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Speaker 1: This episode is also available as video on YouTube. You

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Speaker 1: can visit Nora Jones channel and be sure to subscribe

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Speaker 1: while you're there. Hey, I'm Nora Jones and today I'm

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Speaker 1: playing along with Phineas. I'm just playing.

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Speaker 2: With you.

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Speaker 3: I'm just playing lone with you.

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Speaker 1: Hey, I'm Norah. This is Sarah Odin.

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Speaker 2: Hi.

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Speaker 1: Welcome to our show.

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Speaker 4: Today we have the Grammy, Oscar and Golden Globe winning singer, songwriter, producer,

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Speaker 4: and composer Phineas. He's the creative force behind his own

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Speaker 4: highly acclaimed solo music. He's written and produced for various artists,

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Speaker 4: and he's a longtime collaborator with Billie Eilish, his sister.

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Speaker 4: Among the many projects he's taken on his career, he

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Speaker 4: has also composed the entirely original score for season two

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Speaker 4: of the Netflix series Beef, which is so good streaming now.

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Speaker 1: Sorry, sure to check it out. It's so good. It's good.

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Speaker 1: It's really awesome because I've been getting into sort of

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Speaker 1: ambient music lately, you know, the genre, which I didn't

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Speaker 1: even know was a thing until recently. But it's so cool.

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Speaker 1: It's all synthesizers and it's well, you're kind of a

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Speaker 1: synthead new well your synth group, Yeah, which I know.

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Speaker 1: I like synthesize. I just don't know how to work

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Speaker 1: the enough, that's what she said. But it's pretty grat

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Speaker 1: grat It's pretty great though. It's a great soundtrack. I

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Speaker 1: love the show too.

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Speaker 4: You're going to hear about how to make a cover

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Speaker 4: song your own, the organic beginning and sort of predestined

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Speaker 4: story behind one of his most popular songs that he wrote,

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Speaker 4: and you're going to hear about something that, surprisingly we're

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Speaker 4: not dreaming about. Plus you'll hear Nora and Phineas play

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Speaker 4: songs together in ways that you have never heard before.

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Speaker 1: Yeah, it was really fun. He's such an incredible musician,

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Speaker 1: he really is.

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Speaker 4: I love that, Like from his bedroom to probably the

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Speaker 4: biggest stages in the world and now you're here.

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Speaker 1: Yeah, it was awesome. Yeah, he's incredible. He's really great

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Speaker 1: and we had so much fun. He's really fun to

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Speaker 1: talk to and he has great things to say. So

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Speaker 1: I think you're going to enjoy the episode here he is, Phineas.

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Speaker 2: Do you have a least favorite part of doing these

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Speaker 2: or do you have a favorite part? Like obviously you

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Speaker 2: start doing it and you think like, oh, this is

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Speaker 2: my good idea. I love it, but have you come

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Speaker 2: to loathe any part of this?

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Speaker 1: My least favorite part is the reach out because I

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Speaker 1: feel like I either say too much, which I did

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Speaker 1: with you, and I know it and I'm owning it

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Speaker 1: how so well, so you know, when you text someone

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Speaker 1: in but you don't know them, so you know you

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Speaker 1: want to edit yourself so you're not over over texting

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Speaker 1: or we're saying too many words uh huh. And I'm

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Speaker 1: always like, we can jump on the phone whatever you want,

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Speaker 1: but I try to give the spiel so that it's

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Speaker 1: all in one place and not multiple things, and so

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Speaker 1: that's always hard for me. I like finding the right

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Speaker 1: words being excited but not you know, a teenager about it.

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Speaker 1: It's not using too many exclamation points. And then probably

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Speaker 1: my favorite thing about doing this has been other people's

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Speaker 1: cover choices or the way we do them. And you know,

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Speaker 1: you always want to learn a song really well if

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Speaker 1: you're going to cover, even like your songs that we

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Speaker 1: pick today, I want to learn it really well. But

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Speaker 1: I also just kind of want to do our own

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Speaker 1: version of it. And it's been fun seeing what people

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Speaker 1: pick for covers and kind of just having little versions.

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Speaker 2: What's your you know, what is your relationship in general

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Speaker 2: to covers.

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Speaker 1: I started out as a jazz singer and I did

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Speaker 1: not write songs, so it was kind of all I did.

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Speaker 1: And then my first album, I sang songs by my

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Speaker 1: good friend Jesse Harris, and I wrote like two songs

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Speaker 1: on my first album only because I was just new

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Speaker 1: at songwriting. And now it's harder for.

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Speaker 2: Me to cover.

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Speaker 1: Yeah. I used to be able to own a song,

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Speaker 1: you know, like you you have to kind of own

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Speaker 1: it like you wrote it. And now I certainly songs

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Speaker 1: I love I can cover, and I love finding something

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Speaker 1: that fits in my set really well. But I feel

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Speaker 1: closer now to songs i've written. I even feel closer

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Speaker 1: to songs I've written now than the stuff on my

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Speaker 1: first album, and I didn't write even though I love

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Speaker 1: you know, I love them, but yeah, it comes from you, Yeah,

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Speaker 1: what about you?

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Speaker 2: I started writing so quickly upon learning anything on a

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Speaker 2: piano that one of my real sort of inabilities is

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Speaker 2: like to jam, you know what I mean. I sort

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Speaker 2: of have a good year, but especially on guitar or

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Speaker 2: something like you know, there's like people that do what

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Speaker 2: I do, like know, all the riffs. They know all

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Speaker 2: the standard riffs.

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Speaker 1: But you don't need those.

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Speaker 2: No, I mean I haven't. But it is a funny.

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Speaker 2: It is a funny thing. I was somewhere recently and

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Speaker 2: everybody was just kind of jamming, and I can. I

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Speaker 2: can sort of plunk along, but you know when you

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Speaker 2: fall into a song and everyone's like, oh classic, and

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Speaker 2: I don't really know this, And it's actually propelled me

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Speaker 2: to like buy some songbooks and like, you know, just

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Speaker 2: from my own sort of enrichment of like learning you know,

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Speaker 2: progressions that I'm unfamiliar with, or how to play a

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Speaker 2: song I've always loved but never sat and learned.

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Speaker 1: That's I mean, that's the only way to get better.

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Speaker 2: Right, Yeah, but I really kind of only am good

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Speaker 2: at playing my song.

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Speaker 1: Yeah.

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Speaker 2: I can't really sit and crush a song.

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Speaker 1: I bet you can. You just I think you just

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Speaker 1: have to figure out a way in to do it

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Speaker 1: your own way. Sure, but who wants to hear a

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Speaker 1: copy of a song?

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Speaker 2: Well?

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Speaker 1: You know what I mean, absolutely, I don't know.

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Speaker 2: And I thought that about I actually thought when you

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Speaker 2: said Kathy's song, I thought, I thought, oh, cool, that's

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Speaker 2: one of the songs I know less well than only

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Speaker 2: living boy in New York or something. And then I

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Speaker 2: thought it's probably better for me to do this then

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Speaker 2: to like try then to sort of think like I

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Speaker 2: really know, I really know this song, and you're like, yeah,

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Speaker 2: but so did Paul Simon know this song? Thing?

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Speaker 1: Yeah, it's true.

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Speaker 2: And the covers we all, I mean, like my relationship

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Speaker 2: with covers as a listener was like I was an

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Speaker 2: American Idol watcher and that's all covers.

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Speaker 1: But that's a very that's totally yeah.

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Speaker 2: But the most interesting ones are the most interesting covers,

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Speaker 2: you know, And that was different ones are, yes, exactly

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Speaker 2: the twist.

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Speaker 1: Yeah.

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Speaker 2: So like you know, the singer named David Cook one

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Speaker 2: one year and he kind of won off of a

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Speaker 2: Michael jack He won off of a Billy Jean Chris

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Speaker 2: Cornell cover. Like he was like, I'm doing the Chris

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Speaker 2: Cornell version of this Michael Jackson song. And then Adam

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Speaker 2: Lambert played the Gary Jewles version of the Tears for

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Speaker 2: Fears song Mad World, Like it's a funny like twists

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Speaker 2: of you know. Again, it's like if Chris Cornell had

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Speaker 2: been like, you know.

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Speaker 1: You don't want to Michael j.

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Speaker 2: I wrote Billy exactly. I'm singing it as if I

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Speaker 2: wrote it.

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Speaker 1: Yes, that's what you want. Absolutely, that's kind of what

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Speaker 1: you have to do. And I think you know, that's

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Speaker 1: something that you can only do well if you truly

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Speaker 1: love the song. Sure, it doesn't mean that you're good

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Speaker 1: at it across the board. You have to really connect

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Speaker 1: with the song. Yeah.

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Speaker 2: I mean you you know, your first album all you

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Speaker 2: sing everything like you wrote it. You know what I mean?

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Speaker 2: You you you have internalized it and are conveying your

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Speaker 2: performance of it. Is it has authorship?

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Speaker 1: Yeah, And I feel I feel like I, you know,

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Speaker 1: I felt inside those songs the time. I was also

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Speaker 1: more used to doing that at the time.

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Speaker 2: And everybody and again as a listener, especially when I was,

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Speaker 2: you know, first hearing that album and younger and knew

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Speaker 2: less about the songwriting world. The assumption is like this

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Speaker 2: person wrote all these exactly. So, I mean, you know,

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Speaker 2: your assumption growing up is it's this is a funny

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Speaker 2: part of it. Write. Your assumption when you listen to

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Speaker 2: the Spice Girls or Hanson or something is that they

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Speaker 2: all wrote all of the you know what I mean.

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Speaker 1: You have no idea.

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Speaker 2: Sometimes it's actually I mean, Hanson probably did write their song,

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Speaker 2: and the Jonas brothers did. But you know what I mean,

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Speaker 2: sometimes you'll hear like six people on the song and

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Speaker 2: think they all.

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Speaker 1: Wrote it exactly. Maybe yeah, yeah, or one of them

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Speaker 1: did or nobody did or whatever. Yeah, but when you're

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Speaker 1: covering a song, you don't want to feel like you're

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Speaker 1: doing karaoke. Like nothing wrong with karaoke, but no, you

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Speaker 1: want to feel more life.

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Speaker 2: In it, one hundred percent.

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Speaker 1: I was at a karaoke bar the other night. It

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Speaker 1: hadn't been in like twenty years.

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Speaker 2: Did you get asked to go up?

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Speaker 1: I got asked, but I was also very excited because

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Speaker 1: the one song I wanted to do so bad was

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Speaker 1: rum Tum Tugger from Cats. Obviously not a song I'm

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Speaker 1: going to put in my set, so that was the

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Speaker 1: one exception. I really just tried to sound like the

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Speaker 1: rum Tum Tugger, like in a vocal inflection. Y yeah,

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Speaker 1: I mean I had that all. I wore that album.

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Speaker 1: I wore that cassette out when I was ten, so

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Speaker 1: I yeah, I did my best impression.

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Speaker 2: Andreloyd Webber's very good Yes Phantom of the Opera. Growing

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Speaker 2: up was fan of the opera and Sweeney Todd were

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Speaker 2: super super important to me.

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Speaker 1: That's cool.

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Speaker 2: I loved those.

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Speaker 1: For me, it was Phantom and Cats.

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Speaker 2: Wow.

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Speaker 1: Cats is great, specifically Cats.

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Speaker 2: You're like, you're like, I don't really kid. Fantom's fine,

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Speaker 2: Cats the no, both.

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Speaker 1: I know both pretty well. Actually, I went to see

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Speaker 1: Cats for the first time when I was seven, and

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Speaker 1: then I went back when it came to Dallas when

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Speaker 1: I was nine, and my mom couldn't stop me. I

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Speaker 1: wanted to dress like.

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Speaker 2: A cat in the auditorium.

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Speaker 1: I had on a full body suit that was zebra print,

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Speaker 1: and I put makeup on and like, I tattered my

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Speaker 1: cape to look like Grizabella and I put it on it.

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Speaker 1: And she said she really tried to talk me out

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Speaker 1: of it, but I did it. So that's what's better

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Speaker 1: thing that happens.

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Speaker 2: Yeah, I mean, god, bless I think about I don't know.

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Speaker 2: I think we have a weird a weird kind of

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Speaker 2: like we grow up, we have so many repeated experiences

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Speaker 2: and we start comparing stuff to things that were part

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Speaker 2: of our formative experiences and you're like, that's fine, but

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Speaker 2: also that was your formative Like of course you love

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Speaker 2: that in an intrinsic way. That when you hear something

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Speaker 2: that reminds you of it, it's all compared, you know

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Speaker 2: what I mean. I was hearing a couple artists recently

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Speaker 2: that kind of reminded me of artists from the early aughts,

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Speaker 2: and I was sort of complaining about that, and my

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Speaker 2: friend was like, yeah, but a thirteen year old didn't

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Speaker 2: live through the early aughts, didn't have that relationship with

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Speaker 2: those songs, like this is going to be there, yeah,

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Speaker 2: you know, I mean, here's And the best example I

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Speaker 2: could give is like I went and saw a bunch

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Speaker 2: of Revel last year, and one of the Revel symphonies

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Speaker 2: pieces movements I saw, I was like, this is the

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Speaker 2: overture of Sweeney Todt, Like he just lifted this revel.

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Speaker 1: That's amazing. And I was like, what the fuck?

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Speaker 2: And I was Google sitting in the audience, like googling

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Speaker 2: like Sondheim Ravel.

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Speaker 1: To confirm that you're right.

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Speaker 2: Well, I just was like, this is like the dumb

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Speaker 2: I was like, this is the same thing, and and

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Speaker 2: of course, you know Sondheim probably to avoid whatever you're avoiding,

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Speaker 2: was like, yeah, I love Revel, Sure, this is this

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Speaker 2: is a revel, it's a cover.

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Speaker 1: I gotta I gotta check that out. I was pretty shocked.

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Speaker 2: But again, the point I'm making is, does that now

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Speaker 2: make the ballad of Sweeney Todd less important to me? Especially? No,

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Speaker 2: because I grew up with that. But it's also interesting too.

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Speaker 2: If you were a revel head and then you hurt, yeah,

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Speaker 2: you'd be like, oh, this is just recycled point there,

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Speaker 2: like this just recycled revel And I'm like just sort

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Speaker 2: of inspired by both, I guess.

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Speaker 1: And you probably love revel.

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Speaker 2: More more because I like Sweeny talk. You already liked

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Speaker 2: that because it felt more The groove in my brain

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Speaker 2: is deeper worn. Yeah, yeah, yeah, yeah, yeah.

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Speaker 1: Well you want to try a song, let's try it.

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Speaker 1: Do you want to start with that Kathy's or where

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Speaker 1: you want to start with? Dialogue?

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Speaker 2: Why don't we warm into Kathys? We'll do We'll do

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Speaker 2: a dialog first.

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Speaker 1: I really love this song, thanks so much. This is

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Speaker 1: like an older song right now, this is a much

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Speaker 1: older song.

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Speaker 2: Yeah. I wrote this song in a green room in

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Speaker 2: Are you from Texas? Originally Dallas? I wrote this, I

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Speaker 2: think in a green room. Honestly, it's either Dallas or

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Speaker 2: like El Passo. Oh wow, yeah, we were on a

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Speaker 2: tour in twenty eighteen, I just started dating the person

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Speaker 2: that I am now engaged to.

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Speaker 1: Oh awesome.

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Speaker 2: So it was years ago, but at the beginning of

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Speaker 2: this same relationship, and I was opening for those shows.

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Speaker 1: Okay, and that was it Billy shows.

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Speaker 2: For Billy's shows. I was also in her for the

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Speaker 2: price of one.

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Speaker 1: That's a lot.

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Speaker 2: It actually was really hard and I've done a lot

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Speaker 2: of it. I've also done like an early set at

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Speaker 2: a music festival the same day as playing the headline

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Speaker 2: set with Billy, and like, I'm very grateful for a

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Speaker 2: the opportunity, the you know, the audience that is coming

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Speaker 2: to see Billy whose music is popular, in my music,

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Speaker 2: which is less popular. I'm grateful for all of it,

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Speaker 2: but it was I sort of have moved away from

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Speaker 2: doing both to try to make either one better.

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Speaker 1: Well, it's something you only want to do when you're

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Speaker 1: very young and have the energy.

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Speaker 2: Probably well, yes, and again it's like something where you

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Speaker 2: think you're always My part of my naivete is that

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Speaker 2: I that I will that it won't suffer because I

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Speaker 2: have the stamina, and I think ultimately then I would

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Speaker 2: do a show with her where I wasn't opening, and

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Speaker 2: I think I was better. I did a better job

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Speaker 2: at this than I did when I was opening.

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Speaker 1: Yeah, I mean I think that's a good lesson just

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Speaker 1: for everything. But it's probably like my own daily life

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Speaker 1: multi if I'm a.

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Speaker 2: Little less worn out, I'll do a better job. Yeah,

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Speaker 2: but I assume that, you know, the Beatles are grateful

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Speaker 2: for Hamburg, and they also probably wouldn't want to do it.

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Speaker 2: You know, he's like eighty. I don't think he'd want

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Speaker 2: to do it right now.

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Speaker 1: Exactly, Yeah, what's Hamburg? I'm Beatle illiterate really a little bit.

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Speaker 2: The Hamburg was where they played something like ten hours

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Speaker 2: a night in a nightclub. They're sort of famous ten

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Speaker 2: thousand hours, Like they went off to play as the

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Speaker 2: bar band, and you know, Germany is like famous for

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Speaker 2: the clubs being open all night. They'd play from whatever

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Speaker 2: eight pm to seven in the morning or something, so.

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Speaker 1: Right, that's like the best practice ever.

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Speaker 2: It came back to Liverpool like really tight, I think

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Speaker 2: from their crazy amount of hours.

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Speaker 1: So I think those gigs are the most important.

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Speaker 2: Yeah.

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Speaker 1: The way I had a gig like that definitely not

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Speaker 1: like that kind of gig. It was a piano restaurant, gig.

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Speaker 1: But it was where I learned how to sing and

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Speaker 1: play at the same time because.

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Speaker 2: The talked over.

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Speaker 1: Yeah, oh, talked over. It was a huge skill because

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Speaker 1: otherwise I wouldn't be able to just mess up and

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Speaker 1: do it. You know, I messed up constantly.

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Speaker 2: You mess up, you learn that. I also think you

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Speaker 2: learn when you're being talked over, which things will sort

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Speaker 2: of inherently like pierce through yes, where you're like, I'm

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Speaker 2: being talked over, but this moment of my set this night,

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Speaker 2: they will stop for a second because of whatever it is,

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Speaker 2: the frequency or the fervency, which I think is very valuable.

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Speaker 5: Yeah.

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Speaker 1: Occasionally one person clap and then the entire restaurant would

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Speaker 1: look up and like slowly the clap would spread. Yeah,

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Speaker 1: but it was kind of a sad clap, you know,

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Speaker 1: but also sweet.

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Speaker 2: So I did a couple gigs recently, one where I

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Speaker 2: was certain I would be talked over and I was not,

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Speaker 2: and I was pretty thrown off by it. I did

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Speaker 2: a couple kind of like you know, you get hired

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Speaker 2: to be like the entertainment in a.

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Speaker 1: Party kind of private yeah, yeah, and it.

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Speaker 2: Was like I just was like, yeah, I'm going to

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Speaker 2: get talked over and that's fine, And I made a

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Speaker 2: joke about it when I walked out, and then I

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Speaker 2: did another one where I.

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Speaker 1: Was like, you probably ensured that you wouldn't by making

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Speaker 1: the joke about.

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Speaker 2: Yeah, And then I did another one where I was

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Speaker 2: really talked over and I like it was actually so loud.

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Speaker 2: I was like I could barely hear myself and I

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Speaker 2: was like, oh, I'm so glad I used to do

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Speaker 2: this all the time. Yeah, because if I don't, you

345
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Speaker 2: know what I mean, if I'd never done this, I

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Speaker 2: would I'd be like having a credit, like it's one

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Speaker 2: of these. And also we've been you know, I you

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Speaker 2: go to something in New York or LA and there's

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Speaker 2: somebody sometimes it's like a person you really have heard

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Speaker 2: of love and they're often in between them and you

351
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Speaker 2: was a thousand people having networking or whatever. Yeah, and

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Speaker 2: I am like, holy shit, like there's nothing, there's nothing

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Speaker 2: anyone can do.

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Speaker 1: It's like, you know, no, it happens.

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Speaker 2: Yeah, it's really tough. Environment dictates exactly.

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Speaker 1: I'm not going to talk over this.

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Speaker 2: You can't. Let's do it, okay.

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Speaker 1: Cool.

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Speaker 3: I was in looking for you, but you found me.

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Speaker 3: You found me just as the smoke fell alone in

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Speaker 3: the valley. You asked me, do you own a die?

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Speaker 5: Hello?

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00:17:50,720 --> 00:17:56,320
Speaker 3: Watch it all burned down together? I said, I'd rather try.

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Speaker 1: To hold on to.

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Speaker 5: You, for.

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Speaker 6: He's are.

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Speaker 7: No hard.

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Speaker 2: Let him go, if the sky.

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Speaker 8: High high knockings of bud, stay by side.

370
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Speaker 6: In the after.

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Speaker 2: It's piano plays, bring.

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Speaker 9: This was the place, sarcle No, it's ashes.

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Speaker 2: Two ashes.

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Speaker 3: Memory Sammarca.

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Speaker 10: Comes in flashes the when it passes and I see her,

376
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Speaker 10: I know.

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Speaker 1: Not.

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Speaker 10: I think I'll ever find better. I think I'd rather

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Speaker 10: long together.

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Speaker 7: Because I know the the har.

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Speaker 3: Setting go, you've the scar.

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00:20:10,800 --> 00:20:12,480
Speaker 11: Theorcan's a bard.

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Speaker 3: I'll stay by your side already after.

384
00:21:07,359 --> 00:21:17,680
Speaker 2: Looking for you. But so fun. I love your voice

385
00:21:17,680 --> 00:21:19,760
Speaker 2: so much. This is a real this is a real

386
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Speaker 2: make a wish situation you have going on here for

387
00:21:22,680 --> 00:21:25,359
Speaker 2: your for your podcast. This is really fun.

388
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Speaker 1: Well same here. I'm a really huge fan and just

389
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Speaker 1: to hear you play, you do have such a special

390
00:21:32,600 --> 00:21:35,000
Speaker 1: touch on the piano. It's really beautiful.

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00:21:35,080 --> 00:21:37,399
Speaker 2: It is a very fun piano to play. Sometimes you

392
00:21:37,760 --> 00:21:40,680
Speaker 2: people studios and they have a thing that it's funny.

393
00:21:40,680 --> 00:21:44,400
Speaker 2: You sit and you think, oh, this is an interesting instrument.

394
00:21:44,920 --> 00:21:46,680
Speaker 2: But they're gonna they're so much better than me. But

395
00:21:46,760 --> 00:21:48,560
Speaker 2: this is such a this is a friendly.

396
00:21:48,680 --> 00:21:53,520
Speaker 1: It's beautiful and she's got nice legs. Check them out.

397
00:21:54,040 --> 00:21:57,640
Speaker 2: Yeah, it's actually very beautiful. Mysterious. How you got it

398
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Speaker 2: down in here?

399
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Speaker 1: I grew it? No, somebody asked me once if I

400
00:22:01,760 --> 00:22:05,480
Speaker 1: grew it. But that was so beautiful. I love that song.

401
00:22:05,520 --> 00:22:08,120
Speaker 1: It's so pretty. Yeah, that's I'm so.

402
00:22:10,040 --> 00:22:13,280
Speaker 2: Excited that you picked it because it's just one of

403
00:22:13,320 --> 00:22:16,320
Speaker 2: the things that I you know, it's I was promoting

404
00:22:16,359 --> 00:22:18,480
Speaker 2: it a long time ago, and so I don't get

405
00:22:18,480 --> 00:22:21,440
Speaker 2: the you know, if I'm doing two songs on a show.

406
00:22:21,520 --> 00:22:24,399
Speaker 1: Yeah, you don't pick an old song do that thing.

407
00:22:24,320 --> 00:22:27,840
Speaker 2: From do that old ballad before you signed here.

408
00:22:28,720 --> 00:22:31,960
Speaker 1: It's just really beautiful and thank you. I get the

409
00:22:32,000 --> 00:22:34,040
Speaker 1: feeling you said it was a dressing room song. Was

410
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Speaker 1: it kind of a quickie?

411
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Speaker 2: Of course?

412
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Speaker 1: Yeah, the best ones, I think.

413
00:22:38,560 --> 00:22:41,240
Speaker 2: Yeah, it was during one of the fires, Like you know,

414
00:22:42,480 --> 00:22:45,960
Speaker 2: I had a feeling it was during some some period

415
00:22:46,000 --> 00:22:50,080
Speaker 2: where some part of California was burning down. I think

416
00:22:50,320 --> 00:22:53,760
Speaker 2: Seamy Valley and like Sunland was on fire or something.

417
00:22:53,840 --> 00:22:55,720
Speaker 1: But I don't know those are such.

418
00:22:57,119 --> 00:23:00,919
Speaker 2: I assume I assume like anything anywhere like that, nothing

419
00:23:00,920 --> 00:23:05,240
Speaker 2: connects you to where you live other like something bad happen.

420
00:23:05,640 --> 00:23:08,760
Speaker 1: Yeah, like nine to eleven. When I was living here,

421
00:23:09,320 --> 00:23:12,040
Speaker 1: when that happened, it felt very Yeah, I'm sure.

422
00:23:12,200 --> 00:23:14,600
Speaker 2: And the idea of leaving, I don't know, like I

423
00:23:14,720 --> 00:23:19,520
Speaker 2: was not when La really burned a year ago, a

424
00:23:19,560 --> 00:23:22,919
Speaker 2: year and a half ago, I was in Australia and

425
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Speaker 2: I really wanted to go home.

426
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Speaker 1: You wanted to be with everyone.

427
00:23:26,080 --> 00:23:29,840
Speaker 2: Yeah, yeah, And I think that that. I think that's awesome.

428
00:23:29,880 --> 00:23:32,480
Speaker 2: And I also thought I remember thinking, because it was

429
00:23:32,600 --> 00:23:34,679
Speaker 2: unclear it was three or four days of that, it

430
00:23:34,760 --> 00:23:37,440
Speaker 2: was like and I live in an area near hills

431
00:23:37,440 --> 00:23:39,840
Speaker 2: where I was like, oh, my house could totally burn

432
00:23:39,920 --> 00:23:41,800
Speaker 2: and it didn't. And I remember thinking like if it

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Speaker 2: doesn't burn, then then we have to lock in. We

434
00:23:45,280 --> 00:23:48,840
Speaker 2: have to really be here. Yeah, because you know what

435
00:23:48,840 --> 00:23:53,240
Speaker 2: I mean. It is like a very similar sort of

436
00:23:54,080 --> 00:23:56,080
Speaker 2: galvanizing thing too. I feel like what I saw a

437
00:23:56,119 --> 00:23:57,680
Speaker 2: lot of people do after nine eleven, which is.

438
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Speaker 1: Like, yeah, either less leaving or they stay.

439
00:24:00,240 --> 00:24:02,760
Speaker 2: I would or COVID or whatever it is. I'm going

440
00:24:02,800 --> 00:24:06,679
Speaker 2: to stay in this place, which I think is very beautiful.

441
00:24:07,119 --> 00:24:09,040
Speaker 1: And you grew up in La.

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00:24:09,240 --> 00:24:09,960
Speaker 2: I grew up in La.

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Speaker 1: You are very La, like it's your home.

444
00:24:12,480 --> 00:24:16,120
Speaker 2: I know this love La. Yeah, yeah, I also love

445
00:24:17,600 --> 00:24:21,840
Speaker 2: I love other places. But I do feel I do feel,

446
00:24:22,240 --> 00:24:24,639
Speaker 2: you know, if I had tattoos, i'd have some big

447
00:24:25,680 --> 00:24:28,960
Speaker 2: tattoo of the Griffith Park Observatory or something. I feel

448
00:24:29,080 --> 00:24:31,959
Speaker 2: very of course, so much affection for it.

449
00:24:32,040 --> 00:24:32,840
Speaker 1: I think it's beautiful.

450
00:24:32,920 --> 00:24:33,919
Speaker 2: I got Texas for you.

451
00:24:34,080 --> 00:24:36,600
Speaker 1: I grew up a little disjointed. So I was born

452
00:24:36,640 --> 00:24:38,320
Speaker 1: in New York, moved to Texas when I was three

453
00:24:38,440 --> 00:24:43,000
Speaker 1: or four, and then I lived in different places in Texas,

454
00:24:43,240 --> 00:24:47,399
Speaker 1: kind of around Dallas, and so I actually and then

455
00:24:47,400 --> 00:24:49,720
Speaker 1: I moved to Alaska and then came anyway. It's boring,

456
00:24:49,800 --> 00:24:53,200
Speaker 1: but I changed schools maybe I think ten or eleven times,

457
00:24:53,440 --> 00:24:57,920
Speaker 1: and I think I have a different thing with home.

458
00:24:57,960 --> 00:24:59,920
Speaker 1: I love. I mean, I love it. There's things I love.

459
00:25:00,080 --> 00:25:04,720
Speaker 1: But I'm a little less cemented because I wasn't cemented. Sure,

460
00:25:04,800 --> 00:25:06,919
Speaker 1: you know, did you grow up in the same house?

461
00:25:07,520 --> 00:25:08,200
Speaker 2: Pretty much?

462
00:25:08,280 --> 00:25:10,000
Speaker 1: We lived so special, it's.

463
00:25:09,960 --> 00:25:12,919
Speaker 2: Part of it. We lived in a triplex in Silver

464
00:25:13,040 --> 00:25:16,919
Speaker 2: Lake where it was like sort of an odd almost house,

465
00:25:17,280 --> 00:25:19,960
Speaker 2: and then three families and we were on the middle floor.

466
00:25:20,320 --> 00:25:23,840
Speaker 2: And then we moved out of that place when I

467
00:25:23,920 --> 00:25:25,200
Speaker 2: think it was like one of those things where the

468
00:25:25,200 --> 00:25:28,400
Speaker 2: owners like, I'm selling it. And then we moved into

469
00:25:28,440 --> 00:25:31,040
Speaker 2: a house in Holland Park when Billy was about to

470
00:25:31,040 --> 00:25:34,560
Speaker 2: be born, right like a month, like the month of

471
00:25:34,640 --> 00:25:37,560
Speaker 2: nine to eleven, and then Billy was born right after

472
00:25:37,600 --> 00:25:39,840
Speaker 2: and then we lived there until I moved out. And

473
00:25:39,880 --> 00:25:41,280
Speaker 2: I didn't move out till I was twenty one.

474
00:25:41,440 --> 00:25:42,480
Speaker 1: What's your age difference?

475
00:25:42,520 --> 00:25:45,960
Speaker 2: Four years? Okay, So I'm twenty eight and she's twenty four, okay,

476
00:25:46,800 --> 00:25:50,119
Speaker 2: But I lived there, yeah, until I was twenty one,

477
00:25:50,119 --> 00:25:55,040
Speaker 2: because we started touring when I was like nineteen. Oh yeah,

478
00:25:55,119 --> 00:25:57,359
Speaker 2: You're like, why would I Why would I home?

479
00:25:57,600 --> 00:25:59,879
Speaker 1: I'm home for a week. Why would I you want home? Cookie?

480
00:26:00,040 --> 00:26:01,080
Speaker 2: Why would I pay rent?

481
00:26:01,560 --> 00:26:01,879
Speaker 1: Yeah?

482
00:26:02,080 --> 00:26:04,959
Speaker 2: Somewhere, you know. And then I got this girlfriend who

483
00:26:05,000 --> 00:26:08,320
Speaker 2: I'm now engaged to, and I was like, she had

484
00:26:08,359 --> 00:26:10,720
Speaker 2: a cute apartment, and I remember being like, oh, I

485
00:26:10,760 --> 00:26:11,360
Speaker 2: have to move out.

486
00:26:11,560 --> 00:26:11,800
Speaker 1: Yeah.

487
00:26:12,760 --> 00:26:14,520
Speaker 2: I was like, she has an apartment, or we can

488
00:26:14,560 --> 00:26:17,160
Speaker 2: hang out at my mom's house. Yeah, I maybe needed.

489
00:26:17,200 --> 00:26:18,480
Speaker 2: I need to live somewhere.

490
00:26:18,280 --> 00:26:21,560
Speaker 1: There's a point where it has to happen. Fly little Birdie, fly.

491
00:26:21,680 --> 00:26:23,439
Speaker 2: Good piece of gross.

492
00:26:23,560 --> 00:26:26,480
Speaker 1: Yeah exactly. But do you think do you ever think

493
00:26:26,520 --> 00:26:29,040
Speaker 1: of living anywhere else? Or you just feel la is

494
00:26:29,080 --> 00:26:31,920
Speaker 1: your home. I'm sure because you travel so much. It's

495
00:26:31,960 --> 00:26:34,240
Speaker 1: kind of like that itch gets scratched a little bit.

496
00:26:34,320 --> 00:26:38,600
Speaker 2: But I mean I feel I feel the same thing

497
00:26:38,640 --> 00:26:40,479
Speaker 2: I assume a lot of people feel, which is like

498
00:26:40,520 --> 00:26:44,000
Speaker 2: I go somewhere I love and I think, ooh, living

499
00:26:44,040 --> 00:26:47,360
Speaker 2: here seems romantic and cool. I could do that, you know.

500
00:26:48,480 --> 00:26:49,880
Speaker 1: But it feels like a lot of work to move.

501
00:26:50,080 --> 00:26:51,760
Speaker 2: Sure, is a lot of work, and it's you know,

502
00:26:51,800 --> 00:26:55,440
Speaker 2: it's all of my friends. Whenever I feel very partial

503
00:26:55,520 --> 00:26:58,520
Speaker 2: to Australia, really feel very partial to.

504
00:26:59,160 --> 00:27:00,240
Speaker 1: It's kind of like cal four.

505
00:27:01,320 --> 00:27:04,320
Speaker 2: Australia is a little bit like if the English only

506
00:27:04,359 --> 00:27:07,800
Speaker 2: colonized Texas. Okay, you know what I mean, sort of

507
00:27:07,880 --> 00:27:10,120
Speaker 2: like Cowboy England.

508
00:27:10,359 --> 00:27:11,800
Speaker 1: Yeah, I guess that makes sense.

509
00:27:12,640 --> 00:27:15,920
Speaker 2: But I do really like it. And then I feel

510
00:27:15,960 --> 00:27:21,320
Speaker 2: that way about like you know, the Scandinavian like I

511
00:27:21,320 --> 00:27:24,480
Speaker 2: feel that way about and I feel that way about

512
00:27:24,560 --> 00:27:29,399
Speaker 2: like Sweden, and and you know, those are beautiful cities

513
00:27:29,440 --> 00:27:30,679
Speaker 2: Stockholm or whatever.

514
00:27:30,640 --> 00:27:32,560
Speaker 1: And they're fun in the summer because they're not as hot.

515
00:27:33,119 --> 00:27:35,760
Speaker 2: It's funny because you go probably like you you go

516
00:27:35,840 --> 00:27:37,520
Speaker 2: on tour to Stockholm.

517
00:27:37,160 --> 00:27:39,399
Speaker 1: In May or June, yes, not the winter.

518
00:27:39,320 --> 00:27:41,679
Speaker 2: No, And they've just gotten out of the winter, and

519
00:27:41,720 --> 00:27:44,120
Speaker 2: so everyone that you're like, how you doing, and everyone's

520
00:27:44,160 --> 00:27:47,320
Speaker 2: like it's been a long winter, like they're all they've

521
00:27:47,320 --> 00:27:49,840
Speaker 2: all just suffered tremendously.

522
00:27:50,800 --> 00:27:51,560
Speaker 1: But I don't know.

523
00:27:51,640 --> 00:27:53,359
Speaker 2: I think there is something about a kind of a

524
00:27:53,359 --> 00:27:57,520
Speaker 2: cyclical you know, it is like you're you get really

525
00:27:57,600 --> 00:28:00,679
Speaker 2: numb to you get numb to every thing. Yeah, so

526
00:28:00,760 --> 00:28:03,080
Speaker 2: I think that I'm like, oh, they're probably appreciating this

527
00:28:03,119 --> 00:28:05,320
Speaker 2: beautiful day in a as a California.

528
00:28:06,200 --> 00:28:08,520
Speaker 1: Yeah, that is the whole the whole thing. I love winter.

529
00:28:08,720 --> 00:28:12,040
Speaker 1: So I don't know, I could just go on a

530
00:28:12,080 --> 00:28:14,520
Speaker 1: winter trip if I lived in California. Probably.

531
00:28:14,880 --> 00:28:16,800
Speaker 2: Do you have children, yeah, how old?

532
00:28:17,280 --> 00:28:17,920
Speaker 1: Ten and twelve?

533
00:28:18,320 --> 00:28:20,280
Speaker 2: Oh those are potent ages.

534
00:28:20,520 --> 00:28:21,320
Speaker 1: It's getting weird.

535
00:28:21,960 --> 00:28:22,800
Speaker 5: I'm not going to lie.

536
00:28:25,040 --> 00:28:27,080
Speaker 1: They're great, but it's I'm like, oh.

537
00:28:26,840 --> 00:28:29,720
Speaker 2: Hold on, are they Because I think when I was twelve,

538
00:28:30,320 --> 00:28:33,760
Speaker 2: I was sort of maybe through TV shows and movies,

539
00:28:33,880 --> 00:28:36,440
Speaker 2: like I was like I want to live in oh, yeah,

540
00:28:36,440 --> 00:28:37,120
Speaker 2: this place and.

541
00:28:37,080 --> 00:28:40,960
Speaker 1: That, but I want to live in you know, Seattle.

542
00:28:41,240 --> 00:28:41,440
Speaker 10: Yeah.

543
00:28:41,560 --> 00:28:44,680
Speaker 2: No, do they have any places that are calling to them.

544
00:28:44,880 --> 00:28:47,000
Speaker 1: I think at a young age they're still really attached

545
00:28:47,040 --> 00:28:49,480
Speaker 1: to any place that we visited and had a fun trip.

546
00:28:50,160 --> 00:28:52,120
Speaker 1: So they both love La because we've had a couple

547
00:28:52,160 --> 00:28:56,000
Speaker 1: family trips out there. And I took my daughter to Japan.

548
00:28:56,200 --> 00:28:58,520
Speaker 1: I went on tour in September. It was a very

549
00:28:58,560 --> 00:29:01,560
Speaker 1: short just two shows, so I took her and recently

550
00:29:01,680 --> 00:29:03,400
Speaker 1: she's like, yeah, well when I'm older and I live

551
00:29:03,400 --> 00:29:06,320
Speaker 1: in Japan, and I'm like, oh, okay, So I think

552
00:29:06,320 --> 00:29:08,080
Speaker 1: they're very impressionable still.

553
00:29:08,200 --> 00:29:10,640
Speaker 2: Well yeah, and they're so you know. I think that

554
00:29:11,000 --> 00:29:14,800
Speaker 2: it's also you're you keep thinking you know who you are,

555
00:29:14,880 --> 00:29:17,400
Speaker 2: and then you keep finding out you're not at those ages,

556
00:29:17,640 --> 00:29:22,040
Speaker 2: and I think that my memories of traveling to more

557
00:29:22,120 --> 00:29:27,640
Speaker 2: plebeian places, more sort of benign places than Japan. I

558
00:29:27,680 --> 00:29:30,400
Speaker 2: still was sort of attached to the fact that I

559
00:29:30,480 --> 00:29:34,000
Speaker 2: felt new. Yeah right, I didn't. I was like, I

560
00:29:34,040 --> 00:29:36,200
Speaker 2: can be whoever I want to be here.

561
00:29:36,240 --> 00:29:39,080
Speaker 1: That's the fun part about changing changing.

562
00:29:39,840 --> 00:29:43,280
Speaker 2: Is your daughter ten or twelve. She's right, So you're

563
00:29:43,320 --> 00:29:46,360
Speaker 2: ten and you're in Japan and you're like, I've never

564
00:29:46,400 --> 00:29:47,000
Speaker 2: been older.

565
00:29:47,360 --> 00:29:48,680
Speaker 1: Yes, it was so fun.

566
00:29:48,760 --> 00:29:52,800
Speaker 2: This is pretty exciting, and it's a beautiful you know, it's.

567
00:29:52,400 --> 00:29:53,520
Speaker 1: Just such a cool place.

568
00:29:53,600 --> 00:29:56,920
Speaker 2: But yeah, you guys in Tokyo and both soccer, Yeah, yeah,

569
00:29:57,200 --> 00:29:59,120
Speaker 2: go far. But they're unbelievable.

570
00:29:59,200 --> 00:30:02,840
Speaker 1: They're unbelievable. Yeah, yeah, it was special. When did you

571
00:30:02,840 --> 00:30:05,040
Speaker 1: start playing music? Are your parents musicians?

572
00:30:05,080 --> 00:30:10,160
Speaker 2: My parents are hobbyist musicians. He'd never made money from.

573
00:30:10,040 --> 00:30:11,360
Speaker 1: It, so they love it.

574
00:30:11,520 --> 00:30:12,040
Speaker 2: They love it.

575
00:30:12,160 --> 00:30:12,360
Speaker 1: Yeah.

576
00:30:13,840 --> 00:30:17,760
Speaker 2: My dad laid a lot of piano in the house

577
00:30:17,760 --> 00:30:19,880
Speaker 2: growing up, and my mom played some piano too, And

578
00:30:19,920 --> 00:30:22,320
Speaker 2: then my mom played guitar in the house, like a

579
00:30:22,320 --> 00:30:26,760
Speaker 2: lot of nylon string and write songs and singing and

580
00:30:26,840 --> 00:30:30,160
Speaker 2: she sang, and so that was kind of from from there.

581
00:30:30,440 --> 00:30:32,840
Speaker 2: The house was full of instruments.

582
00:30:32,960 --> 00:30:33,760
Speaker 1: That's so fun.

583
00:30:34,200 --> 00:30:38,920
Speaker 2: And and my mom actually taught like I don't know,

584
00:30:39,080 --> 00:30:41,160
Speaker 2: I wonder how, I bet. I bet it was the

585
00:30:41,160 --> 00:30:43,800
Speaker 2: same way she does everything else, which is like there's

586
00:30:43,840 --> 00:30:47,320
Speaker 2: a program called Music Together for like little little kids,

587
00:30:47,400 --> 00:30:51,479
Speaker 2: babies and toddlers, and she put us in it and

588
00:30:51,520 --> 00:30:54,560
Speaker 2: then you know, it's all shaking stuff and singing little

589
00:30:55,000 --> 00:31:00,240
Speaker 2: nursery rhymes and clapping and but it's but it's for real,

590
00:31:00,320 --> 00:31:00,840
Speaker 2: you know what I mean.

591
00:31:00,880 --> 00:31:02,120
Speaker 1: It's like it's cool.

592
00:31:02,240 --> 00:31:06,920
Speaker 2: It's cooling, lame, No, it's you're seeing beautiful little melodies.

593
00:31:07,000 --> 00:31:09,960
Speaker 2: And I think she got into that. And then she

594
00:31:10,000 --> 00:31:14,680
Speaker 2: started teaching those classes, and so we were, you know,

595
00:31:15,640 --> 00:31:19,520
Speaker 2: because we were her kids. We might as just sort

596
00:31:19,520 --> 00:31:21,400
Speaker 2: of members of the class, go to one a week,

597
00:31:21,440 --> 00:31:23,960
Speaker 2: and because she was teaching, I'd sit through like four.

598
00:31:24,200 --> 00:31:25,800
Speaker 1: You know what I mean, would you help?

599
00:31:26,880 --> 00:31:33,239
Speaker 2: You're still you know, And but I do. I do

600
00:31:33,320 --> 00:31:35,920
Speaker 2: think that much like when kids learn how to play

601
00:31:36,520 --> 00:31:39,120
Speaker 2: violin at four, they have like perfect pitch, which I

602
00:31:39,200 --> 00:31:41,440
Speaker 2: don't have. But I do think like, like you developed

603
00:31:41,480 --> 00:31:43,880
Speaker 2: that had a lot of rhythm. It was like really

604
00:31:44,200 --> 00:31:48,960
Speaker 2: you know, tambourines and shakers, and I think all that

605
00:31:49,000 --> 00:31:52,480
Speaker 2: stuff when you're young and learning language is so awesome.

606
00:31:52,960 --> 00:31:56,280
Speaker 2: So that was really our kind of early exposure to stuff.

607
00:31:56,560 --> 00:31:59,520
Speaker 2: When I was like eleven, I started playing some piano and.

608
00:31:59,560 --> 00:32:00,760
Speaker 1: She took formal lessons.

609
00:32:00,840 --> 00:32:03,360
Speaker 2: I took some formal lessons, but it was it didn't stick.

610
00:32:03,400 --> 00:32:07,160
Speaker 2: I took like I had an Italian piano teacher named Marco,

611
00:32:07,920 --> 00:32:12,720
Speaker 2: and you know, we learned like you know, stuff like that,

612
00:32:12,800 --> 00:32:16,320
Speaker 2: and that was no fun. Yeah, I wasn't connected to anything.

613
00:32:16,840 --> 00:32:18,800
Speaker 1: I wanted to quit as soon as I started because

614
00:32:18,800 --> 00:32:20,880
Speaker 1: I didn't want to practice. Yeah, and I had a

615
00:32:20,920 --> 00:32:23,880
Speaker 1: really sweet teacher, but it was classical and it was

616
00:32:23,920 --> 00:32:25,920
Speaker 1: a very classical program. Yeah.

617
00:32:26,280 --> 00:32:30,680
Speaker 2: Also, you're not practicing a thing that is that is fun,

618
00:32:30,760 --> 00:32:32,880
Speaker 2: you know what I mean? Like that was I remembered

619
00:32:32,960 --> 00:32:37,640
Speaker 2: being eleven and my dad knew enough theory on a

620
00:32:37,640 --> 00:32:40,000
Speaker 2: piano to play like pop songs, and I remember it

621
00:32:40,080 --> 00:32:42,520
Speaker 2: being like the classic thing of like, teach me how

622
00:32:42,560 --> 00:32:43,280
Speaker 2: to play that pop song.

623
00:32:43,320 --> 00:32:45,080
Speaker 1: He's like, it's just four chords and he chose you

624
00:32:45,080 --> 00:32:45,480
Speaker 1: the four.

625
00:32:45,400 --> 00:32:48,000
Speaker 2: Chords and then you go like okay, cool, And then

626
00:32:48,200 --> 00:32:51,520
Speaker 2: practicing becomes fun because you're doesn't be like practicing if

627
00:32:51,520 --> 00:32:53,920
Speaker 2: it was like playing a song you love and then

628
00:32:54,040 --> 00:32:56,120
Speaker 2: you go, okay, Dad, teach me how to play this

629
00:32:56,160 --> 00:32:59,640
Speaker 2: other song and he's like, guess what, same four chords, like,

630
00:32:59,840 --> 00:33:00,840
Speaker 2: just different order.

631
00:33:00,960 --> 00:33:03,280
Speaker 1: That's kind of where we are now to get them.

632
00:33:03,360 --> 00:33:06,360
Speaker 2: But that like that was to me like you know,

633
00:33:07,320 --> 00:33:09,840
Speaker 2: cheating on an exam. I was like, oh my god,

634
00:33:09,880 --> 00:33:10,680
Speaker 2: I can do you know.

635
00:33:10,640 --> 00:33:13,200
Speaker 1: So much easier than anything. Yeah, I know.

636
00:33:13,400 --> 00:33:15,640
Speaker 2: So then it was then I was obsessed and.

637
00:33:15,760 --> 00:33:17,960
Speaker 1: Did you are in this where you started writing media?

638
00:33:18,000 --> 00:33:20,120
Speaker 2: I knew four chords and wrote a that's amazing.

639
00:33:20,160 --> 00:33:27,920
Speaker 1: But again, do you remember the song h what age

640
00:33:27,920 --> 00:33:28,520
Speaker 1: are we talking?

641
00:33:28,760 --> 00:33:29,240
Speaker 2: Eleventh?

642
00:33:29,280 --> 00:33:29,560
Speaker 1: Okay?

643
00:33:29,640 --> 00:33:32,400
Speaker 2: Yeah, yeah, but it but I wasn't finishing stuff right,

644
00:33:32,440 --> 00:33:35,080
Speaker 2: so I'd get some thing and I'd be like, that's cool.

645
00:33:35,320 --> 00:33:37,080
Speaker 2: And then when I was twelve and thirteen, I probably

646
00:33:37,080 --> 00:33:38,480
Speaker 2: started writing stuff.

647
00:33:38,200 --> 00:33:39,160
Speaker 1: And finishing it.

648
00:33:40,000 --> 00:33:43,640
Speaker 2: And again, like the looking in the mirror photo thing,

649
00:33:43,720 --> 00:33:47,480
Speaker 2: like was like this is I was very I think,

650
00:33:47,600 --> 00:33:50,240
Speaker 2: just so proud of the fact that I'd made up

651
00:33:50,240 --> 00:33:53,160
Speaker 2: something that I wasn't insecure.

652
00:33:53,280 --> 00:33:53,480
Speaker 1: You know.

653
00:33:53,520 --> 00:33:54,760
Speaker 2: Now I hear stuff and I'm.

654
00:33:54,600 --> 00:33:57,040
Speaker 1: Like, whoa, well you could you record it?

655
00:33:57,640 --> 00:33:57,880
Speaker 3: Yeah?

656
00:33:57,880 --> 00:34:00,240
Speaker 2: But only maybe on like little you know, only on

657
00:34:00,320 --> 00:34:03,760
Speaker 2: a iPod Yeah, yeah, voice memo app or something.

658
00:34:03,480 --> 00:34:06,240
Speaker 1: Because I got scared away from songwriting in high school

659
00:34:06,680 --> 00:34:09,640
Speaker 1: I think because I went to this amazing performing arts

660
00:34:09,680 --> 00:34:12,600
Speaker 1: high school. Yeah, and they encouraged us to write and

661
00:34:12,760 --> 00:34:15,239
Speaker 1: we had a synthesis ensemble. I mean it was really cool.

662
00:34:15,320 --> 00:34:19,160
Speaker 1: That's cool, and the band director had new pro tools

663
00:34:19,239 --> 00:34:21,880
Speaker 1: or something and they recorded it and then they played

664
00:34:21,880 --> 00:34:22,200
Speaker 1: it back.

665
00:34:22,640 --> 00:34:24,040
Speaker 2: Yeah devastating.

666
00:34:24,680 --> 00:34:28,840
Speaker 1: Also like we added stuff to it, production choices that

667
00:34:29,040 --> 00:34:33,040
Speaker 1: maybe I wouldn't have made. And it's cool, but like,

668
00:34:33,200 --> 00:34:36,880
Speaker 1: I think it made me turtle in a little. I mean,

669
00:34:36,920 --> 00:34:37,360
Speaker 1: I agree.

670
00:34:37,560 --> 00:34:41,720
Speaker 2: I remember writing stuff and feeling so kind of proud

671
00:34:41,800 --> 00:34:46,759
Speaker 2: and attached to the authorship of it. But the performance

672
00:34:46,800 --> 00:34:48,920
Speaker 2: side of it, I was always like, oh my god, what.

673
00:34:48,920 --> 00:34:51,160
Speaker 1: About the lyrics, because that always scared me off to

674
00:34:51,280 --> 00:34:54,319
Speaker 1: in the beginning. Did you have lyrics self consciousness? Were

675
00:34:54,360 --> 00:34:57,319
Speaker 1: you into poetry or yeah?

676
00:34:57,400 --> 00:35:00,440
Speaker 2: Yeah. I mean the stuff I was listening too at

677
00:35:00,480 --> 00:35:05,640
Speaker 2: the time was all kind of influenced by stuff like

678
00:35:05,800 --> 00:35:10,080
Speaker 2: The Who and Pink Floyd. It was like, you know

679
00:35:10,120 --> 00:35:12,840
Speaker 2: again my Chemical Romance and Green Day and stuff, and

680
00:35:12,880 --> 00:35:18,239
Speaker 2: so that was all so theatrical. And I'm grateful to

681
00:35:18,320 --> 00:35:21,399
Speaker 2: that because I think at eleven or twelve, i'd gone

682
00:35:21,440 --> 00:35:24,800
Speaker 2: through so little I couldn't like sing about like driving around.

683
00:35:24,960 --> 00:35:29,480
Speaker 1: Yeah, it wasn't just your diary you could sing about.

684
00:35:29,840 --> 00:35:31,560
Speaker 2: And I think that that was really and then it

685
00:35:31,560 --> 00:35:34,319
Speaker 2: probably made me less self conscious because I would be like,

686
00:35:34,719 --> 00:35:37,120
Speaker 2: this isn't how I feel. This is yeah, this is

687
00:35:37,120 --> 00:35:37,720
Speaker 2: a character.

688
00:35:37,960 --> 00:35:40,200
Speaker 1: Well that's always even though it's like it always is,

689
00:35:40,520 --> 00:35:41,040
Speaker 1: yeah it is.

690
00:35:42,840 --> 00:35:45,719
Speaker 2: But I'm grateful to that because I actually think that

691
00:35:45,880 --> 00:35:48,440
Speaker 2: as I've aged, I've gotten more and more interested in

692
00:35:48,520 --> 00:35:51,080
Speaker 2: trying to articulate how I really just am feeling about

693
00:35:51,080 --> 00:35:52,920
Speaker 2: my own life. Yeah, And I think if I'd been

694
00:35:52,920 --> 00:35:54,560
Speaker 2: doing that at like eleven or twelve, I would have

695
00:35:54,640 --> 00:35:57,440
Speaker 2: been that would have been so it's hard for me

696
00:35:57,520 --> 00:35:59,720
Speaker 2: now it would have been so hard for me then.

697
00:35:59,680 --> 00:36:01,800
Speaker 1: Yeah, for sure. I mean I think, yeah, as I

698
00:36:01,840 --> 00:36:05,160
Speaker 1: get older, the same I try to hide my feelings

699
00:36:05,160 --> 00:36:05,720
Speaker 1: way less.

700
00:36:06,080 --> 00:36:08,680
Speaker 2: Yeah. A close friend of mine and I who are

701
00:36:09,080 --> 00:36:12,080
Speaker 2: He's another songwriter I love. We always talk about like

702
00:36:12,120 --> 00:36:16,880
Speaker 2: trying to not write all the answers music because it

703
00:36:17,000 --> 00:36:20,160
Speaker 2: doesn't feel good to hear it, you know what I mean. Yeah,

704
00:36:20,200 --> 00:36:22,480
Speaker 2: And it's tempting to write it. As soon as you

705
00:36:22,520 --> 00:36:25,000
Speaker 2: have a kind of a good thesis on something, you're like, oh,

706
00:36:25,840 --> 00:36:27,680
Speaker 2: this is how it is. It's an annoying, Yeah, this

707
00:36:27,800 --> 00:36:31,359
Speaker 2: is how it is. Songwriting is tempting. And also you're like.

708
00:36:31,640 --> 00:36:32,759
Speaker 1: It's annoying to listen to.

709
00:36:33,120 --> 00:36:35,600
Speaker 2: Yeah, and it's not, and it's not how it is.

710
00:36:35,800 --> 00:36:38,279
Speaker 1: Yeah. I can think of like three songs that I

711
00:36:38,360 --> 00:36:41,640
Speaker 1: never play because they're annoying, and they're those songs.

712
00:36:41,800 --> 00:36:44,520
Speaker 2: It's tough and it's you know, I think it's okay

713
00:36:44,520 --> 00:36:46,319
Speaker 2: to write all those but I do sort of think.

714
00:36:46,680 --> 00:36:48,960
Speaker 2: I try to go like, but okay, but what what

715
00:36:49,040 --> 00:36:52,600
Speaker 2: am I? What is the what is the problem I'm solving?

716
00:36:52,680 --> 00:36:53,720
Speaker 2: I should just write a song.

717
00:36:53,600 --> 00:36:57,359
Speaker 1: About the problem and not solving it. Yeah, you're not

718
00:36:57,400 --> 00:36:58,640
Speaker 1: going to solve it in the song.

719
00:36:58,960 --> 00:36:59,800
Speaker 2: Yeah, exactly.

720
00:37:00,080 --> 00:37:04,520
Speaker 1: Yeah. I didn't know this. I I I'm a fan,

721
00:37:04,760 --> 00:37:07,240
Speaker 1: but I'm not like, I don't know that. I didn't

722
00:37:07,280 --> 00:37:11,480
Speaker 1: know the origins of Ocean Eyes. You wrote that for

723
00:37:11,520 --> 00:37:12,960
Speaker 1: a band you were. Were you in a band in

724
00:37:13,000 --> 00:37:13,520
Speaker 1: high school?

725
00:37:13,640 --> 00:37:16,640
Speaker 2: I was in bands in high school. My understanding of

726
00:37:16,760 --> 00:37:22,040
Speaker 2: music at that age was like limited by my enthusi

727
00:37:22,120 --> 00:37:26,120
Speaker 2: my my fandoms of artists. So I was a huge

728
00:37:26,120 --> 00:37:30,200
Speaker 2: fan of bands, and then I knew about like solo artists,

729
00:37:30,960 --> 00:37:34,400
Speaker 2: and that was so separate in my mind and so

730
00:37:34,680 --> 00:37:38,040
Speaker 2: unsophisticated and how I could sort of imagine it.

731
00:37:38,160 --> 00:37:39,600
Speaker 1: Well, it seems so solitary.

732
00:37:39,840 --> 00:37:42,160
Speaker 2: Well, and I'm like a solo artist, you know, I

733
00:37:42,400 --> 00:37:44,279
Speaker 2: don't know who I was. I was a big fan

734
00:37:44,320 --> 00:37:49,080
Speaker 2: of like Ben Folds in high school, and then I

735
00:37:49,160 --> 00:37:51,840
Speaker 2: was a big fan of all these indie rock bands,

736
00:37:51,920 --> 00:37:53,920
Speaker 2: and so I just sort of thought, like a band

737
00:37:54,120 --> 00:37:59,480
Speaker 2: is guitars and bass and drums and a singer yeah,

738
00:37:59,520 --> 00:38:02,440
Speaker 2: and so artist is can be kind of anything. It

739
00:38:02,480 --> 00:38:05,160
Speaker 2: could be that, or it could be just you know,

740
00:38:05,239 --> 00:38:07,200
Speaker 2: a person at a piano, or it could be super

741
00:38:07,520 --> 00:38:10,759
Speaker 2: cynthian electronic. But I was I was not. I wasn't

742
00:38:10,800 --> 00:38:14,600
Speaker 2: paying enough attention to like Radiohead or something that was

743
00:38:14,640 --> 00:38:17,240
Speaker 2: broadening the kind of definition of band.

744
00:38:17,520 --> 00:38:20,120
Speaker 1: So when you were okay, well, because I feel like

745
00:38:20,239 --> 00:38:23,120
Speaker 1: your music has a lot of synthesizers so much so much,

746
00:38:23,320 --> 00:38:27,399
Speaker 1: where does that come from? If you were more into

747
00:38:27,440 --> 00:38:30,080
Speaker 1: more like rock and roll kind of guitari bands.

748
00:38:29,880 --> 00:38:31,879
Speaker 2: From yeah, in high school. I mean, my real sort

749
00:38:31,920 --> 00:38:34,680
Speaker 2: of origin of trying to like record music, whether it

750
00:38:34,719 --> 00:38:37,440
Speaker 2: was you know, paying for a couple hours at a

751
00:38:37,480 --> 00:38:39,799
Speaker 2: studio or trying to you know, set up a drum

752
00:38:39,840 --> 00:38:42,360
Speaker 2: kit in my sister's room, was like really like guitars

753
00:38:42,400 --> 00:38:44,640
Speaker 2: based and drums and how to record that and how

754
00:38:44,640 --> 00:38:48,040
Speaker 2: they sounded on big pop records that Chris Lord Algae

755
00:38:48,040 --> 00:38:49,080
Speaker 2: would mix or something.

756
00:38:49,280 --> 00:38:50,200
Speaker 1: You were already into that.

757
00:38:50,160 --> 00:38:51,560
Speaker 2: Stuff as a thirteen year old.

758
00:38:51,600 --> 00:38:54,200
Speaker 1: Yeah, the background of it all, Yeah.

759
00:38:53,760 --> 00:38:58,080
Speaker 2: I was always poring over it. Yes, and so that

760
00:38:58,239 --> 00:39:00,799
Speaker 2: was really again the first several years it happened to

761
00:39:00,920 --> 00:39:06,200
Speaker 2: be very much not in vogue. You know what I mean, like, no.

762
00:39:06,040 --> 00:39:06,400
Speaker 5: Not at all.

763
00:39:06,440 --> 00:39:07,480
Speaker 3: That's why I'm kind of.

764
00:39:07,600 --> 00:39:10,680
Speaker 1: Surprised that you've been doing the same thing for so long.

765
00:39:11,000 --> 00:39:13,279
Speaker 1: I mean, it's it's so good and it's such a

766
00:39:13,320 --> 00:39:16,040
Speaker 1: good I mean that in a good way. Yeah, of course, I.

767
00:39:16,320 --> 00:39:19,440
Speaker 2: Mean, you know, I I was also a fan of

768
00:39:20,400 --> 00:39:28,640
Speaker 2: you know, soundtracks, and and I loved, like I really loved,

769
00:39:29,080 --> 00:39:32,680
Speaker 2: you know, the pop stars of my teens, which were

770
00:39:33,080 --> 00:39:35,319
Speaker 2: largely women. It was you know, it was largely like

771
00:39:35,440 --> 00:39:40,920
Speaker 2: Beyonce and Taylor Swift, and you know, they were doing

772
00:39:40,960 --> 00:39:45,480
Speaker 2: things with production that were intriguing to me. But I

773
00:39:45,520 --> 00:39:48,520
Speaker 2: was not able to sort of like understand that anyone

774
00:39:49,200 --> 00:39:52,160
Speaker 2: could be that experimental with production. I was like, you

775
00:39:52,160 --> 00:39:54,120
Speaker 2: can only do that if you're Beyonce or something.

776
00:39:54,160 --> 00:39:56,640
Speaker 1: You know, it's actually easier to do that, thank some

777
00:39:56,680 --> 00:40:01,400
Speaker 1: of the other stuff. It's all contained with exactly the thing.

778
00:40:01,640 --> 00:40:04,279
Speaker 2: So I wrote Oceanize the same way. I was just

779
00:40:04,320 --> 00:40:10,120
Speaker 2: sitting around writing songs at eight. At seventeen, and I

780
00:40:10,160 --> 00:40:14,200
Speaker 2: had gotten had I had started to feel kind of

781
00:40:14,239 --> 00:40:17,960
Speaker 2: capable of sitting and making little demos on my computer

782
00:40:18,040 --> 00:40:22,719
Speaker 2: on logic. Pro Billy was thirteen at the time, and

783
00:40:23,480 --> 00:40:26,160
Speaker 2: I was playing in this band, and again, I feel like,

784
00:40:26,320 --> 00:40:27,960
Speaker 2: you know, I assume other people feel this way, but

785
00:40:28,000 --> 00:40:29,480
Speaker 2: I just sort of was like, I'm going to be

786
00:40:29,520 --> 00:40:32,160
Speaker 2: in a band, and we're going to succeed or we're

787
00:40:32,200 --> 00:40:34,799
Speaker 2: going to fail, and if we fail, I'll be a

788
00:40:34,840 --> 00:40:37,880
Speaker 2: dishwasher or something or or all, or I'll you know,

789
00:40:38,120 --> 00:40:40,600
Speaker 2: clean the mixing console with a Q tip at the

790
00:40:40,640 --> 00:40:41,239
Speaker 2: studio whatever.

791
00:40:41,280 --> 00:40:43,120
Speaker 1: Like I I just didn't think.

792
00:40:43,600 --> 00:40:46,600
Speaker 2: I didn't think very broadly about the world of music.

793
00:40:46,640 --> 00:40:48,960
Speaker 2: I was like, it's my band until I die, and

794
00:40:49,080 --> 00:40:54,200
Speaker 2: these three of my friends. But I was trying to

795
00:40:54,200 --> 00:40:56,319
Speaker 2: get better at making music, and so I was I

796
00:40:56,480 --> 00:41:00,359
Speaker 2: was like, you know, asking Billy to sing on stuff.

797
00:41:00,400 --> 00:41:03,280
Speaker 2: Billy loved to sing already, and he could.

798
00:41:03,120 --> 00:41:05,440
Speaker 1: Already tell that she had something special.

799
00:41:05,600 --> 00:41:08,720
Speaker 2: I mean, I sure thought she was good. And also

800
00:41:08,800 --> 00:41:11,080
Speaker 2: she was available to me. She was in the same

801
00:41:11,160 --> 00:41:13,879
Speaker 2: house and you know, can you sing this chorus which

802
00:41:13,880 --> 00:41:14,400
Speaker 2: is easy?

803
00:41:14,520 --> 00:41:15,239
Speaker 1: Yeah?

804
00:41:15,239 --> 00:41:19,279
Speaker 2: And so I had been playing and it was also

805
00:41:19,400 --> 00:41:21,760
Speaker 2: kind of like I was writing songs and like everything

806
00:41:21,840 --> 00:41:24,799
Speaker 2: was going through the funnel of my voice and my

807
00:41:25,120 --> 00:41:28,400
Speaker 2: three friends playing guitar, bass and drums, and I remember

808
00:41:28,600 --> 00:41:32,040
Speaker 2: seeking out a producer named Eric Pomquist who had made

809
00:41:32,080 --> 00:41:34,399
Speaker 2: a record for a band called Bad Sons that I loved,

810
00:41:34,440 --> 00:41:36,560
Speaker 2: and this was all like me like writing, you know,

811
00:41:36,840 --> 00:41:40,279
Speaker 2: confident emails at seventeen, and I remember playing him like

812
00:41:40,760 --> 00:41:44,319
Speaker 2: ten songs that my band had done, and it was

813
00:41:44,840 --> 00:41:48,279
Speaker 2: it was so clear to everyone but me that I

814
00:41:48,440 --> 00:41:51,600
Speaker 2: was a songwriter and not in a band, do you

815
00:41:51,680 --> 00:41:53,120
Speaker 2: know what I mean? I would play him like the

816
00:41:53,280 --> 00:41:56,759
Speaker 2: very folk folksy song, and then I'd play him like

817
00:41:56,760 --> 00:41:59,120
Speaker 2: a really synthy thing, and then I'd play him like

818
00:41:59,239 --> 00:42:02,319
Speaker 2: a hard rock thing, and he was like, this is

819
00:42:02,360 --> 00:42:04,880
Speaker 2: pretty all over the play, you know. And I was

820
00:42:04,880 --> 00:42:07,839
Speaker 2: like the Beatles were all yeah, and he was like yeah,

821
00:42:07,880 --> 00:42:09,680
Speaker 2: but he was like he was like, but they made

822
00:42:09,719 --> 00:42:11,799
Speaker 2: like many albums like they you know what I mean.

823
00:42:11,880 --> 00:42:14,759
Speaker 2: They didn't like I Want to Hold Your Hand and

824
00:42:15,960 --> 00:42:18,720
Speaker 2: Blue Jay Way or not back to back on a record.

825
00:42:18,840 --> 00:42:22,359
Speaker 2: So I was writing all these songs and I wrote

826
00:42:22,400 --> 00:42:24,640
Speaker 2: Ocean Eyes and then I would play it with my

827
00:42:24,680 --> 00:42:26,920
Speaker 2: band and we kind of had like a sound Garden

828
00:42:27,040 --> 00:42:30,000
Speaker 2: version of it, and I was like, this sucks, man.

829
00:42:30,160 --> 00:42:31,440
Speaker 1: You haven't recorded.

830
00:42:32,600 --> 00:42:35,840
Speaker 2: There's probably like a like a handycam thing from a

831
00:42:35,960 --> 00:42:39,600
Speaker 2: park when we were playing like a fair and I

832
00:42:39,719 --> 00:42:41,279
Speaker 2: but you know what I mean, you know when you've

833
00:42:41,280 --> 00:42:44,520
Speaker 2: written the song and you've got you're playing it, and

834
00:42:44,560 --> 00:42:46,719
Speaker 2: maybe you've got other people in the room, and you're thinking, like,

835
00:42:46,920 --> 00:42:49,480
Speaker 2: this is not how this is supposed to sound.

836
00:42:49,560 --> 00:42:51,960
Speaker 1: No, you know it when it feels right. And so

837
00:42:52,040 --> 00:42:53,440
Speaker 1: I just was like, I don't this.

838
00:42:53,600 --> 00:42:56,000
Speaker 2: I know I wrote it, but this is not it.

839
00:42:56,040 --> 00:42:57,920
Speaker 2: So I went home and I asked Billy if she

840
00:42:57,960 --> 00:43:01,080
Speaker 2: wanted to sing it, and she and hearing it every day,

841
00:43:01,400 --> 00:43:04,360
Speaker 2: and so she said sure, and it just sounded she

842
00:43:04,520 --> 00:43:09,520
Speaker 2: does the thing that you do, which is like suddenly

843
00:43:09,560 --> 00:43:12,040
Speaker 2: it sounds like she wrote every word of it. Her

844
00:43:12,120 --> 00:43:15,000
Speaker 2: interpretation of it is so and she kind of does

845
00:43:15,040 --> 00:43:18,360
Speaker 2: that with everything, which you know is certainly something I

846
00:43:18,360 --> 00:43:21,560
Speaker 2: don't feel that I can do. But she immediately made

847
00:43:21,560 --> 00:43:25,000
Speaker 2: it her own thing. And then the music we were

848
00:43:25,080 --> 00:43:29,160
Speaker 2: listening to at the time sort of defined the genre

849
00:43:29,239 --> 00:43:31,000
Speaker 2: that that song went into. We were listening to a

850
00:43:31,040 --> 00:43:35,560
Speaker 2: lot of like indie SoundCloud music artists like Lapsley and

851
00:43:35,680 --> 00:43:40,359
Speaker 2: Aurora and A Wonder which was sylvan Eso. These kind

852
00:43:40,400 --> 00:43:46,840
Speaker 2: of like pad Cynthia very forward vocals. Those all happened

853
00:43:46,840 --> 00:43:49,640
Speaker 2: to be female vocalists, but like very present in the

854
00:43:49,680 --> 00:43:53,560
Speaker 2: mix percussion that is not a drum kit percussion that's

855
00:43:53,560 --> 00:43:54,440
Speaker 2: like weird you know.

856
00:43:54,400 --> 00:43:57,280
Speaker 1: Boom back, yeah things, but kind of background.

857
00:43:56,920 --> 00:44:00,000
Speaker 2: Kind of background, ye, very minimalists, the very few elements

858
00:44:00,040 --> 00:44:02,360
Speaker 2: and then a lot of vocals, and so that was

859
00:44:02,400 --> 00:44:04,200
Speaker 2: sort of the origin. We put it out on SoundCloud

860
00:44:04,239 --> 00:44:07,680
Speaker 2: and it was like, you know, it was like they say,

861
00:44:07,840 --> 00:44:09,480
Speaker 2: it was like, we put it out on SoundCloud and

862
00:44:09,480 --> 00:44:13,000
Speaker 2: it got on this blog called hilly Dilly right away,

863
00:44:13,320 --> 00:44:16,120
Speaker 2: which I still don't know how and I've investigated, don't

864
00:44:16,160 --> 00:44:17,000
Speaker 2: know how it happened.

865
00:44:17,360 --> 00:44:19,560
Speaker 1: You don't think they were fed it by anyone, like

866
00:44:19,800 --> 00:44:20,799
Speaker 1: you think they just picked it up.

867
00:44:21,120 --> 00:44:24,400
Speaker 2: I heard it runs. Hilly Dilly claims that he found

868
00:44:24,400 --> 00:44:27,520
Speaker 2: it on a Reddit thread and he wouldn't won't tell

869
00:44:27,560 --> 00:44:31,560
Speaker 2: me what reddit thread, but we'd we were not connected enough.

870
00:44:31,920 --> 00:44:34,120
Speaker 1: You just put it out, just put it on sound.

871
00:44:34,000 --> 00:44:36,279
Speaker 2: That was like our third thing we'd put on SoundCloud,

872
00:44:36,320 --> 00:44:38,239
Speaker 2: and it was you know, it didn't it didn't blow

873
00:44:38,320 --> 00:44:40,080
Speaker 2: up like going on Ellen, but it blew up like

874
00:44:40,120 --> 00:44:42,799
Speaker 2: we got like a thousand plays and we were like,

875
00:44:42,800 --> 00:44:44,919
Speaker 2: oh my, really weird. Do you know a thousand people?

876
00:44:44,960 --> 00:44:47,480
Speaker 2: I don't know a thousand people. And then it snowballed,

877
00:44:49,480 --> 00:44:52,640
Speaker 2: which is funny because you'd hear stories like that and

878
00:44:52,680 --> 00:44:55,880
Speaker 2: I would just be infuriated. You know, it's just overnight,

879
00:44:55,920 --> 00:44:57,960
Speaker 2: it's on the radio, and I would be like, what

880
00:44:57,960 --> 00:45:01,319
Speaker 2: are you talking? It's possible. And so then even though it,

881
00:45:01,480 --> 00:45:04,239
Speaker 2: you know, it didn't feel overnight, I still was like, Wow,

882
00:45:04,239 --> 00:45:08,160
Speaker 2: this that's crazy. You really just can. And I do

883
00:45:08,320 --> 00:45:13,359
Speaker 2: kind of think ultimately that I don't know how many

884
00:45:13,440 --> 00:45:21,399
Speaker 2: things I've made that are sort of truly truly accessible

885
00:45:21,440 --> 00:45:23,680
Speaker 2: in the like when you hear something for the first time,

886
00:45:24,000 --> 00:45:26,680
Speaker 2: Like I remember when I heard Royals by Lord for

887
00:45:26,719 --> 00:45:30,359
Speaker 2: the first time, and those songs were like the very

888
00:45:30,440 --> 00:45:32,200
Speaker 2: first listen, you go like, who is this?

889
00:45:32,239 --> 00:45:32,719
Speaker 1: What is this?

890
00:45:32,840 --> 00:45:33,160
Speaker 2: I need?

891
00:45:33,200 --> 00:45:34,920
Speaker 1: I'm going to hear it, like you remember some of

892
00:45:34,960 --> 00:45:36,320
Speaker 1: it exactly.

893
00:45:36,000 --> 00:45:38,680
Speaker 2: Somebody that I used to know about Gautier or something.

894
00:45:39,520 --> 00:45:42,000
Speaker 2: And so it's like, I really do think that ultimately

895
00:45:42,800 --> 00:45:45,480
Speaker 2: you can. You can have success in a million other ways.

896
00:45:45,480 --> 00:45:49,320
Speaker 2: But whenever somebody plays me a song that I feel

897
00:45:49,360 --> 00:45:51,520
Speaker 2: that way about, I sort of tell them to relax.

898
00:45:51,600 --> 00:45:54,879
Speaker 2: I'm like, it's this song is so great that you're

899
00:45:54,960 --> 00:45:56,640
Speaker 2: kind of you kind of don't have to worry about it.

900
00:45:56,680 --> 00:45:57,879
Speaker 2: That's probably work out.

901
00:45:58,000 --> 00:46:01,080
Speaker 1: That's encouraging for people. Yeah, but only when you hear

902
00:46:01,120 --> 00:46:01,879
Speaker 1: a song like that.

903
00:46:02,080 --> 00:46:04,080
Speaker 2: Well yeah, and again you can blow out. You can

904
00:46:04,120 --> 00:46:08,000
Speaker 2: make an amazing career out of you know, other kinds

905
00:46:08,000 --> 00:46:10,560
Speaker 2: of songs. But I sure I share sort of like

906
00:46:10,640 --> 00:46:13,080
Speaker 2: that continues to be proven every couple of years. You

907
00:46:13,160 --> 00:46:16,840
Speaker 2: hear something unbelievable, it's a good bar and you and

908
00:46:16,880 --> 00:46:20,040
Speaker 2: your husband or your friend you go like, this is unbelievable,

909
00:46:20,040 --> 00:46:23,480
Speaker 2: and it six months later everybody knows that song, which

910
00:46:23,560 --> 00:46:25,040
Speaker 2: is an awesome you.

911
00:46:25,000 --> 00:46:28,160
Speaker 1: Know, it's a crazy story. I didn't even know that

912
00:46:28,280 --> 00:46:29,440
Speaker 1: Soundclad was one.

913
00:46:29,280 --> 00:46:31,000
Speaker 2: Of those discovery platforms.

914
00:46:31,080 --> 00:46:32,000
Speaker 1: Yeah, I kind of didn't.

915
00:46:32,040 --> 00:46:32,279
Speaker 5: Really.

916
00:46:32,800 --> 00:46:36,080
Speaker 1: I kind of miss that section of the internet. Do

917
00:46:36,160 --> 00:46:38,399
Speaker 1: you think stuff like that is still around or it's

918
00:46:38,480 --> 00:46:41,040
Speaker 1: just also in your face now all the time that

919
00:46:41,600 --> 00:46:43,520
Speaker 1: I don't know if there's anything like that now.

920
00:46:43,719 --> 00:46:45,960
Speaker 2: I find stuff now on TikTok.

921
00:46:46,600 --> 00:46:50,120
Speaker 1: Yeah I've heard of that, Okay, no, but that's what

922
00:46:50,160 --> 00:46:52,960
Speaker 1: I mean, like TikTok, Instagram, like I think of those.

923
00:46:53,920 --> 00:46:58,520
Speaker 1: But I think if Soundclad as being less or was

924
00:46:58,520 --> 00:46:59,080
Speaker 1: I just old?

925
00:46:59,520 --> 00:47:02,759
Speaker 2: I think you're right. I think that, like you know,

926
00:47:02,840 --> 00:47:06,080
Speaker 2: SoundCloud was the only way I can assume that somebody

927
00:47:06,080 --> 00:47:07,440
Speaker 2: would have heard it and put it on a blog.

928
00:47:07,920 --> 00:47:12,680
Speaker 2: Is that SoundCloud much like TikTok and Instagram auto played stuff. Okay,

929
00:47:13,120 --> 00:47:14,719
Speaker 2: so you could you could kind of game in a

930
00:47:14,719 --> 00:47:17,239
Speaker 2: little bit with hashtags. You could hashtag indie.

931
00:47:16,960 --> 00:47:18,720
Speaker 1: Pops, so it had that thing. Okay.

932
00:47:19,000 --> 00:47:22,600
Speaker 2: So but but again audio only, you could comment on

933
00:47:22,640 --> 00:47:24,799
Speaker 2: the song. You could comment on a part of the

934
00:47:24,840 --> 00:47:28,719
Speaker 2: song which I liked, really like, because this is also

935
00:47:28,760 --> 00:47:31,680
Speaker 2: back when like a certain version of sort of bedroom

936
00:47:31,760 --> 00:47:34,360
Speaker 2: DJing was happening. So you'd comment on like the drop,

937
00:47:34,520 --> 00:47:36,040
Speaker 2: You'd be like, oh, so satisfying.

938
00:47:36,719 --> 00:47:38,759
Speaker 1: That's so fun. I wish I would have been around.

939
00:47:39,280 --> 00:47:42,719
Speaker 2: It was fun and it was it was unmonetized, so

940
00:47:43,120 --> 00:47:46,080
Speaker 2: also there was like people would do unauthored like part

941
00:47:46,120 --> 00:47:49,360
Speaker 2: of the thing that helped Oceaniye have a life was

942
00:47:49,400 --> 00:47:53,520
Speaker 2: that a couple people did unauthorized remixes of it very quickly.

943
00:47:53,960 --> 00:47:58,160
Speaker 2: A DJ called Astronomy did a remix very quickly, Black

944
00:47:58,200 --> 00:48:02,200
Speaker 2: Bear the R and ber Rapper did like an unauthorized

945
00:48:02,320 --> 00:48:05,320
Speaker 2: remix very quickly, and because those were only on Spotify,

946
00:48:05,400 --> 00:48:07,200
Speaker 2: it was like they didn't have to clear it. Nobody

947
00:48:07,239 --> 00:48:10,920
Speaker 2: was making money, but it helped the exposure of the song,

948
00:48:10,960 --> 00:48:12,080
Speaker 2: which is really interesting.

949
00:48:12,239 --> 00:48:15,080
Speaker 1: That is interesting, I mean because it's it's hard getting

950
00:48:15,120 --> 00:48:16,280
Speaker 1: clearance now for anything.

951
00:48:16,600 --> 00:48:19,880
Speaker 2: Yeah, I think what was nice about SoundCloud compared to

952
00:48:20,960 --> 00:48:26,560
Speaker 2: TikTok And I am basically a I basically support TikTok,

953
00:48:26,640 --> 00:48:29,239
Speaker 2: but I think that there is a little bit of

954
00:48:29,239 --> 00:48:32,520
Speaker 2: a like, how do I trick people into paying attention

955
00:48:32,600 --> 00:48:32,879
Speaker 2: to this?

956
00:48:32,960 --> 00:48:35,560
Speaker 1: Well, it's become the thing. How do I Yeah, I

957
00:48:35,600 --> 00:48:37,360
Speaker 1: have system, I have a song.

958
00:48:37,640 --> 00:48:41,120
Speaker 2: Yeah, what piece of video content do I shoot that

959
00:48:41,200 --> 00:48:44,280
Speaker 2: will make the song Bengo shine in a way.

960
00:48:44,960 --> 00:48:48,319
Speaker 1: That's how this feels different. Yes, And so SoundCloud was

961
00:48:48,400 --> 00:48:49,520
Speaker 1: just a game.

962
00:48:49,680 --> 00:48:51,520
Speaker 2: The most you could do is like a little cute

963
00:48:51,560 --> 00:48:53,360
Speaker 2: cover art, yeah, I mean that's cool.

964
00:48:53,920 --> 00:48:55,719
Speaker 1: So a little more underground.

965
00:48:55,360 --> 00:48:57,480
Speaker 2: Yeah, and a little bit purer. You could just be

966
00:48:57,520 --> 00:48:59,440
Speaker 2: a fan of a song. And I think now it

967
00:48:59,560 --> 00:49:02,319
Speaker 2: is like like two of the people that I could

968
00:49:02,320 --> 00:49:04,960
Speaker 2: point to that have done it the most successfully are

969
00:49:05,000 --> 00:49:08,319
Speaker 2: these There's these girls I think are maybe sisters, and

970
00:49:08,400 --> 00:49:11,160
Speaker 2: they have a like a stick that they were running

971
00:49:11,280 --> 00:49:13,719
Speaker 2: that was awesome where they would like I don't know

972
00:49:13,760 --> 00:49:15,720
Speaker 2: if it was like a GoPro or just a phone,

973
00:49:16,120 --> 00:49:18,520
Speaker 2: but they would they would sing their songs kind of

974
00:49:18,520 --> 00:49:21,360
Speaker 2: a rappy thing on TikTok and they would like run

975
00:49:21,640 --> 00:49:23,560
Speaker 2: full tilt through somewhere.

976
00:49:24,400 --> 00:49:25,439
Speaker 1: Oh and then then it goes.

977
00:49:25,600 --> 00:49:28,600
Speaker 2: It was sick, and it really made you connect with

978
00:49:28,640 --> 00:49:31,200
Speaker 2: the song because it was such a cool you know

979
00:49:31,239 --> 00:49:33,480
Speaker 2: what I mean. They'd run through like they'd run through

980
00:49:33,520 --> 00:49:37,560
Speaker 2: like the back of a restaurant. They'd zoom through the

981
00:49:37,600 --> 00:49:40,560
Speaker 2: full kitchen of a restaurant or down the Santa Monica

982
00:49:40,640 --> 00:49:43,719
Speaker 2: pier or something, and it was a great way for

983
00:49:43,760 --> 00:49:45,399
Speaker 2: you to connect with the song. But I also had

984
00:49:45,400 --> 00:49:47,520
Speaker 2: this feeling of like, I like this song anyway. Yeah,

985
00:49:47,560 --> 00:49:50,120
Speaker 2: what a lot of work these two these kids have

986
00:49:50,239 --> 00:49:50,480
Speaker 2: to do.

987
00:49:50,600 --> 00:49:51,520
Speaker 1: The song could have done it.

988
00:49:52,840 --> 00:49:54,280
Speaker 2: I could have been like, I love this and instead

989
00:49:54,360 --> 00:49:56,879
Speaker 2: these people are like panting and figuring it out.

990
00:49:57,760 --> 00:49:59,680
Speaker 1: And was it a quick song? Oceanized?

991
00:49:59,800 --> 00:50:02,040
Speaker 2: Was that I want to instantaneous?

992
00:50:02,160 --> 00:50:04,839
Speaker 1: It seems like the kind of simple beauty that's just.

993
00:50:06,520 --> 00:50:12,600
Speaker 2: Terrible, terrible, terrible when you when you know, kill yourself

994
00:50:12,600 --> 00:50:15,000
Speaker 2: over something for two months and you think about the

995
00:50:15,440 --> 00:50:18,520
Speaker 2: thing that you you know has done so much for

996
00:50:18,560 --> 00:50:19,680
Speaker 2: you that came to you instantly.

997
00:50:20,320 --> 00:50:22,759
Speaker 1: That's part of the magic, isn't it. It's part of

998
00:50:22,760 --> 00:50:25,280
Speaker 1: the magic of the thing that we can't control.

999
00:50:25,400 --> 00:50:29,560
Speaker 2: Yeah, I remember writing the first I remember, to be honest,

1000
00:50:29,600 --> 00:50:31,880
Speaker 2: and this isn't even very common for me, but I remember,

1001
00:50:32,000 --> 00:50:36,880
Speaker 2: like this phrase, I've.

1002
00:50:36,960 --> 00:50:45,400
Speaker 9: Been watching you for some time cast off say those otion.

1003
00:50:46,520 --> 00:50:50,440
Speaker 2: Improv like fully just playing and singing it all in

1004
00:50:50,520 --> 00:50:54,400
Speaker 2: one and thinking like I got to record that, forget

1005
00:50:54,440 --> 00:50:57,160
Speaker 2: that and then recording it. Yeah, and it's also I

1006
00:50:57,160 --> 00:51:01,719
Speaker 2: mean again it is you know, to point to simplicity.

1007
00:51:01,840 --> 00:51:06,879
Speaker 2: It is just the descending note in those chords. Right,

1008
00:51:06,920 --> 00:51:10,400
Speaker 2: here's the C chord, so it's just E D.

1009
00:51:11,880 --> 00:51:12,040
Speaker 9: B.

1010
00:51:14,239 --> 00:51:18,160
Speaker 2: So it's really you're just singing the chord progression, which

1011
00:51:18,200 --> 00:51:21,960
Speaker 2: I will say, like I remember a musician, Bruno Major,

1012
00:51:22,760 --> 00:51:26,080
Speaker 2: complimenting Marcus Mumford one time. It was Bruno Major is

1013
00:51:26,080 --> 00:51:30,120
Speaker 2: a very jazzy guy. I'll play a million beautiful voicings

1014
00:51:30,160 --> 00:51:33,239
Speaker 2: of a chord. And he said about Marcus, I guess

1015
00:51:33,280 --> 00:51:36,040
Speaker 2: they know each other some. He was like, Marcus will

1016
00:51:36,080 --> 00:51:38,000
Speaker 2: sing the best melody you've ever heard over a g

1017
00:51:39,160 --> 00:51:41,200
Speaker 2: and it is like there are some people. I think

1018
00:51:41,239 --> 00:51:46,200
Speaker 2: Paul Simon is one of them that can just play

1019
00:51:46,280 --> 00:51:50,040
Speaker 2: this one thing and dance around melodically. And I think

1020
00:51:50,040 --> 00:51:52,040
Speaker 2: that like one of the things I've tried to get

1021
00:51:52,080 --> 00:51:54,720
Speaker 2: better at that because I feel like the more chords

1022
00:51:54,719 --> 00:51:56,160
Speaker 2: I can fit somewhere, you.

1023
00:51:56,520 --> 00:51:59,600
Speaker 1: Match your melodies. Yeah, but that's what makes it special.

1024
00:51:59,760 --> 00:52:02,919
Speaker 1: That's the coolest part to me. That's what's so cool

1025
00:52:02,920 --> 00:52:06,400
Speaker 1: about this song is the matching of the melody with

1026
00:52:06,440 --> 00:52:09,720
Speaker 1: the chord changes. I think it's really special. Well, thanks,

1027
00:52:09,800 --> 00:52:12,120
Speaker 1: I really do it means a lot. Yeah, it's beautiful.

1028
00:52:12,560 --> 00:52:13,520
Speaker 1: Will you sing it for me?

1029
00:52:13,719 --> 00:52:14,319
Speaker 2: Let's do it?

1030
00:52:14,400 --> 00:52:14,520
Speaker 1: Well?

1031
00:52:14,600 --> 00:52:14,719
Speaker 2: Kay?

1032
00:52:14,760 --> 00:52:15,319
Speaker 1: Do you do it in?

1033
00:52:15,760 --> 00:52:18,839
Speaker 2: So this is I played it and see just now,

1034
00:52:19,120 --> 00:52:22,000
Speaker 2: which is the key I've grown used to playing it.

1035
00:52:22,160 --> 00:52:24,440
Speaker 1: With, Billy, you sing it in that key as well?

1036
00:52:24,520 --> 00:52:26,440
Speaker 1: Or I don't really sing it because no, you never

1037
00:52:26,480 --> 00:52:26,759
Speaker 1: seen it.

1038
00:52:27,000 --> 00:52:28,960
Speaker 2: So, but I was thinking just now that that might

1039
00:52:29,000 --> 00:52:34,040
Speaker 2: be a little low for me. So maybe let's go

1040
00:52:34,120 --> 00:52:43,680
Speaker 2: to let's do yeah F sharp minor key. Okay, Okay,

1041
00:52:43,760 --> 00:52:46,759
Speaker 2: let's see this is probably still deep, but knowing your voice,

1042
00:52:46,760 --> 00:52:49,439
Speaker 2: I think it'll sound I think that's okay, right.

1043
00:52:50,040 --> 00:52:50,920
Speaker 1: I can't be Billy.

1044
00:52:51,040 --> 00:52:51,399
Speaker 5: I won't.

1045
00:52:51,440 --> 00:52:54,879
Speaker 1: I won't try. She's got her own sweet, beautiful, God,

1046
00:52:54,920 --> 00:52:57,080
Speaker 1: she's got she sounds so sweet on this song. I

1047
00:52:57,120 --> 00:52:59,160
Speaker 1: was listening to it so young because she is she

1048
00:52:59,239 --> 00:53:03,600
Speaker 1: thirteen on the Yeah so sweet, I know, actually just

1049
00:53:03,680 --> 00:53:04,640
Speaker 1: like so sweet.

1050
00:53:04,960 --> 00:53:08,640
Speaker 2: That's really beautiful. I also love I also love when

1051
00:53:09,480 --> 00:53:13,200
Speaker 2: And I was way guiltier of this than she was.

1052
00:53:13,760 --> 00:53:17,200
Speaker 2: But you're you're much like your ten year old moving

1053
00:53:17,200 --> 00:53:21,640
Speaker 2: to Japan. Like it's you're singing with this like maturity,

1054
00:53:21,920 --> 00:53:24,160
Speaker 2: you know, well, which I love.

1055
00:53:24,320 --> 00:53:30,200
Speaker 1: She's she's actually got such a high functioning instrument and nerd,

1056
00:53:30,280 --> 00:53:34,080
Speaker 1: but she's not trying to show you everything she can do.

1057
00:53:34,360 --> 00:53:37,080
Speaker 1: She's got the innocence of just singing the song.

1058
00:53:37,560 --> 00:53:39,960
Speaker 2: Yeah. This guy, Stephen Lipson, who we worked with on

1059
00:53:40,200 --> 00:53:43,919
Speaker 2: the James Bond song, was we were talking about how

1060
00:53:43,960 --> 00:53:45,680
Speaker 2: to it was the first time we'd ever had like

1061
00:53:46,200 --> 00:53:48,279
Speaker 2: horns and stuff on a billy song. And that's a

1062
00:53:48,280 --> 00:53:53,080
Speaker 2: pretty loud thing to compete with her very delicate voice.

1063
00:53:53,120 --> 00:53:55,680
Speaker 2: I can relate to that, sure, yeah, And he said,

1064
00:53:55,719 --> 00:53:58,319
Speaker 2: and you can take this for yourself, he said, he

1065
00:53:58,320 --> 00:54:02,840
Speaker 2: said her voice is like goss and I was like, oh, cool,

1066
00:54:03,400 --> 00:54:04,880
Speaker 2: cool description of her voice.

1067
00:54:04,960 --> 00:54:05,200
Speaker 5: Yeah.

1068
00:54:05,560 --> 00:54:08,920
Speaker 1: No, I've always been hesitant to use strings, like huge

1069
00:54:08,920 --> 00:54:12,960
Speaker 1: string sections, because I like, I feel like I'm occupying

1070
00:54:13,000 --> 00:54:15,520
Speaker 1: that space, thank you. And I like harmonies to do it.

1071
00:54:15,680 --> 00:54:18,960
Speaker 2: That's why you want an upright bass exactly all right

1072
00:54:19,200 --> 00:54:19,959
Speaker 2: this ocean nights.

1073
00:54:33,880 --> 00:54:41,040
Speaker 9: I have been watching you for some time. I can't

1074
00:54:41,120 --> 00:54:53,640
Speaker 9: stop staring at those oceans, burning cities and name bombs guys,

1075
00:54:54,480 --> 00:55:00,520
Speaker 9: fifteen players in sandus.

1076
00:55:00,640 --> 00:55:01,400
Speaker 8: No things.

1077
00:55:07,600 --> 00:55:10,160
Speaker 1: You really know how to make me call.

1078
00:55:10,360 --> 00:55:21,719
Speaker 6: When you get you those old shine I'm scared. I've

1079
00:55:21,800 --> 00:55:30,400
Speaker 6: never falling guard sir, into your ol shots, those old shoes.

1080
00:55:46,840 --> 00:55:55,280
Speaker 12: I've been walking through the world gone, can't stop thinking

1081
00:55:56,480 --> 00:56:04,400
Speaker 12: of your diving, careful creatures.

1082
00:56:04,440 --> 00:56:09,080
Speaker 3: Friends with time left, time.

1083
00:56:10,520 --> 00:56:16,719
Speaker 13: With a dim and those old shines.

1084
00:56:17,640 --> 00:56:27,879
Speaker 14: No fends you really know how to make because when

1085
00:56:27,920 --> 00:56:32,560
Speaker 14: you give me those old shows, I'm scared.

1086
00:56:39,120 --> 00:56:42,840
Speaker 6: Never follow from gud Aside Fine into.

1087
00:56:42,680 --> 00:57:21,840
Speaker 15: Your old shows, those old sh no fans.

1088
00:57:27,240 --> 00:57:29,720
Speaker 2: You really know how to make me cry.

1089
00:57:30,120 --> 00:57:32,080
Speaker 1: When you give me those oh.

1090
00:57:32,360 --> 00:57:45,240
Speaker 16: Shirts, I'm scared. I'm never fading where the shade and

1091
00:57:45,440 --> 00:57:51,520
Speaker 16: they are oh shots, those old shirt.

1092
00:57:57,000 --> 00:57:57,800
Speaker 1: It's so pretty.

1093
00:57:58,000 --> 00:58:00,400
Speaker 2: I haven't sung that song and it's like since I

1094
00:58:00,440 --> 00:58:03,880
Speaker 2: wrote it, that's crazy, betiful excuse to do this?

1095
00:58:05,240 --> 00:58:10,360
Speaker 1: And your cup is empty. Oh you sound beautiful. It's

1096
00:58:10,440 --> 00:58:11,680
Speaker 1: fun to hear you sing it.

1097
00:58:11,880 --> 00:58:12,520
Speaker 3: You wrote it.

1098
00:58:12,520 --> 00:58:15,000
Speaker 2: It's funny to sing these things too, with you know,

1099
00:58:15,840 --> 00:58:19,040
Speaker 2: maybe a separate topic to you saying that you feel

1100
00:58:19,040 --> 00:58:21,240
Speaker 2: more attached to the things you've written than the songs

1101
00:58:21,280 --> 00:58:25,120
Speaker 2: you've made famous that you haven't written. It's also funny

1102
00:58:25,160 --> 00:58:28,440
Speaker 2: to sing a song that I did write that I

1103
00:58:28,480 --> 00:58:31,480
Speaker 2: did not sing and feel so distant from it.

1104
00:58:31,760 --> 00:58:35,720
Speaker 1: Well, do you feel like self conscious when you sing it?

1105
00:58:35,840 --> 00:58:38,360
Speaker 1: Because it's not her?

1106
00:58:38,880 --> 00:58:39,000
Speaker 8: Like?

1107
00:58:39,920 --> 00:58:45,400
Speaker 2: I mean, I certainly feel intimidated by Like, I really

1108
00:58:45,440 --> 00:58:48,000
Speaker 2: think she has the best voice. I love the way

1109
00:58:48,160 --> 00:58:51,360
Speaker 2: her voice sounds, and so I think it's very hard

1110
00:58:51,400 --> 00:58:55,200
Speaker 2: for me to be to not be conscious of my

1111
00:58:55,360 --> 00:59:00,120
Speaker 2: performance versus her amazing performance. And then and then, and

1112
00:59:00,160 --> 00:59:03,960
Speaker 2: I also again on this you know what I've just

1113
00:59:04,080 --> 00:59:06,560
Speaker 2: found as I'm like, oh wow, I'm really singing these

1114
00:59:06,680 --> 00:59:11,720
Speaker 2: lyrics like I am singing Norah Jones cover covering, which

1115
00:59:11,720 --> 00:59:14,360
Speaker 2: is so odd because I wrote it. Funny, but I have,

1116
00:59:14,600 --> 00:59:18,800
Speaker 2: but I have, so I've so given over the deed.

1117
00:59:20,080 --> 00:59:22,800
Speaker 2: The house is I can, I can open the front door,

1118
00:59:22,800 --> 00:59:27,600
Speaker 2: but I do not own the house. It's been remodeled, yeah,

1119
00:59:27,640 --> 00:59:31,080
Speaker 2: which is kind of a kind of a great feeling.

1120
00:59:31,520 --> 00:59:34,080
Speaker 2: I remember seeing it, hearing that, because you know, Johnny

1121
00:59:34,080 --> 00:59:36,600
Speaker 2: Cash does that amazing cover of Hurt, the Nine inch

1122
00:59:36,680 --> 00:59:40,680
Speaker 2: Nails song, and I think I've heard that. Trent heard

1123
00:59:40,720 --> 00:59:43,480
Speaker 2: it and was like, not my song anymore. But as

1124
00:59:43,520 --> 00:59:46,120
Speaker 2: I like, and I don't own that anymore.

1125
00:59:46,280 --> 00:59:47,080
Speaker 1: What a compliment.

1126
00:59:47,560 --> 00:59:51,160
Speaker 2: Yeah, And I totally relate to that. I mean, the

1127
00:59:51,200 --> 00:59:53,240
Speaker 2: other instance I have of that as I wrote this

1128
00:59:53,360 --> 00:59:56,200
Speaker 2: song lonely, and I wrote it for Justin Bieber like

1129
00:59:56,280 --> 00:59:59,720
Speaker 2: it was not it was about his life, and here's

1130
00:59:59,840 --> 01:00:01,440
Speaker 2: the offering, go ahead and sing it.

1131
01:00:01,600 --> 01:00:04,240
Speaker 1: That's different writing a song it was. It was.

1132
01:00:04,440 --> 01:00:05,600
Speaker 2: It was totally for him.

1133
01:00:05,680 --> 01:00:07,800
Speaker 1: Yeah, that's different than writing a song it is and

1134
01:00:07,840 --> 01:00:09,400
Speaker 1: then having someone else own it.

1135
01:00:09,520 --> 01:00:11,800
Speaker 2: You're right, yeah, But it was a similar thing of

1136
01:00:11,920 --> 01:00:14,560
Speaker 2: like as soon as he's saying it, I was like,

1137
01:00:14,800 --> 01:00:16,520
Speaker 2: did I write that? You know what I mean? Like

1138
01:00:16,600 --> 01:00:20,439
Speaker 2: it's so clear that it belongs to him, as soon

1139
01:00:20,480 --> 01:00:25,560
Speaker 2: as he touches the lyric, which I think is awesome,

1140
01:00:25,640 --> 01:00:26,240
Speaker 2: it is awesome.

1141
01:00:26,320 --> 01:00:28,320
Speaker 1: Thank you. I'm really honored that you're saying it with me,

1142
01:00:28,400 --> 01:00:31,600
Speaker 1: because he said it sounds great. Thanks you sound amazing.

1143
01:00:31,640 --> 01:00:32,480
Speaker 1: I love your voice.

1144
01:00:32,600 --> 01:00:34,720
Speaker 2: It's another example of like I was eighteen and it's

1145
01:00:34,760 --> 01:00:36,320
Speaker 2: like such sort of.

1146
01:00:38,040 --> 01:00:41,840
Speaker 1: Vague lyrics, but I think that's kind of what. They're simple,

1147
01:00:41,960 --> 01:00:44,840
Speaker 1: but they're they're relatable and they're not vague.

1148
01:00:45,240 --> 01:00:47,680
Speaker 2: You get further and further away simple being able to

1149
01:00:47,720 --> 01:00:48,480
Speaker 2: explain them too.

1150
01:00:48,720 --> 01:00:51,680
Speaker 1: Yes, sure I find them simple in a beautiful way,

1151
01:00:51,680 --> 01:00:52,160
Speaker 1: but not vague.

1152
01:00:52,200 --> 01:00:54,800
Speaker 2: I'm sure I could have explained it at eighteen, And again,

1153
01:00:54,840 --> 01:00:58,000
Speaker 2: I was very I was very uh and I still

1154
01:00:58,040 --> 01:00:59,920
Speaker 2: love them so much, but I was very I was

1155
01:01:00,400 --> 01:01:04,000
Speaker 2: devouring like Bonnie vere songs at the time, and you

1156
01:01:04,040 --> 01:01:04,880
Speaker 2: know those are.

1157
01:01:05,240 --> 01:01:07,440
Speaker 1: That impressionistic and so beautiful.

1158
01:01:09,120 --> 01:01:12,600
Speaker 2: Yeah, I have sort of tried. I've gotten I've gotten

1159
01:01:12,640 --> 01:01:14,760
Speaker 2: more this way, and I'm trying not to get even

1160
01:01:14,800 --> 01:01:19,600
Speaker 2: more this way. Like like, I like vague stuff. I

1161
01:01:19,600 --> 01:01:25,880
Speaker 2: think like very specific things can be so beautiful and

1162
01:01:25,920 --> 01:01:30,400
Speaker 2: effective and romantic, but I really love a vague thing.

1163
01:01:30,880 --> 01:01:35,680
Speaker 1: I think pop songwritings in particular has gotten very spreadably speciecific,

1164
01:01:36,160 --> 01:01:39,280
Speaker 1: and I think people love it. But I come from

1165
01:01:39,320 --> 01:01:44,280
Speaker 1: a different school of songwriting, and I think I think

1166
01:01:44,320 --> 01:01:47,120
Speaker 1: when it's vague, people can put them. They can put

1167
01:01:47,120 --> 01:01:50,360
Speaker 1: the code on a little easier, they could put their

1168
01:01:50,400 --> 01:01:53,600
Speaker 1: own completely completely agree, they can infer their own story

1169
01:01:53,840 --> 01:01:54,560
Speaker 1: being told to.

1170
01:01:54,520 --> 01:01:57,360
Speaker 2: Them, you know, well, And it also depends on like,

1171
01:01:57,400 --> 01:02:02,160
Speaker 2: there's ugly, ugly specific, beautiful specific you know again, like

1172
01:02:03,200 --> 01:02:06,080
Speaker 2: I think if Paul Simon is very specific, you think

1173
01:02:06,120 --> 01:02:09,600
Speaker 2: of a song like America, you do have to like

1174
01:02:09,640 --> 01:02:11,160
Speaker 2: look up a lot. If you're me, you're like, what's

1175
01:02:11,200 --> 01:02:12,040
Speaker 2: a missus Wagner.

1176
01:02:12,800 --> 01:02:14,400
Speaker 1: I thought about suggesting that one, and then I was

1177
01:02:14,400 --> 01:02:16,480
Speaker 1: listening to it again. I was like, that's very very

1178
01:02:16,960 --> 01:02:19,160
Speaker 1: It's a great song. It's so good, But I don't

1179
01:02:19,760 --> 01:02:21,080
Speaker 1: know about the lyrics.

1180
01:02:20,720 --> 01:02:24,520
Speaker 2: Coming out, you know, well, yes, and it's also uh,

1181
01:02:25,200 --> 01:02:28,440
Speaker 2: it's they're beautiful images that you know, boarding the greyhound

1182
01:02:28,520 --> 01:02:33,440
Speaker 2: and what there's a lot of beauty in those And

1183
01:02:35,240 --> 01:02:37,440
Speaker 2: I don't know, like I think that if I'm going specific,

1184
01:02:37,480 --> 01:02:40,680
Speaker 2: I do. I do aspire to go that direction as

1185
01:02:40,680 --> 01:02:46,080
Speaker 2: opposed to singing about CrossFit or.

1186
01:02:46,840 --> 01:02:50,320
Speaker 1: Or in my phone and I'm you're texting me, do

1187
01:02:50,360 --> 01:02:51,960
Speaker 1: you have dreams about your phone? I've never had a

1188
01:02:52,000 --> 01:02:54,080
Speaker 1: dream about my I've never had a dream about my phone.

1189
01:02:54,320 --> 01:02:56,400
Speaker 2: That's why are we? Why aren't Why aren't we always

1190
01:02:56,400 --> 01:02:58,240
Speaker 2: talking about that?

1191
01:02:58,320 --> 01:03:03,320
Speaker 1: I've never thought of that. That is that's crazy. Yeah,

1192
01:03:03,480 --> 01:03:07,000
Speaker 1: you dream about everything else. Thank god, there's one place

1193
01:03:07,040 --> 01:03:07,840
Speaker 1: I spose it.

1194
01:03:07,880 --> 01:03:10,600
Speaker 2: But what does that mean?

1195
01:03:10,880 --> 01:03:13,040
Speaker 1: It means that we need to not be on our phone.

1196
01:03:13,680 --> 01:03:16,840
Speaker 2: But it's that's crazy that we're on them all day

1197
01:03:16,880 --> 01:03:21,040
Speaker 2: and that they are not a part of our You

1198
01:03:21,080 --> 01:03:22,640
Speaker 2: can get a call in a dream, you know what

1199
01:03:22,680 --> 01:03:25,200
Speaker 2: I mean. You can be like a call, but I don't.

1200
01:03:25,440 --> 01:03:28,040
Speaker 2: But I but there's no like I was on Instagram

1201
01:03:28,080 --> 01:03:28,680
Speaker 2: in my dream.

1202
01:03:29,000 --> 01:03:31,240
Speaker 1: I really wanted to ask you because we were talking

1203
01:03:31,240 --> 01:03:34,200
Speaker 1: about synthesizers. Yeah, the Beef soundtrack.

1204
01:03:34,040 --> 01:03:34,400
Speaker 2: Thank you.

1205
01:03:34,880 --> 01:03:37,840
Speaker 1: That is awesome, Thank you so much. That's like all

1206
01:03:37,880 --> 01:03:39,840
Speaker 1: synthesized synthesizer heaven.

1207
01:03:40,200 --> 01:03:41,040
Speaker 2: It's very cynthy.

1208
01:03:41,240 --> 01:03:45,160
Speaker 1: And I've been getting really into ambient musically to the genre.

1209
01:03:45,680 --> 01:03:49,040
Speaker 1: What's your like go to life with that? Yeah?

1210
01:03:49,200 --> 01:03:55,600
Speaker 2: My life with that is not particularly well, uh identified

1211
01:03:55,720 --> 01:04:00,800
Speaker 2: until I started doing soundtracks. Yeah, okay, and then there

1212
01:04:00,840 --> 01:04:04,880
Speaker 2: are there There are a fair few very sort of ambient,

1213
01:04:04,960 --> 01:04:07,640
Speaker 2: beautiful soundtracks, and so that was kind of my intro

1214
01:04:07,760 --> 01:04:12,680
Speaker 2: to it. And then going back and listening to Brian

1215
01:04:12,760 --> 01:04:15,120
Speaker 2: he Knows music for Airport.

1216
01:04:14,640 --> 01:04:18,040
Speaker 1: I finally got into it. Everybody always told me about

1217
01:04:18,040 --> 01:04:18,560
Speaker 1: it and I didn't.

1218
01:04:18,760 --> 01:04:21,160
Speaker 2: Yeah, there's a time and a place for it.

1219
01:04:21,440 --> 01:04:24,360
Speaker 1: I'm in my era, in my ambient era. I have

1220
01:04:24,440 --> 01:04:27,160
Speaker 1: too much input, and so I put the whole soundtrack

1221
01:04:27,160 --> 01:04:29,400
Speaker 1: on beef soundtrack on the other day because I've been

1222
01:04:29,440 --> 01:04:32,360
Speaker 1: doing that lately where I can't listen to like regular

1223
01:04:32,440 --> 01:04:35,800
Speaker 1: music anymore all the time, but I want to listen

1224
01:04:35,880 --> 01:04:38,480
Speaker 1: to something. And it was beautiful. Thank you so much,

1225
01:04:38,480 --> 01:04:40,160
Speaker 1: thanks for taking time to listen. I really loved it.

1226
01:04:40,240 --> 01:04:44,120
Speaker 2: I really loved the excuse to make that piece of

1227
01:04:44,520 --> 01:04:47,160
Speaker 2: you know, that long play was really a fun thing to.

1228
01:04:47,120 --> 01:04:49,520
Speaker 1: Worry do you sink everything or do you have someone

1229
01:04:49,520 --> 01:04:52,280
Speaker 1: else who does that? Is there like a music supervisor.

1230
01:04:51,760 --> 01:04:53,960
Speaker 2: Sinked a lot of it.

1231
01:04:54,320 --> 01:04:55,160
Speaker 1: That's a lot of work.

1232
01:04:56,160 --> 01:04:58,920
Speaker 2: I would make pieces and then they would sort of

1233
01:04:59,000 --> 01:05:01,880
Speaker 2: put them to picture and then you know, sometimes it

1234
01:05:01,920 --> 01:05:04,919
Speaker 2: would they'd have to truncate it, and then a lot

1235
01:05:04,920 --> 01:05:08,640
Speaker 2: of it I made to pictures, which was it was funny.

1236
01:05:08,680 --> 01:05:12,040
Speaker 2: It was like, obviously, it's much easier to not do that.

1237
01:05:12,080 --> 01:05:14,080
Speaker 2: It's much easier to just make a piece and send

1238
01:05:14,160 --> 01:05:17,040
Speaker 2: it to them than it is to like, Okay, scene

1239
01:05:17,080 --> 01:05:19,920
Speaker 2: starts here, and then by forty five seconds in this

1240
01:05:20,040 --> 01:05:23,520
Speaker 2: character has said this heartbreaking thing. But it's not an

1241
01:05:23,520 --> 01:05:25,720
Speaker 2: even bar, you know what I mean. You can't it's

1242
01:05:25,760 --> 01:05:26,600
Speaker 2: not an even phrase.

1243
01:05:26,720 --> 01:05:27,840
Speaker 1: Play to it right.

1244
01:05:28,120 --> 01:05:31,160
Speaker 2: There is something kind of amazing about that. It's like

1245
01:05:31,240 --> 01:05:33,760
Speaker 2: anything you're like, oh wow, I would never think to

1246
01:05:33,840 --> 01:05:36,680
Speaker 2: have this note drag on to write there and then stop,

1247
01:05:36,720 --> 01:05:40,040
Speaker 2: And so I think ultimately just sort of being like, yeah,

1248
01:05:40,160 --> 01:05:42,280
Speaker 2: I can't make it an even bar. Yeah, I'm going

1249
01:05:42,320 --> 01:05:44,360
Speaker 2: to make it an uneven bar. There it is, and

1250
01:05:44,400 --> 01:05:46,640
Speaker 2: then it's going to feel great in the scene because

1251
01:05:47,240 --> 01:05:49,400
Speaker 2: you know, just like you're recording the live recording of

1252
01:05:49,480 --> 01:05:52,439
Speaker 2: Kathy's song or something, it's like, yeah, it's fine, it's live.

1253
01:05:52,760 --> 01:05:56,320
Speaker 1: It's cool. Though you did the you did the Disclaimer soundtrack,

1254
01:05:56,360 --> 01:05:58,720
Speaker 1: which I also love, thanks so much. That's a lot of.

1255
01:05:58,640 --> 01:05:59,760
Speaker 2: Strings, all strings.

1256
01:06:00,040 --> 01:06:02,440
Speaker 1: Did you arrange it or did Oh that's a lot

1257
01:06:02,480 --> 01:06:03,000
Speaker 1: of work too.

1258
01:06:03,360 --> 01:06:06,800
Speaker 2: That was that was like going to you know, college

1259
01:06:06,840 --> 01:06:08,560
Speaker 2: for a year or something. Yeah, it was like I

1260
01:06:08,640 --> 01:06:10,960
Speaker 2: didn't know what I was doing, had to learn. So

1261
01:06:11,040 --> 01:06:14,200
Speaker 2: grateful for the fact that I had to take the

1262
01:06:14,240 --> 01:06:14,800
Speaker 2: time to learn.

1263
01:06:15,000 --> 01:06:17,200
Speaker 1: It's a lot of work. But the sinse stuff feels

1264
01:06:17,240 --> 01:06:19,480
Speaker 1: like you're just playing around. Since stuff was really you

1265
01:06:19,520 --> 01:06:21,240
Speaker 1: get to just really be well.

1266
01:06:21,560 --> 01:06:25,040
Speaker 2: And also I think maybe you know a lot. The

1267
01:06:25,640 --> 01:06:27,680
Speaker 2: since I played the most on this score was called

1268
01:06:27,680 --> 01:06:31,280
Speaker 2: a memory Mogue and I've had it for years and

1269
01:06:31,320 --> 01:06:33,760
Speaker 2: I paid too much money for it, and I under

1270
01:06:33,880 --> 01:06:36,080
Speaker 2: used it, and I was like, I should sell this,

1271
01:06:36,160 --> 01:06:38,160
Speaker 2: like somebody else is going to use it more. And

1272
01:06:38,200 --> 01:06:39,800
Speaker 2: part of the reason I didn't use it was its

1273
01:06:39,840 --> 01:06:42,440
Speaker 2: analog and it goes out of tune. And if I'm

1274
01:06:42,440 --> 01:06:44,880
Speaker 2: making a song with Billy, I don't want to make

1275
01:06:44,880 --> 01:06:48,120
Speaker 2: her wait six hours for me to go like like,

1276
01:06:48,400 --> 01:06:51,400
Speaker 2: you know, it's so long. Yeah, But if I'm scoring

1277
01:06:51,400 --> 01:06:54,600
Speaker 2: a show and there's no singer in the room that

1278
01:06:54,960 --> 01:06:56,240
Speaker 2: I'm wasting the time of.

1279
01:06:56,440 --> 01:06:58,640
Speaker 1: You're just having fun. I'm just having fun, yeah, exactly.

1280
01:06:58,720 --> 01:07:01,840
Speaker 2: And so I now I'm actually like quite quite comfortable

1281
01:07:01,880 --> 01:07:04,000
Speaker 2: with that synthesizer, and so now when Billy comes over,

1282
01:07:04,120 --> 01:07:06,960
Speaker 2: I can make something good much more quickly. Used to

1283
01:07:07,000 --> 01:07:09,720
Speaker 2: take me hours. Yeah, So I'm very grateful for anything

1284
01:07:09,800 --> 01:07:11,520
Speaker 2: like that. And he's sort of like, oh, I got

1285
01:07:11,520 --> 01:07:14,000
Speaker 2: all into the cool. You know. If somebody was like,

1286
01:07:14,560 --> 01:07:16,720
Speaker 2: do you want to do another show where you play

1287
01:07:16,760 --> 01:07:18,720
Speaker 2: the same synth, I'd be like, I'm willing. But if

1288
01:07:18,720 --> 01:07:20,200
Speaker 2: somebody was like, you want to do a Digeri do

1289
01:07:20,400 --> 01:07:24,920
Speaker 2: show gets super good at the Digerie Do.

1290
01:07:25,400 --> 01:07:29,160
Speaker 1: My husband got me a hurdy gurdy for great It

1291
01:07:29,240 --> 01:07:31,920
Speaker 1: was one of the greatest laughs of a great example.

1292
01:07:31,960 --> 01:07:34,800
Speaker 2: If I did we did a hurdy show it. Yeah,

1293
01:07:34,800 --> 01:07:37,000
Speaker 2: but think about maybe you're already great at it, but

1294
01:07:37,040 --> 01:07:39,479
Speaker 2: think about how you'd get if you had to score

1295
01:07:39,520 --> 01:07:40,240
Speaker 2: a hurdy gurdy show.

1296
01:07:40,240 --> 01:07:42,560
Speaker 1: I would have to have homework to learn it. It's

1297
01:07:42,600 --> 01:07:45,720
Speaker 1: so hard. He likes it. He likes it. It's cool.

1298
01:07:46,400 --> 01:07:47,600
Speaker 1: We'll figure it out eventually.

1299
01:07:47,840 --> 01:07:48,520
Speaker 2: That's so funny.

1300
01:07:48,520 --> 01:07:50,560
Speaker 1: Thank you so much for your time, so much for

1301
01:07:50,680 --> 01:07:52,200
Speaker 1: doing this. It's been awesome.

1302
01:07:53,280 --> 01:07:54,000
Speaker 2: Should we try it?

1303
01:07:54,080 --> 01:07:54,680
Speaker 1: Let's try it.

1304
01:07:54,760 --> 01:07:56,640
Speaker 2: Can you take the lead on this and I'll kind

1305
01:07:56,640 --> 01:07:59,440
Speaker 2: of follow along and maybe do like a verse.

1306
01:08:00,360 --> 01:08:03,360
Speaker 1: Yeah, I would love to switch and play piano. Do

1307
01:08:03,400 --> 01:08:05,480
Speaker 1: it if you feel up for it. I don't want

1308
01:08:05,480 --> 01:08:07,439
Speaker 1: to know she's she's really been.

1309
01:08:08,200 --> 01:08:10,880
Speaker 2: It's sequestered to just the world's around this.

1310
01:08:14,320 --> 01:08:16,400
Speaker 1: That's nice, Okay, sorry, just rock out on it.

1311
01:08:24,800 --> 01:08:41,080
Speaker 3: I hear the dresslu lui like a mamor fall soft

1312
01:08:41,120 --> 01:08:44,760
Speaker 3: and long, continue.

1313
01:08:49,040 --> 01:08:49,680
Speaker 5: Tapping on.

1314
01:09:00,600 --> 01:09:11,960
Speaker 13: And from the shelter my mind through the wind, my.

1315
01:09:16,520 --> 01:09:23,880
Speaker 17: I gaze beyond ranger streets.

1316
01:09:24,720 --> 01:09:29,000
Speaker 3: To English where my heart lies.

1317
01:09:36,120 --> 01:09:40,960
Speaker 11: My mind's distracted and the fuse.

1318
01:09:44,680 --> 01:09:51,800
Speaker 3: My thoughts are minds.

1319
01:09:53,200 --> 01:09:56,400
Speaker 5: They lie with you when.

1320
01:09:56,240 --> 01:10:06,479
Speaker 11: You sleep, kiss you and you start today.

1321
01:10:09,400 --> 01:10:16,720
Speaker 3: The song I was writing is left un down. I

1322
01:10:16,800 --> 01:10:21,360
Speaker 3: don't know why I spend my time.

1323
01:10:24,920 --> 01:10:26,760
Speaker 5: Writing songs.

1324
01:10:27,320 --> 01:10:41,080
Speaker 17: I can't busy words to tell, strange to ride. So

1325
01:10:41,600 --> 01:10:51,200
Speaker 17: you see, I have come to die. All that I

1326
01:10:51,840 --> 01:10:57,880
Speaker 17: want says is true.

1327
01:10:58,120 --> 01:11:03,240
Speaker 5: I stand with out believe.

1328
01:11:06,520 --> 01:11:10,960
Speaker 3: The only true thing is you.

1329
01:11:18,400 --> 01:11:25,600
Speaker 13: And as I watched the drive sway.

1330
01:11:26,960 --> 01:11:38,280
Speaker 5: We there we passed, I know, like.

1331
01:11:44,200 --> 01:11:47,040
Speaker 3: There before the gracially.

1332
01:12:05,479 --> 01:12:08,519
Speaker 1: Pretty what a piano, it's pretty right.

1333
01:12:08,800 --> 01:12:11,280
Speaker 2: You're amazing. I really, I really have been so inspired

1334
01:12:11,280 --> 01:12:14,040
Speaker 2: by your music for many many years. Now.

1335
01:12:14,400 --> 01:12:16,599
Speaker 1: Well, I'm a huge fan. I'm so as you came,

1336
01:12:16,680 --> 01:12:17,799
Speaker 1: and I'm glad we're connected.

1337
01:12:17,920 --> 01:12:20,640
Speaker 2: And yeah, likewise, stay in touch play. Thanks for so

1338
01:12:20,720 --> 01:12:21,839
Speaker 2: much time out of your Tuesday.

1339
01:12:21,960 --> 01:12:24,519
Speaker 1: You time for me. Thank you for spending time with me.

1340
01:12:24,600 --> 01:12:25,760
Speaker 1: I appreciate it. Thank you.

1341
01:12:26,040 --> 01:12:26,280
Speaker 7: Yay.

1342
01:12:28,560 --> 01:12:30,600
Speaker 1: Oh that was so fun. Thank you so much for

1343
01:12:30,720 --> 01:12:31,800
Speaker 1: listening so great.

1344
01:12:31,840 --> 01:12:35,120
Speaker 4: Oh my god. I loved hearing ocean eyes like with

1345
01:12:35,240 --> 01:12:38,200
Speaker 4: him singing. Oh, I loved him singing song and just

1346
01:12:38,240 --> 01:12:39,840
Speaker 4: in his voice. It was really he's got a great

1347
01:12:39,880 --> 01:12:41,960
Speaker 4: voice too. I loved it.

1348
01:12:41,960 --> 01:12:45,000
Speaker 1: It must be weird to have her sing his song

1349
01:12:45,080 --> 01:12:47,919
Speaker 1: and then sing it and then feel like he's not her,

1350
01:12:48,280 --> 01:12:50,120
Speaker 1: but he has a great dal Well.

1351
01:12:50,160 --> 01:12:52,800
Speaker 4: I feel like he kind of maybe reconnected with the

1352
01:12:52,880 --> 01:12:54,320
Speaker 4: song by performing it.

1353
01:12:54,360 --> 01:12:56,240
Speaker 1: I was glad he was open to it. If you

1354
01:12:56,280 --> 01:12:58,519
Speaker 1: want to know what songs we played today, the first

1355
01:12:58,560 --> 01:13:00,880
Speaker 1: song we did was called Die Alone and that's a

1356
01:13:00,920 --> 01:13:03,720
Speaker 1: fineas song from his album Blood Harmony, which came out

1357
01:13:03,720 --> 01:13:07,920
Speaker 1: in twenty nineteen. The second song we played and was Oceanize,

1358
01:13:08,640 --> 01:13:12,599
Speaker 1: which Billie Eilish famously recorded for SoundCloud as you heard,

1359
01:13:13,520 --> 01:13:17,280
Speaker 1: uploaded in twenty fifteen to SoundCloud before it's wider release

1360
01:13:17,400 --> 01:13:20,280
Speaker 1: on Don't Smile at Me, which came out in twenty seventeen,

1361
01:13:20,320 --> 01:13:23,400
Speaker 1: and it was written by Phineas O'Connell, who is Phineas

1362
01:13:23,880 --> 01:13:26,680
Speaker 1: with a last name. The third song we did was

1363
01:13:26,720 --> 01:13:29,639
Speaker 1: Cathy's Song. It first appeared on Paul Simon's solo album,

1364
01:13:29,680 --> 01:13:32,840
Speaker 1: The Paul Simon Songbook in nineteen sixty five, and then

1365
01:13:32,880 --> 01:13:35,280
Speaker 1: it was re recorded by Simon and Garfunkle for Sounds

1366
01:13:35,280 --> 01:13:38,040
Speaker 1: of Silence in nineteen sixty six. I actually did not

1367
01:13:38,160 --> 01:13:42,360
Speaker 1: know that special. Thanks to Phineas for joining us today,

1368
01:13:42,400 --> 01:13:44,760
Speaker 1: and we'll be back next week with Michelle and Deggiocello.

1369
01:13:45,520 --> 01:13:48,560
Speaker 1: Nora Jones's Playing Along is a production of iHeart Podcasts.

1370
01:13:48,640 --> 01:13:51,240
Speaker 1: Visit Nora Jones channel and be sure to subscribe while

1371
01:13:51,240 --> 01:13:54,160
Speaker 1: you're there. I'm your host, Nora Jones. This episode was

1372
01:13:54,200 --> 01:13:57,599
Speaker 1: recorded by Matt Marinelli, mixed by Jamie Landry. Audio post

1373
01:13:57,640 --> 01:14:01,360
Speaker 1: production and mastering by Greg Tobler. Artwork by Eliza Frye.

1374
01:14:01,520 --> 01:14:05,120
Speaker 1: Photography by Shervin Linez. Produced by Norah Jones and Sarah Oda.

1375
01:14:05,400 --> 01:14:09,439
Speaker 1: Executive producers Aaron wan Kaufman and Jordan Rentogg, Marketing lead

1376
01:14:09,520 --> 01:14:12,840
Speaker 1: Alison Kanter Graeber. Thanks to dlou