1 00:00:15,476 --> 00:00:23,156 Speaker 1: Pushkin. Sixteen years have passed since The Black Crows last 2 00:00:23,156 --> 00:00:26,196 Speaker 1: put out an album of all new material. The world 3 00:00:26,316 --> 00:00:28,836 Speaker 1: changed a lot since then, and it appears so have 4 00:00:29,036 --> 00:00:32,796 Speaker 1: the Robinson brothers. Chris and Rich Robinson are, of course 5 00:00:32,876 --> 00:00:35,676 Speaker 1: the backbone of the group. They started together back in 6 00:00:35,716 --> 00:00:38,956 Speaker 1: Georgia in eighty four as Mister Crow's Garden before moving 7 00:00:38,996 --> 00:00:42,956 Speaker 1: to NYC, signing with Death American and changing their name 8 00:00:43,036 --> 00:00:46,436 Speaker 1: to The Black Crows. The band's debut album, Shake Your 9 00:00:46,436 --> 00:00:49,196 Speaker 1: Money Makers set them up as torch bearers of Southern 10 00:00:49,276 --> 00:00:52,356 Speaker 1: rock for the nineties and beyond. As you'll hear in 11 00:00:52,396 --> 00:00:56,676 Speaker 1: our conversation, the brothers Robinson have had a competitive relationship 12 00:00:56,716 --> 00:00:59,396 Speaker 1: for a long time. Their ups and downs have meant 13 00:00:59,476 --> 00:01:02,196 Speaker 1: hiatuses for the band over the years, but now they're 14 00:01:02,236 --> 00:01:04,916 Speaker 1: back united and seemingly in it for the long haul 15 00:01:05,036 --> 00:01:09,036 Speaker 1: with their new album Happiness Bastards. On today's episode, I 16 00:01:09,196 --> 00:01:11,556 Speaker 1: talked to Chris Robinson about his growing up in Georgia 17 00:01:11,596 --> 00:01:15,596 Speaker 1: with Rich, their dad's rockabilly career, his listening routine that 18 00:01:15,636 --> 00:01:19,116 Speaker 1: includes Sudanese and Sufi music, and how his road habits 19 00:01:19,116 --> 00:01:23,036 Speaker 1: have changed from indulging in champagne and other substances to 20 00:01:23,356 --> 00:01:30,076 Speaker 1: reading Herman Melville. This is broken record liner notes for 21 00:01:30,156 --> 00:01:34,156 Speaker 1: the digital Age. I'm justin Mitchman. Here's my conversation with 22 00:01:34,236 --> 00:01:38,076 Speaker 1: Chris Robinson of the Black Crows. Is that a gun 23 00:01:38,156 --> 00:01:39,876 Speaker 1: club like the band? Sure that you go on? 24 00:01:39,956 --> 00:01:40,156 Speaker 2: Yeah? 25 00:01:40,236 --> 00:01:42,956 Speaker 1: Yeah, yeah, oh hell yeah. I love gun Club man. 26 00:01:43,116 --> 00:01:46,596 Speaker 2: Jeffrey Lee Pierce one of my faves. And it's funny because, 27 00:01:47,156 --> 00:01:49,396 Speaker 2: you know, when we started, people would always say we 28 00:01:49,476 --> 00:01:51,476 Speaker 2: sounded like and we did. We had, you know, there 29 00:01:51,516 --> 00:01:55,076 Speaker 2: was the Jengle sort of indie pop thing, Rim of 30 00:01:55,116 --> 00:01:59,716 Speaker 2: course being the purveyors of that, but Let's Active and 31 00:01:59,756 --> 00:02:03,036 Speaker 2: the DBS and then bands from California like Game Theory. 32 00:02:03,076 --> 00:02:05,076 Speaker 2: We kind of were into like this kind of jangly 33 00:02:05,476 --> 00:02:09,476 Speaker 2: sixties inspired but we really sounded early days a lot 34 00:02:09,516 --> 00:02:11,916 Speaker 2: like the gun Club, you know, because gun Club and 35 00:02:12,156 --> 00:02:14,596 Speaker 2: X are very interesting to me, and the like early 36 00:02:14,756 --> 00:02:19,036 Speaker 2: punk scene here in Los Angeles because they were the well, 37 00:02:19,076 --> 00:02:21,396 Speaker 2: I guess you could put the Blasters and the plugs 38 00:02:21,396 --> 00:02:21,956 Speaker 2: in there too. 39 00:02:22,236 --> 00:02:23,956 Speaker 1: Blasters are from esp though, right. 40 00:02:23,836 --> 00:02:26,236 Speaker 2: Oh, Blasters are a LA band too, you are they? 41 00:02:26,276 --> 00:02:26,996 Speaker 1: Okay? Cool? 42 00:02:27,556 --> 00:02:31,636 Speaker 2: They had those kind of rootsyed things, you know, and 43 00:02:31,676 --> 00:02:34,156 Speaker 2: it would be really early on that we would think like, okay, well, 44 00:02:34,236 --> 00:02:39,036 Speaker 2: Jeffery Lee Pierce is like a punk icon, but he 45 00:02:39,076 --> 00:02:41,756 Speaker 2: plays with Robert Johnson song on the first record, you know, 46 00:02:41,836 --> 00:02:45,076 Speaker 2: I mean, it doesn't like Robert Johnson, but needless to say, 47 00:02:45,076 --> 00:02:49,876 Speaker 2: he found great inspiration and the mythology and the imagery 48 00:02:50,036 --> 00:02:52,596 Speaker 2: and the vibration of like the blues and stuff which 49 00:02:52,796 --> 00:02:54,036 Speaker 2: other punk bands really didn't. 50 00:02:54,316 --> 00:02:57,556 Speaker 1: Whatever music is happening in La, there's always some subset 51 00:02:57,596 --> 00:03:00,556 Speaker 1: of it that countrifies it. You know. It's like even 52 00:03:00,596 --> 00:03:02,596 Speaker 1: with the Birds, like Sweetheart of the Rodeo, like all 53 00:03:02,636 --> 00:03:05,116 Speaker 1: that stuff, Like the Birds got into that, and you know, 54 00:03:05,156 --> 00:03:07,156 Speaker 1: I don't know you could even feel that with Buffalo 55 00:03:07,236 --> 00:03:09,556 Speaker 1: Springfield and I mean, I know, like Neil from Canada 56 00:03:09,636 --> 00:03:12,276 Speaker 1: or whatnot. But they're making music here, you know, of course. 57 00:03:11,996 --> 00:03:14,516 Speaker 2: Of course, well I mean, you know, I mean, while 58 00:03:14,516 --> 00:03:17,236 Speaker 2: that's going on, Tim Buckley's here and you know what 59 00:03:17,316 --> 00:03:19,916 Speaker 2: I mean. And while that's going on, you have bands 60 00:03:19,956 --> 00:03:23,956 Speaker 2: like the Chambers Brothers and Eric Burden Leaves the Animals 61 00:03:24,116 --> 00:03:28,596 Speaker 2: and Northern English White Band playing blues music. And then 62 00:03:28,676 --> 00:03:31,156 Speaker 2: he's the lead singer of War It. 63 00:03:31,276 --> 00:03:34,996 Speaker 1: War is like such a quintessential La Long Beach of 64 00:03:35,076 --> 00:03:36,116 Speaker 1: fact group, you know. 65 00:03:36,356 --> 00:03:40,356 Speaker 2: I mean, I think obviously there's subsequent most famous records 66 00:03:41,356 --> 00:03:44,516 Speaker 2: don't include Eric Burdon. Yeah, And it's funny. It also 67 00:03:44,636 --> 00:03:47,796 Speaker 2: just goes to show how that's just how music is, 68 00:03:47,796 --> 00:03:49,476 Speaker 2: isn't it. You know what I mean? I mean, I 69 00:03:49,476 --> 00:03:51,756 Speaker 2: guess you obviously you can make examples of things that 70 00:03:51,876 --> 00:03:58,516 Speaker 2: seem heavy handed or things that don't contain a certain authenticity. 71 00:03:58,596 --> 00:04:00,636 Speaker 2: But I mean that was a big deal when I 72 00:04:00,716 --> 00:04:03,876 Speaker 2: you know, talking about growing up in a band, being 73 00:04:03,876 --> 00:04:08,196 Speaker 2: from Atlanta, being like in a arguably the most progressive 74 00:04:09,356 --> 00:04:12,716 Speaker 2: city in terms of race relations, and if not America 75 00:04:12,796 --> 00:04:14,596 Speaker 2: and maybe globally. 76 00:04:14,596 --> 00:04:16,196 Speaker 1: That's interesting. It probably has to be. I mean, you 77 00:04:16,236 --> 00:04:18,156 Speaker 1: might I might have been coming to say New Orleans, 78 00:04:18,236 --> 00:04:19,876 Speaker 1: but I think when you kind of look at the 79 00:04:19,996 --> 00:04:22,636 Speaker 1: musical legacy of Atlanta over the last I. 80 00:04:22,556 --> 00:04:25,876 Speaker 2: Mean New Orleans most definitely, but Atlanta is different because 81 00:04:25,916 --> 00:04:30,596 Speaker 2: of the black universities, yeah, like kind of concentrated there, 82 00:04:31,196 --> 00:04:34,876 Speaker 2: and Atlanta having Maynor Jackson as the first black mayor 83 00:04:34,916 --> 00:04:37,636 Speaker 2: the first black police chief for the black police force 84 00:04:37,796 --> 00:04:38,756 Speaker 2: in the Deep South. 85 00:04:38,956 --> 00:04:40,516 Speaker 1: When I first landed in Atlanta, I got to say, 86 00:04:40,516 --> 00:04:42,116 Speaker 1: coming from LA because I grew up in La. When 87 00:04:42,116 --> 00:04:44,436 Speaker 1: I first landed in Atlanta, I'm in the airport, I'm like, 88 00:04:45,196 --> 00:04:47,556 Speaker 1: with a whim, like, how the. 89 00:04:47,236 --> 00:04:49,116 Speaker 2: Whole airport is black? This is crazy. It was the 90 00:04:49,396 --> 00:04:53,676 Speaker 2: weirdest experience for me. Funny, that's funny. And as I said, 91 00:04:53,676 --> 00:04:58,236 Speaker 2: I'm a third generation Atlantan and I don't really make 92 00:04:58,276 --> 00:05:01,516 Speaker 2: the connection of being like I'm a Southern person, but 93 00:05:01,836 --> 00:05:05,156 Speaker 2: my connection is with Atlanta. Yeah. And so so it's 94 00:05:05,196 --> 00:05:07,796 Speaker 2: funny because Maynard Jackson is the guy who when Hartfield 95 00:05:07,836 --> 00:05:11,516 Speaker 2: International Airport becomes an international airport, He's the one who's like, 96 00:05:11,836 --> 00:05:16,396 Speaker 2: we're not doing anything unless black business owners are recognized 97 00:05:16,436 --> 00:05:18,036 Speaker 2: and have a piece in this and what that can 98 00:05:18,116 --> 00:05:22,436 Speaker 2: mean for the community. Something very subtle like that still reverberates, 99 00:05:22,476 --> 00:05:27,916 Speaker 2: I think, and besides the culture, because you start to 100 00:05:27,916 --> 00:05:30,676 Speaker 2: see Atlanta also be a city, you know, famous for 101 00:05:30,716 --> 00:05:33,796 Speaker 2: the musicians and the hip hop and the athletes that 102 00:05:33,836 --> 00:05:36,436 Speaker 2: I'll move there. But the reason that becomes attractive is 103 00:05:36,476 --> 00:05:39,676 Speaker 2: because of decisions like that and the hard line that 104 00:05:39,796 --> 00:05:42,676 Speaker 2: someone like mayn Or Jackson would take, and how Atlanta 105 00:05:42,796 --> 00:05:46,276 Speaker 2: had been pried open. Of course, having the Great Reverend 106 00:05:46,356 --> 00:05:49,956 Speaker 2: Bee from there, you know, gives Atlanta a different perspective, 107 00:05:50,396 --> 00:05:52,396 Speaker 2: but I don't know. It's a unique place in that way. 108 00:05:52,516 --> 00:05:55,116 Speaker 2: And it's funny, like I speak on it from the past, 109 00:05:55,196 --> 00:05:58,836 Speaker 2: because I really left first check, I got into Black Crows. 110 00:05:58,916 --> 00:06:00,836 Speaker 2: I moved to New York. Being in a band to 111 00:06:00,876 --> 00:06:04,516 Speaker 2: me was like, you know, shooting an arrow over the mountain, 112 00:06:04,716 --> 00:06:07,796 Speaker 2: like just I wanted to get out in the world. 113 00:06:08,076 --> 00:06:10,076 Speaker 1: Had you been to New York before we moved there? 114 00:06:10,316 --> 00:06:13,956 Speaker 2: Yeah? Yeah, Actually, you know our dad, richardized dad was 115 00:06:13,996 --> 00:06:17,516 Speaker 2: a singer. He had a top forty rock and roll 116 00:06:17,596 --> 00:06:20,796 Speaker 2: hit in the fifties called Boom a Dip Dip. You 117 00:06:20,836 --> 00:06:22,196 Speaker 2: can check it out on Spotify. 118 00:06:22,396 --> 00:06:23,716 Speaker 1: I've listened to some of that stuff. 119 00:06:24,716 --> 00:06:27,756 Speaker 2: Very good, man, it's really good. Yeah, it's a good song. 120 00:06:27,836 --> 00:06:30,596 Speaker 2: And so I really happened and looked at New York 121 00:06:30,636 --> 00:06:33,956 Speaker 2: and he was like, you know, into the theater and 122 00:06:34,196 --> 00:06:37,556 Speaker 2: music and acting and dance, you know. So he wanted 123 00:06:37,636 --> 00:06:39,916 Speaker 2: that too at a certain time in his life, and 124 00:06:40,356 --> 00:06:43,836 Speaker 2: he was in New York. And it's funny. My mom 125 00:06:44,116 --> 00:06:48,436 Speaker 2: was a flight attendant for the old Eastern Airlines, and 126 00:06:48,476 --> 00:06:50,236 Speaker 2: you know, it's funny she told me, she goes, Oh, 127 00:06:50,316 --> 00:06:54,796 Speaker 2: I served doctor King many times on flight side of Atlanta. Wow, 128 00:06:55,036 --> 00:06:57,036 Speaker 2: I always really blew my mind as a kid. 129 00:06:57,116 --> 00:06:59,036 Speaker 1: You know, of course she did. I would make I mean, 130 00:06:59,076 --> 00:07:01,716 Speaker 1: how many flights out of Atlanta? Musty have taken that 131 00:07:01,716 --> 00:07:02,676 Speaker 1: out all. 132 00:07:02,556 --> 00:07:05,756 Speaker 2: The time, you know? You know. So I moved to 133 00:07:05,796 --> 00:07:09,196 Speaker 2: New York first, and I still love New York and 134 00:07:09,276 --> 00:07:13,996 Speaker 2: some of my deepest connections and friendships are there. My 135 00:07:14,036 --> 00:07:17,116 Speaker 2: wife and I just got back from there yesterday. But 136 00:07:17,276 --> 00:07:20,636 Speaker 2: I came to Los Angeles, and I don't know, it 137 00:07:20,676 --> 00:07:25,196 Speaker 2: was farther away from Georgia, from everything. I mean, California 138 00:07:25,236 --> 00:07:28,596 Speaker 2: has an idea California. Later I would get to know 139 00:07:29,316 --> 00:07:32,116 Speaker 2: far more about this state. And I lived up north 140 00:07:32,156 --> 00:07:34,596 Speaker 2: for six years, and I was in this little hippie 141 00:07:34,636 --> 00:07:37,156 Speaker 2: band and we started. We did nine weeks just up 142 00:07:37,196 --> 00:07:40,316 Speaker 2: and down California in the van, playing all the little 143 00:07:40,396 --> 00:07:43,876 Speaker 2: beach towns and hippie towns. And you know, I got 144 00:07:43,876 --> 00:07:47,236 Speaker 2: a real appreciation for do you remember hughle. 145 00:07:47,036 --> 00:07:50,076 Speaker 1: Houser, Oh, come on, man, California's goal. 146 00:07:50,196 --> 00:07:53,156 Speaker 2: Baby. I was like the psychedelic hule Houser, you know 147 00:07:53,236 --> 00:07:55,756 Speaker 2: what I mean, you know hil Hauser. I was like, 148 00:07:55,876 --> 00:07:58,076 Speaker 2: so this is an atobe. 149 00:07:58,476 --> 00:07:58,796 Speaker 1: Wow. 150 00:07:59,076 --> 00:08:02,116 Speaker 2: He was amazed about everything too, He's like, so this 151 00:08:02,356 --> 00:08:08,996 Speaker 2: is a ball of Manuda. I love hul Hauser Lake 152 00:08:09,196 --> 00:08:12,516 Speaker 2: great Man, the late great hutle Hauser Man. I love 153 00:08:12,556 --> 00:08:15,876 Speaker 2: and you know what, he was always so excited he 154 00:08:15,996 --> 00:08:19,516 Speaker 2: saw mission from San Diego to like, you know, the 155 00:08:19,516 --> 00:08:24,036 Speaker 2: Oregon border, so that the mission like so excited. 156 00:08:24,876 --> 00:08:27,396 Speaker 1: Everything was ecstatic to him. It was crazy. It was 157 00:08:27,436 --> 00:08:29,356 Speaker 1: so that was that was a funny show to watch. 158 00:08:29,436 --> 00:08:30,436 Speaker 2: Man. I loved it. 159 00:08:30,476 --> 00:08:32,596 Speaker 1: When I moved here, I was like, what is this? 160 00:08:32,636 --> 00:08:35,156 Speaker 2: Is this good? I also am lucky that when I'm 161 00:08:35,196 --> 00:08:38,996 Speaker 2: I'm so I moved here. In ninety one early ninety two, 162 00:08:39,796 --> 00:08:43,596 Speaker 2: that was the golden age of public television. Yeah, I'm 163 00:08:43,796 --> 00:08:47,916 Speaker 2: the weirdest, weirdest of the weird stuff would come on 164 00:08:48,036 --> 00:08:51,316 Speaker 2: TV Man on the couple of public stations on your cable, 165 00:08:51,436 --> 00:08:57,076 Speaker 2: like Channel six and Channel fourteen or whatever, the most unimaginably, 166 00:08:58,076 --> 00:09:00,156 Speaker 2: I mean obviously like Tim and Eric. I don't know 167 00:09:00,196 --> 00:09:02,796 Speaker 2: if you ever got into Tim and Hell. Yeah, Tim 168 00:09:02,796 --> 00:09:05,716 Speaker 2: and Eric like take the inspiration of that into their 169 00:09:05,756 --> 00:09:08,836 Speaker 2: twisted world for the series, which is still some of 170 00:09:08,836 --> 00:09:11,676 Speaker 2: my favorite stuff. You don't need a Chinese massage, you 171 00:09:11,716 --> 00:09:14,836 Speaker 2: need an Italian massage. It was fantastic you know what 172 00:09:14,876 --> 00:09:17,116 Speaker 2: I mean, And you know the other thing about things 173 00:09:17,156 --> 00:09:21,036 Speaker 2: that were really I've always been interested in outsider culture, 174 00:09:21,076 --> 00:09:23,476 Speaker 2: you know, when those would be like driven by like this, 175 00:09:23,876 --> 00:09:26,276 Speaker 2: but because of Hollywood, it made it even weirder, Like 176 00:09:26,356 --> 00:09:28,756 Speaker 2: I'm on TV now I'm famous too, you know what 177 00:09:28,836 --> 00:09:33,196 Speaker 2: I mean, pre dating the psychoses that has become social media, 178 00:09:33,276 --> 00:09:33,516 Speaker 2: you know. 179 00:09:33,996 --> 00:09:36,396 Speaker 1: Yeah, yeah. People always describe LA when they come to 180 00:09:36,516 --> 00:09:39,356 Speaker 1: LA as being closer to the industry, as being closer 181 00:09:39,396 --> 00:09:42,876 Speaker 1: to things. But I also find that you can find 182 00:09:43,036 --> 00:09:45,876 Speaker 1: your niches and stay way out of the way of 183 00:09:45,876 --> 00:09:47,796 Speaker 1: the industry if you want. I did it. 184 00:09:47,916 --> 00:09:50,556 Speaker 2: Yeah, I mean when I moved to Topanga Canyon at 185 00:09:50,596 --> 00:09:53,636 Speaker 2: a certain point, I moved to Topanga because I have 186 00:09:53,796 --> 00:09:57,436 Speaker 2: these romantic notions of what northern California, what I've been 187 00:09:57,436 --> 00:09:59,596 Speaker 2: to northern California, but what it might feel like not 188 00:09:59,676 --> 00:10:02,476 Speaker 2: to be in LA, but to still be able to 189 00:10:02,556 --> 00:10:05,796 Speaker 2: be in LA for different reasons. I'm of the firm 190 00:10:05,836 --> 00:10:08,836 Speaker 2: belief that Los Angeles is one of the great cities 191 00:10:09,236 --> 00:10:13,596 Speaker 2: world and which is also unique because of how new 192 00:10:13,676 --> 00:10:18,156 Speaker 2: this city is comparatively. In eighteen sixty there's five thousand 193 00:10:18,196 --> 00:10:21,716 Speaker 2: people living here. That's wild ranchers and spread out and 194 00:10:21,756 --> 00:10:26,316 Speaker 2: it's just come over from Mexican rule and stuff from 195 00:10:26,316 --> 00:10:30,876 Speaker 2: that government. And they had, you know, gave everyone deeds 196 00:10:30,916 --> 00:10:33,916 Speaker 2: to these mass affincas and ranches and things that were 197 00:10:33,956 --> 00:10:37,556 Speaker 2: all of California, you know. So it's not that old 198 00:10:37,716 --> 00:10:42,036 Speaker 2: in the big scheme of things. But the other funny 199 00:10:42,036 --> 00:10:45,956 Speaker 2: thing is when I came here, I was I laugh 200 00:10:46,036 --> 00:10:48,516 Speaker 2: all the time because was like growing up in Atlanta 201 00:10:48,596 --> 00:10:51,316 Speaker 2: or whatever. In nineteen I had my first sushi in 202 00:10:51,396 --> 00:10:55,436 Speaker 2: nineteen eighty nine. My guy ended up being our manager, Like, 203 00:10:55,476 --> 00:10:58,876 Speaker 2: took me and Rich with some friends to get sushi. 204 00:10:59,036 --> 00:11:02,116 Speaker 2: And that place is called Imperial Gardens or whatever. It 205 00:11:02,156 --> 00:11:04,876 Speaker 2: was right there on Sunset. It's now like a Loco 206 00:11:04,996 --> 00:11:08,636 Speaker 2: place or something, but it was the Roxbury later. But anyway, 207 00:11:09,116 --> 00:11:11,516 Speaker 2: were sitting there and like, of course I know what 208 00:11:11,596 --> 00:11:16,116 Speaker 2: it is, but I'm you know, standing Nancy Robinson in Atlanta. 209 00:11:16,196 --> 00:11:19,996 Speaker 2: We didn't, you know what I mean. Like I remember 210 00:11:20,036 --> 00:11:23,476 Speaker 2: being sixteen and telling my dad, like coming downstairs one day, 211 00:11:23,556 --> 00:11:25,516 Speaker 2: I was like, why have we never had Indian food? 212 00:11:25,716 --> 00:11:27,676 Speaker 2: My dad was like, you're right, we should go get it. 213 00:11:27,716 --> 00:11:29,676 Speaker 2: And I was like we all drove to the one 214 00:11:29,716 --> 00:11:33,236 Speaker 2: Indian restaurant, you know, and it was amazing. Wow, I'm 215 00:11:33,236 --> 00:11:35,916 Speaker 2: here in nineteen eighty nine. I'm still working on the 216 00:11:35,956 --> 00:11:39,636 Speaker 2: first album, and I'm a kid from Atlanta. But the 217 00:11:39,716 --> 00:11:42,796 Speaker 2: cool thing is it's a mentality. You get farther away 218 00:11:42,836 --> 00:11:45,996 Speaker 2: from where you come from, and like anything else, you 219 00:11:46,116 --> 00:11:49,556 Speaker 2: figure out what's delicious about it and what's special about it, 220 00:11:49,596 --> 00:11:52,316 Speaker 2: and now it has a place in your culinary like 221 00:11:52,716 --> 00:11:55,676 Speaker 2: thing that tonight's sushi, we want to go and you 222 00:11:55,716 --> 00:11:57,756 Speaker 2: know what I mean, And then you can on that level. 223 00:11:57,756 --> 00:12:00,516 Speaker 2: But there was one time where you're you know, I 224 00:12:00,636 --> 00:12:03,036 Speaker 2: come to La I don't know anything about anything, and 225 00:12:03,076 --> 00:12:04,356 Speaker 2: I don't even know what this is. 226 00:12:04,636 --> 00:12:07,156 Speaker 1: How far removed from Atlanta do you feel now? Like 227 00:12:07,156 --> 00:12:08,236 Speaker 1: do you feel like an atlantin? 228 00:12:10,036 --> 00:12:14,956 Speaker 2: I mean not especially, And none of that is to 229 00:12:14,956 --> 00:12:18,676 Speaker 2: be taken as if Atlanta has feelings. I do love 230 00:12:18,716 --> 00:12:22,556 Speaker 2: Atlanta more than ever. But it's also I like the 231 00:12:22,596 --> 00:12:25,956 Speaker 2: remnants of the Atlanta that I remembered, so when you 232 00:12:25,956 --> 00:12:28,556 Speaker 2: go back you don't see the I mean, man, it's changed. 233 00:12:28,676 --> 00:12:31,756 Speaker 2: There was this thing on Peach Street called the Darlington Apartments, 234 00:12:31,756 --> 00:12:34,356 Speaker 2: and there it used to have this digital thing and 235 00:12:34,396 --> 00:12:37,236 Speaker 2: it would be like two million nine nine, you know 236 00:12:37,276 --> 00:12:38,996 Speaker 2: what I mean that, you know, and it was the 237 00:12:38,996 --> 00:12:42,756 Speaker 2: population and it got older. With the population sign it 238 00:12:42,796 --> 00:12:46,356 Speaker 2: got bigger and it went to three million in nineteen ninety. Wow. 239 00:12:46,436 --> 00:12:49,196 Speaker 2: You know. We used to hang around this monthly thing 240 00:12:49,276 --> 00:12:53,396 Speaker 2: called the Mudshack at this after hours Mexican burrita place, 241 00:12:53,396 --> 00:12:54,876 Speaker 2: and it was a poetry. 242 00:12:54,396 --> 00:12:56,836 Speaker 1: Reading and just the poet would get it on stage, like. 243 00:12:57,076 --> 00:12:59,996 Speaker 2: I live in a city of three million people, as 244 00:12:59,996 --> 00:13:02,356 Speaker 2: if it was like, you know this Atlanta of this 245 00:13:03,356 --> 00:13:05,556 Speaker 2: it's almost eight million people now. 246 00:13:05,876 --> 00:13:08,596 Speaker 1: Yeah, yeah, right, that sounds about right. It's huge went 247 00:13:08,636 --> 00:13:08,996 Speaker 1: on there? 248 00:13:09,516 --> 00:13:12,036 Speaker 2: I mean, of course I love it, But most a 249 00:13:12,076 --> 00:13:14,876 Speaker 2: lot of the Atlanta you know, the house where we 250 00:13:14,956 --> 00:13:18,116 Speaker 2: used to rehearse and have parties is now the Federal Reserve. 251 00:13:18,276 --> 00:13:21,236 Speaker 2: The club that we based all our rock and roll 252 00:13:21,356 --> 00:13:23,636 Speaker 2: dreams and mythology on is now at that you know, 253 00:13:23,636 --> 00:13:25,596 Speaker 2: a place where people go get stitches. 254 00:13:25,236 --> 00:13:27,236 Speaker 1: Or whatever, you know what I mean, Like all of 255 00:13:27,236 --> 00:13:27,836 Speaker 1: that kind. 256 00:13:27,716 --> 00:13:30,076 Speaker 2: Of stuff from back in the eighties, whenever the world 257 00:13:30,236 --> 00:13:33,876 Speaker 2: was new and music was all our career was ahead 258 00:13:33,916 --> 00:13:37,396 Speaker 2: of us. That's all kind of gone. Yeah, you can 259 00:13:37,436 --> 00:13:40,556 Speaker 2: see that, the skeleton of it, you know what I mean? 260 00:13:40,796 --> 00:13:44,556 Speaker 1: Yeah, wellcome back with more of my interview with Chris Robinson. 261 00:13:44,796 --> 00:13:53,116 Speaker 1: After this quick break, we're back with Chris Robinson. Do 262 00:13:53,156 --> 00:13:54,676 Speaker 1: you get excited to tour these days? 263 00:13:55,036 --> 00:13:55,116 Speaker 2: Like? 264 00:13:55,196 --> 00:13:56,596 Speaker 1: Can you still get excited about it? 265 00:13:56,836 --> 00:13:58,676 Speaker 2: I do? I do. It was funny. I've done a 266 00:13:58,676 --> 00:14:02,116 Speaker 2: couple of interviews for this project and I'm like shocked 267 00:14:02,116 --> 00:14:04,716 Speaker 2: that the people have said, you're the first musician who 268 00:14:04,716 --> 00:14:08,316 Speaker 2: says they still find inspiration doing what you do and 269 00:14:08,756 --> 00:14:11,156 Speaker 2: being on tour, they say is so boring. I'm like, 270 00:14:11,556 --> 00:14:15,476 Speaker 2: I've never lost the dream. And again, I've never been bored, 271 00:14:16,396 --> 00:14:18,436 Speaker 2: you know what I mean, even as a kid, like 272 00:14:18,516 --> 00:14:20,756 Speaker 2: with my mom and go to your room, I'd be like, 273 00:14:20,796 --> 00:14:24,996 Speaker 2: I'm amazing. That's all I want to do. All records 274 00:14:24,996 --> 00:14:27,076 Speaker 2: are in there, the books I'm reading are in there. 275 00:14:27,276 --> 00:14:29,756 Speaker 2: I can draw, I can dream, you know what I 276 00:14:29,796 --> 00:14:33,276 Speaker 2: mean daydream? I mean I was somewhere there's a permanent 277 00:14:33,276 --> 00:14:35,916 Speaker 2: record of me, and all it says is prone to daydreaming. 278 00:14:36,876 --> 00:14:40,516 Speaker 2: Not very good at math. But I was saying, I 279 00:14:40,556 --> 00:14:43,796 Speaker 2: mean it's just the way it is. I mean, is 280 00:14:43,836 --> 00:14:48,716 Speaker 2: it tedious sometimes? Fuck yes, I'm fifty seven now. Airports 281 00:14:48,836 --> 00:14:54,556 Speaker 2: fucking suck. Not every gig is a magical experience, but 282 00:14:55,036 --> 00:14:56,716 Speaker 2: you never know who you're gonna meet, and it could 283 00:14:56,756 --> 00:15:00,876 Speaker 2: be anyone. It could be the Guyanese uber driver who 284 00:15:00,916 --> 00:15:04,276 Speaker 2: pitch you up in Saint Louis, who's fucking hilarious, an amazing, 285 00:15:04,356 --> 00:15:07,796 Speaker 2: soulful person who's left a life behind to try to 286 00:15:07,876 --> 00:15:11,396 Speaker 2: eke out something better, and like it's so brave and courageous, 287 00:15:11,436 --> 00:15:14,436 Speaker 2: and you know, and you're only with this person eight 288 00:15:14,516 --> 00:15:16,876 Speaker 2: minutes from the airport or whatever, and you just two 289 00:15:17,036 --> 00:15:19,156 Speaker 2: people in the world laughing in a car. You know. 290 00:15:19,436 --> 00:15:22,556 Speaker 2: But that little thing that doesn't even necessarily have to 291 00:15:22,556 --> 00:15:23,956 Speaker 2: be a part of the narrative. It just has to 292 00:15:23,956 --> 00:15:27,796 Speaker 2: be a part of that. You still believe that there's 293 00:15:28,796 --> 00:15:33,356 Speaker 2: dynamic and meeting people and talking and laughing and sometimes crying. 294 00:15:33,396 --> 00:15:36,076 Speaker 2: But I'm just naive enough to still see it as 295 00:15:36,476 --> 00:15:39,316 Speaker 2: in the same way that I wanted. I picked music 296 00:15:39,636 --> 00:15:42,036 Speaker 2: on a lot of levels because I knew it was 297 00:15:42,116 --> 00:15:46,756 Speaker 2: the one thing that I would travel all the time. Yeah, 298 00:15:46,956 --> 00:15:49,076 Speaker 2: and then you set up your little thing and then 299 00:15:49,116 --> 00:15:51,196 Speaker 2: you put your vibes out there. You know, it is 300 00:15:51,236 --> 00:15:51,676 Speaker 2: pretty rare. 301 00:15:51,916 --> 00:15:54,236 Speaker 1: I feel like, listening to you talk, the only other 302 00:15:54,316 --> 00:15:57,996 Speaker 1: person who has had a level of success that you've 303 00:15:57,996 --> 00:16:00,156 Speaker 1: had and towards as much as you do, and travels 304 00:16:00,156 --> 00:16:01,676 Speaker 1: as much as you do. That seems to still love it. 305 00:16:01,716 --> 00:16:04,356 Speaker 1: I got lucky. I met Quincy Jones in Havana maybe 306 00:16:04,356 --> 00:16:07,796 Speaker 1: ten years ago, and the joy he has to like 307 00:16:07,876 --> 00:16:10,796 Speaker 1: travel and just talk to anybody. It's like he's like, yeah, 308 00:16:10,996 --> 00:16:13,156 Speaker 1: he'll tell Sinatra stories, and I'll tell the story about 309 00:16:13,196 --> 00:16:15,996 Speaker 1: like the cab Driver and like Memphis, and you're like 310 00:16:16,716 --> 00:16:20,436 Speaker 1: everything is like new and fun and interesting in every 311 00:16:20,436 --> 00:16:23,436 Speaker 1: person and everything and every sound and every that's a 312 00:16:23,436 --> 00:16:26,156 Speaker 1: particular joy that you don't find in a lot of 313 00:16:26,356 --> 00:16:27,036 Speaker 1: a lot of people. 314 00:16:27,756 --> 00:16:31,636 Speaker 2: Like I said, I understand, and you know, you get older. 315 00:16:32,756 --> 00:16:35,996 Speaker 2: It also helps in my life that after all the 316 00:16:36,116 --> 00:16:39,356 Speaker 2: rock and roll and all the experiences that I found 317 00:16:39,556 --> 00:16:44,836 Speaker 2: Camille my wife, because I found someone who she understands 318 00:16:44,956 --> 00:16:47,596 Speaker 2: that some of that is problematic and some of it's 319 00:16:47,956 --> 00:16:49,476 Speaker 2: pain in the ass, and some of it is like 320 00:16:49,556 --> 00:16:54,396 Speaker 2: can't we just be do normal something? And like, by 321 00:16:54,436 --> 00:16:57,836 Speaker 2: the way, we could talk about that and do our best. 322 00:16:57,876 --> 00:17:00,796 Speaker 2: But then she also realizes, like she's an artist and 323 00:17:00,836 --> 00:17:06,076 Speaker 2: she's Piss's queen Moonstone child out in the world, you know, 324 00:17:06,116 --> 00:17:09,316 Speaker 2: who wants to feel these things too, And you know. 325 00:17:09,396 --> 00:17:14,436 Speaker 2: My thing is the pandemic was such a fucking head trip. Personally, 326 00:17:14,516 --> 00:17:17,516 Speaker 2: I didn't really find it creative. I found it stifling. 327 00:17:17,676 --> 00:17:20,476 Speaker 2: But we were lucky enough to live out in the 328 00:17:20,516 --> 00:17:23,036 Speaker 2: wilds of West Marina and then we were in Southwest 329 00:17:23,036 --> 00:17:28,556 Speaker 2: Colorado amazing, Yeah, which was really really help. But one 330 00:17:28,636 --> 00:17:31,796 Speaker 2: thing I thought I would really flip out on was 331 00:17:31,916 --> 00:17:34,676 Speaker 2: it was the first time since I was basically a 332 00:17:34,676 --> 00:17:37,836 Speaker 2: teenager where I wasn't working and touring and singing and 333 00:17:37,876 --> 00:17:41,236 Speaker 2: playing and doing the whole spiel. And you know what, 334 00:17:41,796 --> 00:17:46,396 Speaker 2: it was rad really you liked it. Wow, my head 335 00:17:46,436 --> 00:17:50,516 Speaker 2: didn't fall off, you know, our lives didn't, you know, 336 00:17:50,676 --> 00:17:53,756 Speaker 2: disintegrate into nothing. It was nice. I had time for 337 00:17:54,196 --> 00:17:58,596 Speaker 2: a lot of other things. And it's funny the travel 338 00:17:58,796 --> 00:18:02,276 Speaker 2: part of it. I was just talking to my manager 339 00:18:02,316 --> 00:18:05,356 Speaker 2: Mark last night about how at a certain point it 340 00:18:05,356 --> 00:18:10,036 Speaker 2: would be nice to bow out from forming the way 341 00:18:10,076 --> 00:18:15,116 Speaker 2: we perform before. I can't because I love the travel 342 00:18:15,156 --> 00:18:17,156 Speaker 2: and we fit in the things that we want to. 343 00:18:17,996 --> 00:18:20,556 Speaker 2: But it's different to be in a place for you know, 344 00:18:20,676 --> 00:18:22,916 Speaker 2: we're going to Paris, I'm gonna see my friends. I 345 00:18:22,956 --> 00:18:24,436 Speaker 2: know all the restaurants I want to go to. I 346 00:18:24,476 --> 00:18:26,036 Speaker 2: know all the things I want to do, but you 347 00:18:26,076 --> 00:18:28,756 Speaker 2: got to leave in two days. Yeah, yeah, and you 348 00:18:28,836 --> 00:18:31,036 Speaker 2: have a show. When I was a kid, I didn't care. 349 00:18:31,156 --> 00:18:34,796 Speaker 2: We would just party, go out, champagne, drugs, this that, 350 00:18:35,076 --> 00:18:38,916 Speaker 2: two days, do the gig, go do the gig. You know, 351 00:18:39,116 --> 00:18:41,916 Speaker 2: like just all one thing was so when you're young, 352 00:18:41,996 --> 00:18:44,276 Speaker 2: you can do it, you know what I mean. I 353 00:18:44,276 --> 00:18:47,276 Speaker 2: don't feel that now. I'm really happy being in the 354 00:18:47,316 --> 00:18:53,076 Speaker 2: Black Crows and really fulfilling and satisfying and gratifying. But 355 00:18:53,196 --> 00:18:56,116 Speaker 2: at a certain point, I just want to take my 356 00:18:56,156 --> 00:18:59,596 Speaker 2: wife and go to Sicily and eat linguini and clams 357 00:18:59,636 --> 00:19:00,556 Speaker 2: and like you. 358 00:19:00,476 --> 00:19:03,356 Speaker 1: Know, drink whine and you know, read Moby Dick. 359 00:19:03,236 --> 00:19:05,156 Speaker 2: For the third time or whatever. You know what I mean. 360 00:19:05,796 --> 00:19:08,276 Speaker 2: I just want to just be a part of everything 361 00:19:08,316 --> 00:19:10,396 Speaker 2: going on. There's lots of places I haven't traveled. I 362 00:19:10,476 --> 00:19:12,996 Speaker 2: haven't been to Africa. I've always wanted to go to Africa, 363 00:19:13,076 --> 00:19:15,076 Speaker 2: you know what I mean. That would be nice to 364 00:19:15,436 --> 00:19:18,036 Speaker 2: have some time to do that. And because Africa is 365 00:19:18,076 --> 00:19:21,276 Speaker 2: such a huge thing too, you know, I'm really interested 366 00:19:21,316 --> 00:19:23,996 Speaker 2: in West Africa. I'd like to go to North Africa. 367 00:19:24,436 --> 00:19:26,516 Speaker 2: Be cool, to see the East Africa, be good. 368 00:19:26,556 --> 00:19:28,516 Speaker 1: You know what I mean, what interest you in West Africa? 369 00:19:28,676 --> 00:19:31,156 Speaker 2: I don't know. I think maybe it has something to 370 00:19:31,236 --> 00:19:34,676 Speaker 2: do just with the I mean, I love North African music, 371 00:19:34,716 --> 00:19:37,316 Speaker 2: but there's you know a lot of those West African 372 00:19:37,476 --> 00:19:41,796 Speaker 2: music could be because of the horrors of mankind and 373 00:19:41,836 --> 00:19:45,076 Speaker 2: the horrors of the slave trade, human beings found a 374 00:19:45,076 --> 00:19:51,516 Speaker 2: way somehow, through the vileness of that to communicate and 375 00:19:51,636 --> 00:19:55,836 Speaker 2: share things in art and music, cuisine. Yeah, so many 376 00:19:56,156 --> 00:19:59,876 Speaker 2: African parts of especially in the Deep South, and people 377 00:19:59,916 --> 00:20:04,916 Speaker 2: wouldn't they don't even know they're they're they're under educated anyway. 378 00:20:04,996 --> 00:20:07,876 Speaker 2: But with these things, you know, it's like, oh, every 379 00:20:08,196 --> 00:20:12,556 Speaker 2: Southern person and loves the fried okra, but okra came 380 00:20:12,596 --> 00:20:16,276 Speaker 2: over from Africa, you know, right before that, ochra came 381 00:20:16,276 --> 00:20:18,956 Speaker 2: from India to Africa. So just dumb things like that, 382 00:20:19,196 --> 00:20:24,916 Speaker 2: Plants and fruits, vegetables, natural things and supernatural things that 383 00:20:24,956 --> 00:20:27,676 Speaker 2: were brought over that could never be extinged with. And 384 00:20:27,716 --> 00:20:29,956 Speaker 2: I just have some sort of and I don't even 385 00:20:29,996 --> 00:20:32,676 Speaker 2: know what it is, because I'm not obviously that knowledgeable 386 00:20:32,996 --> 00:20:35,396 Speaker 2: as other people, but I can put a few things 387 00:20:35,436 --> 00:20:38,796 Speaker 2: together and realize, you know, so much of the music, singing, 388 00:20:39,036 --> 00:20:43,436 Speaker 2: rhythm things guitar things, especially string things come from a 389 00:20:43,476 --> 00:20:47,956 Speaker 2: West African musical tradition that represents like this African mysticism 390 00:20:47,996 --> 00:20:52,676 Speaker 2: and magic as well, that manifests when people express themselves 391 00:20:52,716 --> 00:20:56,476 Speaker 2: vocally and rhythmically and with melody and things, you know, 392 00:20:56,596 --> 00:20:59,716 Speaker 2: like a simple as something like a string guitar, And 393 00:20:59,756 --> 00:21:02,876 Speaker 2: that is something that would draw me there first, be 394 00:21:03,036 --> 00:21:05,916 Speaker 2: that in a first person and see what it feels 395 00:21:05,956 --> 00:21:09,316 Speaker 2: like for me as a real outsider. Yeah, outside your 396 00:21:09,316 --> 00:21:11,676 Speaker 2: culture is important to me just because of whether my 397 00:21:11,756 --> 00:21:15,796 Speaker 2: dyslexia or just whatever my tastes and my where I 398 00:21:15,836 --> 00:21:18,516 Speaker 2: would find the things in life that are interesting that 399 00:21:18,596 --> 00:21:21,996 Speaker 2: make me happy, things that I can understand or help 400 00:21:22,036 --> 00:21:24,436 Speaker 2: me for things that I don't understand to understand, you know, 401 00:21:24,676 --> 00:21:25,996 Speaker 2: So a lot of that you have to kind of 402 00:21:26,076 --> 00:21:29,636 Speaker 2: just vibe out viscerally fine, and I would be curious 403 00:21:29,636 --> 00:21:30,676 Speaker 2: to see what it feels like. 404 00:21:31,196 --> 00:21:34,236 Speaker 1: Yeah. Wow, we've gone from like psychedelic qal Houserd to 405 00:21:34,356 --> 00:21:35,756 Speaker 1: like psychedelic. 406 00:21:35,116 --> 00:21:37,076 Speaker 2: Like Anthony Bourdain or some shit. 407 00:21:39,356 --> 00:21:40,236 Speaker 1: I've gone global. 408 00:21:40,276 --> 00:21:43,076 Speaker 2: Now call my agent. I'm down to do this job. 409 00:21:43,596 --> 00:21:46,636 Speaker 1: That's amazing, man, I want to check out like Robert 410 00:21:46,636 --> 00:21:48,836 Speaker 1: Plant goes to rock O Go. 411 00:21:49,436 --> 00:21:53,036 Speaker 2: Yeah, he loves the Sufi music and the North African music. 412 00:21:53,396 --> 00:21:53,756 Speaker 1: Yeah. 413 00:21:53,796 --> 00:21:55,676 Speaker 2: And it's funny because I have this app where you 414 00:21:55,716 --> 00:21:57,996 Speaker 2: can listen to radio stations all over the world. But 415 00:21:58,076 --> 00:22:00,236 Speaker 2: it's like, wow, right on, man, I want to listen 416 00:22:00,276 --> 00:22:03,036 Speaker 2: to some like rad Cambodia music, It's like, uh, it's 417 00:22:03,196 --> 00:22:06,356 Speaker 2: Nicki Minaj like everywhere else. I know. 418 00:22:06,356 --> 00:22:08,076 Speaker 1: That's that's kind of a bummer about radio. 419 00:22:08,596 --> 00:22:10,796 Speaker 2: I mean it's it's like, which is cool. I'm not 420 00:22:11,276 --> 00:22:13,316 Speaker 2: bagging Nicki mi nuts, but I'm like, I'm thinking I'm 421 00:22:13,356 --> 00:22:15,956 Speaker 2: gonna like get hip to some thing I've never heard, 422 00:22:15,996 --> 00:22:19,836 Speaker 2: some regional vibes or whatever. And then it's like, oh, 423 00:22:20,196 --> 00:22:22,276 Speaker 2: it's the same shit they're playing here, is it that 424 00:22:22,396 --> 00:22:23,676 Speaker 2: radio app? 425 00:22:23,756 --> 00:22:25,276 Speaker 1: Like yeah, oh so cool. 426 00:22:25,316 --> 00:22:27,676 Speaker 2: But there's some in Morocco. And then there's a certain 427 00:22:27,756 --> 00:22:30,876 Speaker 2: kind of music that the horrors of things. There was 428 00:22:30,876 --> 00:22:33,316 Speaker 2: a slave trade in Africa for a long time too, 429 00:22:33,636 --> 00:22:36,636 Speaker 2: you know that within in Africa, and they're bringing sub 430 00:22:36,636 --> 00:22:40,716 Speaker 2: Saharan Africans to North Africa. But a great musical art 431 00:22:40,756 --> 00:22:42,916 Speaker 2: form is born from it that still exists today, and 432 00:22:42,916 --> 00:22:45,996 Speaker 2: there's whole radio stations that play it and they're basically 433 00:22:46,556 --> 00:22:49,996 Speaker 2: a living blues it's the same tradition of like the 434 00:22:50,036 --> 00:22:52,716 Speaker 2: pain and suffering of the blues that these people brought 435 00:22:52,716 --> 00:22:55,596 Speaker 2: with them that still lives today and it's now celebrated 436 00:22:55,636 --> 00:22:57,156 Speaker 2: as rebel songs. Almost. 437 00:22:57,476 --> 00:22:59,796 Speaker 1: Yeah, it's like those North African like guitar but I 438 00:22:59,796 --> 00:23:04,036 Speaker 1: don't know how to pronounce their names, but like or something, yeah, right. 439 00:23:04,796 --> 00:23:07,676 Speaker 2: I saw their first show in New York many years ago. Really, 440 00:23:08,076 --> 00:23:11,436 Speaker 2: I love that music, and I love Sudanese music, and 441 00:23:11,476 --> 00:23:15,316 Speaker 2: then you go over. I love Persian classical music, I 442 00:23:15,356 --> 00:23:20,036 Speaker 2: love music from Afghanistan, and I love Turkish music. You know, 443 00:23:20,156 --> 00:23:24,556 Speaker 2: I really have a lot of diverse interest in things 444 00:23:24,596 --> 00:23:25,036 Speaker 2: like that. 445 00:23:26,036 --> 00:23:28,436 Speaker 1: After this last break, we'll be back with more of 446 00:23:28,556 --> 00:23:35,316 Speaker 1: Chris Robinson. We're back with the rest of my conversation 447 00:23:35,636 --> 00:23:40,116 Speaker 1: with Chris Robinson within the Crows. Like maybe, like with 448 00:23:40,156 --> 00:23:43,396 Speaker 1: your brother, for instance, does he have a similar musical palette. 449 00:23:43,596 --> 00:23:45,916 Speaker 2: I think he has an appreciation. I don't think his 450 00:23:46,076 --> 00:23:49,236 Speaker 2: palette is as wide as mine, and he would admit 451 00:23:49,276 --> 00:23:51,956 Speaker 2: that I'm not. You know. He always said, like growing 452 00:23:52,036 --> 00:23:56,356 Speaker 2: up like Chris would bring back way more records than 453 00:23:56,396 --> 00:23:58,836 Speaker 2: I would listen to, or some I wouldn't be interested in. 454 00:23:58,916 --> 00:24:01,636 Speaker 2: But I got to he could be able to cherry 455 00:24:01,636 --> 00:24:05,156 Speaker 2: pick what he liked, and he loves classical Indian music. 456 00:24:05,676 --> 00:24:10,356 Speaker 2: I listened to like Mesopotamium, Sheep the music and stuff, 457 00:24:10,396 --> 00:24:12,156 Speaker 2: you know what I mean. Like, I'm really into a 458 00:24:12,196 --> 00:24:13,116 Speaker 2: lot of different things. 459 00:24:13,236 --> 00:24:15,396 Speaker 1: Do you listen to that stuff more than like rock 460 00:24:15,436 --> 00:24:16,996 Speaker 1: and roll? Like you'd rather reach for that than a 461 00:24:17,036 --> 00:24:17,756 Speaker 1: Stones record? 462 00:24:17,916 --> 00:24:21,756 Speaker 2: Yeah, I listened to all day long, Like I like 463 00:24:21,836 --> 00:24:25,316 Speaker 2: to start the morning with something mellow. We'll listen to 464 00:24:25,356 --> 00:24:29,196 Speaker 2: a lot of Indian classical music, or personally, I like 465 00:24:29,236 --> 00:24:32,076 Speaker 2: to start my mornings with the late great Ben Webster 466 00:24:32,276 --> 00:24:35,516 Speaker 2: or some think Lester Young. I love the pres you know, 467 00:24:35,636 --> 00:24:38,076 Speaker 2: but we also love Rossan Rolling Kirk, and we love 468 00:24:38,116 --> 00:24:41,476 Speaker 2: the Lonius Monk, and we love Bobby Timm bud Path. 469 00:24:41,716 --> 00:24:44,356 Speaker 2: We listened to a lot of jazz. We listened to 470 00:24:44,396 --> 00:24:48,036 Speaker 2: a lot of blues, country, R M B, funk, soul, 471 00:24:48,236 --> 00:24:53,076 Speaker 2: rock and roll, punk music, post punk music like tronic music, 472 00:24:53,756 --> 00:24:54,596 Speaker 2: rossa music. 473 00:24:54,716 --> 00:24:58,116 Speaker 1: You know, Share your Spotify right now, Share that Spotify 474 00:24:58,476 --> 00:24:58,836 Speaker 1: trying to. 475 00:24:59,916 --> 00:25:03,796 Speaker 2: I don't have Spotify envy, man, you know, Like I'm 476 00:25:03,836 --> 00:25:06,276 Speaker 2: just obsessed, you know what I mean? And I my 477 00:25:06,476 --> 00:25:10,956 Speaker 2: obsessions maybe made me way more difficult as a youth 478 00:25:10,996 --> 00:25:15,836 Speaker 2: in the music business because I also associated a certain authenticity, passion, 479 00:25:15,916 --> 00:25:19,076 Speaker 2: and purity to my obsessions and what I wanted to say. 480 00:25:19,196 --> 00:25:21,436 Speaker 2: But I also have a waking life with music that 481 00:25:21,516 --> 00:25:23,636 Speaker 2: has nothing to do with me making music or being 482 00:25:23,636 --> 00:25:28,436 Speaker 2: a musician. Yeah, those things are simpatico, but I'm sure 483 00:25:28,476 --> 00:25:30,996 Speaker 2: it's annoying. I'm the guy who I get the car 484 00:25:31,076 --> 00:25:33,996 Speaker 2: to drive down to eat dinner and West Tli and 485 00:25:33,996 --> 00:25:34,676 Speaker 2: I'm like, hey, man. 486 00:25:34,596 --> 00:25:37,476 Speaker 1: Can I play the spot? Oh yeah, in the car, dude. 487 00:25:37,556 --> 00:25:39,956 Speaker 1: I got to skicked out of a sushi spot one 488 00:25:39,996 --> 00:25:43,476 Speaker 1: time because I asked them to change the music. And 489 00:25:43,516 --> 00:25:46,436 Speaker 1: then they opened the same sushi spot across town, so 490 00:25:46,516 --> 00:25:48,316 Speaker 1: we tried to go there a year and a half later. 491 00:25:48,676 --> 00:25:51,836 Speaker 1: Turned the same lady with something. She's like, you look familiar. 492 00:25:51,916 --> 00:25:53,756 Speaker 1: I was like, I don't know, I don't know. No, no, no, 493 00:25:53,876 --> 00:25:55,436 Speaker 1: I wasn't. So did you ask me to turn off 494 00:25:55,436 --> 00:25:56,156 Speaker 1: the music one time? 495 00:25:56,196 --> 00:25:57,876 Speaker 2: I was like no, no, no, no, it must have been 496 00:25:57,876 --> 00:26:00,196 Speaker 2: my brother. I don't know. It wasn't me, Like, hey, hey, 497 00:26:00,276 --> 00:26:01,796 Speaker 2: so she's not coming in here. 498 00:26:02,196 --> 00:26:02,436 Speaker 1: You know. 499 00:26:03,116 --> 00:26:05,476 Speaker 2: They weren't happy, but I was like, just changed it. 500 00:26:05,516 --> 00:26:07,196 Speaker 1: I could tell it wasn't like pre pro it's like 501 00:26:07,316 --> 00:26:08,756 Speaker 1: it's all you're on serious or some shit. 502 00:26:08,836 --> 00:26:10,156 Speaker 2: Just change the stage. 503 00:26:10,196 --> 00:26:10,916 Speaker 1: I saw a mask. 504 00:26:11,276 --> 00:26:12,796 Speaker 2: I'm just always you know what I mean. I've just 505 00:26:12,956 --> 00:26:17,836 Speaker 2: been adventurous and things I can access what makes things 506 00:26:17,836 --> 00:26:20,676 Speaker 2: interesting to me. But I do that with with a 507 00:26:20,676 --> 00:26:22,876 Speaker 2: lot of art. I do that not with music, but 508 00:26:22,956 --> 00:26:27,036 Speaker 2: with literature, cinema, most definitely comedy as well. 509 00:26:27,676 --> 00:26:29,396 Speaker 1: So it's all that going through your mind as you're 510 00:26:29,396 --> 00:26:32,156 Speaker 1: writing lyrics for The Crows or for your other groups. 511 00:26:32,476 --> 00:26:36,236 Speaker 2: I imagine, yeah, I imagine it's something. It's all in there. 512 00:26:36,276 --> 00:26:38,916 Speaker 2: But I think when it's time to focus, like on 513 00:26:38,996 --> 00:26:42,196 Speaker 2: writing a lyric or whatever. I've written songs with other people. 514 00:26:42,236 --> 00:26:45,676 Speaker 2: I've written many songs on my own. The thing that 515 00:26:46,036 --> 00:26:50,476 Speaker 2: is the Black Crows is Rich and ize contribution together. 516 00:26:51,076 --> 00:26:54,836 Speaker 2: You know, rich, whatever he's coming from will play me something. 517 00:26:55,236 --> 00:26:57,796 Speaker 2: There's a lot of psychic energy involved in it as well, 518 00:26:58,076 --> 00:27:01,516 Speaker 2: and music is a great conduit to open those kind 519 00:27:01,516 --> 00:27:02,556 Speaker 2: of psychic channels. 520 00:27:02,716 --> 00:27:04,396 Speaker 1: And do you go into it with that intention, like 521 00:27:04,436 --> 00:27:06,276 Speaker 1: do you have to set out to do that or 522 00:27:06,276 --> 00:27:06,836 Speaker 1: does it happen? 523 00:27:06,996 --> 00:27:09,076 Speaker 2: I think there's other musicians who can do the fuck 524 00:27:09,196 --> 00:27:11,076 Speaker 2: in math and know all the shit and they do 525 00:27:11,156 --> 00:27:14,116 Speaker 2: another thing. I've only ever been able to access it 526 00:27:14,276 --> 00:27:17,276 Speaker 2: this way. Got it is my process because of however, 527 00:27:17,596 --> 00:27:21,116 Speaker 2: because we didn't learn music. We don't know shit about music. 528 00:27:21,676 --> 00:27:24,116 Speaker 1: I don't read music. Rich doesn't read music. 529 00:27:24,556 --> 00:27:26,796 Speaker 2: But we know what it feels like and we know 530 00:27:26,836 --> 00:27:29,956 Speaker 2: what sounds right, and then you keep doing that. Of course, 531 00:27:30,036 --> 00:27:32,516 Speaker 2: through that your vocabulary is bigger. But we maybe are 532 00:27:32,596 --> 00:27:35,116 Speaker 2: using different words than people who are more knowledgeable about 533 00:27:35,156 --> 00:27:39,116 Speaker 2: the inner workings and mathematics the arithmetic of music. Yeah, 534 00:27:39,476 --> 00:27:42,356 Speaker 2: and that it's escapes us. But I think it's also 535 00:27:42,596 --> 00:27:45,196 Speaker 2: in our that makes it folk and that makes you 536 00:27:45,276 --> 00:27:47,876 Speaker 2: know what I mean, there's some sort of that's why 537 00:27:47,916 --> 00:27:50,956 Speaker 2: we look at it more and like it's kind of magic. 538 00:27:50,996 --> 00:27:53,356 Speaker 2: When a song happens out of the blue. One minute, 539 00:27:53,396 --> 00:27:56,356 Speaker 2: there's nothing, one little thing like this, and then I 540 00:27:56,436 --> 00:27:59,596 Speaker 2: get an idea, and then that changes what Rich is doing. 541 00:27:59,956 --> 00:28:03,036 Speaker 2: And then it's all dictated by whatever the vibe is 542 00:28:03,076 --> 00:28:06,516 Speaker 2: that Rich plays me. There's an emotional ingredient to what 543 00:28:06,596 --> 00:28:09,356 Speaker 2: he plays me, like our probably the most famous song 544 00:28:09,356 --> 00:28:11,796 Speaker 2: as She Talks to Angels. He wrote that song. He 545 00:28:11,876 --> 00:28:14,156 Speaker 2: was very young with the riff, and then we probably 546 00:28:14,156 --> 00:28:16,156 Speaker 2: didn't get to it till like a year later when 547 00:28:16,436 --> 00:28:18,996 Speaker 2: but we would be playing things around mom and Dad's house. 548 00:28:19,116 --> 00:28:21,916 Speaker 1: He's like seventeen when he wrote that, Yes, I would 549 00:28:21,956 --> 00:28:22,556 Speaker 1: be nineteen. 550 00:28:22,956 --> 00:28:25,516 Speaker 2: So there's something about the way he pulls that first 551 00:28:25,596 --> 00:28:28,556 Speaker 2: inn and then that would just put me in a 552 00:28:28,636 --> 00:28:32,316 Speaker 2: place to write a song with that kind of dark, romantic, 553 00:28:33,596 --> 00:28:37,076 Speaker 2: melancholy imagery. But we do that today, and we do that, 554 00:28:37,596 --> 00:28:40,476 Speaker 2: I think, especially if we get around to where we're 555 00:28:40,516 --> 00:28:43,876 Speaker 2: going right now with this Happiness Bastards record and stuff. 556 00:28:43,876 --> 00:28:47,156 Speaker 2: I mean, I think that's exactly what we've done with this. 557 00:28:47,276 --> 00:28:49,396 Speaker 2: I mean, there's a lot more rock and roll on it. 558 00:28:49,596 --> 00:28:52,076 Speaker 2: There's a lot more water under the bridge. We've lived 559 00:28:52,116 --> 00:28:57,476 Speaker 2: a lot personally. I'm one of those people and I 560 00:28:57,556 --> 00:29:00,436 Speaker 2: have two children and we want everything to be the best. 561 00:29:00,436 --> 00:29:04,476 Speaker 2: But I'm also not afraid of adversity, because I don't 562 00:29:04,516 --> 00:29:07,036 Speaker 2: think you should be afraid of something that you have 563 00:29:07,116 --> 00:29:09,916 Speaker 2: to find acceptance with, you know what I mean, Because 564 00:29:09,916 --> 00:29:13,276 Speaker 2: it doesn't matter who you are, what you do, if 565 00:29:13,276 --> 00:29:15,516 Speaker 2: you do it to yourself, if someone's doing it to you, 566 00:29:15,676 --> 00:29:18,236 Speaker 2: if you have the means, if you don't have the means, 567 00:29:18,596 --> 00:29:21,476 Speaker 2: No one escapes adversity, and it changes you know what 568 00:29:21,516 --> 00:29:24,316 Speaker 2: I mean, how we deal with it. The great energy 569 00:29:24,396 --> 00:29:26,396 Speaker 2: and power of youth and where we came from in 570 00:29:26,476 --> 00:29:29,116 Speaker 2: rock and roll was the anger, the fuck you part 571 00:29:29,156 --> 00:29:29,396 Speaker 2: of it. 572 00:29:29,476 --> 00:29:30,636 Speaker 1: Yeah, even with each other. 573 00:29:31,036 --> 00:29:33,556 Speaker 2: Yeah yeah, but that boils into that. Yeah. I mean 574 00:29:33,636 --> 00:29:38,236 Speaker 2: it's like live fire, you know, and like but it's 575 00:29:38,236 --> 00:29:40,756 Speaker 2: also a great you know, if you can get that 576 00:29:40,916 --> 00:29:42,996 Speaker 2: into the dude, and you can get in the studio 577 00:29:43,076 --> 00:29:45,716 Speaker 2: and get it on there. You know, we weren't clever 578 00:29:45,876 --> 00:29:48,076 Speaker 2: enough to do the math. We were only clever enough 579 00:29:48,076 --> 00:29:49,796 Speaker 2: to wear our emotions on our sleeves. 580 00:29:49,836 --> 00:29:52,036 Speaker 1: Did your parents pick up on your guys's tension? 581 00:29:52,556 --> 00:29:56,756 Speaker 2: Yes, I mean, fuck, I mean even more so probably 582 00:29:56,836 --> 00:29:59,316 Speaker 2: the older we would get, but they weren't around when 583 00:29:59,356 --> 00:30:01,796 Speaker 2: it was like, for some reason, you know, we he 584 00:30:01,876 --> 00:30:03,556 Speaker 2: had his own bedroom. I had my own bedroom when 585 00:30:03,556 --> 00:30:05,996 Speaker 2: we lived in the suburbs, and I had like a 586 00:30:06,196 --> 00:30:09,756 Speaker 2: twin bed and a desk, stereo whatever. Rich had like 587 00:30:09,756 --> 00:30:11,836 Speaker 2: a queen size Bendings room for some reason. I don't 588 00:30:11,836 --> 00:30:14,516 Speaker 2: know why we ever got that. But it was funny 589 00:30:14,556 --> 00:30:16,316 Speaker 2: because when we were kids and it would be like 590 00:30:17,156 --> 00:30:19,796 Speaker 2: if we started getting annoyed, we'd have this game where 591 00:30:19,836 --> 00:30:22,116 Speaker 2: we'd both get on the bed, and he'd be like 592 00:30:22,876 --> 00:30:25,716 Speaker 2: I'm mad Max and I'm like I'm Snake pliskt and 593 00:30:25,756 --> 00:30:29,356 Speaker 2: then we would like who could who would win in 594 00:30:29,396 --> 00:30:32,236 Speaker 2: a fight? Mad Max or Snake clisktting? Like whoever could? 595 00:30:32,276 --> 00:30:34,316 Speaker 2: Like fucking throw the other one off the bed? Was 596 00:30:34,316 --> 00:30:38,476 Speaker 2: like the Winnersten Snake always win in that got a 597 00:30:38,516 --> 00:30:41,236 Speaker 2: batch on the eye, fucking cool outfit. I was like, 598 00:30:41,796 --> 00:30:45,116 Speaker 2: it's my motherfucker there, you know, but like dumb show 599 00:30:45,156 --> 00:30:47,036 Speaker 2: like guy. And then we've said it before, but we 600 00:30:47,196 --> 00:30:49,996 Speaker 2: fought brothers fight, but we would never punch each other 601 00:30:49,996 --> 00:30:52,676 Speaker 2: in the face. We would hit each other bodyguards, throws 602 00:30:52,796 --> 00:30:56,556 Speaker 2: at each other, try to strangle each other, nothing from 603 00:30:56,556 --> 00:30:59,116 Speaker 2: the neck up. It was weird. I don't know that 604 00:30:59,236 --> 00:31:00,276 Speaker 2: rule always. 605 00:30:59,956 --> 00:31:02,916 Speaker 1: Applied, unspoken, unwritten, just. 606 00:31:04,916 --> 00:31:07,716 Speaker 2: As if that makes it like worse than all the 607 00:31:07,756 --> 00:31:10,676 Speaker 2: other cruel shit. I love it, man, I love it. 608 00:31:10,716 --> 00:31:14,036 Speaker 1: Ye Snake doesn't need muscles though, just being a pure 609 00:31:14,036 --> 00:31:15,356 Speaker 1: badass is sometimes enough. 610 00:31:15,676 --> 00:31:17,676 Speaker 2: Yeah, they couldn't stop, you know what I mean? The 611 00:31:17,756 --> 00:31:20,316 Speaker 2: craziest come out from under the street. He gets away 612 00:31:20,316 --> 00:31:20,916 Speaker 2: from all of them. 613 00:31:21,556 --> 00:31:25,556 Speaker 1: Didn't matter. So great soundtrack to that amazing soundtrack. John 614 00:31:25,556 --> 00:31:27,276 Speaker 1: Comber is always the favorite one is. 615 00:31:27,276 --> 00:31:30,316 Speaker 2: A movie he made called, uh is it called the 616 00:31:30,356 --> 00:31:31,276 Speaker 2: Prince of Darkness? 617 00:31:31,316 --> 00:31:32,036 Speaker 1: You know that movie? 618 00:31:32,316 --> 00:31:34,516 Speaker 2: I don't know that one part of the trilogy he 619 00:31:34,596 --> 00:31:38,116 Speaker 2: did that. I think that Escape from New York, Prince 620 00:31:38,156 --> 00:31:40,956 Speaker 2: of Darkness and maybe they See or whatever. I think 621 00:31:40,956 --> 00:31:43,596 Speaker 2: those are like a trilogy he made. But Prince of 622 00:31:43,676 --> 00:31:45,876 Speaker 2: Darkness is a really cool movie. Like in this weird 623 00:31:45,996 --> 00:31:48,916 Speaker 2: church in Oakland or whatever is like where evil is 624 00:31:48,956 --> 00:31:51,796 Speaker 2: and like this liquid container and like these people find 625 00:31:51,916 --> 00:31:54,956 Speaker 2: it's really deep. Man. But the sound that one's really 626 00:31:54,956 --> 00:31:56,236 Speaker 2: I listened to it all the time. 627 00:31:56,836 --> 00:31:58,636 Speaker 1: I missed that one. I like, I like Assault on 628 00:31:58,716 --> 00:32:00,076 Speaker 1: Precinct thirteen. 629 00:32:00,236 --> 00:32:05,236 Speaker 2: That soundtracks amazing, very far ahead of his time, actually. 630 00:32:05,116 --> 00:32:07,156 Speaker 1: Way ahead of his time. It sounds like what's you know, 631 00:32:07,276 --> 00:32:10,836 Speaker 1: like a lot of like electronic composers would now go for. 632 00:32:11,156 --> 00:32:13,756 Speaker 2: Is he from Kentucky? I think originally is from Kentucky. 633 00:32:13,796 --> 00:32:19,556 Speaker 2: It's like if Tangerine Dream were from Kentucky. Yeah, yeah, right, 634 00:32:19,916 --> 00:32:22,756 Speaker 2: Tangerine Dream is from Kentucky. Maybe they just call that 635 00:32:22,916 --> 00:32:25,556 Speaker 2: like Pineapple upside down cake Dreamers. 636 00:32:27,916 --> 00:32:29,316 Speaker 1: How do you feel with a new record? I think 637 00:32:29,316 --> 00:32:30,076 Speaker 1: it sounds amazing. 638 00:32:30,156 --> 00:32:33,156 Speaker 2: Yeah, we're very happy. I think we were really focused 639 00:32:33,196 --> 00:32:36,636 Speaker 2: on what we wanted the record to be touring the 640 00:32:36,716 --> 00:32:39,116 Speaker 2: last few years and doing the Shak Your Money Makers show. 641 00:32:39,876 --> 00:32:43,076 Speaker 2: At first, I was a little bit I had a 642 00:32:43,076 --> 00:32:45,476 Speaker 2: little trepidation about it, just because I was like, Oh, 643 00:32:45,516 --> 00:32:48,036 Speaker 2: isn't that what other bands kind of get into sometimes, 644 00:32:48,156 --> 00:32:51,796 Speaker 2: is playing their most popular record or whatever. Yeah, But 645 00:32:51,836 --> 00:32:54,196 Speaker 2: once I thought about it, and I thought, Yo, don't 646 00:32:54,196 --> 00:32:56,836 Speaker 2: think about it, just do it. This is important record 647 00:32:56,876 --> 00:33:00,036 Speaker 2: to you know, this is where it all begins for us, 648 00:33:00,156 --> 00:33:03,556 Speaker 2: and let's revisit it. Let's see what happens if we 649 00:33:03,596 --> 00:33:07,076 Speaker 2: remove ourselves from the way of thinking before. You know, 650 00:33:07,116 --> 00:33:09,036 Speaker 2: why did I think that was dumb? Maybe it's not. 651 00:33:09,516 --> 00:33:11,836 Speaker 2: Maybe there's something there. And I think part of where 652 00:33:11,876 --> 00:33:14,636 Speaker 2: the Black Crows are today is getting out of our 653 00:33:14,676 --> 00:33:17,236 Speaker 2: way and you know, don't think it, do it, and 654 00:33:17,276 --> 00:33:20,116 Speaker 2: then you'll have more information about what works and what doesn't. 655 00:33:20,436 --> 00:33:24,236 Speaker 2: And it was fantastic, And that was kind of the 656 00:33:24,236 --> 00:33:27,516 Speaker 2: impetus to get us to like a real focus, up 657 00:33:27,556 --> 00:33:31,716 Speaker 2: tempo rock and roll record that hits all the notes. 658 00:33:31,796 --> 00:33:35,556 Speaker 2: I think that we finally didn't have the perspective to 659 00:33:35,676 --> 00:33:40,076 Speaker 2: know what the Black Crows sound like, and to me, 660 00:33:40,156 --> 00:33:43,196 Speaker 2: happens Bastards is like an arrow pointed towards the future 661 00:33:43,196 --> 00:33:46,116 Speaker 2: for us of what the Black Crows could be. And 662 00:33:46,316 --> 00:33:48,396 Speaker 2: once we work with a guy like Jay Joyce who 663 00:33:48,396 --> 00:33:53,316 Speaker 2: produced the record, who's very successful, popular producer. We've never 664 00:33:53,356 --> 00:33:55,956 Speaker 2: really worked with like a super producer like that. And 665 00:33:56,276 --> 00:33:58,836 Speaker 2: you know, we met so many talented people and had 666 00:33:58,876 --> 00:34:02,316 Speaker 2: so many great conversations. There's just something about Jay. Well, 667 00:34:02,316 --> 00:34:05,476 Speaker 2: first off, we felt like this guy not only can 668 00:34:05,596 --> 00:34:08,196 Speaker 2: we get him, but he could get us, and we're 669 00:34:08,196 --> 00:34:11,596 Speaker 2: incapable of doing something that we don't feel is sincere, 670 00:34:12,116 --> 00:34:15,476 Speaker 2: sincere to us of what we want to do and 671 00:34:15,516 --> 00:34:18,556 Speaker 2: how it sounds. And of course when he comes on board, 672 00:34:18,596 --> 00:34:21,196 Speaker 2: he starts to help shape the songs as well, like, 673 00:34:21,876 --> 00:34:24,276 Speaker 2: all right, we have a discussion about what I think 674 00:34:24,316 --> 00:34:27,396 Speaker 2: the record should be. What's the concept in a sense? 675 00:34:27,436 --> 00:34:29,636 Speaker 2: I mean, you can't do it one hundred percent because 676 00:34:29,676 --> 00:34:33,116 Speaker 2: it's music and things change, but if that's what we're 677 00:34:33,116 --> 00:34:35,556 Speaker 2: going for, and so he, you know, we have a 678 00:34:35,556 --> 00:34:38,436 Speaker 2: bunch of songs. He comes in, tells us what he 679 00:34:38,556 --> 00:34:41,116 Speaker 2: likes about these songs. We go back work on some songs, 680 00:34:41,156 --> 00:34:43,676 Speaker 2: write some new ones. But again, as we're in the 681 00:34:43,676 --> 00:34:45,996 Speaker 2: studio making the record, it only took us two and 682 00:34:46,036 --> 00:34:47,436 Speaker 2: a half weeks to make the record. 683 00:34:47,556 --> 00:34:48,196 Speaker 1: That's quick. 684 00:34:48,356 --> 00:34:50,996 Speaker 2: Yeah, yeah, it has an energy. It has to be 685 00:34:51,116 --> 00:34:53,356 Speaker 2: that way. Like I said, we're not the kind of 686 00:34:53,396 --> 00:34:56,796 Speaker 2: people to what are we doing, you know? And what 687 00:34:56,836 --> 00:35:00,076 Speaker 2: are we selling? What do we want people to get 688 00:35:00,156 --> 00:35:02,316 Speaker 2: from this? What are we putting out there in the world. 689 00:35:02,356 --> 00:35:04,276 Speaker 2: And we haven't made a record a long time. Basically, 690 00:35:04,356 --> 00:35:06,356 Speaker 2: you got to, like, you know, put your money where 691 00:35:06,396 --> 00:35:07,956 Speaker 2: your mouth is and if you're going to say this 692 00:35:08,076 --> 00:35:11,516 Speaker 2: is what you are, then it better fucking sound like that. Yeah, 693 00:35:11,516 --> 00:35:13,276 Speaker 2: And I made a record in so long and we've 694 00:35:13,316 --> 00:35:15,916 Speaker 2: been talking about it. We've been proving it every night 695 00:35:15,956 --> 00:35:18,196 Speaker 2: on tour of like what the presentation is, what the 696 00:35:18,276 --> 00:35:21,516 Speaker 2: vibes are, what the band sounds like. We're rich and 697 00:35:21,596 --> 00:35:24,756 Speaker 2: I are, but we're playing old songs and we're playing 698 00:35:24,836 --> 00:35:28,076 Speaker 2: songs people know, and now to do it with something new. 699 00:35:28,836 --> 00:35:31,756 Speaker 2: But after all the talk about we're a rock and 700 00:35:31,876 --> 00:35:34,716 Speaker 2: roll band, this is where we're doing this. We're in 701 00:35:34,756 --> 00:35:37,636 Speaker 2: a good place, we're creative. But then you have to 702 00:35:37,676 --> 00:35:38,036 Speaker 2: do it. 703 00:35:38,396 --> 00:35:40,516 Speaker 1: Yeah, do you think you could go out and play 704 00:35:40,836 --> 00:35:42,756 Speaker 1: when you go out on tour. You're going on tour soon. 705 00:35:42,756 --> 00:35:45,676 Speaker 1: Could you play a lot of this album or do 706 00:35:45,716 --> 00:35:48,116 Speaker 1: you do you feel you have to do a lot 707 00:35:48,156 --> 00:35:48,676 Speaker 1: of the old stuff. 708 00:35:48,956 --> 00:35:51,716 Speaker 2: I mean, that's the purpose of the tour. And we've 709 00:35:51,756 --> 00:35:55,476 Speaker 2: gone from bigger venues to a little smaller because we know, 710 00:35:56,276 --> 00:35:57,916 Speaker 2: you know, there's always going to be someone like this 711 00:35:57,996 --> 00:35:59,876 Speaker 2: is our new single and they go to the bathroom 712 00:35:59,956 --> 00:36:00,316 Speaker 2: or whatever. 713 00:36:00,756 --> 00:36:03,036 Speaker 1: Yeah, well you want to play the new record, like 714 00:36:03,036 --> 00:36:03,756 Speaker 1: that's the point of this. 715 00:36:03,996 --> 00:36:06,156 Speaker 2: Yeah, Well, we feel that it's right there with the 716 00:36:06,156 --> 00:36:08,916 Speaker 2: best of everything we've done. And as we move on 717 00:36:09,156 --> 00:36:11,276 Speaker 2: from this new record and being able to focus on 718 00:36:11,316 --> 00:36:14,316 Speaker 2: it for this period, of course, you know, we have 719 00:36:14,356 --> 00:36:17,156 Speaker 2: to play she talks angels hard to handle, jealous again twice. 720 00:36:17,196 --> 00:36:19,796 Speaker 2: It's hard during to my pride remedy. You know, we 721 00:36:19,876 --> 00:36:22,916 Speaker 2: know there's certain things wiser times, soul sing and whatever. 722 00:36:23,196 --> 00:36:26,396 Speaker 2: We know there's certain songs. I think when we were younger, 723 00:36:26,436 --> 00:36:29,076 Speaker 2: we were more arrogant and we didn't want to play along. 724 00:36:29,156 --> 00:36:33,756 Speaker 2: We wanted to push people more into we're more than 725 00:36:33,876 --> 00:36:38,996 Speaker 2: just these hit songs, and that was our right and 726 00:36:39,396 --> 00:36:43,916 Speaker 2: we did it, and we felt there was some importance 727 00:36:43,956 --> 00:36:48,076 Speaker 2: there that wasn't just ecocentric. Yeah, but I think now 728 00:36:48,156 --> 00:36:51,956 Speaker 2: we realize and that oh we can say the things 729 00:36:51,996 --> 00:36:54,756 Speaker 2: we want to say, but we also have to respect 730 00:36:54,756 --> 00:36:56,916 Speaker 2: our audience and know that somebody's going to be mad 731 00:36:56,916 --> 00:36:59,036 Speaker 2: if you don't play. She talks dandel yea And by 732 00:36:59,076 --> 00:37:01,876 Speaker 2: the way I look at she talks to angels or 733 00:37:01,876 --> 00:37:04,236 Speaker 2: hard to handle or whatever. Now in such a different 734 00:37:04,316 --> 00:37:07,396 Speaker 2: light because I realize how special it is to have 735 00:37:07,476 --> 00:37:10,796 Speaker 2: those songs in your catalog, you know, to have songs 736 00:37:11,436 --> 00:37:15,476 Speaker 2: that we play for people, but that after almost soon 737 00:37:15,516 --> 00:37:18,236 Speaker 2: it'll be getting there forty years that are been in 738 00:37:18,276 --> 00:37:20,596 Speaker 2: people's lives and it's important to them too, and they 739 00:37:20,676 --> 00:37:22,156 Speaker 2: and they want to hear it and they want to 740 00:37:22,196 --> 00:37:25,796 Speaker 2: hear you do the best you can do. Yeah, and 741 00:37:25,876 --> 00:37:29,716 Speaker 2: make it special and have that relationship with the audience. 742 00:37:30,076 --> 00:37:32,596 Speaker 1: Yeah, you said you feel like this is like an 743 00:37:32,676 --> 00:37:35,236 Speaker 1: arrow pointing to the future, like you want to do 744 00:37:35,276 --> 00:37:36,916 Speaker 1: more Black Crows music. 745 00:37:37,116 --> 00:37:40,516 Speaker 2: Yeah, you know, I mean, I know it sounds weird to, like, 746 00:37:40,756 --> 00:37:43,796 Speaker 2: you know, start wrapping up my fifties and talking about it, 747 00:37:43,996 --> 00:37:46,436 Speaker 2: But then again, you know, there's so much about what 748 00:37:46,836 --> 00:37:50,316 Speaker 2: we are as a band and as artist and as people. 749 00:37:50,956 --> 00:37:53,036 Speaker 2: It looks like one thing on the surface, but it's 750 00:37:53,076 --> 00:37:55,276 Speaker 2: not underneath, you know, in the same way that it 751 00:37:55,316 --> 00:37:57,316 Speaker 2: breaks my heart a little bit to hear like people 752 00:37:57,476 --> 00:38:02,156 Speaker 2: musicians say that they are bored or listless or not inspired, 753 00:38:02,236 --> 00:38:05,476 Speaker 2: and I'm like, well, I don't feel that way. And 754 00:38:05,556 --> 00:38:10,556 Speaker 2: this record is really even greater sort of proof that 755 00:38:11,196 --> 00:38:14,316 Speaker 2: I don't have to give up on my passion, on 756 00:38:14,396 --> 00:38:17,836 Speaker 2: my creativity. I can put it all in the correct 757 00:38:18,036 --> 00:38:20,996 Speaker 2: order and we can continue to move on. We don't 758 00:38:20,996 --> 00:38:23,556 Speaker 2: have the same expectations that you had in nineteen ninety 759 00:38:23,596 --> 00:38:25,876 Speaker 2: five when you made a record. When you know you're 760 00:38:25,916 --> 00:38:28,036 Speaker 2: spending a million and a half dollars on a record, 761 00:38:28,116 --> 00:38:29,836 Speaker 2: they want you to go out and sell fucking ten 762 00:38:29,876 --> 00:38:33,236 Speaker 2: million records and have four hit singles, and everybody's trying 763 00:38:33,276 --> 00:38:35,636 Speaker 2: to do that, and the radio is pumping your songs 764 00:38:35,676 --> 00:38:37,836 Speaker 2: all day long. And that's that's how it used to work. 765 00:38:37,956 --> 00:38:40,916 Speaker 2: Kids used to they play your records all the time 766 00:38:40,916 --> 00:38:43,076 Speaker 2: on the radio, and people will go buy your record. 767 00:38:43,316 --> 00:38:45,916 Speaker 2: That's how it works. Yeah, So even though that's gone, 768 00:38:46,036 --> 00:38:50,476 Speaker 2: that doesn't mean we don't see or feel there is 769 00:38:50,516 --> 00:38:53,676 Speaker 2: still some importance in that. And I don't feel that 770 00:38:53,916 --> 00:38:59,756 Speaker 2: making albums is that antiquated or archaic or anything. People say, 771 00:38:59,836 --> 00:39:02,156 Speaker 2: you know, you go to fucking Amiba, man, You're gonna 772 00:39:02,156 --> 00:39:04,156 Speaker 2: wait in line to pay for your shit. It's not 773 00:39:04,356 --> 00:39:07,076 Speaker 2: like there's Humble Weeds blowing through a record store or something. 774 00:39:07,796 --> 00:39:11,036 Speaker 1: It's true there are a fewer around, but you know, like, yeah, 775 00:39:11,276 --> 00:39:12,916 Speaker 1: go to Freak Beating in the valley. 776 00:39:12,956 --> 00:39:14,516 Speaker 2: There's people in the way, you know, and they have 777 00:39:14,516 --> 00:39:17,356 Speaker 2: great records in there. It's like anything else. The media 778 00:39:17,396 --> 00:39:20,436 Speaker 2: doesn't cover it because it would take too much imagination 779 00:39:20,556 --> 00:39:23,916 Speaker 2: and interest in something that isn't status driven, in something 780 00:39:24,236 --> 00:39:30,196 Speaker 2: that is collectively uh more dynamic, that contains more soulful information, 781 00:39:30,596 --> 00:39:35,556 Speaker 2: or something of a cultural reality that's not just reality 782 00:39:35,636 --> 00:39:38,596 Speaker 2: TV and going to the gym or whatever. Yeah. 783 00:39:38,836 --> 00:39:41,396 Speaker 1: Yeah, and so you do feel like it's an arrow 784 00:39:41,476 --> 00:39:43,356 Speaker 1: pointed in the future. You want to make more music, 785 00:39:43,396 --> 00:39:47,756 Speaker 1: but you mentioned earlier, maybe less touring at some point. 786 00:39:48,076 --> 00:39:50,156 Speaker 2: It's a deposition. I have to give you a day. 787 00:39:50,276 --> 00:39:52,356 Speaker 1: No, I'm just curious. No, I'm just curious. 788 00:39:52,356 --> 00:39:55,796 Speaker 2: Like it's like I don't know, like I'm just trying 789 00:39:55,796 --> 00:39:58,916 Speaker 2: to figure out where you're at here answered a Grand 790 00:39:58,996 --> 00:40:02,036 Speaker 2: Journey played this back to you. Remember you said it 791 00:40:03,076 --> 00:40:08,996 Speaker 2: you Miranda rights Man. Uh, Yes, there will come a 792 00:40:09,476 --> 00:40:13,236 Speaker 2: It's not in the near future, but maybe you know, 793 00:40:13,436 --> 00:40:17,996 Speaker 2: give me another. I don't know. It's hard to say, 794 00:40:18,156 --> 00:40:19,996 Speaker 2: you know what I mean, because getting a bit older 795 00:40:20,116 --> 00:40:22,316 Speaker 2: is weird because I don't feel older, but like, oh 796 00:40:22,436 --> 00:40:26,476 Speaker 2: fuck my knee hurt or whatever. Yeah, okay, it doesn't 797 00:40:26,516 --> 00:40:32,236 Speaker 2: dictate my dreams and passions my age, but no for 798 00:40:32,316 --> 00:40:34,636 Speaker 2: the near future, and I think, you know, it would 799 00:40:34,676 --> 00:40:37,276 Speaker 2: be pretty safe to say for the next decade of life. 800 00:40:37,396 --> 00:40:40,556 Speaker 2: I want to keep doing it while I can. Yeah, 801 00:40:40,676 --> 00:40:42,676 Speaker 2: that was another thing about the record, like, let's make 802 00:40:42,756 --> 00:40:44,956 Speaker 2: a fucking rock and roll record while we can still 803 00:40:45,036 --> 00:40:47,196 Speaker 2: fucking rock and roll. Man, you know what I mean, 804 00:40:47,236 --> 00:40:49,956 Speaker 2: Because at a certain point it's gonna be like you, 805 00:40:50,036 --> 00:40:54,076 Speaker 2: thank you rock and rolling, but intensity level comes down, 806 00:40:54,116 --> 00:40:56,836 Speaker 2: which is totally normal and fine, But rock and roll 807 00:40:56,916 --> 00:40:59,596 Speaker 2: is specific to a certain energy that you need. There's 808 00:40:59,636 --> 00:41:01,756 Speaker 2: all sorts of things that you can be passionate and 809 00:41:02,316 --> 00:41:07,156 Speaker 2: you can again have that kind of emotion and there's 810 00:41:07,156 --> 00:41:09,916 Speaker 2: still a smoldering intensity to those things. But I think 811 00:41:09,916 --> 00:41:12,156 Speaker 2: if you want to get out, shake your ass a 812 00:41:12,196 --> 00:41:14,236 Speaker 2: little bit, put it on a rock and roll show. 813 00:41:14,676 --> 00:41:18,116 Speaker 2: Hopefully people still get up and dance, and that's what 814 00:41:18,156 --> 00:41:18,716 Speaker 2: it's about. 815 00:41:18,916 --> 00:41:22,116 Speaker 1: Incredible man. Well, look, man, thanks for thanks for taking 816 00:41:22,156 --> 00:41:24,436 Speaker 1: the time. To talk. I love the new album, Excited 817 00:41:24,476 --> 00:41:26,636 Speaker 1: to see you play it, and fun talking to you. Man, 818 00:41:26,636 --> 00:41:28,796 Speaker 1: you got a lot to say. I love it all right. 819 00:41:28,876 --> 00:41:29,716 Speaker 2: I appreciate that. 820 00:41:32,676 --> 00:41:35,036 Speaker 1: Thanks to Chris Robinson for hanging out and talking about 821 00:41:35,076 --> 00:41:38,876 Speaker 1: his career along with the Black Crows new album, Happiness Bastards. 822 00:41:39,396 --> 00:41:41,396 Speaker 1: You can hear it along with our favorite songs from 823 00:41:41,476 --> 00:41:44,636 Speaker 1: Chris on a playlist at broken record podcast dot com. 824 00:41:44,996 --> 00:41:47,916 Speaker 1: Subscribe to our YouTube channel at YouTube dot com slash 825 00:41:47,996 --> 00:41:50,436 Speaker 1: broken record Podcast, where you can find all of our 826 00:41:50,476 --> 00:41:54,516 Speaker 1: new episodes. You can follow us on Twitter at broken Record. 827 00:41:54,996 --> 00:41:57,916 Speaker 1: Broken Record is produced and edited by Leah Rose, with 828 00:41:58,036 --> 00:42:01,516 Speaker 1: marketing help from Eric Sandler and Jordan McMillan. Our engineer 829 00:42:01,716 --> 00:42:06,076 Speaker 1: is Ben Tollinday. Broken Record is a production of Pushkin Industries. 830 00:42:06,476 --> 00:42:08,916 Speaker 1: If you love this show and others from Pushkin can 831 00:42:09,196 --> 00:42:13,076 Speaker 1: are subscribing to Pushkin Plus. Pushkin Plus is a podcast 832 00:42:13,156 --> 00:42:16,196 Speaker 1: subscription that offers bonus content and ad free listening for 833 00:42:16,276 --> 00:42:19,556 Speaker 1: four ninety nine a month. Look for Pushkin Plus on 834 00:42:19,596 --> 00:42:23,556 Speaker 1: Apple podcast subscriptions. And if you like this show, please 835 00:42:23,596 --> 00:42:26,556 Speaker 1: remember to share, rate and review us on your podcast app. 836 00:42:26,836 --> 00:42:29,596 Speaker 1: Our theme Music's back Anny Beats. I'm justin Richmond,