WEBVTT - Ben Kweller

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<v Speaker 1>Pushkin. Hey, this is Justin Richmond from the Broken Record podcast.

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<v Speaker 1>Join me this June for a live taping of Broken

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<v Speaker 1>Record at the Tribeca Festival. We're all bee in conversation

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<v Speaker 1>with Infinity Song, a New York based soft rock band

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<v Speaker 1>comprised of four siblings who will also be doing a

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<v Speaker 1>couple of songs for us. You'll hear the artist and

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<v Speaker 1>a career spanning conversation about their inspirations and dynamic styles.

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<v Speaker 1>We'll be at the SVA Theater on June twelve at

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<v Speaker 1>eight thirty pm. Defund tickets. Visit tribecafilm dot com slash

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<v Speaker 1>Broken Record all lowercase. That's tribecafilm dot com slash Broken Record.

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<v Speaker 1>Hope to see there. For close to three decades, Benkqueler's

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<v Speaker 1>been crafting deeply personal indie rock that's both intimate and expansive,

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<v Speaker 1>from his early days fronting the band Radish as a

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<v Speaker 1>teenager in the nineties to his acclaimed solo career that

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<v Speaker 1>began in the early two thousands, He's consistently delivered songs

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<v Speaker 1>that feel raw, honest, and almost conversational. But his latest album,

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<v Speaker 1>Covered the Mirrors finds Ben in a different place entirely.

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<v Speaker 1>This isn't just another collection of songs. It's an unflinching

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<v Speaker 1>examination of grief, healing, and the complicated process of moving

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<v Speaker 1>forward after unimaginable loss. In today's episode, we'll talk with

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<v Speaker 1>Ben about the loss of his teenage son Dorian, how

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<v Speaker 1>Ben and his family embraced grief and managed to not

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<v Speaker 1>retreat from their lives and work, and what it means

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<v Speaker 1>to return to making and releasing music. We'll also talk

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<v Speaker 1>about Ben's journey through the music industry, from bidding wars

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<v Speaker 1>with his first band that led to him performing for

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<v Speaker 1>idols like Tom Petty at a private party in Malibu,

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<v Speaker 1>to going independent and moving to his ranch in Texas.

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<v Speaker 1>This is broken record, real musicians, real conversations. This episode

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<v Speaker 1>is brought to you by Defender, a vehicle engineered to

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<v Speaker 1>meet challenges head on so you can explore with confidence.

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<v Speaker 1>Adventure Seekers and takers can explore the full Defender lineup

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<v Speaker 1>at land ROVERUSA dot com. Here's my conversation with Ben

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<v Speaker 1>Queler from his ranch outside of Austin. It's like amazing

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<v Speaker 1>to be you have a beautiful spot.

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<v Speaker 2>Thank you.

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<v Speaker 1>It's like it's in a beautiful part of the country. Yeah,

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<v Speaker 1>it's beautiful. This bactual physical space we're in.

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<v Speaker 2>Thank you. Yeah. This barn was actually moved here from

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<v Speaker 2>Fourth and Lavaca in downtown Austin. It was part of

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<v Speaker 2>the Missouri Pacific Railroad station in the eighteen eighties and

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<v Speaker 2>it was moved here in the nineteen eighties as just

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<v Speaker 2>a horse barn. But it was like four of these

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<v Speaker 2>long classic Texas hill country story. It was like, you know,

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<v Speaker 2>four of these long and there were four brothers and

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<v Speaker 2>each brother got a quarter of the barn. You know.

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<v Speaker 2>It's like it's like that kind of thing. I don't

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<v Speaker 2>know where the other sections are, like if they are

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<v Speaker 2>still around or what, but.

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<v Speaker 1>Be interesting to track down if it's possible.

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<v Speaker 2>Exactly you know it was here on this property is

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<v Speaker 2>just a horse barn. This front wall over here was

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<v Speaker 2>just wide open to the elements. And so when we

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<v Speaker 2>moved to this property, we just used it just as

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<v Speaker 2>you know, bicycles and punching bags and kids would our

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<v Speaker 2>boys would skateboard in here, and so it was just

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<v Speaker 2>like a just a gnarly garage space. And then last

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<v Speaker 2>year we decided to renovate it and really turn it

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<v Speaker 2>into a studio. So we put a front wall on it.

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<v Speaker 1>This is only a year's worth of work.

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<v Speaker 2>Yeah, it took about a year. Yeah, And a lot

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<v Speaker 2>of this wood is old wood, and you know, you

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<v Speaker 2>can see the old and the new kind of feathered

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<v Speaker 2>in together. And then these huge columns, the blue columns.

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<v Speaker 2>There's six of those, so that's like the original structure.

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<v Speaker 1>I like the old and the new mixtent though, and

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<v Speaker 1>I also like that, you know, it's all just everything's

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<v Speaker 1>in flux, you know.

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<v Speaker 2>And I just love thinking about, like all the energy

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<v Speaker 2>of the people that have come and gone through this

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<v Speaker 2>building on a train.

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<v Speaker 1>It's very fun to imagine that stuff. You know, you

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<v Speaker 1>can just sit and think about it forever. I'll never

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<v Speaker 1>crack it, but now just can only all you can

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<v Speaker 1>do is imagine.

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<v Speaker 2>That's it.

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<v Speaker 1>Do you know why this was moved here in eighty one?

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<v Speaker 2>Well, so the ranch originally was the hurl Butt Ranch.

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<v Speaker 2>There's a really famous Central Texas family, the hurl Butts.

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<v Speaker 2>So this was originally like thousands of acres back in

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<v Speaker 2>the day. And in fact, the first Willie Nelson's picnic

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<v Speaker 2>was out here about a mile down the road, but

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<v Speaker 2>on the hurl Butt ranch.

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<v Speaker 1>Wow.

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<v Speaker 2>Because they were friends the hurl Butts and Willie and

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<v Speaker 2>so there's a lot of history on this land. When

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<v Speaker 2>we found this property was twenty fifteen and it just

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<v Speaker 2>sat on the market for a year and no one

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<v Speaker 2>really wanted it. We were in the middle of a drought,

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<v Speaker 2>and we always kind of had that My wife and

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<v Speaker 2>I had that dream search of like okay, we want

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<v Speaker 2>like some acreage, an old house, and some water, natural water.

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<v Speaker 2>And this came up and we kind of watched it,

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<v Speaker 2>and but it was really far away from Austin. We

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<v Speaker 2>were living downtown Austin at the time. And we came

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<v Speaker 2>and looked looked at the property and it was so cool,

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<v Speaker 2>like but it was one of those things where every

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<v Speaker 2>structure on the property was worse than the next and

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<v Speaker 2>so like it was just like it needed so much work.

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<v Speaker 2>Windows were busted in the main house. There were deer

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<v Speaker 2>living inside like animals. Like it was gnarly. It was

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<v Speaker 2>like a ghost house, but you could tell it was

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<v Speaker 2>really cool, you know, like if you just put some

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<v Speaker 2>love into it. Bones it had good bones, exactly, And

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<v Speaker 2>so we went for it. And we originally didn't think

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<v Speaker 2>we would live here. We just knew we wanted to

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<v Speaker 2>have a creative space, you know, recording music, making art,

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<v Speaker 2>a little retreat type vibe. And the more we came

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<v Speaker 2>out here and the more we realized that, well, we

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<v Speaker 2>don't really have a nine to five job, you know,

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<v Speaker 2>we can kind of be anywhere. We were like, let's

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<v Speaker 2>just move full time. So in twenty eighteen we moved

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<v Speaker 2>to the main house, which I'll walk you over there

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<v Speaker 2>in a little while, and we just loved it. We

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<v Speaker 2>loved being out in the country. We're about forty five

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<v Speaker 2>minutes west of Austin, and yeah, I just I can't

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<v Speaker 2>imagine not living where I do. And I think also

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<v Speaker 2>just you know, being a touring artist, you know, I'm

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<v Speaker 2>always in cities, just like all the time, and so

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<v Speaker 2>it really is fun to land at the airport and

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<v Speaker 2>in an hour, I'm back here with the trees and

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<v Speaker 2>the sky and the birds and now the studio.

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<v Speaker 1>Yeah, and your whole life is kind of an odd

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<v Speaker 1>mix of urban in country totally. Oh yeah, it is.

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<v Speaker 2>I'm a little bit of this, a little bit of that,

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<v Speaker 2>you know. That's always and you know, my mom always

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<v Speaker 2>said it was because I'm a Gemini, because she's all

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<v Speaker 2>into that stuff astrology and geminized the twins, and so

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<v Speaker 2>we were really good at seeing both sides of every coin.

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<v Speaker 2>And my wife Liz a libro, which is the balance.

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<v Speaker 2>So we actually work really well together, and you know,

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<v Speaker 2>we hardly fight because we kind of just like see

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<v Speaker 2>each other's point of view really easily, which is nice.

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<v Speaker 2>But I just remember that I didn't really answer your question.

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<v Speaker 2>So why was this bar moved here? So it was

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<v Speaker 2>the hurl Butt ranch and it was just land. And

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<v Speaker 2>in nineteen eighty one, this local legend, Bobby Stevens, bought

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<v Speaker 2>this parcel of land, which is thirty acres because the

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<v Speaker 2>hurl Butt family eventually, like you know, divvied it up

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<v Speaker 2>and who knows what happened, you know, thousands of acres

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<v Speaker 2>became just little plots. So Bobby Stevens bought this ranch

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<v Speaker 2>thirty acres and he was driving in Austin and saw

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<v Speaker 2>wrecking ball about to knock over this Victorian house. So

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<v Speaker 2>he jumped out of his pickup truck nineteen eighty one,

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<v Speaker 2>was like, yo, what are you guys doing with that

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<v Speaker 2>wrecking ball? And they said, oh, well the bank, the

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<v Speaker 2>bank needs it gone by six pm, you know, and

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<v Speaker 2>and Bobby was like, well, can I have it? Like

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<v Speaker 2>it's a house, you know. He's like, can I have it?

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<v Speaker 2>And they were like, well, if you give us, you know,

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<v Speaker 2>a thousand bucks, sure, and so he was like, all right,

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<v Speaker 2>I'll be right back. And so he gave him a

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<v Speaker 2>thousand bucks, chain saw down the center of the house,

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<v Speaker 2>put it on two flatbed trailers and moved it out here.

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<v Speaker 2>So the house was moved here from West sixth Street

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<v Speaker 2>in Austin.

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<v Speaker 1>And on did he do that all in the four

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<v Speaker 1>to six pms?

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<v Speaker 2>Like pretty much? He at least got it off the property. Yeah,

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<v Speaker 2>Like this guy Bobby can do anything, Like he is

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<v Speaker 2>just the epitome of like can fix anything and just

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<v Speaker 2>has that drive and determination, you know. So he moved

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<v Speaker 2>the house here and he lived here for a long time.

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<v Speaker 2>And then shortly after they found this barn you know,

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<v Speaker 2>from the railroad station and moved it here. And then

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<v Speaker 2>there's a little house on the other end of the property,

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<v Speaker 2>which we call the Happy House, which is where the

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<v Speaker 2>band stays when we're rehearsing or if I'm producing an album,

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<v Speaker 2>the artist has lodging and that was moved here from Austin,

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<v Speaker 2>which is actually even crazier because it's from the Zilker

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<v Speaker 2>neighborhood like a block away from where my family lived

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<v Speaker 2>in Austin. So when we saw this property, we're just like, what,

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<v Speaker 2>like that place is from Zilker And there were just

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<v Speaker 2>so many little signs you know that's just pointed to

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<v Speaker 2>this being home for us.

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<v Speaker 1>That's great. Are you a person that's always looked for

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<v Speaker 1>signs and things to know what.

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<v Speaker 2>The ve always I've always been aware of them and

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<v Speaker 2>felt energies from things that happen and numbers and patterns,

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<v Speaker 2>and I mean, gosh, I guess actually going back now

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<v Speaker 2>that I think about it, to the way I started

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<v Speaker 2>writing songs when I was about eight, just like every

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<v Speaker 2>other American kid, I learned heart and soul. Someone showed

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<v Speaker 2>me how to play it dunda dun da dun da

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<v Speaker 2>dun da dud d dante and that just repeats. And

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<v Speaker 2>so I noticed, like, okay, well it's in the key

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<v Speaker 2>of C, which I didn't know at the time, but

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<v Speaker 2>I'm just seeing the white keys and you play this chord,

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<v Speaker 2>you skip one, go down, play the next one, skip one,

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<v Speaker 2>go down, play the next one, and go up one.

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<v Speaker 2>And so I'm like, okay, I see that pattern. And

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<v Speaker 2>I said, well, what if you don't play the second chord,

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<v Speaker 2>you go from the first chord to the third chord

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<v Speaker 2>and then up to the second chord and then the

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<v Speaker 2>fourth chord. And that sounded like let it be because

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<v Speaker 2>I was a big Beatles fan because my dad, that's

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<v Speaker 2>all he played was the Beadles and Hendrix and the Hollies,

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<v Speaker 2>like a lot of British invasion rock and roll. That's

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<v Speaker 2>what I grew up on. And so I'm like, wow,

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<v Speaker 2>so let it be is heart and soul, kind of

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<v Speaker 2>inside out. So then I was like, all right, dude,

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<v Speaker 2>well skip the second and third chord. Let's go from

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<v Speaker 2>the first chord to the fourth chord, then the second chord,

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<v Speaker 2>then the third chord. And that sounded like a progression

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<v Speaker 2>I'd never heard before. Meanwhile, there's thousands of songs with

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<v Speaker 2>that progression, you know. But at eight years old, I

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<v Speaker 2>was like, wow, this is incredible. And so I wrote

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<v Speaker 2>my first song, and I would just sing about girls

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<v Speaker 2>in love because that's what the Beatles sing about. So

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<v Speaker 2>I'm like, you write love songs. I guess that's what

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<v Speaker 2>you do. You know, That's all I knew. And so

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<v Speaker 2>that's how it started. And so you know, I'm very

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<v Speaker 2>visually inclined. But yeah, signs are you know, I've always

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<v Speaker 2>sort of felt them and seen a little deeper, I

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<v Speaker 2>guess than what's there. I'm really curious person. I like

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<v Speaker 2>to know how things work. I like to kind of

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<v Speaker 2>peek behind the curtain and really know about life and

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<v Speaker 2>what the hell is all this? You know. I mean,

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<v Speaker 2>it's not a very novel thing to say, but that's

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<v Speaker 2>just kind of who I am.

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<v Speaker 1>That's still essential to who you are.

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<v Speaker 2>And then like from a spiritual level, like I've always

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<v Speaker 2>just sort of been fascinated about like what's beyond, you know,

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<v Speaker 2>what is out around us that I don't see?

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<v Speaker 1>Yeah, you know you were raised Jewish, right, Yeah, you

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<v Speaker 1>were born in.

0:12:15.716 --> 0:12:18.156
<v Speaker 2>San Francisco, born in San fran.

0:12:18.956 --> 0:12:21.356
<v Speaker 1>And then reared in Texas.

0:12:20.836 --> 0:12:21.996
<v Speaker 2>Reared in Texas.

0:12:22.116 --> 0:12:25.076
<v Speaker 1>Yeah, I didn't really know you were born in San

0:12:25.156 --> 0:12:28.036
<v Speaker 1>fran But once I learned that, there was a lot

0:12:28.076 --> 0:12:30.356
<v Speaker 1>about you that makes a little more sense, okay, in

0:12:30.476 --> 0:12:33.076
<v Speaker 1>the way that like that, like well even just your

0:12:33.196 --> 0:12:37.716
<v Speaker 1>dad raising listening to British Invasion music primarily, and you

0:12:37.756 --> 0:12:39.836
<v Speaker 1>can hear a lot of that in totally what you

0:12:39.916 --> 0:12:43.876
<v Speaker 1>do for sure, And so would seem to me being

0:12:43.956 --> 0:12:47.636
<v Speaker 1>raised in the Jewish faith in San Francisco at easier

0:12:47.676 --> 0:12:48.636
<v Speaker 1>than out here in Texas.

0:12:48.676 --> 0:12:51.116
<v Speaker 2>Oh yeah, I mean we were the only Jewish family

0:12:51.356 --> 0:12:53.876
<v Speaker 2>in Greenville, which is a small town that we moved to,

0:12:54.836 --> 0:12:57.956
<v Speaker 2>and so yeah, I definitely, like, you know, remember hanging

0:12:57.956 --> 0:12:59.356
<v Speaker 2>out with kids who were like, you're going to go

0:12:59.356 --> 0:13:02.596
<v Speaker 2>to Hell? And I'm like, really, like what's hell all about? Like,

0:13:02.636 --> 0:13:04.236
<v Speaker 2>you know, because we didn't really you don't really talk

0:13:04.316 --> 0:13:08.676
<v Speaker 2>much about Hell in Judaism. But yeah, we left San

0:13:08.676 --> 0:13:10.956
<v Speaker 2>francisc go when I was six months old. My dad's

0:13:10.996 --> 0:13:15.156
<v Speaker 2>a doctor. He did his residency in San fran and

0:13:15.476 --> 0:13:17.956
<v Speaker 2>I was born there and he was part of the

0:13:18.036 --> 0:13:22.796
<v Speaker 2>Rural Health Service, which back in the late seventies early eighties,

0:13:23.156 --> 0:13:25.916
<v Speaker 2>the government would help pay for medical school as long

0:13:25.956 --> 0:13:28.916
<v Speaker 2>as you served in a rural community after medical school.

0:13:29.196 --> 0:13:32.196
<v Speaker 2>So he did his residency in San Fran and he

0:13:32.236 --> 0:13:34.636
<v Speaker 2>would get all these offers like, hey, there's a town

0:13:34.636 --> 0:13:38.436
<v Speaker 2>in Ohio or Pennsylvania, are you interested in that? And

0:13:38.476 --> 0:13:40.516
<v Speaker 2>then one came along it's like there's a town in

0:13:40.556 --> 0:13:43.876
<v Speaker 2>Texas that's never had a doctor. And my dad was

0:13:43.916 --> 0:13:47.796
<v Speaker 2>like that sounds cool, like you know, the wild West

0:13:47.916 --> 0:13:50.636
<v Speaker 2>or something, and so they came to Texas. I was

0:13:50.676 --> 0:13:53.676
<v Speaker 2>six months old, so he was doc like. He was

0:13:53.756 --> 0:13:59.396
<v Speaker 2>just like everyone's doctor, pediatrics, geriatrics, calm and cold, like

0:13:59.516 --> 0:14:01.276
<v Speaker 2>even like minor surgeries.

0:14:00.836 --> 0:14:02.116
<v Speaker 1>If need be, you know what I mean.

0:14:03.596 --> 0:14:05.836
<v Speaker 2>Well, I think they would for deliveries. They would at

0:14:05.876 --> 0:14:07.996
<v Speaker 2>least go to the hospital, which is like forty five

0:14:08.036 --> 0:14:10.236
<v Speaker 2>minutes away. But you know, he did a lot, like

0:14:10.316 --> 0:14:13.196
<v Speaker 2>he's a beast my dad. As a kid, I remember

0:14:13.316 --> 0:14:15.676
<v Speaker 2>just like feeling cool, like to be able to say, well,

0:14:15.716 --> 0:14:17.756
<v Speaker 2>I was born in California, Like there was just something

0:14:17.796 --> 0:14:18.956
<v Speaker 2>cool about California.

0:14:19.036 --> 0:14:22.916
<v Speaker 1>You know, do you remember the feeling when you came here?

0:14:23.436 --> 0:14:25.996
<v Speaker 2>Well, no, I was six months old. Oh never mind,

0:14:27.916 --> 0:14:29.036
<v Speaker 2>I remember no feeling.

0:14:29.396 --> 0:14:35.316
<v Speaker 1>Never mind. Yeah, that'd be a small miracle, ya, No.

0:14:35.356 --> 0:14:38.236
<v Speaker 2>I mean the first memory of San Francisco really was

0:14:38.276 --> 0:14:41.276
<v Speaker 2>probably playing a gig there for the first time with

0:14:41.356 --> 0:14:44.516
<v Speaker 2>my band Radish. You know, like in the nineties, I

0:14:44.516 --> 0:14:46.876
<v Speaker 2>had this s grunge band. I was in high school.

0:14:47.636 --> 0:14:51.116
<v Speaker 2>I was fifteen, and yeah, we went on tour.

0:14:51.716 --> 0:14:53.676
<v Speaker 1>What was the origin of Radish, by the way.

0:14:53.716 --> 0:14:56.836
<v Speaker 2>Yeah, the origin of Radish kind of goes back to

0:14:57.516 --> 0:15:00.196
<v Speaker 2>me sitting at the piano and writing songs. Okay. So

0:15:01.116 --> 0:15:04.876
<v Speaker 2>I always say the Beatles made me write songs and

0:15:04.996 --> 0:15:08.556
<v Speaker 2>Nirvana made me start a band, and so I'll never forget.

0:15:09.516 --> 0:15:12.596
<v Speaker 2>I was actually at the skating rink in Greenville, Texas,

0:15:13.396 --> 0:15:16.676
<v Speaker 2>and smells like teen Spirit came on, and I remember

0:15:16.716 --> 0:15:19.236
<v Speaker 2>exactly like where I was, like making this turn at

0:15:19.356 --> 0:15:22.316
<v Speaker 2>one end of the skating the roller rink and I

0:15:22.396 --> 0:15:25.716
<v Speaker 2>literally had to pull over and like hold onto the sidewalks.

0:15:25.716 --> 0:15:28.116
<v Speaker 2>I'm like, what the fuck is this? Like this is

0:15:28.436 --> 0:15:31.636
<v Speaker 2>the coolest music I've ever heard, And so I skated

0:15:31.716 --> 0:15:35.996
<v Speaker 2>around a lap back to the DJ booth and I

0:15:36.036 --> 0:15:37.676
<v Speaker 2>was like, what is this? And he pulled up the

0:15:37.716 --> 0:15:40.236
<v Speaker 2>CD with the little baby on and the dollar bill.

0:15:40.476 --> 0:15:43.076
<v Speaker 2>I was like, dude, this is band Ravana. It's really cool.

0:15:43.556 --> 0:15:45.036
<v Speaker 2>I was like yeah, And so, like I went to

0:15:45.076 --> 0:15:47.156
<v Speaker 2>the record store the next day and got that CD,

0:15:47.756 --> 0:15:48.956
<v Speaker 2>and I was like, all right, well I need to

0:15:48.956 --> 0:15:52.396
<v Speaker 2>start a band like this, you know, game over and

0:15:53.396 --> 0:15:56.956
<v Speaker 2>I figured that all you need to have is three people.

0:15:57.036 --> 0:15:59.916
<v Speaker 2>You know, bass, drums and guitar is the bare necessities.

0:15:59.916 --> 0:16:02.836
<v Speaker 2>It's like, you know, every stool, every chair like needs

0:16:02.836 --> 0:16:05.236
<v Speaker 2>a minimum of three legs. It's like, well, okay, rock band,

0:16:05.236 --> 0:16:08.916
<v Speaker 2>it's kind of the same thing, and so I started,

0:16:09.916 --> 0:16:12.116
<v Speaker 2>you know, in my town, there weren't a lot of musicians,

0:16:12.876 --> 0:16:15.556
<v Speaker 2>but eventually I met a drummer and bass player who

0:16:15.556 --> 0:16:18.636
<v Speaker 2>were great, and we had different band names, but eventually

0:16:18.676 --> 0:16:22.276
<v Speaker 2>it became radish and so I got to kind of

0:16:22.276 --> 0:16:25.236
<v Speaker 2>back up a little bit. So, you know, small town

0:16:25.316 --> 0:16:29.396
<v Speaker 2>kid in Texas writing songs, how do you even you know,

0:16:29.516 --> 0:16:30.116
<v Speaker 2>get out there?

0:16:30.236 --> 0:16:30.436
<v Speaker 3>Right?

0:16:30.596 --> 0:16:35.596
<v Speaker 2>And I started trying to get gigs. Literally, I'd look

0:16:35.596 --> 0:16:39.276
<v Speaker 2>in the Yellow Pages and like look for places to play.

0:16:39.676 --> 0:16:43.716
<v Speaker 2>In Greenville, Texas was a dry town, so there were

0:16:43.756 --> 0:16:46.796
<v Speaker 2>like no clubs or bars. But I would call plays

0:16:46.916 --> 0:16:48.516
<v Speaker 2>like the Bowling Alley and be like, hey, I got

0:16:48.516 --> 0:16:49.916
<v Speaker 2>a band, can we come play? And They're like, no,

0:16:49.956 --> 0:16:52.516
<v Speaker 2>we're a bowling alley or like Putt putt golf. Like

0:16:52.556 --> 0:16:54.756
<v Speaker 2>I'm just trying to think of any place where like

0:16:54.796 --> 0:16:57.436
<v Speaker 2>I could set up my band, you know, And eventually

0:16:57.516 --> 0:17:01.756
<v Speaker 2>there was this pool hall called Chauncey's Place. And dude,

0:17:02.076 --> 0:17:05.236
<v Speaker 2>I might have been like twelve or thirteen at this time,

0:17:05.276 --> 0:17:08.436
<v Speaker 2>and I remember calling Chauncey. I would just cold call people.

0:17:08.476 --> 0:17:10.756
<v Speaker 2>I mean, like I was little entrepreneur, dude, like at

0:17:10.796 --> 0:17:16.156
<v Speaker 2>twelve and Chauncey himself picked up the phone. I was like, hey,

0:17:16.156 --> 0:17:18.876
<v Speaker 2>my name's Ben. I got this band called Radish and

0:17:19.476 --> 0:17:21.476
<v Speaker 2>we really would love to come play a gig. He's like, well,

0:17:21.556 --> 0:17:24.436
<v Speaker 2>y'all any good. I'm like, yes, sir, we're really good.

0:17:25.156 --> 0:17:26.676
<v Speaker 2>And I was like, in fact, I can play you

0:17:26.676 --> 0:17:30.356
<v Speaker 2>a song right now over the phone. Oh way, and

0:17:30.396 --> 0:17:32.276
<v Speaker 2>he kind of chuckled because he was like in his

0:17:32.316 --> 0:17:35.676
<v Speaker 2>fifties or something. He's like yeah, He's like, okay, go ahead,

0:17:35.716 --> 0:17:37.036
<v Speaker 2>you know what I mean, because he was just getting

0:17:37.036 --> 0:17:39.116
<v Speaker 2>a kick out of this whole thing. And so, you know,

0:17:39.156 --> 0:17:41.596
<v Speaker 2>old school like holding the phone between my shoulder and

0:17:41.636 --> 0:17:44.036
<v Speaker 2>my ear, grabbed my guitar and I play him a

0:17:44.076 --> 0:17:47.036
<v Speaker 2>song and he's like that is pretty good. All right.

0:17:47.116 --> 0:17:50.276
<v Speaker 2>Next Thursday, you got your own gig, you know. And

0:17:50.356 --> 0:17:53.516
<v Speaker 2>so that was our first concert. That was in nineteen

0:17:53.596 --> 0:17:57.316
<v Speaker 2>ninety four. I still have the flyer wow for it.

0:17:57.476 --> 0:18:01.916
<v Speaker 2>And so then eventually that led to gigs in Dallas

0:18:02.236 --> 0:18:04.756
<v Speaker 2>and we started playing in the Dallas scene a lot.

0:18:04.796 --> 0:18:07.956
<v Speaker 2>And in the nineties there's a neighborhood in Dallas called

0:18:07.996 --> 0:18:13.196
<v Speaker 2>Deep Elam, which is iconic neighborhood for music, and in

0:18:13.236 --> 0:18:16.476
<v Speaker 2>the nineties it was really a great place, a great scene,

0:18:16.476 --> 0:18:18.396
<v Speaker 2>and I pretty much spent every weekend. As soon as

0:18:18.436 --> 0:18:20.756
<v Speaker 2>I got my driver's license, I would just go there

0:18:20.996 --> 0:18:23.716
<v Speaker 2>for the weekend, just like watch shows or play shows.

0:18:24.156 --> 0:18:26.916
<v Speaker 2>Tripping Daisy the Toadies, like a lot of great bands

0:18:27.236 --> 0:18:28.756
<v Speaker 2>were out of that scene.

0:18:28.516 --> 0:18:31.356
<v Speaker 1>And Tripping Daisy was the precursor.

0:18:30.836 --> 0:18:34.756
<v Speaker 2>To Polyphonic Spree, right, exactly amazing, And so you know,

0:18:34.796 --> 0:18:38.116
<v Speaker 2>we started playing gigs. Now, Meanwhile, there's a really important

0:18:38.316 --> 0:18:41.636
<v Speaker 2>part to my story because we didn't you know, it's

0:18:41.716 --> 0:18:44.796
<v Speaker 2>like we didn't really know anyone in the music business

0:18:44.876 --> 0:18:48.196
<v Speaker 2>except one person, and this person is so crucial to

0:18:48.236 --> 0:18:52.796
<v Speaker 2>the story. So rewind back to the sixties. My dad's

0:18:52.796 --> 0:18:56.036
<v Speaker 2>a drummer in high school and it's the high school

0:18:56.076 --> 0:19:00.196
<v Speaker 2>talent show and my dad's band plays some cover songs

0:19:00.236 --> 0:19:03.716
<v Speaker 2>or whatever, and then this kid gets up the next

0:19:03.756 --> 0:19:09.076
<v Speaker 2>act and does an accordion a medleyon accordion of Beatles songs,

0:19:09.516 --> 0:19:12.076
<v Speaker 2>and it's like incredible, and everyone's like, oh my god,

0:19:12.116 --> 0:19:14.236
<v Speaker 2>that was Who is this guy? And so they went

0:19:14.436 --> 0:19:19.596
<v Speaker 2>and introduced themselves. His name was Nils Nils Lofgren. So

0:19:19.676 --> 0:19:21.756
<v Speaker 2>it turns out, you know, Nils Lofkin is one of

0:19:21.796 --> 0:19:24.596
<v Speaker 2>the best guitar players of all time. He plays in

0:19:24.636 --> 0:19:27.676
<v Speaker 2>the East Street Band with Springsteen. He has played with

0:19:27.716 --> 0:19:32.036
<v Speaker 2>Neil Young, Crazy Horse like just such a legend. Also

0:19:32.956 --> 0:19:36.716
<v Speaker 2>has an incredible catalog of solo records which I also

0:19:36.756 --> 0:19:41.796
<v Speaker 2>grew up on with my dad playing those. So Grinn

0:19:42.076 --> 0:19:45.756
<v Speaker 2>is like the coolest like garage rock band ever that

0:19:45.796 --> 0:19:50.596
<v Speaker 2>no one knows so good. I'm so happy you mentioned that.

0:19:50.716 --> 0:19:53.316
<v Speaker 2>Just made my heart. Loved the shine. So my dad

0:19:53.316 --> 0:19:57.036
<v Speaker 2>and Nils became friends. My dad had the basement, so

0:19:57.076 --> 0:20:00.036
<v Speaker 2>they started a new band called the Radical Five. They

0:20:00.036 --> 0:20:02.316
<v Speaker 2>were also a trio, just three of them, but they

0:20:02.316 --> 0:20:05.316
<v Speaker 2>thought that was cool, the Radical Five, but there's only

0:20:05.316 --> 0:20:07.476
<v Speaker 2>three Like that was psychedelic, bro, you know what I mean.

0:20:07.996 --> 0:20:11.436
<v Speaker 2>And so they would play my dad's basement. My dad

0:20:11.436 --> 0:20:13.876
<v Speaker 2>would tell you, oh, well, I was never good enough

0:20:13.916 --> 0:20:16.076
<v Speaker 2>as a musician to really do music, so he and

0:20:16.116 --> 0:20:18.756
<v Speaker 2>he always had this thing for being a doctor and

0:20:19.316 --> 0:20:21.996
<v Speaker 2>went on to do that. But Nills and my dad

0:20:21.996 --> 0:20:25.596
<v Speaker 2>stayed in touch through the years, and so like, whenever

0:20:25.716 --> 0:20:28.276
<v Speaker 2>Nils would come through town, we would always go and

0:20:28.276 --> 0:20:30.956
<v Speaker 2>see him in Dallas, and so like my first concert

0:20:31.036 --> 0:20:34.036
<v Speaker 2>was Bruce Springsteen in the East Street Band, born in

0:20:34.076 --> 0:20:38.156
<v Speaker 2>the USA Tour nineteen eighty five Reunion Arena, Dallas, Texas,

0:20:38.156 --> 0:20:42.836
<v Speaker 2>Like holy shit, wow, you know. And so Nils was

0:20:42.956 --> 0:20:45.556
<v Speaker 2>like my contact, like he you know what I mean,

0:20:45.596 --> 0:20:47.796
<v Speaker 2>Like he was like, Okay, this is someone who's doing

0:20:47.916 --> 0:20:49.676
<v Speaker 2>the thing that like I want to do. And so

0:20:50.036 --> 0:20:53.116
<v Speaker 2>ever since that first song I wrote when I was eight,

0:20:54.076 --> 0:20:56.956
<v Speaker 2>I would make little cassettes and send them to Nils,

0:20:56.996 --> 0:20:59.516
<v Speaker 2>you know, and just be like Nils like, check out

0:20:59.556 --> 0:21:01.436
<v Speaker 2>you know these songs I'm writing. And he was always

0:21:01.436 --> 0:21:03.156
<v Speaker 2>so sweet, you know. I'd call him and be like

0:21:03.156 --> 0:21:04.796
<v Speaker 2>what do you think. He's like, oh, it's great, Ben,

0:21:04.916 --> 0:21:06.876
<v Speaker 2>Just like keep doing it, keep writing, you know what

0:21:06.956 --> 0:21:10.956
<v Speaker 2>I mean. Yeah, So fast forward back to the nineties.

0:21:11.156 --> 0:21:15.076
<v Speaker 2>Deep LM. Radish is getting more serious. We're playing gigs,

0:21:15.516 --> 0:21:19.556
<v Speaker 2>doing the whole thing. We did make like a cassette EP.

0:21:20.116 --> 0:21:23.476
<v Speaker 2>And then CD became a thing that you could do

0:21:23.956 --> 0:21:27.756
<v Speaker 2>like yourself, you know, like it became possible to duplicate

0:21:27.836 --> 0:21:30.116
<v Speaker 2>like you know, five hundred or one thousand CDs like

0:21:30.116 --> 0:21:31.756
<v Speaker 2>that was the thing. It was kind of expensive, but

0:21:31.796 --> 0:21:35.156
<v Speaker 2>it was attainable. So we saved up money and we

0:21:35.476 --> 0:21:38.516
<v Speaker 2>pressed our first CD, and so of course I sent

0:21:38.556 --> 0:21:43.276
<v Speaker 2>it to Nils and I guess it was on his

0:21:43.396 --> 0:21:47.076
<v Speaker 2>coffee table. He was making an album at the time,

0:21:47.356 --> 0:21:50.156
<v Speaker 2>and the producer was walking by, you know, through the

0:21:50.156 --> 0:21:52.036
<v Speaker 2>living room and was like, oh, what's the CD? And

0:21:52.076 --> 0:21:54.196
<v Speaker 2>he picks it up and the photo of the CD

0:21:54.356 --> 0:21:56.516
<v Speaker 2>was like three young kids behind bars, Like we thought

0:21:56.556 --> 0:22:00.356
<v Speaker 2>that would be a cool album cover. Yeah, we're tough,

0:22:00.476 --> 0:22:04.356
<v Speaker 2>you know, rawdug. So he's like, who are these kids?

0:22:04.396 --> 0:22:07.236
<v Speaker 2>And Nil said, oh, well, that's my friend's son's band,

0:22:07.716 --> 0:22:10.996
<v Speaker 2>you know. And this producer put it on and really

0:22:11.116 --> 0:22:13.636
<v Speaker 2>liked it. And so then we get a phone call

0:22:13.676 --> 0:22:14.356
<v Speaker 2>at my house.

0:22:15.276 --> 0:22:16.276
<v Speaker 1>Who wasn't the god you know.

0:22:16.356 --> 0:22:21.236
<v Speaker 2>His name is Roger Greenawaltz, an extremely talented producer, probably

0:22:21.276 --> 0:22:24.076
<v Speaker 2>one of them I've had many mentors, you know. Roger

0:22:24.196 --> 0:22:27.836
<v Speaker 2>is up there with Nils like in like, well, he

0:22:27.916 --> 0:22:29.916
<v Speaker 2>calls and says, hey, can I speak to Ben? And

0:22:29.916 --> 0:22:32.516
<v Speaker 2>so my parents are like, oh, yeah, sure, who is

0:22:32.556 --> 0:22:34.516
<v Speaker 2>this though, you know, and he's like, well, I'm working

0:22:34.516 --> 0:22:36.916
<v Speaker 2>with Nils so and they're like okay. So I speak

0:22:36.956 --> 0:22:39.996
<v Speaker 2>to Roger and he says, hi, Ben, And he had

0:22:40.076 --> 0:22:43.396
<v Speaker 2>kind of this you know, grandiose voice was really cool

0:22:43.556 --> 0:22:45.676
<v Speaker 2>for me. But being a small town kid. I was like, whoa,

0:22:45.716 --> 0:22:49.036
<v Speaker 2>this is crazy. He's like, Hi, I'm Roger Greenawalt and

0:22:49.636 --> 0:22:53.316
<v Speaker 2>I'm producing Nils Lofgren right now, and I just heard

0:22:53.356 --> 0:22:55.636
<v Speaker 2>your CD and there's this song that I really love.

0:22:55.996 --> 0:22:58.676
<v Speaker 2>I want to come to Texas. I want to rehearse

0:22:58.716 --> 0:23:01.436
<v Speaker 2>your band. We're going to record a three song demo

0:23:01.556 --> 0:23:04.756
<v Speaker 2>and I'm gonna shop it around to major label record companies.

0:23:05.956 --> 0:23:09.796
<v Speaker 2>And I'm probably fourteen right now, and so I'm like, Okay,

0:23:09.996 --> 0:23:12.796
<v Speaker 2>I'm thinking to myself, I have no idea what the

0:23:12.836 --> 0:23:15.356
<v Speaker 2>fuck you just said, but sign me up, because like

0:23:15.516 --> 0:23:18.396
<v Speaker 2>this sounds like the best thing. This is exactly I

0:23:18.396 --> 0:23:20.316
<v Speaker 2>want to leave school, Like I want to play music.

0:23:20.396 --> 0:23:23.356
<v Speaker 2>This is it, you know. So Roger came to Texas

0:23:23.396 --> 0:23:26.396
<v Speaker 2>like during spring break or something, and we rehearsed every day,

0:23:26.156 --> 0:23:28.036
<v Speaker 2>and he would tell the three of us, He's like,

0:23:28.076 --> 0:23:30.596
<v Speaker 2>I'm taking you guys to art school right now. So

0:23:30.676 --> 0:23:34.236
<v Speaker 2>it's like the first time we ever worked with anyone

0:23:34.316 --> 0:23:38.596
<v Speaker 2>with you know, any kind of producer. And so he

0:23:38.636 --> 0:23:40.876
<v Speaker 2>would do things like one day, he'd walk in one

0:23:40.916 --> 0:23:43.916
<v Speaker 2>day and be like, Okay, today, John the drummer, he'd

0:23:43.956 --> 0:23:46.076
<v Speaker 2>be like, all right, we're gonna remove the rack Tom

0:23:46.076 --> 0:23:49.116
<v Speaker 2>on the floor. Tom, you don't get any symbols. All

0:23:49.156 --> 0:23:51.196
<v Speaker 2>you get is snare kick and high hat and so

0:23:51.316 --> 0:23:53.236
<v Speaker 2>like the whole day, that's all you get to work with.

0:23:53.636 --> 0:23:55.836
<v Speaker 2>He would do things like limiting us, you know, and

0:23:55.876 --> 0:23:58.556
<v Speaker 2>like taking away and just teaching us. And then as

0:23:58.596 --> 0:24:00.876
<v Speaker 2>far as songwriting, you know, he taught me what the

0:24:00.916 --> 0:24:03.676
<v Speaker 2>relative minor is, which is a whole concept. You know,

0:24:03.716 --> 0:24:06.116
<v Speaker 2>if you're in the key of C major, the relative

0:24:06.156 --> 0:24:08.996
<v Speaker 2>minor is a minor, which is that second chord and

0:24:09.196 --> 0:24:11.876
<v Speaker 2>heart and soul. So like I already knew what I

0:24:11.916 --> 0:24:13.396
<v Speaker 2>was here. I could hear it all, but I didn't

0:24:13.396 --> 0:24:14.956
<v Speaker 2>know how to put it to words and so like

0:24:15.036 --> 0:24:17.876
<v Speaker 2>things like that. So anyway, we recorded this three three

0:24:17.916 --> 0:24:22.196
<v Speaker 2>song demo and he starts sending it around and before

0:24:22.236 --> 0:24:24.876
<v Speaker 2>you know it, like the phone starts ringing off the

0:24:24.876 --> 0:24:29.196
<v Speaker 2>hook at my parents' house and it's like all these

0:24:29.236 --> 0:24:34.796
<v Speaker 2>major label record companies and so then you know, they

0:24:34.836 --> 0:24:37.596
<v Speaker 2>loved the demo. They're like, well, but we hear he's

0:24:37.636 --> 0:24:39.716
<v Speaker 2>really young, you know, like we got to see if

0:24:39.716 --> 0:24:41.756
<v Speaker 2>he can really perform. And so then we had to

0:24:41.756 --> 0:24:43.836
<v Speaker 2>go do the showcase, which is like this is like

0:24:43.916 --> 0:24:46.596
<v Speaker 2>some classic nineties shit that I'm talking about right now

0:24:46.756 --> 0:24:48.836
<v Speaker 2>because this is like so many people did this formula,

0:24:48.996 --> 0:24:51.356
<v Speaker 2>you know, but it actually worked for my band, which

0:24:51.396 --> 0:24:53.956
<v Speaker 2>is kind of nuts to think about. So we went

0:24:53.996 --> 0:24:57.316
<v Speaker 2>to New York and we did three shows. It was insane.

0:24:57.956 --> 0:25:01.996
<v Speaker 2>Friday night was at CBGB's and so like my first

0:25:02.036 --> 0:25:04.596
<v Speaker 2>gig in New York, you know, outside of Texas was

0:25:04.636 --> 0:25:11.956
<v Speaker 2>at CBGB's, and Saturday night was at Coney Island High,

0:25:11.996 --> 0:25:14.916
<v Speaker 2>which I don't think is there anymore, and then Sunday

0:25:14.996 --> 0:25:17.156
<v Speaker 2>was at Don Hills, which I'm not sure if that's

0:25:17.156 --> 0:25:21.156
<v Speaker 2>there anymore, but they say that On Friday night it

0:25:21.316 --> 0:25:24.276
<v Speaker 2>was like all the A and rs from the labels,

0:25:24.716 --> 0:25:27.076
<v Speaker 2>and then they would they left CBS and we're like yo.

0:25:27.556 --> 0:25:29.276
<v Speaker 2>They would call their boss, like the head of A

0:25:29.356 --> 0:25:31.476
<v Speaker 2>and R say, Yo, this band Radish. You got to

0:25:31.516 --> 0:25:34.316
<v Speaker 2>come tomorrow night and see them at Coney Island High.

0:25:34.356 --> 0:25:36.436
<v Speaker 2>And so Saturday night it was the A and R's

0:25:36.476 --> 0:25:39.116
<v Speaker 2>plus the head of an R's. After the Saturday show,

0:25:39.156 --> 0:25:41.556
<v Speaker 2>the head of an RS called the presidents and we're like, yo,

0:25:41.956 --> 0:25:43.876
<v Speaker 2>you got to come see this band Radish. On Sunday

0:25:43.876 --> 0:25:45.516
<v Speaker 2>they're playing at Don Hills. This is what I was

0:25:45.516 --> 0:25:48.196
<v Speaker 2>told you know like this is all the legend of

0:25:48.236 --> 0:25:51.356
<v Speaker 2>it all sounds right, and so on Sunday night, I

0:25:51.396 --> 0:25:55.876
<v Speaker 2>remember our lawyer, Jonathan Aralick. He after the show at

0:25:55.916 --> 0:25:58.716
<v Speaker 2>don Hills. He was like, I've never seen this before,

0:25:58.916 --> 0:26:00.436
<v Speaker 2>like and this is like this attorney was at a

0:26:00.516 --> 0:26:03.596
<v Speaker 2>huge law firm like that represented Madonna and Springsteen, like

0:26:03.636 --> 0:26:07.676
<v Speaker 2>big big stuff, and he's like, you had every president

0:26:07.756 --> 0:26:10.876
<v Speaker 2>of every major record label was in that room. Like

0:26:10.916 --> 0:26:14.276
<v Speaker 2>it was kind of nuts. And so we ended up

0:26:14.316 --> 0:26:20.316
<v Speaker 2>signing with Mercury Records, and the album it like didn't

0:26:20.316 --> 0:26:22.316
<v Speaker 2>really do much. It was like, you know, classic big

0:26:22.356 --> 0:26:26.196
<v Speaker 2>budget major label thing. I remember, like really funny because

0:26:26.236 --> 0:26:29.796
<v Speaker 2>I I remember I was fifteen, and I remember the

0:26:30.276 --> 0:26:33.756
<v Speaker 2>publicist from Mercury would come to me all the time

0:26:33.876 --> 0:26:36.236
<v Speaker 2>be like, Ben, you have to stop dyeing your hair

0:26:36.316 --> 0:26:38.676
<v Speaker 2>different colors because like we're spending so much money on

0:26:38.756 --> 0:26:41.276
<v Speaker 2>press shots, like no one's gonna know what you look like.

0:26:41.316 --> 0:26:43.556
<v Speaker 2>And I was like whatever, you know, like stuff like that,

0:26:43.636 --> 0:26:47.596
<v Speaker 2>like just and we went to the UK and actually

0:26:47.676 --> 0:26:49.956
<v Speaker 2>had like a hit song in the UK called Little

0:26:49.956 --> 0:26:51.996
<v Speaker 2>Pink Stars. The like did really well, and we did

0:26:52.076 --> 0:26:55.996
<v Speaker 2>like Redding Festival. We'd sort of faith no more over

0:26:56.036 --> 0:27:00.836
<v Speaker 2>there in Europe, and then it was time for our

0:27:01.796 --> 0:27:05.876
<v Speaker 2>second album. But at this point Mercury was bought by

0:27:05.916 --> 0:27:09.196
<v Speaker 2>PolyGram and it was like all these corporate mergers, and

0:27:09.196 --> 0:27:13.196
<v Speaker 2>then it eventually became Island def Jam music group who

0:27:13.236 --> 0:27:15.236
<v Speaker 2>didn't really give a shit about Radish.

0:27:15.796 --> 0:27:18.716
<v Speaker 1>It's unfortunate. You guys were really cool. I mean, I

0:27:18.716 --> 0:27:22.436
<v Speaker 1>don't want to say unfortunate because that ends well, but is

0:27:22.436 --> 0:27:24.596
<v Speaker 1>what it is, like of all the sort of post

0:27:24.916 --> 0:27:28.556
<v Speaker 1>you know, there was a lot of those posts Nirvana groups.

0:27:29.316 --> 0:27:35.036
<v Speaker 1>Most didn't I don't feel got the proper signal from Nirvana,

0:27:35.076 --> 0:27:37.876
<v Speaker 1>you know, like they did a version of Nirvana that

0:27:37.956 --> 0:27:40.916
<v Speaker 1>was like not that great, right, and whatever whatever you

0:27:40.956 --> 0:27:43.316
<v Speaker 1>guys took from it was really actually really it felt

0:27:43.316 --> 0:27:46.836
<v Speaker 1>like the spirit of it continued, you know right on Maneah.

0:27:46.636 --> 0:27:49.916
<v Speaker 2>Well that's cool to hear. You know, Nirvana really was

0:27:50.196 --> 0:27:52.876
<v Speaker 2>always my favorite band, but it was like also the Beatles,

0:27:52.876 --> 0:27:55.596
<v Speaker 2>so there was just definitely like this melodic thing that

0:27:55.636 --> 0:27:56.676
<v Speaker 2>I was obsessed with.

0:27:57.196 --> 0:27:59.596
<v Speaker 1>What was your family thinking they were?

0:27:59.836 --> 0:28:02.996
<v Speaker 2>They were so supportive. I mean that is like the thing,

0:28:04.196 --> 0:28:06.276
<v Speaker 2>you know, it doesn't make sense, but it also kind

0:28:06.276 --> 0:28:08.516
<v Speaker 2>of makes sense because if you look at the timeline,

0:28:08.636 --> 0:28:11.476
<v Speaker 2>like back to eight years old. Like by the time

0:28:11.516 --> 0:28:13.516
<v Speaker 2>I was fifteen, you know, it's the whole ten thousand

0:28:13.516 --> 0:28:16.316
<v Speaker 2>hours and you're an expert thing, right, Yeah, Well, like

0:28:16.556 --> 0:28:19.396
<v Speaker 2>I was already like just so deep in my path,

0:28:20.116 --> 0:28:22.196
<v Speaker 2>so like when it was time to go perform in

0:28:22.276 --> 0:28:25.796
<v Speaker 2>New York, and also I was just so I had

0:28:25.836 --> 0:28:30.556
<v Speaker 2>so much confidence, you know, and determination, and my parents

0:28:30.596 --> 0:28:32.476
<v Speaker 2>were just like, well, this is what he's doing. And

0:28:32.516 --> 0:28:34.156
<v Speaker 2>they were so supportive.

0:28:33.796 --> 0:28:35.916
<v Speaker 1>And you were kind of out on your own. Was

0:28:35.956 --> 0:28:37.556
<v Speaker 1>anyone accompanying you on those.

0:28:37.476 --> 0:28:40.516
<v Speaker 2>Shoe So that's a good question. I mean I remember

0:28:40.756 --> 0:28:43.236
<v Speaker 2>when it was time to go on tour, you know,

0:28:43.516 --> 0:28:45.796
<v Speaker 2>well we called Nils and was like, okay, well what

0:28:45.836 --> 0:28:47.676
<v Speaker 2>do we do, you know, like we need like a

0:28:47.796 --> 0:28:51.796
<v Speaker 2>crew or something. And so Nils's guitar tech, Michael Mtuzac,

0:28:51.916 --> 0:28:56.756
<v Speaker 2>we called him twos Two's was our chaperone slash tour manager,

0:28:56.836 --> 0:29:02.756
<v Speaker 2>slash guitar tech you know, slash driver. So two's another mentor,

0:29:02.876 --> 0:29:04.756
<v Speaker 2>you know, taught me the code of the road and

0:29:05.116 --> 0:29:06.716
<v Speaker 2>how the road life is.

0:29:06.836 --> 0:29:07.036
<v Speaker 1>You know.

0:29:07.716 --> 0:29:11.476
<v Speaker 2>Also, Nils did an interesting thing when the record deal happened.

0:29:12.156 --> 0:29:14.236
<v Speaker 2>He called my parents and was like, I need Ben

0:29:14.396 --> 0:29:17.436
<v Speaker 2>to go to AA meetings. I didn't drink. I didn't

0:29:17.476 --> 0:29:21.676
<v Speaker 2>do drugs, but he was like, as a preparatory situation,

0:29:22.196 --> 0:29:24.396
<v Speaker 2>like he should go to AA meetings and like hear

0:29:24.516 --> 0:29:27.996
<v Speaker 2>stories because there's gonna be a lot of temptation out there,

0:29:28.036 --> 0:29:29.716
<v Speaker 2>and you know what I mean. And that was kind

0:29:29.756 --> 0:29:32.436
<v Speaker 2>of a cool thing. So I would go at fifteen

0:29:32.876 --> 0:29:36.196
<v Speaker 2>to the local AA meetings and sit around with like

0:29:36.236 --> 0:29:38.476
<v Speaker 2>these old people who are smoking cigs and you know,

0:29:38.596 --> 0:29:41.796
<v Speaker 2>drinking coffee, and I'd just chill with them and listen

0:29:41.796 --> 0:29:45.156
<v Speaker 2>to stories. And that must have been helpful, you know.

0:29:45.236 --> 0:29:48.996
<v Speaker 2>I never got lost in drugs and alcohol. I always

0:29:49.116 --> 0:29:52.196
<v Speaker 2>just really stayed clear about the music.

0:29:52.636 --> 0:29:56.196
<v Speaker 1>Wow, that's amazing man, So thanks Nels. Yeah, that's an

0:29:56.236 --> 0:29:57.396
<v Speaker 1>incredible support man.

0:29:57.836 --> 0:29:58.316
<v Speaker 4>Yeah, totally.

0:29:58.476 --> 0:30:00.556
<v Speaker 2>So what's funny And I didn't mention it, but like

0:30:01.476 --> 0:30:06.076
<v Speaker 2>in the Radish time, when all the labels wanted us,

0:30:06.276 --> 0:30:08.796
<v Speaker 2>you know, we did the New York thing with the showcases,

0:30:08.796 --> 0:30:10.596
<v Speaker 2>then we to go to LA to meet the West

0:30:10.636 --> 0:30:14.396
<v Speaker 2>Coast labels. And at that time it was Maverick.

0:30:14.116 --> 0:30:16.516
<v Speaker 1>Records, which was Madonna right.

0:30:16.436 --> 0:30:20.436
<v Speaker 2>Madonna's label, and Guyo Siri was running that and Freddie DeMann,

0:30:20.476 --> 0:30:26.356
<v Speaker 2>who was Madonna's manager Interscope. So Jimmy iveen with Interscope.

0:30:26.796 --> 0:30:30.796
<v Speaker 2>Jimmy had a party at his house in Malibu, and

0:30:30.916 --> 0:30:34.556
<v Speaker 2>so it was some famous fight, like a vander Holyfield

0:30:34.596 --> 0:30:37.156
<v Speaker 2>fight that only like you know, ten people could pay

0:30:37.156 --> 0:30:40.596
<v Speaker 2>per view in America, and like Jimmy had it piped

0:30:40.596 --> 0:30:43.916
<v Speaker 2>into his house straight from Vegas in the theater room.

0:30:44.236 --> 0:30:46.076
<v Speaker 2>As it was a party for everyone was going to

0:30:46.156 --> 0:30:48.396
<v Speaker 2>watch this fight. I didn't even not many people watched.

0:30:48.436 --> 0:30:53.076
<v Speaker 2>It was just a party, right, But it kind of

0:30:53.076 --> 0:30:56.636
<v Speaker 2>blew my mind. That was a moment at fifteen years old,

0:30:56.796 --> 0:31:01.996
<v Speaker 2>coming from Greenville, Texas, where my only understanding of pop

0:31:02.036 --> 0:31:07.636
<v Speaker 2>culture was MTV, the radio and like Rolling Stone magazine. Right,

0:31:08.516 --> 0:31:11.316
<v Speaker 2>so we get it. We walk into Jimmy's house and

0:31:12.036 --> 0:31:16.396
<v Speaker 2>it's me and our drummer and my dad and the

0:31:16.436 --> 0:31:20.756
<v Speaker 2>drummer's dad, like you know, and so we're hanging with Jimmy.

0:31:20.876 --> 0:31:25.316
<v Speaker 2>It's like early afternoon. There's a few people there. Dre's there,

0:31:26.116 --> 0:31:28.636
<v Speaker 2>and so we're like, well, that's fucking cool. And so

0:31:28.676 --> 0:31:30.476
<v Speaker 2>we're like hanging with doctor Trey. I think my dad

0:31:30.476 --> 0:31:32.836
<v Speaker 2>smoked a joint with doctor Dre in the in the

0:31:32.876 --> 0:31:36.076
<v Speaker 2>limo actually, because he had his Limo just parked out front.

0:31:36.676 --> 0:31:39.356
<v Speaker 2>But then like later as people started showing up, it

0:31:39.436 --> 0:31:43.676
<v Speaker 2>was like Axel Rose, Robbie Robertson from the band who

0:31:43.716 --> 0:31:45.636
<v Speaker 2>my dad was most stoked about. He was like, dude,

0:31:45.676 --> 0:31:47.996
<v Speaker 2>you know who that is. That's Robbie Robertson from And

0:31:48.036 --> 0:31:50.276
<v Speaker 2>I'm like, I didn't know who the band was yet,

0:31:50.356 --> 0:31:52.396
<v Speaker 2>you know what I mean, Like all I knew was like,

0:31:52.436 --> 0:31:55.756
<v Speaker 2>that's Doctor tre that's Axel Rose. Holy fucking shit. You know,

0:31:56.436 --> 0:31:59.316
<v Speaker 2>Joe's strummer from the Clash was there. What the nineteen

0:31:59.356 --> 0:32:04.196
<v Speaker 2>ninety seven swimsuit calendar Sports Illustrated girls were there, And

0:32:04.276 --> 0:32:07.796
<v Speaker 2>of course Jimmy knew that I was a huge petty fan,

0:32:07.876 --> 0:32:10.076
<v Speaker 2>and he was like, hey, Tom's gonna come later too,

0:32:10.356 --> 0:32:13.076
<v Speaker 2>you know, he said he's coming, and so I was like,

0:32:13.076 --> 0:32:17.076
<v Speaker 2>oh shit, this is incredible. But it just like blew

0:32:17.116 --> 0:32:21.276
<v Speaker 2>my mind because like from my existence in Greenville, texts

0:32:21.396 --> 0:32:24.636
<v Speaker 2>is like Doctor Dre and Axel Rose are in such

0:32:24.716 --> 0:32:27.276
<v Speaker 2>different lanes. They don't even know each other. In my mind,

0:32:27.316 --> 0:32:30.476
<v Speaker 2>I'm like, that's just different worlds, but all being in

0:32:30.476 --> 0:32:33.036
<v Speaker 2>the same room. That's when I realized, I'm like, oh wow, okay,

0:32:33.116 --> 0:32:35.836
<v Speaker 2>so actually they are the same like there, this is

0:32:35.956 --> 0:32:39.556
<v Speaker 2>like showbiz, like they're entertainers, they're artists, and like of

0:32:39.596 --> 0:32:42.396
<v Speaker 2>course they know each other because like who else can

0:32:42.436 --> 0:32:44.196
<v Speaker 2>relate with this life, you know.

0:32:44.236 --> 0:32:44.556
<v Speaker 4>What I mean.

0:32:44.676 --> 0:32:47.236
<v Speaker 2>So like it kind of was real eye opening for

0:32:47.436 --> 0:32:52.636
<v Speaker 2>me because as a consumer, you just see everything as branded, right,

0:32:52.876 --> 0:32:55.796
<v Speaker 2>and that's what I guess people want, but it's it's

0:32:55.836 --> 0:32:56.356
<v Speaker 2>we're all.

0:32:58.876 --> 0:33:02.316
<v Speaker 1>Exactly separate. This this doctor drad gets fed to that

0:33:02.396 --> 0:33:07.116
<v Speaker 1>audience and be audience exactly exactly.

0:33:07.716 --> 0:33:10.996
<v Speaker 2>But it is funny because Jimmy came up to me,

0:33:11.036 --> 0:33:13.996
<v Speaker 2>He's like, all right, Ben, Tom's on his way, and

0:33:14.036 --> 0:33:16.236
<v Speaker 2>I was like, oh fuck, I'm so nervous, you know,

0:33:16.436 --> 0:33:20.156
<v Speaker 2>to meet Tom Petty. And so like I walked out

0:33:20.236 --> 0:33:23.236
<v Speaker 2>front and I sat on like the stup like like

0:33:23.276 --> 0:33:25.756
<v Speaker 2>the steps right outside of the front door, just waiting

0:33:26.196 --> 0:33:27.956
<v Speaker 2>like I don't know why, like I'm at this like

0:33:28.116 --> 0:33:30.796
<v Speaker 2>party at some dude's house, Like I don't need to

0:33:30.836 --> 0:33:33.396
<v Speaker 2>go out there, but like in my mind I'm fifteen,

0:33:33.436 --> 0:33:35.516
<v Speaker 2>I'm like, I'm just gonna go sit and pretend like

0:33:35.556 --> 0:33:40.116
<v Speaker 2>I'm not doing anything. Sure enough, a rolls Royce pulls up,

0:33:40.676 --> 0:33:44.036
<v Speaker 2>Rick Rubin gets out of the driver's seat and Tom

0:33:44.156 --> 0:33:46.436
<v Speaker 2>gets out of the passenger seat and they walk and there,

0:33:46.436 --> 0:33:49.916
<v Speaker 2>walking towards me, right to the front door, and I

0:33:49.996 --> 0:33:53.716
<v Speaker 2>remember just sitting there and like them both being like hey,

0:33:54.036 --> 0:33:58.876
<v Speaker 2>and just walked by me and entered the house. And

0:33:58.956 --> 0:34:02.836
<v Speaker 2>so I'm just like looking around and I'm like, Okay,

0:34:03.036 --> 0:34:05.436
<v Speaker 2>I guess I'll go back inside the party now, like,

0:34:05.516 --> 0:34:06.916
<v Speaker 2>you know, like what was I doing?

0:34:07.036 --> 0:34:07.236
<v Speaker 5>Man?

0:34:07.876 --> 0:34:11.156
<v Speaker 2>And so I go back in the party and uh,

0:34:11.996 --> 0:34:14.236
<v Speaker 2>and Rick walks and he goes and sits on a couch,

0:34:14.316 --> 0:34:16.796
<v Speaker 2>you know, and he's like talking to people, and Tom's there,

0:34:16.836 --> 0:34:21.356
<v Speaker 2>and at some point Tom walked by me again and

0:34:21.396 --> 0:34:22.916
<v Speaker 2>he was like, hey, man, do you have any weed

0:34:22.956 --> 0:34:26.236
<v Speaker 2>on you? And that was like the one moment in

0:34:26.276 --> 0:34:28.916
<v Speaker 2>my life where I'm like, God, damn, why don't I

0:34:28.996 --> 0:34:32.476
<v Speaker 2>have any weed on me right now? But I love

0:34:32.556 --> 0:34:34.716
<v Speaker 2>that like of all the people he's asking, like the

0:34:34.756 --> 0:34:37.876
<v Speaker 2>fifteen year old, he looks year olds, probably got.

0:34:37.756 --> 0:34:38.596
<v Speaker 3>Some weed on him.

0:34:39.316 --> 0:34:41.716
<v Speaker 2>And so I'm like, no, man, sorry, He's like all right,

0:34:41.716 --> 0:34:45.236
<v Speaker 2>it's all good. Then later he we circle back, you know,

0:34:45.276 --> 0:34:48.516
<v Speaker 2>and see each other, and he's like, so, Jimmy's telling

0:34:48.556 --> 0:34:51.476
<v Speaker 2>me that, you know, you're a really good artist, you know,

0:34:51.596 --> 0:34:54.316
<v Speaker 2>And I'm like, well, I don't know about that. But

0:34:54.996 --> 0:34:58.756
<v Speaker 2>he's like, well, you know, never sell your publishing. I'm

0:34:58.756 --> 0:35:02.396
<v Speaker 2>like okay, He's like, I sold my publishing. They gave

0:35:02.436 --> 0:35:05.316
<v Speaker 2>me ten thousand dollars. I thought I was rich. I've

0:35:05.356 --> 0:35:08.356
<v Speaker 2>never made a dime off American girl. It's like damn,

0:35:08.476 --> 0:35:11.156
<v Speaker 2>Like that's raw, you know, and we just start talking.

0:35:11.196 --> 0:35:12.996
<v Speaker 2>So you know, it was just like sweet of him,

0:35:13.076 --> 0:35:15.716
<v Speaker 2>like you know, just like going straight to some business

0:35:15.756 --> 0:35:17.996
<v Speaker 2>like bullet points for like this young kid, you know,

0:35:18.076 --> 0:35:19.556
<v Speaker 2>like he was like trying to teach me some shit.

0:35:20.596 --> 0:35:24.876
<v Speaker 2>And then later the party's sort of dying down. And

0:35:24.916 --> 0:35:27.316
<v Speaker 2>this is another thing like at that time in my life,

0:35:27.356 --> 0:35:30.356
<v Speaker 2>like I was just so hungry, you know, and I

0:35:30.436 --> 0:35:33.396
<v Speaker 2>would take my guitar with me everywhere. I would play

0:35:33.436 --> 0:35:35.796
<v Speaker 2>for anyone at the drop of a hat. I want

0:35:35.796 --> 0:35:38.516
<v Speaker 2>to get back into that mindset, by the way, Like

0:35:38.516 --> 0:35:40.156
<v Speaker 2>I've been thinking about that a lot, Like there's something

0:35:40.236 --> 0:35:42.516
<v Speaker 2>so beautiful about like when you're a teenager and like

0:35:42.516 --> 0:35:44.916
<v Speaker 2>you're just naive and all you care about is the

0:35:44.916 --> 0:35:46.956
<v Speaker 2>one thing you love, you know, which in my case

0:35:47.036 --> 0:35:49.716
<v Speaker 2>was music. So of course, like why wouldn't I just

0:35:49.796 --> 0:35:52.556
<v Speaker 2>go everywhere with a guitar and like, why wouldn't I

0:35:52.636 --> 0:35:55.156
<v Speaker 2>just play for anyone, anywhere, at anytime. You know, I

0:35:55.236 --> 0:35:57.276
<v Speaker 2>love that there's something so beautiful that kind of goes away,

0:35:57.356 --> 0:35:58.236
<v Speaker 2>or it did for me, you know.

0:35:58.196 --> 0:36:00.716
<v Speaker 1>I think Neil still has that. And that's why bother

0:36:01.116 --> 0:36:04.716
<v Speaker 1>because when you're around Neil, you realize, yeah, there's something

0:36:04.756 --> 0:36:07.236
<v Speaker 1>going on in them like that, it's just there and

0:36:07.316 --> 0:36:10.596
<v Speaker 1>you don't want to take them out of you. I

0:36:10.676 --> 0:36:11.796
<v Speaker 1>got that, yes.

0:36:13.356 --> 0:36:16.716
<v Speaker 2>So they were like, hey, kid, play us a song.

0:36:17.436 --> 0:36:20.996
<v Speaker 2>And so I was like all right. And so I'm

0:36:21.076 --> 0:36:24.996
<v Speaker 2>sitting in this chair and there's a couch to my

0:36:25.236 --> 0:36:29.316
<v Speaker 2>left and to my right and this big like crystal

0:36:30.076 --> 0:36:33.916
<v Speaker 2>coffee table that's probably like you know, six feet long,

0:36:34.436 --> 0:36:36.716
<v Speaker 2>and then a chair on the other end. And so

0:36:36.796 --> 0:36:39.516
<v Speaker 2>it's like me, Tom Petty's to my right on the

0:36:39.556 --> 0:36:43.596
<v Speaker 2>couch with other people kind of standing around Joe Strummers

0:36:43.836 --> 0:36:45.796
<v Speaker 2>where you're sitting like on the other side of the

0:36:45.836 --> 0:36:48.476
<v Speaker 2>coffee table, and just other people kind of around right,

0:36:48.516 --> 0:36:50.916
<v Speaker 2>and they're like, all right, play us a song, kid.

0:36:51.116 --> 0:36:54.956
<v Speaker 2>I'm like, all right, pop open my guitar case, pull

0:36:54.996 --> 0:36:59.756
<v Speaker 2>out my acoustic I start playing a song. I finish it,

0:36:59.796 --> 0:37:02.556
<v Speaker 2>and they're all like whoo you know, clapping and like

0:37:02.636 --> 0:37:05.516
<v Speaker 2>screaming like that's awesome, blah blah. And so I hand

0:37:05.516 --> 0:37:08.996
<v Speaker 2>my guitar to Tom and I said, Tom, play us

0:37:08.996 --> 0:37:12.436
<v Speaker 2>a song. It's like all right. And he said the

0:37:12.476 --> 0:37:15.316
<v Speaker 2>coolest thing to my fifteen year old small town brain.

0:37:16.036 --> 0:37:20.436
<v Speaker 2>He said, this is a Bech song. And I was like,

0:37:20.516 --> 0:37:24.636
<v Speaker 2>oh my god, Tom Petty listens to Beck like I'm thinking,

0:37:24.716 --> 0:37:26.796
<v Speaker 2>you know what I mean, like this is so fucking cool,

0:37:27.276 --> 0:37:31.596
<v Speaker 2>and so again like I just shattering, you know, genres

0:37:31.716 --> 0:37:34.876
<v Speaker 2>and like realities of marketing and all the shit that

0:37:34.916 --> 0:37:40.156
<v Speaker 2>were fed right and the lanes and the categorical nonsense. Yes,

0:37:40.396 --> 0:37:42.876
<v Speaker 2>like yeah, like, oh, he's so cool. Tom's cool. He

0:37:43.036 --> 0:37:45.676
<v Speaker 2>freaking knows about Beck like that was you know. And

0:37:45.716 --> 0:37:48.036
<v Speaker 2>so not only does he play a Beck song, he

0:37:48.076 --> 0:37:52.396
<v Speaker 2>plays a Beck song I had never heard before, asshole Wow,

0:37:52.476 --> 0:37:54.796
<v Speaker 2>which was on One Foot in the Grave and which

0:37:54.836 --> 0:37:56.836
<v Speaker 2>I didn't which of course I went and found like

0:37:56.996 --> 0:37:59.916
<v Speaker 2>the next day, you know, at Amoba Records or whatever.

0:38:00.276 --> 0:38:02.636
<v Speaker 2>But he plays this song that I never heard it,

0:38:02.636 --> 0:38:06.956
<v Speaker 2>which is such a really unique chord progression. Everyone out

0:38:06.956 --> 0:38:11.196
<v Speaker 2>there should listen to this song. Then Tom says Joe

0:38:11.396 --> 0:38:15.036
<v Speaker 2>and hands my guitar to Joe's drummer, and so he's like, ah,

0:38:15.236 --> 0:38:18.836
<v Speaker 2>fuck off everyone, and they're all like, no, Joe, play

0:38:19.116 --> 0:38:22.276
<v Speaker 2>play London Calling. Play London Calling. And I'm like, what's

0:38:22.316 --> 0:38:24.796
<v Speaker 2>London Calling because I didn't know the class yet. Wow,

0:38:25.236 --> 0:38:27.876
<v Speaker 2>you know, And so they play London Call. It's like,

0:38:27.916 --> 0:38:29.716
<v Speaker 2>oh fucking twas fuck.

0:38:29.956 --> 0:38:32.396
<v Speaker 6>And then he starts going to dank gank gank gank

0:38:32.436 --> 0:38:36.916
<v Speaker 6>good dank gank gank gang good dank gang, London Calling girl,

0:38:37.196 --> 0:38:42.916
<v Speaker 6>and everyone's singing London Calling, and it was just such

0:38:42.956 --> 0:38:44.956
<v Speaker 6>a vibe and then he like you know, does like

0:38:44.996 --> 0:38:47.196
<v Speaker 6>a verse in of chorus and then he stands up,

0:38:47.796 --> 0:38:52.236
<v Speaker 6>hey kid, catch and he throws my guitar across the

0:38:52.276 --> 0:38:55.876
<v Speaker 6>you know, million dollar coffee table, and I stand up

0:38:55.916 --> 0:38:59.116
<v Speaker 6>and I catch it boom and I sit back down

0:38:59.156 --> 0:39:01.796
<v Speaker 6>and then I played another song. So that was like

0:39:01.876 --> 0:39:04.716
<v Speaker 6>my first time in Los Angeles.

0:39:05.876 --> 0:39:09.196
<v Speaker 1>I don't know if show business gets any better than that.

0:39:09.196 --> 0:39:11.076
<v Speaker 2>That's kind of the epitome, right.

0:39:11.276 --> 0:39:13.356
<v Speaker 1>And Jimmy wanted you guys on Interscope.

0:39:13.436 --> 0:39:16.596
<v Speaker 2>Yeah, it was Interscope. He wanted us really bad, you know,

0:39:16.756 --> 0:39:19.196
<v Speaker 2>and he's the one we should have signed with. Like

0:39:19.236 --> 0:39:22.556
<v Speaker 2>if you look back and really analyze everything. He's the

0:39:22.556 --> 0:39:26.396
<v Speaker 2>one that probably would have been the right move. But

0:39:26.556 --> 0:39:31.876
<v Speaker 2>you know there everything is right like meaning like yeah,

0:39:31.996 --> 0:39:35.756
<v Speaker 2>like no regrets, like I'm so thankful that like history

0:39:35.796 --> 0:39:37.076
<v Speaker 2>played out the way it did, and then I was

0:39:37.156 --> 0:39:39.356
<v Speaker 2>able to have my solo career, Like I'm just happy

0:39:39.396 --> 0:39:41.956
<v Speaker 2>with the way things are, and even if I was unhappy,

0:39:41.996 --> 0:39:44.436
<v Speaker 2>that's still how it is, which we can get to

0:39:44.476 --> 0:39:46.596
<v Speaker 2>in a little bit of like how things go down

0:39:46.636 --> 0:39:47.156
<v Speaker 2>in life.

0:39:48.516 --> 0:39:50.716
<v Speaker 1>We'll be back with more from ben Queler. After the

0:39:50.756 --> 0:40:03.116
<v Speaker 1>break between Radish and Shasha. Your first solo period, Yeah,

0:40:03.156 --> 0:40:06.316
<v Speaker 1>what what was happening in terms of your your songwriting

0:40:06.356 --> 0:40:07.116
<v Speaker 1>and your development.

0:40:07.476 --> 0:40:13.156
<v Speaker 2>Well, I started to write a lot more autobiographical songs

0:40:13.236 --> 0:40:15.356
<v Speaker 2>a lot. I started to really develop sort of I

0:40:15.356 --> 0:40:19.156
<v Speaker 2>guess what the Ben Kueller sound is, which is just

0:40:19.396 --> 0:40:22.316
<v Speaker 2>very sort of on the nose, straight up direct it

0:40:22.436 --> 0:40:26.316
<v Speaker 2>is what it is. And also when you write for

0:40:26.356 --> 0:40:28.956
<v Speaker 2>a band sometimes there's like a feeling like, well, it's

0:40:28.996 --> 0:40:30.956
<v Speaker 2>like everybody in the band has to kind of vibe

0:40:30.956 --> 0:40:33.476
<v Speaker 2>with the song you write because you're representing the band

0:40:33.516 --> 0:40:36.836
<v Speaker 2>through these songs, right, And so a big moment that

0:40:36.916 --> 0:40:39.756
<v Speaker 2>happened in that period was I met my wife Liz.

0:40:40.476 --> 0:40:45.076
<v Speaker 2>So Radish needed a bass player and a producer. We

0:40:45.076 --> 0:40:47.836
<v Speaker 2>were working with Bryce Gogin, amazing producer. Did like all

0:40:47.876 --> 0:40:50.956
<v Speaker 2>the pavement stuff, a bunch of Lemonheads records.

0:40:50.476 --> 0:40:50.996
<v Speaker 1>That I love.

0:40:51.556 --> 0:40:55.356
<v Speaker 2>Bryce heard about a bass player in Boston, Josh La Tansi.

0:40:56.196 --> 0:40:59.076
<v Speaker 2>So me and John David Kent, the drummer from Radish,

0:40:59.156 --> 0:41:03.076
<v Speaker 2>we fly up to Boston. We auditioned Josh. He's great.

0:41:03.516 --> 0:41:06.276
<v Speaker 2>We're there for a few days. One of the nights

0:41:06.316 --> 0:41:07.996
<v Speaker 2>he had a gig. He was playing with a band,

0:41:08.036 --> 0:41:10.156
<v Speaker 2>so we went to the start to watch him on

0:41:10.236 --> 0:41:12.636
<v Speaker 2>stage and you know, check out his gig. And at

0:41:12.636 --> 0:41:16.196
<v Speaker 2>that gig, he introduced me to all of his friends

0:41:16.796 --> 0:41:18.796
<v Speaker 2>and Liz was one of the friends.

0:41:18.916 --> 0:41:19.436
<v Speaker 1>Wow.

0:41:19.556 --> 0:41:22.636
<v Speaker 2>So I meet Liz and we just hit it off

0:41:22.756 --> 0:41:25.276
<v Speaker 2>like it was like we knew each other from another life,

0:41:25.316 --> 0:41:27.516
<v Speaker 2>like another you know, kind of just an energy thing.

0:41:28.556 --> 0:41:34.276
<v Speaker 2>It's nineteen ninety eight, and she said, oh, you're from Texas. Cool.

0:41:34.276 --> 0:41:36.436
<v Speaker 2>I'm actually coming through Texas. I'm going on a road

0:41:36.436 --> 0:41:40.356
<v Speaker 2>trip with my best friend Anna and we're coming through Texas.

0:41:40.916 --> 0:41:42.236
<v Speaker 2>I said, oh, well, you got to stay at my

0:41:42.316 --> 0:41:45.796
<v Speaker 2>place and she's like, oh perfect. Meanwhile, you know my

0:41:45.916 --> 0:41:48.116
<v Speaker 2>place is my bedroom at my mom and dad's house,

0:41:48.756 --> 0:41:52.516
<v Speaker 2>because you know, I'm seventeen at this point, Liz was

0:41:52.516 --> 0:41:55.116
<v Speaker 2>twenty two, and I don't think I mentioned that I

0:41:55.156 --> 0:41:57.876
<v Speaker 2>was seventeen. Looking back, She's like, I totally assumed you

0:41:57.876 --> 0:41:59.956
<v Speaker 2>were at least eighteen, because you're like on a business

0:42:00.036 --> 0:42:02.596
<v Speaker 2>trip in Boston, like with your band, like it was

0:42:02.676 --> 0:42:04.796
<v Speaker 2>you know what I mean, Like didn't realize you were

0:42:04.836 --> 0:42:08.596
<v Speaker 2>like a high school dropout, and so they eventually got

0:42:08.636 --> 0:42:13.396
<v Speaker 2>to textas and the rest is history. Really, I mean,

0:42:13.756 --> 0:42:17.876
<v Speaker 2>I think maybe a month later, I told my parents, Hey,

0:42:17.916 --> 0:42:20.796
<v Speaker 2>I'm you know, most of my friends are going to college.

0:42:20.796 --> 0:42:22.316
<v Speaker 2>I'm not going to go to college. I want to

0:42:22.316 --> 0:42:25.836
<v Speaker 2>get closer to New York, keep pursuing music. So I'm

0:42:25.836 --> 0:42:28.236
<v Speaker 2>going to move to Connecticut and live with Liz. Because

0:42:28.276 --> 0:42:31.556
<v Speaker 2>she left Boston had to go back to Connecticut where

0:42:31.596 --> 0:42:35.516
<v Speaker 2>she grew up, and so I moved to Connecticut and

0:42:35.796 --> 0:42:39.916
<v Speaker 2>lived there with her in her childhood home, and that's

0:42:39.916 --> 0:42:43.876
<v Speaker 2>where I started writing this new body of work. So

0:42:44.716 --> 0:42:47.596
<v Speaker 2>I would go into New York City because Radish still

0:42:47.636 --> 0:42:49.836
<v Speaker 2>had this contract with Mercury, but really now it was

0:42:49.876 --> 0:42:54.876
<v Speaker 2>Island def Jam Music Group, and I would talk to them.

0:42:54.956 --> 0:42:56.996
<v Speaker 2>You know, like, hey, you know, we just made this

0:42:57.036 --> 0:43:01.756
<v Speaker 2>great album with Bryce Gagan at Muscle Shoals, Alabama. And

0:43:02.076 --> 0:43:03.836
<v Speaker 2>it was funny because like I'm trying to tell them,

0:43:03.876 --> 0:43:05.796
<v Speaker 2>like how good this album is. Meanwhile, it's like it

0:43:05.876 --> 0:43:08.956
<v Speaker 2>was like a double album, eighteen songs like really deck

0:43:09.516 --> 0:43:12.516
<v Speaker 2>and like just me spreading my wings, you know, and

0:43:12.676 --> 0:43:15.076
<v Speaker 2>they're just like, it's never going to come out. Basically

0:43:15.156 --> 0:43:18.436
<v Speaker 2>it never did, and in fact, actually we're going to

0:43:18.476 --> 0:43:20.676
<v Speaker 2>release it. We're working. That's a project we're working on,

0:43:20.716 --> 0:43:24.076
<v Speaker 2>like the unreleased Ratish album, which and what's really cool

0:43:24.116 --> 0:43:27.876
<v Speaker 2>about that record is that there's like four songs on

0:43:27.916 --> 0:43:31.596
<v Speaker 2>it that I ended up re recording for Shawsha. And

0:43:32.276 --> 0:43:36.996
<v Speaker 2>at that time, pro Tools came out with this product

0:43:37.076 --> 0:43:38.436
<v Speaker 2>like a do it yourself It was called like the

0:43:38.476 --> 0:43:40.716
<v Speaker 2>Inbox and it was like a do it yourself record

0:43:40.796 --> 0:43:45.076
<v Speaker 2>at home situation because I had like a Taskam cassette recorder,

0:43:45.116 --> 0:43:49.196
<v Speaker 2>but this inbox thing was new, and so I started

0:43:49.196 --> 0:43:52.916
<v Speaker 2>recording songs in my apartment in Brooklyn. We left Connecticut

0:43:52.956 --> 0:43:57.996
<v Speaker 2>moved to New York. So I made a CD called

0:43:58.076 --> 0:44:01.836
<v Speaker 2>Freak Out. It's Ben Queller and we pressed up a

0:44:01.916 --> 0:44:04.276
<v Speaker 2>thousand because I looked around the room. I'm like, I

0:44:04.316 --> 0:44:06.316
<v Speaker 2>don't have a band, it's just me, so that I'll

0:44:06.356 --> 0:44:10.716
<v Speaker 2>be Ben Queller. I'm solo. So I started playing gigs,

0:44:10.756 --> 0:44:12.716
<v Speaker 2>just like you know how I started as a kid,

0:44:12.796 --> 0:44:15.236
<v Speaker 2>like just calling around, and I started getting gigs in

0:44:15.276 --> 0:44:18.076
<v Speaker 2>the Lower East Side. And then there's another band starting

0:44:18.116 --> 0:44:21.076
<v Speaker 2>called the Strokes, and we become friends and playing gigs,

0:44:21.076 --> 0:44:23.236
<v Speaker 2>and the Moldy Peaches are starting. So now it's like

0:44:23.356 --> 0:44:26.796
<v Speaker 2>early two thousands right in New York, which was a vibe.

0:44:27.436 --> 0:44:31.076
<v Speaker 2>And one day I get a phone call from Evan

0:44:31.156 --> 0:44:34.676
<v Speaker 2>Dando of the Lemonheads, which was a complete hero of mine,

0:44:34.716 --> 0:44:36.596
<v Speaker 2>like up there with Kurt Cobain and the whole thing.

0:44:37.916 --> 0:44:41.556
<v Speaker 2>So cool. So I get this message, Ben, this is

0:44:41.556 --> 0:44:45.156
<v Speaker 2>Evan Dando calling. I can't stop playing this freak out record.

0:44:45.236 --> 0:44:47.636
<v Speaker 2>Give me a call back bye. And I was like,

0:44:47.716 --> 0:44:50.636
<v Speaker 2>oh my god, holy shit. So I call Evan back.

0:44:50.716 --> 0:44:54.316
<v Speaker 2>I'm like hey, it's Ben Cohler. He's like, hey, dude,

0:44:54.356 --> 0:44:56.196
<v Speaker 2>you want to go on tour? And I was like,

0:44:56.316 --> 0:44:59.236
<v Speaker 2>yes I do. He's like, great, pick me up at

0:44:59.276 --> 0:45:02.316
<v Speaker 2>the airport tomorrow at twelve and we'll head up to

0:45:02.396 --> 0:45:04.876
<v Speaker 2>Boston for a show. And I'm like okay, I'd like,

0:45:04.916 --> 0:45:07.156
<v Speaker 2>I don't know, like it's like he also just needed

0:45:07.156 --> 0:45:10.956
<v Speaker 2>someone to pick him up at the airport. And so

0:45:11.036 --> 0:45:13.196
<v Speaker 2>I throw my guitar in the trunk of my Volvo

0:45:13.956 --> 0:45:17.756
<v Speaker 2>and I drive to the airport pick up Evan. And

0:45:18.316 --> 0:45:21.876
<v Speaker 2>for like four or five months, all I did was

0:45:21.916 --> 0:45:25.196
<v Speaker 2>open for him. And so like all of my first fans,

0:45:25.236 --> 0:45:30.156
<v Speaker 2>as Ben Koehler, were Lemonheads fans. Yeah, and also like

0:45:30.196 --> 0:45:33.156
<v Speaker 2>this is the other thing, is like Evan calling me

0:45:33.316 --> 0:45:37.916
<v Speaker 2>was such a moment because up until that point, it

0:45:38.036 --> 0:45:40.876
<v Speaker 2>was just like business people that were kissing my ass

0:45:40.916 --> 0:45:42.956
<v Speaker 2>and like, you know, we're gonna make you a stock kid,

0:45:43.076 --> 0:45:46.676
<v Speaker 2>like you know, that was just so fickle and flighty

0:45:46.716 --> 0:45:50.476
<v Speaker 2>and you know, not real at the time. But Evan

0:45:50.596 --> 0:45:52.836
<v Speaker 2>calling me was like the first person that I an

0:45:52.916 --> 0:45:55.756
<v Speaker 2>artist that I actually respected and looked up to and

0:45:55.796 --> 0:45:58.796
<v Speaker 2>wanted to be appeer with, you know, And so that

0:45:58.996 --> 0:46:03.036
<v Speaker 2>was like probably the most meaningful bullet point, you know,

0:46:03.116 --> 0:46:06.356
<v Speaker 2>in this timeline. And so then from there it was

0:46:06.356 --> 0:46:08.876
<v Speaker 2>like he introduced me to Juliana Hatfield, I'd start opening

0:46:08.916 --> 0:46:12.116
<v Speaker 2>for her, and you know, then Jeff Tweety got a

0:46:12.156 --> 0:46:14.876
<v Speaker 2>copy of Freak Out, and so it just like started

0:46:14.916 --> 0:46:17.836
<v Speaker 2>becoming a thing. So meanwhile, I would take these flyers

0:46:18.396 --> 0:46:21.476
<v Speaker 2>to the Island f GM Music Group office of like,

0:46:21.516 --> 0:46:24.836
<v Speaker 2>hey guys, I'm opening for Wilco and or the Lemonheads.

0:46:25.436 --> 0:46:27.876
<v Speaker 2>They would be like how are you doing? Like how

0:46:27.876 --> 0:46:29.956
<v Speaker 2>are you getting these gigs? You're not ready, You're not

0:46:30.076 --> 0:46:33.036
<v Speaker 2>ready to you should be rioting and demoing.

0:46:32.556 --> 0:46:32.756
<v Speaker 5>You know.

0:46:32.836 --> 0:46:35.556
<v Speaker 2>Like I was in there and I'm like, well, I'm already. Meanwhile,

0:46:35.636 --> 0:46:38.316
<v Speaker 2>like you know, I did make this bootleg CD without

0:46:38.316 --> 0:46:40.476
<v Speaker 2>telling anybody, you know what. I was just like trying

0:46:40.476 --> 0:46:41.196
<v Speaker 2>to hustle it.

0:46:41.276 --> 0:46:41.476
<v Speaker 5>Man.

0:46:42.196 --> 0:46:46.356
<v Speaker 2>So one day I was at a gig opening for

0:46:46.396 --> 0:46:49.916
<v Speaker 2>Evan and Ben Lee was also on the bill where

0:46:49.956 --> 0:46:53.156
<v Speaker 2>we became friends, and this guy came up to me

0:46:53.156 --> 0:46:55.796
<v Speaker 2>after the gig and said, hey, my name is Michael McDonald,

0:46:56.036 --> 0:46:58.716
<v Speaker 2>not from the Doobie Brothers stuff, Like yeah, yeah, my

0:46:58.796 --> 0:47:01.716
<v Speaker 2>name is Michael McDonald and I just started a record

0:47:01.716 --> 0:47:04.516
<v Speaker 2>company with Dave Matthews. It's called Ato Records, and we

0:47:04.596 --> 0:47:06.116
<v Speaker 2>really want to sign you. We want you to be

0:47:06.156 --> 0:47:09.116
<v Speaker 2>our first worldwide signing. And I was like, Okay, let's

0:47:09.196 --> 0:47:13.036
<v Speaker 2>do it. And so the day I got Radish basically

0:47:13.036 --> 0:47:17.356
<v Speaker 2>departed from Mercury. Ben Kuehler signed on to ATO Records

0:47:17.996 --> 0:47:20.476
<v Speaker 2>and those early days was that's two thousand and one

0:47:20.676 --> 0:47:23.916
<v Speaker 2>early days at Oh yeah, it was the first worldwide

0:47:23.956 --> 0:47:27.356
<v Speaker 2>they had licensed to the David Gray album, which did

0:47:27.396 --> 0:47:31.156
<v Speaker 2>amazing in the US. And uh so then we went

0:47:31.196 --> 0:47:32.436
<v Speaker 2>in and recorded Shasha.

0:47:32.956 --> 0:47:36.956
<v Speaker 1>What was the process of making Shasha with ATO as

0:47:36.996 --> 0:47:38.396
<v Speaker 1>sort of your label, was it?

0:47:38.556 --> 0:47:42.556
<v Speaker 2>That was cool? Yeah? We recorded in New York at

0:47:42.556 --> 0:47:46.316
<v Speaker 2>this really famous studio called Seer Sound, which used to

0:47:46.356 --> 0:47:49.116
<v Speaker 2>be the Hit Factory back in the sixties. John Lennon

0:47:49.196 --> 0:47:52.076
<v Speaker 2>did a lot of solo work there, so we showed

0:47:52.156 --> 0:47:56.556
<v Speaker 2>up day one. We worked with a great producer, British producer.

0:47:56.596 --> 0:47:59.476
<v Speaker 2>It's funny actually my first three albums were all produced

0:47:59.476 --> 0:48:02.796
<v Speaker 2>by British. British Yeah, kind of a thing, you know.

0:48:02.836 --> 0:48:08.436
<v Speaker 2>That's that's my that's my sixties British invasion. Yeah. So yeah,

0:48:08.476 --> 0:48:11.996
<v Speaker 2>we recorded. I mean at that point it was Josh

0:48:12.076 --> 0:48:15.396
<v Speaker 2>who was in Radish, you know, who introduced me to

0:48:15.436 --> 0:48:18.676
<v Speaker 2>my wife, and then John David, the Radish drummer, was

0:48:18.716 --> 0:48:22.356
<v Speaker 2>the drummer, so it was kind of Radish was the band.

0:48:22.236 --> 0:48:26.436
<v Speaker 1>For different at least from the stuff that got released.

0:48:26.516 --> 0:48:28.756
<v Speaker 1>I mean, you're singing solid changed quite a bit bit

0:48:28.916 --> 0:48:29.716
<v Speaker 1>sure for sure.

0:48:30.156 --> 0:48:32.716
<v Speaker 2>Yeah, because I mean, like the Radish stuff that was

0:48:32.796 --> 0:48:36.156
<v Speaker 2>released is this album Restraining Bolt, which was like our

0:48:36.196 --> 0:48:39.636
<v Speaker 2>sort of major label debut, And yeah, I definitely like

0:48:39.716 --> 0:48:43.396
<v Speaker 2>had that sort of classic American singer thing from the

0:48:43.476 --> 0:48:46.356
<v Speaker 2>nineties that you're kind of sounding British, you know, you

0:48:46.396 --> 0:48:50.796
<v Speaker 2>know I want to Fly Take Me to the Sky.

0:48:50.916 --> 0:48:52.996
<v Speaker 2>You know, that was like, oh so common in the

0:48:53.116 --> 0:48:56.316
<v Speaker 2>post grunge era. I kind of outgrew that by the

0:48:56.316 --> 0:48:57.836
<v Speaker 2>time I went in and made Shasha.

0:48:57.876 --> 0:49:01.356
<v Speaker 1>I Thank god the way you developed it seemed like

0:49:01.396 --> 0:49:03.276
<v Speaker 1>it was a really original style.

0:49:03.436 --> 0:49:06.916
<v Speaker 2>Yeah, well, you know, and I embraced the piano, you know,

0:49:06.996 --> 0:49:11.396
<v Speaker 2>because like in the Radish there was no piano. I

0:49:11.476 --> 0:49:14.876
<v Speaker 2>just played guitar and sang, but you know, like pianos

0:49:14.916 --> 0:49:17.076
<v Speaker 2>were it all started for me as an artist really,

0:49:17.156 --> 0:49:20.596
<v Speaker 2>and so I had these songs that I loved on

0:49:20.676 --> 0:49:25.236
<v Speaker 2>the piano, in other words, falling. There were just some

0:49:25.396 --> 0:49:28.516
<v Speaker 2>real good piano songs, and I just knew, if I'm

0:49:28.516 --> 0:49:32.796
<v Speaker 2>going to be a solo artist, piano is equal to

0:49:32.876 --> 0:49:34.756
<v Speaker 2>guitar in my book. You know, It's a fifty to

0:49:34.836 --> 0:49:38.556
<v Speaker 2>fifty thing kind of in my world. And also it

0:49:38.676 --> 0:49:41.276
<v Speaker 2>being a debut album, and knowing knowing who the hell

0:49:41.356 --> 0:49:46.076
<v Speaker 2>Bend Coelor was, Like, I really intentionally made the track

0:49:46.156 --> 0:49:49.756
<v Speaker 2>listings just sort of unique and eclectic, you know, a

0:49:49.876 --> 0:49:52.396
<v Speaker 2>rock song into a folk song into a seventies piano

0:49:52.476 --> 0:49:56.276
<v Speaker 2>ballad and the psychedelic like trippy thing. You know, I

0:49:56.356 --> 0:49:58.756
<v Speaker 2>love so many types of music, and I didn't want

0:49:58.796 --> 0:50:00.916
<v Speaker 2>to just be one thing. I wanted to just kind

0:50:00.916 --> 0:50:03.676
<v Speaker 2>of show people a little bit of everything, like all

0:50:03.716 --> 0:50:07.916
<v Speaker 2>my flavors. Here's all my flavors, and then stay along

0:50:07.956 --> 0:50:10.436
<v Speaker 2>for the ride, and I'll make a bunch of albums hopefully.

0:50:10.476 --> 0:50:12.516
<v Speaker 2>That's kind of what in my mind that was like

0:50:12.556 --> 0:50:13.436
<v Speaker 2>the game plan.

0:50:13.596 --> 0:50:15.796
<v Speaker 1>Yeah, you know, you might get a lot of flavors

0:50:15.796 --> 0:50:17.996
<v Speaker 1>on it, maybe like a maybe Elliott Smith would be

0:50:17.996 --> 0:50:20.676
<v Speaker 1>another person who you might get a rock song and

0:50:20.716 --> 0:50:22.956
<v Speaker 1>take a more of a folk into a piano ballad

0:50:22.996 --> 0:50:25.716
<v Speaker 1>into but in no way sounds like an Elliott Smith's

0:50:25.716 --> 0:50:27.756
<v Speaker 1>record either. You know, Beck was.

0:50:28.076 --> 0:50:30.756
<v Speaker 2>An artist who really like would do that sort of

0:50:30.836 --> 0:50:33.076
<v Speaker 2>like back and forth a bunch of different stuff. And

0:50:33.356 --> 0:50:35.396
<v Speaker 2>I always loved his early work, like all of his

0:50:35.476 --> 0:50:38.436
<v Speaker 2>work's great, but you know, at that time, definitely was

0:50:38.476 --> 0:50:40.596
<v Speaker 2>inspired by a lot of his early stuff. I just

0:50:41.036 --> 0:50:43.756
<v Speaker 2>not even inspired by, but just like I really like

0:50:43.876 --> 0:50:46.516
<v Speaker 2>fucked with it, and like like I related to what

0:50:46.556 --> 0:50:48.876
<v Speaker 2>he was doing, you know, like I would listen to

0:50:48.916 --> 0:50:50.396
<v Speaker 2>back and be like, oh, I feel like I know

0:50:50.476 --> 0:50:53.596
<v Speaker 2>that guy. Like we you know, it was relatable to

0:50:53.636 --> 0:50:56.116
<v Speaker 2>me and probably like millions of other people who listened.

0:50:56.236 --> 0:50:58.436
<v Speaker 2>But you know, that was just in my little world.

0:50:58.956 --> 0:51:01.396
<v Speaker 2>But then also artists like you know, Neil Young or

0:51:01.476 --> 0:51:05.316
<v Speaker 2>Tom Petty like you know, and particularly Neil I would say,

0:51:05.316 --> 0:51:07.276
<v Speaker 2>you know, going back and forth from piano to guitar.

0:51:07.476 --> 0:51:09.676
<v Speaker 2>But then Nil's Lofgren, I mean, and if you listen

0:51:09.756 --> 0:51:12.596
<v Speaker 2>to his first solo album, which is just called Nils

0:51:12.636 --> 0:51:17.156
<v Speaker 2>Lofgrens Great, underrated, amazing album, you know he kind of

0:51:17.196 --> 0:51:20.516
<v Speaker 2>switches between guitar and piano. So naturally that's kind of

0:51:20.756 --> 0:51:23.236
<v Speaker 2>I just as a kid, was like, that's kind of

0:51:23.276 --> 0:51:24.756
<v Speaker 2>what you do in rock and roll. You play a

0:51:24.756 --> 0:51:27.516
<v Speaker 2>little piano here, you play little guitar, then you sing

0:51:27.596 --> 0:51:30.276
<v Speaker 2>on both those songs. You know, Yeah, that's what ties

0:51:30.276 --> 0:51:31.276
<v Speaker 2>it in as the voice.

0:51:31.716 --> 0:51:34.716
<v Speaker 1>Did you ever get feedback from from Dave as like

0:51:34.716 --> 0:51:35.476
<v Speaker 1>an artist like today?

0:51:35.756 --> 0:51:37.716
<v Speaker 2>Dave actually would come to the studio when we were

0:51:37.756 --> 0:51:40.596
<v Speaker 2>recording Shasha. We had a lot of hangs with Dave. Yeah,

0:51:40.596 --> 0:51:43.316
<v Speaker 2>it was great. He was so fun to be around.

0:51:43.396 --> 0:51:45.956
<v Speaker 1>And yeah, would he give input or was he like

0:51:45.996 --> 0:51:47.516
<v Speaker 1>hands off and just kind of letting you see?

0:51:47.516 --> 0:51:51.316
<v Speaker 2>He was pretty hands off creatively. I remember he would

0:51:51.316 --> 0:51:53.796
<v Speaker 2>talk about like video ideas, which is really fun, Like

0:51:53.836 --> 0:51:57.476
<v Speaker 2>this song in other words, one of the piano songs.

0:51:57.916 --> 0:51:59.676
<v Speaker 2>He was like, we need to go because it mentions

0:51:59.716 --> 0:52:01.716
<v Speaker 2>butterflies in the song, and he was he was like,

0:52:01.716 --> 0:52:04.156
<v Speaker 2>we gotta go. There's this place in Mexico where the

0:52:04.236 --> 0:52:07.116
<v Speaker 2>butterflies like come alive at a certain time. Like I'm

0:52:07.156 --> 0:52:09.396
<v Speaker 2>just picturing the video now, like let's go, and I'm

0:52:09.436 --> 0:52:11.796
<v Speaker 2>thinking my mind. I'm like, well, dude, you're Dave Matthew's

0:52:11.836 --> 0:52:14.076
<v Speaker 2>like you can go anywhere to shoot any kind of video.

0:52:14.076 --> 0:52:15.956
<v Speaker 2>But I'm like kind of like this guy that's never

0:52:15.996 --> 0:52:18.436
<v Speaker 2>put out a solo record, Like, you know, I don't

0:52:18.436 --> 0:52:19.476
<v Speaker 2>know if that's on the budget.

0:52:19.676 --> 0:52:22.996
<v Speaker 1>Yeah yeah, yeah, at but is Dave Matthew subsidizing this?

0:52:23.076 --> 0:52:26.516
<v Speaker 2>Yeah you really want to spend it on a video?

0:52:26.876 --> 0:52:27.076
<v Speaker 5>You know?

0:52:27.596 --> 0:52:29.596
<v Speaker 2>What a great guy. I mean, we had some great

0:52:29.636 --> 0:52:32.956
<v Speaker 2>times together. It was really fun. Early days Ato.

0:52:33.076 --> 0:52:39.196
<v Speaker 1>I was not so much pain attention to the mechanics

0:52:39.236 --> 0:52:41.076
<v Speaker 1>of how things worked at that time. But I remember

0:52:41.116 --> 0:52:44.236
<v Speaker 1>the Shasha record and me and all my friends really

0:52:44.316 --> 0:52:46.396
<v Speaker 1>loved that record. We were in bands at the time,

0:52:46.476 --> 0:52:48.956
<v Speaker 1>you know, and just trying to figure things out. And

0:52:48.956 --> 0:52:50.956
<v Speaker 1>then I just remember at some point, and you can

0:52:50.956 --> 0:52:52.396
<v Speaker 1>correct me if I'm wrong, but I have a memory

0:52:52.436 --> 0:52:55.396
<v Speaker 1>of like there being commercials on TV for like On

0:52:55.556 --> 0:52:58.236
<v Speaker 1>My Way, like your next album, Like yeah, it was like, whoa,

0:52:58.236 --> 0:52:59.116
<v Speaker 1>this guy's getting big.

0:52:59.276 --> 0:53:05.316
<v Speaker 2>That sounds familiar. Actually, there was something in so ATO

0:53:05.396 --> 0:53:09.276
<v Speaker 2>Records went through RCA Records that's just for just au

0:53:09.956 --> 0:53:13.876
<v Speaker 2>and stuff, and I think there was something in Ato's

0:53:13.876 --> 0:53:17.716
<v Speaker 2>agreement with RCA that like if an album Ato puts

0:53:17.756 --> 0:53:21.876
<v Speaker 2>out does certain numbers, you know, one hundred thousand units

0:53:21.956 --> 0:53:26.676
<v Speaker 2>or more whatever, then the next album upstreams to RCA,

0:53:26.716 --> 0:53:28.796
<v Speaker 2>Like RCA was like, okay, well that's good enough for us,

0:53:28.796 --> 0:53:30.636
<v Speaker 2>so you know, we want to be involved. And so

0:53:30.716 --> 0:53:34.516
<v Speaker 2>I think and and Shasha hit that target whatever it was,

0:53:34.716 --> 0:53:38.076
<v Speaker 2>and so then for On My Way, r c A

0:53:38.476 --> 0:53:40.716
<v Speaker 2>definitely got involved. And I do remember there were some

0:53:40.756 --> 0:53:44.036
<v Speaker 2>commercials at that time that I don't remember what they were. God,

0:53:44.036 --> 0:53:46.396
<v Speaker 2>I'd love to find them be fun to watch.

0:53:46.716 --> 0:53:48.836
<v Speaker 1>Yeah. Same. I don't exactly remember what they were, but

0:53:48.876 --> 0:53:51.276
<v Speaker 1>I just remember thinking that it was that's wild, like, Okay,

0:53:51.276 --> 0:53:53.836
<v Speaker 1>there's a I'm finding out, there's a new ben coming

0:53:53.836 --> 0:53:58.116
<v Speaker 1>from my TV. That's cool, bizarre, like was unexpected, you know,

0:53:58.756 --> 0:54:01.516
<v Speaker 1>And that's a really that's an amazing album.

0:54:01.756 --> 0:54:05.036
<v Speaker 2>Yeah, thank you. I love that album because it's very raw.

0:54:05.356 --> 0:54:09.036
<v Speaker 2>And that's Ethan John's behind the wheel on that drive,

0:54:09.436 --> 0:54:14.436
<v Speaker 2>the recording console. And yeah, we didn't even use headphones.

0:54:14.476 --> 0:54:17.076
<v Speaker 2>We just set up standing like right in front of

0:54:17.116 --> 0:54:20.596
<v Speaker 2>the drum kit, two guitars and a bass player and

0:54:20.636 --> 0:54:22.996
<v Speaker 2>in a little circle and just played everything live. So

0:54:23.036 --> 0:54:26.516
<v Speaker 2>we played really quietly and without headphones. You got to

0:54:26.556 --> 0:54:29.716
<v Speaker 2>play quietly to really hear each other. This really interesting

0:54:29.756 --> 0:54:32.916
<v Speaker 2>way to record. My guitar player at the time was

0:54:32.956 --> 0:54:35.636
<v Speaker 2>Mike Stroud, who one of the best guitar players I've

0:54:35.676 --> 0:54:38.956
<v Speaker 2>ever known, and we toured together. He eventually went on

0:54:38.996 --> 0:54:43.716
<v Speaker 2>to form Ratatat, which is such a cool group. Yeah, yeah,

0:54:43.756 --> 0:54:45.836
<v Speaker 2>that's Mike Stroud. So if you go back and listen

0:54:45.836 --> 0:54:49.116
<v Speaker 2>to on My Way album the guitar solo, so Mike's

0:54:49.116 --> 0:54:51.716
<v Speaker 2>and the right speaker, I'm in the left speaker, so

0:54:51.796 --> 0:54:56.316
<v Speaker 2>the guitar solos on the Rules and Disaster, like those

0:54:56.356 --> 0:55:01.036
<v Speaker 2>songs are basically Rattat guitar player. You know, half of

0:55:01.156 --> 0:55:03.596
<v Speaker 2>rat Attat is that record. So it's pretty cool.

0:55:04.036 --> 0:55:06.956
<v Speaker 1>So, you know, On My Way kind of kicks up

0:55:06.956 --> 0:55:09.356
<v Speaker 1>to the level of URCA feeling like we can we

0:55:09.436 --> 0:55:12.636
<v Speaker 1>can deal with this kid. You know, also like kind

0:55:12.676 --> 0:55:16.036
<v Speaker 1>of broke through commercially to a degree. Yeah, and then

0:55:16.076 --> 0:55:17.356
<v Speaker 1>you do your self titled record.

0:55:17.836 --> 0:55:21.836
<v Speaker 2>Yeah, So you know, I'm always an interesting documentation because

0:55:21.836 --> 0:55:24.596
<v Speaker 2>it's like really raw, like no overdubs, no headphones. It

0:55:24.636 --> 0:55:27.796
<v Speaker 2>was just a band playing songs, you know, and it's

0:55:27.836 --> 0:55:30.556
<v Speaker 2>really got a cool vibe to it, which is kind

0:55:30.556 --> 0:55:33.876
<v Speaker 2>of maybe in hindsight, unfortunate because like it had the

0:55:33.916 --> 0:55:36.996
<v Speaker 2>biggest push from the labe from RCA, you know, but

0:55:37.076 --> 0:55:39.036
<v Speaker 2>we delivered like this album that was like super low

0:55:39.036 --> 0:55:42.196
<v Speaker 2>fi and you know, very vibey, but like definitely no

0:55:42.316 --> 0:55:45.156
<v Speaker 2>hits on it kind of a thing, you know. But

0:55:45.236 --> 0:55:48.236
<v Speaker 2>my third album, I really wanted to do something really

0:55:48.276 --> 0:55:52.556
<v Speaker 2>expansive and just very layered, and I heard a bunch

0:55:52.636 --> 0:55:57.956
<v Speaker 2>of instrumentation and I met with Gil Norton, great producer

0:55:58.156 --> 0:56:01.756
<v Speaker 2>in London, and we were talking about the album. We're

0:56:01.756 --> 0:56:04.156
<v Speaker 2>talking about tracking it and okay, like who's going to

0:56:04.236 --> 0:56:06.836
<v Speaker 2>play the instruments? And I'm like, well, I got my

0:56:06.916 --> 0:56:10.756
<v Speaker 2>bass player, Josh and you know John David, you know,

0:56:11.196 --> 0:56:13.916
<v Speaker 2>played on the first two albums, and we can do

0:56:13.996 --> 0:56:16.876
<v Speaker 2>Mike Stroud, you know, and guitar or something. And then

0:56:16.916 --> 0:56:19.556
<v Speaker 2>Gil was like, who's playing on these demos because we

0:56:19.596 --> 0:56:21.836
<v Speaker 2>were listening to some of the demos I made. I said, oh, well,

0:56:21.836 --> 0:56:24.276
<v Speaker 2>I played all the instruments on the demos. It's like,

0:56:24.356 --> 0:56:27.396
<v Speaker 2>oh may. He's like, well, have you ever thought about

0:56:28.036 --> 0:56:31.436
<v Speaker 2>recording the album just you? I was like, well, no,

0:56:31.516 --> 0:56:34.556
<v Speaker 2>not really, but it sounds kind of interesting. He's like, oh, man,

0:56:34.596 --> 0:56:36.396
<v Speaker 2>I think that would be really fun. He's like, I've

0:56:36.396 --> 0:56:39.636
<v Speaker 2>only ever been in the studio with bands, so it'd

0:56:39.676 --> 0:56:42.516
<v Speaker 2>be really kind of fun to just work with one

0:56:42.596 --> 0:56:44.756
<v Speaker 2>artist and just like this does it all? Like you know,

0:56:44.796 --> 0:56:47.676
<v Speaker 2>we could just like layer everything up, and so that's

0:56:47.676 --> 0:56:49.356
<v Speaker 2>what we ended up doing. So he came to New

0:56:49.436 --> 0:56:53.836
<v Speaker 2>York and we recorded this little studio called the Magic Shop,

0:56:54.636 --> 0:56:58.476
<v Speaker 2>and it was like a musical playground. They had two pianos.

0:56:58.556 --> 0:57:01.716
<v Speaker 2>They had two grand pianos, a black one and a

0:57:01.756 --> 0:57:04.876
<v Speaker 2>white one. One was in tune. One was out and

0:57:04.956 --> 0:57:07.596
<v Speaker 2>we had him like facing each other like Yin and yang.

0:57:07.636 --> 0:57:10.196
<v Speaker 2>It looked pretty cool, and so we purposely kept one

0:57:10.196 --> 0:57:13.716
<v Speaker 2>out of tune. Then you got the organ, and then

0:57:13.756 --> 0:57:15.796
<v Speaker 2>there's a glock and spiel, and then at the other

0:57:15.956 --> 0:57:18.316
<v Speaker 2>end is the drum set and then here's a wall

0:57:18.356 --> 0:57:21.316
<v Speaker 2>of amps. We set it up all in a circle.

0:57:21.356 --> 0:57:23.716
<v Speaker 2>Because there's only going to be one source being played

0:57:23.756 --> 0:57:25.716
<v Speaker 2>at any given moments, you don't have to worry about

0:57:25.716 --> 0:57:27.796
<v Speaker 2>bleed or anything like that. So it was just like,

0:57:27.876 --> 0:57:30.796
<v Speaker 2>what do you want to record? Whatever you're inspired to record,

0:57:30.796 --> 0:57:33.276
<v Speaker 2>you just press record and pick up that instrument. So

0:57:33.356 --> 0:57:35.796
<v Speaker 2>it was really cool. So like every track, it's very

0:57:35.796 --> 0:57:39.196
<v Speaker 2>piano heavy. Every song pretty much it's like we would

0:57:39.236 --> 0:57:41.076
<v Speaker 2>do a take of the intune piano, take of the

0:57:41.116 --> 0:57:44.076
<v Speaker 2>autitune piano, then we'd add like glock and spiel. It

0:57:44.116 --> 0:57:47.316
<v Speaker 2>definitely has like this sort of like there's like a

0:57:47.316 --> 0:57:50.396
<v Speaker 2>Springsteen feeler, like more of like a Jeff Lynn style,

0:57:50.716 --> 0:57:55.476
<v Speaker 2>just layered, you know, one hundred acoustic guitars, but it

0:57:55.556 --> 0:57:57.996
<v Speaker 2>all kind of comes together into one sound in a

0:57:58.036 --> 0:58:02.556
<v Speaker 2>really unique way. Also, at that time, Liz was pregnant

0:58:02.596 --> 0:58:05.276
<v Speaker 2>with our first child and so we're living in New

0:58:05.356 --> 0:58:10.556
<v Speaker 2>York and that was an interesting dynamic because we were

0:58:10.596 --> 0:58:13.716
<v Speaker 2>the first of our peer group to actually have a baby.

0:58:14.196 --> 0:58:15.956
<v Speaker 2>That was kind of like an interesting you know, because

0:58:16.036 --> 0:58:18.716
<v Speaker 2>like up until that time, you know, it was like

0:58:18.836 --> 0:58:21.316
<v Speaker 2>touring and rock and roll and going staying out late.

0:58:21.476 --> 0:58:24.516
<v Speaker 2>You know, you don't have to answer to anyone, you know,

0:58:24.636 --> 0:58:26.596
<v Speaker 2>and so like now it's like, oh, we're pregnant, we're

0:58:26.596 --> 0:58:30.196
<v Speaker 2>having a baby, which we're so excited about, and now

0:58:30.236 --> 0:58:32.596
<v Speaker 2>I'm in the studio by myself. So it was like

0:58:32.956 --> 0:58:36.636
<v Speaker 2>kind of like one of the most liberating recording experiences

0:58:36.676 --> 0:58:39.876
<v Speaker 2>but also one of the most lonely. But it also,

0:58:40.036 --> 0:58:41.716
<v Speaker 2>I feel like, has some of my best songs. It's

0:58:41.756 --> 0:58:44.996
<v Speaker 2>got this song called thirteen, which is sort of one

0:58:45.036 --> 0:58:47.236
<v Speaker 2>of my best love songs, I feel.

0:58:47.636 --> 0:58:47.916
<v Speaker 1>Yeah.

0:58:47.956 --> 0:58:51.476
<v Speaker 2>So that was my self titled album, and then after that,

0:58:52.676 --> 0:58:56.276
<v Speaker 2>as a songwriter, you know, whenever I would write a song,

0:58:56.316 --> 0:58:58.076
<v Speaker 2>I would put it in my sketch books. I would

0:58:58.116 --> 0:59:00.556
<v Speaker 2>always make lists of songs like buckets. I call them,

0:59:00.556 --> 0:59:03.356
<v Speaker 2>like different buckets of songs. They're each buckets an album

0:59:03.436 --> 0:59:06.996
<v Speaker 2>a potential album, I guess. And growing up in Texas,

0:59:07.036 --> 0:59:08.756
<v Speaker 2>you know, we talked about how you know, it was

0:59:08.796 --> 0:59:13.436
<v Speaker 2>all Beatles, British Invasion and then Nirvana. But then there's

0:59:13.556 --> 0:59:19.716
<v Speaker 2>the third pillar of my musical lineage, which is the

0:59:19.836 --> 0:59:23.636
<v Speaker 2>music that would be playing around me, like when I'd

0:59:23.676 --> 0:59:27.116
<v Speaker 2>go to Walmart or like sitting at Applebee's having lunch,

0:59:27.476 --> 0:59:30.756
<v Speaker 2>and that would have been the class of eighty nine

0:59:31.116 --> 0:59:36.836
<v Speaker 2>country music, Garth Brooks, Alan Jackson, Travis Tritt, all that stuff.

0:59:37.396 --> 0:59:41.036
<v Speaker 2>So like, there's like definitely a lot of country. So

0:59:41.396 --> 0:59:43.316
<v Speaker 2>I would write country songs, even going all the way

0:59:43.316 --> 0:59:45.956
<v Speaker 2>back to Radish. I would just sometimes you can't help

0:59:45.996 --> 0:59:47.556
<v Speaker 2>what you're right, you know, it just pops out and

0:59:47.556 --> 0:59:49.436
<v Speaker 2>I'm like, oh, that's a cool country song. So I'd

0:59:49.436 --> 0:59:52.396
<v Speaker 2>put each one of those in this country album bucket.

0:59:53.156 --> 0:59:55.916
<v Speaker 2>So after the self titled album, I'm like, Okay, this

0:59:55.916 --> 0:59:58.556
<v Speaker 2>will be my fourth album. I have like ten songs

0:59:58.556 --> 1:00:01.836
<v Speaker 2>here that are really good country songs. So that's going

1:00:01.916 --> 1:00:03.916
<v Speaker 2>to be the next one. And so I called it

1:00:04.036 --> 1:00:08.716
<v Speaker 2>Changing Horses. I decided, oh, well, I made the first

1:00:08.716 --> 1:00:11.996
<v Speaker 2>three album New York, maybe I should go back to

1:00:12.076 --> 1:00:16.276
<v Speaker 2>Texas for this one. And at that time, the band Spoon,

1:00:16.636 --> 1:00:19.036
<v Speaker 2>their drummer Jimmy, you know, he had just built a

1:00:19.076 --> 1:00:22.556
<v Speaker 2>great studio in Austin called Public Hi Fi, and Jim

1:00:22.676 --> 1:00:24.916
<v Speaker 2>was like, dude, come down here to Austin, make the

1:00:24.956 --> 1:00:27.196
<v Speaker 2>record of my new studio. You'll love it. And so

1:00:27.236 --> 1:00:30.196
<v Speaker 2>we rented a house in Austin for a few weeks

1:00:30.876 --> 1:00:34.996
<v Speaker 2>and we recorded Changing Horses, which is one of my

1:00:35.196 --> 1:00:38.516
<v Speaker 2>personal favorites that I've made. It's so unique, and you know,

1:00:38.716 --> 1:00:40.756
<v Speaker 2>I call it a country album. It very much is.

1:00:40.956 --> 1:00:44.156
<v Speaker 2>It's got pedal steel and doughbro all over it, played

1:00:44.156 --> 1:00:47.916
<v Speaker 2>by this amazing musician, Ben Kidderman. But it's my flavor

1:00:47.996 --> 1:00:50.156
<v Speaker 2>of country. You know. It's a Ben Coehler album, like

1:00:50.276 --> 1:00:52.876
<v Speaker 2>for sure. So we made that we go back to

1:00:52.996 --> 1:00:56.796
<v Speaker 2>New York. It turns out that the Changing Horses was

1:00:57.396 --> 1:01:00.876
<v Speaker 2>the last album for Ato Records. In the contract, we're

1:01:00.916 --> 1:01:04.596
<v Speaker 2>back in Brooklyn and Liz is like, man, life was

1:01:04.636 --> 1:01:09.396
<v Speaker 2>really nice in Austin. And Dorian, our son was born

1:01:09.556 --> 1:01:11.956
<v Speaker 2>before this. So actually when we came down to record

1:01:12.036 --> 1:01:13.956
<v Speaker 2>Changing Horses, Dorian was with us. He was like one,

1:01:14.356 --> 1:01:16.916
<v Speaker 2>you know, So when we're back in Brooklyn, she was like,

1:01:16.956 --> 1:01:19.996
<v Speaker 2>life was really easy in Austin. You know, having a

1:01:20.036 --> 1:01:24.356
<v Speaker 2>baby there was super easy and cool. And so we

1:01:24.436 --> 1:01:27.956
<v Speaker 2>decided to move to Austin in two thousand and eight

1:01:28.196 --> 1:01:32.396
<v Speaker 2>or nine. So we get to Austin. I always, in

1:01:32.436 --> 1:01:33.876
<v Speaker 2>the back of my mind knew that I wanted to

1:01:33.916 --> 1:01:35.916
<v Speaker 2>have a record company because I've just always been a

1:01:35.916 --> 1:01:39.596
<v Speaker 2>record nerd and I've just been obsessed with recording other

1:01:39.636 --> 1:01:43.196
<v Speaker 2>people and loving bands and records and the whole thing.

1:01:43.996 --> 1:01:47.436
<v Speaker 2>And so instead of renewing with ATO, I told him,

1:01:47.476 --> 1:01:49.276
<v Speaker 2>I'm like, hey, I love you guys so much, but

1:01:49.876 --> 1:01:52.196
<v Speaker 2>down in Austin just had a baby. I'm like, just

1:01:52.356 --> 1:01:55.036
<v Speaker 2>changing up everything. I'm going to start my own record label.

1:01:55.676 --> 1:01:58.636
<v Speaker 2>So the Noise Company was born, and that was in

1:01:58.796 --> 1:02:03.036
<v Speaker 2>twenty ten, and we put out an album for me

1:02:03.196 --> 1:02:06.076
<v Speaker 2>called Go Fly a Kite, which did it for an

1:02:06.156 --> 1:02:10.156
<v Speaker 2>independent release. For our first release, did really well, ended

1:02:10.196 --> 1:02:14.636
<v Speaker 2>up getting nominated for a Grammy for Best Album Art.

1:02:14.796 --> 1:02:17.356
<v Speaker 2>I will say a non music Grammy, but hey, it's

1:02:17.396 --> 1:02:20.076
<v Speaker 2>as my publicist said, dude, we can still say Grammy

1:02:20.116 --> 1:02:25.876
<v Speaker 2>nominated artist. But really proud of that release because artwork

1:02:25.956 --> 1:02:28.396
<v Speaker 2>is always actually really important to me, the aesthetics and

1:02:28.436 --> 1:02:32.236
<v Speaker 2>I just love the tactile, you know, experience of an

1:02:32.276 --> 1:02:35.116
<v Speaker 2>album and a record and so yeah, so we did that.

1:02:35.236 --> 1:02:41.236
<v Speaker 2>We discovered this great band wild Child signed them. So

1:02:41.316 --> 1:02:44.116
<v Speaker 2>that's it. So now that this is our like real

1:02:44.156 --> 1:02:47.676
<v Speaker 2>community at this point, you know, the locals.

1:02:47.596 --> 1:02:50.556
<v Speaker 1>Can Can you talk a bit about Dorian and your

1:02:50.596 --> 1:02:51.996
<v Speaker 1>relationship with him.

1:02:51.996 --> 1:02:57.236
<v Speaker 2>Yeah, for sure. Yeah, Dorian, it was a lot like me,

1:02:58.316 --> 1:03:04.756
<v Speaker 2>just very musical, super creative, and we joke that like

1:03:04.796 --> 1:03:07.636
<v Speaker 2>in second grade, he was given you know, at the

1:03:07.716 --> 1:03:09.756
<v Speaker 2>end of the school year, every kid gets award for

1:03:09.836 --> 1:03:12.516
<v Speaker 2>some different thing, and he got the friend to all

1:03:12.676 --> 1:03:17.796
<v Speaker 2>Ward and he really was you know, he wasn't concerned

1:03:17.796 --> 1:03:21.396
<v Speaker 2>with mundane, just sort of everyday stuff that most people learn.

1:03:21.516 --> 1:03:24.076
<v Speaker 2>Like he like, you know, we'd be having dinner and

1:03:24.276 --> 1:03:27.156
<v Speaker 2>he'd be like, Mom, this is amazing chicken, and she'd

1:03:27.196 --> 1:03:29.596
<v Speaker 2>be like that's beef, and like, you know, and that

1:03:29.756 --> 1:03:31.556
<v Speaker 2>was like when he was like, you know, a teenager,

1:03:31.716 --> 1:03:34.396
<v Speaker 2>you know, like he just never learned the difference between

1:03:34.596 --> 1:03:39.476
<v Speaker 2>Like he didn't care if if you were like conservative liberal,

1:03:39.596 --> 1:03:42.516
<v Speaker 2>like what, like, none of that shit mattered to him.

1:03:42.636 --> 1:03:42.796
<v Speaker 1>You know.

1:03:42.876 --> 1:03:44.956
<v Speaker 2>He was just like he just saw you for you

1:03:45.836 --> 1:03:48.316
<v Speaker 2>and if he jibed with it, all good, if not

1:03:48.596 --> 1:03:50.276
<v Speaker 2>all good, like you know what I mean. He just

1:03:50.356 --> 1:03:53.796
<v Speaker 2>like did his thing and he was like a true connector.

1:03:54.396 --> 1:03:58.556
<v Speaker 2>I mean it's amazing. Like the funeral, so many people

1:03:58.596 --> 1:04:00.916
<v Speaker 2>showed up, Hundreds of people showed up, Like we met

1:04:00.956 --> 1:04:04.076
<v Speaker 2>so many kids that would just come up to us

1:04:04.596 --> 1:04:07.876
<v Speaker 2>and say, you know, Dorian reached out to me and

1:04:07.916 --> 1:04:10.276
<v Speaker 2>like brought introduced me to these people, like he would

1:04:10.316 --> 1:04:14.236
<v Speaker 2>put people together and just like people have come up

1:04:14.236 --> 1:04:16.636
<v Speaker 2>to me since, like you know, we're friends because of Dorian,

1:04:16.716 --> 1:04:18.996
<v Speaker 2>like we never would have known each other or and

1:04:19.036 --> 1:04:22.436
<v Speaker 2>in all different scenes from like the skaters to the

1:04:22.476 --> 1:04:27.756
<v Speaker 2>band nerds like cool uncool again, like none of the

1:04:27.916 --> 1:04:30.396
<v Speaker 2>just people. You know, that's all it was.

1:04:30.316 --> 1:04:31.556
<v Speaker 1>For him, seated.

1:04:31.796 --> 1:04:36.956
<v Speaker 2>Yes, we started, you know, he started making music like

1:04:37.636 --> 1:04:39.796
<v Speaker 2>in his bedroom here and dripping springs. Like when we

1:04:39.836 --> 1:04:42.156
<v Speaker 2>moved here full time, he really started playing guitar a

1:04:42.196 --> 1:04:44.556
<v Speaker 2>lot more, and I would hear him in his bedroom

1:04:45.076 --> 1:04:47.956
<v Speaker 2>coming up with original stuff, and I'd go in and

1:04:47.956 --> 1:04:50.076
<v Speaker 2>we'd talk and be like, dude, that's cool. Like then

1:04:50.116 --> 1:04:53.756
<v Speaker 2>he started learning fl fl Studio, which is like the competitor,

1:04:53.876 --> 1:04:56.316
<v Speaker 2>you know, it's one of these like recording softwares, but

1:04:56.356 --> 1:04:57.916
<v Speaker 2>it's like a real hip hop like a lot of

1:04:57.916 --> 1:05:00.716
<v Speaker 2>the hip hop producers use FL And he loved hip hop,

1:05:00.956 --> 1:05:03.036
<v Speaker 2>and so he started making beats. I mean, he would

1:05:03.076 --> 1:05:05.676
<v Speaker 2>like the incredible beats would be coming out of his bedroom.

1:05:05.676 --> 1:05:07.996
<v Speaker 2>I'd be like, dude, like this stuff is so good.

1:05:08.716 --> 1:05:12.876
<v Speaker 2>And then the last piece for him as an artist

1:05:12.996 --> 1:05:15.836
<v Speaker 2>was like his voice, Like he's started finding his voice

1:05:16.316 --> 1:05:19.996
<v Speaker 2>and it was such a like soultry sort of his

1:05:20.076 --> 1:05:22.396
<v Speaker 2>voice tone is a lot of people are like, oh god,

1:05:22.396 --> 1:05:24.596
<v Speaker 2>he sounds just like you, but really, if you listen,

1:05:25.036 --> 1:05:28.276
<v Speaker 2>it's actually a deeper register than me. It's a lower voice,

1:05:28.876 --> 1:05:32.396
<v Speaker 2>and it's like very raspy and just sultry is like

1:05:32.436 --> 1:05:35.236
<v Speaker 2>the word I always think when I think of his singing.

1:05:35.836 --> 1:05:37.796
<v Speaker 2>And he was like, Dad, like I want to put

1:05:37.836 --> 1:05:41.076
<v Speaker 2>out some of these songs. And so we started like

1:05:41.156 --> 1:05:45.116
<v Speaker 2>he would come over here to the barn and I

1:05:45.116 --> 1:05:48.036
<v Speaker 2>would sort of help him mix stuff. And he decided

1:05:48.076 --> 1:05:51.436
<v Speaker 2>he wanted to release his music under his middle name,

1:05:51.556 --> 1:05:56.596
<v Speaker 2>zev Zev, which means wolf, and so we started dropping

1:05:56.636 --> 1:06:02.396
<v Speaker 2>songs like as Zev you know, on Spotify, and it

1:06:02.476 --> 1:06:08.236
<v Speaker 2>was just so cool, you know, and he was sixteen

1:06:09.396 --> 1:06:14.076
<v Speaker 2>and it was really interesting, Like there was this period

1:06:14.116 --> 1:06:19.636
<v Speaker 2>of time where he just would we would have these conversations, uh,

1:06:19.876 --> 1:06:22.516
<v Speaker 2>you know, at dinner. We'd always have dinner together as

1:06:22.516 --> 1:06:27.396
<v Speaker 2>a family, Me, Liz, Judah and Dorian. And for a

1:06:27.476 --> 1:06:31.276
<v Speaker 2>minute there, like there's this like two week period where

1:06:31.956 --> 1:06:35.316
<v Speaker 2>he was constantly like god, guys like mom, Dad, Like

1:06:35.836 --> 1:06:38.276
<v Speaker 2>I just feel so weird, like I can't fit it

1:06:38.316 --> 1:06:41.196
<v Speaker 2>all in, Like I need, like Dad, we need to

1:06:41.236 --> 1:06:43.996
<v Speaker 2>be putting out a song like every Friday, Like let's

1:06:44.036 --> 1:06:46.676
<v Speaker 2>I want to put out his song constantly. And then

1:06:46.876 --> 1:06:48.756
<v Speaker 2>of course I'm like trying to explain well, like you know,

1:06:49.076 --> 1:06:51.956
<v Speaker 2>Spotify really prefers if it's like a four week ramp

1:06:52.076 --> 1:06:53.836
<v Speaker 2>up period and then then you got to pitch it

1:06:53.876 --> 1:06:57.396
<v Speaker 2>to editorial like all the bullshit that is driven into

1:06:57.436 --> 1:07:00.876
<v Speaker 2>our brains, you know, as professionals, and you know, he

1:07:00.996 --> 1:07:03.556
<v Speaker 2>but he's just like, no, dog, like I want to

1:07:04.036 --> 1:07:05.956
<v Speaker 2>I need to be dropping a song a day, yeah,

1:07:05.956 --> 1:07:08.156
<v Speaker 2>you know in his mind. And he but just this

1:07:08.276 --> 1:07:10.756
<v Speaker 2>interesting vibe where he was just like but yes, a dad,

1:07:10.796 --> 1:07:12.516
<v Speaker 2>like I need to put out music. He's like I

1:07:12.516 --> 1:07:14.756
<v Speaker 2>need to go hang with my friends. But like then

1:07:14.796 --> 1:07:16.316
<v Speaker 2>I feel bad, like I want to hang out with

1:07:16.356 --> 1:07:19.156
<v Speaker 2>you guys, you know, like, and I just can't fit it.

1:07:19.196 --> 1:07:22.796
<v Speaker 2>Like there was this weird thing that was happening, and

1:07:22.836 --> 1:07:27.436
<v Speaker 2>then one day Liz comes home, and she's like, God,

1:07:28.396 --> 1:07:31.116
<v Speaker 2>everyone who drives a black pickup truck is an asshole.

1:07:31.836 --> 1:07:34.196
<v Speaker 2>We're kind of like, really, okay, ha ha, like what

1:07:34.516 --> 1:07:36.796
<v Speaker 2>like she like, so she kept seeing these black trucks

1:07:36.796 --> 1:07:39.156
<v Speaker 2>that were like, I don't know, like running off the

1:07:39.196 --> 1:07:42.476
<v Speaker 2>road or like. She kept having these weird things, these

1:07:42.556 --> 1:07:44.516
<v Speaker 2>mother instinct vibe things.

1:07:44.596 --> 1:07:44.796
<v Speaker 3>Right.

1:07:46.396 --> 1:07:49.836
<v Speaker 2>So one night we're sitting around the dinner table and

1:07:49.916 --> 1:07:53.436
<v Speaker 2>Dorian's it's like a Monday or Tuesday. It's school night,

1:07:53.596 --> 1:07:57.156
<v Speaker 2>and he says, Mom, Dad, I'm gonna go over to

1:07:57.236 --> 1:08:02.436
<v Speaker 2>Dylan's house after dinner and skate. And they're like, oh, okay. Well,

1:08:02.596 --> 1:08:05.796
<v Speaker 2>and Liz kind of gave it to him a little bit.

1:08:05.836 --> 1:08:08.516
<v Speaker 2>She kind of went into the thing of, well, Dorry,

1:08:09.356 --> 1:08:12.956
<v Speaker 2>you know you have that test this week at school.

1:08:13.156 --> 1:08:15.556
<v Speaker 2>You probably haven't studied, Like you need to study for that.

1:08:16.196 --> 1:08:18.436
<v Speaker 2>It's a school night, like you really need to start

1:08:18.436 --> 1:08:20.996
<v Speaker 2>thinking about your future, like you really need to start

1:08:21.396 --> 1:08:25.196
<v Speaker 2>getting your act together and like get serious about school,

1:08:25.996 --> 1:08:30.036
<v Speaker 2>you know, and just kind of giving him that talk,

1:08:30.756 --> 1:08:32.756
<v Speaker 2>and he was so sweet. He was like, yeah, I

1:08:32.796 --> 1:08:35.356
<v Speaker 2>know you're right, but I'm still gonna go to Dylan's

1:08:35.356 --> 1:08:37.356
<v Speaker 2>and skate. You know, we kind of like chuckled, and

1:08:37.396 --> 1:08:40.356
<v Speaker 2>we're like okay, you know, and so then he's like,

1:08:40.396 --> 1:08:42.796
<v Speaker 2>all right, love you guys. So we have dinner. He leaves.

1:08:44.076 --> 1:08:48.196
<v Speaker 2>Then Judah, me and Liz were watching some lame show

1:08:48.236 --> 1:08:50.396
<v Speaker 2>on Netflix. I don't remember what it is because we'd

1:08:50.436 --> 1:08:54.716
<v Speaker 2>never watched it since this night, and he always was

1:08:54.716 --> 1:08:58.596
<v Speaker 2>home by nine, and so it's like nine thirty, right,

1:08:58.876 --> 1:09:04.356
<v Speaker 2>and Liz said, hey, call Dorian, make sure he's heading home,

1:09:04.516 --> 1:09:08.156
<v Speaker 2>you know, by nine thirty. I didn't really want after

1:09:08.156 --> 1:09:10.196
<v Speaker 2>the whole conversation we had at the dinner table, I

1:09:10.236 --> 1:09:12.916
<v Speaker 2>didn't want to be like, dude, good look, you know.

1:09:13.396 --> 1:09:16.196
<v Speaker 2>So I looked on Find my app or whatever to

1:09:16.196 --> 1:09:18.516
<v Speaker 2>see his iPhone see where it was, and I saw

1:09:18.556 --> 1:09:22.396
<v Speaker 2>the blue dot was heading home on McGregor Lane in

1:09:22.516 --> 1:09:26.556
<v Speaker 2>Dripping Springs, and so I'm like, I told Liz, I'm like, oh,

1:09:26.596 --> 1:09:28.356
<v Speaker 2>he's on his way home. I see him. He's good

1:09:28.996 --> 1:09:31.036
<v Speaker 2>and she's like all right, cool. As we keep watching

1:09:31.076 --> 1:09:34.436
<v Speaker 2>the show, and like twenty minutes later, he's not home,

1:09:35.356 --> 1:09:38.356
<v Speaker 2>and he would have been like ten or fifteen minutes

1:09:38.396 --> 1:09:41.276
<v Speaker 2>away from home. So that was a little weird. So

1:09:41.436 --> 1:09:45.956
<v Speaker 2>I pull up Find My and the dots in the

1:09:45.996 --> 1:09:52.836
<v Speaker 2>same spot that it was when I looked twenty minutes ago,

1:09:52.876 --> 1:09:55.516
<v Speaker 2>and so I stood up and I'm like, hey, something's

1:09:55.556 --> 1:09:58.516
<v Speaker 2>not right. I'm gonna go check on Dorian, like maybe

1:09:58.516 --> 1:10:00.836
<v Speaker 2>flat tire or something or you know what I mean.

1:10:00.876 --> 1:10:04.276
<v Speaker 2>I'm just like anything. And there's like not really good

1:10:04.276 --> 1:10:07.036
<v Speaker 2>cell phone service over there. That's you know, we're in

1:10:07.076 --> 1:10:09.156
<v Speaker 2>the boonies. So like I know that road, and and

1:10:10.596 --> 1:10:13.076
<v Speaker 2>so I hop in the car and I just like

1:10:13.476 --> 1:10:17.476
<v Speaker 2>race down because you know, it's like every parent's worst

1:10:17.556 --> 1:10:20.516
<v Speaker 2>nightmare is that thought. You always think.

1:10:20.516 --> 1:10:21.556
<v Speaker 1>This is a thought.

1:10:21.676 --> 1:10:23.916
<v Speaker 2>It's always a thought. Be the worst of the worst

1:10:23.996 --> 1:10:27.076
<v Speaker 2>is what you think, and it never happens luckily, and

1:10:27.156 --> 1:10:30.116
<v Speaker 2>so you know, but I'm having a feeling, so like

1:10:30.156 --> 1:10:35.236
<v Speaker 2>I'm fucking speeding, racing down, and it was kind of

1:10:35.436 --> 1:10:38.516
<v Speaker 2>first weird thing was there were no deer on the side.

1:10:38.636 --> 1:10:42.556
<v Speaker 2>Usually at night out here there's you'll see deer on

1:10:42.596 --> 1:10:44.476
<v Speaker 2>the side of the road or see it's kind of

1:10:44.516 --> 1:10:46.636
<v Speaker 2>you know, but there was like the seas were parted.

1:10:46.716 --> 1:10:48.276
<v Speaker 2>It was a kind of the only thing I can

1:10:48.316 --> 1:10:51.956
<v Speaker 2>think of is like there were no animals. There was

1:10:51.996 --> 1:10:55.556
<v Speaker 2>one car that kind of drove towards me, that passed

1:10:55.596 --> 1:10:59.356
<v Speaker 2>me on the road at one point headlights and then

1:10:59.556 --> 1:11:02.836
<v Speaker 2>I'm just like hammering down and I make this turn

1:11:03.476 --> 1:11:10.956
<v Speaker 2>and I'm going on straightaway and I see all the lights, blue, red, flashing, spinning,

1:11:11.116 --> 1:11:16.436
<v Speaker 2>and I'm like, oh, fuck, okay, what something's up. I

1:11:16.596 --> 1:11:22.796
<v Speaker 2>race up fire trucks, cop cars. There's a little red

1:11:22.836 --> 1:11:25.476
<v Speaker 2>car on the side of the road with a young

1:11:25.556 --> 1:11:28.996
<v Speaker 2>lady standing there, shell shocked, just kind of standing by

1:11:29.076 --> 1:11:33.196
<v Speaker 2>her car. I pull right up to there's cones. I

1:11:33.516 --> 1:11:36.876
<v Speaker 2>jump out of the car. I start running towards the

1:11:36.916 --> 1:11:39.116
<v Speaker 2>police and everybody. I'm like, where is he? Where is he?

1:11:39.116 --> 1:11:41.236
<v Speaker 2>He's my son? Where is he? I look to my left,

1:11:41.276 --> 1:11:44.156
<v Speaker 2>I see the car. The door has been cut off.

1:11:45.796 --> 1:11:48.276
<v Speaker 2>He's not in the car. So I'm like, oh, and

1:11:48.676 --> 1:11:51.756
<v Speaker 2>so then a big officer, whoa, whoa, whoa, sir, sir, sir,

1:11:52.476 --> 1:11:54.236
<v Speaker 2>you're not allowed to be here. This is a you know,

1:11:54.396 --> 1:11:56.836
<v Speaker 2>active investigation, the whole thing. I'm like, where is he?

1:11:56.836 --> 1:11:59.876
<v Speaker 2>He's my son, I'm his father, Like what you know?

1:12:00.276 --> 1:12:03.196
<v Speaker 2>Where is he? And he was like, sir, you don't

1:12:03.236 --> 1:12:06.116
<v Speaker 2>want to go over there, And I'm like, what do

1:12:06.156 --> 1:12:10.276
<v Speaker 2>you mean, Like, hey, I do want to go over there,

1:12:10.276 --> 1:12:12.836
<v Speaker 2>Like I'm his dad, you know, like you don't know me, Like,

1:12:12.876 --> 1:12:16.236
<v Speaker 2>I appreciate you trying to do your job, but like

1:12:16.916 --> 1:12:21.476
<v Speaker 2>if my like is he dead, you know? And he said,

1:12:21.476 --> 1:12:23.036
<v Speaker 2>you don't want to go over there. That's how he

1:12:23.116 --> 1:12:27.676
<v Speaker 2>answered me. And so I knew. So I call Liz.

1:12:28.196 --> 1:12:31.196
<v Speaker 2>You know, I'm just like, honey, you gotta get down here.

1:12:32.676 --> 1:12:35.876
<v Speaker 2>And it's really bad. And she said, what it is

1:12:35.956 --> 1:12:39.836
<v Speaker 2>the worst scream I've ever heard through the phone. Her

1:12:39.876 --> 1:12:42.196
<v Speaker 2>and Juda get in the car the other Luckily we

1:12:42.236 --> 1:12:49.876
<v Speaker 2>had two cars, and her and Juda race down and yeah,

1:12:49.996 --> 1:12:56.076
<v Speaker 2>and Dorian was dead. Car crash, the red car that

1:12:56.196 --> 1:13:00.996
<v Speaker 2>was there. This young lady, she said she was driving

1:13:01.716 --> 1:13:05.916
<v Speaker 2>and Dorian was in front of her, and she saw

1:13:06.516 --> 1:13:12.156
<v Speaker 2>a big black truck driving toward them, and the black

1:13:12.196 --> 1:13:18.156
<v Speaker 2>truck went into Dorian into their lane. Dorian tried to

1:13:18.236 --> 1:13:22.916
<v Speaker 2>correct to the right. A month prior, we had that

1:13:23.156 --> 1:13:25.596
<v Speaker 2>huge freeze. This is twenty twenty three, there was some

1:13:25.716 --> 1:13:28.956
<v Speaker 2>crazy blizzard freeze in Texas that kind of made the news,

1:13:29.076 --> 1:13:31.956
<v Speaker 2>you know. So there were all these broken branches. The

1:13:31.956 --> 1:13:34.796
<v Speaker 2>weight of the ice would break branches and so the

1:13:34.836 --> 1:13:37.196
<v Speaker 2>side of the road was littered with these branches. Okay,

1:13:37.516 --> 1:13:43.876
<v Speaker 2>broken branches Dorian swerved to the right, and a branch

1:13:44.596 --> 1:13:50.276
<v Speaker 2>happened to be exactly at his head height, pierced through

1:13:50.276 --> 1:13:52.276
<v Speaker 2>the windshield and hit him in the head and that

1:13:52.396 --> 1:13:55.236
<v Speaker 2>was it. Instant, didn't feel a thing, didn't even probably

1:13:55.236 --> 1:14:01.276
<v Speaker 2>know what the hell happened. And so the girl in

1:14:01.316 --> 1:14:07.156
<v Speaker 2>the red car basically saw him swerve, but also thought

1:14:07.236 --> 1:14:10.236
<v Speaker 2>that maybe he just turned into a dry and then

1:14:10.276 --> 1:14:13.356
<v Speaker 2>when she went by him, she saw no, there's like

1:14:13.396 --> 1:14:16.476
<v Speaker 2>a car in the woods, and so she freaked out,

1:14:16.556 --> 1:14:18.556
<v Speaker 2>called nine one one, Thank god she was there. She

1:14:18.916 --> 1:14:22.076
<v Speaker 2>you know, called nine one one. They said the black

1:14:22.116 --> 1:14:24.476
<v Speaker 2>truck might not even know what happened, like it could

1:14:24.476 --> 1:14:27.796
<v Speaker 2>have been just like kind of didn't see what was going, like, oh,

1:14:27.916 --> 1:14:29.796
<v Speaker 2>kind of swerved and then you know, you don't think

1:14:29.836 --> 1:14:31.716
<v Speaker 2>that like just a little action is going to like

1:14:31.876 --> 1:14:35.356
<v Speaker 2>kill someone. So we don't know who was driving the

1:14:35.356 --> 1:14:37.916
<v Speaker 2>black truck. And like, also it's probably good we don't know,

1:14:37.996 --> 1:14:40.796
<v Speaker 2>like I don't, you know, like that's just it is

1:14:40.836 --> 1:14:43.876
<v Speaker 2>what it is, and hopefully they don't have any clue.

1:14:44.036 --> 1:14:46.436
<v Speaker 2>That'd be a lot better to live with just not knowing.

1:14:47.436 --> 1:14:51.436
<v Speaker 2>So yeah, so that was when my life really changed.

1:14:51.876 --> 1:14:55.196
<v Speaker 2>Driving home, the three of us instead of the four

1:14:55.236 --> 1:15:01.076
<v Speaker 2>of us, you know, wof And finally one of the

1:15:01.116 --> 1:15:04.716
<v Speaker 2>guys let me go see him. It's like, I have

1:15:04.756 --> 1:15:07.436
<v Speaker 2>to see him. And they apparently when they got to

1:15:07.436 --> 1:15:09.556
<v Speaker 2>the scene, they tried to resuscitate him. He was so

1:15:09.676 --> 1:15:12.996
<v Speaker 2>gone instantly, but they had him in the middle of

1:15:12.996 --> 1:15:17.636
<v Speaker 2>the road covered in a blanket, and I lifted the blanket,

1:15:17.676 --> 1:15:22.116
<v Speaker 2>I saw him and kissed him, and then the judge came,

1:15:22.196 --> 1:15:26.436
<v Speaker 2>the local Hayes County judge to pronounce him dead. It's

1:15:26.476 --> 1:15:29.076
<v Speaker 2>like all the craziest stuff, you know that I find

1:15:29.076 --> 1:15:33.796
<v Speaker 2>myself saying, like this stuff, it's unbelievable. I mean, everyone's

1:15:33.836 --> 1:15:35.916
<v Speaker 2>devastated at this scene. You know, I just lost my

1:15:36.036 --> 1:15:39.676
<v Speaker 2>sixteen year old son. And the judge said, if you

1:15:39.716 --> 1:15:44.036
<v Speaker 2>need anything, twenty four to seven, here's my cell phone.

1:15:44.236 --> 1:15:46.796
<v Speaker 2>And then of course they're like, what are we doing

1:15:46.836 --> 1:15:49.716
<v Speaker 2>with the body? And I'm like, well, god, like, I

1:15:49.756 --> 1:15:51.356
<v Speaker 2>don't even know what we're doing with my parents when

1:15:51.396 --> 1:15:53.916
<v Speaker 2>they die, like, let alone my son. So I need

1:15:53.916 --> 1:15:58.836
<v Speaker 2>to think this through. Now this is really weird. Rewind

1:15:58.956 --> 1:16:03.916
<v Speaker 2>four years. We're here, we just bought the property, and

1:16:04.916 --> 1:16:07.076
<v Speaker 2>we're hanging with my mom and dad and we're talking

1:16:07.076 --> 1:16:09.916
<v Speaker 2>about end of life, you know, we're talking about. Okay, Mom, Dad,

1:16:09.916 --> 1:16:11.276
<v Speaker 2>like what do you guys, Like, where do you want

1:16:11.316 --> 1:16:13.836
<v Speaker 2>to be buried? Like, you know, in the spiritual side

1:16:13.876 --> 1:16:16.116
<v Speaker 2>of me. And I think the way I am is

1:16:16.156 --> 1:16:18.796
<v Speaker 2>because I'm an artist and I've lived in chaos my

1:16:18.836 --> 1:16:21.556
<v Speaker 2>whole life since i was a kid thrown into music.

1:16:22.236 --> 1:16:26.996
<v Speaker 2>I really crave order and a schedule and a routine

1:16:27.196 --> 1:16:31.396
<v Speaker 2>and consistency. I really crave it, you know, So conversations

1:16:31.436 --> 1:16:32.916
<v Speaker 2>like this is kind of I think part of me

1:16:33.036 --> 1:16:36.756
<v Speaker 2>trying to like know what the hell's happening. So having

1:16:36.756 --> 1:16:39.396
<v Speaker 2>this conversation with my mom and dad, like, well, we

1:16:39.476 --> 1:16:42.716
<v Speaker 2>got these two plots up in Maryland, you know. I'm like,

1:16:42.716 --> 1:16:45.036
<v Speaker 2>well that sounds lame, like I don't know, And I

1:16:45.076 --> 1:16:47.316
<v Speaker 2>was like why. I know, Like I've heard of like

1:16:47.516 --> 1:16:51.036
<v Speaker 2>family cemeteries out in Texas, you know, like on ranches

1:16:51.076 --> 1:16:54.116
<v Speaker 2>and stuff, and so I started looking into it four

1:16:54.196 --> 1:16:58.236
<v Speaker 2>years ago and I'm like reading the criteria and I'm like, okay,

1:16:58.276 --> 1:17:01.516
<v Speaker 2>like we check all the points, like you have to

1:17:01.556 --> 1:17:04.476
<v Speaker 2>when when you create a cemetery on your property, you

1:17:04.556 --> 1:17:08.116
<v Speaker 2>have to basically section it off and survey it. It

1:17:08.316 --> 1:17:13.036
<v Speaker 2>becomes a detached from your property and becomes Parkland, Texas state. Well,

1:17:13.076 --> 1:17:15.436
<v Speaker 2>it's private parkland, but it's part of the state of

1:17:15.476 --> 1:17:18.356
<v Speaker 2>Texas at that point because like who knows what happens

1:17:18.396 --> 1:17:21.716
<v Speaker 2>to your property, but the cemetery is forever told my

1:17:21.836 --> 1:17:24.076
<v Speaker 2>parents and Liz, I'm like, dude, we could actually do

1:17:24.156 --> 1:17:27.516
<v Speaker 2>like this family cemetery. And they're like really, like that's

1:17:27.596 --> 1:17:29.836
<v Speaker 2>a little morbid. I'm like yeah, but like it could

1:17:29.916 --> 1:17:31.956
<v Speaker 2>be a thing, like then we'll all know like where

1:17:31.956 --> 1:17:35.076
<v Speaker 2>we're buried. And and the boys loved this, by the way,

1:17:35.196 --> 1:17:38.356
<v Speaker 2>like Judah and Dorian were all about having a cemetery

1:17:38.636 --> 1:17:40.636
<v Speaker 2>because they were like, oh in like ghost stories and

1:17:40.716 --> 1:17:43.956
<v Speaker 2>like you know, like just like cool like boyshit, you know,

1:17:44.196 --> 1:17:49.116
<v Speaker 2>kids stuff. And so we actually hiked around, the three

1:17:49.156 --> 1:17:52.676
<v Speaker 2>of us to like try to find our spot. And

1:17:52.796 --> 1:18:00.116
<v Speaker 2>so we seriously found a great spot for our family cemetery. Okay,

1:18:00.516 --> 1:18:02.836
<v Speaker 2>that was years ago. Then everyone's like, dude, kind of

1:18:02.836 --> 1:18:04.476
<v Speaker 2>give up them, and I'm like, you're right, it's a

1:18:04.476 --> 1:18:08.036
<v Speaker 2>little weird. So I moved on from that. So we're

1:18:08.076 --> 1:18:10.316
<v Speaker 2>driving home, We're like, what the fuck do we do?

1:18:10.996 --> 1:18:13.756
<v Speaker 2>And Liz said, well, we should call the rabbi. And

1:18:13.796 --> 1:18:16.236
<v Speaker 2>that's when you realize like, oh yeah, like priests and

1:18:16.316 --> 1:18:19.436
<v Speaker 2>rabbis like, no matter what you think, times like this

1:18:19.476 --> 1:18:21.956
<v Speaker 2>is when you realize they serve a really good role

1:18:22.076 --> 1:18:25.796
<v Speaker 2>in this world, you know. Yes, And so we called

1:18:25.876 --> 1:18:31.036
<v Speaker 2>Rabbi Folberg, who bar Mitzvah Dorian, who's been part of

1:18:31.076 --> 1:18:33.316
<v Speaker 2>our lives ever since we moved to Austin, you know,

1:18:33.356 --> 1:18:36.556
<v Speaker 2>since he was a little baby. So I called Rabbi Folbrog.

1:18:36.596 --> 1:18:39.316
<v Speaker 2>I'm like, you're not going to believe this. Dorian's dead

1:18:39.756 --> 1:18:45.436
<v Speaker 2>car crash. And so he introduced me to this funeral director, Mitzi,

1:18:45.556 --> 1:18:48.356
<v Speaker 2>who is incredible through the process. And so I get

1:18:48.396 --> 1:18:52.236
<v Speaker 2>on the phone with Mitzi and she's like, oh, Austin's

1:18:52.356 --> 1:18:58.236
<v Speaker 2>very populated cemeteries. She's like, I'm like, this is kind

1:18:58.236 --> 1:19:00.836
<v Speaker 2>of weird, but like, have you ever done a family burial,

1:19:00.956 --> 1:19:03.476
<v Speaker 2>like on people's property? And she's like, oh, I did

1:19:03.516 --> 1:19:06.676
<v Speaker 2>one in West Texas. Once I said, well, I know

1:19:06.716 --> 1:19:09.796
<v Speaker 2>this sounds weird, but like I already know I researched

1:19:09.796 --> 1:19:12.356
<v Speaker 2>this a few years ago and I know that we

1:19:12.636 --> 1:19:16.596
<v Speaker 2>qualify to do it. She's like, oh, well, that takes

1:19:16.956 --> 1:19:19.436
<v Speaker 2>like months, you know, to approve for the state to

1:19:19.476 --> 1:19:23.316
<v Speaker 2>approve something like that, and She's like, but you told

1:19:23.316 --> 1:19:26.356
<v Speaker 2>me that judge gave you his number and said call

1:19:26.436 --> 1:19:29.916
<v Speaker 2>him twenty four to seven. He's like, if anyone can

1:19:30.076 --> 1:19:32.156
<v Speaker 2>make something like this happen, it would be that judge.

1:19:32.156 --> 1:19:34.716
<v Speaker 2>So it's like, okay, So I called the judge of

1:19:34.756 --> 1:19:40.156
<v Speaker 2>Hayes County and I said, Judge, it's mister Queller, Dorian's dad.

1:19:40.596 --> 1:19:43.476
<v Speaker 2>I know, you know this is a little strange, but

1:19:44.636 --> 1:19:47.276
<v Speaker 2>we can do a family cemetery on our property. I

1:19:47.396 --> 1:19:50.476
<v Speaker 2>just I never set that up, you know, like it's

1:19:50.556 --> 1:19:53.636
<v Speaker 2>that is we want to bury him here on the ranch,

1:19:54.236 --> 1:19:59.756
<v Speaker 2>can we? He said, ah, he said, dude, that takes months.

1:19:59.996 --> 1:20:01.636
<v Speaker 2>You know. He's like telling me the same thing. He's like,

1:20:02.196 --> 1:20:04.196
<v Speaker 2>but he said, let me make a call. We'll get

1:20:04.196 --> 1:20:06.196
<v Speaker 2>back to you. So an hour later, the judge calls

1:20:06.236 --> 1:20:09.116
<v Speaker 2>me and says, mister Queller, your son was so important

1:20:09.196 --> 1:20:12.596
<v Speaker 2>of this community. The state of Texas is going to

1:20:12.676 --> 1:20:15.236
<v Speaker 2>green light this. Just get him into the ground and

1:20:15.276 --> 1:20:19.996
<v Speaker 2>we'll deal with the paperwork later. And that was the

1:20:20.036 --> 1:20:24.076
<v Speaker 2>first moment where I felt like I could control something.

1:20:24.796 --> 1:20:29.076
<v Speaker 2>Because when something like this happens and it shatters you

1:20:29.196 --> 1:20:33.196
<v Speaker 2>so wide open, it's complete chaos, and it shows you

1:20:33.236 --> 1:20:37.356
<v Speaker 2>how little control we have over anything, and so for

1:20:37.436 --> 1:20:39.476
<v Speaker 2>me to be able to call a shot, you know,

1:20:41.156 --> 1:20:45.236
<v Speaker 2>was like just it was everything in that moment for me.

1:20:46.516 --> 1:20:49.716
<v Speaker 2>And so then Jewish custom, you know, you're supposed to

1:20:49.716 --> 1:20:52.236
<v Speaker 2>get the body in the ground pretty quick, twenty four hours.

1:20:52.236 --> 1:20:54.876
<v Speaker 2>We don't do embalming or anything. You go in a

1:20:54.956 --> 1:20:57.956
<v Speaker 2>pine box that just you know, goes back into the earth.

1:20:58.076 --> 1:21:02.596
<v Speaker 2>Very simple, very you know. And so I called Mitzi

1:21:02.636 --> 1:21:05.156
<v Speaker 2>from the funeral home. I said, and I'm like, well,

1:21:05.196 --> 1:21:09.636
<v Speaker 2>who who digs the grave? You know? And she's like, well,

1:21:09.756 --> 1:21:12.036
<v Speaker 2>you really just need someone who can dig. She's like

1:21:12.356 --> 1:21:14.436
<v Speaker 2>there's a specific measurements. She's like she's rattling off the

1:21:14.436 --> 1:21:16.556
<v Speaker 2>measure She's like it needs to be like seven feet long,

1:21:16.636 --> 1:21:18.916
<v Speaker 2>by this and by this depth, you know, real deep.

1:21:19.836 --> 1:21:21.276
<v Speaker 2>And I was like, I know who I'm gonna call.

1:21:22.076 --> 1:21:26.436
<v Speaker 2>Bobby Stevens, the dude who moved the house here, who

1:21:26.436 --> 1:21:32.396
<v Speaker 2>moved the barn here. Yeah, he exactly. So I called

1:21:32.476 --> 1:21:35.556
<v Speaker 2>Bobby Stevens and word it guy. I mean people knew

1:21:35.556 --> 1:21:37.436
<v Speaker 2>at this point. This is maybe a two days later

1:21:37.516 --> 1:21:42.116
<v Speaker 2>or something. And I called Bob, having, Bobby, have you

1:21:42.156 --> 1:21:45.876
<v Speaker 2>ever dug a grave before? And He's like I can't

1:21:45.916 --> 1:21:49.796
<v Speaker 2>say I have, but I would for you. And I

1:21:49.916 --> 1:21:52.156
<v Speaker 2>was like, I just start crying. I'm like, oh, Bobby,

1:21:52.436 --> 1:21:55.636
<v Speaker 2>I'm like, all right, dude, bring your whatever, your back

1:21:55.676 --> 1:21:58.876
<v Speaker 2>ho or tractors, you know, your digger, bring it over,

1:21:58.996 --> 1:22:02.716
<v Speaker 2>you know. And dude, that guy dug the grave. So

1:22:02.796 --> 1:22:04.836
<v Speaker 2>before you leave, we'll walk over to that spot. I'll

1:22:04.876 --> 1:22:10.196
<v Speaker 2>show you. So now this is acred land like it

1:22:10.316 --> 1:22:14.076
<v Speaker 2>already was, but it's like it's like such another level

1:22:14.876 --> 1:22:18.876
<v Speaker 2>for me to be creative here and like and Dorian

1:22:18.996 --> 1:22:21.276
<v Speaker 2>was just trying to get home and so we were

1:22:21.316 --> 1:22:22.836
<v Speaker 2>able to bring him home and he's here so we

1:22:22.836 --> 1:22:25.676
<v Speaker 2>can go sit with them. You know. We got his

1:22:25.756 --> 1:22:28.276
<v Speaker 2>picture up over the door. He's always looking down on

1:22:28.356 --> 1:22:31.596
<v Speaker 2>us and so yeah, he's still with me.

1:22:31.796 --> 1:22:31.996
<v Speaker 3>You know.

1:22:33.676 --> 1:22:40.356
<v Speaker 1>We'll be back with more from Bankweller. How did you

1:22:40.396 --> 1:22:45.476
<v Speaker 1>guys as a family process or not process or continue on?

1:22:47.076 --> 1:22:53.236
<v Speaker 2>Well, they say God only gives us the things we

1:22:53.276 --> 1:22:59.316
<v Speaker 2>can handle. And I believe that. It's really funny, like

1:22:59.396 --> 1:23:02.836
<v Speaker 2>all the cliches and you find as a father, like

1:23:02.876 --> 1:23:04.916
<v Speaker 2>you know, it's there's so many cliches you hear, like

1:23:06.756 --> 1:23:10.316
<v Speaker 2>when you you know, have kids, like oh, someone will

1:23:10.316 --> 1:23:12.716
<v Speaker 2>tell you you're having your first baby, and they're like, oh, man,

1:23:13.076 --> 1:23:15.356
<v Speaker 2>savor every moment, and you're like, hey, you know, but

1:23:15.476 --> 1:23:19.076
<v Speaker 2>like all the cliches are so true. You know, That's

1:23:19.116 --> 1:23:22.036
<v Speaker 2>what you realize as you get older, right, and just like.

1:23:22.076 --> 1:23:25.836
<v Speaker 1>The priests and rabbis, Yeah, you sometimes lived your life

1:23:25.996 --> 1:23:27.316
<v Speaker 1>not considering them.

1:23:27.316 --> 1:23:31.156
<v Speaker 2>No, but like actually like not liking them and whatever reason.

1:23:30.916 --> 1:23:33.076
<v Speaker 1>You know what I mean, And then you realize there's

1:23:33.116 --> 1:23:36.356
<v Speaker 1>a moment where you need them, and cliches like tradition

1:23:36.436 --> 1:23:40.036
<v Speaker 1>in that way, cliches are really this just universal thing glee.

1:23:40.356 --> 1:23:43.876
<v Speaker 2>And so there's that one. You know, someone told us,

1:23:43.916 --> 1:23:46.436
<v Speaker 2>you know, well, God only gives us things we can handle,

1:23:46.556 --> 1:23:53.076
<v Speaker 2>and and maybe that's true, and maybe it was always written.

1:23:53.236 --> 1:23:56.076
<v Speaker 2>You know that Dorian was only going to live to

1:23:56.076 --> 1:23:59.916
<v Speaker 2>be sixteen. And luckily Liz and I were so strong

1:23:59.956 --> 1:24:02.836
<v Speaker 2>and our bond with Judah and Judah and Dorian were

1:24:02.916 --> 1:24:05.516
<v Speaker 2>so close. And my mom has a theory that we

1:24:05.636 --> 1:24:09.036
<v Speaker 2>choose our parents like that, like you know, before you

1:24:09.156 --> 1:24:11.676
<v Speaker 2>you're born, you get kind of they're like, hey, you

1:24:11.716 --> 1:24:16.116
<v Speaker 2>can go to these parents or these parents, and you

1:24:16.196 --> 1:24:18.636
<v Speaker 2>kind of get your soul gets to decide, and so

1:24:18.676 --> 1:24:21.956
<v Speaker 2>it's kind of this interesting fun game to kind of

1:24:22.116 --> 1:24:25.156
<v Speaker 2>think through of, Like, so Dorian souls about to come

1:24:25.196 --> 1:24:29.036
<v Speaker 2>to earth and they're like, well, so there's this Ben

1:24:29.036 --> 1:24:31.796
<v Speaker 2>and Liz. You know, the dad's a musician. You always

1:24:32.076 --> 1:24:34.396
<v Speaker 2>wanted to be a musician and you weren't able to

1:24:34.436 --> 1:24:37.476
<v Speaker 2>really do it in your past lives. But this one's

1:24:37.516 --> 1:24:39.996
<v Speaker 2>gonna could be really good for you. Dorian. You're gonna

1:24:40.036 --> 1:24:44.836
<v Speaker 2>have this little brother, Judah you're gonna really love. But

1:24:44.956 --> 1:24:46.996
<v Speaker 2>the bummer is you're only going to live to be sixteen,

1:24:47.116 --> 1:24:49.196
<v Speaker 2>you know, So it's gonna be like a short bang

1:24:49.516 --> 1:24:51.796
<v Speaker 2>like you know, but dude, you're gonna do so much

1:24:52.516 --> 1:24:55.356
<v Speaker 2>and you're gonna make such a big impact, and that

1:24:55.476 --> 1:24:57.716
<v Speaker 2>Judah is gonna be good. Like we're making it where

1:24:57.796 --> 1:24:59.916
<v Speaker 2>Judah is going to be really strong so he'll be

1:24:59.956 --> 1:25:02.436
<v Speaker 2>able to handle this. Your parents have already been through

1:25:02.436 --> 1:25:05.956
<v Speaker 2>dimer tragedies. You know, your mom lost her mom when

1:25:05.956 --> 1:25:09.396
<v Speaker 2>she was eight. So like that, I like to kind

1:25:09.436 --> 1:25:12.916
<v Speaker 2>of game that out. It's again, it lets me feel

1:25:12.956 --> 1:25:16.036
<v Speaker 2>like everything is okay because it was meant to be

1:25:16.156 --> 1:25:16.596
<v Speaker 2>that way.

1:25:16.956 --> 1:25:19.916
<v Speaker 1>Yeah, so it's a really beautiful thought.

1:25:20.356 --> 1:25:21.716
<v Speaker 2>So yeah, how did we handle it?

1:25:21.836 --> 1:25:22.036
<v Speaker 5>Yeah?

1:25:22.156 --> 1:25:24.876
<v Speaker 2>We just one step at a time, one breath at

1:25:24.916 --> 1:25:25.516
<v Speaker 2>a time.

1:25:26.156 --> 1:25:30.556
<v Speaker 1>As a musician, How did it impact you creatively?

1:25:31.276 --> 1:25:37.636
<v Speaker 2>So immediately, absolutely zero drive or desire to create anything.

1:25:38.276 --> 1:25:42.276
<v Speaker 2>That's actually thinking about cliches. That's actually one cliche that's

1:25:42.276 --> 1:25:44.436
<v Speaker 2>always been false, at least for me, you know, the

1:25:44.436 --> 1:25:46.716
<v Speaker 2>one where they say, ah, to make good art, you

1:25:46.756 --> 1:25:49.716
<v Speaker 2>got to be depressed and fucked up, and I may

1:25:49.836 --> 1:25:52.356
<v Speaker 2>I don't even make art if I'm depressed and fucked up.

1:25:52.756 --> 1:25:54.676
<v Speaker 2>I actually have to be in a good state of mind.

1:25:55.076 --> 1:25:58.276
<v Speaker 2>So when this all went down, I'm just on the couch,

1:25:58.356 --> 1:26:02.436
<v Speaker 2>like we're just mourning and it's so horrible. And so

1:26:03.276 --> 1:26:06.476
<v Speaker 2>I think it was only you know, maybe a few

1:26:06.516 --> 1:26:09.876
<v Speaker 2>months later when when song ideas start coming to me

1:26:10.876 --> 1:26:14.196
<v Speaker 2>and I wanted that music. Songwriting has just been the

1:26:14.236 --> 1:26:17.516
<v Speaker 2>one thing in my life since I was eight years old.

1:26:18.156 --> 1:26:22.196
<v Speaker 2>That's been the constant, you know, through everything, and so

1:26:22.316 --> 1:26:24.756
<v Speaker 2>I was really happy when a melody came to me

1:26:24.876 --> 1:26:28.356
<v Speaker 2>or a phrase idea or something. I'd walk out to

1:26:28.436 --> 1:26:31.516
<v Speaker 2>the grave, you know, be like, dude, send me some songs, man, Like,

1:26:31.596 --> 1:26:34.356
<v Speaker 2>send me some cool ideas. Dude, Like let's keep this going,

1:26:34.916 --> 1:26:38.956
<v Speaker 2>you know, like let's write a song together, you know.

1:26:39.436 --> 1:26:43.556
<v Speaker 2>And so I would. I started writing, and so that

1:26:43.596 --> 1:26:46.796
<v Speaker 2>became this new album which is called Cover the Mirrors,

1:26:47.556 --> 1:26:52.236
<v Speaker 2>and I call it sort of a moody album, but

1:26:52.316 --> 1:26:55.716
<v Speaker 2>maybe it's not. I'm really bad at talking about my music.

1:26:55.956 --> 1:26:59.676
<v Speaker 2>I really know nothing, but to me, it's a moody,

1:26:59.876 --> 1:27:02.556
<v Speaker 2>sort of down tempo album. There are some rockers and

1:27:02.596 --> 1:27:05.596
<v Speaker 2>there's some like up tempo things, but generally for me,

1:27:05.676 --> 1:27:07.676
<v Speaker 2>it's definitely like a somber feeling.

1:27:08.196 --> 1:27:12.156
<v Speaker 1>Do the songs directly deal with your loss.

1:27:11.996 --> 1:27:16.916
<v Speaker 2>Or yeah, yeah, I think they all do. They all

1:27:17.076 --> 1:27:21.436
<v Speaker 2>definitely to me touch on all the aspects of what

1:27:21.476 --> 1:27:24.956
<v Speaker 2>I've gone through since losing him. The casual list and

1:27:25.036 --> 1:27:28.036
<v Speaker 2>you might not hear every reference being like, oh yeah,

1:27:28.076 --> 1:27:32.316
<v Speaker 2>that's about he lost his son, but it is. You know,

1:27:32.516 --> 1:27:36.196
<v Speaker 2>still I have most of the same emotions that I

1:27:36.196 --> 1:27:39.196
<v Speaker 2>did prior to losing him. It's just this big wound

1:27:39.236 --> 1:27:41.716
<v Speaker 2>in my heart, you know, that's the difference now. But

1:27:41.756 --> 1:27:47.236
<v Speaker 2>I'm still like the same guy. And talking to other

1:27:47.316 --> 1:27:51.516
<v Speaker 2>people that lost children has been a great help for me.

1:27:52.436 --> 1:27:55.836
<v Speaker 2>And there's one guy that I spoke to and he

1:27:55.956 --> 1:27:58.676
<v Speaker 2>told me something really interesting that was, you know, I

1:27:58.716 --> 1:28:01.836
<v Speaker 2>hate to tell you this, but but like now you

1:28:01.876 --> 1:28:04.876
<v Speaker 2>have a superpower. You never wanted it, but you have

1:28:04.956 --> 1:28:08.916
<v Speaker 2>it now. And what it is is like your normal

1:28:09.116 --> 1:28:12.516
<v Speaker 2>happiness scale, Like happiness is kind of here up here,

1:28:12.836 --> 1:28:16.916
<v Speaker 2>and your sadness is like down here. But now your

1:28:16.996 --> 1:28:20.916
<v Speaker 2>happiness is way up here, but your sadness is way

1:28:20.956 --> 1:28:29.396
<v Speaker 2>down there. And also your like spectrum band of empathy

1:28:29.556 --> 1:28:32.556
<v Speaker 2>has just increased. And so like it's like this weird

1:28:33.076 --> 1:28:36.076
<v Speaker 2>like what you've lost everything, but you've also gained this

1:28:36.156 --> 1:28:39.316
<v Speaker 2>new superpower. That's always explaining it to me. It's kind

1:28:39.356 --> 1:28:43.316
<v Speaker 2>of interesting because I feel that, and so it's kind

1:28:43.316 --> 1:28:46.356
<v Speaker 2>of been fascinating too, like just in the songwriting process too,

1:28:46.356 --> 1:28:48.956
<v Speaker 2>and just like lyrics and I don't know, they hit

1:28:48.996 --> 1:28:52.596
<v Speaker 2>differently from me, you know, certain ideas and concepts.

1:28:53.356 --> 1:28:58.756
<v Speaker 1>Well, I mean the new album is really it's really beautiful,

1:28:58.996 --> 1:29:02.916
<v Speaker 1>you know, thank you, not only just the writing, but

1:29:03.196 --> 1:29:07.396
<v Speaker 1>there's a depth that sonically and in your voice and

1:29:07.396 --> 1:29:09.916
<v Speaker 1>in the chords and yeah, just anthing to it that's

1:29:09.956 --> 1:29:13.356
<v Speaker 1>really just sounds gorgeous.

1:29:13.836 --> 1:29:15.036
<v Speaker 2>Oh well, thank you.

1:29:15.676 --> 1:29:18.956
<v Speaker 1>Would you mind if you're up for playing breaks?

1:29:19.756 --> 1:29:20.836
<v Speaker 2>Whoa Breaks?

1:29:20.876 --> 1:29:22.956
<v Speaker 1>It's one of my favorite songs from it so far.

1:29:23.116 --> 1:29:25.476
<v Speaker 1>I mean, you know, I'm so.

1:29:25.476 --> 1:29:28.876
<v Speaker 2>Happy you want to hear this one because I've actually

1:29:28.916 --> 1:29:31.636
<v Speaker 2>never performed it before, so this is the first time

1:29:32.796 --> 1:29:36.556
<v Speaker 2>to sing this for anybody. This is called breaks.

1:29:38.196 --> 1:29:44.396
<v Speaker 3>When you think about being away from you want to

1:29:46.956 --> 1:29:53.996
<v Speaker 3>you convince yourself it'll be okay, but it's not being

1:29:54.316 --> 1:30:05.716
<v Speaker 3>u at first, it's enough, but time makes it.

1:30:05.716 --> 1:30:08.316
<v Speaker 4>It's the breaks. It always breaks a.

1:30:10.396 --> 1:30:13.956
<v Speaker 3>It's the breaks, it always breaks the hard.

1:30:15.116 --> 1:30:15.996
<v Speaker 4>It's the ticks.

1:30:16.076 --> 1:30:21.356
<v Speaker 3>It always takes, feeling that wakes, the moment that the

1:30:21.556 --> 1:30:34.156
<v Speaker 3>falls a pr Yeah, A word sounds sweet. On the

1:30:34.236 --> 1:30:43.556
<v Speaker 3>other end of that line, I'm paralyzed by the state

1:30:43.756 --> 1:30:47.196
<v Speaker 3>arm in lou it's in.

1:30:47.316 --> 1:30:50.556
<v Speaker 4>My mind, my crag.

1:30:51.916 --> 1:30:57.436
<v Speaker 5>Z min crazy haze in mind.

1:30:58.996 --> 1:31:02.356
<v Speaker 3>It's the breaks, it always breaks the hard.

1:31:03.556 --> 1:31:08.996
<v Speaker 4>It's the breaks, it always breaks. The hart. It's the text.

1:31:09.276 --> 1:31:13.036
<v Speaker 3>It always takes, the feeling that at a wakes, the

1:31:13.196 --> 1:31:26.796
<v Speaker 3>moment that it falls apart. Yeah, walking hotel always like

1:31:26.956 --> 1:31:35.716
<v Speaker 3>Olympic tracks, shoot after shoot, talking to myself to stop

1:31:35.796 --> 1:31:40.596
<v Speaker 3>and stretch my back, just boiling for you.

1:31:44.596 --> 1:31:51.836
<v Speaker 4>For two There's absolutely nothing I can do because it's

1:31:51.916 --> 1:31:52.516
<v Speaker 4>the breaks.

1:31:52.596 --> 1:31:57.876
<v Speaker 3>It always breaks the hart. It's the breaks, it always

1:31:57.996 --> 1:32:03.396
<v Speaker 3>breaks the hard. It's the takes, it always takes the

1:32:03.476 --> 1:32:06.876
<v Speaker 3>feeling that awakes the moment.

1:32:06.556 --> 1:32:09.236
<v Speaker 4>That it falls Apard.

1:32:10.396 --> 1:32:18.876
<v Speaker 5>Yeah, same phone call.

1:32:19.116 --> 1:32:20.716
<v Speaker 4>What you do today?

1:32:21.956 --> 1:32:22.196
<v Speaker 5>Cool?

1:32:23.436 --> 1:32:29.276
<v Speaker 3>Gotta go? How could all those hours give us nothing

1:32:29.436 --> 1:32:33.436
<v Speaker 3>to say? I never know.

1:32:35.236 --> 1:32:36.116
<v Speaker 4>My day.

1:32:37.516 --> 1:32:44.036
<v Speaker 3>Move slow still, they give me nothing. I can't show you.

1:32:44.556 --> 1:32:46.836
<v Speaker 3>But the breaks it always breaks.

1:32:46.956 --> 1:32:51.556
<v Speaker 4>The harr Yeah, the breaks, it always breaks.

1:32:51.676 --> 1:32:52.636
<v Speaker 5>The harr.

1:32:53.956 --> 1:32:54.916
<v Speaker 4>It's the takes.

1:32:54.956 --> 1:32:59.836
<v Speaker 3>It always takes, the feeling that awakes the moment that

1:33:00.116 --> 1:33:12.196
<v Speaker 3>it falls. Oh yeah, I want to see the world

1:33:12.356 --> 1:33:20.396
<v Speaker 3>through your eyes again. Want my friend standing by, Wanna

1:33:20.556 --> 1:33:26.436
<v Speaker 3>touch a body, Wanna kiss your skin, tuck in, nest

1:33:26.556 --> 1:33:32.676
<v Speaker 3>on mine, hand on your chest, and cry.

1:33:34.516 --> 1:33:38.396
<v Speaker 4>Cry baby cry.

1:33:38.676 --> 1:33:44.476
<v Speaker 3>It's the breaks, it always breaks, the hard. It's the breaks,

1:33:44.556 --> 1:33:50.756
<v Speaker 3>it always breaks, the hard. It's the tikes, it always takes,

1:33:50.836 --> 1:33:58.116
<v Speaker 3>the feeling that awakes the moment day falls apart. It's

1:33:58.116 --> 1:34:03.236
<v Speaker 3>the breaks, it always breaks. The hard Yeah, the breaks,

1:34:03.316 --> 1:34:05.436
<v Speaker 3>it always breaks the hard.

1:34:06.836 --> 1:34:10.076
<v Speaker 4>It's the eggs and make you feel the wounds that

1:34:10.276 --> 1:34:11.236
<v Speaker 4>want to heal.

1:34:11.396 --> 1:34:13.476
<v Speaker 2>From way too much time.

1:34:13.716 --> 1:34:28.836
<v Speaker 7>Apall cry, Babby cry, cry babyaby, cry, cry Babby crying.

1:34:30.956 --> 1:34:39.956
<v Speaker 1>Yeah, it was really beautiful man, Thank you for requesting

1:34:40.036 --> 1:34:43.796
<v Speaker 1>that one. That song. It's like it's like the course

1:34:43.916 --> 1:34:47.036
<v Speaker 1>is already good. With the it's the breaks always break.

1:34:47.156 --> 1:34:48.596
<v Speaker 1>I mean, I love that.

1:34:48.716 --> 1:34:50.916
<v Speaker 2>I don't even know, like grammatically if it even makes

1:34:50.996 --> 1:34:53.556
<v Speaker 2>itse like. But so I've like thought this through, you know,

1:34:53.676 --> 1:34:56.276
<v Speaker 2>because I got called out on a song once. I

1:34:56.356 --> 1:34:59.036
<v Speaker 2>was hanging out with some friends and William H. Macy

1:34:59.196 --> 1:35:02.356
<v Speaker 2>was there. Oh I love this guy, legend Yeah, And

1:35:02.396 --> 1:35:07.396
<v Speaker 2>I played my song Run, and in the chorus of Run,

1:35:08.116 --> 1:35:12.236
<v Speaker 2>it says, since I I was fifteen, I have ran

1:35:13.116 --> 1:35:17.196
<v Speaker 2>everywhere you can run, and Macy was like, I don't

1:35:17.236 --> 1:35:21.196
<v Speaker 2>know if that's correct. Since I was fifteen, I have ran.

1:35:21.956 --> 1:35:26.436
<v Speaker 2>It's I have run everywhere. But but I have ran

1:35:26.636 --> 1:35:29.636
<v Speaker 2>sounded so much better than run, do you know what

1:35:29.676 --> 1:35:32.396
<v Speaker 2>I mean? And so now ever since then, I'm like

1:35:32.556 --> 1:35:34.836
<v Speaker 2>really think through my lyrics in a different ways. I

1:35:34.836 --> 1:35:38.316
<v Speaker 2>always think of Macy And so with the breaks, that

1:35:38.436 --> 1:35:42.156
<v Speaker 2>always breaks the heart. So I'm calling the song breaks

1:35:42.236 --> 1:35:44.956
<v Speaker 2>b R a k e s like the breaks of

1:35:44.956 --> 1:35:48.596
<v Speaker 2>a car, you know, like the stopping of it. And

1:35:48.636 --> 1:35:53.476
<v Speaker 2>then it's those breaks like it's the stops right right

1:35:53.596 --> 1:35:58.316
<v Speaker 2>that then breaks b our eaks heart. So That's where

1:35:58.316 --> 1:36:00.076
<v Speaker 2>I'm coming at it from.

1:36:00.916 --> 1:36:05.836
<v Speaker 1>That bit is so loaded, but then it goes somewhere else,

1:36:05.876 --> 1:36:09.716
<v Speaker 1>and so then it becomes even like this more rich

1:36:09.796 --> 1:36:12.796
<v Speaker 1>song because it because in the the changes on the

1:36:13.236 --> 1:36:15.556
<v Speaker 1>it's the takes that I was taken. It's do lyrically,

1:36:15.556 --> 1:36:16.236
<v Speaker 1>but it takes.

1:36:16.116 --> 1:36:19.756
<v Speaker 2>Changes, takes the feelings that awakes, the moment that it

1:36:19.836 --> 1:36:20.596
<v Speaker 2>falls apart.

1:36:20.836 --> 1:36:23.396
<v Speaker 1>It's so simple, but it's there's so but it's so.

1:36:23.996 --> 1:36:28.076
<v Speaker 2>It's like this like uh, cathartic. I get into this

1:36:28.276 --> 1:36:32.916
<v Speaker 2>meditative state on that song, you know, And it's actually

1:36:32.956 --> 1:36:35.356
<v Speaker 2>it was around the self titled album. I think I

1:36:35.476 --> 1:36:38.236
<v Speaker 2>was saying, how you know, I was like really like

1:36:38.516 --> 1:36:41.236
<v Speaker 2>zeroing in on my songwriting in a way, and kind

1:36:41.236 --> 1:36:43.836
<v Speaker 2>of I felt like on that album, I finally felt

1:36:43.876 --> 1:36:48.476
<v Speaker 2>like I found I found Ben Kuehler's sound like Run

1:36:48.596 --> 1:36:50.996
<v Speaker 2>was kind of the beginning of that. But there's this

1:36:51.076 --> 1:36:55.036
<v Speaker 2>song Penny on the Train Track and thirteen where it's

1:36:55.076 --> 1:36:57.156
<v Speaker 2>like I just went through this moment where I just

1:36:57.196 --> 1:37:01.276
<v Speaker 2>kept writing verse after verse and but still with like

1:37:01.316 --> 1:37:02.236
<v Speaker 2>a poppy chorus.

1:37:02.476 --> 1:37:02.676
<v Speaker 1>Yeah.

1:37:03.716 --> 1:37:06.876
<v Speaker 2>Breaks is sort of one of those songs where it's

1:37:06.916 --> 1:37:09.876
<v Speaker 2>just it's definitely a story. You're in the long ride.

1:37:09.876 --> 1:37:12.076
<v Speaker 2>It's like, Okay, buckle up, this is gonna take a second.

1:37:12.916 --> 1:37:15.716
<v Speaker 2>I hope that it keeps the listeners attention. I mean,

1:37:15.716 --> 1:37:18.756
<v Speaker 2>that's another thing, is like I never want anything to

1:37:18.876 --> 1:37:22.436
<v Speaker 2>be I don't enjoy making overly self indulgent music, you

1:37:22.476 --> 1:37:24.596
<v Speaker 2>know what I mean, And like I am a firm

1:37:24.636 --> 1:37:27.676
<v Speaker 2>believer of like don't boris get to the chorus and like,

1:37:27.836 --> 1:37:31.036
<v Speaker 2>if you're gonna say something like it better be good. So,

1:37:31.116 --> 1:37:33.556
<v Speaker 2>I mean, I hope that And that's sort of a

1:37:33.636 --> 1:37:37.076
<v Speaker 2>challenge when I'm writing a song like breaks. I want

1:37:37.196 --> 1:37:39.396
<v Speaker 2>to take you on a journey, but I like, every

1:37:39.436 --> 1:37:43.076
<v Speaker 2>word's got to mean something, whether it literally means something

1:37:43.236 --> 1:37:47.036
<v Speaker 2>or the rhyme of it is interesting enough to just

1:37:47.116 --> 1:37:49.436
<v Speaker 2>keep you listening, you know. I want it's kind of

1:37:49.436 --> 1:37:51.396
<v Speaker 2>a fun trick to see if how long I can

1:37:51.476 --> 1:37:52.076
<v Speaker 2>keep your attention.

1:37:52.276 --> 1:37:54.476
<v Speaker 1>Yeah. So it's a great song.

1:37:54.676 --> 1:37:59.476
<v Speaker 2>Thank you. I really I am really flattered that you

1:38:00.036 --> 1:38:02.716
<v Speaker 2>chose that one for me to play. And this one, now,

1:38:02.756 --> 1:38:05.436
<v Speaker 2>this one was like a very private song and I

1:38:05.476 --> 1:38:08.036
<v Speaker 2>even recorded it when no one was here, like I

1:38:08.116 --> 1:38:10.756
<v Speaker 2>just set up to my and then we built it

1:38:11.276 --> 1:38:15.876
<v Speaker 2>on top of that vocal and guitar performance the strings.

1:38:15.956 --> 1:38:18.436
<v Speaker 2>That's another thing about Cover the Mirrors as an album

1:38:18.516 --> 1:38:22.276
<v Speaker 2>that's different for me from my past albums, is that

1:38:22.276 --> 1:38:24.996
<v Speaker 2>there is a lot of strings on this album. You know,

1:38:25.036 --> 1:38:27.676
<v Speaker 2>I've had songs over the years where it's like maybe

1:38:27.716 --> 1:38:29.596
<v Speaker 2>an album will have like one or two songs that

1:38:29.636 --> 1:38:32.116
<v Speaker 2>has strings, or you maybe have one ballad with strings.

1:38:32.156 --> 1:38:35.556
<v Speaker 2>But this one, almost half the album has strings. And

1:38:36.116 --> 1:38:39.756
<v Speaker 2>it wasn't intentional. I just kept hearing these string parts

1:38:39.756 --> 1:38:41.796
<v Speaker 2>in my head now looking back, and when I listened

1:38:41.796 --> 1:38:44.436
<v Speaker 2>to it, there is like this sort of dare I say,

1:38:44.476 --> 1:38:50.436
<v Speaker 2>like a funeral element, memorial vibe that just because of

1:38:50.476 --> 1:38:52.596
<v Speaker 2>that sound, I don't know, but I love it. I

1:38:52.596 --> 1:38:55.916
<v Speaker 2>mean it's really comforting. Also, like the lead violinist on

1:38:55.996 --> 1:38:58.036
<v Speaker 2>all these tracks as a friend of mine in Austin

1:38:58.196 --> 1:39:03.636
<v Speaker 2>Warren Hood, the best violinist fiddle player ever, so good.

1:39:05.036 --> 1:39:08.516
<v Speaker 1>You know what's interesting us who talk about or write

1:39:08.516 --> 1:39:15.116
<v Speaker 1>about music often boil albums down sometimes for finding an

1:39:15.236 --> 1:39:18.436
<v Speaker 1>easy way to just reference something like that album is

1:39:18.476 --> 1:39:20.996
<v Speaker 1>this and you just come up with this very But

1:39:21.396 --> 1:39:23.196
<v Speaker 1>do you do that with your own album?

1:39:23.276 --> 1:39:23.476
<v Speaker 3>Sure?

1:39:25.076 --> 1:39:25.636
<v Speaker 1>Yeah?

1:39:25.796 --> 1:39:28.316
<v Speaker 2>I like think like Shasha is like okay, that was

1:39:28.356 --> 1:39:32.276
<v Speaker 2>the opening debut, like a bunch of different types of

1:39:32.316 --> 1:39:34.596
<v Speaker 2>songs on one like here I Am and I can

1:39:34.636 --> 1:39:37.196
<v Speaker 2>do like these different things on my Way is just

1:39:37.276 --> 1:39:41.316
<v Speaker 2>like garage rock. Just right there, band in the room,

1:39:41.716 --> 1:39:45.436
<v Speaker 2>press record on the tape machine, let it run, do

1:39:45.516 --> 1:39:49.556
<v Speaker 2>three takes, pick your favorite and move on. Ben Koehler.

1:39:50.076 --> 1:39:52.676
<v Speaker 2>When that's me playing all the instruments, that was me

1:39:52.796 --> 1:39:56.716
<v Speaker 2>really layering and going for a very lush sound and

1:39:56.916 --> 1:39:59.916
<v Speaker 2>just there's a lot going on in the speakers of

1:39:59.916 --> 1:40:02.756
<v Speaker 2>that one, and then of course changing horses. I think

1:40:02.756 --> 1:40:04.036
<v Speaker 2>of that that's the country.

1:40:03.676 --> 1:40:05.956
<v Speaker 1>Album, you know, Yeah, but.

1:40:05.916 --> 1:40:08.596
<v Speaker 2>I am figure. I mean, this is I guess I'll

1:40:08.636 --> 1:40:10.196
<v Speaker 2>maybe in a years think of it as like the

1:40:10.236 --> 1:40:12.796
<v Speaker 2>Dorian album. I mean, because it is. It's the first

1:40:12.876 --> 1:40:14.156
<v Speaker 2>music I've made since he died.

1:40:15.316 --> 1:40:20.276
<v Speaker 1>So well, I did want to ask to just you

1:40:20.836 --> 1:40:23.956
<v Speaker 1>mentioned thirteen a couple of times. Yeah, that's that's d

1:40:23.996 --> 1:40:27.036
<v Speaker 1>Seron's favorite song of yours.

1:40:25.956 --> 1:40:32.356
<v Speaker 2>Ye it is, man, it's so sweet. Ed is obsessed

1:40:32.396 --> 1:40:36.076
<v Speaker 2>with that song. I think also one of the things

1:40:36.076 --> 1:40:38.116
<v Speaker 2>he really loves about it is like it's like an

1:40:38.156 --> 1:40:41.196
<v Speaker 2>anti pop song. There's no chorus to that song, like

1:40:41.236 --> 1:40:43.716
<v Speaker 2>it really is just verse verse. It was so fun

1:40:43.716 --> 1:40:46.916
<v Speaker 2>to write that song, and that was I finished it

1:40:46.956 --> 1:40:49.676
<v Speaker 2>in the studio when I was doing the self titled album.

1:40:49.836 --> 1:40:52.476
<v Speaker 2>So Gil was there in the control room, I was

1:40:52.516 --> 1:40:56.116
<v Speaker 2>in the live room. I had the opening phrase, We've

1:40:56.156 --> 1:40:58.596
<v Speaker 2>been in the rain, We've been on the mountain, We've

1:40:58.636 --> 1:41:02.756
<v Speaker 2>been around the five And I just kept writing verses,

1:41:02.796 --> 1:41:04.956
<v Speaker 2>and I had like a sheet of paper for each verse,

1:41:05.716 --> 1:41:08.356
<v Speaker 2>and I would shuffle him around on the floor and

1:41:08.676 --> 1:41:11.156
<v Speaker 2>to create eight, What's verse one? What's verse two? And

1:41:11.196 --> 1:41:13.876
<v Speaker 2>I orchestrated the like I knew that the first verse

1:41:13.916 --> 1:41:15.076
<v Speaker 2>and the last one. So I knew I was going

1:41:15.116 --> 1:41:16.916
<v Speaker 2>to end in the taxi when you told me you

1:41:16.956 --> 1:41:19.316
<v Speaker 2>loved me, and then I wasn't alone. I knew that

1:41:19.396 --> 1:41:21.996
<v Speaker 2>was it. You got to have your book ends, at

1:41:22.076 --> 1:41:24.276
<v Speaker 2>least in my mind, that's you know. If I have that,

1:41:25.156 --> 1:41:29.236
<v Speaker 2>I'm good. And then so I just orchestrated each verse

1:41:29.276 --> 1:41:35.316
<v Speaker 2>and what number you know, when they appeared. Ed has

1:41:35.436 --> 1:41:38.836
<v Speaker 2>been a friend now of mine for many years. We

1:41:38.916 --> 1:41:43.636
<v Speaker 2>met funny enough. It was like a Thursday. I was home,

1:41:43.836 --> 1:41:46.356
<v Speaker 2>I was here. I got a call from a booking

1:41:46.396 --> 1:41:50.716
<v Speaker 2>agent and she said, hey, BK, are you in Austin

1:41:50.756 --> 1:41:54.436
<v Speaker 2>tomorrow Friday? And I said, yeah, I'm around. She said,

1:41:54.436 --> 1:41:57.596
<v Speaker 2>can you open for Ed Sheeran? And I was like, yeah,

1:41:57.716 --> 1:42:00.236
<v Speaker 2>I mean I guess so like what happened?

1:42:00.556 --> 1:42:00.796
<v Speaker 5>You know.

1:42:01.436 --> 1:42:04.276
<v Speaker 2>She's like, well, the opening act is stuck in Australia

1:42:04.396 --> 1:42:07.676
<v Speaker 2>something with immigration and like the passport and isn't going

1:42:07.716 --> 1:42:09.436
<v Speaker 2>to make the show, so can you fill in? And

1:42:09.516 --> 1:42:12.996
<v Speaker 2>I was like sure. So I showed up to the gig,

1:42:13.796 --> 1:42:17.916
<v Speaker 2>like I sound checked. I just played solo acoustic and

1:42:17.996 --> 1:42:20.756
<v Speaker 2>I sound checked, and his crew's like getting the stage going,

1:42:20.836 --> 1:42:23.436
<v Speaker 2>and there was just one guitar stand and one guitar

1:42:23.516 --> 1:42:25.676
<v Speaker 2>and I remember asking his crew guys, I'm like, so,

1:42:25.716 --> 1:42:27.636
<v Speaker 2>where's like all the back line, where's the band? He's

1:42:27.676 --> 1:42:29.116
<v Speaker 2>like band? What band?

1:42:29.196 --> 1:42:29.356
<v Speaker 1>Man?

1:42:29.516 --> 1:42:32.036
<v Speaker 2>He just played solo and I was like, oh no, shit,

1:42:32.156 --> 1:42:34.316
<v Speaker 2>like we're in an arena, you know. And I was

1:42:34.356 --> 1:42:36.676
<v Speaker 2>like that is so great, Like I love that because

1:42:36.676 --> 1:42:39.516
<v Speaker 2>I love performing solo, and so many times as an

1:42:39.596 --> 1:42:42.356
<v Speaker 2>artist you're told like you gotta bring a band on

1:42:42.476 --> 1:42:45.876
<v Speaker 2>or like Saturday Night Live didn't let Ed play solo

1:42:45.916 --> 1:42:47.476
<v Speaker 2>on Saturday Night Live because they were like, you gotta

1:42:47.476 --> 1:42:49.396
<v Speaker 2>have a band. So even Ed had to like get

1:42:49.396 --> 1:42:51.956
<v Speaker 2>a band just to do Saturday Night Live, you know.

1:42:52.276 --> 1:42:54.676
<v Speaker 2>But anyway, so I was like good for him. So

1:42:54.796 --> 1:42:57.876
<v Speaker 2>then anyway, we ended up meeting that night. He came

1:42:57.956 --> 1:42:59.916
<v Speaker 2>up to me after my set and he was like, dude,

1:42:59.956 --> 1:43:02.036
<v Speaker 2>and he was like, what do you are You? Can

1:43:02.076 --> 1:43:05.036
<v Speaker 2>you come to Dallas and open tomorrow in Dallas? And

1:43:05.036 --> 1:43:07.236
<v Speaker 2>I'm like sure, And so I did Dallas and then

1:43:07.276 --> 1:43:09.076
<v Speaker 2>he was like, can you do Oklahoma City? And then

1:43:09.676 --> 1:43:11.316
<v Speaker 2>eventually he was just like, just do the rest of

1:43:11.316 --> 1:43:13.836
<v Speaker 2>the tour. The other guys can't make it. And so

1:43:13.876 --> 1:43:16.636
<v Speaker 2>I ended up doing this whole East Coast run with

1:43:16.916 --> 1:43:22.076
<v Speaker 2>Ed back in twenty fifteen, and so we became close friends.

1:43:22.156 --> 1:43:26.556
<v Speaker 2>And he called me when him and his wife Cherry

1:43:26.596 --> 1:43:29.196
<v Speaker 2>were getting married and I was like, mate, can you

1:43:30.116 --> 1:43:34.076
<v Speaker 2>play thirteen at our wedding as our first dance? I

1:43:34.116 --> 1:43:37.676
<v Speaker 2>was like, I'd be honored, you know. So we did

1:43:37.716 --> 1:43:41.796
<v Speaker 2>that and it was really fun, and I just remember

1:43:42.156 --> 1:43:47.116
<v Speaker 2>in a haze that night during the party him stumbling

1:43:47.116 --> 1:43:50.156
<v Speaker 2>towards me with Harry Styles and their arms are around

1:43:50.156 --> 1:43:52.356
<v Speaker 2>each other, and Ed comes up to me. He's like,

1:43:52.436 --> 1:43:56.476
<v Speaker 2>this has ben fucking quella, Harry. Can you believe that

1:43:56.596 --> 1:44:00.476
<v Speaker 2>song thirteen that he played earlier? And Harr's like yeah, man,

1:44:00.796 --> 1:44:04.716
<v Speaker 2>and Ed's like it doesn't have a fucking chorus, and

1:44:04.716 --> 1:44:08.316
<v Speaker 2>then Harry's like, yeah, wow, like a song without a chorus,

1:44:08.356 --> 1:44:10.756
<v Speaker 2>Like they were just like loving that, and I love that,

1:44:10.996 --> 1:44:12.276
<v Speaker 2>you know what I mean, because I mean these are

1:44:12.276 --> 1:44:14.636
<v Speaker 2>like so two of the biggest pop stars in the world.

1:44:14.716 --> 1:44:17.916
<v Speaker 2>Like if you don't have a chorus, you're done, you know, Yeah,

1:44:17.956 --> 1:44:19.516
<v Speaker 2>And I think that's one of the reasons. You know,

1:44:19.556 --> 1:44:24.396
<v Speaker 2>it's obviously like very heartfelt song and you know, it's

1:44:24.516 --> 1:44:27.636
<v Speaker 2>like taken straight out of my love life with Liz.

1:44:27.876 --> 1:44:29.676
<v Speaker 2>And then I think, you know, people like Ed and

1:44:29.756 --> 1:44:32.996
<v Speaker 2>Cherry can relate with that, and you know other people.

1:44:33.076 --> 1:44:36.196
<v Speaker 2>But from a technical standpoint, I just loved that he

1:44:36.836 --> 1:44:38.836
<v Speaker 2>loved that it doesn't have a chorus.

1:44:39.516 --> 1:44:43.236
<v Speaker 1>That's incredible. Man. Well, hey man, thank you for having

1:44:43.276 --> 1:44:45.996
<v Speaker 1>me out and being so generous with your time and

1:44:46.316 --> 1:44:48.356
<v Speaker 1>with your music, and.

1:44:48.716 --> 1:44:52.396
<v Speaker 2>Well, thank you for having me on Broken Record of course, honor.

1:44:54.996 --> 1:44:56.756
<v Speaker 1>In the episode description, you'll find a link to a

1:44:56.756 --> 1:44:59.636
<v Speaker 1>playlist of some of our favorite Bank Collor songs, and

1:44:59.756 --> 1:45:01.876
<v Speaker 1>be sure to check out YouTube dot com slash Broken

1:45:01.916 --> 1:45:04.356
<v Speaker 1>Record podcast to see all of our video interviews, tunes,

1:45:04.636 --> 1:45:06.716
<v Speaker 1>and be sure to follow us on Instagram at the

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<v Speaker 1>broken Record. Broken Record is produced and edited by Leah

1:45:13.636 --> 1:45:16.756
<v Speaker 1>Rose with marketing help from Eric Sandler and Jordan McMillan.

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