1 00:00:02,160 --> 00:00:05,080 Speaker 1: Ephemeral is a production of I Heart three D audio 2 00:00:06,800 --> 00:00:13,399 Speaker 1: for full exposure, listen with that phones. One of the 3 00:00:13,440 --> 00:00:16,480 Speaker 1: biggest struggles for an artist is how to capture an 4 00:00:16,520 --> 00:00:24,240 Speaker 1: idea that is originally different, new. But sometimes that creative 5 00:00:24,320 --> 00:00:28,560 Speaker 1: energy comes from peering into the past, perhaps a pastor 6 00:00:28,600 --> 00:00:35,080 Speaker 1: you've never known. For someone like Lorie Theresa, finding that 7 00:00:35,159 --> 00:00:40,239 Speaker 1: inspiration is an integral part of daily life. My name 8 00:00:40,280 --> 00:00:44,440 Speaker 1: is Lorie Theresa, and I'm a musician, a composer, and 9 00:00:44,479 --> 00:00:49,599 Speaker 1: a performer. At this point, a lot of influence has 10 00:00:49,640 --> 00:00:54,240 Speaker 1: come to Laurie from her grandfather, Tony Rice. Tony Rice 11 00:00:54,320 --> 00:00:57,800 Speaker 1: is kind of a mystery, even after seven years of research. 12 00:00:58,680 --> 00:01:01,080 Speaker 1: I really only know about him through what my mom 13 00:01:01,120 --> 00:01:05,640 Speaker 1: remembers and the songs he saying. But knowing what I know, 14 00:01:05,760 --> 00:01:10,400 Speaker 1: I had introduced him as a gentle soul, a gentleman, 15 00:01:10,640 --> 00:01:15,640 Speaker 1: a romantic, a funny guy, a jokester, but ultimately a 16 00:01:15,720 --> 00:01:22,440 Speaker 1: totally resilient man who never let the most inconceivable tragedy 17 00:01:22,480 --> 00:01:33,880 Speaker 1: affect his kindness and his creativity. Like Laurie, Tony Rice 18 00:01:33,959 --> 00:01:38,120 Speaker 1: was a professional singer, whereas Lourie resides in twenty one 19 00:01:38,240 --> 00:01:43,040 Speaker 1: century New York. Tony's scene was post war Greece were 20 00:01:43,080 --> 00:01:50,120 Speaker 1: two styles of music. We're competing for prominence. Greece is 21 00:01:50,200 --> 00:01:55,760 Speaker 1: undergoing this musical Enlightenment period. There was so much musical 22 00:01:55,760 --> 00:01:59,680 Speaker 1: and artistic influence happening from all over the globe. One 23 00:01:59,680 --> 00:02:01,360 Speaker 1: of this I was of music that emerged from that 24 00:02:01,440 --> 00:02:10,519 Speaker 1: era is the rebetica music, which has influences from Asia 25 00:02:10,560 --> 00:02:14,320 Speaker 1: Minor and uses traditional instruments like the buzuki and the 26 00:02:14,320 --> 00:02:21,519 Speaker 1: ba lama. Buzuki is like a smaller mandolin. Blama is 27 00:02:21,560 --> 00:02:28,639 Speaker 1: like an even smaller buzuki. Rebetica music you associate with 28 00:02:28,840 --> 00:02:31,160 Speaker 1: Greek music nowadays, like if you ever go to a 29 00:02:31,160 --> 00:02:34,120 Speaker 1: Greek restaurant or the nather, is some sort of music 30 00:02:34,360 --> 00:02:39,400 Speaker 1: going on, and you're like, that's Greek music, right. This 31 00:02:39,520 --> 00:02:42,560 Speaker 1: kind of music was initially associated with the working class, 32 00:02:42,680 --> 00:02:47,920 Speaker 1: the social outcasts, criminal life. It was bad boy music, right, 33 00:02:48,000 --> 00:02:58,560 Speaker 1: was like the blues, the blues of grief yea. When 34 00:02:58,560 --> 00:03:01,600 Speaker 1: it was first introduced, it was kind of stunned by 35 00:03:01,919 --> 00:03:05,400 Speaker 1: mainstream society and often bands because of the content of 36 00:03:05,440 --> 00:03:09,040 Speaker 1: the songs. Many songs like this woman, We're simply are 37 00:03:09,080 --> 00:03:14,400 Speaker 1: you smoking? Songs describing in detail the pleasures of sharing 38 00:03:14,480 --> 00:03:19,360 Speaker 1: the not a dealing the song about doing drugs and 39 00:03:19,440 --> 00:03:25,280 Speaker 1: life in prison, oppression, poverty. These were people living difficult lives. 40 00:03:25,960 --> 00:03:28,440 Speaker 1: Their one reprie would be like smoking hashish in a 41 00:03:28,560 --> 00:03:34,080 Speaker 1: circle and jamming out pretty badass. You don't think about 42 00:03:34,080 --> 00:03:36,240 Speaker 1: that when you think of your grandfather's But that was 43 00:03:36,320 --> 00:03:44,920 Speaker 1: not my grandfather's scene. There was this other scene which 44 00:03:44,960 --> 00:03:49,760 Speaker 1: was in stark contrast to thistica movement called the Old 45 00:03:49,840 --> 00:03:55,160 Speaker 1: Athens Music or Light Greek music, so the complete opposite. 46 00:03:56,120 --> 00:03:58,600 Speaker 1: This was music that was largely influenced by the sounds 47 00:03:58,600 --> 00:04:02,880 Speaker 1: of Europe. From the Lead to Spain to France. You 48 00:04:03,000 --> 00:04:07,280 Speaker 1: had Greek composers writing tangos and sambas and fox track swing, 49 00:04:07,520 --> 00:04:15,160 Speaker 1: Latin bosa nova. Bolero h, the leader of the New 50 00:04:15,200 --> 00:04:20,200 Speaker 1: Athens movement of Light Greek music, was better known by 51 00:04:20,200 --> 00:04:27,479 Speaker 1: his stage name A Tick I Think. Came from a 52 00:04:27,520 --> 00:04:31,640 Speaker 1: wealthy background and lived most of his life abroad before 53 00:04:31,640 --> 00:04:34,680 Speaker 1: settling down in Athens, where he opened up his own 54 00:04:34,760 --> 00:04:40,599 Speaker 1: venue called A k A ticks Pen I feel like 55 00:04:40,640 --> 00:04:46,120 Speaker 1: it's a double play on pen and like farmhouse. This 56 00:04:46,200 --> 00:04:50,400 Speaker 1: kind of started this movement of vaudeville, theater, musical reviews, 57 00:04:50,480 --> 00:04:54,919 Speaker 1: and cabaret shows. The music and the culture associated with 58 00:04:54,920 --> 00:04:58,680 Speaker 1: this style was kind of the opposite, romantic and forlorn 59 00:04:58,760 --> 00:05:03,160 Speaker 1: and sentimental, and had no guzuki whatsoever, and it was 60 00:05:03,520 --> 00:05:17,320 Speaker 1: only Western instruments like piano, guitar, violin, upright bass. Maybe 61 00:05:17,360 --> 00:05:21,200 Speaker 1: this was a form of escapism at the time because 62 00:05:21,200 --> 00:05:24,080 Speaker 1: it was happening during the Second World War and maybe 63 00:05:24,120 --> 00:05:27,800 Speaker 1: people wanted to feel like they were somewhere else. So 64 00:05:27,839 --> 00:05:30,960 Speaker 1: basically you had this like West Coast versus East Coast 65 00:05:31,640 --> 00:05:35,040 Speaker 1: of the thirties and forties in Greece. I don't think 66 00:05:35,040 --> 00:05:38,200 Speaker 1: it was a particular rivalry or anything, but the music 67 00:05:38,600 --> 00:05:41,480 Speaker 1: was so different, but it was happening at the same time. 68 00:05:43,600 --> 00:05:47,200 Speaker 1: You were either a bad boy with a bad reputation 69 00:05:47,560 --> 00:05:54,440 Speaker 1: or you were romantic and a bohemian. I'd like to 70 00:05:54,440 --> 00:05:57,839 Speaker 1: think that they both eventually merged in the fifties and 71 00:05:57,880 --> 00:06:01,880 Speaker 1: sixties with this other kind of music called ede No music. 72 00:06:03,000 --> 00:06:05,200 Speaker 1: Even if you listen to Greek music now, the Greek 73 00:06:05,240 --> 00:06:09,960 Speaker 1: pop music, you'll hear guzuki and clarinet and like all 74 00:06:10,000 --> 00:06:12,920 Speaker 1: this lute stuff and all this stuff that's happening that's 75 00:06:13,080 --> 00:06:17,680 Speaker 1: very Greek inspired and very Middle easternly. But you also 76 00:06:17,760 --> 00:06:20,360 Speaker 1: hear like hip hop beats and all this like a 77 00:06:20,440 --> 00:06:29,200 Speaker 1: Western influence and structure. Somewhere in the middle of this 78 00:06:29,320 --> 00:06:33,839 Speaker 1: nineteen thirties culture class, Tony Rice made his debut. A 79 00:06:33,880 --> 00:06:36,800 Speaker 1: lot of his story remains a mystery, but here's what 80 00:06:36,839 --> 00:06:40,240 Speaker 1: we do. I want to say. He was born in 81 00:06:40,320 --> 00:06:45,240 Speaker 1: nineteen o two in Padra, this island in Greece, to 82 00:06:45,640 --> 00:06:50,920 Speaker 1: a poor family during the war First World War, coming 83 00:06:50,960 --> 00:06:56,839 Speaker 1: from nothing essentially. I think he was self taught on 84 00:06:56,920 --> 00:07:01,000 Speaker 1: the guitar and singing, and he was just kind of 85 00:07:01,000 --> 00:07:05,800 Speaker 1: discovered by accident, which like, wouldn't that be nice if 86 00:07:05,880 --> 00:07:10,280 Speaker 1: that happened to all of us. He was a screen 87 00:07:10,320 --> 00:07:15,880 Speaker 1: printer making basically posters in Padra. He was playing at 88 00:07:15,920 --> 00:07:20,080 Speaker 1: some little club or something, and attack just happened, of course, 89 00:07:20,360 --> 00:07:23,600 Speaker 1: to be in Padre. He went up to my grandfather 90 00:07:23,680 --> 00:07:27,720 Speaker 1: and allegedly my mom says, he was like, if you 91 00:07:27,840 --> 00:07:30,640 Speaker 1: come to Athens with me, I'll make you a big star, 92 00:07:31,840 --> 00:07:35,440 Speaker 1: which is like the classic thing that you hear about 93 00:07:35,480 --> 00:07:41,000 Speaker 1: in movies is born. He packed up his guitar and 94 00:07:41,040 --> 00:07:44,080 Speaker 1: he was like two pieces of clothing and he was 95 00:07:44,120 --> 00:07:48,200 Speaker 1: off the next day. You're right that he's a romantic 96 00:07:48,200 --> 00:07:52,720 Speaker 1: that's a very romantic notion. Oh yeah, So Tony Rice 97 00:07:53,080 --> 00:07:57,239 Speaker 1: moves to Athens and he starts singing at Atiqus Club. 98 00:08:00,280 --> 00:08:05,760 Speaker 1: I imagine a collection of creatives and artists. So you 99 00:08:05,840 --> 00:08:09,320 Speaker 1: have singers and you have storytellers. You know, I can 100 00:08:09,360 --> 00:08:12,080 Speaker 1: remember when kids used to like to have stories read 101 00:08:12,080 --> 00:08:21,640 Speaker 1: to them and mimes. What what? What a complete vaudevillian 102 00:08:21,720 --> 00:08:28,360 Speaker 1: theater experience. As people came to see the shows, they 103 00:08:28,360 --> 00:08:33,600 Speaker 1: started liking him. At some point, he was even playing 104 00:08:33,760 --> 00:08:36,840 Speaker 1: at the Royal Palace in Greece. By the way, did 105 00:08:36,880 --> 00:08:39,880 Speaker 1: you know Greece had a monarchy at some point? If 106 00:08:39,920 --> 00:08:45,840 Speaker 1: it isn't the illustious a word in your ear. Eventually, 107 00:08:45,880 --> 00:08:48,640 Speaker 1: what happened is he made a kind of name for 108 00:08:48,679 --> 00:08:53,040 Speaker 1: himself as a singer, and a desert is kind of 109 00:08:53,080 --> 00:08:57,000 Speaker 1: like a person who performs monologues and tells stories, and 110 00:08:57,040 --> 00:09:01,040 Speaker 1: it's also kind of speak singing style that was popular 111 00:09:01,080 --> 00:09:07,960 Speaker 1: back then, and so he was kind of well known 112 00:09:08,040 --> 00:09:13,880 Speaker 1: for that style. It's a kite by that, and composers 113 00:09:13,920 --> 00:09:17,200 Speaker 1: and lyricists kind of huddled around him and started writing 114 00:09:17,200 --> 00:09:20,400 Speaker 1: songs for him, which became the songs that he would 115 00:09:20,520 --> 00:09:24,880 Speaker 1: make famous. The chance that a team gave him had 116 00:09:24,880 --> 00:09:32,600 Speaker 1: paid off and Tony Rice paid it forward. In the thirties, 117 00:09:33,080 --> 00:09:36,640 Speaker 1: it was this new kid on the scene, Tony Maruda, 118 00:09:37,240 --> 00:09:41,640 Speaker 1: the poor kid orphaned, must have been like seventeen or eighteen. 119 00:09:43,240 --> 00:09:48,440 Speaker 1: He came to Athens with nothing, maybe to drachmas and 120 00:09:48,679 --> 00:09:53,360 Speaker 1: the shirt on his back, and he was interested in 121 00:09:53,840 --> 00:09:58,320 Speaker 1: singing and playing the guitar. My grandfather took him under 122 00:09:58,360 --> 00:10:01,600 Speaker 1: this wing and showed him the road. Oops. He gave 123 00:10:01,679 --> 00:10:04,560 Speaker 1: him his first suits and shoes and take care of 124 00:10:04,640 --> 00:10:16,400 Speaker 1: him as he started building his career pol Sopol Later on, 125 00:10:16,920 --> 00:10:20,400 Speaker 1: Tony Mruda became one of the most well known singers 126 00:10:20,480 --> 00:10:29,120 Speaker 1: of this era and went on to record many many 127 00:10:29,160 --> 00:10:44,400 Speaker 1: albums and a hit song with Sophia Loren That's Sophia Loren. 128 00:10:46,240 --> 00:10:51,120 Speaker 1: Including Atti and Tony Maruda. Tony Rice was associated with 129 00:10:51,160 --> 00:10:53,240 Speaker 1: some of the most well known artists of the dead 130 00:10:54,160 --> 00:11:07,520 Speaker 1: now legends. He also sang with people like you and 131 00:11:07,920 --> 00:11:12,320 Speaker 1: Nicos Junari's a k a Mr Greece which I think 132 00:11:12,400 --> 00:11:24,520 Speaker 1: speaks volumes. These are bigger names in Greece, so like, 133 00:11:24,559 --> 00:11:26,680 Speaker 1: if you type in any of these names, you'll find 134 00:11:26,679 --> 00:11:31,080 Speaker 1: their records. So he kind of paved the way for 135 00:11:31,440 --> 00:11:45,240 Speaker 1: other bigger singers. My mom really glossed over the fact 136 00:11:45,280 --> 00:11:48,560 Speaker 1: about how big of a deal Tony Rice actually was. 137 00:11:49,679 --> 00:11:52,520 Speaker 1: For years she would tell me stories about him, how 138 00:11:52,520 --> 00:11:54,960 Speaker 1: he was a singer and he sang at clubs. And 139 00:11:55,000 --> 00:11:57,400 Speaker 1: I was like, yeah, yeah, Mom, like me too. I'm 140 00:11:57,440 --> 00:12:01,000 Speaker 1: a singer and I sing at clubs. Big deal likely 141 00:12:01,080 --> 00:12:07,079 Speaker 1: to meet our new entertainer from Chicago. But he had 142 00:12:07,120 --> 00:12:11,720 Speaker 1: composers and lyricists writing songs for him, and people would 143 00:12:11,720 --> 00:12:16,640 Speaker 1: go to see him specifically perform these songs live. And 144 00:12:16,679 --> 00:12:19,720 Speaker 1: he was making a solid living being a gigging musician. 145 00:12:21,120 --> 00:12:24,319 Speaker 1: He was kind of living the artist's dream, getting paid 146 00:12:24,360 --> 00:12:26,679 Speaker 1: to do what you love and be around other creatives. 147 00:12:27,640 --> 00:12:31,160 Speaker 1: My mom was born in nifties, so now he had 148 00:12:31,200 --> 00:12:36,520 Speaker 1: a newborn and a beautiful and loving wife. To have 149 00:12:36,720 --> 00:12:40,480 Speaker 1: all of that after a war that completely ravaged your 150 00:12:40,480 --> 00:12:50,920 Speaker 1: country an inconceivable miracle the pool. But of course that 151 00:12:50,960 --> 00:12:54,280 Speaker 1: didn't last long, and it started a chain of events 152 00:12:54,320 --> 00:12:58,920 Speaker 1: that changed his life forever. When my mom was six 153 00:12:59,000 --> 00:13:03,200 Speaker 1: years old, my grandfather was diagnosed with throat cancer. I 154 00:13:03,240 --> 00:13:07,360 Speaker 1: don't know how long he knew about it, but the 155 00:13:07,440 --> 00:13:10,800 Speaker 1: only option back then for treatment was to remove the 156 00:13:10,880 --> 00:13:15,280 Speaker 1: vocal cords entirely so in a life saving surgery that 157 00:13:15,400 --> 00:13:19,200 Speaker 1: removed his vocal cords, and he never sang again. In fact, 158 00:13:19,720 --> 00:13:23,360 Speaker 1: he also never spoke again either. My mom doesn't even 159 00:13:23,400 --> 00:13:26,800 Speaker 1: remember what his voice sounded like. She only knew his 160 00:13:27,320 --> 00:13:34,360 Speaker 1: speaking voice through a machine. Talk about devastating, shattering multiple 161 00:13:34,440 --> 00:13:42,080 Speaker 1: dreams at once, aspirations, livelihoods, hopes all in one go. 162 00:13:43,920 --> 00:13:48,160 Speaker 1: Ten years later, his wife passed away suddenly, the love 163 00:13:48,200 --> 00:13:52,160 Speaker 1: of his life, my namesake, Grandma Laurie. And then he 164 00:13:52,200 --> 00:13:56,280 Speaker 1: was just left with my mom, no voice, no career, 165 00:13:57,800 --> 00:14:03,040 Speaker 1: and he had to completely do a one eight and 166 00:14:03,559 --> 00:14:09,600 Speaker 1: just do something else to support his family. It's kind 167 00:14:09,600 --> 00:14:12,959 Speaker 1: of amazing. It's like he took his creativity from singing 168 00:14:13,040 --> 00:14:17,400 Speaker 1: and he transferred it to using his hands, and he 169 00:14:17,480 --> 00:14:21,000 Speaker 1: became a carpenter, and he became really good at making 170 00:14:21,160 --> 00:14:26,080 Speaker 1: these beautifully intricate bird cages. In fact, he had one 171 00:14:26,320 --> 00:14:28,640 Speaker 1: that he had made in his house in his backyard, 172 00:14:28,760 --> 00:14:34,320 Speaker 1: this humanous walk in birdcage where he kept all of 173 00:14:34,440 --> 00:14:38,160 Speaker 1: his canaries and all of these other singing birds. And 174 00:14:38,240 --> 00:14:39,840 Speaker 1: he would be the only one who would be able 175 00:14:39,840 --> 00:14:42,440 Speaker 1: to walk in and just hang out with all these birds. 176 00:14:43,800 --> 00:14:46,280 Speaker 1: That's how he made a living. For the rest of 177 00:14:46,320 --> 00:14:52,360 Speaker 1: his life. He would still hang out with his composer 178 00:14:52,400 --> 00:14:55,640 Speaker 1: friends and they would go out to tavernas and stuff, 179 00:14:55,640 --> 00:14:57,720 Speaker 1: and he would play the guitar and people would sing, 180 00:14:58,400 --> 00:15:03,560 Speaker 1: and he was still very social. I can't imagine having 181 00:15:03,600 --> 00:15:08,040 Speaker 1: that kind of resilience and not being bitter and just 182 00:15:08,200 --> 00:15:11,080 Speaker 1: resentful for the rest of my life. But according to 183 00:15:11,080 --> 00:15:14,240 Speaker 1: my mom, he never showed any of that. He was 184 00:15:14,280 --> 00:15:21,760 Speaker 1: always kinds and funny and a gentleman. So they never met. 185 00:15:22,360 --> 00:15:26,120 Speaker 1: Grandfather and granddaughter would eventually get to connect in an 186 00:15:26,200 --> 00:15:37,280 Speaker 1: unexpected way in the Rice Stories of Family, the musical 187 00:15:37,360 --> 00:15:41,560 Speaker 1: but seems to have skipped a generation. So Tony Rice 188 00:15:41,680 --> 00:15:45,080 Speaker 1: was a singer and a guitarist, and his wife, Lorie 189 00:15:45,920 --> 00:15:56,800 Speaker 1: was a piano teacher and one, two, three, watch those things. 190 00:15:56,800 --> 00:16:01,760 Speaker 1: This performer extraordinaire, highly educated woman, which at the time 191 00:16:01,880 --> 00:16:06,320 Speaker 1: is kind of crazy, spoke multiple languages. And then they 192 00:16:06,360 --> 00:16:09,440 Speaker 1: had my mom, and when she was in her teens, 193 00:16:09,840 --> 00:16:21,320 Speaker 1: she was like sneaking off to take opera lessons until 194 00:16:21,360 --> 00:16:24,880 Speaker 1: my grandfather discovered that she was doing that. He would 195 00:16:24,960 --> 00:16:28,680 Speaker 1: not let her go into the music industry because of 196 00:16:28,720 --> 00:16:31,160 Speaker 1: how rough and questionable it might have been for a 197 00:16:31,200 --> 00:16:36,000 Speaker 1: woman back in those days, so that was the extent 198 00:16:36,040 --> 00:16:41,240 Speaker 1: of my mom's musical toe dip. My dad didn't really 199 00:16:41,680 --> 00:16:45,920 Speaker 1: play anything. My brother is a historian, so it was 200 00:16:45,960 --> 00:16:51,880 Speaker 1: basically just me being the weirdo of my family. I 201 00:16:52,280 --> 00:16:58,440 Speaker 1: started singing when I was very young, and then my 202 00:16:58,560 --> 00:17:04,679 Speaker 1: dad got me one of those small toy keyboards. Maybe 203 00:17:04,800 --> 00:17:13,640 Speaker 1: the year after he got me a slightly bigger one. Finally, 204 00:17:13,680 --> 00:17:22,280 Speaker 1: we rented this upright piano, and that piano has traveled 205 00:17:22,320 --> 00:17:25,760 Speaker 1: with me all over the globe in every apartment in 206 00:17:25,840 --> 00:17:31,080 Speaker 1: house I've lived in, from Belgium to Australia to Greece 207 00:17:31,760 --> 00:17:35,120 Speaker 1: to all of my apartments in New York, and it's 208 00:17:35,119 --> 00:17:40,440 Speaker 1: currently sitting in my living room. It's not a rental anymore. 209 00:17:40,480 --> 00:17:43,200 Speaker 1: I guess I guess you bought it at some point. Well, yeah, 210 00:17:43,240 --> 00:17:47,359 Speaker 1: we had. I think we made a good investment. Up 211 00:17:47,359 --> 00:17:51,879 Speaker 1: through high school, I took classical piano and classical voice, 212 00:17:54,359 --> 00:17:57,200 Speaker 1: but I wasn't a very good sight reader, so I 213 00:17:57,240 --> 00:17:59,600 Speaker 1: would just kind of make up melodies on the spot 214 00:18:00,720 --> 00:18:04,080 Speaker 1: and most people wouldn't notice. But of course the one 215 00:18:04,119 --> 00:18:07,400 Speaker 1: person who did was my piano teacher, and she was like, 216 00:18:08,000 --> 00:18:09,800 Speaker 1: you can't do that. You have to read what's on 217 00:18:09,840 --> 00:18:13,359 Speaker 1: the page. You're not Mozart, you know. That's when I 218 00:18:13,359 --> 00:18:17,480 Speaker 1: started writing music. In high school. I was writing these 219 00:18:17,880 --> 00:18:26,320 Speaker 1: epic prog pop seven eight minute long things. But then 220 00:18:26,359 --> 00:18:29,120 Speaker 1: I started music in college, and then later I got 221 00:18:29,119 --> 00:18:32,400 Speaker 1: my master's degree in studio composition a k a. Songwriting, 222 00:18:33,400 --> 00:18:39,239 Speaker 1: and that's kind of when things started for serious. One 223 00:18:39,240 --> 00:18:43,200 Speaker 1: of my first collaborations was with Stoop, who's better known 224 00:18:43,240 --> 00:18:46,359 Speaker 1: as the producer in the underground hip hop group Jedi 225 00:18:46,400 --> 00:18:51,480 Speaker 1: Mind Tricks. They didn't really know anything about the rap world, 226 00:18:51,800 --> 00:18:55,439 Speaker 1: especially not the underground rap world, but for someone like 227 00:18:55,480 --> 00:18:59,560 Speaker 1: me who loved singing and writing catchy melodies, it makes 228 00:18:59,560 --> 00:19:09,680 Speaker 1: a good pairing and contrast. We collaborated on a full 229 00:19:09,760 --> 00:19:14,440 Speaker 1: album called The Waiting Wolf under our band Vespertina. It's 230 00:19:14,480 --> 00:19:18,760 Speaker 1: kind of like this trip hop concept album loosely based 231 00:19:18,840 --> 00:19:23,200 Speaker 1: around Scheherazade and A thousand and one Arabian Nights. You'll 232 00:19:23,200 --> 00:19:33,560 Speaker 1: have th Jo Pulls, keep me your full welky a 233 00:19:33,680 --> 00:19:38,760 Speaker 1: my nerd, but it's a very sort of studious, fresh 234 00:19:38,800 --> 00:19:41,760 Speaker 1: front underground trip hop. You know that you've got some 235 00:19:41,760 --> 00:19:43,920 Speaker 1: people that went to college when you dropped Shaherazade, and 236 00:19:44,000 --> 00:19:51,879 Speaker 1: there I guess that's there's even some Rinsky course of 237 00:19:51,920 --> 00:20:00,320 Speaker 1: cop in there for all all the O G S H. 238 00:20:06,920 --> 00:20:10,320 Speaker 1: We released it actually ten years ago. It was my 239 00:20:10,400 --> 00:20:17,880 Speaker 1: first album and it kind of just went nowhere. After that. 240 00:20:18,600 --> 00:20:21,520 Speaker 1: I moved to Japan, and while I was there was 241 00:20:21,600 --> 00:20:28,480 Speaker 1: part of this group called the Good Johnson's Nobody Can 242 00:20:28,760 --> 00:20:35,080 Speaker 1: tell you. There's only one song where it's singing that did. 243 00:20:35,640 --> 00:20:56,359 Speaker 1: It's like j pop elector lounge, insane funny show. We 244 00:20:56,400 --> 00:21:00,600 Speaker 1: would tour around Japan in New York too, but it 245 00:21:00,680 --> 00:21:08,200 Speaker 1: was the complete opposite, obviously of Vespopina Night, good Night, 246 00:21:10,320 --> 00:21:18,199 Speaker 1: good Night school Scooby Scoob. When I got back to 247 00:21:18,240 --> 00:21:22,840 Speaker 1: the States, I just felt really out of touch and 248 00:21:22,920 --> 00:21:28,760 Speaker 1: I was going through a long depressive writer's block. I 249 00:21:28,760 --> 00:21:32,199 Speaker 1: don't really talk about this a lot, but I was 250 00:21:32,720 --> 00:21:37,159 Speaker 1: close to quitting music altogether. I just couldn't write anymore. 251 00:21:37,160 --> 00:21:41,320 Speaker 1: There was nothing like left, either putting on a show 252 00:21:41,680 --> 00:21:46,400 Speaker 1: or putting out anything. There's all this effort and money 253 00:21:46,440 --> 00:21:50,199 Speaker 1: and time and practice. You work on it, and you 254 00:21:50,240 --> 00:21:52,280 Speaker 1: work on it and you build it up, only the 255 00:21:52,680 --> 00:21:57,120 Speaker 1: find that no one cares. Or so it played out 256 00:21:57,160 --> 00:22:02,159 Speaker 1: in my mind. Right about two years ago, there was 257 00:22:02,200 --> 00:22:06,960 Speaker 1: this huge thing that happened for me. A couple of 258 00:22:07,040 --> 00:22:10,080 Speaker 1: friends of mine suggested I applied to via My Musical 259 00:22:10,119 --> 00:22:21,280 Speaker 1: Theater Workshop as a composer. I laughed, because I had 260 00:22:21,320 --> 00:22:24,840 Speaker 1: never done musical theater before, aside from people coming up 261 00:22:24,880 --> 00:22:27,119 Speaker 1: to me at shows and being like, do you do 262 00:22:27,280 --> 00:22:32,000 Speaker 1: musical theater and me being like incredibly offended that they 263 00:22:32,000 --> 00:22:36,119 Speaker 1: would even like put me in the same category, So 264 00:22:36,359 --> 00:22:41,080 Speaker 1: it never crossed my mind. The prestigious New York based 265 00:22:41,200 --> 00:22:44,560 Speaker 1: v m I Musical Theater Workshop has been training composers 266 00:22:44,560 --> 00:22:52,280 Speaker 1: and lyricists since including an impressive list of alumni. Alan Mankin, 267 00:22:52,760 --> 00:22:57,000 Speaker 1: who did all those Disney movies Aladdin, Feeling the Beast, 268 00:22:57,680 --> 00:23:02,280 Speaker 1: Bobby and Kristin Lopez who did Frozen and Coco. They 269 00:23:02,359 --> 00:23:06,440 Speaker 1: met at this workshop. Janine Sasori who did Shrek and 270 00:23:06,520 --> 00:23:10,040 Speaker 1: con Hone. They all got there to start. At this workshop, 271 00:23:10,600 --> 00:23:13,119 Speaker 1: you auditioned as a composer or a lyricist or both, 272 00:23:13,520 --> 00:23:16,240 Speaker 1: and then if you get in, you're surrounded and created 273 00:23:16,320 --> 00:23:19,359 Speaker 1: by other artists. What do you think of this? People 274 00:23:19,440 --> 00:23:25,480 Speaker 1: are just like you, but like way better and it's 275 00:23:25,480 --> 00:23:28,000 Speaker 1: a collective. It feels like that's what I was really 276 00:23:28,040 --> 00:23:32,320 Speaker 1: missing from the New York rock and pop scene, this 277 00:23:32,520 --> 00:23:37,720 Speaker 1: actual sense of community. So I auditioned and by some 278 00:23:37,960 --> 00:23:41,240 Speaker 1: crazy miracle I got in. I didn't changed my life. 279 00:23:42,560 --> 00:23:44,240 Speaker 1: I don't think I deserved it, of course, at the 280 00:23:44,240 --> 00:23:46,400 Speaker 1: time and I was terrified that I would be out 281 00:23:46,440 --> 00:23:49,520 Speaker 1: at as a total fraud. But ever since then, I've 282 00:23:49,600 --> 00:23:54,840 Speaker 1: rid through work really hard to just keep writing. It 283 00:23:54,840 --> 00:23:58,359 Speaker 1: turns out a major source of inspiration had already found 284 00:23:58,400 --> 00:24:00,760 Speaker 1: its way to laur but it would take some time 285 00:24:00,800 --> 00:24:07,399 Speaker 1: to materialize. Seven years ago, I was in Greece hanging 286 00:24:07,440 --> 00:24:11,199 Speaker 1: out my family talking about Tony Rice and Atique, and 287 00:24:12,000 --> 00:24:15,080 Speaker 1: on a whim, I did an Internet search for Tony 288 00:24:15,160 --> 00:24:19,120 Speaker 1: Rice and I got two hits. One was a Greek 289 00:24:19,160 --> 00:24:23,199 Speaker 1: Wikipedia article that mentioned his name in quick passing, and 290 00:24:23,240 --> 00:24:26,560 Speaker 1: then the other one was from a music library in Greece. 291 00:24:28,800 --> 00:24:32,359 Speaker 1: When I went to the music libraries online database, I 292 00:24:32,520 --> 00:24:37,040 Speaker 1: found the thing that started at all, which was the 293 00:24:37,160 --> 00:24:41,800 Speaker 1: cover of the piano and vocal score for a song 294 00:24:42,320 --> 00:24:48,440 Speaker 1: that had my grandfather's portrait. And I was like, wait what, 295 00:24:50,800 --> 00:24:53,160 Speaker 1: because up until that point I was like, Yeah, he's 296 00:24:53,200 --> 00:24:55,359 Speaker 1: just a singer and he's stang at a club, right, 297 00:24:55,920 --> 00:24:57,639 Speaker 1: I didn't know anything, And I was like wait, this 298 00:24:57,720 --> 00:25:02,919 Speaker 1: is an actual photo of him. The family was already 299 00:25:02,920 --> 00:25:06,200 Speaker 1: aware that there aren't any audio recordings of Tony Rice. 300 00:25:07,880 --> 00:25:11,000 Speaker 1: The technology used for proper recording to a while to 301 00:25:11,040 --> 00:25:14,159 Speaker 1: get to Greece, and while some people were able to 302 00:25:14,200 --> 00:25:17,840 Speaker 1: spend money on recording the albums, somehow it never lined 303 00:25:17,920 --> 00:25:22,639 Speaker 1: up for my grandfather. Who knows in what condition his 304 00:25:22,800 --> 00:25:26,919 Speaker 1: voice was like before he had the surgery, but he 305 00:25:27,000 --> 00:25:29,120 Speaker 1: lost his vocal cords just before he got a chance 306 00:25:29,160 --> 00:25:33,639 Speaker 1: to record any of his songs, and of course, without 307 00:25:33,760 --> 00:25:37,960 Speaker 1: any recordings of his songs, they quickly faded into obscurity, 308 00:25:37,960 --> 00:25:42,040 Speaker 1: and so did he. So yeah, I knew there wasn't 309 00:25:42,080 --> 00:25:45,199 Speaker 1: gonna be any recordings, but how did I not think 310 00:25:45,840 --> 00:25:50,040 Speaker 1: that they might not be sheet music? So the next 311 00:25:50,119 --> 00:25:52,359 Speaker 1: day I zoomed over there and I got a photocopy 312 00:25:52,440 --> 00:25:55,760 Speaker 1: of the sheet music, brought it home, plugged in my 313 00:25:55,880 --> 00:25:59,560 Speaker 1: headphones into my dinky little keyboard that I still had 314 00:25:59,600 --> 00:26:02,719 Speaker 1: at my parent's house, and I started playing through it. 315 00:26:04,359 --> 00:26:06,880 Speaker 1: I think at the time I even transcribed it into 316 00:26:07,040 --> 00:26:15,400 Speaker 1: a session so I could later arrange it. Tony's face 317 00:26:15,440 --> 00:26:18,240 Speaker 1: on the cover of this score indicated that either the 318 00:26:18,320 --> 00:26:21,760 Speaker 1: song had been written specifically for him, or made famous 319 00:26:21,800 --> 00:26:25,680 Speaker 1: by his performance, if I could find this one piece 320 00:26:25,720 --> 00:26:30,640 Speaker 1: of music, were there more? Like I said, my brother 321 00:26:30,760 --> 00:26:34,360 Speaker 1: is a historian, so he's a little better at finding 322 00:26:34,400 --> 00:26:36,520 Speaker 1: stuff than I am. And he also lives in Greece, 323 00:26:36,960 --> 00:26:41,159 Speaker 1: so he can go to these places in person. We 324 00:26:41,280 --> 00:26:45,680 Speaker 1: started doing some internet searches. We found this random website 325 00:26:46,000 --> 00:26:49,320 Speaker 1: which had the title and the composers, and then we 326 00:26:49,400 --> 00:26:52,720 Speaker 1: tried to cross reference it with the libraries. We talked 327 00:26:52,760 --> 00:26:59,560 Speaker 1: with archivists and collectors and YouTubers and like questionable people 328 00:26:59,640 --> 00:27:03,159 Speaker 1: on face spoke just like anyone. We could hunt down 329 00:27:03,520 --> 00:27:10,840 Speaker 1: to see if they had sheet music. Every time I 330 00:27:10,840 --> 00:27:14,280 Speaker 1: saw his photo on a cover, or every time I 331 00:27:14,280 --> 00:27:17,680 Speaker 1: saw his name in the credits or mentioned in a dedication, 332 00:27:18,119 --> 00:27:21,919 Speaker 1: it just blew my mind. It took about two years. 333 00:27:22,680 --> 00:27:27,439 Speaker 1: My brother found most of them, and we got ten songs, 334 00:27:28,640 --> 00:27:31,280 Speaker 1: and I know there's at least one more that we 335 00:27:31,280 --> 00:27:34,680 Speaker 1: couldn't find the sheet music for. So there's probably more 336 00:27:34,720 --> 00:27:38,160 Speaker 1: out there that I don't know about. And you never 337 00:27:38,240 --> 00:27:40,840 Speaker 1: mentioned that you were doing this project to your mom 338 00:27:40,880 --> 00:27:45,240 Speaker 1: about her father. Nope. So in fact, the first song 339 00:27:45,280 --> 00:27:48,040 Speaker 1: that I discovered, the one that I brought home and 340 00:27:48,040 --> 00:27:51,440 Speaker 1: played on my dinky keyboard. This was a song called 341 00:27:51,760 --> 00:27:54,160 Speaker 1: I Wish I Never Met You, which was kind of 342 00:27:54,359 --> 00:27:58,600 Speaker 1: an ominous start to this whole thing. But I really 343 00:27:58,640 --> 00:28:02,480 Speaker 1: didn't have enough at that point. And then by the 344 00:28:02,520 --> 00:28:06,600 Speaker 1: time I did, I was like, Okay, mom's turning seventy. 345 00:28:06,960 --> 00:28:09,960 Speaker 1: We're gonna put this together and we're gonna give it 346 00:28:10,000 --> 00:28:13,800 Speaker 1: to her for her birthday as a gift. That seems 347 00:28:13,840 --> 00:28:17,119 Speaker 1: like a good deadline. I thought we were going to 348 00:28:17,200 --> 00:28:20,320 Speaker 1: do like a live show. She lives in Greece, so 349 00:28:20,400 --> 00:28:22,800 Speaker 1: I was gonna fly out there for her birthday and 350 00:28:22,880 --> 00:28:26,360 Speaker 1: do this show. And then the pandemic hit how are 351 00:28:26,400 --> 00:28:29,439 Speaker 1: you going? Never mind? Because I was like, Okay, well 352 00:28:29,760 --> 00:28:33,600 Speaker 1: what now? And this was how Loris stumbled upon her 353 00:28:33,640 --> 00:28:38,080 Speaker 1: next project, an album featuring new performances of the songs 354 00:28:38,080 --> 00:28:49,040 Speaker 1: of Tony Rice. I mean, I didn't think it was 355 00:28:49,040 --> 00:28:51,200 Speaker 1: gonna be a whole album. I thought it was going 356 00:28:51,240 --> 00:28:54,840 Speaker 1: to be maybe a handful of songs and piano and 357 00:28:54,920 --> 00:28:59,040 Speaker 1: voice at most. But then I guess, like most things 358 00:28:59,040 --> 00:29:03,560 Speaker 1: that I start, I got obsessed and then it became 359 00:29:03,920 --> 00:29:06,760 Speaker 1: more and more intricated. Started off, Okay, we'll record piano 360 00:29:06,760 --> 00:29:09,240 Speaker 1: and vocals, but how do we do that? A lot 361 00:29:09,280 --> 00:29:12,880 Speaker 1: of these songs were for a baritone or tenor voice. 362 00:29:13,680 --> 00:29:17,720 Speaker 1: I don't know what Tony Rice's voice type was, but 363 00:29:18,360 --> 00:29:23,520 Speaker 1: I want to assume he had this buttery, baritony voice. 364 00:29:26,120 --> 00:29:31,720 Speaker 1: I'm a soprano, a high soprano, so things were either 365 00:29:31,800 --> 00:29:34,280 Speaker 1: moved up or down, depending to make sure that it's 366 00:29:34,280 --> 00:29:39,800 Speaker 1: set in a nice comfy range with my voice. But 367 00:29:39,880 --> 00:29:42,959 Speaker 1: it soon became clear that all these songs were begging 368 00:29:43,000 --> 00:29:50,320 Speaker 1: for more. Thus began the endeavor of arranging the scores 369 00:29:50,440 --> 00:29:57,120 Speaker 1: for orchestration. It started off as a software score, transcribing 370 00:29:57,200 --> 00:29:59,400 Speaker 1: what you have in the sheet music, which is the 371 00:29:59,480 --> 00:30:03,080 Speaker 1: vocal score in the piano score, and then you extrapolate 372 00:30:03,240 --> 00:30:06,360 Speaker 1: the chords and everything, and you just start adding different 373 00:30:06,360 --> 00:30:14,600 Speaker 1: textures and instruments to create a fuller sound. In this process, 374 00:30:15,040 --> 00:30:19,280 Speaker 1: Laura enlisted the help of her BMI Workshop cohort Dan Wilson. 375 00:30:21,080 --> 00:30:23,600 Speaker 1: We worked together on trying to figure out what it 376 00:30:23,720 --> 00:30:27,520 Speaker 1: used to sound like when Tony Rice performed it, doing 377 00:30:27,560 --> 00:30:31,520 Speaker 1: research and looking at what the instrumentation was, even like 378 00:30:31,600 --> 00:30:34,880 Speaker 1: looking at old photos of the live performances and seeing 379 00:30:35,080 --> 00:30:40,920 Speaker 1: what people were holding in their hands. We have some 380 00:30:41,880 --> 00:30:44,160 Speaker 1: idea of what it would have sound like, because there's 381 00:30:44,280 --> 00:30:47,200 Speaker 1: other recordings at the time. So I did a lot 382 00:30:47,200 --> 00:30:53,920 Speaker 1: of listening to old recordings of fatigue and even the 383 00:30:54,000 --> 00:30:57,040 Speaker 1: Golden age of Hollywood kind of music, like Fred Astaire 384 00:30:57,280 --> 00:31:02,800 Speaker 1: at DEEPPF, trying to figure out what is it about 385 00:31:02,920 --> 00:31:08,880 Speaker 1: those arrangements that make you think about that time, different 386 00:31:08,880 --> 00:31:11,160 Speaker 1: tricks you used, for like the violins to do like 387 00:31:11,240 --> 00:31:13,960 Speaker 1: a little swoop and a swell and like a little 388 00:31:14,000 --> 00:31:17,920 Speaker 1: harp thing comes in and you're like, oh, I'm in 389 00:31:17,960 --> 00:31:24,440 Speaker 1: the forties. For me, it was really important that the 390 00:31:24,640 --> 00:31:28,640 Speaker 1: arranging reflected the emotion and the feeling of the song 391 00:31:34,080 --> 00:31:37,960 Speaker 1: because it's in Greek and I assumed some non Greek 392 00:31:38,000 --> 00:31:41,880 Speaker 1: listeners might be listening. How do you make those listeners 393 00:31:42,280 --> 00:31:45,480 Speaker 1: hear the feeling and feel the feeling without knowing what 394 00:31:45,680 --> 00:31:52,360 Speaker 1: is being said? Your name? I mean, it took a 395 00:31:52,400 --> 00:31:55,400 Speaker 1: few tries. I think I could never let you leave me. 396 00:31:55,480 --> 00:31:58,960 Speaker 1: Took like seven or eight arrangements until it was like, 397 00:32:00,240 --> 00:32:03,600 Speaker 1: that's a good arrangement and Matt props to Dan Wilson 398 00:32:03,640 --> 00:32:09,240 Speaker 1: for figuring it out and doing an amazing job to 399 00:32:09,320 --> 00:32:13,160 Speaker 1: capture that nine decades old sound. Laurie and Dan arranged 400 00:32:13,200 --> 00:32:18,880 Speaker 1: the piano scores for a symphony's worth of instruments. We 401 00:32:19,160 --> 00:32:27,840 Speaker 1: used string quartet upright, bassed clarinets out of sacks, harp, flute, guitar, 402 00:32:28,760 --> 00:32:32,800 Speaker 1: we even used nylon guitar for spend sounding song and 403 00:32:32,960 --> 00:32:41,480 Speaker 1: piano and voice stone gosh more Pull me Up and 404 00:32:41,760 --> 00:32:53,000 Speaker 1: make it room working loathing on Starsho use Chlomia l Loathing. 405 00:32:54,520 --> 00:32:56,360 Speaker 1: Then after we did the arrangements, then we had to 406 00:32:56,360 --> 00:32:59,840 Speaker 1: reach out to the musicians and find musicians that had 407 00:32:59,840 --> 00:33:03,760 Speaker 1: the capability to record remotely. I think that was the 408 00:33:03,760 --> 00:33:08,920 Speaker 1: most difficult part, getting people to record separately and make 409 00:33:09,000 --> 00:33:10,880 Speaker 1: it sound like you were in the same room together. 410 00:33:21,160 --> 00:33:24,800 Speaker 1: As a musician, you need rehearsal time with other people. 411 00:33:26,280 --> 00:33:29,160 Speaker 1: And back then when they would record, they had one 412 00:33:29,240 --> 00:33:32,240 Speaker 1: or two takes and they were just really well rehearsed. 413 00:33:33,400 --> 00:33:35,120 Speaker 1: But we didn't have that. We just kind of had 414 00:33:36,000 --> 00:33:39,760 Speaker 1: a lot of pre production and post production and then 415 00:33:39,760 --> 00:33:42,920 Speaker 1: the recording was whatever it is, we just have to 416 00:33:42,960 --> 00:33:49,480 Speaker 1: make it work. I wanted, you want to give them 417 00:33:49,520 --> 00:33:53,920 Speaker 1: the basic stuff click track and the scratch vocals and 418 00:33:54,040 --> 00:34:00,400 Speaker 1: scratch piano as a reference stun Goods and I had 419 00:34:00,640 --> 00:34:04,200 Speaker 1: a reference track that I had exported from my sabellious 420 00:34:04,360 --> 00:34:08,440 Speaker 1: session and you know, it sounds very like Middy, and 421 00:34:08,480 --> 00:34:11,600 Speaker 1: then people would record on top of that and send 422 00:34:11,640 --> 00:34:16,360 Speaker 1: it back to me. But the strings, for example, I 423 00:34:16,400 --> 00:34:21,560 Speaker 1: think we did like five violins, five viola is, four cellos, 424 00:34:22,400 --> 00:34:27,000 Speaker 1: two basses. Strings are all about the blend, so we 425 00:34:27,160 --> 00:34:31,680 Speaker 1: had a lot of overdubs. It was one person who 426 00:34:31,760 --> 00:34:36,520 Speaker 1: was doing both violin and viola, and she would take 427 00:34:36,600 --> 00:34:39,000 Speaker 1: multiple tracks. I think we did like five or so, 428 00:34:39,400 --> 00:34:42,200 Speaker 1: and then I would send the violin and viola tracks 429 00:34:42,239 --> 00:34:44,399 Speaker 1: to the cellist and the basis that they could put 430 00:34:44,440 --> 00:34:47,359 Speaker 1: that in their mix and kind of play along with it. 431 00:34:49,239 --> 00:34:52,120 Speaker 1: For woodwinds, for example, that was just kind of live. 432 00:34:52,160 --> 00:34:55,080 Speaker 1: I think they just played to a backing track and 433 00:34:55,120 --> 00:34:59,040 Speaker 1: a click track, and then we would re record the piano, 434 00:34:59,280 --> 00:35:04,160 Speaker 1: re record the vocals, edit edit every single thing, and 435 00:35:04,200 --> 00:35:08,680 Speaker 1: then try to put it all together. Mix edit, edit, 436 00:35:09,320 --> 00:35:20,440 Speaker 1: more mixing, mastering, more mastering. Mm hmm. I should mention 437 00:35:20,560 --> 00:35:25,920 Speaker 1: that this is a completely scrappy endeavor. This was all 438 00:35:25,960 --> 00:35:28,840 Speaker 1: self financed. This was not something that was meant to 439 00:35:28,840 --> 00:35:31,840 Speaker 1: get out of control like this, But it was important 440 00:35:31,840 --> 00:35:34,839 Speaker 1: for me to have musicians that I like working with 441 00:35:34,920 --> 00:35:38,160 Speaker 1: and pay them during this time where no one's working. 442 00:35:38,920 --> 00:35:42,440 Speaker 1: We all what did the kind up? And get? Guys 443 00:35:43,920 --> 00:35:51,759 Speaker 1: got why? I want to think that it captures this 444 00:35:51,920 --> 00:35:55,359 Speaker 1: old style of recording. You get what you get in 445 00:35:55,360 --> 00:35:57,600 Speaker 1: one or two takes. That's just kind of part of 446 00:35:57,600 --> 00:36:02,279 Speaker 1: the beauty. The ten songs that came together for the 447 00:36:02,320 --> 00:36:05,399 Speaker 1: Tony Rice project give a sense of both the old 448 00:36:05,480 --> 00:36:09,000 Speaker 1: Athens sound and the range of the performers abilities. So 449 00:36:10,160 --> 00:36:16,840 Speaker 1: we said, lu lothing see us skips you moved because 450 00:36:16,920 --> 00:36:23,080 Speaker 1: music is super romantic and sentimental and forlorn. There's a 451 00:36:23,120 --> 00:36:26,880 Speaker 1: few tangos in there that are about deception and cheating 452 00:36:27,160 --> 00:36:30,000 Speaker 1: and I'll never look your way again. If you see 453 00:36:30,040 --> 00:36:34,120 Speaker 1: me on the street, look the other way. There's a 454 00:36:34,160 --> 00:36:37,440 Speaker 1: few upbeat ones that are a little more I'm currently 455 00:36:37,440 --> 00:36:42,160 Speaker 1: in love not I was pity then he say you're mad, 456 00:36:44,600 --> 00:36:57,359 Speaker 1: just full of romance and sensitivity. Lick you up. My 457 00:36:57,400 --> 00:37:01,120 Speaker 1: brother Petros he helped me translate all of these songs. 458 00:37:01,760 --> 00:37:04,920 Speaker 1: But there's one song where I wrote an English verse, 459 00:37:05,719 --> 00:37:08,560 Speaker 1: and that's the song I Could Never Let You Leave Me, 460 00:37:09,160 --> 00:37:17,640 Speaker 1: which is the title trackhoation she see Stacy no God 461 00:37:17,800 --> 00:37:22,920 Speaker 1: being much better. When we got the sheet music for it, 462 00:37:23,080 --> 00:37:25,840 Speaker 1: there was only one verse in Greek it was a 463 00:37:25,920 --> 00:37:28,480 Speaker 1: verse in a chorus, and I was like, he needs 464 00:37:28,520 --> 00:37:32,200 Speaker 1: at least one more verse. What if I did this 465 00:37:32,320 --> 00:37:37,719 Speaker 1: like Levan Rose Louis Armstrong French and English verse and 466 00:37:37,840 --> 00:37:44,840 Speaker 1: put it together. So you're asking us to to take 467 00:37:45,000 --> 00:37:51,280 Speaker 1: a love and tear it. All of it's basically almost 468 00:37:51,280 --> 00:37:55,040 Speaker 1: exactly the same lyrics as the first verse in Greek. 469 00:37:55,440 --> 00:38:01,520 Speaker 1: So I know that interests your love. Honestly, that was 470 00:38:01,600 --> 00:38:04,799 Speaker 1: the first song that broke me. So up until now 471 00:38:05,280 --> 00:38:09,920 Speaker 1: I had found mostly tangles about cheating and deception, and 472 00:38:09,920 --> 00:38:12,680 Speaker 1: then this score came along and I printed it out 473 00:38:13,080 --> 00:38:15,200 Speaker 1: and I set it up in front of my piano 474 00:38:16,800 --> 00:38:20,040 Speaker 1: and started discovering it for the first time, measure by measure. 475 00:38:20,719 --> 00:38:23,000 Speaker 1: By the time I got to the fourth measure, I 476 00:38:23,080 --> 00:38:28,000 Speaker 1: was already crying. It was the most beautiful song I 477 00:38:28,000 --> 00:38:32,200 Speaker 1: had ever heard. And I know this sounds dramatic, but 478 00:38:32,800 --> 00:38:35,800 Speaker 1: I felt like with every measure I was wiping tears 479 00:38:36,400 --> 00:38:40,080 Speaker 1: and it just broke my heart. Can you hear this 480 00:38:40,200 --> 00:38:56,400 Speaker 1: with me? These are the first four measures. It's just 481 00:38:56,440 --> 00:39:05,400 Speaker 1: something about this chord. Yeah, look, court is it g 482 00:39:05,640 --> 00:39:15,440 Speaker 1: B F a flat b G seven G seven with 483 00:39:15,560 --> 00:39:21,279 Speaker 1: the nine G seven nine it's a G seven nine 484 00:39:21,880 --> 00:39:28,839 Speaker 1: plus nine plus six plus six. I looked it up 485 00:39:29,200 --> 00:39:32,479 Speaker 1: and it's either a G six flat nine or maybe 486 00:39:32,520 --> 00:39:36,759 Speaker 1: an inverted F sharp minor seven sharp four nine. Just 487 00:39:40,719 --> 00:39:43,600 Speaker 1: it's just it's just how does that not break your heart? 488 00:39:45,360 --> 00:39:58,719 Speaker 1: Even that first one? So like Gershwin esque who came 489 00:39:58,800 --> 00:40:02,719 Speaker 1: up with this absolutely genius. That's the thing, like when 490 00:40:02,719 --> 00:40:04,319 Speaker 1: you don't know what the court is, when you're like 491 00:40:04,400 --> 00:40:07,760 Speaker 1: playing it and it just hits you. Oh my god, 492 00:40:08,840 --> 00:40:12,280 Speaker 1: So I was. I was just playing measure by measure, 493 00:40:12,320 --> 00:40:15,480 Speaker 1: just stumbling through it with my bad site reading being 494 00:40:15,520 --> 00:40:23,320 Speaker 1: a sloppy mess. The title of it in Greek is themamufiis, 495 00:40:27,960 --> 00:40:31,319 Speaker 1: which I translated to I could never let you leave me, 496 00:40:31,800 --> 00:40:35,359 Speaker 1: but more closely translates to I just can't let you 497 00:40:35,400 --> 00:40:44,680 Speaker 1: go or I will never forget you. Though that was 498 00:40:44,719 --> 00:40:47,759 Speaker 1: a perfect double meaning to use and tribute to my 499 00:40:47,880 --> 00:41:07,239 Speaker 1: grandfather and his legacy. That's a final thing. M Through 500 00:41:07,280 --> 00:41:11,600 Speaker 1: the process of performing and reworking these songs, Lorie developed 501 00:41:11,640 --> 00:41:14,719 Speaker 1: a deep connection with the source material, even when it 502 00:41:14,800 --> 00:41:20,799 Speaker 1: wasn't easy. They these songs happened so also be very 503 00:41:20,840 --> 00:41:25,680 Speaker 1: beautiful and very well written, and it's very enjoyable to sing, 504 00:41:27,680 --> 00:41:32,600 Speaker 1: but there's a few on there that were tough, and 505 00:41:32,680 --> 00:41:35,279 Speaker 1: the only two songs that you may have heard of 506 00:41:35,400 --> 00:41:48,760 Speaker 1: before Sorious Granada by Augustin Laura, famous Spanish composer. Yes, 507 00:41:48,920 --> 00:41:56,640 Speaker 1: my Nancy. This was typically reserved for this big tenor 508 00:41:56,800 --> 00:42:04,480 Speaker 1: arim moment that was vocally challenging, but I can picture 509 00:42:04,880 --> 00:42:25,920 Speaker 1: the dramatic scene on stage lay the one song by 510 00:42:26,000 --> 00:42:32,520 Speaker 1: a Thick that's on the records, Life's passers By. It 511 00:42:32,719 --> 00:42:38,280 Speaker 1: was probably the toughest to record. Pretty most footing scare 512 00:42:38,360 --> 00:42:46,120 Speaker 1: most most said no more mystic, But it's basically talks 513 00:42:46,160 --> 00:42:50,279 Speaker 1: about how you've become like an old man and you 514 00:42:50,360 --> 00:42:53,360 Speaker 1: have nothing and no one is there for you, and 515 00:42:54,360 --> 00:42:57,920 Speaker 1: even drinking won't kill you, and you're just at the 516 00:42:57,960 --> 00:43:00,920 Speaker 1: lowest point in your life where you just want to 517 00:43:00,960 --> 00:43:12,400 Speaker 1: die and everything you try doesn't work. People don't go kind. 518 00:43:13,800 --> 00:43:16,799 Speaker 1: There's no redemption in the song. It's just it's just 519 00:43:16,880 --> 00:43:20,920 Speaker 1: heartbreaking that listen. It just like keeps digging itself deeper 520 00:43:20,960 --> 00:43:25,880 Speaker 1: and deeper and deeper until you're underground, Like don't listen 521 00:43:25,880 --> 00:43:30,319 Speaker 1: to it at a party, total down her. By the end, 522 00:43:30,320 --> 00:43:33,560 Speaker 1: I'm I'm already crying. Every time I recorded it, Singing 523 00:43:33,560 --> 00:43:38,319 Speaker 1: that on stage would completely break me. Here this year 524 00:43:39,080 --> 00:44:08,840 Speaker 1: to stop your dog my guess it's not good good? 525 00:44:12,000 --> 00:44:15,560 Speaker 1: So you've got the record? When do you clear your mom? 526 00:44:15,640 --> 00:44:25,120 Speaker 1: And did all of this November twenty two, on her birthday? Yes, yes, 527 00:44:25,480 --> 00:44:29,720 Speaker 1: we were working right up until that zoom call, until 528 00:44:30,000 --> 00:44:36,719 Speaker 1: like ago, mastering one of the tracks that wasn't sitting right. 529 00:44:39,040 --> 00:44:42,160 Speaker 1: I had to make her a video to prep her 530 00:44:42,200 --> 00:44:45,560 Speaker 1: on like what she's about to experience. You know, this 531 00:44:45,800 --> 00:44:51,000 Speaker 1: was research involved people that made it happen that we discovered. 532 00:44:51,600 --> 00:44:56,160 Speaker 1: There's still missing pieces, but there are ten songs and 533 00:44:56,360 --> 00:44:59,919 Speaker 1: just I don't know. I just enjoy it. O good, 534 00:45:00,680 --> 00:45:07,799 Speaker 1: you like it? Okay, here go m And I don't 535 00:45:07,840 --> 00:45:11,280 Speaker 1: think she totally grasped the enormity of it at first. 536 00:45:11,400 --> 00:45:15,200 Speaker 1: How did you gather all those musicians to plue play? 537 00:45:16,280 --> 00:45:20,319 Speaker 1: It's amazing? But she does now. I hope this is 538 00:45:20,320 --> 00:45:25,160 Speaker 1: a good seventieth birthday. Yes it is. She didn't know 539 00:45:25,160 --> 00:45:27,760 Speaker 1: about these songs at all, or about the sheet music. 540 00:45:28,280 --> 00:45:30,680 Speaker 1: This was the first time she'd ever heard them as well. 541 00:45:30,800 --> 00:45:34,279 Speaker 1: And she's already my number one fan. So for me 542 00:45:34,320 --> 00:45:37,520 Speaker 1: to sing these songs was I guess, like the cherry 543 00:45:37,520 --> 00:45:40,600 Speaker 1: on top. It was a very nice gift for me, 544 00:45:41,560 --> 00:45:45,200 Speaker 1: not only that I heard your voice and dance voice 545 00:45:45,440 --> 00:45:50,040 Speaker 1: and all these music, but because I had, you know, 546 00:45:50,239 --> 00:45:56,520 Speaker 1: something from my father. It's wild too that I mean, 547 00:45:56,560 --> 00:45:59,600 Speaker 1: because she never heard him sing the songs. No, she 548 00:45:59,640 --> 00:46:03,320 Speaker 1: had no idea that these existed. Plus I find it strange, 549 00:46:03,360 --> 00:46:07,680 Speaker 1: but maybe makes sense that in our attic or basement 550 00:46:08,160 --> 00:46:10,799 Speaker 1: we didn't have any of the sheet music of his. 551 00:46:12,000 --> 00:46:15,879 Speaker 1: This is a complete fantasy, but I picture Tony Rice 552 00:46:16,400 --> 00:46:20,080 Speaker 1: discovering that he has to do his vocal surgery and 553 00:46:20,120 --> 00:46:24,239 Speaker 1: remove his vocal cords and then taking all of this 554 00:46:24,360 --> 00:46:26,839 Speaker 1: sheet music on all of this music that he had 555 00:46:26,840 --> 00:46:31,239 Speaker 1: worked on for twenty plus years and just lit it 556 00:46:31,239 --> 00:46:36,640 Speaker 1: on fire and then went on with his life. If 557 00:46:36,680 --> 00:46:39,240 Speaker 1: I was in his place, I would probably do something similar. 558 00:46:44,480 --> 00:46:47,359 Speaker 1: I Can Never let You Leave Me was released in March. 559 00:46:51,360 --> 00:46:53,960 Speaker 1: I'm self releasing it, I'm self funding it. This is 560 00:46:54,040 --> 00:46:57,239 Speaker 1: kind of like a passion project that I didn't think 561 00:46:57,239 --> 00:46:59,200 Speaker 1: would see the light of day because it was just 562 00:46:59,280 --> 00:47:01,839 Speaker 1: for my mom. Then I just got so deep into 563 00:47:01,880 --> 00:47:04,239 Speaker 1: it that I felt like people need to hear this. 564 00:47:05,400 --> 00:47:18,399 Speaker 1: The Fia Sutlika say he Nike Africa. You're die night, 565 00:47:18,960 --> 00:47:24,600 Speaker 1: You're that's a This isn't my my demographic or anything. 566 00:47:24,680 --> 00:47:26,960 Speaker 1: I don't know who this is for, but I just 567 00:47:27,040 --> 00:47:38,880 Speaker 1: wanted out there going madya shu here Luckily cast thy good, 568 00:47:39,520 --> 00:47:46,680 Speaker 1: keep see loud. The Tony Rice project required a lot 569 00:47:46,760 --> 00:47:51,239 Speaker 1: of amazing feats, from Laurie and Petros's dogged research to 570 00:47:51,360 --> 00:47:54,520 Speaker 1: the fourth sight of Greek archivists, from the skill of 571 00:47:54,600 --> 00:47:58,320 Speaker 1: composers writing almost a century ago, to the diligence of 572 00:47:58,440 --> 00:48:03,439 Speaker 1: musicians working from home during a global pandemic. We said 573 00:48:03,520 --> 00:48:07,600 Speaker 1: lu lothing. But at its core, the source of inspiration 574 00:48:07,680 --> 00:48:11,880 Speaker 1: in this music is ineffable, the brilliance of one artist 575 00:48:12,239 --> 00:48:18,800 Speaker 1: filtered through the creativity of another. Mad pele truth he 576 00:48:19,200 --> 00:48:31,879 Speaker 1: sails this sing If you can't do she he said, Hey, 577 00:48:32,080 --> 00:48:36,239 Speaker 1: these hards weird. Through this journey, I was able to 578 00:48:36,360 --> 00:48:39,560 Speaker 1: discover a lot about what kind of person an artist 579 00:48:40,000 --> 00:48:43,399 Speaker 1: my grandfather was. But we never got to hear Tony 580 00:48:43,520 --> 00:48:46,640 Speaker 1: Rice himself sing these songs. I hope that we can 581 00:48:46,760 --> 00:48:50,000 Speaker 1: hear his voice through mine, and that these songs won't 582 00:48:50,040 --> 00:49:08,200 Speaker 1: be forgotten again. There let me stood seek say yaman yashion. 583 00:49:09,800 --> 00:49:13,000 Speaker 1: In many ways, I do think we're very similar. He 584 00:49:13,120 --> 00:49:16,680 Speaker 1: had this community of musicians like I have my community 585 00:49:16,719 --> 00:49:20,279 Speaker 1: of musicians. Now, I think we're both big softies for 586 00:49:20,680 --> 00:49:23,480 Speaker 1: both animals and the humans we love, and the kind 587 00:49:23,520 --> 00:49:28,400 Speaker 1: of music that we like. We're both sentimental performers whose 588 00:49:28,560 --> 00:49:33,120 Speaker 1: careers haven't quite gone as planned. We're both great cooks, 589 00:49:33,800 --> 00:49:37,680 Speaker 1: and we love entertaining and making people laugh. I never 590 00:49:37,800 --> 00:49:41,480 Speaker 1: met him, but after all this, I feel really connected 591 00:49:41,640 --> 00:49:45,640 Speaker 1: in a way that I can't quite explain, but I 592 00:49:45,760 --> 00:49:52,960 Speaker 1: hope he likes it. The bard of big gassion. Maybe 593 00:49:53,360 --> 00:50:03,400 Speaker 1: a study keeping ptyshy kidding say y'ama at eyes, flick 594 00:50:03,560 --> 00:50:40,680 Speaker 1: your waver bess h wh what is you may she 595 00:50:40,920 --> 00:50:50,880 Speaker 1: does steelfy you know, going my spitters past your faces 596 00:50:51,320 --> 00:51:00,399 Speaker 1: no bo fgis it looks shai don't love first made 597 00:51:00,480 --> 00:51:07,080 Speaker 1: it so stucky home with your mother, feeling with yours 598 00:51:07,200 --> 00:51:16,719 Speaker 1: who being nothing um the feece so cover good yes 599 00:51:16,920 --> 00:51:23,760 Speaker 1: and d VT shoes. She's a road. It's a phenon 600 00:51:27,960 --> 00:51:40,080 Speaker 1: sty doorbosness, I blabor miss mind you fool those who 601 00:51:40,280 --> 00:51:51,520 Speaker 1: serpoll theyp start the person or if you want to start, 602 00:51:55,280 --> 00:52:17,200 Speaker 1: there's a fena no fee cat yourr spine lovey. So 603 00:52:18,320 --> 00:52:23,960 Speaker 1: you're asking us to pall to take a love and 604 00:52:24,320 --> 00:52:30,399 Speaker 1: tear it all of her. Say when do you think 605 00:52:30,520 --> 00:52:35,480 Speaker 1: you'll go? She s, I know that in truth you 606 00:52:35,719 --> 00:52:41,600 Speaker 1: love me. So you flooded my funk hurting full of 607 00:52:41,840 --> 00:52:51,200 Speaker 1: fis and the fathom's loss and ways if if you 608 00:52:51,440 --> 00:52:58,280 Speaker 1: leave were willing bad, I like you jam wanta Look, 609 00:53:00,040 --> 00:53:08,200 Speaker 1: I could never let you leave, would have made you 610 00:53:09,000 --> 00:53:19,680 Speaker 1: my god to deeply to you and devilte my life 611 00:53:19,880 --> 00:53:36,520 Speaker 1: to you. When snow smoothing, I could never did you 612 00:53:36,600 --> 00:53:52,200 Speaker 1: read You're the sunshine on? This episode of Ephemeral was written, 613 00:53:52,200 --> 00:53:56,120 Speaker 1: assembled by Williams, and produced by Matt Frederick, Trevor Young 614 00:53:56,360 --> 00:54:00,919 Speaker 1: and Max. Williams explore the songs of Tony Roy, Best 615 00:54:00,960 --> 00:54:05,160 Speaker 1: Britina and the Good Johnson. Wherever you stream music and 616 00:54:05,280 --> 00:54:08,480 Speaker 1: pay it forward with your own copy, I can never 617 00:54:08,600 --> 00:54:13,959 Speaker 1: let you leave, or in Greek them over at Lori 618 00:54:14,120 --> 00:54:17,560 Speaker 1: thereasa dot com and hear more from us at a 619 00:54:17,640 --> 00:54:45,200 Speaker 1: fem dot show that's next time on. It's hard to 620 00:54:46,120 --> 00:54:49,479 Speaker 1: overstate the importance of the space of the video store 621 00:54:49,880 --> 00:54:54,000 Speaker 1: right over ten thousand videos. Whether it was a shabby place, 622 00:54:54,480 --> 00:54:57,839 Speaker 1: or whether it was a let's see blockbuster, or whether 623 00:54:57,880 --> 00:55:01,160 Speaker 1: it was a kind of quirky, artsy fartsy place with 624 00:55:01,480 --> 00:55:05,440 Speaker 1: memorabilia or whatever. The space of the store is hugely 625 00:55:05,520 --> 00:55:09,680 Speaker 1: important because it's a social space and a physical space, 626 00:55:10,120 --> 00:55:15,120 Speaker 1: creating this new sense of a physical relationship of shopping 627 00:55:15,640 --> 00:55:22,560 Speaker 1: with movies. Support Ephemeral by recommending an episode, leaving a review, 628 00:55:23,040 --> 00:55:26,399 Speaker 1: or dropping this a line at Ephemeral. 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