1 00:00:01,400 --> 00:00:11,920 Speaker 1: Canst Playground. I'm Buzzsnight, the host of the Taking a 2 00:00:11,960 --> 00:00:15,760 Speaker 1: Walk podcast. We're at Nashville for this episode. If you 3 00:00:15,840 --> 00:00:18,760 Speaker 1: want to find out when the next episode is ready, 4 00:00:18,880 --> 00:00:22,640 Speaker 1: or if you're interested in becoming a guest, sign up 5 00:00:22,680 --> 00:00:27,440 Speaker 1: for our newsletter at takinowalk dot com. Today's guest is 6 00:00:27,480 --> 00:00:32,040 Speaker 1: an absolute musical force of nature. Amanda Shires is an 7 00:00:32,080 --> 00:00:36,680 Speaker 1: American singer, songwriter, and fiddle player. Her latest release is 8 00:00:36,720 --> 00:00:40,440 Speaker 1: called Take It Like a Man. She's released seven solo albums. 9 00:00:41,040 --> 00:00:44,479 Speaker 1: In twenty nineteen, she formed the Amazing Group of the 10 00:00:44,600 --> 00:00:49,720 Speaker 1: High Women along with Brandy Carlisle, Natalie Hemby, and Maren Morris. 11 00:00:50,200 --> 00:00:53,560 Speaker 1: I'm so grateful and so excited to meet here. Please 12 00:00:53,600 --> 00:00:56,400 Speaker 1: share this episode with a friend as we take a 13 00:00:56,440 --> 00:01:01,080 Speaker 1: walk with Amanda Shires. Oh, Amanda Shire, so nice to 14 00:01:01,400 --> 00:01:05,319 Speaker 1: be with you. Sort of taking a walk. We took 15 00:01:05,360 --> 00:01:08,440 Speaker 1: a walk from the cars to the barn. We had 16 00:01:08,440 --> 00:01:14,600 Speaker 1: a plan, but mother Nature had its way, yep, or 17 00:01:14,640 --> 00:01:19,160 Speaker 1: one of those other gods. But we're okay. We're inside 18 00:01:20,680 --> 00:01:24,240 Speaker 1: your beautiful surroundings here. You call this the barn of 19 00:01:24,319 --> 00:01:31,199 Speaker 1: internal wandering, and why that? I think for me part 20 00:01:31,240 --> 00:01:35,720 Speaker 1: of the way my process works. Is that I don't 21 00:01:35,720 --> 00:01:39,600 Speaker 1: try to get in the way of that part of 22 00:01:39,640 --> 00:01:44,319 Speaker 1: the brain that needs to find its own way or 23 00:01:44,319 --> 00:01:47,240 Speaker 1: do its own thing when you're creating. So if I 24 00:01:47,280 --> 00:01:49,560 Speaker 1: wake up in the morning and I do my medic 25 00:01:50,040 --> 00:01:52,600 Speaker 1: I do team. So after I do my transidental meditation, 26 00:01:52,720 --> 00:01:55,040 Speaker 1: I'll come out here and do at least five minutes 27 00:01:55,040 --> 00:01:58,480 Speaker 1: of writing or twenty or however long it feels like going. 28 00:01:59,400 --> 00:02:01,880 Speaker 1: And then I'll be told to or it led to 29 00:02:02,640 --> 00:02:07,120 Speaker 1: record or paint or practice or play Miss pac Man, 30 00:02:07,200 --> 00:02:10,920 Speaker 1: or go grocery shopping if I have to, or garden. 31 00:02:12,840 --> 00:02:15,919 Speaker 1: But every day is sort of this let's see where 32 00:02:15,919 --> 00:02:18,720 Speaker 1: it rolls. Yeah, on the days when i'm I don't have, 33 00:02:18,880 --> 00:02:24,520 Speaker 1: you know, familial obligations, which is many days, well I 34 00:02:24,600 --> 00:02:26,760 Speaker 1: do well, I do, but I don't, you know, to 35 00:02:26,760 --> 00:02:32,480 Speaker 1: to balance and to be well. I find that no 36 00:02:32,560 --> 00:02:35,799 Speaker 1: amount of of good parenting makes up for an unhappy mother. 37 00:02:36,280 --> 00:02:39,079 Speaker 1: So I find that balance is super important. Like I 38 00:02:39,240 --> 00:02:42,640 Speaker 1: do the job of of mothering, and I have to 39 00:02:42,639 --> 00:02:44,680 Speaker 1: sort of set boundaries to make sure I don't just 40 00:02:44,680 --> 00:02:47,760 Speaker 1: do that all day, yeah, cause it could be a 41 00:02:47,800 --> 00:02:50,280 Speaker 1: day long, it could be all day events. Yeah, And 42 00:02:50,360 --> 00:02:52,760 Speaker 1: sometimes those those days happen, you know, especially on the 43 00:02:52,760 --> 00:02:56,160 Speaker 1: weekends and things like that. Those are definitely all for 44 00:02:56,919 --> 00:02:59,200 Speaker 1: Mercy and Jason, but we all have to maintain our 45 00:02:59,240 --> 00:03:03,400 Speaker 1: own identities first before we could be other identities for others. 46 00:03:04,360 --> 00:03:08,720 Speaker 1: So can you take us back to that moment when 47 00:03:08,760 --> 00:03:12,040 Speaker 1: you knew that you wanted to ask your your dad 48 00:03:12,080 --> 00:03:18,600 Speaker 1: to buy that uh first uh instrument. Yeah, it it 49 00:03:18,639 --> 00:03:22,800 Speaker 1: would seem random, except for it, it wasn't random. My dad, 50 00:03:23,000 --> 00:03:27,880 Speaker 1: My dad had a relationship, a good relationship with this 51 00:03:27,919 --> 00:03:31,840 Speaker 1: guy named Ady Garrett who owned eighty Garrett's Pawn Shop 52 00:03:31,840 --> 00:03:34,960 Speaker 1: in Minorroales, Texas. At that time, the population was one 53 00:03:35,000 --> 00:03:38,720 Speaker 1: four three four eight, and it was kind of the 54 00:03:38,720 --> 00:03:43,120 Speaker 1: place where you went and traded guns or knives or 55 00:03:43,440 --> 00:03:46,360 Speaker 1: you know, instruments or you know, all kind of kinds 56 00:03:46,400 --> 00:03:48,160 Speaker 1: of things were bought and sold there. But he went 57 00:03:48,200 --> 00:03:53,360 Speaker 1: in there specifically for a new knife for he he 58 00:03:53,360 --> 00:03:55,560 Speaker 1: he hunts deer with bow and arrow and stuff. But 59 00:03:56,080 --> 00:03:58,440 Speaker 1: you know, at that time, we ate deer and squirrel 60 00:03:58,480 --> 00:04:00,720 Speaker 1: and stuff. Poor f poor folks, is what I'm describing. 61 00:04:01,160 --> 00:04:03,760 Speaker 1: And he needed a knife and he went in there 62 00:04:03,800 --> 00:04:05,200 Speaker 1: to get a new one cause he had broke his 63 00:04:05,280 --> 00:04:08,520 Speaker 1: somehow and I saw it hanging on the wall, and 64 00:04:08,560 --> 00:04:11,760 Speaker 1: I I just looked at it. I walked around some 65 00:04:12,120 --> 00:04:15,160 Speaker 1: tried to feign interest in knives, and I just stood there. 66 00:04:15,200 --> 00:04:19,640 Speaker 1: And then this smart salesman, the eighty Gearrett was saw 67 00:04:19,680 --> 00:04:21,200 Speaker 1: me looking at the fiddle and came and got it 68 00:04:21,240 --> 00:04:24,080 Speaker 1: down for me. And then after my dad picked out 69 00:04:24,080 --> 00:04:25,440 Speaker 1: his knife, he came to get me in. And I 70 00:04:25,480 --> 00:04:27,400 Speaker 1: was by that time begging for the fiddle. And I 71 00:04:27,480 --> 00:04:30,200 Speaker 1: just didn't know why or how it worked or anything. 72 00:04:30,240 --> 00:04:33,280 Speaker 1: I just I and it was about as high up 73 00:04:33,279 --> 00:04:39,040 Speaker 1: as that little old uh electric ukulele right there, m 74 00:04:39,560 --> 00:04:41,080 Speaker 1: and I just had to have it. And then my 75 00:04:41,200 --> 00:04:42,960 Speaker 1: dad was like, no, I don't have that kind of money. 76 00:04:42,960 --> 00:04:46,640 Speaker 1: It was sixty dollars. And then AD was like, well, 77 00:04:46,680 --> 00:04:48,080 Speaker 1: you could take it home and just come back and 78 00:04:48,120 --> 00:04:50,800 Speaker 1: pay me as you get it. And my dad was like, 79 00:04:50,880 --> 00:04:56,000 Speaker 1: geez okay, and he said, you'd have to swear to 80 00:04:56,040 --> 00:04:57,599 Speaker 1: me you're gonna learn it, cause I don't know this. 81 00:04:57,880 --> 00:05:02,360 Speaker 1: I don't have this kind of money. And and then 82 00:05:02,400 --> 00:05:04,120 Speaker 1: I took it, took it back to his house and 83 00:05:04,120 --> 00:05:08,520 Speaker 1: broke all the strings. And after the summer was over, 84 00:05:08,560 --> 00:05:10,520 Speaker 1: I took it home to my mom and she enrolled 85 00:05:10,520 --> 00:05:13,400 Speaker 1: me in the school orchestra. And then after that, uh, 86 00:05:13,440 --> 00:05:16,800 Speaker 1: my teacher recommended that I have private lessons, and then 87 00:05:18,320 --> 00:05:21,120 Speaker 1: my private lessons teacher decided that I also needed to 88 00:05:21,200 --> 00:05:24,960 Speaker 1: learn fiddle. And when he showed me Spanish two step, 89 00:05:25,000 --> 00:05:27,040 Speaker 1: that's when I decided I was gonna be a fiddle player. 90 00:05:27,800 --> 00:05:29,960 Speaker 1: And I went to my mom's car and said, I'm 91 00:05:29,960 --> 00:05:31,920 Speaker 1: a fiddle player now. And she said, as long as 92 00:05:31,960 --> 00:05:35,760 Speaker 1: you maintained your classical and your orchestra learning, you can 93 00:05:35,800 --> 00:05:40,240 Speaker 1: also learn fiddle. And I said, okay, And that's all 94 00:05:40,279 --> 00:05:44,279 Speaker 1: that got started. That was the beginning of everything. Right 95 00:05:44,640 --> 00:05:47,320 Speaker 1: you were you were, you were stuck like, yeah, I don't, 96 00:05:47,400 --> 00:05:49,800 Speaker 1: i'd I don't, I don't. I I try to think 97 00:05:49,839 --> 00:05:59,160 Speaker 1: about why that happens, and and the uh, the thunder agrees, 98 00:05:59,240 --> 00:06:03,680 Speaker 1: its accenting my words here. And by the way, people 99 00:06:03,920 --> 00:06:07,479 Speaker 1: like on this podcast the sounds, so we don't they like, 100 00:06:08,080 --> 00:06:09,800 Speaker 1: I mean, we could go out closer to it if 101 00:06:09,839 --> 00:06:12,320 Speaker 1: you want. There's a there's a bar right there, and 102 00:06:12,360 --> 00:06:18,640 Speaker 1: there's some birds that won't we fly into. I'm very comfortable, right, Okay, cool, awesome, Yeah, 103 00:06:18,680 --> 00:06:23,680 Speaker 1: that was I think about it sometimes and I think, 104 00:06:25,760 --> 00:06:27,719 Speaker 1: you know, there's a lot going on on in my 105 00:06:27,800 --> 00:06:31,640 Speaker 1: childhood and stuff at that time, and being nine and 106 00:06:32,320 --> 00:06:36,400 Speaker 1: eight and nine years old, you don't really have or 107 00:06:36,440 --> 00:06:40,039 Speaker 1: we didn't have the uh, the kind of language that 108 00:06:40,120 --> 00:06:44,240 Speaker 1: it that we would need to teach kids or you know, 109 00:06:44,279 --> 00:06:46,200 Speaker 1: my my parents were young when they had me. They 110 00:06:46,240 --> 00:06:49,159 Speaker 1: didn't have the language to even verbalize their own emotions, 111 00:06:49,279 --> 00:06:51,039 Speaker 1: much less teach me how to do it. So I 112 00:06:51,040 --> 00:06:55,880 Speaker 1: had no vocabulary or no means of which to even 113 00:06:55,880 --> 00:06:59,880 Speaker 1: talk about my feelings. And I think, if I divine 114 00:06:59,920 --> 00:07:03,440 Speaker 1: it in, it was it was uh put on me 115 00:07:03,520 --> 00:07:08,480 Speaker 1: to learn the the uh insurmountable chore of of what 116 00:07:08,520 --> 00:07:12,360 Speaker 1: it is to play the fiddle. Did you ever doubt 117 00:07:12,400 --> 00:07:15,600 Speaker 1: that you would figure it out? No? I I I 118 00:07:15,720 --> 00:07:17,640 Speaker 1: didn't doubt I would figure it out. I I knew that, 119 00:07:17,800 --> 00:07:20,960 Speaker 1: you know, if anything, the worst thing could happen would 120 00:07:21,000 --> 00:07:23,200 Speaker 1: be I'd be the worst, the worst in the class, 121 00:07:23,200 --> 00:07:25,920 Speaker 1: but I'd still be doing something I liked, you know. 122 00:07:26,040 --> 00:07:29,800 Speaker 1: Or maybe I'd not be the best one in the world, 123 00:07:29,880 --> 00:07:31,720 Speaker 1: but I'd still be doing something I loved. And then 124 00:07:32,560 --> 00:07:36,239 Speaker 1: and during that learning, I figured out that music helped 125 00:07:36,280 --> 00:07:39,400 Speaker 1: me best when it came to expression, and and and 126 00:07:39,480 --> 00:07:42,720 Speaker 1: that kind of helps you daily when you're going through anything, 127 00:07:42,800 --> 00:07:46,080 Speaker 1: how to get the emotions off yourself and figure it out. 128 00:07:47,440 --> 00:07:52,120 Speaker 1: So then you're fifteen years old and you end up 129 00:07:52,160 --> 00:07:57,880 Speaker 1: playing with this incredible band, the Texas Playboys. Mmm mmm, 130 00:07:58,200 --> 00:08:05,400 Speaker 1: what wasn't quite as simple as that? I they not 131 00:08:05,440 --> 00:08:07,880 Speaker 1: only did. Okay, I'll start from the beginning. So in 132 00:08:07,920 --> 00:08:12,760 Speaker 1: my lessons with my violent teacher, privately, Lanny was Lanny 133 00:08:12,840 --> 00:08:15,280 Speaker 1: Field was noticing that I was only drawn to certain 134 00:08:15,320 --> 00:08:19,240 Speaker 1: types of passages, and I would be I would excel 135 00:08:19,320 --> 00:08:22,120 Speaker 1: at certain very difficult passages, and the rest I was 136 00:08:22,160 --> 00:08:24,880 Speaker 1: bored and doing poorly, you know. He said, why don't 137 00:08:24,880 --> 00:08:26,320 Speaker 1: you play this part as well as you do the 138 00:08:26,320 --> 00:08:28,760 Speaker 1: other parts? I said, that doesn't interest me, and he 139 00:08:28,800 --> 00:08:31,840 Speaker 1: was like, well, if you do it, you know, or 140 00:08:31,880 --> 00:08:34,440 Speaker 1: when you do it, I will also show you something 141 00:08:35,000 --> 00:08:38,679 Speaker 1: that I've been learning, and it's fiddle and he was 142 00:08:38,880 --> 00:08:44,240 Speaker 1: actually in the process of transcribing actually have it here randomly. Oh, 143 00:08:44,440 --> 00:08:50,040 Speaker 1: hold on one second. He was in the process of 144 00:08:50,120 --> 00:08:56,640 Speaker 1: transcribing old fiddle tombs from Frankie McCord and taking him 145 00:08:56,640 --> 00:08:59,160 Speaker 1: from learning him learning them by ear like all the 146 00:08:59,200 --> 00:09:02,920 Speaker 1: parts from Frankie McCord, who I eventually learned fiddle from 147 00:09:03,400 --> 00:09:05,720 Speaker 1: uh uh two two years later. I'm getting to that. Okay, 148 00:09:05,720 --> 00:09:07,600 Speaker 1: I'm getting ahead of myself. Kind of a lot to 149 00:09:07,640 --> 00:09:10,400 Speaker 1: talk about all at once, isn't it. It's awesome. So 150 00:09:11,120 --> 00:09:15,240 Speaker 1: Lanny was learning fiddle and from Frankie, and Frankie learned 151 00:09:15,240 --> 00:09:18,320 Speaker 1: from ec Robertson the first recorded fiddle player nineteen twenty 152 00:09:18,360 --> 00:09:22,199 Speaker 1: six and somewhere in Texas, so I think that's the 153 00:09:22,320 --> 00:09:28,440 Speaker 1: right year. And anyway, so it's like eck Frankie. Then 154 00:09:28,520 --> 00:09:31,240 Speaker 1: me and Lanny were learning from him. But it wasn't 155 00:09:31,240 --> 00:09:32,959 Speaker 1: stuff he could read on the paper. And this is 156 00:09:33,000 --> 00:09:36,520 Speaker 1: what I've been studying this reading music and classical and 157 00:09:36,559 --> 00:09:38,600 Speaker 1: so he was transcribing it so that it wouldn't get 158 00:09:38,679 --> 00:09:42,640 Speaker 1: lost in the shuffle of time, right, And I put 159 00:09:42,640 --> 00:09:48,040 Speaker 1: it on the first song I learned, and he showed 160 00:09:48,080 --> 00:09:50,480 Speaker 1: me this song and that it was this song where 161 00:09:50,480 --> 00:09:54,120 Speaker 1: I ran out to the card said, I'm a fiddle player, mom. 162 00:09:54,240 --> 00:09:57,480 Speaker 1: This song Spanish two step, the Bob Wills song, and 163 00:09:57,600 --> 00:10:00,240 Speaker 1: I just loved it. And it's Frankie's arrangement, but you know, 164 00:10:00,280 --> 00:10:04,600 Speaker 1: it's about Wilson. And so he showed it to me 165 00:10:05,280 --> 00:10:07,040 Speaker 1: and then he showed me the work he was doing 166 00:10:07,080 --> 00:10:10,040 Speaker 1: and and transcribing and learning from Frankie mccorter, who played 167 00:10:10,040 --> 00:10:12,760 Speaker 1: with the playboye who was a foreman of the Jay 168 00:10:12,760 --> 00:10:15,840 Speaker 1: Abrams ranch in Lipscomb, Texas, which is just a few 169 00:10:15,840 --> 00:10:20,040 Speaker 1: miles away from Turkey, Texas. And actually more turkeys live 170 00:10:20,040 --> 00:10:25,000 Speaker 1: in Lipscomb than people. That's really funny. And incidentally, Frankie's 171 00:10:25,040 --> 00:10:28,520 Speaker 1: dog was Hank the cow Dog. Ooh, okay, the actual one. 172 00:10:29,160 --> 00:10:32,920 Speaker 1: And and do you know Hank the Cow Dog book? 173 00:10:34,360 --> 00:10:37,000 Speaker 1: No it? Well, it was a series of books, and 174 00:10:37,600 --> 00:10:40,880 Speaker 1: this wonderful writer wrote these Hank the Cow Dog children's 175 00:10:40,880 --> 00:10:42,520 Speaker 1: books that I had heard of, and I thought it 176 00:10:42,559 --> 00:10:44,880 Speaker 1: was the coolest thing. Frankie's actual dog was Hank the 177 00:10:44,880 --> 00:10:50,520 Speaker 1: Cow Dog. No shit. And so eventually, after m becoming 178 00:10:50,640 --> 00:10:53,959 Speaker 1: very interested, decided to tell Lanny that I was gonna 179 00:10:53,960 --> 00:10:56,480 Speaker 1: help 'em, you know, with all this and play music 180 00:10:56,520 --> 00:10:58,559 Speaker 1: with him and and Frankie, and I was gonna learn 181 00:10:58,600 --> 00:11:00,800 Speaker 1: by year two and all this. So my mom would 182 00:11:00,880 --> 00:11:04,520 Speaker 1: drive me down there to Frankie, and through Frankie and Lanny, 183 00:11:04,559 --> 00:11:07,240 Speaker 1: I met Tommy Alsop, who was uh in charge of 184 00:11:07,240 --> 00:11:12,440 Speaker 1: the Texas Playboys at that time, and he was at 185 00:11:12,480 --> 00:11:15,200 Speaker 1: one time in the Buddy Holly band. He was the 186 00:11:15,200 --> 00:11:18,160 Speaker 1: bass player. No, he was a guitar player. Whalen was 187 00:11:18,160 --> 00:11:21,560 Speaker 1: a bass player in that band, right, m Yeah. And 188 00:11:22,559 --> 00:11:27,200 Speaker 1: Tommy Aylsop was a fantastic producer and human and lots 189 00:11:27,200 --> 00:11:29,880 Speaker 1: of the lord exists about Tommylsop. He was the guy 190 00:11:29,920 --> 00:11:33,760 Speaker 1: that flipped the coin Ritchie valens uh and uh he 191 00:11:33,880 --> 00:11:35,840 Speaker 1: had He had a lot of a long history. He 192 00:11:35,880 --> 00:11:40,120 Speaker 1: had Liberty Records, and he did all kinds of fantastic stuff. 193 00:11:40,160 --> 00:11:43,400 Speaker 1: But anyway, so through Lanny and Frankie, I met Tommy 194 00:11:43,440 --> 00:11:45,760 Speaker 1: and that's how I wound up with the Texas Playboys. 195 00:11:45,800 --> 00:11:48,000 Speaker 1: You know, they were all in their seventies and eighties 196 00:11:48,080 --> 00:11:50,240 Speaker 1: during this time, and sometimes not all the fiddle players 197 00:11:50,240 --> 00:11:52,880 Speaker 1: could make it. Sometimes people passed away, and I found 198 00:11:52,920 --> 00:11:56,320 Speaker 1: myself in the lucky position of of of being in 199 00:11:56,360 --> 00:11:59,040 Speaker 1: the group. And the all I had to do was 200 00:11:59,080 --> 00:12:01,559 Speaker 1: be willing to play any of these parts, and that 201 00:12:01,600 --> 00:12:04,600 Speaker 1: it meant that somebody didn't show up. So I memorized 202 00:12:04,640 --> 00:12:06,920 Speaker 1: all the parts, first, the fir, the you know, the 203 00:12:06,960 --> 00:12:10,400 Speaker 1: melody and the harmony and the low harmony, and most 204 00:12:10,400 --> 00:12:12,160 Speaker 1: of the time I got stuck on the low the 205 00:12:12,200 --> 00:12:15,360 Speaker 1: low harmony, and I was happy with that. And eventually 206 00:12:15,400 --> 00:12:19,319 Speaker 1: they had me learning to improvise, and then I sang 207 00:12:19,360 --> 00:12:23,640 Speaker 1: for the first time, which was a disaster. And yeah, 208 00:12:23,679 --> 00:12:27,080 Speaker 1: they were my best friends. I compare everything to that experience. Now, 209 00:12:27,120 --> 00:12:30,960 Speaker 1: why was that first singing experience a disaster? Oh my god. 210 00:12:31,320 --> 00:12:33,240 Speaker 1: Luckily they were all my friends. It was like having 211 00:12:33,280 --> 00:12:38,080 Speaker 1: seven to granddads and so it was like, oh uh. 212 00:12:38,920 --> 00:12:40,839 Speaker 1: So we had talked about it and I was gonna 213 00:12:40,880 --> 00:12:43,800 Speaker 1: sing cause I could sing harmony, and so they're like, 214 00:12:43,800 --> 00:12:46,080 Speaker 1: you should take lead at the Christmas show and I 215 00:12:46,160 --> 00:12:50,440 Speaker 1: was like, okay, I'll try. And we practiced it, you know, 216 00:12:51,679 --> 00:12:54,360 Speaker 1: ran through it once. It was all great, and then 217 00:12:54,440 --> 00:12:57,200 Speaker 1: had the show comes around and I stand up there 218 00:12:57,240 --> 00:12:59,320 Speaker 1: to sing a little walk with you Sure would Go Good, 219 00:13:00,880 --> 00:13:03,920 Speaker 1: which is the first line of the song sure would 220 00:13:03,920 --> 00:13:06,040 Speaker 1: Go Good, the song that I first chose to sing, 221 00:13:06,880 --> 00:13:10,080 Speaker 1: and you know, we played the part doo doo, the 222 00:13:10,200 --> 00:13:13,280 Speaker 1: doo do the doo, the little intro, and then I 223 00:13:13,360 --> 00:13:16,240 Speaker 1: go up there. No nothing came out, and I was like, 224 00:13:16,280 --> 00:13:19,560 Speaker 1: oh no, this is the worst, this is terrible. And 225 00:13:19,720 --> 00:13:23,840 Speaker 1: I have a picture of it, and my friend Shelby 226 00:13:23,920 --> 00:13:25,760 Speaker 1: was there with me and she took the picture, but 227 00:13:26,080 --> 00:13:28,600 Speaker 1: they're all just cracking up looking down and I'm like, 228 00:13:28,640 --> 00:13:31,120 Speaker 1: oh my god, what is happening? And then they don't 229 00:13:31,120 --> 00:13:33,480 Speaker 1: stop playing. So I've learned a lot of things from 230 00:13:33,520 --> 00:13:36,720 Speaker 1: them about when things happen on stage or not they 231 00:13:36,760 --> 00:13:39,120 Speaker 1: don't go right in and what you do and don't do. 232 00:13:39,200 --> 00:13:40,679 Speaker 1: You don't have to stop the whole song and make 233 00:13:40,679 --> 00:13:43,800 Speaker 1: a big deal. So they turned it around again, and 234 00:13:44,400 --> 00:13:46,720 Speaker 1: during that time, Leon Roush, the singer of the band, 235 00:13:47,040 --> 00:13:48,920 Speaker 1: grabbed my hand and he said, I'm gonna hold your 236 00:13:48,920 --> 00:13:51,640 Speaker 1: hand and I'm gonna sing it right here in this 237 00:13:51,760 --> 00:13:54,680 Speaker 1: invisible microphone while you sing it on the real microphone. 238 00:13:54,920 --> 00:13:57,480 Speaker 1: And I was like okay. And it was very wavery 239 00:13:57,640 --> 00:14:03,040 Speaker 1: o and terrible, I think in my mind's eye, my memory, 240 00:14:03,280 --> 00:14:07,960 Speaker 1: but uh, I got through it. And I think that, uh, 241 00:14:08,440 --> 00:14:11,720 Speaker 1: probably what got me is the uh, the fear that 242 00:14:11,800 --> 00:14:14,080 Speaker 1: comes along with, you know, standing in front of a 243 00:14:14,080 --> 00:14:16,360 Speaker 1: bunch of people and there's lights on you, and that 244 00:14:16,400 --> 00:14:19,680 Speaker 1: goes back to somewhere primal that makes you feel like, oh, 245 00:14:19,760 --> 00:14:22,640 Speaker 1: I better run. You know, it's a flight er flight 246 00:14:22,720 --> 00:14:25,360 Speaker 1: or fight here, I'd better run. It seems unnatural. I 247 00:14:25,360 --> 00:14:28,200 Speaker 1: don't know what it was, but I was terrified. And 248 00:14:28,800 --> 00:14:31,120 Speaker 1: after that it got it started getting a little easier 249 00:14:31,200 --> 00:14:34,000 Speaker 1: with the lead singing, but not much. It took some time, 250 00:14:34,840 --> 00:14:38,239 Speaker 1: but it was a defining moment. Oh, it was definitely. 251 00:14:38,440 --> 00:14:41,040 Speaker 1: And the problem is is that when somebody asks me 252 00:14:41,080 --> 00:14:43,520 Speaker 1: to do something and I say yes, I was. You know, 253 00:14:44,120 --> 00:14:48,800 Speaker 1: my granddad drilled that into me and my dad more 254 00:14:48,800 --> 00:14:51,240 Speaker 1: than anything, any more than any other thing. Like if 255 00:14:51,280 --> 00:14:53,360 Speaker 1: you say you're gonna do something, you'd do it. If 256 00:14:53,360 --> 00:14:55,120 Speaker 1: you say you're gonna be somewhere at a certain time, 257 00:14:55,120 --> 00:14:59,240 Speaker 1: you'd be there at a certain time. And I don't 258 00:14:59,280 --> 00:15:01,200 Speaker 1: know why that seemed it would be so important to me, 259 00:15:01,280 --> 00:15:02,920 Speaker 1: but I'd do it, and I told them I would 260 00:15:03,000 --> 00:15:10,480 Speaker 1: do it, so, uh, I carried on, I'd say you did. Yeah. Yeah. 261 00:15:10,680 --> 00:15:12,760 Speaker 1: Sometimes I wonder why I say yes to things, but 262 00:15:12,800 --> 00:15:16,560 Speaker 1: it's okay. I hope you're you're not second guessing this, 263 00:15:16,760 --> 00:15:19,880 Speaker 1: uh oh this interview. No, I just sometimes I don't 264 00:15:19,920 --> 00:15:22,880 Speaker 1: think too hard and it's like instinctive yes or no answers, 265 00:15:22,880 --> 00:15:26,040 Speaker 1: and I'm like to take more time and just think 266 00:15:26,080 --> 00:15:30,320 Speaker 1: things through. So who were those other influences as you were, 267 00:15:30,600 --> 00:15:34,560 Speaker 1: uh growing into the business that were musical influences on you, 268 00:15:35,800 --> 00:15:38,080 Speaker 1: the best ones, you know. I didn't have any kind 269 00:15:38,120 --> 00:15:41,080 Speaker 1: of heartbreak in music till I was much older. The 270 00:15:41,120 --> 00:15:45,280 Speaker 1: first songwriter that I fell in love with wash Cindy Walker, 271 00:15:45,280 --> 00:15:47,480 Speaker 1: and I got to play for her seventieth birthday party 272 00:15:48,000 --> 00:15:53,560 Speaker 1: and become friends with her, and uh, the first side 273 00:15:53,600 --> 00:15:55,720 Speaker 1: person I ever saw that was a woman was Bobby 274 00:15:55,720 --> 00:16:00,800 Speaker 1: Nelson and by recently, uh me and my friend Lawrence Rothman, 275 00:16:00,840 --> 00:16:03,520 Speaker 1: a producer, where we both produced a record on her 276 00:16:03,560 --> 00:16:06,080 Speaker 1: before she passed away, and we're almost done with it 277 00:16:06,120 --> 00:16:08,160 Speaker 1: and it's beautiful. There's a song she wrote on it. 278 00:16:08,440 --> 00:16:10,480 Speaker 1: I don't know if you're familiar with her work, but no, 279 00:16:10,880 --> 00:16:13,520 Speaker 1: she taught uh Willie Nell. She's Willi Alston's brother, I 280 00:16:13,560 --> 00:16:18,920 Speaker 1: mean sister, and she taught him most everything he knows 281 00:16:18,960 --> 00:16:22,320 Speaker 1: about music. And she was in this band and then 282 00:16:22,360 --> 00:16:24,040 Speaker 1: she wasn't for a minute cause they called her an 283 00:16:24,080 --> 00:16:28,280 Speaker 1: unfit mother for doing that. And then you know, went 284 00:16:28,520 --> 00:16:33,200 Speaker 1: went back to work and and I became what society 285 00:16:33,200 --> 00:16:38,480 Speaker 1: calls a fit mother, and and demoed Hammond b three Organs, 286 00:16:38,480 --> 00:16:39,920 Speaker 1: the one they came out and all that, and then 287 00:16:40,000 --> 00:16:43,480 Speaker 1: returned to his band later and until the end there 288 00:16:43,840 --> 00:16:46,160 Speaker 1: and uh. She was always playing the piano wearing a 289 00:16:46,200 --> 00:16:49,800 Speaker 1: black cat, and I did a uh we did that 290 00:16:49,800 --> 00:16:51,480 Speaker 1: record on her. It came out great. She even has 291 00:16:51,520 --> 00:16:54,760 Speaker 1: a song on it. She wrote, sorry, my ringer was 292 00:16:54,800 --> 00:16:59,560 Speaker 1: going off. It's not a real cat. I find the 293 00:16:59,600 --> 00:17:02,840 Speaker 1: alarm on phones very alarming. So I have my I 294 00:17:02,920 --> 00:17:05,000 Speaker 1: on a cat's that's good. I like that better. I 295 00:17:05,000 --> 00:17:11,000 Speaker 1: don't have a cat, but I have a cat. A cat. Yeah. 296 00:17:11,040 --> 00:17:14,119 Speaker 1: So you're but the influences that you have I find 297 00:17:14,160 --> 00:17:21,440 Speaker 1: so r remarkable. You are across so many different generations 298 00:17:21,480 --> 00:17:25,480 Speaker 1: and types of styles. And one of the people I'm 299 00:17:25,520 --> 00:17:30,040 Speaker 1: fascinated by that I know you're fascinated with is Leonard Cohen. 300 00:17:29,840 --> 00:17:33,240 Speaker 1: When the data attraction occur. Oh my goodness. Okay, So 301 00:17:33,760 --> 00:17:36,200 Speaker 1: I was working at the record store in Lubbock, Texas, 302 00:17:37,160 --> 00:17:40,560 Speaker 1: because I you know, I'm at it's good. Like this 303 00:17:40,680 --> 00:17:43,840 Speaker 1: thing about the people that I meet and and and 304 00:17:43,840 --> 00:17:46,320 Speaker 1: and feel close to, I think has a lot to 305 00:17:46,359 --> 00:17:51,440 Speaker 1: do with how is raised. So anyway, all that to say, 306 00:17:52,600 --> 00:17:55,120 Speaker 1: kind of gravitate to people with real stories in real 307 00:17:55,160 --> 00:17:58,040 Speaker 1: life experience, and I think I learned a lot of 308 00:17:58,040 --> 00:18:00,240 Speaker 1: that from my granddad and then my work I think 309 00:18:00,320 --> 00:18:03,359 Speaker 1: is also from been bred into me from both sides, 310 00:18:03,480 --> 00:18:05,639 Speaker 1: my dad's side and my mom's. My granddad was a 311 00:18:05,640 --> 00:18:09,840 Speaker 1: cotton picker before he became uh uh a a nurseryman, 312 00:18:10,000 --> 00:18:13,120 Speaker 1: a man that grows plants and greenhouses and things, and 313 00:18:13,920 --> 00:18:15,960 Speaker 1: had the con orchards and peach orchards, and we'd have 314 00:18:16,000 --> 00:18:18,720 Speaker 1: to pick things and sell them. But I have a 315 00:18:18,760 --> 00:18:21,159 Speaker 1: work ethic, and I always feel funny if I'm not working. 316 00:18:21,280 --> 00:18:23,520 Speaker 1: So when I wasn't playing with a playboye or doing 317 00:18:23,680 --> 00:18:25,960 Speaker 1: school work, I would uh work at the record store. 318 00:18:27,000 --> 00:18:31,000 Speaker 1: And this guy I was working with named Jake. All 319 00:18:31,040 --> 00:18:33,639 Speaker 1: he would play was Fugazi. And I don't know if 320 00:18:33,640 --> 00:18:37,760 Speaker 1: you've ever heard that, but let me just tell you. 321 00:18:37,800 --> 00:18:39,080 Speaker 1: I can put up with a lot of things for 322 00:18:39,080 --> 00:18:42,960 Speaker 1: a long time, but two weeks if Fugazi'll drive anyone bonkers, 323 00:18:43,880 --> 00:18:47,600 Speaker 1: I mean uh And I s I I lost my patients, 324 00:18:47,640 --> 00:18:50,199 Speaker 1: and I said, this is it, This is it. I 325 00:18:50,200 --> 00:18:52,199 Speaker 1: don't care that you're six seven and you weigh three 326 00:18:52,280 --> 00:18:54,959 Speaker 1: hundred pounds. I'm not putting up with this anymore. And 327 00:18:55,000 --> 00:18:57,040 Speaker 1: he said, he said, when the last song's over, if 328 00:18:57,040 --> 00:18:59,240 Speaker 1: you don't have a record in on it, it's it's 329 00:18:59,280 --> 00:19:01,960 Speaker 1: it's gonna be then Spugauzi record, and I ran as 330 00:19:01,960 --> 00:19:04,320 Speaker 1: fast as I could to the aisle where I'd been 331 00:19:04,359 --> 00:19:06,720 Speaker 1: staring at this Leonard Cohen record and I'd never heard 332 00:19:06,760 --> 00:19:09,639 Speaker 1: it or anything. I just the picture once again, or 333 00:19:09,680 --> 00:19:12,399 Speaker 1: the look of it. W looked interesting. The eyes. It 334 00:19:12,440 --> 00:19:15,520 Speaker 1: was something about the eyes. And I put it on 335 00:19:16,280 --> 00:19:18,840 Speaker 1: and he was like, oh, I love Leonard Cohen. And 336 00:19:18,840 --> 00:19:20,680 Speaker 1: I was like, well, hell, yes, this is a win. 337 00:19:20,800 --> 00:19:23,960 Speaker 1: I was like, Who's Leonard Cohen? And and then the 338 00:19:24,040 --> 00:19:25,760 Speaker 1: record was playing, and then I was like, who is 339 00:19:25,840 --> 00:19:28,560 Speaker 1: Leonard Cohen? So I took Leonard Cohen home with me 340 00:19:29,080 --> 00:19:33,520 Speaker 1: in record for him, and UH dove in and and 341 00:19:34,320 --> 00:19:37,280 Speaker 1: found that that a lot of our you know, by 342 00:19:37,320 --> 00:19:45,080 Speaker 1: reading and watching every m documentary and interview and finding 343 00:19:45,119 --> 00:19:49,320 Speaker 1: every kind of uh boot legs that I could have 344 00:19:49,440 --> 00:19:53,359 Speaker 1: interviews and everything with the within the business that I 345 00:19:53,400 --> 00:19:55,600 Speaker 1: could get my hands on. I feel like I I 346 00:19:55,640 --> 00:19:57,520 Speaker 1: a kinship and I feel like a lot of things 347 00:19:58,440 --> 00:20:01,840 Speaker 1: about you know, him and me a line, and that 348 00:20:01,880 --> 00:20:06,760 Speaker 1: we would have been a perfect couple had he not died. Yeah, 349 00:20:06,800 --> 00:20:08,840 Speaker 1: we would have been married. He would have finally found 350 00:20:08,880 --> 00:20:11,480 Speaker 1: his wife. You know, he never got married because it 351 00:20:11,520 --> 00:20:16,160 Speaker 1: was always supposed to be me. So you never got 352 00:20:16,200 --> 00:20:19,960 Speaker 1: to come to the opportunity to meet him or him? No, 353 00:20:20,080 --> 00:20:24,320 Speaker 1: I didn't, don't would you, awe, would you have been 354 00:20:24,400 --> 00:20:27,400 Speaker 1: to in alle to to run into him? No? No, no, 355 00:20:27,640 --> 00:20:30,120 Speaker 1: But I I have met I've met his band members 356 00:20:30,160 --> 00:20:32,679 Speaker 1: and managers and all kinds of people. I found his 357 00:20:32,760 --> 00:20:35,679 Speaker 1: coat hanger once and I kept it, still have it. 358 00:20:35,840 --> 00:20:37,560 Speaker 1: Uh it was at a club that he had left 359 00:20:37,560 --> 00:20:41,800 Speaker 1: it behind on accident, so I kept it. I'd never 360 00:20:41,880 --> 00:20:45,840 Speaker 1: met him, but but I think that I would be 361 00:20:46,200 --> 00:20:49,879 Speaker 1: comfortable just sitting there not saying anything, and and I 362 00:20:49,920 --> 00:20:53,400 Speaker 1: think that, uh, he would be too. And since he's 363 00:20:53,440 --> 00:20:55,520 Speaker 1: not here to disagree you, we will have to just 364 00:20:55,560 --> 00:21:03,320 Speaker 1: assume that's true. Thunderclap, Yeah, yeah, exactly exactly exactly where 365 00:21:03,320 --> 00:21:06,080 Speaker 1: did you get the notion that I know is important 366 00:21:06,119 --> 00:21:08,200 Speaker 1: to you? Of play it like it's the last time 367 00:21:08,240 --> 00:21:11,600 Speaker 1: you'll ever play it. That's Texas Playboys. That was from 368 00:21:11,640 --> 00:21:13,720 Speaker 1: the Texas And they also said if you're not proud 369 00:21:13,720 --> 00:21:17,560 Speaker 1: of it, don't do it. Frankie specifically, it play it 370 00:21:17,640 --> 00:21:19,320 Speaker 1: like the l it's the last time you're ever gonna 371 00:21:19,320 --> 00:21:21,879 Speaker 1: play it, cause you don't get to you don't it's 372 00:21:21,920 --> 00:21:24,639 Speaker 1: easy to walk through things like you've done it, because 373 00:21:24,680 --> 00:21:27,760 Speaker 1: you've done it a few times. It's easy to to think, oh, 374 00:21:27,800 --> 00:21:29,760 Speaker 1: I'm gonna play this song. I play it every day. 375 00:21:30,240 --> 00:21:35,240 Speaker 1: But that's that's not how that's not the spirit of music. 376 00:21:35,320 --> 00:21:38,120 Speaker 1: You know. For the real connection with people, you gotta 377 00:21:38,160 --> 00:21:40,399 Speaker 1: be in the song and you've gotta mean it. And 378 00:21:41,280 --> 00:21:43,920 Speaker 1: as Bobby Koeper the steel player would say, you gotta 379 00:21:43,960 --> 00:21:49,440 Speaker 1: sell it. But that's a metaphor for how you live 380 00:21:49,480 --> 00:21:51,800 Speaker 1: your life, isn't it really? Oh? Definitely, And i'd I 381 00:21:51,840 --> 00:21:54,280 Speaker 1: think that has something to do with them coming in 382 00:21:54,320 --> 00:21:58,080 Speaker 1: and me learning and my early development because you know, 383 00:21:58,160 --> 00:22:00,359 Speaker 1: my frontal lobe wasn't developed till I was like twenty 384 00:22:00,359 --> 00:22:02,800 Speaker 1: four or twenty five. So a lot of the things 385 00:22:02,840 --> 00:22:05,320 Speaker 1: that they told me and and taught me still stick 386 00:22:05,359 --> 00:22:07,800 Speaker 1: with me to this day. Like I could show everybody 387 00:22:07,840 --> 00:22:11,240 Speaker 1: in any room where their their tire pressure sticker is 388 00:22:11,280 --> 00:22:13,199 Speaker 1: and how to make sure their tires are good and 389 00:22:13,240 --> 00:22:20,520 Speaker 1: ready for the trip to Lipscombe, Texas. Yeah I can. Yeah, 390 00:22:20,560 --> 00:22:24,479 Speaker 1: I can look at 'em and tell you, Yeah, I 391 00:22:24,520 --> 00:22:26,480 Speaker 1: do live my life like that. You know it. It's 392 00:22:26,520 --> 00:22:30,720 Speaker 1: important you realize that as you get older. But I 393 00:22:30,760 --> 00:22:33,080 Speaker 1: also think that I. I realized that a lot when 394 00:22:33,119 --> 00:22:37,760 Speaker 1: I was young, because my friends were very old, and 395 00:22:37,800 --> 00:22:40,880 Speaker 1: you didn't just look at them as old, you look 396 00:22:40,920 --> 00:22:44,040 Speaker 1: at them as wise. I didn't l even really notice 397 00:22:44,080 --> 00:22:46,080 Speaker 1: their age by the way they acted. You know. A 398 00:22:46,080 --> 00:22:49,000 Speaker 1: couple of 'em had many girlfriends and andy and I 399 00:22:49,000 --> 00:22:51,880 Speaker 1: didn't say boo about it because it was understood, you don't, 400 00:22:51,920 --> 00:22:54,320 Speaker 1: you know, there were gentlemen about it. But the couple 401 00:22:54,400 --> 00:22:57,840 Speaker 1: of 'em that did. I do remember walking out of 402 00:22:57,880 --> 00:22:59,920 Speaker 1: the hotel my hotel room wants to go to break 403 00:23:01,000 --> 00:23:03,719 Speaker 1: at the hotel lobby and uh, one of the Texas 404 00:23:03,760 --> 00:23:06,600 Speaker 1: playboys was al escorted in a lady to her car 405 00:23:06,680 --> 00:23:08,679 Speaker 1: and I was like, oh, I did not know that 406 00:23:08,720 --> 00:23:11,760 Speaker 1: she was gonna be here all night and interesting, wonder 407 00:23:11,840 --> 00:23:14,040 Speaker 1: what she thinks about that. Then I was like, I'm 408 00:23:14,080 --> 00:23:16,080 Speaker 1: not gonna say anything. And he looked at me and 409 00:23:16,080 --> 00:23:19,520 Speaker 1: he said breakfast, and I said, yep, that was awesome. 410 00:23:20,200 --> 00:23:22,600 Speaker 1: But you know it was Uh. I didn't see them 411 00:23:22,600 --> 00:23:27,040 Speaker 1: as old or anything. They were very uh witty and 412 00:23:29,000 --> 00:23:31,600 Speaker 1: most of them had had great retention. There was there 413 00:23:32,680 --> 00:23:37,720 Speaker 1: and wonderful stories and they had you know, they're in 414 00:23:37,720 --> 00:23:40,159 Speaker 1: inner band stories and jokes and all that, and it 415 00:23:40,240 --> 00:23:45,000 Speaker 1: was very fun. And yeah, I didn't see them as old, 416 00:23:45,040 --> 00:23:46,919 Speaker 1: but I did start seeing them as old when they 417 00:23:46,960 --> 00:23:52,360 Speaker 1: started passing away. But they're still in your heart, oh yeah, 418 00:23:52,359 --> 00:23:55,240 Speaker 1: and still we've got this music here yright. Yeah, it 419 00:23:55,280 --> 00:23:57,680 Speaker 1: is they They're not gone forever. The music's still there. 420 00:23:58,600 --> 00:24:04,760 Speaker 1: So when did you first encounter John Prime? Well, to 421 00:24:04,760 --> 00:24:06,840 Speaker 1: to know when I first heard him, it's hard to say. 422 00:24:06,880 --> 00:24:10,439 Speaker 1: I think everybody's heard him their whole lives. But it 423 00:24:10,480 --> 00:24:13,280 Speaker 1: was longest this. It was three days before this picture 424 00:24:13,400 --> 00:24:16,240 Speaker 1: was taken. Interesting, you're asking about the things I have 425 00:24:16,320 --> 00:24:21,320 Speaker 1: pictures of. So three days before this picture I got 426 00:24:21,320 --> 00:24:24,199 Speaker 1: to play my first shows with John Prime, opening and 427 00:24:24,240 --> 00:24:28,120 Speaker 1: then joining his band and on the he's he had 428 00:24:28,160 --> 00:24:29,840 Speaker 1: me for three shows to try it out, you know, 429 00:24:30,800 --> 00:24:33,000 Speaker 1: like we're gonna just have you open three shows, see 430 00:24:33,000 --> 00:24:37,439 Speaker 1: how that goes. And so I went and opened the 431 00:24:37,480 --> 00:24:42,400 Speaker 1: three shows. And I was driving a a fid O'Connell 432 00:24:42,480 --> 00:24:45,399 Speaker 1: line van, you know, and I dress up for the shows, 433 00:24:45,440 --> 00:24:47,919 Speaker 1: but for long drives I fit. I find that pointless. 434 00:24:48,320 --> 00:24:51,879 Speaker 1: And so I was wearing this onesie that I found 435 00:24:52,119 --> 00:24:54,840 Speaker 1: at the target, and my friend Kelly was wearing her 436 00:24:54,880 --> 00:24:57,359 Speaker 1: little Leopard one and my bass player was wearing a 437 00:24:57,400 --> 00:25:02,359 Speaker 1: matching one like mine, and and uh I got to 438 00:25:02,400 --> 00:25:04,399 Speaker 1: the sound check it. There was a long drive between 439 00:25:04,400 --> 00:25:06,119 Speaker 1: one of the one of these shows, and I was 440 00:25:06,119 --> 00:25:07,800 Speaker 1: still in it cause it didn't have time to change 441 00:25:07,800 --> 00:25:11,200 Speaker 1: for sound check, and he had just finished his sound 442 00:25:11,280 --> 00:25:14,639 Speaker 1: check and uh, he said, Man, if they had one 443 00:25:14,680 --> 00:25:17,480 Speaker 1: of those in a sock monkey, I'd wear it. I said, 444 00:25:17,720 --> 00:25:20,960 Speaker 1: I said really, And I said, are you serious? Because 445 00:25:21,200 --> 00:25:23,080 Speaker 1: you know it was twenty six dollars is a lot 446 00:25:23,080 --> 00:25:25,000 Speaker 1: of money. And if I'm gonna find a s if 447 00:25:25,000 --> 00:25:27,040 Speaker 1: I find one, there's a sock monkey, you better wear it. 448 00:25:27,320 --> 00:25:29,359 Speaker 1: And and and then he said, if there was, I would. 449 00:25:29,800 --> 00:25:32,720 Speaker 1: And on the last day of the last day of 450 00:25:32,720 --> 00:25:36,000 Speaker 1: those three shows, I got him some white wine it 451 00:25:36,160 --> 00:25:37,840 Speaker 1: uh cause I heard he liked that, and I made 452 00:25:37,880 --> 00:25:40,199 Speaker 1: him a a a a partying gift. And then it 453 00:25:40,240 --> 00:25:45,160 Speaker 1: was a sock monkey, uh onesie and I Uh. Before 454 00:25:45,200 --> 00:25:47,080 Speaker 1: I went to do my set, I I put it 455 00:25:47,080 --> 00:25:51,880 Speaker 1: in his dressing room and then uh, during my set, 456 00:25:51,960 --> 00:25:54,439 Speaker 1: he he came to the wings of the stage wearing it, 457 00:25:54,960 --> 00:25:57,200 Speaker 1: and I was I was like, what the hell has happened? 458 00:25:57,280 --> 00:25:59,399 Speaker 1: Like I've lost all of sense of what was happening. 459 00:25:59,440 --> 00:26:01,680 Speaker 1: I was like draws in a sock monkey outfit and 460 00:26:01,720 --> 00:26:03,919 Speaker 1: he's in the wings. He just walked off. Nobody believed me. 461 00:26:04,440 --> 00:26:08,280 Speaker 1: And this is uh, this is oh, he had took 462 00:26:08,280 --> 00:26:10,600 Speaker 1: the top down. I have another picture where he's still 463 00:26:10,640 --> 00:26:13,720 Speaker 1: wearing it. And and I took that little polaroid that 464 00:26:13,800 --> 00:26:17,320 Speaker 1: day and he signed it and and that was our 465 00:26:17,359 --> 00:26:20,520 Speaker 1: first experience together. And then he called me to do 466 00:26:20,600 --> 00:26:23,240 Speaker 1: more shows. And then I tore it all over uh, 467 00:26:23,400 --> 00:26:28,399 Speaker 1: Europe and in the UK and Canada and and m 468 00:26:28,520 --> 00:26:33,080 Speaker 1: mm you know all those all those places n New Bruns, 469 00:26:33,480 --> 00:26:38,119 Speaker 1: New Brunswick, boom Brunswick and Bofing, all the places I 470 00:26:38,200 --> 00:26:41,960 Speaker 1: toured around with him, and uh, A lot of the 471 00:26:42,040 --> 00:26:44,440 Speaker 1: times he would drive his own car, the rental car, 472 00:26:44,680 --> 00:26:48,080 Speaker 1: and so I'd ride with him a lot, and overseas 473 00:26:48,080 --> 00:26:50,880 Speaker 1: we'd take you know, little little planes here and there 474 00:26:51,280 --> 00:26:55,359 Speaker 1: and drive some but not really trains. We did mostly 475 00:26:55,400 --> 00:26:58,639 Speaker 1: trains and flights over there. And we'd always sit together 476 00:26:58,680 --> 00:27:02,760 Speaker 1: and hang out together and talk and yeah, we're just 477 00:27:02,840 --> 00:27:06,960 Speaker 1: really good friends. And talked a lot about rhyming cause 478 00:27:07,040 --> 00:27:10,280 Speaker 1: uh cause I was finishing up my master's thesis in 479 00:27:10,359 --> 00:27:14,560 Speaker 1: poetry when I was on that last tour with him, 480 00:27:14,600 --> 00:27:17,639 Speaker 1: and he was like, how are you doing this if 481 00:27:17,680 --> 00:27:20,560 Speaker 1: you don't have any books? And I said, oh, I have, 482 00:27:21,200 --> 00:27:24,399 Speaker 1: I have my I have my rhyming dictionary on my computer. 483 00:27:24,480 --> 00:27:26,280 Speaker 1: I have all this different that I had these apps. 484 00:27:26,320 --> 00:27:28,359 Speaker 1: And then he was like, you could get a rhyming 485 00:27:28,400 --> 00:27:30,560 Speaker 1: dictionary on your phone. And he was like, can you 486 00:27:30,600 --> 00:27:32,480 Speaker 1: do that to mine? And I was like yeah, and 487 00:27:32,520 --> 00:27:34,280 Speaker 1: he was like, here you can have all the these books. 488 00:27:34,320 --> 00:27:37,439 Speaker 1: I was like, you carry those around the But so 489 00:27:37,480 --> 00:27:39,359 Speaker 1: then we started talking about that, and then we started 490 00:27:39,359 --> 00:27:42,880 Speaker 1: talking about, you know, the the little tools we use 491 00:27:43,000 --> 00:27:47,480 Speaker 1: rhyming and and all that. This is not just one conversation. 492 00:27:47,560 --> 00:27:50,439 Speaker 1: That's where it started becoming like uh it was. It 493 00:27:50,440 --> 00:27:53,520 Speaker 1: was during Tree of Forgiveness and we were that end 494 00:27:53,600 --> 00:27:57,000 Speaker 1: part where he's talking about the uh syphiltic critics and 495 00:27:57,040 --> 00:27:58,879 Speaker 1: all that at the end. That's when we were on 496 00:27:58,920 --> 00:28:01,200 Speaker 1: the plane just just seeing how far we can take 497 00:28:01,240 --> 00:28:04,560 Speaker 1: the rhyme you know. Yeah, And that was without the 498 00:28:04,600 --> 00:28:06,080 Speaker 1: app because we were in the air and we couldn't 499 00:28:06,080 --> 00:28:09,840 Speaker 1: download it, but which I did save him the trouble 500 00:28:09,840 --> 00:28:11,960 Speaker 1: and downloaded it for him later when we landed. But 501 00:28:13,080 --> 00:28:15,159 Speaker 1: but we started talking a lot about rhyme and showing 502 00:28:15,160 --> 00:28:19,720 Speaker 1: each other's songs and and early form and stages two. 503 00:28:19,800 --> 00:28:21,359 Speaker 1: And then I got to see how he did it 504 00:28:21,400 --> 00:28:23,960 Speaker 1: and how he worked and and I didn't take that lightly, 505 00:28:24,040 --> 00:28:25,960 Speaker 1: you know. And I asked him questions, you know, and 506 00:28:26,000 --> 00:28:28,639 Speaker 1: he'd give me real answers, and he did. And I 507 00:28:28,680 --> 00:28:34,440 Speaker 1: feel like I I learned a lot of things from him. 508 00:28:34,440 --> 00:28:37,360 Speaker 1: You know. I used to try and avoid the dead 509 00:28:37,400 --> 00:28:40,360 Speaker 1: on rhymes. And he said, it's a song, that's what 510 00:28:40,440 --> 00:28:42,320 Speaker 1: you s How else are they gonna remember it? If 511 00:28:42,320 --> 00:28:45,200 Speaker 1: you're doing near rhymes so much, it's not gonna they're 512 00:28:45,240 --> 00:28:47,280 Speaker 1: not gonna remember the words. And I was like, you're right. 513 00:28:47,720 --> 00:28:49,120 Speaker 1: And I said, well, then how am I gonna make 514 00:28:49,120 --> 00:28:51,200 Speaker 1: it different? And he was like, well, you get you 515 00:28:51,240 --> 00:28:53,280 Speaker 1: gotta put the details in there, the details of the 516 00:28:53,360 --> 00:28:56,200 Speaker 1: story and all. That's what what makes it different to 517 00:28:56,240 --> 00:28:58,240 Speaker 1: the experience of another. And he said, also, you're a 518 00:28:58,240 --> 00:29:00,840 Speaker 1: different person than the other songwriters, so it's always gonna 519 00:29:00,840 --> 00:29:05,840 Speaker 1: be different. And everybody's bringing their own experiences and their 520 00:29:05,920 --> 00:29:09,120 Speaker 1: own take on the world to a song. And that's 521 00:29:09,120 --> 00:29:12,720 Speaker 1: why my other room are the same. You know. You 522 00:29:12,800 --> 00:29:14,680 Speaker 1: made a deal with him when he wanted you to 523 00:29:14,720 --> 00:29:17,200 Speaker 1: go out on the road. Didn't you ju about a 524 00:29:17,240 --> 00:29:20,560 Speaker 1: particular song he got? Yeah, Well, can you just talk 525 00:29:20,600 --> 00:29:23,800 Speaker 1: about that? He got two songs? Two? Yeah, I told him. 526 00:29:24,240 --> 00:29:25,840 Speaker 1: He called him. He was like, can you do this 527 00:29:26,480 --> 00:29:30,840 Speaker 1: Europe run with me? It's it's about six weeks almost 528 00:29:30,880 --> 00:29:33,720 Speaker 1: seven really, And I said, I don't know. And it was. 529 00:29:34,000 --> 00:29:36,320 Speaker 1: It was during Easter, too, which at that time was 530 00:29:36,360 --> 00:29:39,320 Speaker 1: Mercy's favorite holiday, my daughter, and she loved it because 531 00:29:39,320 --> 00:29:41,840 Speaker 1: she liked to f find things and also eat candy. 532 00:29:42,480 --> 00:29:44,320 Speaker 1: To that's what you do when you're two and three, 533 00:29:44,360 --> 00:29:47,240 Speaker 1: you love Easter and because you like to eat candy 534 00:29:47,280 --> 00:29:50,400 Speaker 1: and go on to scavender haunts and digging and bushes. 535 00:29:51,120 --> 00:29:56,400 Speaker 1: But anyway, it's fun. It's fun, you know. With with 536 00:29:56,560 --> 00:29:59,000 Speaker 1: motherhood you get a a fresh look on what childhood 537 00:29:59,720 --> 00:30:01,600 Speaker 1: really it looks like that you didn't see in your 538 00:30:01,640 --> 00:30:04,719 Speaker 1: own experience, and it's that can be helpful. But all 539 00:30:04,800 --> 00:30:07,360 Speaker 1: that to say, I said, I don't know, John, that's 540 00:30:07,400 --> 00:30:10,280 Speaker 1: a long time to be going, you know, from my family. 541 00:30:10,360 --> 00:30:13,560 Speaker 1: I mean, I w it was his good Mercy, And 542 00:30:13,640 --> 00:30:17,320 Speaker 1: I'll later grow up and like be like, you weren't 543 00:30:17,400 --> 00:30:19,280 Speaker 1: here with me on Easter and all this kind of 544 00:30:19,320 --> 00:30:23,200 Speaker 1: stuff and and he said, sh she probably won't remember 545 00:30:23,240 --> 00:30:25,200 Speaker 1: that at all. He said, I really need you to 546 00:30:25,200 --> 00:30:27,680 Speaker 1: go on tour and I was like okay, and he said, 547 00:30:27,680 --> 00:30:29,600 Speaker 1: well it'll be double duty. You'll be open in the 548 00:30:29,600 --> 00:30:31,640 Speaker 1: show and then joining me for the whole duration of 549 00:30:31,680 --> 00:30:33,960 Speaker 1: the of the music. And I said, well, you know, 550 00:30:33,960 --> 00:30:36,160 Speaker 1: there's only one thing I'm good at, John, and that's music, 551 00:30:36,240 --> 00:30:39,960 Speaker 1: So I can do that. But but I don't know. 552 00:30:40,000 --> 00:30:41,480 Speaker 1: And I was like, what's it pay? He was like, 553 00:30:41,560 --> 00:30:43,080 Speaker 1: you know, normal pay and I was like, well, we 554 00:30:43,080 --> 00:30:46,120 Speaker 1: gotta put something else in there. And uh. He said, well, 555 00:30:46,160 --> 00:30:48,400 Speaker 1: what do you want? And I said, well, I'll do it, 556 00:30:49,320 --> 00:30:51,520 Speaker 1: but only if you bring two songs into the set. 557 00:30:52,240 --> 00:30:55,120 Speaker 1: Has to be these two songs and he said, I 558 00:30:55,160 --> 00:30:57,160 Speaker 1: bet I could do that. What songs are they are? They? 559 00:30:57,200 --> 00:30:59,400 Speaker 1: Are they my songs? And he was like I was like, yeah, 560 00:30:59,400 --> 00:31:01,120 Speaker 1: of course, they're your songs. What am I gonna do? Say, 561 00:31:01,120 --> 00:31:05,760 Speaker 1: play a lyric going song and I said, first we 562 00:31:05,800 --> 00:31:08,600 Speaker 1: gotta bring back clocks and spoons and he's like, I 563 00:31:08,600 --> 00:31:11,520 Speaker 1: don't know about that because I feel like that song 564 00:31:11,640 --> 00:31:13,960 Speaker 1: is is too sad for for me at this point 565 00:31:14,000 --> 00:31:15,600 Speaker 1: in my life. And I was like, well, it's your song. 566 00:31:15,640 --> 00:31:20,680 Speaker 1: Can't you just make it less sad? And and uh 567 00:31:20,800 --> 00:31:23,400 Speaker 1: and and he said, I think about that. And I 568 00:31:23,400 --> 00:31:25,440 Speaker 1: said the other song is Saddle in the Rain. I 569 00:31:25,480 --> 00:31:29,200 Speaker 1: love playing that song. And he said, okay, yeah, we 570 00:31:29,240 --> 00:31:33,800 Speaker 1: can play Saddle in the Rain. And then I printed 571 00:31:33,840 --> 00:31:35,760 Speaker 1: the words out to clocks and spoons and I have 572 00:31:35,880 --> 00:31:39,200 Speaker 1: it in my office and I showed it to him. 573 00:31:39,240 --> 00:31:42,200 Speaker 1: I was like, what part of it's sad? And he 574 00:31:42,320 --> 00:31:45,600 Speaker 1: said that part about shoot the moon right between the eyes, 575 00:31:45,760 --> 00:31:52,040 Speaker 1: I'm screaming. And he said something about when he wrote that, 576 00:31:52,080 --> 00:31:53,920 Speaker 1: he was in a different place than he was now 577 00:31:53,960 --> 00:31:56,600 Speaker 1: because as life happened, with the good and the bad, 578 00:31:56,960 --> 00:31:59,800 Speaker 1: it's all beautiful. And he said, I'm gonna change that 579 00:31:59,840 --> 00:32:02,960 Speaker 1: to singing. And I said, are we doing it? He 580 00:32:03,000 --> 00:32:05,160 Speaker 1: said we were gonna do it, and so we did 581 00:32:05,160 --> 00:32:07,480 Speaker 1: both of them, and when we played it live from 582 00:32:07,480 --> 00:32:10,840 Speaker 1: then on, we'd sing, we'd sing them shoot them right 583 00:32:10,880 --> 00:32:16,040 Speaker 1: between the eyes. I'm singing. Yeah, that's awesome. So this 584 00:32:16,120 --> 00:32:19,480 Speaker 1: little band that you uh spearheaded, called the High Women. 585 00:32:21,840 --> 00:32:26,520 Speaker 1: Congratulations on that, well, thank you, thank you. Started out 586 00:32:26,520 --> 00:32:29,400 Speaker 1: as it a tiny idea I had in twenty sixteen 587 00:32:29,440 --> 00:32:31,320 Speaker 1: when I went on tour, which on Prine and then 588 00:32:31,640 --> 00:32:38,120 Speaker 1: my own solo tours. What an amazing triumph. And had 589 00:32:38,160 --> 00:32:42,200 Speaker 1: you known that your other UH collaborators on the High 590 00:32:42,200 --> 00:32:46,000 Speaker 1: Women before. Oh, I'm only in passing like I met 591 00:32:46,040 --> 00:32:48,520 Speaker 1: Marion when she was young, like about twelve or thirteen. 592 00:32:48,560 --> 00:32:50,600 Speaker 1: We were playing at a festival. I was playing fiddle. 593 00:32:50,640 --> 00:32:53,480 Speaker 1: I'd been playing with Billy Joe Shaver, and I saw 594 00:32:53,560 --> 00:32:57,000 Speaker 1: her mom dragging her around the campfires and singing, and 595 00:32:57,080 --> 00:33:00,920 Speaker 1: she had an incredible voice. In then i'd you know, 596 00:33:01,040 --> 00:33:02,840 Speaker 1: she's a Texan, so i'd heard she moved to Town 597 00:33:02,840 --> 00:33:07,960 Speaker 1: at some point, but I was touring with between between 598 00:33:08,040 --> 00:33:11,840 Speaker 1: writing songs and waiting tables to to pay for the 599 00:33:11,960 --> 00:33:13,960 Speaker 1: UH recordings that I I would do later on my own 600 00:33:14,000 --> 00:33:17,120 Speaker 1: as as an artist. I was also playing as a 601 00:33:17,120 --> 00:33:21,360 Speaker 1: side person for justin Town's earl and other folks whoever 602 00:33:21,360 --> 00:33:23,080 Speaker 1: would have me that I that I thought I could 603 00:33:23,200 --> 00:33:27,000 Speaker 1: learn something from and so I didn't hear from her much. 604 00:33:27,040 --> 00:33:29,280 Speaker 1: I would see, you know, in passing on social media 605 00:33:29,320 --> 00:33:32,560 Speaker 1: that she seemed to be doing well. But the producer 606 00:33:32,640 --> 00:33:36,120 Speaker 1: friend I made, Dave Cobb, was the first person I 607 00:33:36,200 --> 00:33:40,280 Speaker 1: told my idea too. After I'd kind of so like 608 00:33:40,320 --> 00:33:44,160 Speaker 1: it doesn't seem like I I I'd sit quietly by 609 00:33:44,360 --> 00:33:46,600 Speaker 1: being here with me. But this is what my natural 610 00:33:46,640 --> 00:33:48,800 Speaker 1: go to around people is to get real nervous and talk. 611 00:33:49,240 --> 00:33:52,560 Speaker 1: And but in real in my real spending of time, 612 00:33:52,600 --> 00:33:56,160 Speaker 1: I sit in here and outstare at things or I 613 00:33:56,280 --> 00:34:01,120 Speaker 1: do you know, slow things, thinking things, play music. I 614 00:34:01,240 --> 00:34:03,480 Speaker 1: was working on how to describe what I wanted to 615 00:34:03,520 --> 00:34:06,200 Speaker 1: do with the music and the idea and the attention 616 00:34:06,800 --> 00:34:10,319 Speaker 1: intention of the band. M you know, I make lots 617 00:34:10,320 --> 00:34:13,720 Speaker 1: of notes, and I'd been paid attention to radio stations 618 00:34:13,760 --> 00:34:17,560 Speaker 1: at that time. I I I I figured out the 619 00:34:17,560 --> 00:34:20,960 Speaker 1: the the pictures of what I wanted to do in 620 00:34:21,000 --> 00:34:23,040 Speaker 1: my mind, and I'd write notes and try to figure 621 00:34:23,080 --> 00:34:26,440 Speaker 1: it out. And I'm mm the end of two thousand 622 00:34:26,520 --> 00:34:30,120 Speaker 1: seventeen or eighteen beginning. I I told Dave Cobb when 623 00:34:30,160 --> 00:34:34,239 Speaker 1: I was there working on a session, I said, I 624 00:34:34,280 --> 00:34:36,240 Speaker 1: can't remember if I was singing or playing the fiddle 625 00:34:36,360 --> 00:34:38,560 Speaker 1: or what I was doing. But at the end of it, 626 00:34:39,880 --> 00:34:43,520 Speaker 1: I said, so, I've been having this idea and we've 627 00:34:43,520 --> 00:34:46,520 Speaker 1: been friends for a while, so he's patient and was 628 00:34:46,560 --> 00:34:48,160 Speaker 1: willing to hear me out. And that's one of the 629 00:34:48,200 --> 00:34:50,799 Speaker 1: great things about producers is is the good ones are 630 00:34:50,880 --> 00:34:53,920 Speaker 1: very patient and and they also know what it's like 631 00:34:53,960 --> 00:34:56,360 Speaker 1: to try and translate what an artist has in their minds. 632 00:34:56,800 --> 00:34:58,680 Speaker 1: So they're patient with you and they're listening and they're 633 00:34:58,719 --> 00:35:01,960 Speaker 1: not like, well, you look crazy, what are you saying? 634 00:35:02,200 --> 00:35:04,480 Speaker 1: They never do that. That's why it's always cool if 635 00:35:04,520 --> 00:35:07,839 Speaker 1: you're with a good producer that's you know, clear at 636 00:35:07,840 --> 00:35:12,279 Speaker 1: the time, and you're talking seriously, cause they'll give you 637 00:35:12,320 --> 00:35:14,560 Speaker 1: that time. But I said, I wanna start this group, 638 00:35:15,320 --> 00:35:18,800 Speaker 1: and I said, here's the rest. And I was scared 639 00:35:18,880 --> 00:35:22,240 Speaker 1: to say it because it sounds kind of crazy. I said, 640 00:35:22,400 --> 00:35:24,680 Speaker 1: I wanted to be called the High Women. And he 641 00:35:24,719 --> 00:35:27,319 Speaker 1: said the high Women. And I was like, not like high, 642 00:35:27,560 --> 00:35:30,000 Speaker 1: like is in I got high, but like is it 643 00:35:30,120 --> 00:35:32,759 Speaker 1: high as in like you know, exalted, like you know, 644 00:35:32,880 --> 00:35:36,200 Speaker 1: like you know, w and taking the high road and 645 00:35:36,239 --> 00:35:38,400 Speaker 1: all that kind of stuff, you know. And he was like, 646 00:35:38,480 --> 00:35:40,839 Speaker 1: I love it. And I said, here's the other thing 647 00:35:40,880 --> 00:35:43,440 Speaker 1: I wanna do. I wanna rewrite that song. It's gonna 648 00:35:43,440 --> 00:35:45,719 Speaker 1: be like if you could picture this, cause this is 649 00:35:45,719 --> 00:35:48,759 Speaker 1: how I describe things in pictures. I said, if you 650 00:35:48,760 --> 00:35:53,680 Speaker 1: could picture a record, it'll be like, imagine that the 651 00:35:53,760 --> 00:35:58,080 Speaker 1: songs are a tree, so the main part of the 652 00:35:58,120 --> 00:36:00,759 Speaker 1: tree is like you know, there's the roots, but the 653 00:36:00,760 --> 00:36:03,520 Speaker 1: the centerpiece of the record will be the high w 654 00:36:03,520 --> 00:36:06,680 Speaker 1: WM Women's song that that I'm trying to rewrite, you know, 655 00:36:07,200 --> 00:36:09,680 Speaker 1: and the rest of it'll be like other stories that 656 00:36:09,719 --> 00:36:11,840 Speaker 1: come off of it, like the branches. And he was like, 657 00:36:11,880 --> 00:36:14,480 Speaker 1: that's a fantastic idea. And I said, there's not gonna 658 00:36:14,480 --> 00:36:16,600 Speaker 1: be a tree on the cover though, you know, like 659 00:36:16,960 --> 00:36:19,759 Speaker 1: cause like sometimes you if you just don't just leave 660 00:36:19,800 --> 00:36:21,040 Speaker 1: the tree out of it. I'm just trying to tell 661 00:36:21,080 --> 00:36:25,120 Speaker 1: you by idea. But he's really good with that. And 662 00:36:25,080 --> 00:36:27,040 Speaker 1: and I don't wanna be I don't wanna be sassy music. 663 00:36:27,080 --> 00:36:28,879 Speaker 1: And I don't want it to look distressed. I want 664 00:36:28,920 --> 00:36:32,000 Speaker 1: it to like look like like what we're trying to do. 665 00:36:32,000 --> 00:36:33,799 Speaker 1: But I also want it to take it, take it 666 00:36:34,480 --> 00:36:38,000 Speaker 1: back to what it's supposed to be and like where 667 00:36:38,000 --> 00:36:41,080 Speaker 1: we can sing about more than unrequited love or that 668 00:36:41,120 --> 00:36:44,160 Speaker 1: we really miss our man, or that we're gonna whatever 669 00:36:44,200 --> 00:36:48,279 Speaker 1: we're gonna do, go out, m burn some lady's house down. 670 00:36:48,320 --> 00:36:50,319 Speaker 1: I don't know. Those are fun, but we also need 671 00:36:50,320 --> 00:36:52,560 Speaker 1: to other stuff on the radio too, or not on 672 00:36:52,600 --> 00:36:54,319 Speaker 1: the radio, just that people know that we're out there 673 00:36:54,480 --> 00:36:56,279 Speaker 1: and they can identify with us if they feel the 674 00:36:56,280 --> 00:36:59,319 Speaker 1: same and support each other and all this. They said, 675 00:36:59,320 --> 00:37:02,840 Speaker 1: that's a great idea. Yeah, and I said, okay. He 676 00:37:02,880 --> 00:37:05,959 Speaker 1: said you should call Brandy Carlyle. And I didn't call her. 677 00:37:06,640 --> 00:37:08,719 Speaker 1: And then, uh, next time I saw him, I thought 678 00:37:08,719 --> 00:37:11,000 Speaker 1: he would have forgotten, but he said, he said, so, 679 00:37:11,040 --> 00:37:13,359 Speaker 1: did you call Brandy Carlyle or the idea? It's really 680 00:37:13,360 --> 00:37:17,239 Speaker 1: good And and I said, I can't just cold call 681 00:37:17,360 --> 00:37:20,160 Speaker 1: Brandy Carlisle. What am I gonna say, Like, i'm'na start 682 00:37:20,440 --> 00:37:23,560 Speaker 1: laying into this big, long, weird story about the high 683 00:37:23,560 --> 00:37:26,239 Speaker 1: women idea and what's that? And I I, I just 684 00:37:26,280 --> 00:37:27,960 Speaker 1: I said, I just don't. I'm not gonna call her 685 00:37:28,000 --> 00:37:29,560 Speaker 1: and talk about this. This This is this is just a 686 00:37:29,600 --> 00:37:32,560 Speaker 1: hard thing to explain over the phone. I think, like 687 00:37:32,600 --> 00:37:34,000 Speaker 1: I I th I don't know. I just don't know 688 00:37:34,040 --> 00:37:35,520 Speaker 1: about this. I was like, why don't you do it? 689 00:37:35,840 --> 00:37:39,759 Speaker 1: And he said no. He said, she's playing tonight and 690 00:37:39,840 --> 00:37:42,200 Speaker 1: we'll go down there and see her. I'll introduce you 691 00:37:42,440 --> 00:37:46,239 Speaker 1: and you'll tell her then. And I I said, okay, Uh, 692 00:37:46,280 --> 00:37:48,400 Speaker 1: I'll go there and we'll see what happens, you know. 693 00:37:48,880 --> 00:37:52,600 Speaker 1: And we went to the basement, the the new basement 694 00:37:52,640 --> 00:37:55,359 Speaker 1: at the time, I think seemed like that's where it was. 695 00:37:55,960 --> 00:37:59,400 Speaker 1: And he walked straight back into the back green room 696 00:37:59,480 --> 00:38:01,319 Speaker 1: and he said, d this is Brandy Carlile. Brandy carl 697 00:38:01,400 --> 00:38:05,840 Speaker 1: ellis as Amanda Shires and and she was very clearly 698 00:38:05,880 --> 00:38:08,000 Speaker 1: about to walk up on the stage and sing like 699 00:38:08,040 --> 00:38:10,480 Speaker 1: she was like she had given her wife a Hugan 700 00:38:10,600 --> 00:38:12,680 Speaker 1: was walking on the stage, turning up and I said, 701 00:38:12,960 --> 00:38:15,040 Speaker 1: I'm Amanda Shyars, and I have this idea and we're 702 00:38:15,040 --> 00:38:16,719 Speaker 1: gonna start a band. It's called the Highwaymen, and we're 703 00:38:16,719 --> 00:38:18,279 Speaker 1: gonna do this this or not. And she's she looked 704 00:38:18,280 --> 00:38:21,160 Speaker 1: at me and she said, hi, Amanda Friars, this, how 705 00:38:21,200 --> 00:38:26,120 Speaker 1: about we talk about this some more or later. I said, okay, 706 00:38:26,640 --> 00:38:29,200 Speaker 1: and then and I c and then I called an 707 00:38:29,239 --> 00:38:35,040 Speaker 1: Ober and left and and they gave her my number, 708 00:38:35,080 --> 00:38:37,759 Speaker 1: and then we talked later and started talking more about it. 709 00:38:37,800 --> 00:38:42,480 Speaker 1: And they've introduced us to Natalie Hemby, who at that 710 00:38:42,560 --> 00:38:45,840 Speaker 1: time was just we were just writing with her on 711 00:38:45,920 --> 00:38:48,080 Speaker 1: different things, and we were writing with different folks just 712 00:38:48,080 --> 00:38:51,160 Speaker 1: to see what we could do. And one of the 713 00:38:51,239 --> 00:38:53,360 Speaker 1: days of the of the session that me and Brandy 714 00:38:53,520 --> 00:38:57,040 Speaker 1: were doing, cause really it was just me and Brandy 715 00:38:57,040 --> 00:39:01,080 Speaker 1: at first, but during the session, now came over cause 716 00:39:01,080 --> 00:39:03,240 Speaker 1: we wanted her to sing, because you know, we've developed 717 00:39:03,280 --> 00:39:08,279 Speaker 1: this friendship. And she sang, and then I got down 718 00:39:08,360 --> 00:39:10,239 Speaker 1: on one knee and I said, would you please join 719 00:39:10,280 --> 00:39:13,600 Speaker 1: our band? She said, oh, I don't know. And then 720 00:39:13,960 --> 00:39:16,279 Speaker 1: Brandy said, you really should, you really should, We should 721 00:39:16,320 --> 00:39:18,680 Speaker 1: to join our band. And she said, we're playing with 722 00:39:18,760 --> 00:39:20,960 Speaker 1: Dolly at Newport, and you could be in our band 723 00:39:21,000 --> 00:39:23,120 Speaker 1: and go play with us and sing with us and 724 00:39:23,160 --> 00:39:25,759 Speaker 1: meet Dolly. And then Natalie said, wellhy, I am in, 725 00:39:27,560 --> 00:39:31,520 Speaker 1: and Brandy called Marin, Brandy called Maren. Maren was at 726 00:39:31,560 --> 00:39:35,080 Speaker 1: Fallon or something, and Brandy said, hey, come sing some 727 00:39:35,120 --> 00:39:37,560 Speaker 1: songs on the Highwayman record. Bring two songs that you 728 00:39:37,800 --> 00:39:40,160 Speaker 1: like of yours that you think would fit what we're doing. 729 00:39:40,680 --> 00:39:43,560 Speaker 1: And she said okay. And that was such a good 730 00:39:43,600 --> 00:39:45,480 Speaker 1: time that we kept her in there and and then 731 00:39:45,560 --> 00:39:49,719 Speaker 1: made her join a band and wrote some more in 732 00:39:49,760 --> 00:39:54,560 Speaker 1: the studio together, and yeah, and then I was thinking, 733 00:39:55,160 --> 00:39:56,760 Speaker 1: you know, wouldn't it be cool if some other people 734 00:39:56,800 --> 00:39:59,640 Speaker 1: could come and go, Cause the idea of the of 735 00:39:59,680 --> 00:40:03,680 Speaker 1: the group two is because it's our uh second group 736 00:40:03,760 --> 00:40:06,920 Speaker 1: to all of our own individual careers. Is like if 737 00:40:06,920 --> 00:40:09,200 Speaker 1: somebody needed to take a break and have babies, or 738 00:40:09,440 --> 00:40:12,160 Speaker 1: somebody's parents were sick, or if they just needed time 739 00:40:12,200 --> 00:40:14,920 Speaker 1: out off for mental purposes or whatever, they could just 740 00:40:17,160 --> 00:40:20,160 Speaker 1: go do that, and we'd expand the platform, like let 741 00:40:20,239 --> 00:40:23,839 Speaker 1: somebody else come sing in their stead. And and even 742 00:40:23,880 --> 00:40:26,279 Speaker 1: if you weren't in n original four that made the 743 00:40:26,360 --> 00:40:28,919 Speaker 1: record it, we are high Women and we accept all 744 00:40:29,160 --> 00:40:32,759 Speaker 1: like whoever wants to play any instrument or sing or 745 00:40:33,440 --> 00:40:39,759 Speaker 1: even if your uh, you know, gender isn't to you know, 746 00:40:40,040 --> 00:40:42,879 Speaker 1: female or non binary or whatever, you could still come 747 00:40:42,920 --> 00:40:44,879 Speaker 1: be in our group too. You could be in our group, 748 00:40:44,920 --> 00:40:49,120 Speaker 1: doesn't matter your your your race or creed, or your 749 00:40:49,800 --> 00:40:53,120 Speaker 1: your gender or anything. We're open. We're high women, you know. 750 00:40:53,680 --> 00:40:58,000 Speaker 1: And Jason even has the High Women tattoo. And it's awesome, 751 00:40:58,200 --> 00:41:01,040 Speaker 1: you know. So Sheryl Crow came and played the bass, 752 00:41:01,120 --> 00:41:05,040 Speaker 1: and we've had guests like maybe Staples sing with us 753 00:41:05,080 --> 00:41:08,160 Speaker 1: and just just anybody that'll sing with us. We do 754 00:41:08,200 --> 00:41:11,879 Speaker 1: that and and invited Brittany Spencer to be a part 755 00:41:11,920 --> 00:41:16,000 Speaker 1: of it recently, and we're gonna go appear together at 756 00:41:16,040 --> 00:41:18,440 Speaker 1: Maren's final concert of this tour this weekend at the 757 00:41:18,440 --> 00:41:21,600 Speaker 1: Bridge Stoe And well, that's just made up my mind. 758 00:41:21,640 --> 00:41:24,480 Speaker 1: I wasn't sure when I was gonna go. Yeah, we're 759 00:41:24,480 --> 00:41:26,560 Speaker 1: gonna We're gonna sing a couple of songs. And then 760 00:41:28,120 --> 00:41:31,480 Speaker 1: when does this podcast air? This is gonna this is 761 00:41:31,520 --> 00:41:34,120 Speaker 1: now twenty twenty three. Okay, So then the next day 762 00:41:34,120 --> 00:41:36,560 Speaker 1: we're gonna fly down to the Kennedy Center Honors and 763 00:41:36,719 --> 00:41:40,200 Speaker 1: play there and the High Women and at the at 764 00:41:40,239 --> 00:41:43,000 Speaker 1: the Maren show, Uh, britt Brandy won't be there, but 765 00:41:43,920 --> 00:41:46,759 Speaker 1: Cheryl and Brittany will. But then the next day we're 766 00:41:46,760 --> 00:41:49,640 Speaker 1: gonna go play at the Kennedy Center Honors and meet 767 00:41:49,640 --> 00:41:51,480 Speaker 1: the President. And I still haven't figured out what to 768 00:41:51,520 --> 00:41:53,600 Speaker 1: wear to that, and I i'd I honestly don't know 769 00:41:53,640 --> 00:41:55,279 Speaker 1: what to do. And those kind of things. Have to 770 00:41:55,320 --> 00:41:57,719 Speaker 1: watch some youtubes about where the forks and knives go 771 00:41:57,880 --> 00:42:00,960 Speaker 1: on the play. You know, I'm but it's sitting up still, 772 00:42:01,080 --> 00:42:03,920 Speaker 1: sitting up straight and having a posture, but like having 773 00:42:04,080 --> 00:42:08,560 Speaker 1: like not fidgeting and having a poker face at a 774 00:42:08,640 --> 00:42:10,920 Speaker 1: not poker table or a not craps table or a 775 00:42:10,960 --> 00:42:14,960 Speaker 1: not black check table. It's just not me like I 776 00:42:14,960 --> 00:42:16,960 Speaker 1: I can play, I can I can gamble, but like 777 00:42:17,040 --> 00:42:18,960 Speaker 1: it's hard to sis still at one of these things. 778 00:42:19,920 --> 00:42:26,040 Speaker 1: So will there be another High Woman album? I think 779 00:42:26,120 --> 00:42:29,440 Speaker 1: so the the when I think about it, when I've 780 00:42:29,480 --> 00:42:31,800 Speaker 1: been noticing on a phone, you know, we've been playing 781 00:42:31,800 --> 00:42:37,160 Speaker 1: more shows recently, making more appearances, and we all put 782 00:42:37,200 --> 00:42:39,200 Speaker 1: up out our own records. See this is how I 783 00:42:39,280 --> 00:42:41,520 Speaker 1: lead with the art. I'm doing it right now, so 784 00:42:41,560 --> 00:42:45,040 Speaker 1: I'm not forcing or doing anything, but I kind of 785 00:42:45,040 --> 00:42:49,560 Speaker 1: know already. You let it kind of happen. There's less 786 00:42:49,600 --> 00:42:52,840 Speaker 1: of us sending pictures of our kids and what we're cooking, 787 00:42:53,120 --> 00:42:56,160 Speaker 1: and it's turned into more about like song ideas. Like 788 00:42:56,200 --> 00:42:59,000 Speaker 1: even in passing at the lorett Alna thing, me and 789 00:42:59,080 --> 00:43:02,400 Speaker 1: Natalie's had a song idea unconsciously we all know that 790 00:43:02,400 --> 00:43:06,800 Speaker 1: that's happening. But that's just honesty, right and oh yeah yeah, 791 00:43:06,840 --> 00:43:09,960 Speaker 1: And then also not getting in the way of the 792 00:43:10,160 --> 00:43:13,440 Speaker 1: of the intention, cause some it's easy to be told 793 00:43:14,000 --> 00:43:17,560 Speaker 1: by folks on the outside or by any anybody any 794 00:43:17,640 --> 00:43:21,040 Speaker 1: kind of influence, like if y'all toured or did this, 795 00:43:21,200 --> 00:43:23,160 Speaker 1: you could make so much money and all that, or 796 00:43:23,160 --> 00:43:24,600 Speaker 1: if you did that and you did that you make 797 00:43:24,680 --> 00:43:27,760 Speaker 1: so much money. Yeah, we'd make money for ourselves and others, 798 00:43:27,800 --> 00:43:30,400 Speaker 1: but that's not why we started it. Like it's our 799 00:43:30,840 --> 00:43:34,640 Speaker 1: group that we do to affect change. And like I said, 800 00:43:35,000 --> 00:43:37,960 Speaker 1: we do our individual artistry. That's our identities, you know, 801 00:43:38,719 --> 00:43:40,920 Speaker 1: and and you have to maintain your own before you 802 00:43:41,000 --> 00:43:44,160 Speaker 1: can be in service of of of another identity as 803 00:43:44,200 --> 00:43:47,640 Speaker 1: a different part to them in a bigger collective. And 804 00:43:48,880 --> 00:43:51,960 Speaker 1: but naturally it feels like it's it's that way, cause 805 00:43:52,160 --> 00:43:54,480 Speaker 1: if you look at it, just like from outside, everybody 806 00:43:54,480 --> 00:43:57,799 Speaker 1: put out records and they've toured 'em. Kind of was 807 00:43:57,840 --> 00:44:00,719 Speaker 1: a bomber, which after when COVID happened, cause we had 808 00:44:00,719 --> 00:44:03,600 Speaker 1: shows planned and things like that, and then we all 809 00:44:03,640 --> 00:44:06,000 Speaker 1: took financial hits and stuff because of that, and we 810 00:44:06,080 --> 00:44:09,359 Speaker 1: all survived it and made records to put 'em out, 811 00:44:09,440 --> 00:44:13,040 Speaker 1: and you know, feels like the world's writing itself and 812 00:44:13,680 --> 00:44:16,880 Speaker 1: in the direction where we could think, you know, happily 813 00:44:16,920 --> 00:44:20,719 Speaker 1: and positively again about not getting our hearts broken. That way, 814 00:44:21,080 --> 00:44:24,240 Speaker 1: congratulations and take it like a man. Ah, thanks my god, 815 00:44:24,880 --> 00:44:27,799 Speaker 1: thank you. That Now, how long of a process that 816 00:44:27,920 --> 00:44:32,960 Speaker 1: was during COVID that you that you worked on that? Right, 817 00:44:34,160 --> 00:44:38,359 Speaker 1: I got I was disenchanted with all of it. During 818 00:44:38,400 --> 00:44:41,680 Speaker 1: COVID think I was working myself to burn out. There's 819 00:44:41,680 --> 00:44:45,200 Speaker 1: all kind of things going on. M I write every day, 820 00:44:45,560 --> 00:44:47,839 Speaker 1: and it's not necessarily for songs. It's just to keep 821 00:44:47,880 --> 00:44:50,600 Speaker 1: the pin sharp. And I also do poems. I have 822 00:44:50,640 --> 00:44:54,360 Speaker 1: a master's in poetry. I've published one and decided that 823 00:44:54,400 --> 00:44:56,279 Speaker 1: I would wait until I had a whole book before 824 00:44:56,280 --> 00:45:00,000 Speaker 1: I published a whole collection and not pressure in myself 825 00:45:00,200 --> 00:45:01,560 Speaker 1: to finish it, cause I want it to be done 826 00:45:01,600 --> 00:45:04,000 Speaker 1: with the right choices behind it, and not ever be 827 00:45:04,480 --> 00:45:08,000 Speaker 1: influenced by things like deadlines or advances. I don't even 828 00:45:08,000 --> 00:45:10,600 Speaker 1: want an advance. Just wanna turn in a done book 829 00:45:10,840 --> 00:45:13,600 Speaker 1: and and not have anybody edit. I mean not have 830 00:45:13,640 --> 00:45:16,120 Speaker 1: anybody say boo about it or offer their input on 831 00:45:16,200 --> 00:45:18,279 Speaker 1: the collection, because I'm the one sitting with it all 832 00:45:18,360 --> 00:45:21,600 Speaker 1: day anyway. But they can't edit it and decide which 833 00:45:21,600 --> 00:45:24,200 Speaker 1: ones they want out. They just can't tell me to 834 00:45:24,200 --> 00:45:29,400 Speaker 1: write more. Yeah yeah, but anyway, so when I get there, 835 00:45:29,440 --> 00:45:32,560 Speaker 1: I'll get there. The problem is this. I'm Amanda Sharers, 836 00:45:32,560 --> 00:45:34,560 Speaker 1: and I play the fiddle, and I learned to play 837 00:45:34,600 --> 00:45:38,040 Speaker 1: Western swing and country. I grew up doing it. I 838 00:45:38,080 --> 00:45:41,080 Speaker 1: also learned at the same time how to play in 839 00:45:41,160 --> 00:45:43,560 Speaker 1: rock and roll bands, cause nobody was playing country or 840 00:45:43,600 --> 00:45:46,759 Speaker 1: western swing. And I also learned how to play classical 841 00:45:47,320 --> 00:45:49,399 Speaker 1: cause I loved it. And I also learned a little 842 00:45:49,400 --> 00:45:52,600 Speaker 1: bit of bluegrass, but not too much, and cause western 843 00:45:52,640 --> 00:45:55,880 Speaker 1: swing folks would get mad. And and so I was 844 00:45:56,080 --> 00:46:00,400 Speaker 1: very well versed on this instrument. Now the same time, 845 00:46:00,840 --> 00:46:04,920 Speaker 1: growing up, fiddle is not a popular instrument. Y, where 846 00:46:04,920 --> 00:46:06,200 Speaker 1: are you gonna do with that? You know, there's not 847 00:46:06,239 --> 00:46:08,600 Speaker 1: a lot of lead people, lead singers and rock bands 848 00:46:08,640 --> 00:46:10,960 Speaker 1: playing the fiddle. The band had a little run with that, 849 00:46:11,160 --> 00:46:12,919 Speaker 1: I mean, I mean they did, and Bowie had a 850 00:46:12,960 --> 00:46:14,719 Speaker 1: little bit of a fiddle player, but it was like 851 00:46:15,680 --> 00:46:19,040 Speaker 1: you ever learned. The artists though, y like Charlie Daniels, 852 00:46:19,600 --> 00:46:24,239 Speaker 1: but that's country and all that. And then what I 853 00:46:24,400 --> 00:46:28,759 Speaker 1: do is more like I do like kind of like 854 00:46:28,920 --> 00:46:32,440 Speaker 1: rock and country and you know, folk songs and songs 855 00:46:32,440 --> 00:46:34,640 Speaker 1: of the people or whatever what people now call songwriter 856 00:46:34,760 --> 00:46:37,840 Speaker 1: music or Americana. But I I take it kind of further, 857 00:46:37,960 --> 00:46:39,920 Speaker 1: like I try tom, I try to make new sounds 858 00:46:39,920 --> 00:46:43,840 Speaker 1: and keep the instrument, you know, going to further in 859 00:46:43,960 --> 00:46:46,399 Speaker 1: like with the like with with people my own age 860 00:46:46,400 --> 00:46:49,399 Speaker 1: and people younger, cause you could see classical violin that's 861 00:46:49,400 --> 00:46:53,520 Speaker 1: the thing people do, and sometimes jazz. But in the 862 00:46:53,600 --> 00:46:55,680 Speaker 1: in the in the mainstream part of the world, there's 863 00:46:55,719 --> 00:46:58,799 Speaker 1: not a lot of folks doing it. Really, Lawrence gave 864 00:46:58,880 --> 00:47:04,759 Speaker 1: you some added confidence for your mission. They did, But yeah, 865 00:47:04,800 --> 00:47:08,040 Speaker 1: they did, he said, he said, you know a lot 866 00:47:08,080 --> 00:47:09,719 Speaker 1: of people when they see the fiddle, they want to 867 00:47:09,880 --> 00:47:13,760 Speaker 1: make me more country, you know. And I like country, 868 00:47:13,840 --> 00:47:15,279 Speaker 1: I love it and all that, and I get it. 869 00:47:15,320 --> 00:47:17,560 Speaker 1: But I'm not trying to do what's already been done, 870 00:47:17,880 --> 00:47:20,160 Speaker 1: and I knocked at all countries been done. I'm trying 871 00:47:20,200 --> 00:47:22,600 Speaker 1: to have a thing I'm trying to do. Even though 872 00:47:22,600 --> 00:47:24,600 Speaker 1: I broke my finger in twenty eleven and still have 873 00:47:24,640 --> 00:47:27,560 Speaker 1: three pins in it, with my fiddle playing finger, I 874 00:47:27,560 --> 00:47:31,799 Speaker 1: can still get down and jam the hell out of it, 875 00:47:31,840 --> 00:47:35,480 Speaker 1: like if we were in a dueling fiddle situation or 876 00:47:35,520 --> 00:47:37,680 Speaker 1: cutting heads, as Jason was saying, you were having like 877 00:47:37,680 --> 00:47:40,640 Speaker 1: a fiddle off, or even with guitar players, I can 878 00:47:40,640 --> 00:47:43,040 Speaker 1: out solo some of the best of them. And if 879 00:47:43,080 --> 00:47:44,880 Speaker 1: you don't believe me, get me on that stage and 880 00:47:44,920 --> 00:47:50,759 Speaker 1: I will show you your ass. And so what they 881 00:47:50,800 --> 00:47:52,760 Speaker 1: did is they don't try to make me do. They're 882 00:47:52,800 --> 00:47:54,799 Speaker 1: just like me in service of the song. And they're 883 00:47:54,840 --> 00:47:57,680 Speaker 1: not like, oh, we can't do effect pedals on your 884 00:47:57,719 --> 00:48:00,680 Speaker 1: fiddle and do effects like guitar players use only school pedals. 885 00:48:00,680 --> 00:48:02,880 Speaker 1: Why can't I Because it's a fiddle and you have 886 00:48:02,880 --> 00:48:05,479 Speaker 1: to stay country And I like country, but country tends 887 00:48:05,520 --> 00:48:07,839 Speaker 1: to go forward too. We're not all singing like Hank 888 00:48:07,920 --> 00:48:10,080 Speaker 1: Snow right now. I love home, but we're not all 889 00:48:10,120 --> 00:48:14,120 Speaker 1: singing like Hank Snow right now. So if somebody was 890 00:48:14,200 --> 00:48:19,440 Speaker 1: just dropped onto this planet and had never experienced music 891 00:48:19,600 --> 00:48:22,440 Speaker 1: in their life, how would you explain to them how 892 00:48:22,480 --> 00:48:25,520 Speaker 1: important music is and what it does and why it's 893 00:48:25,560 --> 00:48:30,440 Speaker 1: so a part of our lives. What was our first language? Uh, 894 00:48:30,520 --> 00:48:32,920 Speaker 1: we didn't really have a language before music. We'd kind 895 00:48:32,960 --> 00:48:36,319 Speaker 1: of communicated with little rhythms and grunts and sounds. And 896 00:48:36,920 --> 00:48:40,839 Speaker 1: you know, apparently that's what I've been told singing and 897 00:48:40,840 --> 00:48:44,600 Speaker 1: and in connection, you know, whether or not, like past 898 00:48:44,640 --> 00:48:51,439 Speaker 1: that idea doesn't matter what language you speak, Like we've 899 00:48:51,480 --> 00:48:54,160 Speaker 1: all been making joyful noises for a long time, Like, 900 00:48:54,200 --> 00:48:56,799 Speaker 1: it doesn't matter what language you speak. When you put 901 00:48:56,840 --> 00:49:00,560 Speaker 1: on music, you you can feel a way, feel a 902 00:49:00,560 --> 00:49:04,080 Speaker 1: certain way and it makes you feel things in in 903 00:49:04,239 --> 00:49:09,799 Speaker 1: music also is so attached with our memories that you 904 00:49:09,840 --> 00:49:12,160 Speaker 1: can remember, Like if you hear a song, you'll remember 905 00:49:12,160 --> 00:49:15,160 Speaker 1: a detail about your own life or your own something 906 00:49:15,160 --> 00:49:17,520 Speaker 1: that re like occurs to you that you haven't thought 907 00:49:17,520 --> 00:49:19,399 Speaker 1: of it a long time. It might won't make you 908 00:49:19,520 --> 00:49:21,880 Speaker 1: like call somebody or think about something or change your 909 00:49:21,880 --> 00:49:24,680 Speaker 1: mind about some music has a power to change people's minds. 910 00:49:25,160 --> 00:49:27,640 Speaker 1: And more than that, like you get in a room 911 00:49:27,680 --> 00:49:32,839 Speaker 1: with people to see music. You're in that room and 912 00:49:32,880 --> 00:49:35,360 Speaker 1: it's like a synergy. It works both ways of a 913 00:49:35,360 --> 00:49:38,759 Speaker 1: live concert. You've got a community in music. Uh, when 914 00:49:38,760 --> 00:49:40,399 Speaker 1: you go out to a live show, you know those 915 00:49:40,440 --> 00:49:43,640 Speaker 1: people and yourself have something in common with one another. 916 00:49:44,080 --> 00:49:46,399 Speaker 1: So in that room you feel less alone in the world. 917 00:49:46,440 --> 00:49:49,280 Speaker 1: But if you hear songs too, it gives you language 918 00:49:49,280 --> 00:49:53,520 Speaker 1: to your own emotions and feelings, like how many times 919 00:49:53,560 --> 00:49:57,040 Speaker 1: were we even younger or even grown ups? Like now 920 00:49:57,080 --> 00:49:59,560 Speaker 1: do we do we say? Oh, I was thinking about 921 00:49:59,560 --> 00:50:03,680 Speaker 1: you today, here's this song, or sorry you're going through that. 922 00:50:03,760 --> 00:50:06,279 Speaker 1: There's a song that I like to play sometimes when 923 00:50:06,320 --> 00:50:10,760 Speaker 1: I feel this way, or sometimes when you have nothing 924 00:50:10,800 --> 00:50:14,640 Speaker 1: to say, you can just listen to music. Not only 925 00:50:14,680 --> 00:50:17,240 Speaker 1: is it the background to our lives here this person 926 00:50:17,280 --> 00:50:19,880 Speaker 1: that we've never met that's landing on our planet. Also, 927 00:50:19,960 --> 00:50:22,879 Speaker 1: do you need something different than oxygen to breathe while? 928 00:50:22,920 --> 00:50:24,920 Speaker 1: I tell you to steal it? Because if you're running 929 00:50:24,960 --> 00:50:27,920 Speaker 1: little it's cool. I heard you live in a spaceship 930 00:50:28,000 --> 00:50:32,399 Speaker 1: under the water. Is that true? Back to music, let's 931 00:50:32,440 --> 00:50:35,480 Speaker 1: talking to her invisible alien or whoever it was. But 932 00:50:37,400 --> 00:50:40,080 Speaker 1: you know, you could even play some music for this 933 00:50:40,160 --> 00:50:44,680 Speaker 1: creature that have we haven't named, and they probably have 934 00:50:44,760 --> 00:50:47,359 Speaker 1: you ever read that book Stranger in a Strange Land? No? 935 00:50:47,440 --> 00:50:49,360 Speaker 1: I know the song. I have never read the book? 936 00:50:49,560 --> 00:50:52,560 Speaker 1: Is that Robert Heinlend? I think, yes, yea, I have 937 00:50:52,640 --> 00:50:57,040 Speaker 1: read it. That was many years ago. I could be mistaken. 938 00:50:57,080 --> 00:50:59,239 Speaker 1: Is there a partner? Or here's music for the first time. 939 00:51:00,320 --> 00:51:02,440 Speaker 1: I haven't read about six years. Uh uh uh, it's 940 00:51:02,600 --> 00:51:04,240 Speaker 1: that's a good one to go back on. I wonder. 941 00:51:05,400 --> 00:51:09,520 Speaker 1: But there's there's a thing that happens where you can 942 00:51:09,560 --> 00:51:11,200 Speaker 1: feel it, or you can tap it out or not, 943 00:51:11,400 --> 00:51:12,959 Speaker 1: or you can just hate it, like you could listen 944 00:51:12,960 --> 00:51:14,960 Speaker 1: to Fugazzi for two weeks and just turn it wanna 945 00:51:15,000 --> 00:51:18,080 Speaker 1: turn it off? I don't know there's things to like 946 00:51:18,120 --> 00:51:19,920 Speaker 1: about it, cause it led me to Leonard Cohen. But 947 00:51:22,320 --> 00:51:25,799 Speaker 1: it is if you paint, sing or even hold it 948 00:51:25,840 --> 00:51:27,360 Speaker 1: to and you don't have to play an instrument to 949 00:51:27,480 --> 00:51:31,600 Speaker 1: enjoy it. It's a place where you can oftentimes find 950 00:51:31,680 --> 00:51:35,080 Speaker 1: common ground or or conversation with folks. If you have 951 00:51:35,120 --> 00:51:37,800 Speaker 1: nothing to talk about, you can generally talk about music. 952 00:51:38,480 --> 00:51:42,359 Speaker 1: Uh S. I don't know many people that you can't 953 00:51:42,400 --> 00:51:44,760 Speaker 1: talk to about it, of course, except for the hearing impaired, 954 00:51:45,239 --> 00:51:47,960 Speaker 1: and there's a different way for music with that for sure, 955 00:51:48,719 --> 00:51:50,560 Speaker 1: But uh then we'd have to get into specifics of 956 00:51:50,560 --> 00:51:52,960 Speaker 1: what type of music we're listening to. But anyway, all 957 00:51:52,960 --> 00:51:56,520 Speaker 1: that to say, it's a connective and it's universal and 958 00:51:56,640 --> 00:52:01,439 Speaker 1: it's I treat it very very seriously. Like I don't 959 00:52:01,440 --> 00:52:04,479 Speaker 1: think myself seriously, but I take the music seriously because 960 00:52:04,520 --> 00:52:06,839 Speaker 1: it's an energy, Like if you're going to sing something, 961 00:52:06,880 --> 00:52:09,920 Speaker 1: that energy goes somewhere. I like how you take a 962 00:52:10,000 --> 00:52:13,680 Speaker 1: question inside out, you find something on the end of 963 00:52:13,760 --> 00:52:16,680 Speaker 1: it to nip and tuck and cooke at, and that's 964 00:52:16,719 --> 00:52:18,800 Speaker 1: a that's a that's a fun way to take a question. 965 00:52:19,560 --> 00:52:22,480 Speaker 1: I wasn't on my best behavior for it at first, 966 00:52:22,520 --> 00:52:26,319 Speaker 1: but hopefully I'm learning the Amanda Shire's way. Oh it's 967 00:52:27,000 --> 00:52:32,480 Speaker 1: I just I've been told I'm a nonlinear thinker totally. Yeah, 968 00:52:33,480 --> 00:52:36,520 Speaker 1: so your attraction, myself acceptance. I'm working on it because 969 00:52:36,560 --> 00:52:39,279 Speaker 1: for a long time I didn't like any part of 970 00:52:39,280 --> 00:52:41,920 Speaker 1: the music business that wasn't the music because the interview 971 00:52:41,960 --> 00:52:44,480 Speaker 1: part would freak me out because I always get in 972 00:52:44,480 --> 00:52:46,719 Speaker 1: my head about they're not gonna understand me, and then 973 00:52:46,760 --> 00:52:49,000 Speaker 1: I just look forward to self. They're like if they 974 00:52:49,200 --> 00:52:51,880 Speaker 1: if they care, they, if they care enough to interview, 975 00:52:52,000 --> 00:52:55,080 Speaker 1: they're gonna put up with your nonlinear or joking you know. 976 00:52:55,360 --> 00:52:59,960 Speaker 1: Of course, No, it's very linear, and it's in a circle. 977 00:53:00,840 --> 00:53:03,759 Speaker 1: It's a steady circle. It is, it is, but it's 978 00:53:03,800 --> 00:53:08,160 Speaker 1: not a boring circle, if by any stretch of the imagination. Yeah, 979 00:53:08,280 --> 00:53:12,320 Speaker 1: you can ask me anything. Now, So what about birds? 980 00:53:12,960 --> 00:53:15,400 Speaker 1: So it's about freedom, and it's about the way they look, 981 00:53:15,960 --> 00:53:21,160 Speaker 1: and it's about their traits and their unique to them 982 00:53:21,280 --> 00:53:23,239 Speaker 1: things like you know, with the crows and they can 983 00:53:23,280 --> 00:53:26,120 Speaker 1: make tools. It's all very fascinating to me, how they 984 00:53:26,680 --> 00:53:29,000 Speaker 1: they're different bird calls and what they mean all that. 985 00:53:29,120 --> 00:53:31,279 Speaker 1: I just I can't get over it. Well, I think 986 00:53:31,280 --> 00:53:34,160 Speaker 1: it's about the joy of them too. You have enjoy 987 00:53:34,520 --> 00:53:38,440 Speaker 1: their magic though, or I mean, the joy is spectacular, 988 00:53:38,640 --> 00:53:41,440 Speaker 1: you know. And they don't seem to want for much. 989 00:53:41,719 --> 00:53:43,640 Speaker 1: You know, it's not like they're seeking a new car 990 00:53:43,760 --> 00:53:49,560 Speaker 1: or a shiny new birdhouse. Right. Well, I think the 991 00:53:49,600 --> 00:53:52,560 Speaker 1: great joy of being able to have this opportunity to 992 00:53:52,560 --> 00:53:55,680 Speaker 1: speak to you on my podcast. I can't thank you 993 00:53:55,880 --> 00:53:58,160 Speaker 1: enough for me. I'm really so glad that you'd have me, 994 00:53:58,760 --> 00:54:04,200 Speaker 1: really so special. I'm so grateful and thank you for this. 995 00:54:04,280 --> 00:54:07,760 Speaker 1: But thank you for your music as well. Well, no problem, 996 00:54:08,239 --> 00:54:10,640 Speaker 1: I'm just now starting to settle down, so I promise 997 00:54:11,080 --> 00:54:14,239 Speaker 1: I'll talk less about me and more about y'all. I 998 00:54:14,320 --> 00:54:16,719 Speaker 1: know this is it's an unnatural thing, the interview where 999 00:54:16,760 --> 00:54:19,239 Speaker 1: we just talk about me. It feels funny, but I'm 1000 00:54:19,280 --> 00:54:22,440 Speaker 1: doing it. Well, you did a terrific job. Well, thank you, 1001 00:54:22,560 --> 00:54:24,520 Speaker 1: thank you, very thank you. I had a coffee and 1002 00:54:24,560 --> 00:54:28,200 Speaker 1: lots of candy. Thank you a man, And if you 1003 00:54:28,200 --> 00:54:29,680 Speaker 1: ever need a break, you just say hold on, I 1004 00:54:29,680 --> 00:54:34,600 Speaker 1: gotta eat this candy. Taking a Walk with Buzznight is 1005 00:54:34,640 --> 00:54:40,399 Speaker 1: available on Spotify, Apple Podcasts, or wherever you get your podcasts.