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

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

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

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Speaker 1: playing along with Jason Isbel. I'm just playing lousy, I'm

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Speaker 1: just playing in lone uzy. Hey, I'm Nora Jones with

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Speaker 1: me as always a Sarah Oda.

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Speaker 2: Hello, welcome to the show, Jinks.

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Speaker 1: I like your jacket.

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Speaker 3: Thank you.

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Speaker 2: It's fresh from Japan. It's lovely. We have an incredible

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Speaker 2: episode today.

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Speaker 4: We're joined by Jason Isbel, the Grammy winning singer songwriter

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Speaker 4: who you may know from his time with the Drive

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Speaker 4: By Truckers or from Jason Isbel in the four hundred Unit.

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Speaker 4: His latest album just came out this year. It's a

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Speaker 4: new solo album called Foxes in the Snow, which is

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Speaker 4: a stripped down acoustic album that really features his raw vocals.

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Speaker 4: It's very intimate and heartfelt, very beautiful album. It's a

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Speaker 4: very beautiful album. We had fun playing songs from it,

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Speaker 4: and yeah, I just I just loved hanging with him

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Speaker 4: and playing music. We've met before, but we never got

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Speaker 4: a chance to really interact much, so.

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Speaker 2: It was very fun in this episode.

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Speaker 4: You're going to hear about his on screen film debut,

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Speaker 4: about navigating how to write a love song, and what

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Speaker 4: kind of manicure he likes to get.

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Speaker 1: Oh, I forgot about that.

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Speaker 4: Yeah, And as always, we have great music coming up,

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Speaker 4: including a really great surprise of a cover that you

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Speaker 4: do cover surprise, So stay tuned.

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Speaker 1: Here she is our episode with Jason isbo Enjoy. Hey,

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Speaker 1: you want to play song?

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Speaker 2: Let's do a song?

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Speaker 5: Yeah?

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Speaker 6: Let me?

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Speaker 7: Yeah?

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Speaker 2: You want to count it? To just start playing? Okay?

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Speaker 6: Started out like it always start.

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Speaker 2: Try to hold the hunger bad.

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Speaker 6: You don't anticipate a broken heart. I can't see nothing

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Speaker 6: but to try a diamond earring in a bowery bead.

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Speaker 2: You kicked your shoes across the floor.

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Speaker 6: You regret the things that went on the set? Have

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Speaker 6: you heard it all?

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Speaker 2: For Ily? You should have seen this coming soon? Right

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Speaker 2: me to be along for all my.

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Speaker 8: Ily thought the truth was just a room that show.

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Speaker 6: And it ended like it always ends, somebody crying the phone.

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Speaker 6: Tell each other you could still beet friends. You both

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Speaker 6: know you're all on your own. My own behavior was

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Speaker 6: a shock to me. I never thought I'd have a nerd.

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Speaker 2: I hope you're sleeping through the night alley.

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Speaker 3: I hope they're grading all the curve.

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Speaker 8: Ily, you should have seen this coming soon?

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Speaker 3: Why me me alone?

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Speaker 8: For all mind Ily, you thought the truth.

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Speaker 3: Was just a rumor.

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Speaker 6: That's sure. Somebody broke my heart. Was I was useless

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Speaker 6: for a week.

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Speaker 2: I didn't leave my apartment, I.

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Speaker 9: Didn't need I didn't sleep.

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Speaker 6: Then I found the letter show against the wall behind

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Speaker 6: the bed said forever as a dead man's show. That's

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Speaker 6: the only thing that said.

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Speaker 8: I should have seen this come in simple.

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Speaker 2: Right, me me alone?

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Speaker 3: For all mydy I thought the truth was just a rumor.

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Speaker 2: That shore way, that's it sounded good.

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Speaker 1: That was so pretty. It was really good. Yeah. It's

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Speaker 1: interesting because I you know your songs. I'm dying to

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Speaker 1: sing harmony all over the place. But there's there's so

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Speaker 1: intimate on this record. It's all solo, right, the whole thing. Yeah,

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Speaker 1: and also I think there's something about certain lyrics that

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Speaker 1: can be hard to have two people.

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Speaker 2: That's true.

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Speaker 6: Sometimes it feels weird to have a second voice in there.

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Speaker 1: It does, But I just had to do it.

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Speaker 2: How do you? Yeah, I want you to do it.

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Speaker 3: I had to do it.

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Speaker 6: They heard the version that just has me on her,

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Speaker 6: they can find it easily. Yeah, we're going to do something.

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Speaker 1: I had to do it. But yeah, it was like

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Speaker 1: there's such a tender song and such a you know,

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Speaker 1: seems like a lonesome lyric, you.

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Speaker 6: Know, Yeah, I think so, it's where do you where

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Speaker 6: do you put the line? Because it's tough for me

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Speaker 6: to choose, Like, I want to put harmonies on everything.

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Speaker 1: Me too.

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Speaker 6: I grew up listening to harmony vocals and like studying

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Speaker 6: like David Crosby and Mike Mills and you know, Everley's

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Speaker 6: and all this stuff, and I want it. I want

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Speaker 6: to put it on everything. And then I hear it

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Speaker 6: and I think that's way that's way too much harmony.

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Speaker 6: That's like putting too much seasoning on a dish, too

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Speaker 6: many ingredients, Yeah, exactly, Yeah, yeah, And I don't know,

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Speaker 6: it's it's it's a tough line.

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Speaker 1: I think you can usually tell after you do it,

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Speaker 1: if it's you know, overdubbed or you know, you rehearse it,

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Speaker 1: you can tell where to leave it eventually, and then

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Speaker 1: once you put it in, it's like the magic bloss.

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Speaker 6: It's so perfect, right, Yeah, it's so perfect. I remember

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Speaker 6: like for some reason. That was one of the things

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Speaker 6: I think maybe when I was a kid, I just

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Speaker 6: thought that I was going to sing harmony and play guitar. Really,

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Speaker 6: I didn't realize I was going to be singing lead

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Speaker 6: vocals on anything.

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Speaker 2: And so that's what I listened to.

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Speaker 6: Super closely, and I remember certain moments like like on

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Speaker 6: like time after time, that harmony vocal is one of

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Speaker 6: the best harmony.

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Speaker 2: Kind of angular it is.

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Speaker 6: It sounds like Elvis Costello, but it sounds like you know.

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Speaker 6: But then it's like I remember also like you're so vain,

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Speaker 6: like Mick On, You're so vain. It's basically just unison.

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Speaker 6: He's not even really singing harmony, but it's so perfect,

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Speaker 6: you know.

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Speaker 2: I remember trying to figure.

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Speaker 6: Out why, what is it that makes one harmony part better?

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Speaker 1: Well, it's like the whole Gillian Welsh David Rawlings thing.

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Speaker 1: I'm always singing along a third part when I'm listening

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Speaker 1: to them. But the truth is, it's much cooler when

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Speaker 1: it's just two of them, It's true, and they find

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Speaker 1: these weird sevens and like they don't pick you know,

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Speaker 1: Dave doesn't always do a typical harmony.

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Speaker 2: No, he never does a typical harmony.

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Speaker 1: He'll do like a weird line and then I'll go

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Speaker 1: lower than her and then higher than her, and it's

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Speaker 1: like it's just more special.

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Speaker 2: Yeah it is.

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Speaker 6: And it's like I feel like it's rewarding for those

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Speaker 6: of us who you know, build music for a living

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Speaker 6: or take it that seit, but also for people who

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Speaker 6: don't and just listen. They think this is weird in

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Speaker 6: a good way.

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Speaker 1: Yeah, they don't. He told me a really cool story

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Speaker 1: once about I think Time the Revelator. He said that

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Speaker 1: somebody sent a comment online about how his guitar was

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Speaker 1: out of tune because it was dissonant, and he was

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Speaker 1: playing this weird like yeah, using that, and he just

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Speaker 1: got such a kick out of it.

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Speaker 2: Yeah.

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Speaker 1: They didn't understand that the difference was actually correct but

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Speaker 1: supposed to be weird. They just thought it was out

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Speaker 1: of tune.

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Speaker 6: Yeah yeah, and I mean it probably being that old Olympic,

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Speaker 6: it probably was also out of tune.

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Speaker 2: Probably that's not what they were here. Yeah, yeah, he does.

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Speaker 6: He came and sat in with me on some solo

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Speaker 6: shows in Nashville. You know, I feel like sometimes like

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Speaker 6: he's arts from a point of like this is not good.

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Speaker 6: I don't want this to make perfect sense, and I'm

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Speaker 6: going to figure out how to get back down the

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Speaker 6: lamb into the tree.

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Speaker 2: Yeah, and it makes me so happy. Yeah, you're right.

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Speaker 1: I can kind of picture.

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Speaker 6: It's like it's like I'm going back for the tree,

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Speaker 6: but you know, I'm not going to start from a

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Speaker 6: typical spot.

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Speaker 1: Yeah.

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Speaker 6: It's so nice because it never sounds superfluous that way.

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Speaker 6: It's it's always like, Okay, this is here for a reason,

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Speaker 6: and it doesn't always land, Like when I try to

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Speaker 6: do that, it does not land half the time.

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Speaker 2: But he's just really good at it.

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Speaker 6: He's really good at doing like chromatic oh yeah, falls

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Speaker 6: and walks and landing on that third or landing somewhere

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Speaker 6: where it's like, oh now I'm comfortable.

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Speaker 1: It's like a cat on the list exactly.

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Speaker 5: It is.

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Speaker 2: Yeah, Yeah, he's so good.

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Speaker 1: Tell me about your guitar.

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Speaker 6: This guitar is is a Martin. When I was in

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Speaker 6: Oklahoma filming Killers of the Flower Moon, very coolat either way,

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Speaker 6: that was very thank you. That was really weird, like

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Speaker 6: I just don't do that. And we were in the

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Speaker 6: pandemic and I was like, well, I can't tour, and

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Speaker 6: so I asked my agent if I could get like

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Speaker 6: auditions or something.

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Speaker 1: Really Okay, Yeah, so you were proactive about it.

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Speaker 6: Yeah. I wanted to, like if somebody's got a set

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Speaker 6: where they're testing and filming a show where a movie,

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Speaker 6: now might be the time. And you know, I got

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Speaker 6: an audition, I got called back, and I'm like in

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Speaker 6: my house, you know, in the in the bedroom with

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Speaker 6: my laptop, you know, just like with Marty and and DiCaprio,

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Speaker 6: like on the Zoom, and I'm terrified.

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Speaker 1: It's hilarious.

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Speaker 6: Yeah, And I finally wound up getting it and getting

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Speaker 6: out there and no clue what I was doing, just

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Speaker 6: you know, but I just told everybody, I don't know

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Speaker 6: how to do this, so tell me how to do it,

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Speaker 6: and I will do my best. And they're like, oh, okay,

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Speaker 6: that's refreshing.

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Speaker 7: You know.

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Speaker 6: Delayed proceeding some days, but most of the time it

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Speaker 6: was fine. But Martin experience, it was nuts. But Martin

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Speaker 6: sent me this because I needed a little acoustic to

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Speaker 6: bang around on.

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Speaker 1: Oh, because it's.

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Speaker 6: Small and travelable, Okay, I see, Yeah, And I was

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Speaker 6: having to go back and forth between Oklahoma and shows

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Speaker 6: because they the scheduling was a massive event around that.

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Speaker 1: Oh yeah, it's not your time.

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Speaker 2: No, not in any way.

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Speaker 1: That's what's hard for me the few times have done things. Yeah,

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Speaker 1: it's just I'm so used to being in control of

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Speaker 1: my time.

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Speaker 2: Yeah, me too.

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Speaker 6: And yeah it's not You're going to get dressed up

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Speaker 6: and sit there for nine hours make up.

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Speaker 1: It's an uncomfortable outfit, very uncomfortable.

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Speaker 6: And you know, we were outdoors in Oklahoma, and so

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Speaker 6: it was like the weather brutal. Yeah, it was either

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Speaker 6: really really hot or like de Niro hurd himself and

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Speaker 6: had to go get surgery. So it kind of pushed

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Speaker 6: everything back a few weeks, and then we wound up

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Speaker 6: in storm season. So I was just in the trailer,

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Speaker 6: oh wow, waiting, you know, dressed up in suspenders and

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Speaker 6: old riding boots and my hair slicked back and sitting

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Speaker 6: there playing this guitar. But I did write most of

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Speaker 6: an album that way, the new album, the one before Weatherbag.

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Speaker 2: I wrote almost that whole record. Yeah, I know.

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Speaker 6: I just when I said that, realized that the weather

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Speaker 6: was a big reason. Yeah, but yeah, I wrote most

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Speaker 6: of that record out there in that trailer, dressed up

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Speaker 6: like a horse repair man.

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Speaker 1: It's amazing but this isn't what you used on the

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Speaker 1: new record.

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Speaker 6: No, on the new record, I used an old guitar

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Speaker 6: that is currently in New York, that's been in New

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Speaker 6: York since I got it.

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Speaker 2: I got it at Retro here in Brooklyn.

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Speaker 6: I just called sheer and I was like, I need

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Speaker 6: a little tiny Martin for the apartment here, and uh,

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Speaker 6: and I wound up writing and recording Foxes a new

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Speaker 6: record all on that good, the whole thing. I just

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Speaker 6: went into Electric Lady and.

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Speaker 1: You did it here, yeah, and uh, just you and

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Speaker 1: the guitar.

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Speaker 6: And a guitar Gina Johnson who engineered and co produced

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Speaker 6: it with me, and a bunch of microphones. And my

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Speaker 6: best friend Will Welch Uh. He came in and filmed

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Speaker 6: and hung out. And you know, there's a few people

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Speaker 6: that I can handle just having in the studio all

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Speaker 6: the time.

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Speaker 2: And he's definitely great for that.

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Speaker 1: Yeah. You know, I've still never let this is weird

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Speaker 1: for me having cameras.

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Speaker 2: Oh yeah yeah, but do you normally just have like

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Speaker 2: somebody hitting engineering.

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Speaker 1: And oh I need an engineer for.

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Speaker 2: Sure, engineer too. That makes me feel better doing that.

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Speaker 1: But like the filming thing, now everybody wants to film everything,

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Speaker 1: and I get it. I just yeah, to get a

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Speaker 1: little stiff.

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Speaker 2: Yeah, yeah, me too. Yeah, but that's cool. Yeah, it was,

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Speaker 2: it was. It was great.

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Speaker 6: And he was like, why are you doing this electric lady?

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Speaker 6: Is it's like an acoustic.

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Speaker 1: Yeah, you could do it in a barn somewhere.

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Speaker 6: Yeah, But I was like, well, where are the rest

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Speaker 6: of the studios in the village where you can make

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Speaker 6: a good sounding record and everything works and you're not

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Speaker 6: waiting all day?

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Speaker 2: I wanted to go into.

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Speaker 6: A studio in the village with a guitar and a

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Speaker 6: notebook and make a record.

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Speaker 1: That was the point that was kind of romantic? Was

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Speaker 1: it like a romantic idea?

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Speaker 6: I think as I think, I think I put those

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Speaker 6: That's about the only time I'll allow myself to go

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Speaker 6: buy those rules, those sort of romanticized rules.

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Speaker 1: I think that's good.

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Speaker 6: I think that's the whole point of having studios because

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Speaker 6: if not, you know, I could just do it at

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Speaker 6: home or in somebody's basement or something. And to me,

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Speaker 6: if I'm going to go into a studio, I want

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Speaker 6: to feel the pressure of what's happening.

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Speaker 1: Yeah, yeah, you do feel a little bit more heightened

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Speaker 1: with the Yeah you're paying for.

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Speaker 2: It, yeah, which helps the budget.

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Speaker 6: It really, that's the only reason I put pressure on

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Speaker 6: myself so the bank does.

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Speaker 1: Yeah, you know, but there is something to be said

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Speaker 1: for having a deadline. I mean a lot of people

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Speaker 1: work better that way. It's almost like having a deadline

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Speaker 1: going to the studio.

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Speaker 2: That is kind of have to make your own you know.

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Speaker 6: Luckily, I have to make my own restrictions, you know,

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Speaker 6: because I don't have a lay like I have my

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Speaker 6: own label. So I kind of say, Okay, I want

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Speaker 6: to go make a record this month, and that's great,

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Speaker 6: put it out that month and that kind of stuff.

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Speaker 1: That's great.

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Speaker 6: Yeah, it's nice. It's really nice unless something goes wrong

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Speaker 6: and then I can't turn around and yell at anybody responsible.

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Speaker 2: Yeah yeah, but I like it.

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Speaker 6: I started it with Southeastern, which was like my first

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Speaker 6: big sort of record, and so that all lined up

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Speaker 6: really really nicely.

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Speaker 1: That's very lucky, very lucky because the timing of it,

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Speaker 1: you know.

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Speaker 2: Yeah, yeah, it was very lucky.

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Speaker 1: Big labels are not where you want to be anymore, no.

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Speaker 6: And it's uh, yeah, I don't know. I don't even

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Speaker 6: know what the formula is, what the plan is now.

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Speaker 1: Yeah, I'm not sure. I mean, I'm still on a label.

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Speaker 1: I love my label, but you know, sometimes I'm not

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Speaker 1: sure what the better way would be. Because I have

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Speaker 1: an experienced going out on my own. I think for

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Speaker 1: you and your level of how you operate, it's probably perfect.

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Speaker 2: I think it's great.

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Speaker 6: Yeah, it's great because I don't even like I'm not

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Speaker 6: always looking to grow things.

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Speaker 2: You know, I'm feeling pretty good. I'm fine. Yeah, like

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Speaker 2: I'm fine.

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Speaker 6: I like to be able to hear myself and have

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Speaker 6: good gear and travel as comfortably as possible. And outside

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Speaker 6: of that, it's like, you know, I don't I don't

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Speaker 6: need more and more and more. I'm not going to

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Speaker 6: retire and no stop.

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Speaker 1: Do you imagine?

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Speaker 2: Yeah, what would that be? What would that even mean?

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Speaker 1: It would be really hard.

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Speaker 6: It would be so I'd be worse than Elton, Like

326
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Speaker 6: he's retired half a dozen times in the last two years,

327
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Speaker 6: and I would be worse than that.

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Speaker 2: I would just I'm back. Yeah, I'm it's all reunion tour.

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Speaker 6: I'm reuniting myself, my own molecules are reuniting for another tour.

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Speaker 1: Well, I think that's the great part about this job

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Speaker 1: is you don't have to retire.

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Speaker 2: Yeah, you don't have to.

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Speaker 1: Tour anymore, but you can still play and record or

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Speaker 1: do local stuff.

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Speaker 2: Yeah.

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Speaker 6: And we were never silly rock stars, so it's not

337
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Speaker 6: gonna look dumb.

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Speaker 1: Speak for yourself six yeah, No, I think we're good like.

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Speaker 6: Yeah, I'm not talking about like like level like yeah,

340
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Speaker 6: like we like you have a big deal. No, I

341
00:17:25,960 --> 00:17:27,520
Speaker 6: was joking, but you didn't have your foot up on

342
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Speaker 6: the monitor wearing like spandex and definitely not.

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Speaker 2: Yeah. And that means at some point you're gonna have.

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Speaker 6: To have hang upire yeah, yeah, or just yeah, or

345
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Speaker 6: just just just spain.

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Speaker 1: Maybe a larger size.

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Speaker 6: Yeah, it's either a just the size or you're just

348
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Speaker 6: going to be adjusting the whole time your own steady.

349
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Speaker 2: All right, what should we do nowt.

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Speaker 1: You want to do Foxes in the Snow?

351
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Speaker 2: Yeah, let's do that. Let's do that.

352
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Speaker 1: This is the title song on the record.

353
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Speaker 6: It is, Yeah, this is the title Track's a strange

354
00:18:02,840 --> 00:18:05,879
Speaker 6: song from me because it is it's just different, you know,

355
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Speaker 6: it's really different.

356
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Speaker 1: I love it.

357
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Speaker 2: It's a little bouncy.

358
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Speaker 1: Yeah.

359
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Speaker 2: And also I kind of had to let go of.

360
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Speaker 6: The idea of just being metaphorical and songwriterly and just

361
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Speaker 6: say things that I wanted to say and play the

362
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Speaker 6: guitar and sing with them and think, let's take all

363
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Speaker 6: the context out, Let's take the ego out, Let's take

364
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Speaker 6: the preconceived idea of what I'm supposed to do as

365
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Speaker 6: a songwriter and just make.

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Speaker 2: A song happen.

367
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Speaker 1: Is that not you? Is that hard for you to

368
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Speaker 1: let all that go?

369
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Speaker 6: I don't think it will be now because I've done

370
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Speaker 6: it in the past. But in the past, yeah, yeah,

371
00:18:47,040 --> 00:18:49,399
Speaker 6: there was this kind of like, well, if I can't

372
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Speaker 6: provide reachable insight with these lyrics, and I'm not doing

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Speaker 6: my job, and it may have been true at one.

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Speaker 1: Point, Okay, can you explain reachable insight Like does that

375
00:19:01,520 --> 00:19:04,800
Speaker 1: mean like relatability or it's more the story you're telling

376
00:19:04,920 --> 00:19:05,480
Speaker 1: is true.

377
00:19:05,960 --> 00:19:10,080
Speaker 6: Oh well, it reveals something okay in the lyric about

378
00:19:10,080 --> 00:19:16,920
Speaker 6: the process, and by reachable I mean not necessarily obvious,

379
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Speaker 6: but also able to be found by the average listener.

380
00:19:22,040 --> 00:19:24,119
Speaker 1: You're not hitting them over the head with it, but

381
00:19:24,240 --> 00:19:26,040
Speaker 1: it's pretty much all there.

382
00:19:25,840 --> 00:19:28,840
Speaker 6: For the Yeah, yeah, there are the clue. The mystery

383
00:19:28,880 --> 00:19:31,240
Speaker 6: can be solved with the information, and you're not.

384
00:19:31,160 --> 00:19:33,960
Speaker 1: Being overly cryptic, right, and you're not like trying to

385
00:19:34,040 --> 00:19:36,520
Speaker 1: hide every every detail, yes.

386
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Speaker 2: Or being vague or like running from anything.

387
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Speaker 1: That's something I had to learn because in the beginning,

388
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Speaker 1: I I didn't know how to write songs at all.

389
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Speaker 1: And then I started and I tried to take all

390
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Speaker 1: the eyes out of the song. I was tried to

391
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Speaker 1: be very you know, vague, and then I was like,

392
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Speaker 1: that's not very.

393
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Speaker 2: Soulful, right, No, it's not, Yeah, it's not. Yeah.

394
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Speaker 6: The soulful stuff to me is the like the details

395
00:20:03,720 --> 00:20:08,480
Speaker 6: that are for whatever reason, you're reluctant to include them,

396
00:20:08,520 --> 00:20:12,160
Speaker 6: either because they're too much or too revealing or makes

397
00:20:12,160 --> 00:20:14,800
Speaker 6: you cringe, or because you think this is not going

398
00:20:14,880 --> 00:20:18,320
Speaker 6: to apply to everybody. That's where I really hit something.

399
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Speaker 1: I think it doesn't matter if it applies to everybody.

400
00:20:21,640 --> 00:20:23,120
Speaker 1: You have to let that go. Is that what you're

401
00:20:23,119 --> 00:20:23,600
Speaker 1: talking about?

402
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Speaker 6: Well, over time, I started valuing the strength of the

403
00:20:28,560 --> 00:20:32,600
Speaker 6: connection more than the width of the connection. Okay, so

404
00:20:32,640 --> 00:20:36,119
Speaker 6: it was like this may not hit you know, a

405
00:20:36,200 --> 00:20:39,359
Speaker 6: thousand people, but the ten people it hits are going

406
00:20:39,440 --> 00:20:40,160
Speaker 6: to think I know a.

407
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Speaker 2: Secret about it, and that's more fun for me.

408
00:20:43,520 --> 00:20:47,040
Speaker 6: Yeah, you know, because that's what I latched onto about songs.

409
00:20:47,640 --> 00:20:50,879
Speaker 6: It's like, oh, how does this apply so accurately to

410
00:20:51,000 --> 00:20:54,280
Speaker 6: my life? And sometimes that would be a detail or

411
00:20:54,280 --> 00:20:57,360
Speaker 6: a lyric, but sometimes it would just be a moment

412
00:20:57,760 --> 00:21:00,240
Speaker 6: like I remember listening to songs and you know, because

413
00:21:00,240 --> 00:21:03,119
Speaker 6: I'm not going to relate to book A White or

414
00:21:03,480 --> 00:21:05,560
Speaker 6: Robert Johnson, but I was a ten year old kid

415
00:21:05,560 --> 00:21:08,119
Speaker 6: in Alabama listening to this, But there would be a

416
00:21:08,160 --> 00:21:11,800
Speaker 6: feeling created and just a little section of that song

417
00:21:12,320 --> 00:21:14,760
Speaker 6: that I would think, Oh, this is very specific to me.

418
00:21:15,680 --> 00:21:15,919
Speaker 6: You know.

419
00:21:16,240 --> 00:21:17,159
Speaker 1: That's the beauty of it.

420
00:21:17,480 --> 00:21:20,399
Speaker 2: Yeah, Yeah, and that's it. That's the real thing.

421
00:21:20,600 --> 00:21:25,960
Speaker 6: And I've never you know, like big, bombastic like pop

422
00:21:26,080 --> 00:21:30,760
Speaker 6: ballads that are aimed at every living human being never

423
00:21:30,960 --> 00:21:32,359
Speaker 6: hit me in that way.

424
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Speaker 1: They're too broad.

425
00:21:34,200 --> 00:21:37,199
Speaker 6: Yeah, And I admire the craft of it, and I

426
00:21:37,240 --> 00:21:40,840
Speaker 6: think some of them are fantastic, you know, even some

427
00:21:40,880 --> 00:21:44,760
Speaker 6: of the big commercial Like when I listen to Faithfully

428
00:21:44,920 --> 00:21:49,560
Speaker 6: the Journey song faith on the Road, yes, I'm like, well,

429
00:21:49,600 --> 00:21:52,440
Speaker 6: this is but this is specific, very specific. Now, there

430
00:21:52,440 --> 00:21:54,439
Speaker 6: was a window in time where you could write a

431
00:21:54,520 --> 00:21:56,840
Speaker 6: like I'm Sad on the Road as a rock star

432
00:21:56,960 --> 00:22:00,280
Speaker 6: song and everybody would be like, yeah, that's my life too,

433
00:22:00,960 --> 00:22:02,399
Speaker 6: Like nowadays.

434
00:22:01,760 --> 00:22:04,200
Speaker 1: You couldn't get away with that. I don't think that's funny.

435
00:22:04,240 --> 00:22:07,120
Speaker 1: I had a bus, my first bus. I was twenty three,

436
00:22:07,320 --> 00:22:09,560
Speaker 1: very first bus. It kept breaking down, but the driver

437
00:22:09,720 --> 00:22:11,800
Speaker 1: was real sweet. He asked me at the end of

438
00:22:11,800 --> 00:22:14,040
Speaker 1: the run to record that song for his wife.

439
00:22:14,200 --> 00:22:15,960
Speaker 2: Really, how sweet is it.

440
00:22:16,320 --> 00:22:18,760
Speaker 1: Was really sweet? Oh, I love that he was just

441
00:22:18,800 --> 00:22:20,879
Speaker 1: talking about it. I don't think it ever happened.

442
00:22:21,640 --> 00:22:22,879
Speaker 2: I bet it never happened.

443
00:22:22,920 --> 00:22:25,119
Speaker 1: No, I didn't get a chance, but it was like

444
00:22:26,480 --> 00:22:28,159
Speaker 1: it did not happened. I should have done it, but

445
00:22:28,280 --> 00:22:30,080
Speaker 1: it was like he was asking us. We were taking

446
00:22:30,080 --> 00:22:32,560
Speaker 1: our suitcase off the bus literally, and it was just

447
00:22:32,600 --> 00:22:35,159
Speaker 1: a crazy time. But I thought it was sweet.

448
00:22:35,359 --> 00:22:38,400
Speaker 6: Yeah, it's very sweet. It's a very sweet idea. Yeah,

449
00:22:38,520 --> 00:22:40,359
Speaker 6: that's I think that's maybe like the first song I

450
00:22:40,440 --> 00:22:41,399
Speaker 6: learned to play on Vienna.

451
00:22:41,520 --> 00:22:51,680
Speaker 2: Really it's a jam. We ready. I love my love,

452
00:22:53,760 --> 00:22:58,240
Speaker 2: I love her mouth, I love the.

453
00:22:58,000 --> 00:23:01,760
Speaker 3: Way she turns so in her house.

454
00:23:03,600 --> 00:23:08,440
Speaker 2: I love my love her he bilder bed.

455
00:23:10,480 --> 00:23:11,720
Speaker 3: Where she's heard.

456
00:23:11,560 --> 00:23:14,960
Speaker 2: Me sing words it can't be set.

457
00:23:16,680 --> 00:23:21,720
Speaker 9: And all the dreams dian Sen, all the dive and

458
00:23:22,000 --> 00:23:22,800
Speaker 9: hiding me.

459
00:23:23,440 --> 00:23:33,880
Speaker 2: To put my soul asleep now it's easy. I love

460
00:23:34,000 --> 00:23:38,000
Speaker 2: my love, her golden hair.

461
00:23:40,000 --> 00:23:44,520
Speaker 9: I like to picture her alone when I'm got there.

462
00:23:46,680 --> 00:23:49,119
Speaker 3: I like her friend.

463
00:23:49,960 --> 00:23:51,120
Speaker 2: The ones I know.

464
00:23:53,520 --> 00:23:59,320
Speaker 9: They leave drops the flood, like boxes in the storm,

465
00:24:00,080 --> 00:24:05,000
Speaker 9: and all the beast beneath her ben she defeeds and

466
00:24:05,160 --> 00:24:08,920
Speaker 9: knees for dad, falls asleep inside.

467
00:24:09,080 --> 00:24:20,800
Speaker 2: Night seems so easy. I love my love. I love

468
00:24:20,960 --> 00:24:21,639
Speaker 2: her bike.

469
00:24:23,720 --> 00:24:28,240
Speaker 9: I like the way she dissembles me at night.

470
00:24:30,320 --> 00:24:37,239
Speaker 3: I love her well, and I love her person. I

471
00:24:37,520 --> 00:24:41,760
Speaker 3: like the cart, but I really like the steak.

472
00:24:43,640 --> 00:24:45,119
Speaker 2: For all the boys.

473
00:24:45,320 --> 00:24:46,080
Speaker 9: I could have.

474
00:24:46,280 --> 00:24:49,919
Speaker 2: Been a fine siding wind.

475
00:24:50,400 --> 00:24:55,520
Speaker 8: Push me here against her skin, she'd see me.

476
00:25:44,000 --> 00:25:49,040
Speaker 2: I love my love. I love her hands.

477
00:25:50,920 --> 00:25:55,560
Speaker 9: I love the way she sees a child child maid.

478
00:25:57,680 --> 00:26:05,720
Speaker 3: I love my love, I love I love.

479
00:26:13,000 --> 00:26:16,680
Speaker 2: Yeah, that was fun that. It was really good. Yeah,

480
00:26:16,800 --> 00:26:18,560
Speaker 2: it was really good. I don't know that I've ever

481
00:26:19,280 --> 00:26:20,880
Speaker 2: played that song with anybody else.

482
00:26:21,119 --> 00:26:23,960
Speaker 1: Well, I would assume not, because you just put this

483
00:26:24,000 --> 00:26:24,760
Speaker 1: album out right.

484
00:26:24,840 --> 00:26:28,040
Speaker 6: Yeah, it's pretty recent and it's all so low. Yeah,

485
00:26:28,080 --> 00:26:30,320
Speaker 6: and I've been working some of the songs up with

486
00:26:30,400 --> 00:26:31,240
Speaker 6: my band.

487
00:26:31,119 --> 00:26:33,120
Speaker 1: You have Okay, I was wondering about that, but.

488
00:26:33,080 --> 00:26:35,280
Speaker 2: That one I haven't. We haven't done that one yet.

489
00:26:35,640 --> 00:26:36,560
Speaker 1: It's a little different.

490
00:26:37,000 --> 00:26:40,480
Speaker 2: It is different, saucier. It's very saucy. Yeah, you get

491
00:26:40,520 --> 00:26:43,280
Speaker 2: too many people, it's too sauce. It's too much sauce.

492
00:26:43,440 --> 00:26:45,359
Speaker 1: Yeah, it's that got the kind of groove where you

493
00:26:45,400 --> 00:26:47,360
Speaker 1: add too many people, it gets a little kitchy. Yes,

494
00:26:47,440 --> 00:26:48,480
Speaker 1: but it's not like that.

495
00:26:49,280 --> 00:26:49,520
Speaker 2: Right.

496
00:26:49,600 --> 00:26:51,359
Speaker 6: If it's by yourself, you can get away with a

497
00:26:51,440 --> 00:26:55,280
Speaker 6: lot by yourself. You start adding funky drums and you

498
00:26:55,359 --> 00:26:58,080
Speaker 6: can get a little This is not hot at all, exactly.

499
00:26:58,680 --> 00:27:01,240
Speaker 1: It is a hot song's sexy. It's kind of a

500
00:27:01,240 --> 00:27:01,600
Speaker 1: hot song.

501
00:27:02,800 --> 00:27:06,159
Speaker 6: It's you know, honesty, I think can be really hot,

502
00:27:06,280 --> 00:27:07,359
Speaker 6: but it's it's t.

503
00:27:07,480 --> 00:27:08,080
Speaker 2: There's a risk.

504
00:27:08,119 --> 00:27:11,080
Speaker 6: You've got a risk to be hot in a song

505
00:27:11,280 --> 00:27:13,119
Speaker 6: or in any you've got to risk something.

506
00:27:13,320 --> 00:27:15,040
Speaker 1: You got to not be trying to be hot.

507
00:27:15,200 --> 00:27:17,040
Speaker 2: No, you can't be trying to be hot.

508
00:27:17,200 --> 00:27:19,040
Speaker 6: You've got to be trying not to fall on your

509
00:27:19,040 --> 00:27:22,560
Speaker 6: face and embarrass yourself and then it just kind of happens.

510
00:27:22,640 --> 00:27:25,399
Speaker 6: But that's the tough par it It's like, there's all

511
00:27:25,400 --> 00:27:30,080
Speaker 6: these little micro fears when I'm writing these songs, and

512
00:27:30,119 --> 00:27:33,040
Speaker 6: I just kind of learned to welcome them and say, oh,

513
00:27:33,080 --> 00:27:35,280
Speaker 6: this is the chance to make something good.

514
00:27:35,400 --> 00:27:35,720
Speaker 2: Happen.

515
00:27:36,320 --> 00:27:40,280
Speaker 1: That's good because I you know, I've been reading up

516
00:27:40,320 --> 00:27:44,360
Speaker 1: and listening to interviews, and I feel like people really

517
00:27:45,640 --> 00:27:49,359
Speaker 1: have this ownership over lyrics these days, and for some

518
00:27:49,400 --> 00:27:51,600
Speaker 1: people more than others, and for you, I feel like

519
00:27:51,640 --> 00:27:55,840
Speaker 1: it's a lot. I feel like people really take what

520
00:27:55,880 --> 00:27:59,760
Speaker 1: you're singing about and make it the word, you know,

521
00:28:00,160 --> 00:28:02,919
Speaker 1: get the truth, the gospel of truth. When it's like

522
00:28:03,000 --> 00:28:06,640
Speaker 1: songwriting is this whole push and pull of all that stuff.

523
00:28:07,440 --> 00:28:10,320
Speaker 6: Yeah, and you can pick from anywhere, yeah, you know,

524
00:28:10,400 --> 00:28:14,640
Speaker 6: and it's it's it's such a like almost a mixed

525
00:28:14,760 --> 00:28:18,359
Speaker 6: media kind of thing. It's like, well, this happened to me,

526
00:28:19,000 --> 00:28:22,479
Speaker 6: but this happened in a bar. I heard somebody behind

527
00:28:22,520 --> 00:28:25,200
Speaker 6: me say it, and it has and the piece.

528
00:28:24,920 --> 00:28:26,920
Speaker 1: Of people think it's all you all the time?

529
00:28:27,600 --> 00:28:28,280
Speaker 2: Yeah they do.

530
00:28:28,520 --> 00:28:30,439
Speaker 1: That must be I mean I would get in my

531
00:28:30,480 --> 00:28:32,399
Speaker 1: head if it was like that. I don't feel like that.

532
00:28:32,880 --> 00:28:33,320
Speaker 2: Yeah.

533
00:28:33,400 --> 00:28:36,080
Speaker 1: I don't think anybody holds me quite to the fire

534
00:28:36,240 --> 00:28:36,439
Speaker 1: like that.

535
00:28:37,000 --> 00:28:38,480
Speaker 2: Yeah, yeah, maybe not.

536
00:28:38,680 --> 00:28:41,400
Speaker 6: I mean, it's you know, it's it started with that

537
00:28:41,760 --> 00:28:46,160
Speaker 6: damn confessional songwriting in the seventies and.

538
00:28:46,120 --> 00:28:48,400
Speaker 2: Which the people who made it hated.

539
00:28:48,000 --> 00:28:52,040
Speaker 6: That term, and everybody was like, oh, she's a confessional songwriter,

540
00:28:52,120 --> 00:28:54,160
Speaker 6: and she's like, I'm not confessingating to you. I'm making

541
00:28:54,160 --> 00:28:56,000
Speaker 6: stuff rhyme, you know, And.

542
00:28:57,640 --> 00:28:58,120
Speaker 2: Yeah, I don't.

543
00:28:58,160 --> 00:29:02,719
Speaker 6: I think that also really limits some people's ability to

544
00:29:03,000 --> 00:29:07,080
Speaker 6: become songwriters because they don't realize, you know, Like I

545
00:29:07,120 --> 00:29:13,080
Speaker 6: remember hearing when I was little, my mom loved John Prime,

546
00:29:13,280 --> 00:29:15,960
Speaker 6: and so she would play John Prime records for me,

547
00:29:16,400 --> 00:29:19,360
Speaker 6: and I got later on, you know, after I started

548
00:29:19,360 --> 00:29:21,200
Speaker 6: doing this, I got to be friends with John and

549
00:29:21,240 --> 00:29:24,280
Speaker 6: we played a bunch of shows together, and it's just, oh,

550
00:29:24,320 --> 00:29:27,640
Speaker 6: it was unbelievable. I mean, really, nothing better about this

551
00:29:27,760 --> 00:29:30,600
Speaker 6: job than getting to meet somebody like John and spend

552
00:29:30,640 --> 00:29:33,720
Speaker 6: time with him. But I remember when I was a

553
00:29:33,800 --> 00:29:37,600
Speaker 6: kid hearing Angel from Montgomery, my mom listening to it,

554
00:29:38,240 --> 00:29:40,880
Speaker 6: and she was listening to his version, and I remember

555
00:29:40,920 --> 00:29:44,720
Speaker 6: thinking like, oh, he's not an old woman that first line.

556
00:29:44,800 --> 00:29:48,160
Speaker 6: You know, I'm an old woman. He's not an old woman.

557
00:29:48,160 --> 00:29:50,760
Speaker 6: And then the light bulb hit and it's like, oh,

558
00:29:50,800 --> 00:29:53,720
Speaker 6: it can come from anywhere, and you can use any

559
00:29:53,840 --> 00:29:58,320
Speaker 6: version of yourself or any just pick and choose anything.

560
00:29:58,680 --> 00:30:04,040
Speaker 6: And like movies and books are not arranged that way.

561
00:30:04,280 --> 00:30:06,479
Speaker 6: They're all like, is this documentary or not is this

562
00:30:06,520 --> 00:30:10,800
Speaker 6: picture on fiction and for us, for songs and for

563
00:30:10,920 --> 00:30:16,200
Speaker 6: visual art. It can be any combination, and I love that.

564
00:30:16,280 --> 00:30:21,000
Speaker 6: But people don't accept. People think that it's all straightforward about.

565
00:30:20,680 --> 00:30:23,320
Speaker 1: You, and that would drive me nuts. But I'm glad

566
00:30:23,400 --> 00:30:26,000
Speaker 1: you can get out of it and just be able

567
00:30:26,040 --> 00:30:28,920
Speaker 1: to do it the way it's meant to be done,

568
00:30:29,000 --> 00:30:31,160
Speaker 1: which is wild card.

569
00:30:31,440 --> 00:30:35,800
Speaker 6: Yeah, you know, and it's not going to matter if

570
00:30:35,800 --> 00:30:38,719
Speaker 6: the if the songs live five minutes longer than I do,

571
00:30:38,760 --> 00:30:42,320
Speaker 6: it won't matter, Yeah, because nobody's looking back and saying,

572
00:30:43,040 --> 00:30:45,920
Speaker 6: you know, what was going on in this person's life

573
00:30:45,920 --> 00:30:48,880
Speaker 6: when they wrote this? You know what what exactly was

574
00:30:48,920 --> 00:30:52,880
Speaker 6: happening to Zvin when he wrote Desperadoes under the Eves?

575
00:30:52,920 --> 00:30:54,800
Speaker 2: Like you don't want to know the answer to that story,

576
00:30:54,840 --> 00:30:55,560
Speaker 2: first of all.

577
00:30:55,640 --> 00:30:57,960
Speaker 1: I know that's kind of what I think sometimes, Like

578
00:30:58,080 --> 00:31:00,880
Speaker 1: I don't think anybody wants to know.

579
00:31:00,320 --> 00:31:04,360
Speaker 6: Some of this, But most of mine is, you know,

580
00:31:04,840 --> 00:31:08,760
Speaker 6: very simple and straightforward story wise. If I just sat

581
00:31:08,800 --> 00:31:11,040
Speaker 6: and wrote about my life all the time, I would

582
00:31:11,080 --> 00:31:13,280
Speaker 6: have run out of stuff a long time ago. Yeah,

583
00:31:13,360 --> 00:31:17,120
Speaker 6: you know, because most of my life is pretty boring nowadays,

584
00:31:17,680 --> 00:31:18,680
Speaker 6: and I like it that way.

585
00:31:18,720 --> 00:31:19,920
Speaker 2: I like to keep it that way.

586
00:31:20,440 --> 00:31:21,640
Speaker 1: Simplicity is good.

587
00:31:21,880 --> 00:31:23,440
Speaker 2: Yeah, yeah, yeah, I think so.

588
00:31:23,880 --> 00:31:26,680
Speaker 1: Yeah. Well that's like I was. I was diving in

589
00:31:26,720 --> 00:31:29,200
Speaker 1: and we were texting, and I told you I got

590
00:31:29,240 --> 00:31:33,240
Speaker 1: inspired to write this line. What I'm saying here is

591
00:31:33,280 --> 00:31:35,920
Speaker 1: between me and this song. Yeah, and I thought that

592
00:31:36,000 --> 00:31:36,680
Speaker 1: was so funny.

593
00:31:36,920 --> 00:31:40,160
Speaker 6: Yes, yeah, and it's good because that is the character.

594
00:31:40,160 --> 00:31:41,520
Speaker 6: That's who the characters are.

595
00:31:41,720 --> 00:31:41,880
Speaker 7: Yeah.

596
00:31:41,960 --> 00:31:44,160
Speaker 1: And and and it's also between you and the song.

597
00:31:44,760 --> 00:31:46,880
Speaker 1: But it might not be. It's not a triangle.

598
00:31:47,040 --> 00:31:48,640
Speaker 2: Yeah, exactly, exactly.

599
00:31:48,800 --> 00:31:51,680
Speaker 1: Yeah, and how what was the next line? It was

600
00:31:51,680 --> 00:31:55,720
Speaker 1: the however you take it can never be wrong. It's

601
00:31:55,800 --> 00:31:59,160
Speaker 1: like when you're listening to music, you take it how

602
00:31:59,240 --> 00:32:01,760
Speaker 1: you want, and you believe what you want, and you

603
00:32:02,000 --> 00:32:07,120
Speaker 1: personalize it, and everybody internalizes the songs as them.

604
00:32:07,360 --> 00:32:08,040
Speaker 2: Yeah, you know.

605
00:32:08,160 --> 00:32:10,560
Speaker 1: And the best is when they it's about them.

606
00:32:10,760 --> 00:32:14,160
Speaker 6: Yes, yes, and when they really truly feel it.

607
00:32:14,800 --> 00:32:15,040
Speaker 2: Yeah.

608
00:32:15,080 --> 00:32:18,680
Speaker 6: It's like kids love the Beatles, but they don't know

609
00:32:19,520 --> 00:32:20,720
Speaker 6: you know what I want.

610
00:32:20,520 --> 00:32:23,720
Speaker 2: To hold your hand meant to them when they wrote that.

611
00:32:23,840 --> 00:32:26,040
Speaker 1: Yeah, well, kids these days love Pink Pony Club.

612
00:32:26,320 --> 00:32:29,040
Speaker 2: Yes, right, my kid doesn't know what that's about.

613
00:32:29,280 --> 00:32:31,960
Speaker 6: No, yeah, I don't know if mine's caught on that

614
00:32:32,040 --> 00:32:33,920
Speaker 6: when yet or not, but she has listened to.

615
00:32:33,880 --> 00:32:34,280
Speaker 2: It a lot.

616
00:32:34,440 --> 00:32:35,680
Speaker 1: Yeah, I love it too.

617
00:32:35,800 --> 00:32:37,600
Speaker 2: What a beautiful bunch of songs.

618
00:32:37,720 --> 00:32:40,320
Speaker 1: I love her. Yeah, amazing, I'm really in.

619
00:32:40,560 --> 00:32:41,440
Speaker 2: I'm so good.

620
00:32:41,480 --> 00:32:44,480
Speaker 6: And I saw her at bonn U last year and

621
00:32:45,520 --> 00:32:48,480
Speaker 6: just nailed every note just like the vocals were just

622
00:32:48,640 --> 00:32:50,800
Speaker 6: beautiful and perfect and the band was so.

623
00:32:50,720 --> 00:32:52,040
Speaker 2: Good and it was great.

624
00:32:52,160 --> 00:32:54,680
Speaker 1: Yeah, I would take my kids this year if it

625
00:32:55,000 --> 00:32:55,480
Speaker 1: comes through.

626
00:32:55,720 --> 00:32:58,440
Speaker 6: I mean, I think that that no matter how rible

627
00:32:58,520 --> 00:33:01,120
Speaker 6: to that message is, it's a very very positive one.

628
00:33:01,360 --> 00:33:02,040
Speaker 2: I agree.

629
00:33:02,280 --> 00:33:03,800
Speaker 1: I agree the line.

630
00:33:03,640 --> 00:33:08,520
Speaker 6: In is it Hot to Go where she says you

631
00:33:08,640 --> 00:33:11,840
Speaker 6: like magic, I've got a rabbit and a wand and

632
00:33:12,440 --> 00:33:14,400
Speaker 6: my daughter is singing along with that, and I'm like,

633
00:33:14,480 --> 00:33:16,840
Speaker 6: she thinks this is just about pulling a rabbit out

634
00:33:16,840 --> 00:33:22,239
Speaker 6: of your hat and having a magic one. And I

635
00:33:22,280 --> 00:33:24,720
Speaker 6: was like, I'm glad she doesn't know how good that

636
00:33:24,800 --> 00:33:27,880
Speaker 6: line is yet, you know, but it still works for

637
00:33:28,120 --> 00:33:30,400
Speaker 6: if you're just visualizing pulling a rabbit out of hat,

638
00:33:30,480 --> 00:33:32,480
Speaker 6: or you know, you get a little older, you're like, oh,

639
00:33:32,520 --> 00:33:34,480
Speaker 6: that's a very good line. That's hilarious.

640
00:33:35,840 --> 00:33:39,360
Speaker 1: Pulling it anywhere I.

641
00:33:39,480 --> 00:33:43,400
Speaker 6: Keep it in a hat that would be really weird funny.

642
00:33:44,160 --> 00:33:46,480
Speaker 1: Well, it's like The Double Meaning and all those children's

643
00:33:46,480 --> 00:33:49,520
Speaker 1: movies that are the best ones that that have something

644
00:33:49,600 --> 00:33:50,520
Speaker 1: for the grown ups too.

645
00:33:51,800 --> 00:33:52,040
Speaker 3: Yeah.

646
00:33:52,520 --> 00:33:55,280
Speaker 2: No, she's great, she Silverstein.

647
00:33:55,440 --> 00:33:57,280
Speaker 1: Course, you know it's the best.

648
00:33:57,440 --> 00:34:00,000
Speaker 2: Yeah. I still I sit and cry reading this book

649
00:34:00,200 --> 00:34:01,160
Speaker 2: to my kid. Yeah.

650
00:34:01,640 --> 00:34:04,240
Speaker 6: Everybody talks about the Giving Tree, but the Missing Piece

651
00:34:04,360 --> 00:34:05,760
Speaker 6: just whoops my ass.

652
00:34:05,880 --> 00:34:08,120
Speaker 1: Oh yeah, Missing Pieces is a good one.

653
00:34:08,239 --> 00:34:11,799
Speaker 6: It's so heavy when it's like the piece fits and

654
00:34:11,840 --> 00:34:15,600
Speaker 6: then decides it doesn't want to be the piece. I'm like,

655
00:34:17,280 --> 00:34:19,600
Speaker 6: Mercy's like, what is wrong with your Dad's like I'm

656
00:34:19,719 --> 00:34:20,640
Speaker 6: having feelings.

657
00:34:21,360 --> 00:34:22,440
Speaker 1: Yeah you'll know someday.

658
00:34:22,840 --> 00:34:27,120
Speaker 2: Yeah yeah, no, kid, and you will. Yeah. This is

659
00:34:27,120 --> 00:34:31,239
Speaker 2: the old song huh vampires? Yeah? How old is this

660
00:34:32,239 --> 00:34:32,640
Speaker 2: it was?

661
00:34:33,440 --> 00:34:36,120
Speaker 6: I guess it's getting close to ten years maybe, Okay

662
00:34:37,000 --> 00:34:40,840
Speaker 6: for me, that's pretty old. And it was like I

663
00:34:40,920 --> 00:34:43,919
Speaker 6: was going to the studio on Monday and I had,

664
00:34:44,760 --> 00:34:46,800
Speaker 6: you know, record done in my mind.

665
00:34:46,920 --> 00:34:49,160
Speaker 2: So it was like watching Hoarders. Do you remember that

666
00:34:49,200 --> 00:34:52,440
Speaker 2: show Hoarders? Yes, that I went through a little face

667
00:34:52,440 --> 00:34:54,479
Speaker 2: where I watched that made me feel so much better.

668
00:34:54,840 --> 00:35:00,400
Speaker 6: Well, it's my desk disaster and Amanda my at the

669
00:35:00,440 --> 00:35:02,960
Speaker 6: time she said, you need to be writing a song,

670
00:35:03,040 --> 00:35:05,680
Speaker 6: and I was like, I've got the I got the

671
00:35:05,680 --> 00:35:07,719
Speaker 6: record done. She was like, just get off your ass

672
00:35:07,719 --> 00:35:10,000
Speaker 6: and work and I was like, okay, so this So

673
00:35:10,040 --> 00:35:14,600
Speaker 6: I started out from the perspective of like, what is

674
00:35:14,640 --> 00:35:19,720
Speaker 6: it about love songs that I don't like? And it's

675
00:35:19,760 --> 00:35:22,000
Speaker 6: so hard, I think to write a love song until

676
00:35:22,040 --> 00:35:26,480
Speaker 6: you just find an angle and uh, because there's just

677
00:35:26,520 --> 00:35:29,400
Speaker 6: so many of them. But I was like, what is

678
00:35:29,440 --> 00:35:31,520
Speaker 6: it I don't like? So I started off with it's

679
00:35:31,640 --> 00:35:37,719
Speaker 6: not it's not, it's not and it's like, no, it's

680
00:35:37,719 --> 00:35:41,000
Speaker 6: actually not the way that you look in that dress.

681
00:35:41,040 --> 00:35:42,200
Speaker 2: It's not the you know.

682
00:35:42,520 --> 00:35:44,279
Speaker 6: By the time I got to the chorus, it's like, oh,

683
00:35:44,320 --> 00:35:45,800
Speaker 6: it's because I'm going to die.

684
00:35:46,320 --> 00:35:49,319
Speaker 2: Wow, that's why I love you. Because if I was not.

685
00:35:49,320 --> 00:35:51,160
Speaker 6: Going to die, I would say, well, we'll get around

686
00:35:51,160 --> 00:35:54,560
Speaker 6: to this, like there would be no risk. The time

687
00:35:54,680 --> 00:35:58,319
Speaker 6: is such a huge risk. And and then I had

688
00:35:58,640 --> 00:35:59,280
Speaker 6: I had a song.

689
00:35:59,400 --> 00:36:01,080
Speaker 1: You know, that's great.

690
00:36:01,360 --> 00:36:03,560
Speaker 6: But it started I got really lucky with it because

691
00:36:03,560 --> 00:36:06,080
Speaker 6: it just started out like kind of grumpy, like.

692
00:36:06,800 --> 00:36:09,560
Speaker 2: I don't want to write a songeah yeah.

693
00:36:09,760 --> 00:36:11,600
Speaker 6: And then I was like, well, what is it about

694
00:36:11,640 --> 00:36:13,719
Speaker 6: songs that I hate, let's see. And then I got

695
00:36:13,760 --> 00:36:15,680
Speaker 6: to the chorus and I was like, oh, it's because

696
00:36:15,719 --> 00:36:16,560
Speaker 6: we're limited.

697
00:36:16,840 --> 00:36:19,799
Speaker 1: I like that way of thinking about writing a song.

698
00:36:20,239 --> 00:36:23,200
Speaker 6: Yeah, yeah, you can go anywhere. Yeah, you can start

699
00:36:23,239 --> 00:36:27,600
Speaker 6: from any point. And sometimes it's just so literal. It's like,

700
00:36:27,600 --> 00:36:29,439
Speaker 6: I really what I wanted to write was I don't

701
00:36:29,480 --> 00:36:31,040
Speaker 6: want to write a song right now.

702
00:36:31,080 --> 00:36:35,759
Speaker 2: But you know anyway, all right?

703
00:36:58,000 --> 00:37:03,960
Speaker 9: Not the long, fluent rest that you're in, poor, the

704
00:37:04,080 --> 00:37:11,759
Speaker 9: lie coming all through your skin, fragile harm you've protected for.

705
00:37:12,000 --> 00:37:13,000
Speaker 2: Sure, long.

706
00:37:14,760 --> 00:37:20,120
Speaker 9: For the mercy and your sense of riding. It's not

707
00:37:20,280 --> 00:37:25,919
Speaker 9: your hands search and slow in the God, or your

708
00:37:26,040 --> 00:37:32,759
Speaker 9: nails leaving love water mark. It's not the way you

709
00:37:33,120 --> 00:37:40,440
Speaker 9: talk me after your questions, like directions to the truth

710
00:37:42,960 --> 00:37:50,200
Speaker 9: snowing at this tangle rightly one of us.

711
00:37:50,360 --> 00:37:53,360
Speaker 2: You'll have to spend some days alone.

712
00:37:54,520 --> 00:37:57,440
Speaker 9: Maybe we'll get forty used again.

713
00:37:58,320 --> 00:38:02,640
Speaker 3: But one day I'll be gone, one day'll be.

714
00:38:05,080 --> 00:38:06,920
Speaker 2: We were made person.

715
00:38:07,200 --> 00:38:15,480
Speaker 3: Death was a joke. We'd go out on sidewalk and smoke.

716
00:38:17,040 --> 00:38:20,480
Speaker 9: And laughing, all the lovers and their plan.

717
00:38:22,480 --> 00:38:24,759
Speaker 2: I wouldn't feel the need to.

718
00:38:24,880 --> 00:38:31,759
Speaker 3: Hold your hand. But maybe time running out is a gift.

719
00:38:33,320 --> 00:38:38,000
Speaker 8: So I work hard till the end of my ship.

720
00:38:39,760 --> 00:38:43,040
Speaker 3: To give you every second I could mind.

721
00:38:45,440 --> 00:38:51,920
Speaker 2: And hold meies and me who's left behind, knowing that

722
00:38:52,120 --> 00:38:52,920
Speaker 2: this can go.

723
00:38:56,680 --> 00:39:00,200
Speaker 9: It's likely one of us will have to spend some

724
00:39:00,520 --> 00:39:01,440
Speaker 9: days along.

725
00:39:02,640 --> 00:39:04,360
Speaker 2: Maybe we'll get forty.

726
00:39:05,120 --> 00:39:35,360
Speaker 9: Just get home one day, U, one day, be alright,

727
00:39:59,840 --> 00:40:07,240
Speaker 9: no going at this tample. It's likely one of us

728
00:40:07,239 --> 00:40:08,080
Speaker 9: will have to.

729
00:40:08,200 --> 00:40:10,400
Speaker 3: Spend some days alone.

730
00:40:11,440 --> 00:40:14,719
Speaker 2: Maybe you will get forty again.

731
00:40:15,560 --> 00:40:59,480
Speaker 10: One day, one dayby.

732
00:40:39,840 --> 00:40:43,320
Speaker 1: That's a great song, thank you, that's so great.

733
00:40:43,440 --> 00:40:47,160
Speaker 6: That's better than hoarders, I guess that day.

734
00:40:47,120 --> 00:40:49,520
Speaker 1: Yeah, it's such a sweet sentiment.

735
00:40:49,760 --> 00:40:51,480
Speaker 2: It's it's it's like dark.

736
00:40:52,000 --> 00:40:54,120
Speaker 1: It's really sweet at first, and then when you dive

737
00:40:54,120 --> 00:40:56,240
Speaker 1: into the lyrics more, it's like, oh, it's kind of dark.

738
00:40:56,120 --> 00:40:58,640
Speaker 2: It's about death, but it's also really sweet.

739
00:40:59,040 --> 00:41:03,960
Speaker 6: It's it's people will go just far enough into that

740
00:41:04,080 --> 00:41:08,000
Speaker 6: song to get the opposite of the meaning sometimes, you know,

741
00:41:08,320 --> 00:41:12,279
Speaker 6: and it's funny. But yeah, it's sort of like like

742
00:41:12,360 --> 00:41:14,839
Speaker 6: it's not I'm not being sad that we're going to die.

743
00:41:15,120 --> 00:41:17,080
Speaker 6: I mean, I am sad that we're going to die,

744
00:41:17,120 --> 00:41:19,759
Speaker 6: but not in that song, and that song I'm celebrating

745
00:41:19,800 --> 00:41:22,160
Speaker 6: it because it's like, this is the only reason that

746
00:41:22,239 --> 00:41:26,120
Speaker 6: we bother to do all this stuff. You know, if not,

747
00:41:26,239 --> 00:41:29,400
Speaker 6: we would smoke cigarettes and just that's true, you know,

748
00:41:29,719 --> 00:41:31,680
Speaker 6: not ever reveal any part of ourself.

749
00:41:31,920 --> 00:41:32,800
Speaker 1: Yeah, that's true.

750
00:41:33,280 --> 00:41:35,319
Speaker 6: Yeah, we'd be so lonely to be a vampire. I

751
00:41:35,320 --> 00:41:37,560
Speaker 6: guess that Anne Rice read a bunch of books about that,

752
00:41:38,000 --> 00:41:39,520
Speaker 6: how lonely vampires are.

753
00:41:40,640 --> 00:41:43,760
Speaker 1: That's right. I forgot that. That's kind of the crux

754
00:41:43,800 --> 00:41:44,680
Speaker 1: of what this.

755
00:41:45,239 --> 00:41:45,839
Speaker 2: That's yeah.

756
00:41:45,920 --> 00:41:48,240
Speaker 6: Yeah, I read those when I was a teenager. Maybe

757
00:41:48,239 --> 00:41:51,400
Speaker 6: that's why I wound up writing the song in the studio.

758
00:41:51,600 --> 00:41:54,799
Speaker 6: Dave Cobb did not want to cut that because it's

759
00:41:54,880 --> 00:41:59,239
Speaker 6: just like he well, he just had like the titles

760
00:41:59,239 --> 00:42:02,520
Speaker 6: of everything, and so we didn't. I didn't do demos.

761
00:42:03,280 --> 00:42:05,960
Speaker 6: I hate to do demos because then everybody that hears

762
00:42:06,000 --> 00:42:07,600
Speaker 6: it falls in love.

763
00:42:07,400 --> 00:42:08,319
Speaker 2: With a version of it.

764
00:42:08,400 --> 00:42:09,719
Speaker 1: I get demoitis real bad.

765
00:42:09,880 --> 00:42:10,799
Speaker 2: Yeah, I don't like it.

766
00:42:10,920 --> 00:42:12,160
Speaker 1: I'd rather just use the demo.

767
00:42:13,040 --> 00:42:13,800
Speaker 2: Yeah, exactly.

768
00:42:14,200 --> 00:42:16,920
Speaker 6: And so I'll go in if I'm recording with the

769
00:42:16,920 --> 00:42:19,439
Speaker 6: whole band, I'm just going to sit down and play

770
00:42:19,480 --> 00:42:21,600
Speaker 6: the song for everybody, and then we'll all go to

771
00:42:21,640 --> 00:42:24,239
Speaker 6: our station and start recording. So that's the first time

772
00:42:24,239 --> 00:42:27,279
Speaker 6: they've heard it. And that's a luxury because we can

773
00:42:27,280 --> 00:42:28,960
Speaker 6: afford to be in the studio and they can all

774
00:42:29,000 --> 00:42:31,640
Speaker 6: play well. And you know, some people have to practice

775
00:42:31,680 --> 00:42:34,600
Speaker 6: things before they go start spending money on recording them.

776
00:42:35,160 --> 00:42:38,600
Speaker 6: But I like to kind of spring it on them

777
00:42:38,880 --> 00:42:41,279
Speaker 6: because I like to find that spot right before they

778
00:42:41,440 --> 00:42:44,239
Speaker 6: are performing it, when they're still sort of creating it.

779
00:42:44,480 --> 00:42:45,560
Speaker 1: Yeah, well that's the best.

780
00:42:45,760 --> 00:42:51,040
Speaker 2: That's the trick. Yeah. And that song. Dave was like, ah, well,

781
00:42:51,320 --> 00:42:51,920
Speaker 2: we'll do that.

782
00:42:51,880 --> 00:42:54,560
Speaker 6: Eventually because he just saw the word vampires and he

783
00:42:54,600 --> 00:42:57,200
Speaker 6: thought it was like the monster mash or something.

784
00:42:57,239 --> 00:43:00,800
Speaker 1: It was like a good heartfelt son, the most heartfelt.

785
00:43:01,000 --> 00:43:03,680
Speaker 2: I thought it was gonna be like one, two, three.

786
00:43:03,680 --> 00:43:05,680
Speaker 1: Four, it's funny.

787
00:43:05,960 --> 00:43:08,239
Speaker 6: Finally, like a couple of days before the end of

788
00:43:08,239 --> 00:43:10,960
Speaker 6: the session, I was like, let's we're doing that song, Dabe,

789
00:43:10,960 --> 00:43:13,800
Speaker 6: and you know, he was crying at the console like, oh,

790
00:43:13,840 --> 00:43:14,480
Speaker 6: never mind.

791
00:43:15,719 --> 00:43:17,840
Speaker 2: And that was fun. That one was really fun.

792
00:43:18,200 --> 00:43:22,240
Speaker 1: That's a good one. You have all these songs from

793
00:43:22,920 --> 00:43:26,640
Speaker 1: that era from earlier than that. Do songs change for

794
00:43:26,719 --> 00:43:30,120
Speaker 1: you the meanings when you perform them. I get asked

795
00:43:30,120 --> 00:43:31,600
Speaker 1: this a lot, and I never really know how to

796
00:43:31,640 --> 00:43:33,480
Speaker 1: answer it, so I'm not sure why I'm asking it,

797
00:43:33,520 --> 00:43:37,759
Speaker 1: but you know, when you're performing a song that you

798
00:43:37,800 --> 00:43:41,799
Speaker 1: wrote many many years ago, maybe about something specific, maybe not,

799
00:43:44,000 --> 00:43:46,440
Speaker 1: do you feel like songs are alive and they changed meaning?

800
00:43:48,200 --> 00:43:49,280
Speaker 2: I don't know that they.

801
00:43:49,760 --> 00:43:51,960
Speaker 1: Or do this bring it back to you to a place.

802
00:43:52,160 --> 00:43:55,000
Speaker 6: You know, I feel like the context of my life

803
00:43:55,040 --> 00:43:59,960
Speaker 6: since then changes meaning, But the song itself doesn't necessary.

804
00:44:02,000 --> 00:44:06,239
Speaker 6: It's that's a good question, because I kind of wonder

805
00:44:06,280 --> 00:44:06,960
Speaker 6: about that too.

806
00:44:07,320 --> 00:44:09,560
Speaker 2: I think maybe it depends on the song.

807
00:44:10,040 --> 00:44:13,440
Speaker 6: It depends on the song. Yeah, yeah, just like everything else,

808
00:44:13,719 --> 00:44:18,040
Speaker 6: it depends on the song. Yeah, some of them do

809
00:44:18,560 --> 00:44:21,360
Speaker 6: some of them. Some of them go from maybe not

810
00:44:21,520 --> 00:44:25,440
Speaker 6: meaning but being you know what they exist as in

811
00:44:25,520 --> 00:44:28,920
Speaker 6: my mind. You know, they go from existing as.

812
00:44:29,160 --> 00:44:31,359
Speaker 2: This sort of like red hot.

813
00:44:35,160 --> 00:44:41,080
Speaker 6: Profession of something either love or lust or regret or

814
00:44:41,640 --> 00:44:44,040
Speaker 6: you know, growth or something. They go from that to

815
00:44:44,160 --> 00:44:47,759
Speaker 6: being you know, just sort of a document. But the

816
00:44:47,760 --> 00:44:50,600
Speaker 6: good thing about it is like we get to live

817
00:44:50,640 --> 00:44:51,080
Speaker 6: with them.

818
00:44:51,520 --> 00:44:52,600
Speaker 2: And that's really kind of.

819
00:44:52,520 --> 00:44:54,239
Speaker 6: What I take away from all of it is how

820
00:44:54,320 --> 00:44:57,080
Speaker 6: lucky we are to get to pull these things back

821
00:44:57,120 --> 00:44:58,520
Speaker 6: out of the coffin every night.

822
00:44:58,920 --> 00:45:01,719
Speaker 2: Yeah, you know, because a memory book it is but

823
00:45:01,840 --> 00:45:03,240
Speaker 2: painters don't get to do that.

824
00:45:03,239 --> 00:45:03,840
Speaker 1: That's true.

825
00:45:03,960 --> 00:45:06,560
Speaker 6: You know, if you're if you're a paint, you paint,

826
00:45:06,640 --> 00:45:08,759
Speaker 6: you paint. You know, either you keep it or if

827
00:45:08,760 --> 00:45:10,919
Speaker 6: you're if you sell paintings, you're probably not gonna see

828
00:45:10,920 --> 00:45:11,320
Speaker 6: it again.

829
00:45:11,560 --> 00:45:12,600
Speaker 1: Yeah, that's also true.

830
00:45:12,800 --> 00:45:15,799
Speaker 6: And to spend that much time and that much of

831
00:45:15,840 --> 00:45:19,360
Speaker 6: yourself on something and then it goes to somebody else's

832
00:45:19,360 --> 00:45:24,240
Speaker 6: house forever, it's kind of heartbreaking to me. It's also

833
00:45:24,360 --> 00:45:26,560
Speaker 6: kind I think one of the reasons why.

834
00:45:26,360 --> 00:45:27,160
Speaker 2: That is fine.

835
00:45:27,320 --> 00:45:31,760
Speaker 6: Art and songwriting is not you know, it's done, it's done.

836
00:45:31,920 --> 00:45:36,040
Speaker 6: It's only decorative. Yeah, it serves no other true purpose

837
00:45:36,640 --> 00:45:40,319
Speaker 6: like songs. You know, sometimes I think we're we're we're

838
00:45:40,360 --> 00:45:43,919
Speaker 6: singing to motivate somebody to feel somewhere, or to get

839
00:45:43,920 --> 00:45:46,120
Speaker 6: somebody to make out with us, sort of, you know what.

840
00:45:46,480 --> 00:45:50,960
Speaker 6: But but but art at its root is useless. And

841
00:45:51,719 --> 00:45:53,600
Speaker 6: you know, I think we're so lucky that we get

842
00:45:53,640 --> 00:45:57,880
Speaker 6: to take these songs back out every night and bring

843
00:45:57,920 --> 00:45:59,480
Speaker 6: them to life for a purpose.

844
00:46:00,200 --> 00:46:05,040
Speaker 1: Yeah, And looking out at people in the audience crying

845
00:46:05,360 --> 00:46:09,480
Speaker 1: yeah for singing along. It just it like revives it all.

846
00:46:09,680 --> 00:46:11,800
Speaker 2: It does, It makes it.

847
00:46:11,360 --> 00:46:16,080
Speaker 1: Almost makes it beyond you know, without a doubt.

848
00:46:16,160 --> 00:46:17,600
Speaker 2: Yeah, without a doubt.

849
00:46:17,920 --> 00:46:21,960
Speaker 6: I mean you, I mean you've had big hit songs

850
00:46:22,280 --> 00:46:25,400
Speaker 6: that feeling is weird, Like I've had one that sort

851
00:46:25,440 --> 00:46:30,840
Speaker 6: of went on that trip completely separately of me and just.

852
00:46:30,680 --> 00:46:31,520
Speaker 1: On its own life.

853
00:46:31,719 --> 00:46:35,320
Speaker 6: It does, and it's just a whole different situation for people.

854
00:46:35,360 --> 00:46:37,719
Speaker 6: And you think I was in my bedroom, you know,

855
00:46:37,880 --> 00:46:40,640
Speaker 6: sitting cross like it on the bed, just trying to

856
00:46:40,640 --> 00:46:44,000
Speaker 6: figure out what word rhyme, and now all of a sudden,

857
00:46:44,040 --> 00:46:47,760
Speaker 6: it's just this big, huge thing that doesn't even really

858
00:46:47,800 --> 00:46:50,880
Speaker 6: feel it's still mine, but it's not mine anymore.

859
00:46:51,239 --> 00:46:53,279
Speaker 1: Yeah, I agree with that. It doesn't feel like it's

860
00:46:53,280 --> 00:46:55,320
Speaker 1: yours anymore, but it.

861
00:46:55,200 --> 00:46:59,239
Speaker 2: Is, it's still yours. Yeah. Try to change a lyric though,

862
00:46:59,280 --> 00:47:01,120
Speaker 2: and sees think about that.

863
00:47:01,200 --> 00:47:03,279
Speaker 1: We'll get mad about that. I'll get mad you her

864
00:47:03,440 --> 00:47:07,600
Speaker 1: change lyrics kind of like I do how you're feeling.

865
00:47:07,440 --> 00:47:12,080
Speaker 6: But not like significant ones. I'll change like a connector

866
00:47:12,640 --> 00:47:14,799
Speaker 6: you know, I'll go from four to butt from and

867
00:47:15,160 --> 00:47:16,760
Speaker 6: to butt sometimes present.

868
00:47:17,760 --> 00:47:20,839
Speaker 2: Yeah, just fix it, like fix the grammar in my song.

869
00:47:21,800 --> 00:47:22,400
Speaker 1: Make it better.

870
00:47:22,640 --> 00:47:24,320
Speaker 2: Yeah, but not in any.

871
00:47:24,120 --> 00:47:26,360
Speaker 6: Way that's like a big like I won't take a

872
00:47:26,920 --> 00:47:29,959
Speaker 6: name and change it, or you know, but I'll take

873
00:47:30,040 --> 00:47:32,160
Speaker 6: like a like an ad and make it a butt

874
00:47:32,280 --> 00:47:33,239
Speaker 6: if it's supposed to be.

875
00:47:35,360 --> 00:47:37,200
Speaker 1: Isn't Didn't Dylan do that a bunch?

876
00:47:37,360 --> 00:47:40,440
Speaker 2: Oh yeah, changed stuff. We would change it. He'd have

877
00:47:40,520 --> 00:47:41,719
Speaker 2: so many versions.

878
00:47:42,120 --> 00:47:42,879
Speaker 1: That's cool too.

879
00:47:43,200 --> 00:47:45,000
Speaker 2: I think that's really I think it's cool.

880
00:47:45,360 --> 00:47:48,920
Speaker 6: I saw him play at Brooklyn Bowl in Nashville a

881
00:47:48,960 --> 00:47:52,280
Speaker 6: couple of summers ago, and he was doing this version

882
00:47:52,320 --> 00:47:55,880
Speaker 6: of When I Paint My Masterpiece. It was like almost

883
00:47:56,000 --> 00:47:59,960
Speaker 6: like somba, so really or something. And I was talking

884
00:48:00,160 --> 00:48:02,880
Speaker 6: to his tour manager afterward about it, and he said

885
00:48:02,920 --> 00:48:06,720
Speaker 6: somebody had asked him during a show. Somebody had yelled

886
00:48:06,800 --> 00:48:10,920
Speaker 6: up at Dylan, play something we know and he started

887
00:48:10,920 --> 00:48:13,680
Speaker 6: playing like the girl from MPANMA, which I think that's

888
00:48:13,800 --> 00:48:16,120
Speaker 6: the funniest thing. They didn't say, play of Bob Dylan

889
00:48:17,640 --> 00:48:21,040
Speaker 6: and it's so good. And the band started following in

890
00:48:21,320 --> 00:48:23,759
Speaker 6: and he started singing when I Paint My Masterpiece, and

891
00:48:23,800 --> 00:48:25,560
Speaker 6: it became the version they were touring.

892
00:48:25,640 --> 00:48:26,280
Speaker 1: That's cool.

893
00:48:26,680 --> 00:48:28,560
Speaker 2: Yeah, still he's still quick.

894
00:48:29,000 --> 00:48:30,320
Speaker 1: Yeah, it's great.

895
00:48:32,000 --> 00:48:34,600
Speaker 2: Yep. But those were good shows at the Bowling Alley.

896
00:48:34,640 --> 00:48:37,400
Speaker 6: They were he was talking to the audience and like

897
00:48:37,440 --> 00:48:40,000
Speaker 6: coming out from behind the mic and smiling and stuff.

898
00:48:40,040 --> 00:48:41,000
Speaker 2: It was was cool.

899
00:48:41,200 --> 00:48:43,279
Speaker 1: That's great. He still got it.

900
00:48:43,440 --> 00:48:45,160
Speaker 6: He still got it all right, let me check my

901
00:48:45,239 --> 00:48:48,919
Speaker 6: tune in here. Oh thank you. I need to get

902
00:48:48,920 --> 00:48:53,680
Speaker 6: it done again. It's chipping and I look pretty ratchet.

903
00:48:56,200 --> 00:49:00,879
Speaker 6: My fingernails started splitting, h know, a couple of years

904
00:49:00,920 --> 00:49:04,480
Speaker 6: ago from I guess from playing the guitar so much and.

905
00:49:04,520 --> 00:49:07,319
Speaker 2: Just pulling the nail bed away from the nail.

906
00:49:07,440 --> 00:49:08,560
Speaker 1: You play with your nails.

907
00:49:08,840 --> 00:49:10,160
Speaker 2: I do some, but not.

908
00:49:10,719 --> 00:49:13,320
Speaker 6: I think it's more about like when the fat on

909
00:49:13,360 --> 00:49:15,920
Speaker 6: my finger pulls away from the fingernail, it doesn't so.

910
00:49:16,600 --> 00:49:17,160
Speaker 1: On that hand.

911
00:49:17,320 --> 00:49:19,600
Speaker 2: Yeah, so this hand splits down the middle.

912
00:49:20,520 --> 00:49:25,080
Speaker 6: And so I started getting uh, powder dip or dip powder?

913
00:49:25,200 --> 00:49:26,359
Speaker 2: Is it dip powdered powder dip?

914
00:49:26,440 --> 00:49:26,920
Speaker 11: I don't know.

915
00:49:27,040 --> 00:49:27,680
Speaker 2: It's hard.

916
00:49:27,800 --> 00:49:28,880
Speaker 1: I've never heard of it.

917
00:49:28,880 --> 00:49:29,920
Speaker 2: It's a nail thing.

918
00:49:30,040 --> 00:49:32,560
Speaker 6: It's a nail thing, and it takes them like they

919
00:49:32,600 --> 00:49:35,880
Speaker 6: have to put it on like four different layers.

920
00:49:34,800 --> 00:49:37,480
Speaker 2: It's like it is, but it's really hard.

921
00:49:37,560 --> 00:49:37,840
Speaker 1: Okay.

922
00:49:38,120 --> 00:49:41,000
Speaker 6: And I started using that and I loved it, but

923
00:49:41,040 --> 00:49:44,239
Speaker 6: the problem is it was really thick, and so I

924
00:49:44,239 --> 00:49:46,520
Speaker 6: would accidentally hit strings that I didn't mean to hit,

925
00:49:47,719 --> 00:49:49,200
Speaker 6: and so I had to stop using that.

926
00:49:49,320 --> 00:49:51,520
Speaker 1: So now I'm on jail.

927
00:49:51,640 --> 00:49:53,280
Speaker 2: I'm just doing jail.

928
00:49:53,400 --> 00:49:57,200
Speaker 6: Yeah, but it comes off so easily, and I get

929
00:49:57,280 --> 00:49:59,600
Speaker 6: so sad when I look at my fingers and my

930
00:49:59,680 --> 00:50:00,760
Speaker 6: nails are chip.

931
00:50:01,400 --> 00:50:07,160
Speaker 1: Said, So I didn't know this song?

932
00:50:07,719 --> 00:50:08,280
Speaker 2: Oh really?

933
00:50:08,520 --> 00:50:11,879
Speaker 1: Yeah I might have, but I feel okay, So we're

934
00:50:11,880 --> 00:50:15,520
Speaker 1: going to do this Neil Young song. With a lot

935
00:50:15,600 --> 00:50:18,360
Speaker 1: of artists, it's like this, but with Neil more than anyone.

936
00:50:18,480 --> 00:50:21,399
Speaker 1: There's always some pocket that I don't know that when

937
00:50:21,440 --> 00:50:23,760
Speaker 1: somebody opens the door to it, I get so excited.

938
00:50:23,920 --> 00:50:25,160
Speaker 2: Yeah, yeah, me too.

939
00:50:25,280 --> 00:50:28,040
Speaker 6: He's got so many records and so many, so many

940
00:50:28,080 --> 00:50:33,279
Speaker 6: different kinds of songs, and this this record Freedom I

941
00:50:33,320 --> 00:50:38,400
Speaker 6: think it was was it eighty eighty eight, eighty nine maybe,

942
00:50:38,800 --> 00:50:42,840
Speaker 6: And it hit me just like a ton of bricks,

943
00:50:42,840 --> 00:50:45,040
Speaker 6: Like still the one of his that probably affected me

944
00:50:45,080 --> 00:50:48,879
Speaker 6: the most, really when in nineteen ninety.

945
00:50:48,640 --> 00:50:50,640
Speaker 1: Okay, so around the time it came.

946
00:50:50,440 --> 00:50:52,279
Speaker 2: Out, Yeah, I was about ten years old.

947
00:50:52,360 --> 00:50:53,160
Speaker 1: Cool ten year old.

948
00:50:53,160 --> 00:50:57,799
Speaker 6: I was a pretty cool ten year old, not if

949
00:50:57,800 --> 00:50:59,799
Speaker 6: you ask the other ten year olds, but.

950
00:51:00,080 --> 00:51:03,759
Speaker 2: In hindsight, in hindsight, but I remember it.

951
00:51:03,800 --> 00:51:07,200
Speaker 6: Having two versions of rocking in the Free World on

952
00:51:07,239 --> 00:51:10,520
Speaker 6: this record, one with crazy horse and then one just

953
00:51:10,719 --> 00:51:11,480
Speaker 6: him acoustic.

954
00:51:11,640 --> 00:51:11,839
Speaker 1: Yeah.

955
00:51:12,120 --> 00:51:14,520
Speaker 6: And so now you can just trace that basically to

956
00:51:14,760 --> 00:51:17,719
Speaker 6: everything that I have done in my career. It's like

957
00:51:17,760 --> 00:51:19,960
Speaker 6: I just made my whole life out of those two

958
00:51:20,080 --> 00:51:21,160
Speaker 6: songs on that round.

959
00:51:21,160 --> 00:51:21,880
Speaker 1: That's amazing.

960
00:51:22,040 --> 00:51:24,120
Speaker 2: But this one is so beautiful and.

961
00:51:24,160 --> 00:51:26,960
Speaker 1: Linda, Linda Ronstad is one of my favorites.

962
00:51:27,120 --> 00:51:32,319
Speaker 2: So great. Oh, I love I love Linda. I don't

963
00:51:32,360 --> 00:51:33,880
Speaker 2: know Linda, but I worship Linda.

964
00:51:34,160 --> 00:51:36,880
Speaker 1: I got to meet her onz Yeah, super sweet. Yeah.

965
00:51:36,960 --> 00:51:39,960
Speaker 6: I got a really good story from patterson hood because

966
00:51:40,000 --> 00:51:42,080
Speaker 6: I used to be in his band, Drive By Truckers,

967
00:51:42,360 --> 00:51:45,000
Speaker 6: and his dad was the bass player in the Muscle

968
00:51:44,960 --> 00:51:48,360
Speaker 6: Shol's rhythm section in the sixties, seventies, mostly the seventies

969
00:51:48,360 --> 00:51:52,080
Speaker 6: and eighties and nineties, and Linda would come into town

970
00:51:52,160 --> 00:51:56,760
Speaker 6: and record at Muscle Sholes Sound and she would stay

971
00:51:57,160 --> 00:52:00,520
Speaker 6: at Patterson's house hang out with Patterson's mom. And this

972
00:52:00,640 --> 00:52:04,439
Speaker 6: is Patterson's story, but it's a good one. Apparently one

973
00:52:04,520 --> 00:52:07,600
Speaker 6: day she wanted Patterson was like five, six, seven years old,

974
00:52:07,600 --> 00:52:09,600
Speaker 6: and Linda wanted a cheeseburger, and She's like, where can

975
00:52:09,640 --> 00:52:12,520
Speaker 6: I go get a cheeseburger and a beer? And his

976
00:52:12,640 --> 00:52:15,040
Speaker 6: mom said, well, the smokehouse, but women don't go in

977
00:52:15,080 --> 00:52:19,680
Speaker 6: the smokehouse, and like yes, and of course, so she

978
00:52:19,800 --> 00:52:22,239
Speaker 6: tied the shirt up and put the short song, Oh man,

979
00:52:22,280 --> 00:52:24,600
Speaker 6: and the first woman to go get a cheeseburger at

980
00:52:24,600 --> 00:52:27,520
Speaker 6: the smokehouse Lawrence, Alabama is Linda Ronstead.

981
00:52:27,760 --> 00:52:30,279
Speaker 2: Yeah. Yeah, it's a good cheeseburger.

982
00:52:30,520 --> 00:52:31,240
Speaker 1: That's amazing.

983
00:52:31,360 --> 00:52:31,880
Speaker 2: Yeah.

984
00:52:32,040 --> 00:52:33,960
Speaker 6: I think Patterson was a little bit in love with

985
00:52:34,120 --> 00:52:36,200
Speaker 6: Linda Ronstadt one six or seven.

986
00:52:36,280 --> 00:52:37,960
Speaker 1: Oh my god, yeah, I think I was in love

987
00:52:38,000 --> 00:52:38,600
Speaker 1: with her when.

988
00:52:39,360 --> 00:52:41,000
Speaker 2: Oh yeah, it's impossible not to be.

989
00:52:41,320 --> 00:52:46,040
Speaker 1: I mean, she's just so ballsy and also gorgeous.

990
00:52:45,680 --> 00:52:48,800
Speaker 2: And just cool and good. Those songs were.

991
00:52:48,840 --> 00:52:50,440
Speaker 1: So good best singer.

992
00:52:50,920 --> 00:52:54,880
Speaker 6: It's just the harmony stuff, Like I still hear things.

993
00:52:54,960 --> 00:52:56,560
Speaker 6: I'm like, oh, that's beautiful, and then I look at

994
00:52:56,560 --> 00:52:58,000
Speaker 6: the liner notes, like of course it is.

995
00:52:59,200 --> 00:53:04,600
Speaker 1: Yeah, yeah, she's the best. I'm gonna play worly Is

996
00:53:04,640 --> 00:53:05,000
Speaker 1: that cool?

997
00:53:05,120 --> 00:53:06,200
Speaker 2: Yeah, that's very cool?

998
00:53:07,920 --> 00:53:08,680
Speaker 1: Is it too loud for?

999
00:53:09,480 --> 00:53:16,120
Speaker 2: It's good for me? I think I maintained thinks so ready.

1000
00:53:30,120 --> 00:53:31,360
Speaker 3: Road the river.

1001
00:53:31,320 --> 00:53:35,480
Speaker 9: Flow Janney to the sea.

1002
00:53:36,920 --> 00:53:42,120
Speaker 3: He was on the shore, ruded like a tree.

1003
00:53:43,480 --> 00:53:44,920
Speaker 6: She was seeing me.

1004
00:53:47,040 --> 00:53:53,040
Speaker 9: Riding on a way through all She heard his call

1005
00:53:53,360 --> 00:53:55,600
Speaker 9: and baby all she gave.

1006
00:53:57,600 --> 00:54:02,200
Speaker 7: And was hanging on a limb.

1007
00:54:03,440 --> 00:54:10,360
Speaker 9: She told him out a day and start again.

1008
00:54:13,960 --> 00:54:15,360
Speaker 1: And Noel.

1009
00:54:16,600 --> 00:54:18,280
Speaker 3: Was hanging on alim.

1010
00:54:19,640 --> 00:54:21,640
Speaker 2: She told him out a day.

1011
00:54:22,960 --> 00:54:28,040
Speaker 11: She told that day.

1012
00:54:45,920 --> 00:54:52,920
Speaker 5: And window Moldy who through the window call in a

1013
00:54:53,120 --> 00:54:59,720
Speaker 5: Cordier recordon and was scooted the haws he played.

1014
00:55:02,440 --> 00:55:04,160
Speaker 1: She knew he had to go.

1015
00:55:05,560 --> 00:55:08,080
Speaker 9: There was something about Freda.

1016
00:55:08,880 --> 00:55:09,799
Speaker 1: He thought he.

1017
00:55:09,960 --> 00:55:17,320
Speaker 7: Didn't go, And Nolla was hanging on alim.

1018
00:55:18,719 --> 00:55:30,360
Speaker 3: She told him mad day and started again, and Noil.

1019
00:55:31,640 --> 00:55:33,400
Speaker 10: Was hanging on alimb.

1020
00:55:34,680 --> 00:56:07,120
Speaker 11: She told him maud day She taught about a day.

1021
00:56:13,280 --> 00:56:15,000
Speaker 6: Do you ever flow.

1022
00:56:16,400 --> 00:56:23,760
Speaker 9: Gently to the scene And he was on the shore, roaded.

1023
00:56:23,680 --> 00:56:24,520
Speaker 3: Like a tree.

1024
00:56:26,080 --> 00:56:27,880
Speaker 6: She was here and there.

1025
00:56:29,480 --> 00:56:33,520
Speaker 9: Riding on the way through it all.

1026
00:56:33,840 --> 00:56:37,520
Speaker 7: She heard his call and gave it all she gave

1027
00:56:39,680 --> 00:56:44,120
Speaker 7: and was hanging on the live.

1028
00:56:45,440 --> 00:56:50,200
Speaker 11: She told him out of day, She told him out

1029
00:56:50,200 --> 00:56:50,960
Speaker 11: a day.

1030
00:56:51,920 --> 00:57:01,319
Speaker 2: So that sounds good to me. Yeah, that was so good,

1031
00:57:01,400 --> 00:57:02,160
Speaker 2: That was so fun.

1032
00:57:02,600 --> 00:57:03,560
Speaker 1: That's a pretty song.

1033
00:57:03,600 --> 00:57:08,040
Speaker 2: What a beautiful songs trance? Oh totally.

1034
00:57:08,120 --> 00:57:12,000
Speaker 6: Yeah, it's so droning and so but the line there

1035
00:57:12,040 --> 00:57:14,600
Speaker 6: was something about freedom he thought he didn't know.

1036
00:57:15,760 --> 00:57:17,560
Speaker 2: Just kills me.

1037
00:57:17,800 --> 00:57:18,440
Speaker 1: That's a line.

1038
00:57:18,600 --> 00:57:21,160
Speaker 6: It's a line and at first you think it's like

1039
00:57:22,120 --> 00:57:26,680
Speaker 6: space kneels like this, Like there are people who, like

1040
00:57:26,760 --> 00:57:30,200
Speaker 6: I have so much respect for who are songwriters who

1041
00:57:30,320 --> 00:57:33,600
Speaker 6: just don't buy it, who are like Kneel's like a

1042
00:57:33,640 --> 00:57:36,520
Speaker 6: broken clock, he's write twice a day. But I don't

1043
00:57:36,600 --> 00:57:39,720
Speaker 6: think that's the case all because I think this line

1044
00:57:39,760 --> 00:57:43,120
Speaker 6: could appear to that. But I've been in that experience

1045
00:57:43,160 --> 00:57:47,000
Speaker 6: where I thought that that I thought there was more,

1046
00:57:48,440 --> 00:57:50,840
Speaker 6: you know, and I may have made a decision because

1047
00:57:50,880 --> 00:57:54,800
Speaker 6: I thought there was more for me, and then later

1048
00:57:54,840 --> 00:57:57,600
Speaker 6: on I think that's a line about regret. There's something

1049
00:57:57,640 --> 00:58:00,000
Speaker 6: about freedom. He thought he didn't know.

1050
00:58:00,400 --> 00:58:01,000
Speaker 2: But he did.

1051
00:58:01,480 --> 00:58:04,160
Speaker 6: I like that he was right the first time around.

1052
00:58:04,280 --> 00:58:05,600
Speaker 6: I just love that one.

1053
00:58:05,760 --> 00:58:08,160
Speaker 1: Yeah, that makes a lot of sense.

1054
00:58:08,360 --> 00:58:10,400
Speaker 2: Yeah, And I think Neil does that. It sounds like

1055
00:58:10,440 --> 00:58:12,640
Speaker 2: he's stumbling, but he's not. He's not.

1056
00:58:13,560 --> 00:58:16,440
Speaker 1: I think for me, I feel like Neil just says

1057
00:58:16,520 --> 00:58:20,000
Speaker 1: what it is, yeah a lot. Yeah, And sometimes that

1058
00:58:20,000 --> 00:58:24,680
Speaker 1: can sound clunky to people. Yeah, but it's always right

1059
00:58:24,720 --> 00:58:25,439
Speaker 1: here in the heart.

1060
00:58:25,640 --> 00:58:28,000
Speaker 2: Yeah, yeah, you know what I mean. Yeah, And sometimes

1061
00:58:28,000 --> 00:58:28,560
Speaker 2: it's clunky.

1062
00:58:28,600 --> 00:58:31,680
Speaker 1: Yeah, like when he's singing about Apple music, you know,

1063
00:58:31,880 --> 00:58:35,320
Speaker 1: he's about it, something like that he sounds a little

1064
00:58:35,360 --> 00:58:40,120
Speaker 1: clunky sometimes in the moment because it's current. In hindsight,

1065
00:58:40,200 --> 00:58:42,280
Speaker 1: all that current stuff that he wrote about back in

1066
00:58:42,320 --> 00:58:43,280
Speaker 1: the day.

1067
00:58:43,360 --> 00:58:46,720
Speaker 2: Neil was right exactly, it was right we need Neil

1068
00:58:46,800 --> 00:58:50,640
Speaker 2: was right right. Yeah, And even like the clunkiness.

1069
00:58:50,920 --> 00:58:54,320
Speaker 6: One of my favorite things about him is that his

1070
00:58:54,560 --> 00:58:57,960
Speaker 6: music is that I get the sense that he not

1071
00:58:58,000 --> 00:59:00,200
Speaker 6: only does he not care if we like it not,

1072
00:59:00,360 --> 00:59:02,240
Speaker 6: but sometimes he would rather we didn't.

1073
00:59:02,320 --> 00:59:03,479
Speaker 1: He could not care less.

1074
00:59:03,560 --> 00:59:05,520
Speaker 2: It's just this is what it is.

1075
00:59:05,800 --> 00:59:07,600
Speaker 1: Well, he wants to he wants to make you think

1076
00:59:07,600 --> 00:59:12,160
Speaker 1: about it. I think, yeah, well this has been a delight.

1077
00:59:12,600 --> 00:59:14,720
Speaker 2: I have really enjoyed it. Thank you so much.

1078
00:59:14,840 --> 00:59:17,400
Speaker 6: Thank you for having so great really nice to make

1079
00:59:17,520 --> 00:59:20,800
Speaker 6: music with you. Yeah more please, Yeah, let's do more.

1080
00:59:20,960 --> 00:59:23,520
Speaker 1: Always I always leave these wanting more.

1081
00:59:23,880 --> 00:59:26,400
Speaker 6: Yeah, yeah, this is this is really a cool setup though.

1082
00:59:26,400 --> 00:59:27,760
Speaker 6: It's a cool way to do things.

1083
00:59:27,880 --> 00:59:31,040
Speaker 1: Yeah, it's fun for people who are down to be loose.

1084
00:59:32,200 --> 00:59:33,560
Speaker 2: Some people get too nervous.

1085
00:59:33,760 --> 00:59:35,240
Speaker 1: I mean, nobody who's done it?

1086
00:59:35,360 --> 00:59:37,640
Speaker 2: But yeah, tell me tell me who is.

1087
00:59:37,680 --> 00:59:40,520
Speaker 1: No, No, it was great. I just feel like it's

1088
00:59:40,560 --> 00:59:43,520
Speaker 1: a lot to ask if somebody who's not comfortable in

1089
00:59:43,520 --> 00:59:45,000
Speaker 1: this scenario yeah.

1090
00:59:45,160 --> 00:59:45,360
Speaker 2: Yeah.

1091
00:59:45,440 --> 00:59:49,320
Speaker 6: Did you did you start out like, uh, like playing

1092
00:59:49,360 --> 00:59:53,200
Speaker 6: with your friends and in rooms and parties and circles

1093
00:59:53,240 --> 00:59:54,080
Speaker 6: and things like that.

1094
00:59:54,880 --> 00:59:58,320
Speaker 1: You Yeah, No, I didn't have anything.

1095
00:59:58,880 --> 01:00:00,840
Speaker 2: I didn't have a lot. I didn't have a lot.

1096
01:00:01,000 --> 01:00:01,080
Speaker 5: No.

1097
01:00:01,240 --> 01:00:04,760
Speaker 1: I I mostly played in school and stuff.

1098
01:00:05,040 --> 01:00:05,240
Speaker 4: Yeah.

1099
01:00:05,520 --> 01:00:09,520
Speaker 6: I think sometimes for people who started out like playing

1100
01:00:09,920 --> 01:00:12,560
Speaker 6: in bigger groups of people at house parties and sitting

1101
01:00:12,560 --> 01:00:14,960
Speaker 6: around oak trees and things, that it might be a

1102
01:00:14,960 --> 01:00:16,240
Speaker 6: little bit more comfortable.

1103
01:00:16,360 --> 01:00:19,480
Speaker 1: Yeah. I will say the sort of country more country

1104
01:00:19,560 --> 01:00:22,880
Speaker 1: leaning artists have been all completely down. Yeah, you know,

1105
01:00:23,000 --> 01:00:25,760
Speaker 1: it's a little easier. I think, so is that sort

1106
01:00:25,800 --> 01:00:28,440
Speaker 1: of just sitting in a room and playing thing. Yeah,

1107
01:00:28,480 --> 01:00:30,560
Speaker 1: but I think I came from jazz, where we were

1108
01:00:30,560 --> 01:00:34,080
Speaker 1: always just chamming and sort of doing gigs.

1109
01:00:33,880 --> 01:00:36,920
Speaker 6: And actually listening to each other, which is that's another

1110
01:00:37,040 --> 01:00:40,760
Speaker 6: level exactly music. We we have learned not to listen

1111
01:00:40,800 --> 01:00:43,440
Speaker 6: to the banjo player very early on.

1112
01:00:44,800 --> 01:00:46,960
Speaker 1: It's so loud you have no choice.

1113
01:00:47,840 --> 01:00:50,600
Speaker 2: That's why acoustic guitars got so good. They were trying

1114
01:00:50,600 --> 01:00:52,919
Speaker 2: to drown out those bandos.

1115
01:00:55,240 --> 01:00:56,640
Speaker 1: Awesome, Well, thanks.

1116
01:00:56,440 --> 01:00:58,120
Speaker 2: Thank you, it's been a pleasure.

1117
01:00:59,680 --> 01:01:00,800
Speaker 1: Oh that was fun.

1118
01:01:00,840 --> 01:01:02,080
Speaker 2: Thanks for listening. Great.

1119
01:01:02,360 --> 01:01:06,200
Speaker 1: I love him, me too. He's just amazing. If you

1120
01:01:06,200 --> 01:01:07,960
Speaker 1: want to know what songs we played in this episode,

1121
01:01:08,000 --> 01:01:10,960
Speaker 1: the first song was Eileen from Foxes in the Snow,

1122
01:01:11,120 --> 01:01:14,480
Speaker 1: released in twenty twenty five. Second song was a title

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01:01:14,520 --> 01:01:17,560
Speaker 1: track from that same album, Foxes in the Snow. The

1124
01:01:17,640 --> 01:01:20,720
Speaker 1: third song was If We Were Vampires by Jason Asbel

1125
01:01:20,800 --> 01:01:24,000
Speaker 1: in the four hundred Unit from the Nashville Sound album

1126
01:01:24,560 --> 01:01:29,480
Speaker 1: in twenty seventeen, and the fourth song was Hanging on

1127
01:01:29,520 --> 01:01:33,280
Speaker 1: a Limb by Neil Young from his album Freedom, which

1128
01:01:33,360 --> 01:01:35,920
Speaker 1: was released in nineteen eighty nine. I love that song

1129
01:01:36,200 --> 01:01:38,880
Speaker 1: so much. I'm so glad he suggested it. A special

1130
01:01:38,920 --> 01:01:41,720
Speaker 1: thanks to Jason Isbel for joining us today, and we'll

1131
01:01:41,720 --> 01:01:44,760
Speaker 1: be back next week with Maria Zardoya. Nora Jones is

1132
01:01:44,760 --> 01:01:47,640
Speaker 1: playing along as a production of iHeart Podcasts. Visit Nora

1133
01:01:47,760 --> 01:01:50,080
Speaker 1: Jones channel and be sure to subscribe while you're there.

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01:01:50,120 --> 01:01:52,840
Speaker 1: I'm your host, Nora Jones. This episode was recorded by

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01:01:52,880 --> 01:01:56,280
Speaker 1: Matt Marinelli. Video by heck More Media. Additional video by

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01:01:56,360 --> 01:02:01,560
Speaker 1: Kay Loggins, mixed by Jamie Landry, Video edit by Marcus Rutledge,

1137
01:02:01,880 --> 01:02:05,440
Speaker 1: Audio post production and mastering by Greg Tobler. Artwork by

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01:02:05,440 --> 01:02:09,920
Speaker 1: Eliza Frye. Photography by Shervin Linez, Produced by Nora Jones

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01:02:09,920 --> 01:02:17,320
Speaker 1: and Sarah Oda. Executive producers Aaron wang Kaufman and Jordan Runtog.

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01:02:17,600 --> 01:02:23,880
Speaker 1: Marketing lead Queen Anake, Thank you.

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01:02:22,280 --> 01:02:24,760
Speaker 2: You're welcome. Thanks listening,