00:34:57,080
Speaker 3: Yeah, totally. I think it's the stuff that is probably

683
00:34:57,200 --> 00:34:59,600
Speaker 3: more like normal to a lot of other people. For us,

684
00:34:59,640 --> 00:35:02,320
Speaker 3: it's kind like fun, like really fun.

685
00:35:02,440 --> 00:35:06,080
Speaker 1: Yeah that's sweet. You're in the sweet spot. You're in

686
00:35:06,120 --> 00:35:08,360
Speaker 1: the sweet spot. Yeah, that's great.

687
00:35:08,440 --> 00:35:09,839
Speaker 3: We're in the sweet spot for sure.

688
00:35:10,080 --> 00:35:13,400
Speaker 1: That's awesome. I feel very lucky. So you want to

689
00:35:13,400 --> 00:35:15,080
Speaker 1: try another song from your new.

690
00:35:14,920 --> 00:35:17,560
Speaker 3: Album, Yeah, let's do it. Let's do it.

691
00:35:18,560 --> 00:35:21,759
Speaker 1: This one rocks thank you pretty hard. I'm like, I

692
00:35:21,800 --> 00:35:24,640
Speaker 1: wish I could play drums. I want to play drums

693
00:35:24,680 --> 00:35:24,920
Speaker 1: on it.

694
00:35:25,960 --> 00:35:27,759
Speaker 3: That you can play drums, but you just don't.

695
00:35:28,000 --> 00:35:29,279
Speaker 1: I can't play good enough.

696
00:35:29,400 --> 00:35:31,279
Speaker 3: I think you probably can't.

697
00:35:31,320 --> 00:35:33,400
Speaker 1: I mean, I could play backbeat, but I can't play

698
00:35:33,560 --> 00:35:36,560
Speaker 1: like all those sweet fills, all.

699
00:35:36,400 --> 00:35:38,719
Speaker 3: The sweet juicy Dave King.

700
00:35:39,480 --> 00:35:39,759
Speaker 1: I know.

701
00:35:42,840 --> 00:35:44,239
Speaker 3: I'm so excited to play this one with you.

702
00:35:50,200 --> 00:35:51,439
Speaker 1: Do you want the lyrics? Very good?

703
00:35:51,520 --> 00:35:51,680
Speaker 2: No?

704
00:35:51,680 --> 00:35:54,960
Speaker 1: No, I got okay, I've.

705
00:35:54,880 --> 00:36:00,160
Speaker 3: Rolled around this, sir. Those are the lyrics. I think

706
00:36:00,160 --> 00:36:03,680
Speaker 3: it's kind of amazing that you can write songs and

707
00:36:04,280 --> 00:36:05,239
Speaker 3: have no clue how they go.

708
00:36:06,480 --> 00:36:06,719
Speaker 11: Are you?

709
00:36:06,880 --> 00:36:08,000
Speaker 3: Are you a lyric forgetter?

710
00:36:08,160 --> 00:36:12,520
Speaker 1: I'm a total lyric forget her, really so hard interesting. Yeah,

711
00:36:12,560 --> 00:36:16,200
Speaker 1: I've I forget a lot of lyrics, and then I

712
00:36:16,239 --> 00:36:20,480
Speaker 1: feel lazy that I do. But I mean, I think

713
00:36:20,480 --> 00:36:22,680
Speaker 1: it's fine. I don't forget that many. You know, It's

714
00:36:22,719 --> 00:36:24,960
Speaker 1: not like I feel like people need their money back

715
00:36:24,960 --> 00:36:27,239
Speaker 1: when they come to see there or anything. But I'll

716
00:36:27,840 --> 00:36:29,640
Speaker 1: forget a lyric every once in a while, or but

717
00:36:30,920 --> 00:36:34,200
Speaker 1: I'll either repeat a lyric to cover or I will

718
00:36:35,080 --> 00:36:37,600
Speaker 1: The best is when you actually make up gibberish to cover,

719
00:36:38,600 --> 00:36:41,000
Speaker 1: and I feel like that's actually fun for people.

720
00:36:41,360 --> 00:36:42,400
Speaker 3: Yeah.

721
00:36:42,520 --> 00:36:44,960
Speaker 1: Yeah, I'm talking about like one or two lines, like,

722
00:36:45,120 --> 00:36:45,879
Speaker 1: not a whole song.

723
00:36:46,000 --> 00:36:50,520
Speaker 3: Obviously, I've like made up words definitely, like on the spot,

724
00:36:50,640 --> 00:36:53,240
Speaker 3: like build it like made it rhyme.

725
00:36:53,320 --> 00:36:56,759
Speaker 1: Yeah yeah, or like just thought of a different word

726
00:36:56,840 --> 00:36:59,680
Speaker 1: because it rhymes. It doesn't really make sense.

727
00:37:00,160 --> 00:37:02,279
Speaker 3: I've made it run. It's actually kind of amazing that.

728
00:37:02,920 --> 00:37:04,960
Speaker 3: I mean, if you think about it with like, I

729
00:37:04,960 --> 00:37:08,440
Speaker 3: don't know, do poets like memorize their all their poems

730
00:37:08,480 --> 00:37:09,200
Speaker 3: and readings.

731
00:37:09,920 --> 00:37:13,680
Speaker 1: I guess if you're like a performance poet, I feel

732
00:37:13,719 --> 00:37:15,560
Speaker 1: like they have it in front of them. When you

733
00:37:15,600 --> 00:37:18,319
Speaker 1: get old and like these big rock stars, you know,

734
00:37:18,320 --> 00:37:20,239
Speaker 1: they go out and they have these huge catalogs. They

735
00:37:20,239 --> 00:37:21,200
Speaker 1: all have little.

736
00:37:21,080 --> 00:37:24,960
Speaker 3: Problems totally prompters and like books full the arts.

737
00:37:25,080 --> 00:37:27,400
Speaker 1: Is that because they can't remember because they have so

738
00:37:27,440 --> 00:37:30,560
Speaker 1: many songs, or because you're getting older and you can't remember.

739
00:37:30,440 --> 00:37:32,480
Speaker 3: A little bit of both. I mean sometimes like these

740
00:37:32,520 --> 00:37:35,040
Speaker 3: bands have like records and records.

741
00:37:34,640 --> 00:37:35,600
Speaker 1: It's a lot of songs.

742
00:37:35,760 --> 00:37:36,839
Speaker 3: That's a lot to it's member.

743
00:37:36,920 --> 00:37:38,680
Speaker 1: Yeah, especially if they're changing the set list.

744
00:37:38,840 --> 00:37:42,600
Speaker 3: Yeah, so that's my excuse. I'm just such a season.

745
00:37:43,920 --> 00:37:44,720
Speaker 1: You're so seasoned.

746
00:37:44,760 --> 00:37:45,840
Speaker 3: I'm so seasoned.

747
00:37:46,080 --> 00:37:48,960
Speaker 1: I am. I was in this Brazilian band in college

748
00:37:49,440 --> 00:37:53,399
Speaker 1: where I learned all these like jobeam tunes and Portuguese.

749
00:37:53,719 --> 00:37:56,759
Speaker 1: I learned the drummer's girlfriend was Brazilian and she taught

750
00:37:56,760 --> 00:37:59,319
Speaker 1: them all to me phonetically, and so I had them

751
00:37:59,320 --> 00:38:03,400
Speaker 1: all written downticle and for like a good four gigs.

752
00:38:03,640 --> 00:38:05,839
Speaker 1: We did maybe four gigs by the way, this wasn't

753
00:38:05,880 --> 00:38:08,799
Speaker 1: a long term ban and I did pretty good, you know.

754
00:38:09,200 --> 00:38:11,320
Speaker 1: But then I would throw them into my little solo

755
00:38:11,360 --> 00:38:13,640
Speaker 1: piano restaurant gig sets sometimes and I would do it

756
00:38:13,680 --> 00:38:15,360
Speaker 1: in English, and then I'd take a solo and then

757
00:38:15,360 --> 00:38:19,440
Speaker 1: I'd do it in Portuguese. And over time the words

758
00:38:19,480 --> 00:38:24,520
Speaker 1: started to elude me, and I just I literally started

759
00:38:24,600 --> 00:38:27,880
Speaker 1: just sort of making up gibberish a few times, and

760
00:38:27,920 --> 00:38:30,040
Speaker 1: then after a few times of doing that, I was like, Okay,

761
00:38:30,040 --> 00:38:34,200
Speaker 1: that's just not cool, and so I had to just

762
00:38:34,200 --> 00:38:38,960
Speaker 1: think of the English. Well, how many people in this

763
00:38:39,080 --> 00:38:42,640
Speaker 1: restaurant in Dallas speak Portuguese? First of all, I know

764
00:38:42,680 --> 00:38:44,240
Speaker 1: the words of this Joe Beam song.

765
00:38:45,280 --> 00:38:48,040
Speaker 3: Was part of it. Yeah, yeah, yeah, that's really funny.

766
00:38:48,719 --> 00:38:51,520
Speaker 1: Really, there were definitely some gibberish thrown in there, which

767
00:38:51,560 --> 00:38:55,320
Speaker 1: is not cool. It was funny, Yeah, that is really funny.

768
00:38:56,440 --> 00:38:58,120
Speaker 3: Well, I think I might know the lyrics to the song.

769
00:38:58,200 --> 00:39:45,040
Speaker 1: Now we got some good bantern.

770
00:39:25,960 --> 00:39:31,600
Speaker 8: I've rolled around this surs a few times over, but

771
00:39:31,800 --> 00:39:38,640
Speaker 8: never have I ever seen something so absurd?

772
00:39:38,880 --> 00:39:42,799
Speaker 7: Are you a paradise burd Because.

773
00:39:42,600 --> 00:39:48,920
Speaker 11: While it shines bride in both your eyes, that can't

774
00:39:48,960 --> 00:39:49,840
Speaker 11: be natural?

775
00:39:51,680 --> 00:39:56,880
Speaker 16: Yeah in the golfares up in your head.

776
00:39:58,920 --> 00:40:08,600
Speaker 6: That camp been natural? Oh am, I seeing clearly? Can

777
00:40:08,640 --> 00:40:15,800
Speaker 6: those marigold is hammy fade to back?

778
00:40:15,960 --> 00:40:21,040
Speaker 8: I don't know how to act.

779
00:40:20,360 --> 00:40:22,040
Speaker 3: To stack natural.

780
00:40:32,120 --> 00:40:37,080
Speaker 5: I've been witnessed to forgiveness in the worst of weather,

781
00:40:38,200 --> 00:40:40,680
Speaker 5: but never have I ever seen.

782
00:40:42,040 --> 00:40:46,920
Speaker 7: Someone so free. Oh You're such a mystery to me.

783
00:40:47,880 --> 00:40:53,880
Speaker 5: You even sparkle in the dark or I can't unseen it.

784
00:40:53,880 --> 00:40:57,000
Speaker 4: It is some kind of butterfly birth.

785
00:40:58,680 --> 00:40:59,759
Speaker 7: Are you from miss Earth?

786
00:41:04,680 --> 00:41:10,719
Speaker 11: Because while it shines bright in both your eyes, that

787
00:41:11,000 --> 00:41:12,919
Speaker 11: keeping natural.

788
00:41:15,640 --> 00:41:18,920
Speaker 4: In the gold flares up in your head?

789
00:41:21,280 --> 00:41:31,400
Speaker 6: That keeping natural? Oh am, I seeing clearly? Can those

790
00:41:31,560 --> 00:41:34,720
Speaker 6: marigod is hammy.

791
00:41:37,120 --> 00:41:40,560
Speaker 4: Fades black? I don't know how to add.

792
00:41:42,960 --> 00:41:44,600
Speaker 3: Just sacking natural?

793
00:41:46,960 --> 00:41:47,600
Speaker 14: Do you see me?

794
00:41:48,120 --> 00:41:49,120
Speaker 4: Maybe? I don't know.

795
00:41:49,719 --> 00:41:53,279
Speaker 11: They think I'm crazy, probably so light. I don't know

796
00:41:53,320 --> 00:41:57,879
Speaker 11: what to say or dude, and I.

797
00:41:57,840 --> 00:41:59,160
Speaker 4: Know that we just man.

798
00:42:00,160 --> 00:42:05,480
Speaker 11: But I'm willing willing to bed that I'm falling a

799
00:42:05,640 --> 00:42:14,760
Speaker 11: lonely because while it shines bread in both your eyes.

800
00:42:17,360 --> 00:42:18,840
Speaker 11: That can't be natural.

801
00:42:22,520 --> 00:42:25,840
Speaker 4: In the gold flares up in your head.

802
00:42:28,080 --> 00:42:37,879
Speaker 6: That can't be natural. Oh am, I seeing clearly? Can

803
00:42:37,960 --> 00:42:41,560
Speaker 6: those miracles hammy.

804
00:42:43,920 --> 00:42:47,120
Speaker 4: Fads and black? I don't know how ad.

805
00:42:49,760 --> 00:42:51,400
Speaker 3: Just say natural?

806
00:43:25,080 --> 00:43:25,319
Speaker 4: Yay.

807
00:43:26,040 --> 00:43:26,600
Speaker 3: That was fun.

808
00:43:27,000 --> 00:43:30,960
Speaker 1: That was great. That was fun. It's funny you know

809
00:43:31,080 --> 00:43:33,640
Speaker 1: how you do the bendis on the guitar there, I

810
00:43:33,760 --> 00:43:35,800
Speaker 1: was like, I want to double that so bad, but

811
00:43:35,920 --> 00:43:37,560
Speaker 1: I don't have any bendies on the piano.

812
00:43:37,800 --> 00:43:41,160
Speaker 3: It's really funny to me because I rarely play with

813
00:43:41,280 --> 00:43:45,719
Speaker 3: piano and I'm so conscious of like my stringiness right

814
00:43:45,760 --> 00:43:48,160
Speaker 3: now where I'm like, well, it's like not a bad thing,

815
00:43:48,200 --> 00:43:51,480
Speaker 3: but I feel like it's I remember, like there's so

816
00:43:51,800 --> 00:43:56,399
Speaker 3: much intonation, like fluctuation, so much like kind of gray

817
00:43:56,480 --> 00:44:00,880
Speaker 3: area on my end that I remember playing with piano

818
00:44:01,000 --> 00:44:03,240
Speaker 3: that like, oh right, we're kind of living in slightly

819
00:44:03,280 --> 00:44:06,759
Speaker 3: different worlds in terms of having the ability to to know.

820
00:44:08,360 --> 00:44:09,840
Speaker 1: I kind of ghosted it in a way that I

821
00:44:10,000 --> 00:44:10,680
Speaker 1: thought it was bad.

822
00:44:10,719 --> 00:44:12,239
Speaker 3: I heard, I heard what you did, and I thought

823
00:44:12,280 --> 00:44:13,879
Speaker 3: it was really really cool. Actually, it made me want

824
00:44:13,920 --> 00:44:15,040
Speaker 3: to be more exacting.

825
00:44:14,719 --> 00:44:18,120
Speaker 1: With my no, no, no, you bendy It up. It's

826
00:44:18,160 --> 00:44:18,759
Speaker 1: the best part.

827
00:44:18,840 --> 00:44:19,319
Speaker 3: Bend it up.

828
00:44:19,360 --> 00:44:22,759
Speaker 1: Baby love the Bendy's. I just did this with my

829
00:44:23,200 --> 00:44:26,120
Speaker 1: my half sister, Anushka Shenkar and she plays the guitar.

830
00:44:26,520 --> 00:44:30,200
Speaker 1: Oh yeah, we had a big talk about Bendy's Bendy's. Yeah,

831
00:44:30,280 --> 00:44:32,360
Speaker 1: she's got a lot of Bendy's right. That was also

832
00:44:32,800 --> 00:44:34,680
Speaker 1: like kind of tricky, but it kind of works.

833
00:44:34,800 --> 00:44:35,000
Speaker 11: Yeah.

834
00:44:35,160 --> 00:44:36,360
Speaker 3: Yeah, yeah, so cool.

835
00:44:36,600 --> 00:44:39,080
Speaker 1: Yeah, it was fun. I love Bendy's. That's why I

836
00:44:39,200 --> 00:44:41,880
Speaker 1: love playing guitar, because I bend I do the Bendy's

837
00:44:41,920 --> 00:44:42,359
Speaker 1: on the guitar.

838
00:44:42,520 --> 00:44:45,759
Speaker 3: Yeah, totally, totally. I'm trying to think if I've seen

839
00:44:45,800 --> 00:44:46,840
Speaker 3: you play guitar before.

840
00:44:48,000 --> 00:44:51,000
Speaker 1: Maybe I don't know, with you Sasha and Cat, Yeah.

841
00:44:50,920 --> 00:44:53,600
Speaker 3: Maybe like there was maybe a gig that I went

842
00:44:53,680 --> 00:44:57,160
Speaker 3: to with Jesse at one of those gigs that was

843
00:44:57,280 --> 00:44:59,160
Speaker 3: made really really great, super cool.

844
00:44:59,680 --> 00:44:59,839
Speaker 8: Yeah.

845
00:44:59,880 --> 00:45:02,080
Speaker 1: I I mean, I'm like, I'm like, I want to

846
00:45:02,120 --> 00:45:05,120
Speaker 1: be you on the guitar pretty much. I'm definitely not

847
00:45:05,440 --> 00:45:08,439
Speaker 1: good like you are, but I have that I feel

848
00:45:08,440 --> 00:45:11,120
Speaker 1: like I want to play guitar like you. Basically, You're

849
00:45:11,160 --> 00:45:14,040
Speaker 1: the kind of guitar player that I try I strive

850
00:45:14,160 --> 00:45:17,120
Speaker 1: to be with all the Bendy's and the cool Chord.

851
00:45:17,760 --> 00:45:18,719
Speaker 1: I can't play bar chords.

852
00:45:18,760 --> 00:45:20,879
Speaker 3: That makes me feel so I basically makes me feel

853
00:45:21,360 --> 00:45:22,399
Speaker 3: it makes me feel really cool.

854
00:45:22,480 --> 00:45:25,920
Speaker 1: Laura, I'm I'm like trying to be good, but I

855
00:45:25,960 --> 00:45:27,440
Speaker 1: still haven't learned how to play a barchord.

856
00:45:28,160 --> 00:45:29,640
Speaker 3: I don't think you need them. You don't need them.

857
00:45:30,239 --> 00:45:32,239
Speaker 1: I basically just don't play songs where I need them.

858
00:45:32,400 --> 00:45:34,720
Speaker 3: Yeah, yeah, yeah. I feel like it's actually really interesting,

859
00:45:34,920 --> 00:45:38,480
Speaker 3: especially to talk to Julian about like learning guitar and

860
00:45:38,960 --> 00:45:42,400
Speaker 3: the different ways in but the fact, like the idea

861
00:45:42,440 --> 00:45:45,279
Speaker 3: that you need certain things that you don't need other things,

862
00:45:45,400 --> 00:45:47,680
Speaker 3: Like there's kind of a little bit of like a

863
00:45:47,760 --> 00:45:51,400
Speaker 3: hierarchy I think sometimes with the guitar, with all instruments,

864
00:45:51,440 --> 00:45:53,879
Speaker 3: like you're supposed to learn certain things and get certain

865
00:45:53,920 --> 00:45:57,040
Speaker 3: things under your hands. But I feel like Julian, who

866
00:45:57,200 --> 00:46:01,520
Speaker 3: is you know, very good at the guitar in a

867
00:46:01,800 --> 00:46:04,920
Speaker 3: very like soulful way and a very technical way all

868
00:46:04,920 --> 00:46:08,000
Speaker 3: at the same time, will be the first to say that,

869
00:46:08,719 --> 00:46:11,719
Speaker 3: like there isn't a hierarchy, And it always feels so

870
00:46:11,760 --> 00:46:13,960
Speaker 3: refreshing to me to hear that sometimes because it's like

871
00:46:14,560 --> 00:46:17,120
Speaker 3: you just actually, I feel like everyone has a story

872
00:46:17,160 --> 00:46:20,160
Speaker 3: and how they play, and it's kind of important that

873
00:46:20,320 --> 00:46:21,880
Speaker 3: you kind of go with the things that you actually

874
00:46:21,920 --> 00:46:23,920
Speaker 3: feel inspired to do and leave the rest away.

875
00:46:24,080 --> 00:46:26,680
Speaker 1: I agree completely. I think that's a nice thing for

876
00:46:26,719 --> 00:46:29,800
Speaker 1: a young person to hear. Yeah, I feel like people

877
00:46:29,840 --> 00:46:31,960
Speaker 1: get so hung up on the stuff that they're supposed

878
00:46:32,000 --> 00:46:33,160
Speaker 1: to know that they don't.

879
00:46:33,000 --> 00:46:35,040
Speaker 3: And you just, yeah, you don't actually use it. And

880
00:46:35,520 --> 00:46:37,480
Speaker 3: it's like, I think that's a lot of music school too,

881
00:46:38,000 --> 00:46:39,840
Speaker 3: Like a lot of stuff kind of starts to bubble

882
00:46:39,920 --> 00:46:42,160
Speaker 3: up of like you're supposed to know so much.

883
00:46:42,120 --> 00:46:44,560
Speaker 1: And it's like, really, oh, you're just supposed to be

884
00:46:44,680 --> 00:46:45,880
Speaker 1: excited about what you do know.

885
00:46:46,160 --> 00:46:49,360
Speaker 3: Yeah, exactly, exactly. And I think that's actually even a

886
00:46:49,480 --> 00:46:52,799
Speaker 3: more direct line to like, I mean, a doctor goes

887
00:46:52,840 --> 00:46:56,240
Speaker 3: to school to be a doctor. Obviously different, that's very different,

888
00:46:56,680 --> 00:46:59,440
Speaker 3: but they a lot of well, I don't know, you know,

889
00:46:59,520 --> 00:47:01,440
Speaker 3: what's the its of a doctor. They have to know

890
00:47:01,560 --> 00:47:04,280
Speaker 3: everything and they probably do only use like a certain

891
00:47:04,560 --> 00:47:06,680
Speaker 3: parts of it, given what kind of practice they have.

892
00:47:06,800 --> 00:47:09,680
Speaker 3: But I think for a musician it's like what do

893
00:47:09,760 --> 00:47:13,200
Speaker 3: you actually are you going to graduate college? Are you

894
00:47:13,320 --> 00:47:16,279
Speaker 3: going to become a musician? Yeah, And I feel like

895
00:47:16,719 --> 00:47:19,839
Speaker 3: to become a musician and to actually connect with people.

896
00:47:20,520 --> 00:47:23,320
Speaker 3: It's like such a different pursuit than to just know stuff.

897
00:47:23,680 --> 00:47:27,000
Speaker 1: Definitely, to connect with the stuff, to connect with the stuff.

898
00:47:27,280 --> 00:47:28,560
Speaker 3: Yeah, and then with yourself.

899
00:47:28,719 --> 00:47:31,080
Speaker 1: If you connect with yourself with what you're doing, then the.

900
00:47:31,120 --> 00:47:33,040
Speaker 3: People will connect exactly, exactly.

901
00:47:33,200 --> 00:47:33,359
Speaker 8: Yeah.

902
00:47:33,520 --> 00:47:35,200
Speaker 3: I feel like that's a weird thing with college and

903
00:47:35,600 --> 00:47:37,960
Speaker 3: even just music education on any level.

904
00:47:38,200 --> 00:47:42,440
Speaker 1: Any education, ye where it's the goal with the endgame.

905
00:47:42,719 --> 00:47:43,480
Speaker 3: It's the endgame.

906
00:47:43,680 --> 00:47:45,440
Speaker 1: I know. I think that's why I dropped out of

907
00:47:45,520 --> 00:47:48,000
Speaker 1: music schools because I didn't I didn't need a degree

908
00:47:48,080 --> 00:47:49,200
Speaker 1: because I didn't really want to.

909
00:47:49,200 --> 00:47:51,440
Speaker 3: Be a teacher, right, and that's what you would need

910
00:47:51,520 --> 00:47:53,080
Speaker 3: a degree for as a musician. Yeah.

911
00:47:53,160 --> 00:47:54,680
Speaker 1: Plus I filed my classical jury.

912
00:47:54,800 --> 00:47:59,000
Speaker 3: But there's that, there's details details.

913
00:47:59,200 --> 00:47:59,439
Speaker 8: Yeah.

914
00:48:02,480 --> 00:48:03,680
Speaker 1: Do you do a lot of covers?

915
00:48:06,280 --> 00:48:08,400
Speaker 3: Not really actually, Yeah, like here and.

916
00:48:08,440 --> 00:48:08,840
Speaker 8: There, I do.

917
00:48:09,000 --> 00:48:11,440
Speaker 3: I used to do a B York cover and I

918
00:48:11,560 --> 00:48:15,279
Speaker 3: did Looten to Williams cover for a Long Time Cool

919
00:48:15,719 --> 00:48:19,319
Speaker 3: which tune brutes of my labor? Do you know that song?

920
00:48:19,480 --> 00:48:19,640
Speaker 9: Yeah?

921
00:48:19,840 --> 00:48:21,759
Speaker 3: That would be really pretty to play together too.

922
00:48:21,960 --> 00:48:24,600
Speaker 1: You probably get that guitar all good? I know, first

923
00:48:24,640 --> 00:48:27,360
Speaker 1: of my labor, very well really totally that.

924
00:48:27,480 --> 00:48:29,520
Speaker 3: Maybe that's like more like falling off a lot?

925
00:48:29,600 --> 00:48:32,839
Speaker 1: Will you put print the lyrics to that? Sarah Fruits

926
00:48:32,880 --> 00:48:36,000
Speaker 1: of My Labor. I think I usually cover male singers

927
00:48:36,280 --> 00:48:38,960
Speaker 1: because it's easier to make it my own.

928
00:48:39,480 --> 00:48:40,520
Speaker 3: Oh yeah, that's interesting.

929
00:48:40,600 --> 00:48:43,840
Speaker 1: I mean Lucinda's got such a crazy different voice.

930
00:48:43,920 --> 00:48:45,480
Speaker 3: Yeah yeah, it's like you can't even try.

931
00:48:45,840 --> 00:48:46,040
Speaker 11: Yeah.

932
00:48:46,280 --> 00:48:49,800
Speaker 1: Yeah, But I think that's why I usually do that

933
00:48:50,200 --> 00:48:55,160
Speaker 1: is interesting songwriters, because I'm trying to make it my own.

934
00:48:55,320 --> 00:48:57,640
Speaker 3: You know, no, I hear you, I really hear you.

935
00:48:57,800 --> 00:49:02,520
Speaker 3: I was thinking about that recently with like people musicians

936
00:49:02,560 --> 00:49:05,279
Speaker 3: that I look up to, and I was finding that

937
00:49:05,360 --> 00:49:07,160
Speaker 3: a lot of them were men, and I was finding

938
00:49:07,200 --> 00:49:10,440
Speaker 3: that to be really interesting, Like how uh, well, it

939
00:49:10,520 --> 00:49:13,080
Speaker 3: makes a lot of sense because just like the numbers.

940
00:49:13,080 --> 00:49:14,239
Speaker 1: The numbers makes sense.

941
00:49:14,400 --> 00:49:18,640
Speaker 3: The numbers make sense. And of course, actually so like

942
00:49:18,920 --> 00:49:21,040
Speaker 3: somebody who's asking me, like, what are the you know,

943
00:49:21,120 --> 00:49:23,759
Speaker 3: the bands or something, and I was thinking about, I

944
00:49:23,800 --> 00:49:26,040
Speaker 3: feel like I'm going through a phase right now. I'm

945
00:49:26,080 --> 00:49:29,480
Speaker 3: really I've always played electric guitar and maybe kind of

946
00:49:29,560 --> 00:49:32,040
Speaker 3: like a with a more rock and roll sensibility, but

947
00:49:32,120 --> 00:49:36,040
Speaker 3: then to actually kind of start to listen to that

948
00:49:36,200 --> 00:49:39,360
Speaker 3: music more, Yeah, started to become a little different, and

949
00:49:39,440 --> 00:49:42,800
Speaker 3: I was realizing that Eddie Vedder kept popping up for

950
00:49:42,880 --> 00:49:45,640
Speaker 3: me nice where I was starting to be like, oh man,

951
00:49:45,760 --> 00:49:48,520
Speaker 3: Pearl Jam, Like I actually really look up to Pearl

952
00:49:48,600 --> 00:49:51,200
Speaker 3: Jam in a lot of ways, but it felt like

953
00:49:51,320 --> 00:49:54,200
Speaker 3: left fields a little bit of Like I loved how

954
00:49:54,280 --> 00:49:58,359
Speaker 3: much power Pearl Jam has and and also the kind

955
00:49:58,400 --> 00:50:03,560
Speaker 3: of intensity of just singing that one can deliver. It

956
00:50:03,640 --> 00:50:06,760
Speaker 3: felt like something I'd never really kind of considered before

957
00:50:07,280 --> 00:50:10,239
Speaker 3: and being kind of like a just like a powerful

958
00:50:10,840 --> 00:50:14,680
Speaker 3: it's just like so much power behind it. And then

959
00:50:14,840 --> 00:50:16,480
Speaker 3: on the other end of the spectrum, I feel like

960
00:50:16,640 --> 00:50:19,880
Speaker 3: my idols are like Aretha Franklin, Like that's like the

961
00:50:20,160 --> 00:50:23,160
Speaker 3: best singer I could ever think of in my own preference.

962
00:50:23,400 --> 00:50:27,440
Speaker 1: Yeah, and one of my favorite piano players too, Yes,

963
00:50:27,600 --> 00:50:29,719
Speaker 1: Like I didn't even realize that that was her on

964
00:50:29,920 --> 00:50:33,640
Speaker 1: most of those and that was such a huge influence

965
00:50:33,680 --> 00:50:35,840
Speaker 1: on my piano player. Yeah, yeah, I could imagine.

966
00:50:36,160 --> 00:50:40,240
Speaker 3: Yeah, yeah, yeah, no, she's really really, really heavy.

967
00:50:40,640 --> 00:50:43,440
Speaker 1: I have noticed lately, you know now, with playlists and

968
00:50:43,520 --> 00:50:46,719
Speaker 1: stuff and you know, putting music on, and I feel

969
00:50:46,760 --> 00:50:50,920
Speaker 1: like when I was young, I listened to almost all

970
00:50:51,080 --> 00:50:55,080
Speaker 1: female singers, and now when I put music on, it's

971
00:50:55,800 --> 00:50:57,920
Speaker 1: more male. And I have no idea why.

972
00:50:58,160 --> 00:51:02,640
Speaker 3: It's interesting. I have no idea why. Yeah, yeah, it's weird.

973
00:51:02,719 --> 00:51:05,560
Speaker 1: It's not like conscious. I just happened to notice it

974
00:51:05,640 --> 00:51:08,480
Speaker 1: one day. Yeah, yeah, it was so funny, right, Like,

975
00:51:08,600 --> 00:51:11,160
Speaker 1: what is that is the algorithm? Do you feel like

976
00:51:11,200 --> 00:51:13,759
Speaker 1: the algorithm is giving you more male singers? No, I

977
00:51:13,840 --> 00:51:18,239
Speaker 1: don't think that's what it is, right, But that's not Also,

978
00:51:18,360 --> 00:51:21,600
Speaker 1: that's not necessarily true. I'm recently, I've been listening to

979
00:51:21,680 --> 00:51:25,959
Speaker 1: a lot of more women who are more modern, even

980
00:51:26,600 --> 00:51:29,000
Speaker 1: like I was listening to this Cleo Soul record over

981
00:51:29,040 --> 00:51:33,040
Speaker 1: and over again all winter, and it's not even the algorithm,

982
00:51:33,080 --> 00:51:35,240
Speaker 1: it's just the last it was like you go through phases.

983
00:51:35,320 --> 00:51:36,880
Speaker 1: I guess. Yeah, I don't know.

984
00:51:36,960 --> 00:51:40,560
Speaker 3: What do you listen to? Like any like mega pop music?

985
00:51:40,800 --> 00:51:43,920
Speaker 3: Like just just like super super Top forty.

986
00:51:44,800 --> 00:51:47,800
Speaker 1: I started to a couple of years ago because I

987
00:51:47,880 --> 00:51:50,400
Speaker 1: was driving around with my kids a lot during the pandemic,

988
00:51:50,480 --> 00:51:53,600
Speaker 1: so we would listen to the radio, like the super

989
00:51:53,800 --> 00:51:57,320
Speaker 1: pop radio, which I had not done since I was

990
00:51:57,920 --> 00:51:59,000
Speaker 1: probably twelve years old.

991
00:51:59,120 --> 00:52:00,239
Speaker 3: Yeah, yeah, and I.

992
00:52:00,280 --> 00:52:03,960
Speaker 1: Got so into it that I feel like I've been

993
00:52:04,000 --> 00:52:06,800
Speaker 1: writing songs lately that are inspired by like Dua Lipa

994
00:52:07,040 --> 00:52:07,560
Speaker 1: right right.

995
00:52:07,520 --> 00:52:11,520
Speaker 3: Right totally and Ed Sheeran. Yeah, yeah, totally.

996
00:52:11,640 --> 00:52:15,160
Speaker 1: That's Justin Bieber. Yeah, I got I think also because

997
00:52:15,160 --> 00:52:17,200
Speaker 1: when kids were into it. Also, I think pop music

998
00:52:17,320 --> 00:52:19,680
Speaker 1: is just so good sometimes you just can't deny it.

999
00:52:19,880 --> 00:52:21,640
Speaker 3: Yeah, it's like it's popular for a reason.

1000
00:52:21,680 --> 00:52:22,360
Speaker 1: It's popular.

1001
00:52:23,000 --> 00:52:23,520
Speaker 3: It feels good.

1002
00:52:23,640 --> 00:52:27,920
Speaker 1: Some of these people are insanely amazing, and I'm like, God,

1003
00:52:28,000 --> 00:52:30,760
Speaker 1: I didn't even realize it. I've just been like popping

1004
00:52:30,800 --> 00:52:34,280
Speaker 1: along not listen to the pop music stages until now, Like, what's.

1005
00:52:34,160 --> 00:52:37,759
Speaker 3: Wrong with me? You know that's really interesting? Yeah?

1006
00:52:37,800 --> 00:52:38,000
Speaker 1: Do you?

1007
00:52:38,360 --> 00:52:41,480
Speaker 3: I do totally always though, I think I've kind of

1008
00:52:41,560 --> 00:52:46,600
Speaker 3: always dug it, which I think I don't know, I

1009
00:52:46,719 --> 00:52:49,880
Speaker 3: don't I think I don't really see any lines between

1010
00:52:49,920 --> 00:52:52,680
Speaker 3: any of it. I just like I find myself listening

1011
00:52:52,760 --> 00:52:55,200
Speaker 3: to like Justin Bieber, back to back with Bob Dylan,

1012
00:52:55,360 --> 00:52:57,040
Speaker 3: back to back with b York, back to back, like

1013
00:52:57,120 --> 00:52:59,360
Speaker 3: it's just like all kind of music to me, But

1014
00:52:59,440 --> 00:53:02,040
Speaker 3: there is like a certain type of muscle to the

1015
00:53:02,480 --> 00:53:03,759
Speaker 3: kind of top forty zone that.

1016
00:53:03,920 --> 00:53:06,480
Speaker 1: Is just kind of it's just like, what is that

1017
00:53:07,160 --> 00:53:08,600
Speaker 1: very different very different.

1018
00:53:08,719 --> 00:53:11,760
Speaker 3: The thing that I think I don't prefer sometimes about

1019
00:53:11,920 --> 00:53:18,120
Speaker 3: maybe more that that lane is the element of risk,

1020
00:53:18,560 --> 00:53:20,480
Speaker 3: feels like it's not quite there where I feel like

1021
00:53:20,560 --> 00:53:24,600
Speaker 3: I've what I maybe feel really dedicated to is kind

1022
00:53:24,640 --> 00:53:26,600
Speaker 3: of creating music that has like it could fall apart

1023
00:53:26,640 --> 00:53:30,359
Speaker 3: at any moment. I'm with you on that. Yeah, totally favorite. Yeah,

1024
00:53:30,400 --> 00:53:32,239
Speaker 3: And I like listening to music like that. And then

1025
00:53:32,320 --> 00:53:34,080
Speaker 3: sometimes I think it's really fun to listen to music

1026
00:53:34,120 --> 00:53:37,000
Speaker 3: it's like, Nope, it's not gonna fall apart. It's built

1027
00:53:37,280 --> 00:53:40,799
Speaker 3: very with a good foundation. It's very always stand up, yeah,

1028
00:53:40,880 --> 00:53:43,719
Speaker 3: and it's gonna it's build that way. But I think

1029
00:53:43,880 --> 00:53:47,440
Speaker 3: listening to you know, like early Rolling Stones or like

1030
00:53:47,600 --> 00:53:50,239
Speaker 3: Bob Dylan or Aretha or all these recordings that feel

1031
00:53:50,280 --> 00:53:53,240
Speaker 3: like it is actually people pushing air in a room together,

1032
00:53:53,320 --> 00:53:54,600
Speaker 3: it's not like, yeah.

1033
00:53:54,480 --> 00:53:57,200
Speaker 1: It feels very live. Yeah, yeah, you can feel the room.

1034
00:53:57,400 --> 00:53:59,880
Speaker 3: Yeah, I'm excited about that, the most excited.

1035
00:54:00,040 --> 00:54:04,160
Speaker 1: There's mistakes sometimes, yeah, and it's kind of fine yeah yeah, yeah, yeah, No,

1036
00:54:04,239 --> 00:54:06,560
Speaker 1: it's like preferred, I think, Yeah, that's what I love

1037
00:54:06,600 --> 00:54:09,920
Speaker 1: about music is the aliveness of it. So I mean,

1038
00:54:10,000 --> 00:54:13,040
Speaker 1: even if there's a pop song that has a killer

1039
00:54:13,160 --> 00:54:15,960
Speaker 1: vocal and you can feel the emotion from it. I'm

1040
00:54:16,040 --> 00:54:16,480
Speaker 1: fine with it.

1041
00:54:16,560 --> 00:54:16,759
Speaker 11: Yeah.

1042
00:54:16,800 --> 00:54:20,000
Speaker 1: Yeah, it's when it doesn't feel alive at all, right, right,

1043
00:54:20,080 --> 00:54:22,000
Speaker 1: and that can be any music, let's be honest.

1044
00:54:22,200 --> 00:54:23,160
Speaker 3: Yeah, there's a tailor tip.

1045
00:54:23,239 --> 00:54:24,640
Speaker 1: It's not only pop music.

1046
00:54:24,800 --> 00:54:27,040
Speaker 3: There's actually a Taylor sip Swift song that's.

1047
00:54:28,760 --> 00:54:29,759
Speaker 4: No no no, no no no.

1048
00:54:30,120 --> 00:54:33,040
Speaker 3: I can't remember. I think it's out of style maybe,

1049
00:54:34,000 --> 00:54:37,000
Speaker 3: but there's a there's a note. I'll probably get whatever

1050
00:54:37,280 --> 00:54:38,840
Speaker 3: slammed for this, but there is a note that she

1051
00:54:38,880 --> 00:54:41,120
Speaker 3: sings a little bit out of tune, and I every time,

1052
00:54:41,160 --> 00:54:42,560
Speaker 3: I'm like, I can't wait.

1053
00:54:42,480 --> 00:54:44,919
Speaker 1: That's your favorite part. I mean that's human.

1054
00:54:45,120 --> 00:54:45,560
Speaker 4: Yeah yeah.

1055
00:54:45,600 --> 00:54:48,640
Speaker 3: And also it's also feels like revelatory to have that

1056
00:54:49,000 --> 00:54:51,120
Speaker 3: moment beyond a record like that, and I'm like, wow,

1057
00:54:51,200 --> 00:54:52,760
Speaker 3: it's so cool that they kind of left.

1058
00:54:52,600 --> 00:54:55,360
Speaker 1: That they left it. Yeah, they're not trying to perfect.

1059
00:54:55,000 --> 00:54:58,080
Speaker 3: And it's not like a crazy mistake. It's like, I

1060
00:54:58,160 --> 00:55:00,239
Speaker 3: think it's actually probably it's probably intentional on her her part,

1061
00:55:00,280 --> 00:55:02,319
Speaker 3: where she was probably like that's rat and it sounds great,

1062
00:55:02,360 --> 00:55:04,920
Speaker 3: so let's do it. But I I think I look

1063
00:55:05,000 --> 00:55:07,560
Speaker 3: forward to I think Joe Henry said that actually I

1064
00:55:07,719 --> 00:55:10,920
Speaker 3: was hanging with him recently and he said that, like

1065
00:55:11,120 --> 00:55:14,120
Speaker 3: people like the tightrope walk. Yeah, they want to see

1066
00:55:14,160 --> 00:55:17,080
Speaker 3: somebody like do like walk across the tight rope. It's

1067
00:55:17,120 --> 00:55:19,839
Speaker 3: really entertaining it. And when it's not that, you're kind

1068
00:55:19,880 --> 00:55:22,000
Speaker 3: of like, I don't I know what's gonna happen in

1069
00:55:22,040 --> 00:55:25,640
Speaker 3: the end. It's true, you're gonna slam dunk it like yeah, yeah,

1070
00:55:26,400 --> 00:55:26,920
Speaker 3: And that's.

1071
00:55:26,800 --> 00:55:29,759
Speaker 1: What's so special about live music and why. Yeah, I

1072
00:55:29,840 --> 00:55:33,520
Speaker 1: think it's important that will never hopefully go away. I

1073
00:55:33,840 --> 00:55:37,320
Speaker 1: think AI can I can mess.

1074
00:55:37,160 --> 00:55:40,160
Speaker 3: With that live, not the live part, I don't think,

1075
00:55:40,360 --> 00:55:41,000
Speaker 3: But who knows.

1076
00:55:41,360 --> 00:55:43,680
Speaker 1: They can do like auto tune live now, which right

1077
00:55:43,840 --> 00:55:46,200
Speaker 1: crazy they've been able to do that a long time.

1078
00:55:46,480 --> 00:55:49,640
Speaker 3: Yeah, I don't know, But I think the tightrope thing

1079
00:55:49,719 --> 00:55:51,799
Speaker 3: is important. I think that's the cool The coolest bit

1080
00:55:51,880 --> 00:55:55,719
Speaker 3: about music is the fact that things can change before

1081
00:55:55,800 --> 00:55:56,439
Speaker 3: your very eyes.

1082
00:55:56,560 --> 00:55:57,560
Speaker 1: That's my favorite part.

1083
00:55:57,880 --> 00:55:58,600
Speaker 3: Yeah, for sure.

1084
00:55:59,640 --> 00:56:02,680
Speaker 1: When you tour, do you usually do trio? Do you

1085
00:56:02,719 --> 00:56:03,399
Speaker 1: have a bigger band?

1086
00:56:03,480 --> 00:56:03,600
Speaker 11: Ever?

1087
00:56:03,800 --> 00:56:06,640
Speaker 1: Trio has always been the way and it's always the best, right.

1088
00:56:07,280 --> 00:56:08,120
Speaker 3: I really like trio.

1089
00:56:08,480 --> 00:56:11,080
Speaker 1: I feel like with the way you play guitar, it's

1090
00:56:11,320 --> 00:56:12,880
Speaker 1: all I want to see is you trio?

1091
00:56:13,280 --> 00:56:15,560
Speaker 3: It would be so thank you so much. I think

1092
00:56:15,600 --> 00:56:17,800
Speaker 3: it's it's really fun because you do have to, like

1093
00:56:17,920 --> 00:56:20,399
Speaker 3: everybody has to bring it in order to make trio work,

1094
00:56:20,960 --> 00:56:23,560
Speaker 3: and if you don't, it gets really lopsided or like

1095
00:56:24,000 --> 00:56:26,320
Speaker 3: the table doesn't stand up, you know.

1096
00:56:27,120 --> 00:56:30,000
Speaker 1: But also if you add another element, there's something about

1097
00:56:30,000 --> 00:56:32,400
Speaker 1: the typrope that I feel like goes away.

1098
00:56:32,400 --> 00:56:36,719
Speaker 3: Right it because it's a little less more Yeah, yeah, totally, yeah, yeah,

1099
00:56:36,760 --> 00:56:38,839
Speaker 3: people start to have parts kind of a little bit more.

1100
00:56:39,360 --> 00:56:42,600
Speaker 3: But in the trio it's like you really I don't

1101
00:56:42,600 --> 00:56:45,880
Speaker 3: know things, if any it's a really sensitive setup. I

1102
00:56:45,960 --> 00:56:48,799
Speaker 3: feel like where if you send somebody's going somewhere with something,

1103
00:56:49,280 --> 00:56:51,040
Speaker 3: you kind of pull back or you lean in in

1104
00:56:51,120 --> 00:56:53,680
Speaker 3: a certain way because if really, if you don't get

1105
00:56:53,719 --> 00:56:56,880
Speaker 3: it right, it really can not feel right. Yeah, when

1106
00:56:56,880 --> 00:56:59,799
Speaker 3: it's right, it's really really rad. It's really really cool.

1107
00:57:00,120 --> 00:57:00,880
Speaker 3: What's your setup?

1108
00:57:01,080 --> 00:57:01,279
Speaker 8: Are you?

1109
00:57:01,800 --> 00:57:02,960
Speaker 1: Is it right now?

1110
00:57:04,000 --> 00:57:04,200
Speaker 12: Yeah?

1111
00:57:04,280 --> 00:57:04,640
Speaker 14: Right now?

1112
00:57:04,719 --> 00:57:07,400
Speaker 1: I have quartet because I have this guitar player Dan

1113
00:57:07,440 --> 00:57:10,040
Speaker 1: i Need, who who plays a lot of pedal steel.

1114
00:57:10,200 --> 00:57:10,640
Speaker 3: Oh cool.

1115
00:57:10,760 --> 00:57:13,239
Speaker 1: So because I actually didn't want to, I've been doing

1116
00:57:13,280 --> 00:57:15,359
Speaker 1: the trio too in the last few years and I've

1117
00:57:16,440 --> 00:57:18,760
Speaker 1: I've I feel like I've enjoyed it more than anything

1118
00:57:18,880 --> 00:57:21,440
Speaker 1: ever because it's all of a sudden, the most open

1119
00:57:21,480 --> 00:57:24,320
Speaker 1: thing I've ever done. Yeah, and I play way more

1120
00:57:24,360 --> 00:57:26,800
Speaker 1: piano than I used to. It's cool and just even

1121
00:57:26,840 --> 00:57:29,680
Speaker 1: playing guitar songs on piano or switching to it's just

1122
00:57:29,840 --> 00:57:31,760
Speaker 1: it's that thing you were just saying, and I love it.

1123
00:57:32,400 --> 00:57:34,560
Speaker 1: But I feel like, because Dan plays a lot, he's

1124
00:57:34,560 --> 00:57:37,120
Speaker 1: also a very sensitive guitar player, so he doesn't try

1125
00:57:37,200 --> 00:57:40,040
Speaker 1: to you know, he tries to fit in where he can.

1126
00:57:40,240 --> 00:57:42,080
Speaker 1: It's actually kind of it was kind of hard at

1127
00:57:42,080 --> 00:57:43,200
Speaker 1: first for him to fit in because I.

1128
00:57:43,240 --> 00:57:45,720
Speaker 3: Was playing so much, so I had an interesting thing.

1129
00:57:45,840 --> 00:57:47,400
Speaker 1: Yeah, I did have to dial it back a little,

1130
00:57:47,480 --> 00:57:49,840
Speaker 1: but I still feel like it retains the dynamic of

1131
00:57:49,920 --> 00:57:53,040
Speaker 1: the trio because because he does a lot of pedal steel,

1132
00:57:53,120 --> 00:57:55,080
Speaker 1: so he's not like trying to find a guitar part

1133
00:57:55,400 --> 00:57:58,160
Speaker 1: necessarily on every tune. He can just kind of float

1134
00:57:58,200 --> 00:58:02,520
Speaker 1: in on that pedal steel. It's really beautiful. That's rat Yeah,

1135
00:58:02,520 --> 00:58:06,240
Speaker 1: and it helps elevate it. But I love I love

1136
00:58:06,320 --> 00:58:07,200
Speaker 1: making them all sing.

1137
00:58:07,520 --> 00:58:07,760
Speaker 11: Yeah.

1138
00:58:09,040 --> 00:58:10,960
Speaker 1: I love harmony so much, and that kind of fills

1139
00:58:11,000 --> 00:58:11,840
Speaker 1: it out enough for me.

1140
00:58:12,080 --> 00:58:15,280
Speaker 3: Yeah, totally. Yeah, I gotta see I can't wait to

1141
00:58:15,320 --> 00:58:19,360
Speaker 3: see like you live soon. Yeah, well doing, I'm seeing

1142
00:58:19,400 --> 00:58:22,720
Speaker 3: it right now here. So you want to do this

1143
00:58:22,840 --> 00:58:25,760
Speaker 3: Lucinda Williams song, Let's do it. Yeah, I'm so excited. Yeah,

1144
00:58:25,840 --> 00:58:27,439
Speaker 3: Fruits of My Labor. I love this song.

1145
00:58:27,840 --> 00:58:29,320
Speaker 1: I love this album so much.

1146
00:58:29,600 --> 00:58:34,480
Speaker 3: Yeah, incredible record. World without Tears, World without Tears.

1147
00:58:34,680 --> 00:58:36,600
Speaker 1: Yes, yes, World without Tears.

1148
00:58:36,680 --> 00:58:38,400
Speaker 3: It's very very good. She's a genius.

1149
00:58:38,760 --> 00:58:40,440
Speaker 1: She certainly is, Yes, she is.

1150
00:58:42,760 --> 00:58:46,000
Speaker 3: I've never sung this. I'm so excited. That's rad.

1151
00:58:47,440 --> 00:58:49,240
Speaker 1: I'm like, this is actually kind of hard to say.

1152
00:58:49,680 --> 00:59:15,400
Speaker 8: Oh crap, babies, see hown living velvet curtains on the

1153
00:59:15,480 --> 00:59:23,400
Speaker 8: windows too, keep the riding on forgiving life from shining too.

1154
00:59:26,080 --> 00:59:26,400
Speaker 14: Baby.

1155
00:59:26,520 --> 00:59:31,520
Speaker 7: I remember all the things we did when we slept together.

1156
00:59:31,280 --> 00:59:40,000
Speaker 8: In the blue behind your eyelids, Baby, sweet babies.

1157
00:59:40,760 --> 00:59:47,320
Speaker 17: Trace yourself through the glue until I found these purple flowers.

1158
00:59:48,480 --> 00:59:54,960
Speaker 15: I was smelled. I was soon smelling you for hours.

1159
00:59:56,760 --> 01:00:01,480
Speaker 17: Lavender lordess blossoms too, water the.

1160
01:00:01,680 --> 01:00:23,440
Speaker 15: Dirt flowers, last few baby, sweet baby, m hm.

1161
01:00:32,160 --> 01:00:47,720
Speaker 7: H tangerines, amp simmons and sugar cane.

1162
01:00:50,280 --> 01:00:52,040
Speaker 3: Grapes and honeydo.

1163
01:00:51,760 --> 01:00:59,840
Speaker 8: Marlond enough foot for a cave. Lemon trees they were

1164
01:01:00,080 --> 01:01:00,840
Speaker 8: make a sound.

1165
01:01:02,200 --> 01:01:03,880
Speaker 4: Sil branch has been.

1166
01:01:03,880 --> 01:01:06,000
Speaker 14: And fruit falls to the ground.

1167
01:01:06,480 --> 01:01:11,680
Speaker 15: Baby, sweet baby.

1168
01:01:13,520 --> 01:01:15,800
Speaker 14: Come to my world, na and.

1169
01:01:16,080 --> 01:01:23,160
Speaker 12: Witness the way things have changed, because I find only

1170
01:01:23,360 --> 01:01:25,320
Speaker 12: did it, Baby, I.

1171
01:01:25,560 --> 01:01:27,200
Speaker 15: Got out of the grade.

1172
01:01:29,440 --> 01:01:34,000
Speaker 17: Guiding my mercury and drove out waste, went into the

1173
01:01:34,240 --> 01:02:16,920
Speaker 17: middle of my luck. The test, Baby, sweet baby, iv

1174
01:02:17,600 --> 01:02:21,880
Speaker 17: y to enjoy all the fruits of.

1175
01:02:21,960 --> 01:02:27,240
Speaker 14: The labor, having coined for you.

1176
01:02:27,680 --> 01:02:29,880
Speaker 15: Boy, But jes this.

1177
01:02:30,080 --> 01:02:36,360
Speaker 17: Mesake, baby, sweet babies, all the same.

1178
01:02:37,640 --> 01:02:40,280
Speaker 14: Take the Gloria day with the.

1179
01:02:40,440 --> 01:02:53,720
Speaker 12: Fame, Baby, sweet baby, having child to enjoy all the

1180
01:02:53,920 --> 01:02:54,480
Speaker 12: fruits of.

1181
01:02:54,520 --> 01:02:59,360
Speaker 14: The labor, having coined for.

1182
01:02:59,640 --> 01:03:03,640
Speaker 15: You, Jesus merceving.

1183
01:03:05,920 --> 01:03:12,920
Speaker 17: Baby, sweet baby the same, Take the gloriny day, Oh.

1184
01:03:13,040 --> 01:03:19,880
Speaker 15: The same, Babe, sweet babe.

1185
01:03:34,800 --> 01:03:35,560
Speaker 14: That was fun.

1186
01:03:35,760 --> 01:03:37,760
Speaker 3: That was super fun. It's so fun to play tunes

1187
01:03:37,800 --> 01:03:42,760
Speaker 3: like that with you. Oh gosh, oh our music please, yes, yes, yes,

1188
01:03:43,360 --> 01:03:45,720
Speaker 3: thanks for doing this totally. It was so fun.

1189
01:03:45,920 --> 01:03:46,479
Speaker 1: You're the best.

1190
01:03:46,720 --> 01:03:47,440
Speaker 3: Thank you so much.

1191
01:03:47,920 --> 01:03:50,040
Speaker 1: Can't wait to see you again. Can't wait to see

1192
01:03:50,040 --> 01:03:54,080
Speaker 1: you again. It's like a first date. I hope we

1193
01:03:54,120 --> 01:03:56,520
Speaker 1: can to see each other again. I'll call you okay, blest.

1194
01:03:56,640 --> 01:03:58,720
Speaker 3: Thank you so much, Nore, I appreciate it. Yeah, thanks

1195
01:03:58,760 --> 01:03:59,920
Speaker 3: for doing Yeah it was rad.

1196
01:04:00,120 --> 01:04:12,840
Speaker 1: Yay ah, thanks for listening to our show with Margaret Glassbie.

1197
01:04:13,280 --> 01:04:15,120
Speaker 1: We had a lot of fun that was great. I

1198
01:04:15,240 --> 01:04:15,960
Speaker 1: love this.

1199
01:04:16,480 --> 01:04:19,240
Speaker 2: This one was like, what this podcast is all about?

1200
01:04:19,400 --> 01:04:21,800
Speaker 2: Just getting in a room jamming out on songs for

1201
01:04:21,880 --> 01:04:25,560
Speaker 2: the first time. But it's about it's what it's about about.

1202
01:04:25,640 --> 01:04:26,400
Speaker 1: Is that what it's about?

1203
01:04:28,480 --> 01:04:30,880
Speaker 2: And like just hearing, like just the sound of the

1204
01:04:30,920 --> 01:04:33,400
Speaker 2: electric guitar in like this stripped down way.

1205
01:04:33,360 --> 01:04:33,960
Speaker 15: Is so cool.

1206
01:04:34,240 --> 01:04:36,800
Speaker 1: Yeah, she was like, should I play acoustic since it's

1207
01:04:36,800 --> 01:04:39,440
Speaker 1: stripped out? No, please play your electric.

1208
01:04:39,600 --> 01:04:42,120
Speaker 2: I mean you can do so much with so little.

1209
01:04:42,320 --> 01:04:44,919
Speaker 1: Yeah, music is fun. Music is the best.

1210
01:04:45,120 --> 01:04:48,240
Speaker 2: Her songs are killer, her voice is insane. I love

1211
01:04:48,320 --> 01:04:49,840
Speaker 2: her energy. She rules.

1212
01:04:55,520 --> 01:04:57,560
Speaker 1: If you'd like to know what we played in this episode,

1213
01:04:57,920 --> 01:05:01,400
Speaker 1: we did Get Back from the twenty twenty three album

1214
01:05:01,520 --> 01:05:05,120
Speaker 1: Echo the Diamond that just came out Somebody to Anybody, from.

1215
01:05:05,040 --> 01:05:07,360
Speaker 15: Her twenty sixteen album Emotions of Math.

1216
01:05:07,600 --> 01:05:12,160
Speaker 1: We did Act Natural, also from Echo the Diamond, and

1217
01:05:12,320 --> 01:05:15,400
Speaker 1: we did Friends of My Labor, one of my favorite

1218
01:05:15,480 --> 01:05:18,480
Speaker 1: Lucinda Williams songs from her two thousand and three album

1219
01:05:18,600 --> 01:05:21,040
Speaker 1: World Without Tears also one of my favorite albums.

1220
01:05:21,320 --> 01:05:25,760
Speaker 14: Thanks for listening, don't forget to like and subscribe, boy Boy.

1221
01:05:31,720 --> 01:05:34,960
Speaker 1: This episode was recorded and mixed by Jamie Landry, edited

1222
01:05:35,040 --> 01:05:39,000
Speaker 1: by Sarah Oda, Additional engineering by Greg Tobler and Pete Bram,

1223
01:05:39,720 --> 01:05:44,040
Speaker 1: artwork by Eliza Fry, Photography by Shervin Lennox, Produced by

1224
01:05:44,960 --> 01:05:45,000
Speaker 1: This