1 00:00:00,520 --> 00:00:01,280 Speaker 1: Taking a Walk. 2 00:00:01,480 --> 00:00:05,400 Speaker 2: I have to say, well, the guitar was always something 3 00:00:05,519 --> 00:00:07,760 Speaker 2: even though I was a pianist and I played piano 4 00:00:07,840 --> 00:00:13,680 Speaker 2: from five until forever. But guitar became the instruments of 5 00:00:13,840 --> 00:00:17,439 Speaker 2: choice that I just think. I was eleven, closing in 6 00:00:17,480 --> 00:00:21,520 Speaker 2: on twelve and it just became something which I was 7 00:00:21,760 --> 00:00:23,000 Speaker 2: absolutely addicted to. 8 00:00:23,280 --> 00:00:26,600 Speaker 1: Welcome to another edition of the Taking a Walk Podcast, 9 00:00:27,000 --> 00:00:31,240 Speaker 1: an exploration into music with musicians and insiders with a 10 00:00:31,280 --> 00:00:34,560 Speaker 1: story to tell. On this episode, join our host Buzz 11 00:00:34,680 --> 00:00:38,040 Speaker 1: Night as he speaks to Trevor Rabin. He's a musician, 12 00:00:38,080 --> 00:00:41,680 Speaker 1: a songwriter, a film composer known for his work in 13 00:00:41,800 --> 00:00:46,440 Speaker 1: Yes and numerous film scores like con Air, Homegrown, Armageddon, 14 00:00:46,680 --> 00:00:50,760 Speaker 1: and many more with the legendary Jerry Bruckheimer. Trevor has 15 00:00:50,760 --> 00:00:54,160 Speaker 1: a new project called Rio, and he joins Buzz next 16 00:00:54,560 --> 00:00:56,120 Speaker 1: on Taking a Walk. 17 00:00:57,400 --> 00:00:58,760 Speaker 3: Trevor, nice to talk to you. 18 00:00:59,320 --> 00:01:00,920 Speaker 2: Good to talk to you. How you doing. 19 00:01:01,840 --> 00:01:04,800 Speaker 3: I'm great. We talked many moons ago when I was 20 00:01:04,840 --> 00:01:10,440 Speaker 3: a baby DJ in Columbus, Ohio. You were out promoting 21 00:01:10,920 --> 00:01:14,720 Speaker 3: a date with Yes. Then, Oh my goodness, it was 22 00:01:14,760 --> 00:01:18,160 Speaker 3: then it was shoot high, Aim Low and. 23 00:01:18,200 --> 00:01:20,440 Speaker 2: From the Big Generator record. That's correct. 24 00:01:21,280 --> 00:01:21,480 Speaker 1: Yeah. 25 00:01:21,520 --> 00:01:24,080 Speaker 3: I asked you, I said, on a scale of one 26 00:01:24,120 --> 00:01:27,600 Speaker 3: to ten, how would you rate the ability to dance 27 00:01:27,680 --> 00:01:29,559 Speaker 3: to that song? And you said zero. 28 00:01:31,720 --> 00:01:33,000 Speaker 2: I think that's about right. 29 00:01:34,080 --> 00:01:40,480 Speaker 3: Yeah, well, congratulations on the release of Rio, your first 30 00:01:40,520 --> 00:01:45,880 Speaker 3: solo album of vocals in thirty four years. What do 31 00:01:45,920 --> 00:01:48,080 Speaker 3: you been Have you been slacking off all this time? 32 00:01:48,760 --> 00:01:51,800 Speaker 2: You know, I wish I'd been slacking off, but unfortunately, 33 00:01:51,800 --> 00:01:54,640 Speaker 2: well fortunately, I guess I should say. I got into 34 00:01:54,760 --> 00:01:59,080 Speaker 2: film scoring once I left the band, and it just 35 00:01:59,320 --> 00:02:05,520 Speaker 2: never stopped from the first minute I started. Until quite recently, 36 00:02:05,680 --> 00:02:09,440 Speaker 2: I just been doing film off the film. But it's funny. 37 00:02:09,440 --> 00:02:12,760 Speaker 2: I look back on the steady odd years from the 38 00:02:12,840 --> 00:02:17,120 Speaker 2: last vocal solo album, and I think it doesn't feel 39 00:02:17,160 --> 00:02:21,000 Speaker 2: that longer. I mean, one of my early movies was Armageddon, 40 00:02:21,080 --> 00:02:24,160 Speaker 2: and I looked back at Armageddon and it doesn't feel 41 00:02:24,160 --> 00:02:25,960 Speaker 2: that long ago. It feels like it could have been 42 00:02:26,000 --> 00:02:29,720 Speaker 2: a week ago. So, you know, because of so much 43 00:02:29,760 --> 00:02:32,919 Speaker 2: work was going on, it all feels kind of truncated, 44 00:02:32,960 --> 00:02:34,720 Speaker 2: and you know, suddenly I look in the mirror and 45 00:02:34,720 --> 00:02:40,080 Speaker 2: I'm thirty years older. But the great thing is because 46 00:02:40,160 --> 00:02:43,360 Speaker 2: I was doing something else coming into doing this album, 47 00:02:43,400 --> 00:02:45,480 Speaker 2: I really felt fresh because I hadn't done it for 48 00:02:45,560 --> 00:02:46,000 Speaker 2: so long. 49 00:02:46,880 --> 00:02:49,200 Speaker 3: So what got you into the film scoring? Tell me 50 00:02:49,240 --> 00:02:49,760 Speaker 3: about that. 51 00:02:50,600 --> 00:02:53,680 Speaker 2: Well, you know, I had an incredible teacher. When you know, 52 00:02:53,760 --> 00:02:56,519 Speaker 2: I grew up in a musical family. My dad would 53 00:02:56,600 --> 00:03:01,240 Speaker 2: joke I could read music before English, and I studied 54 00:03:01,360 --> 00:03:06,480 Speaker 2: orchestration and arrangement and conducting and all that stuff. But 55 00:03:06,520 --> 00:03:12,800 Speaker 2: this brilliant guy, Professor Waltimony. He was unbelievable teacher, inspiring teacher, 56 00:03:12,840 --> 00:03:15,040 Speaker 2: and I was a terrible student, so it was clearly 57 00:03:15,120 --> 00:03:20,000 Speaker 2: all his fault. But after yes, I really wanted to 58 00:03:20,040 --> 00:03:23,200 Speaker 2: work with orchestra and one of the best places to 59 00:03:23,280 --> 00:03:28,600 Speaker 2: do it was doing film, and I was just very 60 00:03:28,680 --> 00:03:30,760 Speaker 2: lucky enough to get into it. And but then the 61 00:03:30,800 --> 00:03:35,240 Speaker 2: third movie I was doing Paul Jerry Brockheimer's movies, I 62 00:03:35,240 --> 00:03:37,880 Speaker 2: think at thirteen of his and I look back in 63 00:03:38,120 --> 00:03:43,080 Speaker 2: fifty years fifty movies ago, and that's when I started. 64 00:03:43,160 --> 00:03:48,360 Speaker 2: So here we are thirty years later. I certainly was 65 00:03:48,400 --> 00:03:52,520 Speaker 2: slacking off of doing this album but not doing music. 66 00:03:53,520 --> 00:03:56,600 Speaker 3: So what was the process of the whole film scoring? 67 00:03:56,720 --> 00:03:59,840 Speaker 3: How long would it typically take for your work to 68 00:03:59,840 --> 00:04:00,600 Speaker 3: be completed? 69 00:04:01,600 --> 00:04:04,960 Speaker 2: You know, I would say generally a film would be 70 00:04:04,960 --> 00:04:07,640 Speaker 2: between two and a half and three months full time, 71 00:04:08,360 --> 00:04:11,360 Speaker 2: and I would get the film. You know, you read 72 00:04:11,400 --> 00:04:13,400 Speaker 2: the script, you see if you want to work together, 73 00:04:13,960 --> 00:04:17,320 Speaker 2: and then you do. I get the film just as 74 00:04:17,360 --> 00:04:22,520 Speaker 2: it's finishing, it's nearing the final cut, and that's when 75 00:04:22,560 --> 00:04:25,200 Speaker 2: I would get although I get earlier cuts so that 76 00:04:25,279 --> 00:04:28,840 Speaker 2: I could just inspire and write themes, and you know, 77 00:04:28,920 --> 00:04:31,120 Speaker 2: even if it was just a three note theme, and 78 00:04:31,120 --> 00:04:34,760 Speaker 2: then I would write the full orchestra beeat piece later 79 00:04:35,400 --> 00:04:38,400 Speaker 2: that Then it would there be what's called a spotting 80 00:04:38,480 --> 00:04:43,840 Speaker 2: session where the very first final cut with the final 81 00:04:43,880 --> 00:04:46,800 Speaker 2: cut never means the final cut, but I would sit 82 00:04:46,880 --> 00:04:50,000 Speaker 2: for the director and the film editor and we would 83 00:04:50,000 --> 00:04:53,000 Speaker 2: discuss where music it is literally going to fall on 84 00:04:53,040 --> 00:04:57,599 Speaker 2: the movie. And you're talking about you know, tiny increments. 85 00:04:57,640 --> 00:05:01,640 Speaker 2: For example, say the first a piece of music that 86 00:05:01,720 --> 00:05:05,360 Speaker 2: comes into the film comes in a two hours, one 87 00:05:05,440 --> 00:05:09,520 Speaker 2: minute and six frames. It means on the sixth frames 88 00:05:09,560 --> 00:05:13,680 Speaker 2: where the girl shuts her eyes. So when you see 89 00:05:13,720 --> 00:05:17,359 Speaker 2: the eyelid shut on eighth frame eight, that's where the 90 00:05:17,440 --> 00:05:20,359 Speaker 2: music starts. And that might just be a piano piece 91 00:05:20,400 --> 00:05:23,200 Speaker 2: that goes for eight seconds, and then the next piece 92 00:05:23,320 --> 00:05:29,880 Speaker 2: might be a seven piece string, a seven minutes orchestral 93 00:05:29,920 --> 00:05:32,760 Speaker 2: piece for a chase scene which would have the kitchen 94 00:05:32,839 --> 00:05:35,239 Speaker 2: sink on it, and that will go for seven minutes, 95 00:05:35,360 --> 00:05:38,719 Speaker 2: nine seconds and three frames. So it's very specific. And 96 00:05:38,760 --> 00:05:42,200 Speaker 2: then you get to like sixty pieces of music and 97 00:05:42,800 --> 00:05:45,839 Speaker 2: once those are all shovels, you've done. 98 00:05:47,279 --> 00:05:52,240 Speaker 3: So what fueled your brilliant curiosity as a young lad 99 00:05:52,320 --> 00:05:53,600 Speaker 3: in Johannesburg. 100 00:05:54,640 --> 00:05:58,599 Speaker 2: I have to say, well, the guitar was always something 101 00:05:58,760 --> 00:06:01,000 Speaker 2: even though I was a pianist and I played piano 102 00:06:01,040 --> 00:06:06,880 Speaker 2: from five until forever, but guitar became the instrument of 103 00:06:07,040 --> 00:06:11,279 Speaker 2: choice that I think I was eleven closing in on twelve, 104 00:06:12,040 --> 00:06:14,760 Speaker 2: and it just it just became something which I was 105 00:06:14,960 --> 00:06:19,320 Speaker 2: absolutely addicted to. And then I think at about seventeen eighteen 106 00:06:19,480 --> 00:06:24,720 Speaker 2: I became completely obsessed with Well, I was always, you know, 107 00:06:24,880 --> 00:06:27,480 Speaker 2: because of my father, who was a classic, you know, 108 00:06:28,440 --> 00:06:32,080 Speaker 2: first violinist in the Chancellor Symphony Orchestra. There was classical 109 00:06:32,160 --> 00:06:34,760 Speaker 2: music all the time in the family. And I became 110 00:06:35,080 --> 00:06:38,040 Speaker 2: and you know, I knew all the Bees, but Beethoven, Brahms, 111 00:06:38,080 --> 00:06:41,200 Speaker 2: and you know, I keep hearing that all my life. 112 00:06:41,440 --> 00:06:44,760 Speaker 2: But then I came across Arnold Schoenberg and he just 113 00:06:44,880 --> 00:06:49,120 Speaker 2: bleomed me away. One of the great composers of last century. 114 00:06:49,720 --> 00:06:54,240 Speaker 3: We've had on this podcast some of your past mates 115 00:06:54,440 --> 00:06:59,240 Speaker 3: from Yes, Steve Howe and Johnny Anderson, and I was 116 00:07:00,120 --> 00:07:08,160 Speaker 3: intrigued by their diversity of influences. So your influences are 117 00:07:08,200 --> 00:07:12,040 Speaker 3: just as diverse and maybe even more diverse. How do 118 00:07:12,120 --> 00:07:16,280 Speaker 3: you still keep it diverse just by listening? 119 00:07:16,760 --> 00:07:19,240 Speaker 2: I listened to a lot of music, and you know, 120 00:07:19,280 --> 00:07:24,040 Speaker 2: I listened to mostly classical music or great guitar players. 121 00:07:24,040 --> 00:07:28,280 Speaker 2: But my son, who's a phenomenal producer and was in 122 00:07:28,320 --> 00:07:29,880 Speaker 2: a band called Group Love. I don't know if you 123 00:07:29,880 --> 00:07:32,880 Speaker 2: remember them. They're still going. Actually he left the band 124 00:07:32,880 --> 00:07:36,760 Speaker 2: to be a producer three years after three albums, but 125 00:07:37,520 --> 00:07:40,120 Speaker 2: he keeps me up to date on what's happening in 126 00:07:40,120 --> 00:07:43,680 Speaker 2: the music business. Because it's such a changed place. I 127 00:07:43,680 --> 00:07:44,920 Speaker 2: don't even recognize it. 128 00:07:44,960 --> 00:07:50,040 Speaker 3: Mostly, are you still friendly with the Yes camp? 129 00:07:51,320 --> 00:07:54,720 Speaker 2: You know, it's so sad. Ellen White and Chris as 130 00:07:54,760 --> 00:07:58,480 Speaker 2: you know, recently died and I missed them so much. 131 00:07:58,560 --> 00:08:03,640 Speaker 2: They were really really close friends. And then obviously I've 132 00:08:03,640 --> 00:08:06,280 Speaker 2: loved going on the road with John and Rick and 133 00:08:07,000 --> 00:08:09,640 Speaker 2: Reck and I've always been close and him and I 134 00:08:09,680 --> 00:08:12,400 Speaker 2: want to do when time allows him, and I want 135 00:08:12,440 --> 00:08:15,160 Speaker 2: to do an album just with piano and acoustic guitar. 136 00:08:16,520 --> 00:08:17,520 Speaker 2: So we're still in touch. 137 00:08:18,640 --> 00:08:23,600 Speaker 3: And had you always been involved with like the banjo 138 00:08:23,800 --> 00:08:26,600 Speaker 3: and dobro and instruments like that, because I know that's 139 00:08:26,680 --> 00:08:28,679 Speaker 3: part of rio. 140 00:08:29,840 --> 00:08:33,280 Speaker 2: Yeah, it's a funny thing you know about, because when 141 00:08:33,320 --> 00:08:36,559 Speaker 2: I was pretty much a teenager going into my twenties 142 00:08:37,200 --> 00:08:40,480 Speaker 2: in South Africa as a session musician, working you know, 143 00:08:40,800 --> 00:08:44,760 Speaker 2: flat out kind of and the sessions would change from 144 00:08:44,840 --> 00:08:49,640 Speaker 2: a movie session with a big orchestra to a heavy 145 00:08:49,760 --> 00:08:54,400 Speaker 2: rock session or to a country session. And country music 146 00:08:54,520 --> 00:08:57,800 Speaker 2: is huge in South Africa, so very often I'd be 147 00:08:57,840 --> 00:09:02,600 Speaker 2: playing a banjo or mandolin or even pedal steel on 148 00:09:02,679 --> 00:09:07,480 Speaker 2: some sessions, but essentially playing a telecaster with a b bender, 149 00:09:07,520 --> 00:09:10,600 Speaker 2: which is you know, pretty much a country picking thing. 150 00:09:11,920 --> 00:09:14,480 Speaker 2: It was a big love of mine and always has been. 151 00:09:15,480 --> 00:09:19,600 Speaker 3: So if you could play with a dream session with 152 00:09:19,760 --> 00:09:25,920 Speaker 3: individuals either living or deceased, who would that session be with? 153 00:09:27,280 --> 00:09:28,560 Speaker 2: Probably a Union Station? 154 00:09:29,520 --> 00:09:30,240 Speaker 3: Tell me about that. 155 00:09:33,040 --> 00:09:37,160 Speaker 2: God, what's the name of Union Station is? With the 156 00:09:37,160 --> 00:09:42,959 Speaker 2: country singer Allison Kraus, Alison Cross and Union Station. I mean, 157 00:09:43,200 --> 00:09:45,880 Speaker 2: just such great players in there, and that you know, 158 00:09:47,920 --> 00:09:51,080 Speaker 2: Doughbor Douglas is just phenomenal. 159 00:09:51,960 --> 00:09:53,560 Speaker 3: Oh is that Jerry Douglas. 160 00:09:54,360 --> 00:09:55,080 Speaker 2: Jerry Douglas. 161 00:09:55,160 --> 00:10:00,520 Speaker 3: Yes, Wow, that's that's incredible, and isn't it real? Need 162 00:10:00,559 --> 00:10:07,880 Speaker 3: how mister Plant has evolved into his present his present work. 163 00:10:09,520 --> 00:10:12,760 Speaker 2: I love Robert, I've not you know, I've known Robert 164 00:10:12,800 --> 00:10:17,160 Speaker 2: for probably forty years and we've we've always been friends. 165 00:10:17,480 --> 00:10:24,520 Speaker 2: I remember going to his show years ago and writing 166 00:10:24,600 --> 00:10:28,480 Speaker 2: backstage because the city was changing, and record company guy 167 00:10:28,520 --> 00:10:33,520 Speaker 2: went in and said, Robert Prebs and he said, I'll 168 00:10:33,559 --> 00:10:38,000 Speaker 2: bring the bloody South African in. Here's a funny old talk. 169 00:10:40,760 --> 00:10:43,719 Speaker 3: So I want to ask you. Everybody talks about artificial 170 00:10:43,760 --> 00:10:48,440 Speaker 3: intelligence now and I'd like to get your perspective on 171 00:10:48,559 --> 00:10:51,920 Speaker 3: it in terms of things you love about it relating 172 00:10:51,960 --> 00:10:54,960 Speaker 3: to your music, and things you fear of it. 173 00:10:56,040 --> 00:10:59,839 Speaker 2: Well, what I feel? You know, I'm I'm seventy and 174 00:11:00,000 --> 00:11:04,760 Speaker 2: three months, so I've I've kind of got through the 175 00:11:04,800 --> 00:11:07,880 Speaker 2: business in the probably one of the golden eras of 176 00:11:09,880 --> 00:11:14,880 Speaker 2: music business. But the new music business I think s 177 00:11:14,920 --> 00:11:18,520 Speaker 2: beares me mostly for young musicians. I mean, you know, 178 00:11:19,320 --> 00:11:23,640 Speaker 2: young film composers don't get treated as well as they 179 00:11:23,760 --> 00:11:26,719 Speaker 2: used to. They don't get you know, I mean a 180 00:11:26,760 --> 00:11:30,040 Speaker 2: lot of I've seen a lot of film composers doing 181 00:11:30,120 --> 00:11:33,480 Speaker 2: movies for no money and just saying you're going to 182 00:11:33,520 --> 00:11:36,880 Speaker 2: get it on your BEERMI check. Something's got to happen 183 00:11:37,040 --> 00:11:40,280 Speaker 2: so that you know. Listen, there's been the writer strike, 184 00:11:40,360 --> 00:11:45,400 Speaker 2: and there's been the actors strike. I think the musicians 185 00:11:45,440 --> 00:11:48,080 Speaker 2: need to be looked after as well, especially the young 186 00:11:48,120 --> 00:11:48,880 Speaker 2: ones coming up. 187 00:11:49,679 --> 00:11:53,080 Speaker 3: Who are some of the producers that have influenced you? 188 00:11:54,440 --> 00:11:59,640 Speaker 2: I think you mean for record producers, Yes, yes, I 189 00:11:59,679 --> 00:12:03,280 Speaker 2: think a guy there was a guy who just died 190 00:12:03,800 --> 00:12:09,040 Speaker 2: in South Africa, a phenomenal producer called Julian Laxton, a 191 00:12:09,320 --> 00:12:14,160 Speaker 2: phenomenal producer. And then I'd say, along with that would 192 00:12:14,200 --> 00:12:17,000 Speaker 2: be mud Lang. I think he's absolutely brilliant. 193 00:12:17,840 --> 00:12:23,360 Speaker 3: So let's talk about Rio and then also talk about 194 00:12:23,880 --> 00:12:30,520 Speaker 3: Oklahoma as well, which is striking. Tell me about how 195 00:12:30,520 --> 00:12:31,920 Speaker 3: proud you are of this work. 196 00:12:32,880 --> 00:12:37,400 Speaker 2: You know, I'm very, very proud of it. And Oklahoma 197 00:12:37,480 --> 00:12:40,320 Speaker 2: goes back a long time. You know, I had become 198 00:12:40,400 --> 00:12:43,600 Speaker 2: I'd worked really hard to become an American citizen and 199 00:12:43,800 --> 00:12:48,560 Speaker 2: went through all this absolutely all the legal ramifications and 200 00:12:49,120 --> 00:12:53,520 Speaker 2: procedures to do so. And when I became Actually we 201 00:12:53,679 --> 00:12:59,000 Speaker 2: played in LA that night with yes Rick drape me 202 00:12:59,120 --> 00:13:02,360 Speaker 2: and an American flag, and it was just such an 203 00:13:02,400 --> 00:13:05,719 Speaker 2: exciting moment. And you know, a go a couple of 204 00:13:05,840 --> 00:13:10,720 Speaker 2: years forward and in ninety five, you know, the Federal 205 00:13:10,760 --> 00:13:13,480 Speaker 2: Building gets blown up in Oklahoma, and I had this 206 00:13:13,559 --> 00:13:15,720 Speaker 2: kind of sick feeling in my stomach and it just 207 00:13:15,800 --> 00:13:18,360 Speaker 2: led me. I want to write a song about it, 208 00:13:18,760 --> 00:13:21,920 Speaker 2: but I clearly didn't want to release it or do 209 00:13:21,960 --> 00:13:25,200 Speaker 2: anything right then and there. It would have been pretty 210 00:13:25,280 --> 00:13:30,160 Speaker 2: crass and you know, exploitive. And so you know, now 211 00:13:30,320 --> 00:13:32,920 Speaker 2: thirty years later, I can look at it and just 212 00:13:32,960 --> 00:13:36,359 Speaker 2: look at it as a commentary and a tributary. 213 00:13:36,559 --> 00:13:42,040 Speaker 3: Really, that's that's that's amazing and something for you, your 214 00:13:42,080 --> 00:13:46,440 Speaker 3: work to be certainly very very proud of. So looking 215 00:13:46,559 --> 00:13:50,240 Speaker 3: forward here, how do you how do you just stay 216 00:13:50,320 --> 00:13:52,120 Speaker 3: so energized around your work? 217 00:13:52,960 --> 00:13:57,600 Speaker 2: You know, I have to say when when when film 218 00:13:57,679 --> 00:14:01,880 Speaker 2: is happening, there's an inherent discipline that you have to have. 219 00:14:03,160 --> 00:14:05,320 Speaker 2: Every day you faced with a blank page and you 220 00:14:05,400 --> 00:14:10,520 Speaker 2: have to fill it. Luckily, you're watching pictures, so it's 221 00:14:10,520 --> 00:14:14,400 Speaker 2: the ready made video. And it's funny. The better the actor, 222 00:14:15,880 --> 00:14:18,640 Speaker 2: the easier it is to write music to him, like 223 00:14:18,679 --> 00:14:23,160 Speaker 2: the rhythm of Denzil Washington or Anthony Hopkins makes writing 224 00:14:23,240 --> 00:14:30,760 Speaker 2: music to dialogue much more fluid. But I think, as 225 00:14:30,800 --> 00:14:36,160 Speaker 2: far as you know, being inspired all the time, there 226 00:14:36,160 --> 00:14:40,800 Speaker 2: are moments where I go through a month and I'll 227 00:14:40,800 --> 00:14:44,440 Speaker 2: be practicing and playing the guitar, but I'm not writing anything, 228 00:14:44,480 --> 00:14:47,080 Speaker 2: and I think, oh man, I've got to get into it, 229 00:14:47,120 --> 00:14:50,520 Speaker 2: and procrastination sets in. And if I'm off a movie 230 00:14:50,520 --> 00:14:54,680 Speaker 2: for a month on holiday or something, once the movie starts, 231 00:14:54,800 --> 00:14:57,640 Speaker 2: I have no choice. But doing an album like this 232 00:14:58,360 --> 00:15:01,680 Speaker 2: takes a lot more energy because there's you know, the 233 00:15:01,720 --> 00:15:06,280 Speaker 2: whole concept has revolved around the record. There's no movie 234 00:15:06,480 --> 00:15:11,440 Speaker 2: or dialogue or anything. The dialogue is you. So that's 235 00:15:11,480 --> 00:15:16,040 Speaker 2: something which takes a lot of energy. And luckily I 236 00:15:16,080 --> 00:15:19,000 Speaker 2: had it on for this album because I hadn't done 237 00:15:19,000 --> 00:15:21,400 Speaker 2: one for so long. But what it's also led to 238 00:15:21,520 --> 00:15:22,960 Speaker 2: is I can't wait to do another one. 239 00:15:23,120 --> 00:15:26,360 Speaker 3: I really enjoyed it, so I want to close with this. 240 00:15:26,560 --> 00:15:31,480 Speaker 3: We produced this other podcast called Music Saved Me, which 241 00:15:31,520 --> 00:15:36,400 Speaker 3: is about the power of music, the healing power, and 242 00:15:36,440 --> 00:15:41,440 Speaker 3: what it means to musicians. Do you believe that music 243 00:15:41,800 --> 00:15:43,920 Speaker 3: is therapeutic and has healing power. 244 00:15:45,000 --> 00:15:50,800 Speaker 2: I absolutely believe it does. And in fact, one strange 245 00:15:50,840 --> 00:15:54,560 Speaker 2: thing is that one point many years ago I wanted 246 00:15:54,560 --> 00:15:58,960 Speaker 2: to get into meditation, but my brain can't keep still, 247 00:15:59,120 --> 00:16:04,120 Speaker 2: so I could, you know, slow down to meditate. And 248 00:16:04,560 --> 00:16:09,800 Speaker 2: then early, quite early, maybe twenty years ago, I realized that, 249 00:16:10,400 --> 00:16:14,240 Speaker 2: you know what my zn moment, my meditation is when 250 00:16:14,280 --> 00:16:17,040 Speaker 2: I'm in the studio. Very often my wife will come 251 00:16:17,080 --> 00:16:19,120 Speaker 2: to me and on on Rio she came to me 252 00:16:19,160 --> 00:16:21,880 Speaker 2: and she said, no, it's nine thirty in the morning. 253 00:16:22,320 --> 00:16:24,920 Speaker 2: Have you been here. When did you get into the studio? 254 00:16:25,440 --> 00:16:28,960 Speaker 2: And I realized, oh, I haven't gone to bedget I forgot, 255 00:16:29,720 --> 00:16:33,480 Speaker 2: And she'll say, well, you must if you want some breakfast. 256 00:16:33,840 --> 00:16:37,480 Speaker 2: Oh my god, I'm starving. But I don't think about 257 00:16:37,480 --> 00:16:41,680 Speaker 2: it because that's then kind of feeling, that meditational feeling 258 00:16:42,440 --> 00:16:45,880 Speaker 2: is that's what the music does for me when i'm 259 00:16:46,120 --> 00:16:48,600 Speaker 2: and even when I'm on stage, the same thing happens. 260 00:16:48,680 --> 00:16:53,000 Speaker 2: So I absolutely feel that music is one of the 261 00:16:53,040 --> 00:16:56,320 Speaker 2: medicinal necessities of Earth. 262 00:16:57,360 --> 00:17:00,760 Speaker 3: Well, thank you for the medicinal nescess ease that you've 263 00:17:00,760 --> 00:17:04,959 Speaker 3: given me and the world, and I'm so grateful to 264 00:17:05,040 --> 00:17:09,119 Speaker 3: reconnect with you again. Trevor Well great talking to you. 265 00:17:09,720 --> 00:17:11,200 Speaker 3: Thank you, congrats on everything. 266 00:17:12,440 --> 00:17:14,879 Speaker 1: Thanks for listening to this episode of the Taking a 267 00:17:14,920 --> 00:17:18,840 Speaker 1: Walk podcast. Share this and other episodes with your friends 268 00:17:18,920 --> 00:17:22,399 Speaker 1: and follow us so you never miss an episode. Taking 269 00:17:22,440 --> 00:17:26,320 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 270 00:17:26,560 --> 00:17:28,840 Speaker 1: and wherever you get your podcasts.