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Speaker 1: Pushkin. Bartis strange is an amalgamation of musical styles. Listen

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Speaker 1: to any given song on his newest release, From to

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Speaker 1: Table and you can hear hints of Earliott's emo, auto

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Speaker 1: tuned hip hop vocals, and country blues, all housed in

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Speaker 1: an indie rock veneer. Bartiz wide reaching sound makes perfect

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Speaker 1: sense given his Midwest upbringing and early influences. He was

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Speaker 1: raised in Mustang, Oklahoma, as one of the few black

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Speaker 1: kids in an area still rife with the threat of

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Speaker 1: racial violence. As a young teenager, Bartiz discovered Christian hardcore music,

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Speaker 1: and for the first time, he felt at home in

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Speaker 1: a scene that embraced outsiders of all kinds. After graduating college,

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Speaker 1: Bartisse moved to d c where he joined the labor

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Speaker 1: movement and worked with President Obama as a press secretary

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Speaker 1: at the FCC. Overcome with the urge to play music,

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Speaker 1: barti He's moved to Brooklyn when he was twenty five

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Speaker 1: and found a bunch of musical collaborators. In twenty twenty,

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Speaker 1: he released his genre bending debut album, Live Forever. This year,

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Speaker 1: Bartiz dropped his follow up album, Farm to Table to

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Speaker 1: critical acclaim. On today's episode, I talked to Bartie Strange

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Speaker 1: about his ascent into the upper echelon of indie rock

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Speaker 1: now that he considers artists like Phoebe Bridgers, Justin Vernon,

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Speaker 1: and Lucy Dacas friends. Bartisse also performs an acoustic version

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Speaker 1: of a song heavy Heart for us, and he plays

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Speaker 1: stems from two of my favorite songs from his new

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Speaker 1: album and reveals how he's able to expertly blend what

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Speaker 1: he calls sections on sections. This is broken record liner

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Speaker 1: notes for the digital age. I'm justin Richmond. Here's my

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Speaker 1: interview with Bartie Strange from the Bridge Studio in Brooklyn.

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Speaker 1: We start things off by talking about his recent work

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Speaker 1: producing other artists. How does make your records for others

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Speaker 1: impact to your own music or does it not tremendous?

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Speaker 1: Slay So, like I put out Lift Forever in twenty twenty.

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Speaker 1: I produced that record and recorded it with my friends

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Speaker 1: and we'll say it New York in a in a barn.

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Speaker 1: After that record, I got all this production work, so

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Speaker 1: I was able to quit my day job right and

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Speaker 1: I had already started writing farm to Table, but I

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Speaker 1: was like, I'm gonna wait on recording that until I

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Speaker 1: record these four albums because I'm gonna try a bunch

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Speaker 1: of stuff that I'm gonna do on Farm to Table

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Speaker 1: and so for proper cinema, hearts Low Tides this band

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Speaker 1: called Cherish out of DC. I just tried all types

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Speaker 1: of stuff on those records to see if I could

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Speaker 1: get the sounds I wanted. And you know, I wanted

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Speaker 1: to make the records too. Their beautiful records, and they

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Speaker 1: don't sound like me, so I put it. There's a

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Speaker 1: lot of stuff on Farm to Table that I tried

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Speaker 1: on those other records. If you listen to them, you'll

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Speaker 1: hear it for sure. How did you get the sounds

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Speaker 1: on Lift Forever? It's gorgeous sounding record, Thank you. I

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Speaker 1: think the way I got those sounds was being pretty

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Speaker 1: limited in the tools I had. Honestly, I had to

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Speaker 1: really use my ears, and I had a really clear

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Speaker 1: vision of what I want wanted it to sound like.

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Speaker 1: I knew I wasn't capable of making a like pristine album.

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Speaker 1: I didn't have the skills to do it, but I

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Speaker 1: did know I wanted it to have sauce like. I

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Speaker 1: wanted it to be like interesting and flavorful more so

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Speaker 1: than anything. I was like, I want vibe vibe first,

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Speaker 1: and I do the same thing for all the records.

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Speaker 1: I catch sounds on the way in. I don't do

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Speaker 1: a lot of stuff in post like I don't do

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Speaker 1: a lot of like dry tracks, Like every reverb, every delay,

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Speaker 1: every compression, I catch it on the way in. I'm

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Speaker 1: squeezing super hard as I track. What's the genesis of

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Speaker 1: that record? Lif Forever? Lif Forever? What's the earliest known

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Speaker 1: either song or part or even just lyric from that record?

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Speaker 1: Two songs, Mustang and Boomer. I think I played those

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Speaker 1: songs in different capacities in like three or four bands

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Speaker 1: before I decided on the arrangement for Lift Forever, and

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Speaker 1: pieces of those songs songs are in bands. I played

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Speaker 1: a band called Stay Inside Almos, a hardcore band out

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Speaker 1: of Brooklyn. They still make music together, but my first

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Speaker 1: inklings of those songs were in those in those hardcore bands.

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Speaker 1: The lyrics, I do lyrics like Dead Dead, Dead Last.

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Speaker 1: I never really start songs with lyrics. I'll start with

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Speaker 1: like a melody, but I don't know what the song's

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Speaker 1: about until I finished the song. The arrangement that kind

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Speaker 1: of tells me what the song is about. Honestly, you

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Speaker 1: don't even have a thought about what it's about based

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Speaker 1: on the feeling. I know what the emotion is, but

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Speaker 1: I don't know the words. I just kind of freestyle

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Speaker 1: in the demos and once i'm the arrangement is there

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Speaker 1: in a way that I feel like truly emotionally captures

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Speaker 1: the song. I feel like I'm able to meet the

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Speaker 1: song with the lyrics. It's almost I have to build

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Speaker 1: it and then I can like put the final like

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Speaker 1: jinga piece in it. You know. It's Yeah, it's a

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Speaker 1: really interesting way of working. Oh it's cool because I

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Speaker 1: feel like it takes all the pressure off of me

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Speaker 1: as a lyricist, because it's like the song is telling

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Speaker 1: you where to go, Like if you nail it, the

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Speaker 1: song is it's like giving you the answer. Sometimes and

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Speaker 1: I try to write lyrics before the song's done, I

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Speaker 1: end up writing for a song that doesn't exist. It's

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Speaker 1: like these lyrics don't fit in that song. It fits

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Speaker 1: in this other world that's in my mind. But like

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Speaker 1: this song doesn't want those lyrics. Yeah, it wants something else.

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Speaker 1: Do you think there's any song of yours then that

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Speaker 1: might be operating and like on two levels, like an

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Speaker 1: emotional truth that comes through the feel and the sound

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Speaker 1: and the arrangement, and then maybe even lyrics that refer

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Speaker 1: to something that might not even have anything to do

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Speaker 1: with the initial drive of what you were trying to

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Speaker 1: capture in terms of feeling. Yes, Heavy Heart the first

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Speaker 1: song on Farm to Table. The lyrics of that song

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Speaker 1: are very kind of sad. I think the hook is like,

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Speaker 1: I never want to miss you this bad. I didn't

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Speaker 1: mean to run out like that. Some nights I feel

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Speaker 1: just like my dad rushing around. I never saw the

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Speaker 1: god in that. I work so hard if you can't

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Speaker 1: fall back, And then I remember I really upon a

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Speaker 1: heavy heart kind of thinking about times I feel guilty

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Speaker 1: for things I can't control. But I wanted to juxtapose

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Speaker 1: that with a song that felt super victorious and driving

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Speaker 1: and upward moving. It kind of feels like a song

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Speaker 1: by the National, like off a Boxer or something. The

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Speaker 1: drums are extremely like pounding and repetitive and driving and

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Speaker 1: NonStop sixteenth notes the whole time. You know, the guitars,

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Speaker 1: there's like five guitar tracks. They're going the entire time.

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Speaker 1: They create like a round, like a loop, it's like

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Speaker 1: a mantra, and then it just explodes through the bridge

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Speaker 1: and you have all of this arrangement that's sending a

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Speaker 1: signal of like extreme momentum upward, but the lyrics are

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Speaker 1: like downward. You had that arrangement, that exact arrangement before you.

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Speaker 1: I definitely thought some of the arrangement must have come

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Speaker 1: after the lyrics, but I guess you the lyrics are

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Speaker 1: reacting to the arrangement. That makes sense. I just some

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Speaker 1: reason thought of it because when I heard the arrangement,

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Speaker 1: I was like, this is a perfect picture of the record.

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Speaker 1: I'm trying to paint where it's like holding two extreme

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Speaker 1: emotions and at the same time, because most people are

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Speaker 1: happy and sad all the time. Yeah, it's like good

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Speaker 1: days and bad days have happened on the same day

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Speaker 1: all the time. And that song was me trying to

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Speaker 1: do that through the composition and the arrangement of the track.

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Speaker 1: Do you want to play the first song on heavy Heart? Yeah? Yeah,

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Speaker 1: yeah cool. There's three reasons for heavy Us. This past year,

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Speaker 1: I thought I was booking you so nice, Cherry Scoff,

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Speaker 1: we should go to n I never want to miss

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Speaker 1: you this back. I never meant to run now like that.

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Speaker 1: Some nights I feel just like my dad rushing around.

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Speaker 1: I never saw the god and that while work so hard,

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Speaker 1: if you can't fall back, then I member rely too

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Speaker 1: much upon my heavy are. And that's a shame putting

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Speaker 1: up black. It's with scheme. It's a NAT's on the train,

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Speaker 1: that's on DC. Fuck you man, put the red down

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Speaker 1: on your team. Yet I don't need no one but me. Yeah,

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Speaker 1: she said in my turn, and I geeked. She said

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Speaker 1: in my turn, and I geet. She a whole lot

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Speaker 1: of bad news. Put the law on it. Yeah, fool,

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Speaker 1: I'm a rich nigga rad dude. I can buy that,

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Speaker 1: damn fool. When I think about Jay last week's Yeah,

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Speaker 1: how you blad out in them sheets here, how the

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Speaker 1: doc said you were clean? Holloway y'all put on me.

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Speaker 1: I never missed you this bat. I really had had

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Speaker 1: to run out my bad my hand on the small,

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Speaker 1: love your back touching around. I really thought the God

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Speaker 1: in that watching how he braced for impact. Then I

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Speaker 1: remember that too much of fun, my heavy heart. There's

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Speaker 1: reasons for heavy heart this pastie. I thought I was brokeken.

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Speaker 1: You look so nicey a cherry scar hard we should

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Speaker 1: go to to run No more often. I never want

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Speaker 1: to miss you this bad. I never meant to run

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Speaker 1: now like that. Some nights I feel just like my

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Speaker 1: dad rushing around. I never thought a god in that.

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Speaker 1: Why work so hard if you can't fall back? Then?

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Speaker 1: I remember I RelA too much, A punt. I hear

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Speaker 1: you keep on rocking, MB free world, baby beautiful. Thanks.

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Speaker 1: Where did those lyrics come from? Yeo? So COVID was

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Speaker 1: a weird time. Is continues to be a weird time.

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Speaker 1: After I put out livet Forever. I mean I was

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Speaker 1: working a full time job and working from home and

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Speaker 1: doing the whole thing. Record came out and I got

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Speaker 1: all this production work and I was able to quit

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Speaker 1: my job and everything was going so well for me

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Speaker 1: at a time when so many people in my life

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Speaker 1: were experiencing like the most trying times of their lives.

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Speaker 1: My grandfather died, they had a funeral, everyone went to

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Speaker 1: the funeral, got COVID, A few of them died. It

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Speaker 1: was just over and over and over, just horrible things.

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Speaker 1: And I was like, Yo, this is horrible, but also

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Speaker 1: like I'm having like the best time of my life,

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Speaker 1: you know. And I was like, at a certain point,

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Speaker 1: You're like I want to celebrate this, but I feel

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Speaker 1: guilty for wanting to, but I felt like it was

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Speaker 1: still important to celebrate. I think like joy as a

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Speaker 1: form of resistance is like super real. So eventually, after

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Speaker 1: feeling guilty and having a heavy heart and feeling bad

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Speaker 1: about everything, I was like, I'm going to take a

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Speaker 1: second and just like take some take stock here because

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Speaker 1: things worked. This is working, and that was really big

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Speaker 1: for me to do, Like I had to do it

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Speaker 1: for myself, And that's what the song is about. It's

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Speaker 1: kind of counting all of these things that I felt

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Speaker 1: so guilty for, you know, my dad working so hard

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Speaker 1: all the time, or us not going to my partner's city, Toronto,

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Speaker 1: you know she's from Toronto, not going up there and

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Speaker 1: we had a chance, and now we're locked in the

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Speaker 1: house for two and a half years and I feel

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Speaker 1: bad that I didn't schedule the time. Or my granddad

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Speaker 1: dying and me not seeing him enough before he died,

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Speaker 1: you know, and then being like, but then I realized,

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Speaker 1: you know, you can't continue to like move forward in

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Speaker 1: life feeling bad about everything that happened in the past.

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Speaker 1: At a certain point, you gotta turn over a new

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Speaker 1: leaf and move forward. Reminds me of tours. I imagine though,

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Speaker 1: that that's written about your experience of touring, right of

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Speaker 1: being a working musician, quitting your job being a working musician. Yeah,

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Speaker 1: kind of to me. The song's about turning into your parents.

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Speaker 1: My dad was in the military, he was an engineer,

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Speaker 1: and he would go on tour quote quote military tour

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Speaker 1: all the time. My mom, she's an opera singer, so

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Speaker 1: she would tour a lot too, And I remember being

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Speaker 1: a kid and being like, oh, I'm never gonna do that,

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Speaker 1: Like I'm going to be home and like raise a

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Speaker 1: family and do the thing. And then I got I

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Speaker 1: got older, and music worked out. I was able to

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Speaker 1: like tour and I love it. And in that realization,

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Speaker 1: I learned more about my parents and like why they toured,

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Speaker 1: and it was because they loved it and they wanted

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Speaker 1: me to see them doing something they loved. And so

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Speaker 1: the end of the song I ended by saying like,

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Speaker 1: I'm I'm your son, like I'm you, you know, and

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Speaker 1: another realization of getting older, just being like dang, like

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Speaker 1: and turn it into my parents, you know in this

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Speaker 1: in this funny way. Have you had conversations with them

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Speaker 1: to this effect and it's cool because my parents have

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Speaker 1: always been so supportive of my music and they're so

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Speaker 1: pumped that everything is going the way it is, and

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Speaker 1: it's not uncommon that I'll reach out and I'll be like,

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Speaker 1: this shit is so hard, and they're like, no one

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Speaker 1: can encourage me like they can, you know, because I've

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Speaker 1: seen them do hard things and they know what it's

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Speaker 1: like to sacrifice and go after things and face challenges

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Speaker 1: and overcome them in a way that we can relate

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Speaker 1: to each other on a deeper level now, So it's

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Speaker 1: a special relationship. Music has deepened our relationship in that way.

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Speaker 1: So when people hear military dad, I think the first

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Speaker 1: thing they would think is like disciplinarian, And if they're

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Speaker 1: opera singer mother, then they would probably think that she

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Speaker 1: might have been the lenient one or maybe pushing you

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Speaker 1: towards the arts. Military man and an opera singer, yeah

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Speaker 1: is a great pairing. Yeah. My mom and dad they

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Speaker 1: met in high school. My mom was the girl that

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Speaker 1: could sing and dad was an athlete. In North Carolina,

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Speaker 1: my mom went to Eastman School of Music. Her choir

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Speaker 1: director at church sent a tape to the director of

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Speaker 1: music at Eastman and let my mom in school and

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Speaker 1: then my dad he didn't really have a lot of guidance,

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Speaker 1: so he joined the military. And you know, over the years,

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Speaker 1: you know, my mom she was you know, heavy and

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Speaker 1: teaching us how to sing, and you know, we sang

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Speaker 1: in church and I went to opera camp and my

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Speaker 1: mom was very involved. But she never like forced me

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Speaker 1: into music. She was a musician herself, and which I

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Speaker 1: think she knew how hard it was, and she was like,

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Speaker 1: if you really want to do this, you got to

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Speaker 1: really want it, and I'm not gonna like force you.

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Speaker 1: You know, what was her experience as a musician, like

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Speaker 1: after going to school. I think my mom faced a

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Speaker 1: lot because there were a lot of black opera singers,

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Speaker 1: especially not once from the South and black woman at

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Speaker 1: Eastman and Rochester, New York in the seventies. You know,

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Speaker 1: I think she there was a lot of firsts for her,

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Speaker 1: and I know that it was hard for her. Did

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Speaker 1: she want to go to New York? Did she ever

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Speaker 1: do that? And I think she did. She did, and

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Speaker 1: then she got some gigs in Europe and that was

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Speaker 1: another reason. You know, my dad was station in Europe.

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Speaker 1: My mom was singing in Europe, you know, Hawk Shuler

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Speaker 1: and London. You know, she was doing her thing. But

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Speaker 1: after she had us, she moved into like the educational

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Speaker 1: role and she taught music at the University of Oklahoma,

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Speaker 1: where I ended up going to school. She was a

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Speaker 1: vocal professor there, got her PhD at Columbia. You know,

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Speaker 1: she's a she's real, she's deep. But my dad was

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Speaker 1: the one that actually really got me deep into music

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Speaker 1: because he was a record collector and when he would

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Speaker 1: come back from Japan or Korea or wherever, he would

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Speaker 1: always bring like turntables or like tape decks, reel to reels.

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Speaker 1: He was like really into like monitor like listening to music.

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Speaker 1: He's not a musical person creatively, but he collects, and

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Speaker 1: so he was putting me onto like sly Stone and

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Speaker 1: Teddy Pendergrass and Parliament and Rides the Funking Stein and like,

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Speaker 1: honestly that was like rock and roll to me. I

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00:17:02,036 --> 00:17:04,116
Speaker 1: was like, oh, these are like rock records that I

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Speaker 1: fell in love with. First, Bootsy Collins, you know, Rick James.

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Speaker 1: That was my baseline. Was like opera gospel from mom,

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Speaker 1: but like the expansiveness of what music can be through

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Speaker 1: what my dad was showing me and looking back, it's funny,

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Speaker 1: Like you would expect my dad'd be the disciplinarian, but

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Speaker 1: he was more of the creator. Like my dad like

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Speaker 1: it's super handy, works on cars all the time, like

295
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Speaker 1: always building stuff. He's an engineer, but like that creative

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00:17:31,596 --> 00:17:34,956
Speaker 1: tick and like wanting to engineer and build things. I

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00:17:35,076 --> 00:17:37,356
Speaker 1: got that from my dad, that need to create something

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Speaker 1: out of nothing. I repurpose something, yeah, something better or

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Speaker 1: more useful to you or whatever, or being like how'd

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Speaker 1: you make that? Like that's like my dad in a nutshell.

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Speaker 1: He's always like, how do they build that? I'm going

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Speaker 1: to figure it out today. We'll be right back with

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Speaker 1: more from my conversation with Barties Strange. We're back with

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Speaker 1: more of my conversation with Barties Strange. So you mostly

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Speaker 1: grew up in Oklahoma, right, Yeah, that's where most of

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Speaker 1: all my raising was. Aside from what you're parents were

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00:18:09,996 --> 00:18:12,236
Speaker 1: playing around the house. What was the music that you

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00:18:12,316 --> 00:18:15,436
Speaker 1: and your friends were listening to. The first like record

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Speaker 1: I ever bought was Millennium by the Backstreet Boys. Yeah

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Speaker 1: I had that, Yeah, it was great. And then the

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Speaker 1: second one I got was Get Richard Died Trying fifty

312
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Speaker 1: cent record. My mom was like super Christian. She was

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Speaker 1: kind of like weird about letting like too much secular

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Speaker 1: music in the house. But like I said, at the

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Speaker 1: same time, my dad was like playing me Rick James records.

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Speaker 1: Black parents are hilarious. They'll be like, you can listen

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Speaker 1: to Teddy Pendergrass, but you can't listen to like one twelve. Yeah, yeah,

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Speaker 1: super freak school. Yeah. I'm like, okay, cool, right, turn

319
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Speaker 1: off to the night side of Candle. That song so good.

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Speaker 1: But um yeah so. But the thing that really grabbed

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Speaker 1: me though, early was hardcore music. My friend invited me

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Speaker 1: to a show. I think it was like Victory Christian Center,

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Speaker 1: some church in Oklahoma City, and Norma Jean was playing

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Speaker 1: in the basement. Wow, that's I haven't heard that name

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Speaker 1: in a long time. That was heavy, heavy, heavy, and

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Speaker 1: I'll never forget seeing Norma Jeane. I saw It's too

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Speaker 1: Actually that you mentioned that they're Christian band in California. Yeah, yeah,

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00:19:12,076 --> 00:19:14,476
Speaker 1: they're a Christian band. My mom let me go because

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00:19:14,516 --> 00:19:16,276
Speaker 1: they were a Christian band. I just told her. I

330
00:19:16,356 --> 00:19:19,996
Speaker 1: was like, yo, like, there's a concert at church. It's Wednesday,

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Speaker 1: you know, Wednesday night church. You know. She was like, great, go.

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Speaker 1: You know, she was just like probably excited I wanted

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Speaker 1: to go to church, and she drove me, dropped me

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Speaker 1: and my friend off. We watched Norma Jeane play and

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Speaker 1: I found out about all those Tooth and Nail bands,

336
00:19:33,676 --> 00:19:36,716
Speaker 1: you know, under Oath the almost like I fell in

337
00:19:36,756 --> 00:19:39,396
Speaker 1: love with hardcore music through that, and like at the

338
00:19:39,476 --> 00:19:43,276
Speaker 1: drive in came close after, and yeah, they're from El

339
00:19:43,356 --> 00:19:46,876
Speaker 1: Paso and so they would tour through Oklahoma and I

340
00:19:46,996 --> 00:19:49,156
Speaker 1: just remember been like, dang, these guys always just speak Spanish,

341
00:19:49,676 --> 00:19:52,156
Speaker 1: they don't give a shit about That was beautiful, you

342
00:19:52,236 --> 00:19:53,996
Speaker 1: know for me to see because I was one of

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Speaker 1: the only black kids people of color in my world

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Speaker 1: at the time. But yeah, hardcore music kind of was

345
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Speaker 1: the thing that grabbed me. And like skateboarding culture, we're

346
00:20:02,156 --> 00:20:04,796
Speaker 1: like born in the exact same year, yea, and so

347
00:20:05,396 --> 00:20:08,596
Speaker 1: similar experiences, and that if it wasn't rap or R

348
00:20:08,676 --> 00:20:11,196
Speaker 1: and B well around the time like we were teenagers,

349
00:20:11,316 --> 00:20:15,436
Speaker 1: was like very white spaces. Extremely Yeah. Yeah, I think

350
00:20:15,476 --> 00:20:18,236
Speaker 1: that's why I loved hardcore music so much, because like,

351
00:20:18,876 --> 00:20:21,036
Speaker 1: even though everyone was white, I didn't feel like I

352
00:20:21,116 --> 00:20:24,836
Speaker 1: stood out because everyone was kind of wild, like people

353
00:20:24,876 --> 00:20:27,916
Speaker 1: had like snake bites and like tattoos on their faces

354
00:20:28,076 --> 00:20:31,316
Speaker 1: and crazy hair. I was just there in like khakis

355
00:20:31,356 --> 00:20:33,916
Speaker 1: and a button nut, Like I was just a normal

356
00:20:33,996 --> 00:20:36,796
Speaker 1: kid at the thing, you know, I wasn't the weird one.

357
00:20:37,556 --> 00:20:39,796
Speaker 1: And I kind of loved that because I always felt

358
00:20:39,796 --> 00:20:42,236
Speaker 1: like everyone was staring at me every time I went

359
00:20:42,316 --> 00:20:47,116
Speaker 1: anywhere growing up. Yeah, but those shows, it didn't feel

360
00:20:47,156 --> 00:20:50,956
Speaker 1: like that. So I found like a safe space and

361
00:20:51,156 --> 00:20:55,036
Speaker 1: hardcore venues and those little like shitty bars and like

362
00:20:55,276 --> 00:20:58,436
Speaker 1: random DIY spaces in Oklahoma City. When did you start

363
00:20:58,476 --> 00:21:01,796
Speaker 1: to recognize that people were looking at you? My parents

364
00:21:01,916 --> 00:21:04,636
Speaker 1: were really because they grew up in the South, were

365
00:21:04,796 --> 00:21:08,876
Speaker 1: very upfront about the world that we lived in and

366
00:21:09,316 --> 00:21:11,276
Speaker 1: wanted me and my brother and sister to be very

367
00:21:11,356 --> 00:21:15,996
Speaker 1: like clear about where we lived and the repercussions of

368
00:21:16,636 --> 00:21:19,036
Speaker 1: staying out too late or looking a certain way or

369
00:21:19,116 --> 00:21:23,036
Speaker 1: being too loud or whatever. So I always kind of

370
00:21:23,356 --> 00:21:27,116
Speaker 1: was hyper aware, I would say, like as a teenager

371
00:21:27,556 --> 00:21:31,036
Speaker 1: and as a college student living in Oklahoma, I lived

372
00:21:31,036 --> 00:21:34,276
Speaker 1: near like clansmanaged and shit people like end up missing

373
00:21:34,316 --> 00:21:37,636
Speaker 1: and stuff when I was growing up, So you couldn't

374
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Speaker 1: help but realize that is a part of your reality

375
00:21:41,916 --> 00:21:44,116
Speaker 1: and this wasn't the time when black people were getting

376
00:21:44,156 --> 00:21:47,476
Speaker 1: tied up and drug behind trucks and Texas. Yeah, man,

377
00:21:47,876 --> 00:21:50,796
Speaker 1: I had friends from high school guys I knew, you know,

378
00:21:50,996 --> 00:21:53,956
Speaker 1: have a bad football game, people run them out of

379
00:21:54,036 --> 00:21:57,716
Speaker 1: town and shit like crazy stuff. And this was before

380
00:21:57,836 --> 00:22:03,396
Speaker 1: like body cams and people tweeting and sharing videos and iPhones.

381
00:22:03,596 --> 00:22:06,236
Speaker 1: It was like people would just go missing in two

382
00:22:06,276 --> 00:22:09,556
Speaker 1: thousand and four, you know, like this is a nineteen

383
00:22:09,636 --> 00:22:14,076
Speaker 1: sixty five, you know, and so we were aware, you know,

384
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Speaker 1: of who we were. And that was kind of like

385
00:22:17,156 --> 00:22:19,236
Speaker 1: I didn't realize how scared I was, honestly until I

386
00:22:19,316 --> 00:22:20,756
Speaker 1: moved to like Brooklyn. It was the first time I

387
00:22:20,796 --> 00:22:22,556
Speaker 1: lived in an all black neighborhood. I was twenty five

388
00:22:22,636 --> 00:22:24,516
Speaker 1: years old, and you felt normal, Like you just felt

389
00:22:24,676 --> 00:22:26,236
Speaker 1: like how you should have felt your whole life. Yeah,

390
00:22:26,276 --> 00:22:31,876
Speaker 1: and I wrote Live Forever. Really that's literally how it happened. Wow,

391
00:22:32,236 --> 00:22:35,676
Speaker 1: Like I was in a spot where I was around

392
00:22:35,756 --> 00:22:38,756
Speaker 1: black people, creative people that looked like me. I didn't

393
00:22:38,756 --> 00:22:41,396
Speaker 1: feel so weird. I was able to like really grow

394
00:22:41,516 --> 00:22:46,476
Speaker 1: and express myself fully. And those friends are still my

395
00:22:46,556 --> 00:22:48,876
Speaker 1: friends to this day. It's interesting you've heard to the

396
00:22:48,916 --> 00:22:51,476
Speaker 1: fact that you went to Oklahoma University, and you kind

397
00:22:51,516 --> 00:22:56,516
Speaker 1: of had a nice successful career going before music, Like

398
00:22:56,676 --> 00:22:58,476
Speaker 1: you're on your second career here, you know, like your

399
00:22:58,516 --> 00:23:01,436
Speaker 1: second endeavor. Yeah. I played football at Emporious State and

400
00:23:02,156 --> 00:23:05,276
Speaker 1: I transferred to Oklahoma. And after University of Oklahoma, I

401
00:23:05,476 --> 00:23:07,796
Speaker 1: moved to DC and started doing political work. Worked for

402
00:23:07,916 --> 00:23:10,956
Speaker 1: Obama as a press secret two the FCC, and ended

403
00:23:10,996 --> 00:23:12,996
Speaker 1: up joining the Labor Movement and I was an organizer

404
00:23:13,076 --> 00:23:16,196
Speaker 1: and commas director in that world for years, and then

405
00:23:16,236 --> 00:23:19,196
Speaker 1: the Environmental Justice Movement, doing a lot of campaign planning

406
00:23:19,276 --> 00:23:22,356
Speaker 1: and political work there too, which was really special. Were

407
00:23:22,436 --> 00:23:25,676
Speaker 1: you playing music at the time, Yeah, just playing guitar.

408
00:23:26,036 --> 00:23:27,956
Speaker 1: When did you start playing music? I mean I had

409
00:23:27,996 --> 00:23:30,156
Speaker 1: a guitar in high school, so I had like a

410
00:23:30,236 --> 00:23:33,596
Speaker 1: little band called Belmont, which was the name of my neighborhood.

411
00:23:34,756 --> 00:23:39,796
Speaker 1: You know, classic situation. And then when I went to college,

412
00:23:39,796 --> 00:23:42,036
Speaker 1: I kind of played around school. I played with some

413
00:23:42,156 --> 00:23:45,876
Speaker 1: really great players, John Calvin now at Abney, John Moreland,

414
00:23:45,956 --> 00:23:48,876
Speaker 1: Samantha Crane. Those are some of the best in Oklahoma

415
00:23:49,036 --> 00:23:51,436
Speaker 1: right now. And then when I moved to DC, I

416
00:23:51,596 --> 00:23:53,996
Speaker 1: kind of shelved it because I was like, I need

417
00:23:54,076 --> 00:23:56,676
Speaker 1: to like get serious about life and like make the

418
00:23:56,756 --> 00:24:00,796
Speaker 1: place for hardcore music though the birth home I know,

419
00:24:01,156 --> 00:24:03,036
Speaker 1: I remember well, I had to sell I had no money.

420
00:24:03,076 --> 00:24:05,076
Speaker 1: I sold all my music equipment and moved to DC

421
00:24:05,276 --> 00:24:07,036
Speaker 1: and I tried to find some bands to play in.

422
00:24:07,116 --> 00:24:08,996
Speaker 1: But I wasn't really plugged in and I was I

423
00:24:09,156 --> 00:24:11,436
Speaker 1: had no money, like you know, I lost my first apartment.

424
00:24:11,476 --> 00:24:13,596
Speaker 1: I was homeless. I was like living out of my car.

425
00:24:13,796 --> 00:24:15,716
Speaker 1: And then I met a girl and I was living

426
00:24:15,716 --> 00:24:17,676
Speaker 1: out of the dorms at Howard, you know, pretending I

427
00:24:17,756 --> 00:24:20,316
Speaker 1: was a student there. I was just trying to like survive.

428
00:24:20,716 --> 00:24:23,116
Speaker 1: I didn't have time to like join a band, got you,

429
00:24:23,276 --> 00:24:25,076
Speaker 1: you know. So then when I started getting jobs, I

430
00:24:25,156 --> 00:24:26,836
Speaker 1: was just like cool, this is what I'm doing now.

431
00:24:27,676 --> 00:24:30,076
Speaker 1: And then I hated it didn't feel good, and I

432
00:24:30,156 --> 00:24:32,796
Speaker 1: moved to New York started playing in band. So I

433
00:24:32,876 --> 00:24:36,116
Speaker 1: was like twenty five when I really started hitting it

434
00:24:36,236 --> 00:24:39,356
Speaker 1: hard in New York, and I just gigged for five

435
00:24:39,436 --> 00:24:43,876
Speaker 1: and a half years. Basically, So lifevers inspired by your

436
00:24:43,956 --> 00:24:46,796
Speaker 1: moved to Brooklyn to New York and finding a space

437
00:24:46,836 --> 00:24:50,636
Speaker 1: where you finally feel yourself like free, like comfortable, like

438
00:24:50,916 --> 00:24:52,956
Speaker 1: not like an oddity everywhere you go, or no one's

439
00:24:52,956 --> 00:24:55,556
Speaker 1: staring at you or wondering. What were the first songs

440
00:24:55,636 --> 00:24:59,916
Speaker 1: that came out of that feeling Boomer, Mustang, Ghostly, those

441
00:24:59,996 --> 00:25:02,276
Speaker 1: three probably I wrote. I wrote a lot of music

442
00:25:02,356 --> 00:25:04,956
Speaker 1: for that record. I just picked those ten Boomers a

443
00:25:04,996 --> 00:25:07,796
Speaker 1: crazy song. So I like that song. Where did you

444
00:25:07,876 --> 00:25:13,196
Speaker 1: find the confidence to mix? Like I actually wrote down.

445
00:25:13,756 --> 00:25:16,356
Speaker 1: I had to write this song out and like track

446
00:25:16,596 --> 00:25:18,796
Speaker 1: what's going on in it? Because you know, first of all, listen,

447
00:25:18,796 --> 00:25:20,796
Speaker 1: I was like, that's that's fucking cool. And then I

448
00:25:20,876 --> 00:25:22,916
Speaker 1: was like, wait a second. I'm like the verses are

449
00:25:22,996 --> 00:25:25,996
Speaker 1: like storytelling through like rap, and then you're into like

450
00:25:26,276 --> 00:25:28,876
Speaker 1: a pre courses like R and B pop course just

451
00:25:28,996 --> 00:25:31,996
Speaker 1: feels indie rock, and then the bridge is like a

452
00:25:32,076 --> 00:25:35,356
Speaker 1: country blues or something. You know, You're like, yeah, damn.

453
00:25:36,116 --> 00:25:39,876
Speaker 1: There's been adventurous artists like Prince has songs that feel

454
00:25:40,076 --> 00:25:42,716
Speaker 1: like a country song or a gospel song. In Parliament

455
00:25:42,756 --> 00:25:44,556
Speaker 1: the same. But it's like, don't everything into one song

456
00:25:44,676 --> 00:25:49,036
Speaker 1: that guts yeah, some courage, man, dude. The songs, I mean,

457
00:25:49,236 --> 00:25:51,236
Speaker 1: a song scared the shit out of me. It's it

458
00:25:51,396 --> 00:25:53,316
Speaker 1: was a scary song to write because I thought people

459
00:25:53,316 --> 00:25:55,556
Speaker 1: were gonna think I was corny. When I wrote it,

460
00:25:55,716 --> 00:25:57,836
Speaker 1: I was like, people are gonna think this is whack.

461
00:25:58,156 --> 00:26:00,756
Speaker 1: Like I love this, but I don't think anyone's gonna

462
00:26:00,756 --> 00:26:05,956
Speaker 1: really understand this. But luckily, my friend Brian Damilia was like, dogs,

463
00:26:05,996 --> 00:26:08,956
Speaker 1: that's the best song on the record, Like easy, you need,

464
00:26:09,756 --> 00:26:11,596
Speaker 1: we're putting that on the record. I almost didn't put

465
00:26:11,636 --> 00:26:14,196
Speaker 1: it on the record at all. I was like uh,

466
00:26:14,796 --> 00:26:16,396
Speaker 1: And I was like, I don't think I'm gonna take

467
00:26:16,396 --> 00:26:18,916
Speaker 1: it off the record, and he was like, that song

468
00:26:19,036 --> 00:26:21,836
Speaker 1: wraps up the record. It like it's like such a

469
00:26:21,876 --> 00:26:24,636
Speaker 1: clear picture of who you are, you know, Like I

470
00:26:24,756 --> 00:26:26,716
Speaker 1: grew up in the country. The first shit I learned

471
00:26:26,716 --> 00:26:28,276
Speaker 1: how to play was like blues and country music, and

472
00:26:28,316 --> 00:26:30,396
Speaker 1: then it was like hardcore and I fell in love

473
00:26:30,396 --> 00:26:34,556
Speaker 1: with hip hop and it's all of it in one song. Yeah, great,

474
00:26:34,676 --> 00:26:37,036
Speaker 1: I love that song. It's a beautiful gift that you have.

475
00:26:37,196 --> 00:26:39,876
Speaker 1: Did you always have that level of confidence? No, because

476
00:26:39,916 --> 00:26:41,836
Speaker 1: I was scared all the time. I was scared of

477
00:26:41,956 --> 00:26:45,596
Speaker 1: everything growing up. I was horrified to be myself. I

478
00:26:45,636 --> 00:26:47,356
Speaker 1: felt like I was gonna get killed for it. That

479
00:26:47,516 --> 00:26:51,956
Speaker 1: was like all I learned from my parents, grandparents, everyone,

480
00:26:52,116 --> 00:26:55,036
Speaker 1: like everything was about fear. So when I moved here,

481
00:26:55,356 --> 00:26:57,316
Speaker 1: I was the first time I met black people who

482
00:26:57,316 --> 00:27:00,756
Speaker 1: weren't scared of anything, Like Nigga's outside all day, like

483
00:27:01,516 --> 00:27:05,796
Speaker 1: like all day, you know, just kicking it, smoking, partying, drinking,

484
00:27:06,316 --> 00:27:09,556
Speaker 1: having a good time whatever. You know. I never seeing

485
00:27:09,596 --> 00:27:12,436
Speaker 1: black people so free. So I was like, I want

486
00:27:12,476 --> 00:27:14,956
Speaker 1: to be like that. And so as I got closer

487
00:27:14,996 --> 00:27:19,316
Speaker 1: to that, I was like, dang, superpowers, Like this is amazing.

488
00:27:19,836 --> 00:27:21,676
Speaker 1: That's where it came from. I love it. I think

489
00:27:21,716 --> 00:27:24,396
Speaker 1: I got drunk off of it because I've never had

490
00:27:24,436 --> 00:27:28,996
Speaker 1: it before. It's an intense voice that you found. Yeah,

491
00:27:29,196 --> 00:27:31,436
Speaker 1: but it's so different, Like did you feel that you

492
00:27:31,556 --> 00:27:34,676
Speaker 1: had to make music that was from that same place,

493
00:27:34,756 --> 00:27:37,396
Speaker 1: like almost trapped by your own creation in that sense,

494
00:27:37,436 --> 00:27:39,676
Speaker 1: like or scared of it. No. I felt like that

495
00:27:39,836 --> 00:27:43,316
Speaker 1: record gave me all the running room I could ever want.

496
00:27:44,036 --> 00:27:46,796
Speaker 1: Like people expect me to do whatever I want after

497
00:27:46,916 --> 00:27:50,116
Speaker 1: that record. If I made a country record, they'd be like, well,

498
00:27:50,356 --> 00:27:52,876
Speaker 1: you know, it's kind of weird. Or if I made

499
00:27:52,916 --> 00:27:55,116
Speaker 1: like a freaking like a fusion record, they'd be like,

500
00:27:55,476 --> 00:27:57,676
Speaker 1: he kind of does whatever he wants, you know, Like,

501
00:27:58,116 --> 00:28:00,476
Speaker 1: and that's kind of the career I want. I want

502
00:28:00,516 --> 00:28:03,316
Speaker 1: to make a lot of stuff, and in my mind,

503
00:28:03,796 --> 00:28:06,716
Speaker 1: I'm not limited. There are things I want to do

504
00:28:07,636 --> 00:28:10,476
Speaker 1: that I'm just I'm gonna do. It'd be very hard

505
00:28:10,516 --> 00:28:15,396
Speaker 1: for someone to pressure me into making a specific record

506
00:28:15,756 --> 00:28:18,196
Speaker 1: unless it was like a fat check, you know, if

507
00:28:18,276 --> 00:28:20,636
Speaker 1: I get the Kanye gig or something. Yeah, you know,

508
00:28:21,236 --> 00:28:23,636
Speaker 1: now you're on four A D. You've you've taken the

509
00:28:23,716 --> 00:28:27,276
Speaker 1: fat check A check? Yes, h h check? Okay, won't

510
00:28:27,276 --> 00:28:30,956
Speaker 1: we won't, we won't. It's okay, it's good, it's very good.

511
00:28:30,996 --> 00:28:35,836
Speaker 1: I'm happy. My life is fine. Do you feel like

512
00:28:35,876 --> 00:28:37,596
Speaker 1: there's more people telling you what they do now or

513
00:28:37,756 --> 00:28:41,676
Speaker 1: no or anyone strongly recommending. That's why I signed with

514
00:28:41,756 --> 00:28:44,196
Speaker 1: them When I made Lift Forever, like no one wanted

515
00:28:44,196 --> 00:28:47,596
Speaker 1: to sign me at all. Everyone passed on my album. Everyone.

516
00:28:47,876 --> 00:28:50,036
Speaker 1: I was like, I get it, like it's weird as well,

517
00:28:50,036 --> 00:28:52,956
Speaker 1: you know, it's weird whatever, but I think it's gonna work.

518
00:28:53,596 --> 00:28:56,476
Speaker 1: And it worked. And then everyone came back and they

519
00:28:56,556 --> 00:28:59,116
Speaker 1: knew I had vision, and they knew that I knew

520
00:28:59,116 --> 00:29:01,116
Speaker 1: what I was doing and that I could make the record.

521
00:29:01,756 --> 00:29:03,076
Speaker 1: You know, I don't need a lot to make the record.

522
00:29:03,076 --> 00:29:05,116
Speaker 1: I can make them by myself, make it with my

523
00:29:05,236 --> 00:29:07,876
Speaker 1: friends whatever, you know, like if I say I'm gonna

524
00:29:07,876 --> 00:29:10,876
Speaker 1: do it, I'm probably gonna do it. And so for

525
00:29:10,996 --> 00:29:13,036
Speaker 1: a d they you know, they I felt like with them,

526
00:29:13,116 --> 00:29:16,396
Speaker 1: they they understood me the deepest and they understood that

527
00:29:16,596 --> 00:29:19,116
Speaker 1: I had vision and they were just going to trust me.

528
00:29:19,396 --> 00:29:23,076
Speaker 1: And I felt like they understood that I was in

529
00:29:23,196 --> 00:29:25,796
Speaker 1: it for the long haul. Like I wasn't looking for

530
00:29:25,916 --> 00:29:28,876
Speaker 1: a hit. I wasn't trying to make like the biggest

531
00:29:28,916 --> 00:29:30,916
Speaker 1: song of twenty twenty two. I was just like, I'm

532
00:29:30,916 --> 00:29:34,436
Speaker 1: gonna build this thing over time, and one day we're

533
00:29:34,476 --> 00:29:36,476
Speaker 1: all gonna look down from the mountain and be like,

534
00:29:36,556 --> 00:29:39,516
Speaker 1: look what we did. Because the bands I admire, that's

535
00:29:39,596 --> 00:29:44,196
Speaker 1: what they did, Like what groups the National Radiohead TV

536
00:29:44,316 --> 00:29:48,996
Speaker 1: on the Radio, Nick Cave, people who like, over decades

537
00:29:49,356 --> 00:29:52,556
Speaker 1: build these followings that are just like you can't fuck

538
00:29:52,636 --> 00:29:55,636
Speaker 1: with it. It's deeper than like having a hit. It's

539
00:29:55,676 --> 00:29:58,396
Speaker 1: like I want a career like those because I feel

540
00:29:58,396 --> 00:30:00,836
Speaker 1: like there's not enough black people that get that opportunity

541
00:30:01,476 --> 00:30:03,716
Speaker 1: to be in like the alternative space and like have

542
00:30:03,836 --> 00:30:06,316
Speaker 1: a career like the National. You know, there aren't. I mean,

543
00:30:06,356 --> 00:30:09,476
Speaker 1: there's Prints, there's MJ. You know, there's dev mind. You

544
00:30:09,556 --> 00:30:12,516
Speaker 1: know these people they're like pop kind of world. But

545
00:30:12,676 --> 00:30:15,356
Speaker 1: like in my world, it's like, after all the music

546
00:30:15,396 --> 00:30:18,236
Speaker 1: black people have made, like it's it's weird that there's

547
00:30:18,316 --> 00:30:22,116
Speaker 1: not like a band like The National that's black. It's

548
00:30:22,156 --> 00:30:25,036
Speaker 1: had like seven great albums and it's just like, you

549
00:30:25,116 --> 00:30:27,196
Speaker 1: know has built that following. And I want to do that.

550
00:30:27,876 --> 00:30:29,716
Speaker 1: I mean TV on the radio made some great music.

551
00:30:29,836 --> 00:30:31,756
Speaker 1: They did, but they don't make music anymore. I know

552
00:30:31,876 --> 00:30:34,396
Speaker 1: what happened. They need to. I really want them to

553
00:30:34,436 --> 00:30:36,236
Speaker 1: make music again. Dog. I met tun Day for the

554
00:30:36,316 --> 00:30:39,036
Speaker 1: first time like two months ago, and I was just

555
00:30:39,196 --> 00:30:43,796
Speaker 1: like almost, I was like, keep it together. You know,

556
00:30:45,156 --> 00:30:48,756
Speaker 1: he's like patron saint of my the world in my mind.

557
00:30:49,076 --> 00:30:51,876
Speaker 1: You know, you're just like you're the greatest. Yeah. I

558
00:30:51,956 --> 00:30:54,756
Speaker 1: had billboards all over LA for my album from the Table,

559
00:30:55,356 --> 00:30:57,236
Speaker 1: and he was he was telling me about how he

560
00:30:57,316 --> 00:30:59,716
Speaker 1: kept passing him and how he was like listening to

561
00:30:59,796 --> 00:31:01,956
Speaker 1: the songs and how he loved the music. And I

562
00:31:02,116 --> 00:31:05,156
Speaker 1: was just like, dude, like I remember watching you play

563
00:31:05,196 --> 00:31:07,996
Speaker 1: Wolf like me in two thousand and six on The

564
00:31:08,116 --> 00:31:10,756
Speaker 1: Letterman Show. Me asking my mom to get me a

565
00:31:10,836 --> 00:31:13,636
Speaker 1: guitar the next day and I got a guitar, and

566
00:31:13,676 --> 00:31:17,236
Speaker 1: I started dressing like you and like covering that song

567
00:31:17,316 --> 00:31:19,596
Speaker 1: at every party I went to for like two years.

568
00:31:20,076 --> 00:31:22,356
Speaker 1: And now I'm like just like talking to you at

569
00:31:22,396 --> 00:31:24,996
Speaker 1: a bar in La before I go on headline at

570
00:31:24,996 --> 00:31:27,836
Speaker 1: the Getty tomorrow. Life was fucked up. Man, It's crazy

571
00:31:28,956 --> 00:31:32,996
Speaker 1: what can happened? And we have to pause for a

572
00:31:33,076 --> 00:31:35,436
Speaker 1: quick break and then we'll be back with more from

573
00:31:35,476 --> 00:31:42,556
Speaker 1: Bartie Strange. We're back with the rest of my conversation

574
00:31:42,756 --> 00:31:45,756
Speaker 1: with Bartie Strange, who's about to play as stems from

575
00:31:45,756 --> 00:31:48,556
Speaker 1: his latest album Farm to Table and break down how

576
00:31:48,636 --> 00:31:51,316
Speaker 1: he built some of the tracks. We should talk about

577
00:31:51,316 --> 00:31:53,436
Speaker 1: the creation of your new record. I know you brought

578
00:31:53,516 --> 00:31:56,196
Speaker 1: some stems. Yeah, which song should pull up first? Whatever

579
00:31:56,236 --> 00:31:59,316
Speaker 1: you want to pull up with mulholland drive, okay out

580
00:31:59,356 --> 00:32:01,276
Speaker 1: of this track? Get built the song started with this

581
00:32:09,116 --> 00:32:13,916
Speaker 1: wrote it on electric. Yeah, so straight up. I love

582
00:32:14,036 --> 00:32:18,676
Speaker 1: like emo music like Twinkled Daddy, shit from the Midwest, Snowing,

583
00:32:18,836 --> 00:32:24,396
Speaker 1: Sam Ruddick, American football owls, Cap and Jazz Cap and

584
00:32:24,556 --> 00:32:29,276
Speaker 1: Jazz Mike and Tim Kinsella, all those guys, Victor Villareal.

585
00:32:29,516 --> 00:32:30,836
Speaker 1: There's a lot of things that happened in this song.

586
00:32:30,876 --> 00:32:33,316
Speaker 1: But it all started with a guitar line which is

587
00:32:33,396 --> 00:32:35,876
Speaker 1: kind of like an emo kind of Midwestern thing of

588
00:32:35,916 --> 00:32:39,036
Speaker 1: ainsla thing, like now you say, like tim yeah, big time.

589
00:32:39,316 --> 00:32:41,396
Speaker 1: I mean it's especially when you kind of get towards

590
00:32:41,436 --> 00:32:42,956
Speaker 1: the end of the song. There's some big licks that

591
00:32:42,996 --> 00:32:45,756
Speaker 1: are big emo licks. I'll just press play, I guess yeah,

592
00:32:45,836 --> 00:33:01,236
Speaker 1: please listen. Yeah. And now it's like war on Drugs.

593
00:33:08,076 --> 00:33:16,596
Speaker 1: It's easy track. I don't know what's happening. I know

594
00:33:24,316 --> 00:33:28,076
Speaker 1: who's playing on this, so I'm playing that lead line.

595
00:33:28,316 --> 00:33:31,916
Speaker 1: My buddy Dan Kleiderman is playing the cool guitar lines

596
00:33:32,156 --> 00:33:33,996
Speaker 1: which you'll hear during the chorus, and some of those

597
00:33:34,516 --> 00:33:38,636
Speaker 1: commenting left here headphone guitar lines, the kind of like

598
00:33:38,876 --> 00:33:42,876
Speaker 1: filling lead lines. Um. I played bass, and then my

599
00:33:42,916 --> 00:33:46,116
Speaker 1: buddy John Days played bass as well, kind of the

600
00:33:46,196 --> 00:33:50,436
Speaker 1: way I there's two basses on it, there's four, So

601
00:33:50,956 --> 00:33:54,276
Speaker 1: the way I track, I'll play and then I'll have

602
00:33:54,356 --> 00:33:58,076
Speaker 1: other people play and I combine parts like all the time.

603
00:33:58,316 --> 00:34:00,236
Speaker 1: Can you solo the bass so you can hear that.

604
00:34:00,956 --> 00:34:04,596
Speaker 1: So here's one bass track during this section, it's just

605
00:34:04,756 --> 00:34:09,996
Speaker 1: synth bass. Day didn't just get over me. That's all

606
00:34:10,036 --> 00:34:20,196
Speaker 1: we have, right, now that's the bass. What's happening? But

607
00:34:20,356 --> 00:34:29,796
Speaker 1: then what stuffs men in my boat? Cutty in incoming

608
00:34:29,956 --> 00:34:40,396
Speaker 1: every single time. So right there, it goes from wide,

609
00:34:40,916 --> 00:34:44,676
Speaker 1: spacious base to a very focused based sound in the middle,

610
00:34:45,196 --> 00:34:51,916
Speaker 1: which is this, this is me playing bass, this is John,

611
00:34:55,236 --> 00:35:02,716
Speaker 1: and this is the other one. So you get this

612
00:35:02,876 --> 00:35:07,916
Speaker 1: thing where normally people go verses are small, choruses are wide,

613
00:35:08,476 --> 00:35:11,276
Speaker 1: but I wanted to go opposite. Made the chorus is

614
00:35:11,476 --> 00:35:16,076
Speaker 1: very like direct and punchy. And the way I accomplished

615
00:35:16,116 --> 00:35:20,516
Speaker 1: that was by making the bass focused and direct. Wow.

616
00:35:21,156 --> 00:35:25,476
Speaker 1: So a trick. So yeah, that's a vibe. Moving on

617
00:35:25,996 --> 00:35:30,436
Speaker 1: second verse, classic move different vocal melody than the first verse,

618
00:35:31,076 --> 00:35:33,196
Speaker 1: and I threw an auto tune on it because I'm

619
00:35:33,236 --> 00:35:36,276
Speaker 1: like switching characters. This is like not the same person

620
00:35:36,356 --> 00:35:46,676
Speaker 1: that was in the first verse. I'm on the team.

621
00:35:47,316 --> 00:35:55,596
Speaker 1: It's your favorite sing angel friend, the biggest and singing

622
00:35:55,756 --> 00:36:12,356
Speaker 1: songs and the sand and I'm in such a So

623
00:36:12,716 --> 00:36:17,036
Speaker 1: if you compare the verses first first vocal like, I

624
00:36:17,116 --> 00:36:21,836
Speaker 1: don't know what's happening in man to this guy, I'm

625
00:36:21,956 --> 00:36:25,276
Speaker 1: on the team, it's your favorite thing. I'm your nigga,

626
00:36:25,436 --> 00:36:28,516
Speaker 1: I ain't your friend. Let's gop to the legglow the

627
00:36:28,636 --> 00:36:32,436
Speaker 1: biggest and play the bands. Remember singing songs in GC

628
00:36:32,876 --> 00:36:36,636
Speaker 1: all about how you like ty dollars? Yeah, sh it's hard.

629
00:36:36,836 --> 00:36:39,076
Speaker 1: Do you identify with one more than the other? I'm

630
00:36:39,116 --> 00:36:41,556
Speaker 1: both at the same time. I wish everyone listening to

631
00:36:41,636 --> 00:36:43,756
Speaker 1: see your face right now, I'm like cheesing so hard.

632
00:36:45,396 --> 00:37:22,676
Speaker 1: I love this, Okay, moving forward, jazz emo moment. You

633
00:37:22,756 --> 00:37:25,036
Speaker 1: know what made you throw that those couple of chords

634
00:37:25,116 --> 00:37:27,676
Speaker 1: in before the It felt like it was time to

635
00:37:27,756 --> 00:37:32,716
Speaker 1: move on, you know, like I love that chorus because

636
00:37:32,996 --> 00:37:36,516
Speaker 1: you know, first chorus is short, no repetition, it's just

637
00:37:37,276 --> 00:37:40,436
Speaker 1: it's sung through one time. Second time, we sing it

638
00:37:40,516 --> 00:37:43,596
Speaker 1: through twice with a little bit of an added measure,

639
00:37:44,356 --> 00:37:47,036
Speaker 1: and then we come out of it with these jazz chords,

640
00:37:47,116 --> 00:37:50,036
Speaker 1: which are very natural to me. I taught myself how

641
00:37:50,076 --> 00:37:51,556
Speaker 1: to play guitar, so I don't really know what I'm

642
00:37:51,596 --> 00:37:53,836
Speaker 1: doing most of the time. I don't know notes or

643
00:37:53,916 --> 00:37:56,876
Speaker 1: chords or anything like that. But I wanted to create

644
00:37:56,996 --> 00:38:02,476
Speaker 1: a shift that was out in the jazz sense, like

645
00:38:03,156 --> 00:38:05,956
Speaker 1: something that really doesn't fit the vibe of the song,

646
00:38:06,116 --> 00:38:10,916
Speaker 1: but creates a break that ends the space we were in.

647
00:38:11,676 --> 00:38:14,236
Speaker 1: You know, I wanted to like leave that world and

648
00:38:14,356 --> 00:38:17,676
Speaker 1: go somewhere else like now, you know, I didn't want

649
00:38:17,676 --> 00:38:20,236
Speaker 1: to create a transition. I was just like shut that door,

650
00:38:20,556 --> 00:38:23,756
Speaker 1: next room, amazing, And so I felt like that voicing,

651
00:38:31,756 --> 00:38:35,716
Speaker 1: you know, it's like sounds like like Robert Fripp, you know, um.

652
00:38:36,076 --> 00:38:38,676
Speaker 1: And to me it's also I like to show off,

653
00:38:38,716 --> 00:38:40,596
Speaker 1: I guess you know. I like to be like, yeah,

654
00:38:40,596 --> 00:38:43,076
Speaker 1: I can do that too, whatever Bloom Boom jazz or

655
00:38:43,156 --> 00:38:47,756
Speaker 1: right next scord, you know, disrespectful. All my freaking band

656
00:38:47,836 --> 00:38:51,516
Speaker 1: members are jazz nerds, like Berkeley freaking losers. You got

657
00:38:51,996 --> 00:38:53,676
Speaker 1: a stunt on them. Yeah. I was just like I

658
00:38:53,756 --> 00:38:56,916
Speaker 1: didn't do any schooling. And you know, I'm kidding. I

659
00:38:56,996 --> 00:38:59,876
Speaker 1: love those threats. Yeah, I love them so much. And

660
00:38:59,996 --> 00:39:03,036
Speaker 1: they and they're always like, yo, what key is this in?

661
00:39:03,116 --> 00:39:06,196
Speaker 1: And I'm like, you tell me my my guy, because

662
00:39:06,236 --> 00:39:09,876
Speaker 1: I just work here at Bartey strangealousy. I signed the checks.

663
00:39:13,156 --> 00:39:16,996
Speaker 1: Somehow I feel like you've got cards to me. I

664
00:39:17,156 --> 00:39:20,916
Speaker 1: don't really feel like I'm supposed to be my band,

665
00:39:21,156 --> 00:39:29,436
Speaker 1: my brand, my band, my brand. Somehow I feel lucky

666
00:39:29,556 --> 00:39:33,356
Speaker 1: to card to me. I don't want to be I

667
00:39:33,476 --> 00:39:39,676
Speaker 1: was pupposed to be my band, my band, my band.

668
00:39:45,236 --> 00:39:48,516
Speaker 1: I find it hard to get over this right now

669
00:39:52,636 --> 00:39:55,876
Speaker 1: because when I'm talking it off, I've seen you like

670
00:39:56,076 --> 00:40:02,476
Speaker 1: a bye. I find it hard to get over this

671
00:40:02,996 --> 00:40:21,036
Speaker 1: right now. By you're really showing off on this song.

672
00:40:21,076 --> 00:40:23,716
Speaker 1: And now I'm realizing, yes, you have more parts than

673
00:40:23,796 --> 00:40:27,676
Speaker 1: you know what to do with. Yeah, sections, sections on sections,

674
00:40:28,036 --> 00:40:31,436
Speaker 1: but yo, there's method to the madness. So that section,

675
00:40:32,196 --> 00:40:35,876
Speaker 1: you expect it to go somewhere, but it never climaxes.

676
00:40:36,516 --> 00:40:37,956
Speaker 1: We leave that and we just go right back to

677
00:40:37,996 --> 00:40:39,956
Speaker 1: the chorus and we end the song. So even in

678
00:40:40,076 --> 00:40:41,716
Speaker 1: writing it, did you feel like you wanted to go

679
00:40:41,836 --> 00:40:44,436
Speaker 1: big there and stop yourself? What did you? Yes? I

680
00:40:44,516 --> 00:40:45,796
Speaker 1: felt I was like, I was like, I want to

681
00:40:45,876 --> 00:40:48,956
Speaker 1: lead them somewhere, and I don't want it to actually

682
00:40:49,036 --> 00:40:51,956
Speaker 1: be gratifying. I want to suck it all back in

683
00:40:52,836 --> 00:40:56,236
Speaker 1: and refocus it all small because That's how I'm feeling. Yes,

684
00:40:57,116 --> 00:41:00,556
Speaker 1: it feels powerful too to take it away and not

685
00:41:00,716 --> 00:41:03,796
Speaker 1: give it to them as a writer, as a musician,

686
00:41:04,596 --> 00:41:06,996
Speaker 1: especially after showing them I can do all these things

687
00:41:07,556 --> 00:41:09,996
Speaker 1: like I can do the jazz move, I can do

688
00:41:10,036 --> 00:41:12,156
Speaker 1: the big guitar lick, I can write the tight chorus.

689
00:41:12,476 --> 00:41:14,356
Speaker 1: We can do the cool auto tune thing. Got a

690
00:41:14,476 --> 00:41:16,796
Speaker 1: nice sound of lead vocal in the first half. But

691
00:41:16,916 --> 00:41:22,276
Speaker 1: I'm not going to give you the climax, and it's

692
00:41:22,476 --> 00:41:26,356
Speaker 1: a choice. I like it. Yeah, should do one more. Yeah,

693
00:41:27,196 --> 00:41:30,516
Speaker 1: let's see co signs or this song is. I was

694
00:41:30,596 --> 00:41:33,796
Speaker 1: really proud of this, this song co signs right. I

695
00:41:33,916 --> 00:41:36,676
Speaker 1: had this beat for a while. Actually, I had this

696
00:41:36,996 --> 00:41:41,316
Speaker 1: for a while, this sound. Let's see if we can

697
00:41:41,356 --> 00:41:48,156
Speaker 1: make this louder. And I came upon that sound because

698
00:41:48,196 --> 00:41:51,636
Speaker 1: I was like, you know who Nils from is from

699
00:41:52,196 --> 00:41:57,076
Speaker 1: a race tapes? I think so, yeah, he's a piano player. Yes, yeah,

700
00:41:57,636 --> 00:42:02,076
Speaker 1: that sound is like sampled from his hit. He did

701
00:42:02,116 --> 00:42:05,396
Speaker 1: this beautiful prima vera set with a juno one oh six,

702
00:42:06,036 --> 00:42:08,996
Speaker 1: and that bouncy, scynth thing was a sound he was

703
00:42:09,116 --> 00:42:11,756
Speaker 1: getting from that juno, and I like recreated the patch

704
00:42:12,356 --> 00:42:15,876
Speaker 1: and played it right. So programmed that and I was like,

705
00:42:15,956 --> 00:42:19,076
Speaker 1: this is dirty. And then Tom York put out Anima,

706
00:42:19,716 --> 00:42:22,916
Speaker 1: that solo project, and I was like, this is like

707
00:42:22,956 --> 00:42:25,116
Speaker 1: the coolest record I've ever heard. I really loved it.

708
00:42:25,756 --> 00:42:28,556
Speaker 1: And so I was playing around a lot with like

709
00:42:28,716 --> 00:42:31,436
Speaker 1: these like more Housier songs and It's like I came

710
00:42:31,556 --> 00:42:34,356
Speaker 1: up with that little thing, and somewhere along the way.

711
00:42:34,796 --> 00:42:37,836
Speaker 1: I think it was because Chris Conner's my co producer,

712
00:42:38,436 --> 00:42:40,996
Speaker 1: was just coming off of this Kanye gig because he

713
00:42:41,076 --> 00:42:43,836
Speaker 1: was working on the latest Kanye record, and he was

714
00:42:43,876 --> 00:42:45,716
Speaker 1: telling me about it and how they were attracting the

715
00:42:45,836 --> 00:42:49,916
Speaker 1: vocals and just how aggressive the vocals were. And then

716
00:42:49,996 --> 00:42:52,196
Speaker 1: I was like, dang, let me dig in. So I

717
00:42:52,356 --> 00:42:55,076
Speaker 1: started digging hard and all this Kanye stuff and I

718
00:42:55,236 --> 00:42:57,756
Speaker 1: was like, damn, I really love how like evil and

719
00:42:57,836 --> 00:43:00,596
Speaker 1: mean and aggressive and ridiculous this vocal sound is. It's

720
00:43:00,636 --> 00:43:06,076
Speaker 1: like this insane, saturated, supergated, like really risky tracking. And

721
00:43:06,196 --> 00:43:08,276
Speaker 1: I was like, Okay, let's see how close we can

722
00:43:08,316 --> 00:43:11,516
Speaker 1: get to that. And then when it's like this radiohead

723
00:43:11,596 --> 00:43:16,076
Speaker 1: meets Kanye meets like this indie rock thing, and I

724
00:43:16,356 --> 00:43:18,036
Speaker 1: fell in love with it. I thought it was like

725
00:43:18,076 --> 00:43:23,756
Speaker 1: a really interesting portrait or like amalgamation of ideas. I

726
00:43:23,916 --> 00:43:26,436
Speaker 1: was also having this realization. I was in four A

727
00:43:26,596 --> 00:43:30,156
Speaker 1: D's studio in Wandsworth in London, and I just come

728
00:43:30,156 --> 00:43:32,876
Speaker 1: off towards like Lucy Dacis and Phoebe Bridgers and I

729
00:43:32,956 --> 00:43:35,356
Speaker 1: was about to go onto at Courtney Barnett and Bonavere

730
00:43:35,516 --> 00:43:37,796
Speaker 1: just checked in to see it what my touring schedule

731
00:43:37,916 --> 00:43:40,316
Speaker 1: was like, and Martin Mills was coming down and listening

732
00:43:40,316 --> 00:43:43,356
Speaker 1: to the music every couple of days, and I was like, Man,

733
00:43:43,716 --> 00:43:46,236
Speaker 1: I don't know what happened, but this is working, Like

734
00:43:46,476 --> 00:43:48,996
Speaker 1: I'm doing this shit. Yeah, And this song is kind

735
00:43:49,036 --> 00:43:52,196
Speaker 1: of it's that energy. It's kind of like Boomer on

736
00:43:52,316 --> 00:43:55,236
Speaker 1: Live Forever to me where it's like it's two or

737
00:43:55,316 --> 00:44:00,276
Speaker 1: three vibes in a song, smashed in and succinct, but

738
00:44:00,596 --> 00:44:03,716
Speaker 1: there's like an honesty behind it that like, I honestly

739
00:44:03,756 --> 00:44:05,516
Speaker 1: felt like I was the only person who could have

740
00:44:05,556 --> 00:44:09,436
Speaker 1: made this song because I was like in a stage

741
00:44:09,476 --> 00:44:10,876
Speaker 1: of my life that I felt like it was really

742
00:44:10,956 --> 00:44:13,596
Speaker 1: unique and I was around people that I'd always wanted

743
00:44:13,636 --> 00:44:15,796
Speaker 1: to be around, and I was able to capture that

744
00:44:15,956 --> 00:44:18,436
Speaker 1: feeling in this recording. Yeah, because that's a feeling you

745
00:44:18,476 --> 00:44:22,996
Speaker 1: only have once. Yeah, you only kind of are ascending once,

746
00:44:24,036 --> 00:44:25,876
Speaker 1: you know, all of that shit happens for the first

747
00:44:25,956 --> 00:44:32,196
Speaker 1: time one time. And then I made this song. Damn,

748
00:44:32,796 --> 00:44:36,436
Speaker 1: just got out the van. You personal hit me bass

749
00:44:36,476 --> 00:44:39,876
Speaker 1: and ticks on me to sing my address first and

750
00:44:39,996 --> 00:44:43,636
Speaker 1: Chicks and Day forget to sing time to fit this chance.

751
00:44:43,716 --> 00:44:48,036
Speaker 1: It ass coma need to binge. I'm a I'm with Phoebe,

752
00:44:48,236 --> 00:44:51,956
Speaker 1: I'm a jens Dan, I'm a chet, I'm a little see,

753
00:44:52,036 --> 00:44:57,076
Speaker 1: I just got the scan hit according as my already stand,

754
00:44:57,756 --> 00:45:01,596
Speaker 1: I'm a FaceTime. I'm with Justin. We already friends, We

755
00:45:01,836 --> 00:45:07,556
Speaker 1: already friends, We already I'm FaceTime repeat the line just

756
00:45:07,676 --> 00:45:22,716
Speaker 1: like Kanye West began. Definitely to me, I can hear radiohead,

757
00:45:22,836 --> 00:45:30,756
Speaker 1: like the freaking bass line. It's like ball, just like

758
00:45:30,876 --> 00:45:33,116
Speaker 1: the repetitive nature of the track and how it evolves

759
00:45:33,156 --> 00:45:42,796
Speaker 1: over time. It feels like that to me. Anyways, it grows, Well,

760
00:45:42,836 --> 00:45:46,596
Speaker 1: what's going on with the guitars in the background. Yes, lord,

761
00:45:47,116 --> 00:45:50,596
Speaker 1: I play these guitars. They're the wiggliest, most fun guitars.

762
00:46:03,636 --> 00:46:25,876
Speaker 1: And then this horn comes in. It's awesome. It's so

763
00:46:27,476 --> 00:46:33,756
Speaker 1: fucking right. I love it. It's bizarre, man, It's like,

764
00:46:33,876 --> 00:46:38,156
Speaker 1: that is not what the beat that you started with. Yeah,

765
00:46:38,556 --> 00:46:41,556
Speaker 1: I would never in a million years think to put

766
00:46:41,596 --> 00:46:44,516
Speaker 1: those guitars on it. It's weird. And then you've got

767
00:46:44,596 --> 00:47:01,356
Speaker 1: this bassline down the middle. Could have been a radio

768
00:47:01,476 --> 00:47:08,276
Speaker 1: ed song, right. I got co signs and Suns gonna

769
00:47:08,316 --> 00:47:11,396
Speaker 1: ask my team my putter love for forty feet at

770
00:47:11,436 --> 00:47:15,236
Speaker 1: the Beacon four week with the multiple pointy atus bed

771
00:47:15,276 --> 00:47:20,476
Speaker 1: I don't know, yall. Yeah wow, that kind of jumps

772
00:47:20,516 --> 00:47:22,876
Speaker 1: off into this like very what I would say, like

773
00:47:22,996 --> 00:47:27,436
Speaker 1: a Tom York Anima style like housey section, like an

774
00:47:27,556 --> 00:48:10,236
Speaker 1: intense thang like remember system of a down of course

775
00:48:10,516 --> 00:48:19,916
Speaker 1: check this out not arials right Oh oh, I told

776
00:48:19,916 --> 00:48:49,036
Speaker 1: you say, Yeah, Wow, those are good drums. Beautiful, that's

777
00:48:49,036 --> 00:49:05,476
Speaker 1: a great playing. Yeah. My buddy Fabian Prinn played those

778
00:49:05,556 --> 00:49:08,876
Speaker 1: in the UK at the forty studios. He's the house

779
00:49:08,916 --> 00:49:12,236
Speaker 1: in here for four A d crushing drummer though, and

780
00:49:12,836 --> 00:49:15,276
Speaker 1: literally we wrote it and I was like, okay, I

781
00:49:15,316 --> 00:49:16,636
Speaker 1: can try and play the drums. And I went and

782
00:49:16,676 --> 00:49:19,476
Speaker 1: played it, and I was like, you gotta play better

783
00:49:19,596 --> 00:49:21,676
Speaker 1: version of this. Dog. I can't. I can't be the

784
00:49:22,196 --> 00:49:27,036
Speaker 1: I can't be the drummer on this song. Good joy, Yeah, beautiful, Yeah,

785
00:49:27,036 --> 00:49:29,956
Speaker 1: you crushed it. It's a beautiful, beautiful drumming. And then

786
00:49:29,996 --> 00:49:32,156
Speaker 1: there's a lot of processing and dog, that's how those

787
00:49:32,236 --> 00:49:35,356
Speaker 1: drums sounded when we recorded him, Like all these sounds

788
00:49:35,636 --> 00:49:38,756
Speaker 1: for the most part were done live. That this vocal

789
00:49:38,796 --> 00:49:42,156
Speaker 1: take I did it's all live. It's just hell of processing,

790
00:49:42,356 --> 00:49:44,596
Speaker 1: like mostly through UA D stuff and a bunch of pedals.

791
00:49:44,836 --> 00:49:47,356
Speaker 1: How many configurations did you have to go through til

792
00:49:47,356 --> 00:49:49,836
Speaker 1: you found that chain? It took me like an hour

793
00:49:50,156 --> 00:49:52,476
Speaker 1: because I knew what I wanted to sound like. I

794
00:49:52,676 --> 00:49:54,556
Speaker 1: was like, it used to come off a guitar amp.

795
00:49:55,236 --> 00:49:57,276
Speaker 1: I wanted to hit a space echo and it's got

796
00:49:57,356 --> 00:49:59,956
Speaker 1: to be smashed and I need an auto tune. So

797
00:50:00,076 --> 00:50:01,556
Speaker 1: I was like, how do we want to do this?

798
00:50:02,156 --> 00:50:04,796
Speaker 1: You know, it's like we got you know, let's figure

799
00:50:04,796 --> 00:50:07,436
Speaker 1: it out. And yeah, when we figured it out, me

800
00:50:07,556 --> 00:50:16,956
Speaker 1: Christ and Fabian nils Um Radiohead System of a down kanyets,

801
00:50:18,636 --> 00:50:22,436
Speaker 1: Yeah insane. Yeah, here, I'll play this vocal track for

802
00:50:22,516 --> 00:50:27,476
Speaker 1: you just really quick. Just got out the van. Universal

803
00:50:27,676 --> 00:50:31,396
Speaker 1: hit me Battle Chicks on me to sing me my address,

804
00:50:31,436 --> 00:50:34,636
Speaker 1: first food chicks that they forgot to sing time to

805
00:50:34,716 --> 00:50:37,156
Speaker 1: flip this transit what we work were doing for Universal?

806
00:50:37,196 --> 00:50:39,916
Speaker 1: By the way, Oh, I didn't do anything for Universal.

807
00:50:40,236 --> 00:50:41,956
Speaker 1: I just thought the line was dope, Okay, I just

808
00:50:42,076 --> 00:50:44,916
Speaker 1: want no. It's like a hip hop move where it's

809
00:50:44,916 --> 00:50:47,716
Speaker 1: just like I don't have a Bugatti. I'm not buying

810
00:50:47,756 --> 00:50:50,716
Speaker 1: Birken bags for chicks, but I'm gonna rap about it,

811
00:50:50,876 --> 00:50:55,076
Speaker 1: like because I will one day. I love it. It's like,

812
00:50:55,716 --> 00:50:58,276
Speaker 1: but that's the fun of the song. It's like, when

813
00:50:58,356 --> 00:51:00,756
Speaker 1: do you ever hear like a rap song talking about

814
00:51:00,796 --> 00:51:03,876
Speaker 1: like Phoebe Bridgers, Lucy Dakis and Justin Vernon. It's like, yeah,

815
00:51:03,916 --> 00:51:06,356
Speaker 1: it doesn't exist. Yeah, you know, it's like the it's

816
00:51:06,356 --> 00:51:08,956
Speaker 1: an art project. It's it's fun. I love what you're doing.

817
00:51:09,676 --> 00:51:14,076
Speaker 1: Than thanks man, Thank you so much, Bartise Man, Thank you.

818
00:51:14,356 --> 00:51:20,396
Speaker 1: This was awesome. Thanks to Bartis Strange for dissecting a

819
00:51:20,476 --> 00:51:22,916
Speaker 1: couple of songs off his new album Farm to Table

820
00:51:23,156 --> 00:51:25,836
Speaker 1: and for sharing his creative jargon with us. You can

821
00:51:25,876 --> 00:51:28,236
Speaker 1: hear all of our favorite Bartis Strange songs on a

822
00:51:28,356 --> 00:51:31,836
Speaker 1: playlist at broken record podcast dot com. Be sure to

823
00:51:31,876 --> 00:51:34,916
Speaker 1: subscribe to our YouTube channel at YouTube dot com slash

824
00:51:35,036 --> 00:51:38,436
Speaker 1: broken record Podcast. We can find all of our new episodes.

825
00:51:39,036 --> 00:51:41,916
Speaker 1: You can follow us on Twitter at broken Record. Broken

826
00:51:41,956 --> 00:51:44,956
Speaker 1: Record is producing help from Lea Rose, Jason Gambrel, Vent

827
00:51:45,036 --> 00:51:48,756
Speaker 1: Holiday and Sandler from Jennifer Sanchez, with engineering help from

828
00:51:48,836 --> 00:51:53,596
Speaker 1: Nick Chafee. Our executive producer is Mia Lobell. Broken Record

829
00:51:53,716 --> 00:51:56,396
Speaker 1: is a production of Pushkin Industries. IF you like this

830
00:51:56,516 --> 00:51:59,756
Speaker 1: show and others from pushkin, consider subscribing to Pushkin Plus.

831
00:52:00,316 --> 00:52:03,676
Speaker 1: Pushkin Plus is a podcast subscription that offers bonus content

832
00:52:03,836 --> 00:52:07,156
Speaker 1: an uninterrupted, ad free listening for four ninety nine a month.

833
00:52:07,796 --> 00:52:11,596
Speaker 1: Look for Pushkin Plus on podcasts subscriptions, and if you

834
00:52:11,676 --> 00:52:14,116
Speaker 1: like the show, please remember to share, rate, and review

835
00:52:14,196 --> 00:52:17,116
Speaker 1: us on your podcast That or the mus expect Anny Beats.

836
00:52:17,436 --> 00:52:18,396
Speaker 1: I'm justin Richmond,