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Speaker 1: I actually have on my telephone here Um, the first

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Speaker 1: recording of this song. I don't know how to do this.

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Speaker 1: On here you'll see it's called plan through the Night,

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Speaker 1: and that is the first and I could actually hold on.

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Speaker 1: Let you can hear this? Can you hear that? Just

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Speaker 1: give me two year ago. That's the first time I

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Speaker 1: was ever spoken. And that's November six two sixteen, your

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Speaker 1: wedding at Goat Hill. The night that we had there

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Speaker 1: with the stage on the first tee and the palm

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Speaker 1: trees in the background and the moon. It was such

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Speaker 1: a magical experience for me, Um and the fire pits.

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Speaker 1: I went back to the hotel of the spring Hill

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Speaker 1: Suites in downtown Oceanside, and I felt inspired, like that

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Speaker 1: night I wrote this song. And now I say I

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Speaker 1: wrote this song. I wrote like two lines in the song,

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Speaker 1: put another logal fire. Nobody here is get in time.

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Speaker 1: Welcome to the fire Pit with Matt Chinella. Yet another

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Speaker 1: personal episode of the fire Pit this week, this one

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Speaker 1: being special for so many reasons. Four years ago, my

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Speaker 1: wife and I were looking for someone to sing at

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Speaker 1: our wedding reception, which was going to be at go

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Speaker 1: Hill Park in Oceanside, California. A friend who had heard

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Speaker 1: Joe Horowitz play at the Russell Wilson Charity golf tournament

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Speaker 1: said he'd be a perfect fit for the setting and

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Speaker 1: the vibe of the party. The friends sent a link

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Speaker 1: to one of Joe's videos, and we thought mix of

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Speaker 1: a La Montaigne and David Gray. Plus he's a good golfer.

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Speaker 1: We were in on November five, two thousand sixteen, on

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Speaker 1: a stage on the first team. Joe killed it with

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Speaker 1: both covers and some of his originals, and we've been

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Speaker 1: great friends ever since. I've also come to realize that's

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Speaker 1: the same routine for everyone he meets. He's like a

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Speaker 1: giant magnet of great friends. Meet Joe, love Joe. That's

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Speaker 1: how it goes. More on Joe in a bit. The

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Speaker 1: co star of this podcast is Jakier King, a three

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Speaker 1: time Grammy Award winning music producer who I met last

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Speaker 1: year while playing in Jason Day's charity event in Ohio.

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Speaker 1: Jaquire is an avid golfer who lives in Nashville, loves

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Speaker 1: Link soul, and Buddy strips again fast friends. At the

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Speaker 1: end of last year, I introduced Joe to Shakier. Let's

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Speaker 1: see a golf loving musician who's seeking some production meets

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Speaker 1: golf loving music producer who's seeking art who interest him.

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Speaker 1: What's next? Now seems as though it was inevitable. Every

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Speaker 1: song is a story. This is a story about the

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Speaker 1: making of a song. It just happens to be the

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Speaker 1: song we've adopted as the anthem to this podcast. But

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Speaker 1: we're only using two lines of the song because hey,

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Speaker 1: that's all we needed and b that's all there was.

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Speaker 1: But before we hear Joe and Jakier building out that song,

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Speaker 1: which is quite a story. Here's the backstory. Let's start

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Speaker 1: with Joe, who lives on Long Island with his wife

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Speaker 1: Julie and their six year old twins, Jack and Charlotte.

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Speaker 1: Music has always been a part of our family. My

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Speaker 1: uncle's are you know, classical pianists. My mom, uncle and

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Speaker 1: her sister are have always been sort of folk musician,

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Speaker 1: you know, at family parties, right like, the guitar has

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Speaker 1: always come out at family parties, the Credence Clearwater, you know,

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Speaker 1: the Bob Seegers, you know, covers that my family would

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Speaker 1: always play. Technically, we would certainly pick up the guitar

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Speaker 1: and try to mess around with it at that age

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Speaker 1: you sevent but um, I really started playing it in college,

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Speaker 1: you know, I really started. The first guitar owned was

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Speaker 1: probably sophomore year of college. Jakier Keene lives in Britaino, Tennessee,

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Speaker 1: a Nashville suburb, with his wife Monet, and their sons,

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Speaker 1: Matthew and Brandon. He also had a childhood immersed in music.

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Speaker 1: At a certain point, I think things in life kind

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Speaker 1: of choose you in a way. Uh So, when I

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Speaker 1: was very small, you know, we had a little radio

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Speaker 1: in the kitchen, um and I remember I was probably

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Speaker 1: four years old, and one of my first musical memories

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Speaker 1: was here hearing Ray Charles hit the Road Jack and

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Speaker 1: I love that song and and there was a sound

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Speaker 1: in that song that really intrigued me. And it was

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Speaker 1: the upright bass. And so I asked my dad, you know,

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Speaker 1: like what is that? You know? And I kind of

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Speaker 1: was sort of trying to sing the part, and you know,

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Speaker 1: he said he thought it was the base and and

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Speaker 1: then I I just sort of listened to the radio

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Speaker 1: lot and then I wanted to be a radio DJ

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Speaker 1: when I was really young. Back to Joe, who had

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Speaker 1: spent his life juggling passions for both music and golf.

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Speaker 1: I've always been a very introspective person. You know. My

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Speaker 1: parents were divorced when I was seven years old. And

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Speaker 1: I remember in high school, even though I didn't play guitar, uh,

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Speaker 1: you know, listening to Jeff Buckley, you know, and old

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Speaker 1: Beatles albums and led Zeppelin two, three, and four, and

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Speaker 1: you know, shutting the door to your room and listening

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Speaker 1: to like depressing rock like I was always you know,

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Speaker 1: Nirvana was being obviously when I was a teenager. Um.

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Speaker 1: And I've always been a very introspective person. And golf,

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Speaker 1: you know, golf is an introspective sport, right, I mean

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Speaker 1: it was the one sport that I could play as

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Speaker 1: a kid that I didn't need a ride to or

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Speaker 1: throw my clubs in the back of the bike and

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Speaker 1: might take my bike to Lego Golf Club, right. And

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Speaker 1: guitars like the musical version of golf, because you can

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Speaker 1: do it by yourself and and play it by yourself

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Speaker 1: your whole life, although it's better doing it with other people. Well,

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Speaker 1: Joe had dueling passions. Jakire in his late teens was

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Speaker 1: trying to hone in on his The music was just

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Speaker 1: very much a part of my life. And then when

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Speaker 1: I when I got to the point where I was

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Speaker 1: supposed to go to college, I just really didn't want

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Speaker 1: to go and so so I had I had a

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Speaker 1: couple of short stints and collus and dropped out, and

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Speaker 1: you know, it sort of caused a little bit unfortunately,

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Speaker 1: caused a riff between myself and my dad and for

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Speaker 1: a while, and you know, I had to just sort

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Speaker 1: of figure out what I was going to do with

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Speaker 1: my life. So I got kind of kicked out of

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Speaker 1: my I came home from college, I got kicked out

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Speaker 1: of my house, out of my home for my dad

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Speaker 1: didn't want me around. It's like, it's like, if this

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Speaker 1: is what you're gonna do, you're gonna figure out your

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Speaker 1: life out. And I was a furniture mover and I

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Speaker 1: just I was looking through Rolling Stone magazine and I

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Speaker 1: saw this ad for or Um a recording school called

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Speaker 1: the Recording Workshop. So I thought, well, that's pretty cool,

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Speaker 1: that's pretty intriguing. I had in my mid teens, I

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Speaker 1: sort of had tuned into the fact that because as

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Speaker 1: a big Jimmy Hendricks fan, tuned into the fact that

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Speaker 1: of all the rock music that I listened to, and

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Speaker 1: he's probably. He was probably my favorite guitar player, one

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Speaker 1: of them. Definitely. He's on my mount Rushmore if you will,

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Speaker 1: UM that there was something going on in record making

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Speaker 1: that wasn't just a band playing a song. UM, like

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Speaker 1: I'd watched my friends do it was there was something

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Speaker 1: else going on. So it's like, Okay, well, I'm really

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Speaker 1: interested in what that is. When I say Joe's a golfer,

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Speaker 1: it's not really doing him justice. At the University of Richmond,

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Speaker 1: he won three tournaments. He won the New York City Amateur,

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Speaker 1: played in the US Amateur U S Publics, turned pro,

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Speaker 1: played in the Canadian Tour, and missed the finals of

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Speaker 1: Q School by a shot or two multiple times. There's

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Speaker 1: two big misses, you know. I had a four shot

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Speaker 1: lead in the met Open with nine holes left and

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Speaker 1: the Men Open is is historically one of the oldest

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Speaker 1: golf tournaments in America. I had a four shot lead

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Speaker 1: with nine holes left. Did not win that. UM, that

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Speaker 1: was fairly devastating. The straw that broke the camel's back

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Speaker 1: was UM. I missed the US Opened by a shot

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Speaker 1: a bogy the last hole with a lobwig in sectional

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Speaker 1: qualifying m at Canoe Brook and I just birdied the

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Speaker 1: thirty fifth hole to sort of get under the number,

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Speaker 1: and then I bogy to the last and this is

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Speaker 1: two thousand and eleven, I think two thousand tents somewhere

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Speaker 1: around there. At that point, I just was like, I

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Speaker 1: was thirty thirty one, and I'm like, this is not

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Speaker 1: this is not creating the kind of life that I

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Speaker 1: want to live. Meanwhile, Jakire finished the hyper Focused Recording

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Speaker 1: school top of his class. He left the outskirts of

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Speaker 1: the Washington, D C. Area and he went to Los Angeles,

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Speaker 1: and having grown up in the country, he didn't love

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Speaker 1: the city, so he pushed on. And then I went

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Speaker 1: to San Francisco and I got a job. I went

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Speaker 1: I just went there for three days and I got

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Speaker 1: a job at the studio in the city called Different Fur.

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Speaker 1: So I moved out there. It was a cool time

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Speaker 1: to move out there because you know, thrash metal bands

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Speaker 1: like Metallica and Exodus, we're very popular. Primus had just

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Speaker 1: made their first record, Faith No More. Uh, you know

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Speaker 1: that time in the late eighties early nineties, San Francisco

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Speaker 1: was an amazing town for music. And I worked. I

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Speaker 1: had that I had that studio job, which lasted about

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Speaker 1: nine months unfortunately. Um and and then I went on

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Speaker 1: to do a lot of lives sound. But then so

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Speaker 1: I spent I spent close to fourteen years living in

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Speaker 1: San Francisco, and uh, you know, kind of one thing

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Speaker 1: led to another, and I after kind of getting back

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Speaker 1: into the studios more studio work. Um around n ME seven,

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Speaker 1: I got a I got a call from Tom Waits,

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Speaker 1: which begged the question, how does someone go about getting

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Speaker 1: a call from Tom Waits? I had. I had a

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Speaker 1: very traditional start to my career in learning how to

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Speaker 1: record and make records on analog. But when the digital

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Speaker 1: technology came along, I was an early adopter and um

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Speaker 1: so I had a bit of a reputation of being

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Speaker 1: able to to do the old school stuff and the

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Speaker 1: new school stuff. And um so, Tom was asking around

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Speaker 1: for somebody in the Bay area that new pro tools,

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Speaker 1: but that was also had traditional recording skills and so

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Speaker 1: that that sort of inquiry eventually led to one of

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Speaker 1: the studio owners and he said, well, no, it's not me.

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Speaker 1: You want to talk to Jakire answer the phone and

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Speaker 1: he says, oh good, I'm glad you're home. He's like,

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Speaker 1: stay there and stay there, Tom Waits is going to

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Speaker 1: call you. I'm like, no way, Like, is this a joke.

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Speaker 1: He's like nope. And he explained it to me and

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Speaker 1: and and I was like, okay, I just yeah. I

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Speaker 1: just sat on I just sat on my bed and

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Speaker 1: with my phone right in front of me and waited.

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Speaker 1: I waited for about an hour, and then Tom Waits

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Speaker 1: called me. He's like, you know, he's like asking me

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Speaker 1: a bunch of questions. And he lives up in you know,

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Speaker 1: the North Bay Um and that was a studio that

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Speaker 1: he had been working at. He'd made a couple of

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Speaker 1: records there. He asked me if I'd be willing to

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Speaker 1: kind of come up there and meet with he and Kathleen,

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Speaker 1: his wife, and sort of do an interview. And I

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Speaker 1: was like, yeah, tell me, I'm right, I'm there. Well.

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Speaker 1: Jaquiere worked with Wait. Joe has also been on stage

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Speaker 1: with some recognizable names, John Oates, Don Felder from The Eagles,

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Speaker 1: Jodan from Rascal Flats, Toby Keith, Darius Rucker, Pat Monahan obviously,

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Speaker 1: Adrian Young, my friend, the drummer who I always tell

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Speaker 1: you as a drummer from No Doubt, Um Todd from Sublime,

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Speaker 1: I'm sure I'm forgetting you know, Cult Forward, Jaco and um,

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Speaker 1: everybody who's at the A, T and T. Right you

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Speaker 1: share a stage with I mean it shared a stage

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Speaker 1: with Clinicstwood and Toby Keith singing the Weight from the band. Right,

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Speaker 1: It's like I'm arm in arm. I'm literally arm in

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Speaker 1: arm with Toby Keith and Clinicstwood and I'm just like, hey, guys,

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Speaker 1: you know, it's crazy when I think about how lucky

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Speaker 1: I've been in the music world, and and a lot

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Speaker 1: of that has to do because of my entry through

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Speaker 1: the game of golf. Jaquire worked with Tom Waits on

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Speaker 1: three albums, including Mule Variations, which one them both a

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Speaker 1: Grammy and the category of Best Contemporary Folk Album. That

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Speaker 1: led to working with Buddy Guy. That led to um,

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Speaker 1: you know, Modest Mouse, and you know, Modest Mouse leads

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Speaker 1: to Kings of Leon and you know, so many I've

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Speaker 1: been fortunate. I've made hundreds of records, you know, and um,

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Speaker 1: it's uh some, but you know, it's it's like it's

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Speaker 1: kind of like golf. You know, It's like, uh, you

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Speaker 1: you have to play a lot of tournaments to have

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Speaker 1: a shot to win, to win, and then you know,

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Speaker 1: to have a shot at the majors, you just gotta

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Speaker 1: just gotta stay at it if you want to have

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Speaker 1: a long, fruitful career, just because you know, of all

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Speaker 1: these records I've made, there's there's a handful that people

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Speaker 1: know me for. And that's fine. You know, I've made

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Speaker 1: a lot of beautiful records that no one's heard or

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Speaker 1: not many people have heard. And I don't do it.

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Speaker 1: I never did it to be known and successful. Necessarily.

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Speaker 1: I did it because it's it's an art and craft

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Speaker 1: that I really it captures my imagination. I'm really passionate

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Speaker 1: for and I can get up every day and just

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Speaker 1: really worked super hard, um, you know, for it. And yeah,

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Speaker 1: it's just it's just brought a lot of I brought

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Speaker 1: a lot of things, you know, And I'm probably most known.

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Speaker 1: I'm probably most known from my records with Kings of

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Speaker 1: Leon I made. I made three records with them as well,

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Speaker 1: most notably Only by the Night, which in two thousand

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Speaker 1: and eight received seven Grammy nominations, and at one Record

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Speaker 1: of the Year, which is about the time. Joe is

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Speaker 1: in his late twenties. He's highest ranking is what he

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Speaker 1: describes his quote and off Broadway Tour pro was in

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Speaker 1: the world, and at that point, I don't know, subconsciously,

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Speaker 1: it was like, this is the peak of where your

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Speaker 1: golf is going to be. And I was okay with

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Speaker 1: that because I met great people and saw the world.

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Speaker 1: Would I have liked to gott into the PGA Tour, absolutely,

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Speaker 1: But music started knocking on my door saying, hey, like,

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Speaker 1: I'm kind of fun too, and you know, like I think,

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Speaker 1: I think you can get a lot of fulfillment out

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Speaker 1: of me as well. And I started chasing that and

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Speaker 1: getting invited to do some great things through music, and

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Speaker 1: you know, the Monday after the Masters and the A

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Speaker 1: T and T s and those sorts of things, and

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Speaker 1: then golf the whole time was like, don't forget about me,

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Speaker 1: you know, like I'm I'm still, I'm still, you write,

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Speaker 1: and I feel like I've done I've had the most

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Speaker 1: success at both things, golf and music. When they both

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Speaker 1: our complementary of each other and they both take pressure

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Speaker 1: off of each other. I feel like the best is

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Speaker 1: yet to come for both things. You know that that

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Speaker 1: doesn't mean that I'm going to make the PGA Tour

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Speaker 1: and be ranked top two D in the world. That's

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Speaker 1: gone for me. My goals of golf and golfer. I

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Speaker 1: want to play in the US Open, and I want

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Speaker 1: to play in a British Open, you know, and I

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Speaker 1: want to compete in some of the other events I plan.

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Speaker 1: But I don't go and hit balls four hours a day,

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Speaker 1: Like I know that those guys are so much better

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Speaker 1: than me on a day in and day out basis.

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Speaker 1: I don't have the desire to hit those amount of

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Speaker 1: golf balls. But I know that I can compete with

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Speaker 1: the world's best a few times a year, and that's

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Speaker 1: all I'm asking for. And you know, with music, like

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Speaker 1: I'll play music my whole life, And as you've seen

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Speaker 1: on this podcast, like I'm getting opportunities through the game

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Speaker 1: of golf with Shakira, with you that I never would

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Speaker 1: have gotten if I was just a musician, and vice versa,

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Speaker 1: I'm getting opportunities by playing in the A, T and

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Speaker 1: T that I never would have gotten if I didn't

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Speaker 1: have music, which all leads up to this project Jakier

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Speaker 1: King helping Joe Horwitz right produce and eventually record the

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Speaker 1: song that is the anthem for this podcast. I'm trying

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Speaker 1: to like gather myself here and not get too emotional

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Speaker 1: because I don't want to screw this up, right, Like

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Speaker 1: having the opportunity to work with Sakier, who is you know,

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Speaker 1: I means you could you could say he's like the

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Speaker 1: Mount Rushmore of producing, at least in my genre of music.

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Speaker 1: You know, Tom Waits has always been a hero of

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Speaker 1: mine musically. And I'm getting very emotional thinking about this opportunity.

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Speaker 1: I mean, how could you not as a musician, right,

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Speaker 1: Like you can play in your basement, and you can

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Speaker 1: play on stage with these people and sing sing cover

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Speaker 1: songs and sing your own songs. But to get the

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Speaker 1: opportunity to work with somebody and craft a piece of

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Speaker 1: art with somebody who's who's crafted things that should be

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Speaker 1: in music museums as an opportunity that I'm not taking

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Speaker 1: lightly and will be something that I will cherish the

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Speaker 1: rest of my life whatever happens in music. And So,

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Speaker 1: in a series of four Zoom sessions, the first being

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Speaker 1: in late April, the fourth being mid June, we sat

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Speaker 1: in and recorded production sessions with Joe and Jakier. We

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Speaker 1: start with Joe from session one in late April. The

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Speaker 1: song itself, um, you know, was definitely burst at Goat Hill,

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Speaker 1: but it's never been finished, and it's sort of one

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Speaker 1: of these things where like the first time I was

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Speaker 1: the first time I was ever at god Hill, right

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Speaker 1: was your wedding. That's where I met you. Leaving there,

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Speaker 1: I was in the Spring Hills Suites in Oceanside and

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Speaker 1: you know, we had a couple of pops at your

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Speaker 1: wedding and it was like one in the morning. I

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Speaker 1: just wasn't tired, and I have my guitar and I

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Speaker 1: was like that place cod Hills like magic. And I

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Speaker 1: didn't know anything about Ashworth or you. Obviously knew who

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Speaker 1: he was and knew who you were, but there was

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Speaker 1: something like about that piece of property. I mean we

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Speaker 1: set up the stage on the first t where the

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Speaker 1: palm trees were framing the stage and the starts were oute.

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Speaker 1: I was like, this place is so cool, Like it

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Speaker 1: needs a song. Shaquire lays out the plan for not

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Speaker 1: only this song, but also for what he and Joe

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Speaker 1: plan on doing beyond that. It's pretty amazing what Joe

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Speaker 1: just shared about writing the idea for the song and

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Speaker 1: go Hill Park and how it connects to your podcast.

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Speaker 1: And I think the idea is brilliant. Actually, because it

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Speaker 1: gives us it's like a it's a microcosm of what

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Speaker 1: we're already attempting to do because you've identified the song

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Speaker 1: that's Joe's and it now it has a very clear

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Speaker 1: purpose when you're turning into it like a finished theme

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Speaker 1: song for the fire pit, and being able to document

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Speaker 1: and engage in this sort of processes with like this

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Speaker 1: real purpose is uh, it's kind of magical to me

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Speaker 1: as well, in that we now have created a small

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Speaker 1: sort of task, if you will, small goal that actually

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Speaker 1: will feed into what Joe and I are going to

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Speaker 1: do sort of longer term as we get closer to

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Speaker 1: unveiling the finished product the song. Will occasionally check in

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Speaker 1: on the actual recording session, which took place at Shakier's

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Speaker 1: Nashville recording studio on June. Here, Joe picks a guitar.

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Speaker 1: What do you think, Joe? I think that, as jak

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Speaker 1: here said, it takes about forty years for a guitar

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Speaker 1: to forget it's a tree. This guy, he knows easy guitar.

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Speaker 1: At this point. This is no tree, but it's a

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Speaker 1: beautiful old tree. Storyteller. This is a storytelling guitar. Back

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Speaker 1: to Joe in April on the process they're about to

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Speaker 1: embark on. I think I've struggled as a songwriter to

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Speaker 1: see through certain ideas. And I mean when I met

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Speaker 1: the first time I met Jack here, like I expressed

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Speaker 1: that to him. So this process for me, like, I'm

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Speaker 1: looking forward to it selfishly to learn from a master

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Speaker 1: right and and understand production songwriting process and hopefully you

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Speaker 1: know what comes out of this. You know, you can't

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Speaker 1: you can't finish the song and say that's gonna be great, right,

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Speaker 1: You just finish a song and say that song is finished,

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Speaker 1: and then hopefully people connect to it and dig it.

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Speaker 1: That's what I'm looking forward to. It's also helpful because,

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Speaker 1: you know, trying to tell us an artist story with

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Speaker 1: such a broad body of work, there's a lot to

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Speaker 1: sort of fit through and sort out. Where this is

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Speaker 1: just very you know, very direct. We have one song,

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Speaker 1: one purpose, there's you know, there's more context to it.

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Speaker 1: Um So it's it's a pretty exciting, pretty exciting you

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Speaker 1: will adventure will take off one. Here's Jack here again

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Speaker 1: during session one on the role of a producer. You

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Speaker 1: just have to help them find their truth. And it

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Speaker 1: ties into what Joe was saying about you know, no

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Speaker 1: no throwaway lines, and it needs to be a little

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Speaker 1: bit It's not that you have to, you know, dive

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Speaker 1: deep into your emotions and spill your guts. But but

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Speaker 1: the truth needs to be reflected, some sort of truth

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Speaker 1: needs to be reflected in a lyric so that when

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Speaker 1: the singer songwriter presents it that it feels genuine and

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Speaker 1: it's not just it's just not words on a page.

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Speaker 1: This roof is pretty sturdy on the garage here, but

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Speaker 1: I might jump through it, um, you know, like I mean, listen,

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Speaker 1: listen listening to jak here talk about you know, the

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Speaker 1: excitement to work with me is like it's like listening

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Speaker 1: to Tiger talking about like, yeah, I'm excited to play golf.

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Speaker 1: Would mention Ellen like this is this is great, which

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Speaker 1: would never happened. That the difference there is that would

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Speaker 1: never happen. This is actually happening. You know. They never

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Speaker 1: say never. Baby Back in Nashville, Joe and Jakire have

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Speaker 1: picked the perfect mic. They're dialing in the specifics and

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Speaker 1: there are a couple of takes in USA place so nice, thoughtful,

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Speaker 1: so dawsome, this guy exactly that you know a little

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Speaker 1: bit more grit and yeah some smoke. I think he's

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Speaker 1: got a future. Yeah he's gonna make it. I'm want

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Speaker 1: to make it out of here alive. No, this is

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Speaker 1: very special. Um I like getting taken care of the

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Speaker 1: earth too much. Just sing and play. This is very nice.

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Speaker 1: Before we broke from session one, the theme was songwriting.

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Speaker 1: Songwriting is very tricky because there's it's a very short story,

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Speaker 1: and you know some some songs only have maybe four

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Speaker 1: to eight lines in them that actually tell the story,

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Speaker 1: and the rest of it is just an emphasis of

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Speaker 1: the bigger with the bigger meaning, or you know, catchphrases.

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Speaker 1: I guess they're honestly, have been songs and song ideas

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Speaker 1: that I wake up in the middle of the night

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Speaker 1: and and the song is written in two and a

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Speaker 1: half minutes, you know, like you you just wake up,

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Speaker 1: the idea comes to you, and in two and a

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Speaker 1: half minutes you have sent of the body of the song. This,

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Speaker 1: this particular song is not like that because the one

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Speaker 1: little nugget of the song that we have and that

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Speaker 1: we're using so far to put another log in the fire.

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Speaker 1: You know, nobody here is getting tired. That's like the

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Speaker 1: only part of the song that I like. Right now,

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Speaker 1: I think he's spot on. When you know, songwriters think like, Okay,

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Speaker 1: it's gotta be three minutes in thirty four seconds, and

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Speaker 1: there's gotta be a verse, first chorus, first, first course.

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Speaker 1: Otherwise people aren't gonna like it. And I'm not saying

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Speaker 1: I always fall into that trap, but I definitely have,

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Speaker 1: you know, had a foot or two caught in that trap.

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Speaker 1: Once we feel like we've got the song written, then yeah,

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Speaker 1: we'll move into like the recording, and then we'll talk

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Speaker 1: about how we feel like we want to present that recording.

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Speaker 1: Is it just is it just Joe and their guitar? Um?

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Speaker 1: Is there is there other instrumentation? What is the how

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Speaker 1: do we how do we flush it out? How do

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Speaker 1: we make it feel like it stands up as a record? UM?

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Speaker 1: And just kind of keep keep incrementally taking it through

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Speaker 1: that process and UM, then we'll be done. As we

427
00:25:27,320 --> 00:25:30,199
Speaker 1: check back in on Nashville, Shaquire talks us through the

428
00:25:30,280 --> 00:25:33,720
Speaker 1: overarching vibe, the theme, and the volume of the song

429
00:25:33,800 --> 00:25:38,000
Speaker 1: as it relates to a fire pit, Joe and his voice. Yeah,

430
00:25:38,040 --> 00:25:40,919
Speaker 1: that's why there's the restraint. I mean, restraint is not

431
00:25:40,960 --> 00:25:43,480
Speaker 1: always the move, but the restraint in this is just

432
00:25:43,600 --> 00:25:48,120
Speaker 1: so that it provides the opportunity of that reflection. That's

433
00:25:48,119 --> 00:25:51,640
Speaker 1: sort of like letting your guard down, sharing something and

434
00:25:51,840 --> 00:25:55,480
Speaker 1: having that reflection and right paying attention to what the

435
00:25:55,480 --> 00:25:58,600
Speaker 1: other person is saying, like having a real exchange. There's

436
00:25:58,600 --> 00:26:04,240
Speaker 1: no yelling is top of the register screaming at each other.

437
00:26:05,840 --> 00:26:13,400
Speaker 1: They probably didn't ask to leave the session. One ends

438
00:26:13,440 --> 00:26:17,480
Speaker 1: in songwriting swing tips that ultimately resonate with Joe just

439
00:26:17,560 --> 00:26:20,840
Speaker 1: in terms of writing um writing for this, Joe, I

440
00:26:20,880 --> 00:26:24,879
Speaker 1: think you could just um tell a few different stories,

441
00:26:25,520 --> 00:26:29,040
Speaker 1: you know, just like just come up with as many

442
00:26:29,080 --> 00:26:32,800
Speaker 1: thoughts as you can that tell tell little stories that

443
00:26:32,880 --> 00:26:36,200
Speaker 1: maybe you've heard or you would share around the fire pit,

444
00:26:36,680 --> 00:26:40,040
Speaker 1: and just end every you know, just just like try

445
00:26:40,080 --> 00:26:42,600
Speaker 1: to come up with, like, I don't know, three or

446
00:26:42,640 --> 00:26:45,480
Speaker 1: four lines that tell a little bit of a story

447
00:26:45,840 --> 00:26:48,159
Speaker 1: and that you can all and you can always direct

448
00:26:48,200 --> 00:26:50,160
Speaker 1: it to end in put another log on the fire

449
00:26:50,720 --> 00:26:52,960
Speaker 1: and just do that over and over and over again.

450
00:26:52,960 --> 00:26:55,440
Speaker 1: And when you collect enough, when you feel like, okay,

451
00:26:55,440 --> 00:26:57,200
Speaker 1: well I've I've got a bunch of stories that I

452
00:26:57,240 --> 00:26:59,199
Speaker 1: don't really feel like I have any more that I

453
00:26:59,240 --> 00:27:01,719
Speaker 1: want to dockum Man, then we can. Then we can

454
00:27:01,800 --> 00:27:03,479
Speaker 1: kind of look at like, Okay, well, how do we

455
00:27:04,440 --> 00:27:06,480
Speaker 1: what's the best of Let's take the hit, Let's take

456
00:27:06,480 --> 00:27:10,000
Speaker 1: the strong things and tie it all together. I don't

457
00:27:10,000 --> 00:27:12,960
Speaker 1: think you need to really right now think about the

458
00:27:13,400 --> 00:27:16,960
Speaker 1: song and it's larger form. I just think just tell

459
00:27:17,040 --> 00:27:20,400
Speaker 1: little stories that you that you can lead you into

460
00:27:20,440 --> 00:27:22,439
Speaker 1: the line of you know, putting a Moto log on

461
00:27:22,480 --> 00:27:25,199
Speaker 1: the fire. I'm with you. I'm telling you right now, like,

462
00:27:25,280 --> 00:27:27,800
Speaker 1: that's the first time this song has ever made sense

463
00:27:27,840 --> 00:27:30,240
Speaker 1: to me, is what you just said. Like it's the

464
00:27:30,280 --> 00:27:34,280
Speaker 1: first time I've ever seen an actual structure in my

465
00:27:34,400 --> 00:27:36,960
Speaker 1: head where like I see you starting to finish now.

466
00:27:37,560 --> 00:27:41,040
Speaker 1: A week later, Joe reflects on the inspiration of Session one.

467
00:27:41,320 --> 00:27:43,400
Speaker 1: That night. You know, I just went down sort of,

468
00:27:44,000 --> 00:27:45,760
Speaker 1: you know, to the area where I create in my

469
00:27:45,840 --> 00:27:49,080
Speaker 1: basement and set there for a few hours and just

470
00:27:49,119 --> 00:27:52,639
Speaker 1: sort of pumped out, you know, a version, right, And

471
00:27:53,480 --> 00:27:57,359
Speaker 1: I don't know what will remain in this version, in

472
00:27:57,400 --> 00:28:00,919
Speaker 1: the completed version, but I feel like the framework of

473
00:28:00,920 --> 00:28:04,080
Speaker 1: this and at least the ideas that have sort of

474
00:28:04,119 --> 00:28:07,560
Speaker 1: been created, I think you'll be able to correlate this

475
00:28:07,720 --> 00:28:11,200
Speaker 1: version with the final version. He sent me. Two versions

476
00:28:11,240 --> 00:28:14,959
Speaker 1: of it. He sent me a lower keyed version first,

477
00:28:15,200 --> 00:28:17,320
Speaker 1: and then I think he did a and then there

478
00:28:17,359 --> 00:28:19,280
Speaker 1: was a little bit of a lyrically right he sent me.

479
00:28:19,400 --> 00:28:22,040
Speaker 1: He sent me the lyric as well. Um, and then

480
00:28:22,080 --> 00:28:24,040
Speaker 1: did it in the in the in the key that

481
00:28:24,080 --> 00:28:26,240
Speaker 1: we know the song to be. And I think I

482
00:28:26,280 --> 00:28:29,920
Speaker 1: think there was something intriguing about the lower key. Um.

483
00:28:30,040 --> 00:28:32,960
Speaker 1: But I think, well for two reasons that it's already

484
00:28:32,960 --> 00:28:35,119
Speaker 1: been heard in the key that it exists in the

485
00:28:35,160 --> 00:28:38,320
Speaker 1: beginning of you know, in your podcast. But um, it

486
00:28:38,360 --> 00:28:41,360
Speaker 1: does feel it does feel a little more memorable and

487
00:28:41,560 --> 00:28:44,680
Speaker 1: up the lower key one is a little darker and

488
00:28:44,760 --> 00:28:47,560
Speaker 1: more mysterious, which is which I kind of gravitate towards

489
00:28:47,600 --> 00:28:51,320
Speaker 1: that stuff sometimes. But the the the original key seems

490
00:28:51,360 --> 00:28:55,000
Speaker 1: to serve the song really really well. Um, I think

491
00:28:55,080 --> 00:28:57,520
Speaker 1: Joe did a great job. I have to pull the

492
00:28:57,600 --> 00:28:59,840
Speaker 1: lyric up here. I think he did a great job

493
00:29:00,000 --> 00:29:03,760
Speaker 1: adding to those you know that put a lot of

494
00:29:04,080 --> 00:29:06,800
Speaker 1: log on the fire. Nobody here is getting tired, you know,

495
00:29:07,040 --> 00:29:09,960
Speaker 1: the next lines are settled down and settle in the

496
00:29:10,000 --> 00:29:13,720
Speaker 1: stories just about to begin. I love it that covers

497
00:29:13,880 --> 00:29:18,400
Speaker 1: session too. But in Nashville on recording day Joe is

498
00:29:18,480 --> 00:29:24,680
Speaker 1: definitely benefiting from Jakier's production and process, but also his delivery.

499
00:29:25,160 --> 00:29:27,080
Speaker 1: His being in the way he is as a human

500
00:29:27,160 --> 00:29:30,240
Speaker 1: feeds into the songs that you write and you create,

501
00:29:30,320 --> 00:29:34,560
Speaker 1: and especially when you record, and you like somebody who

502
00:29:34,720 --> 00:29:36,560
Speaker 1: I'm not saying this because he's here, but he is here,

503
00:29:37,240 --> 00:29:43,640
Speaker 1: but somebody who exudes the amount of restraint and compassion

504
00:29:44,080 --> 00:29:49,280
Speaker 1: in music, Like you're forced to create that in a

505
00:29:49,320 --> 00:29:52,560
Speaker 1: great way. And there's a lot of things that you know,

506
00:29:52,760 --> 00:29:56,480
Speaker 1: I'm still learning as a musician, like to try less,

507
00:29:56,600 --> 00:29:59,880
Speaker 1: you know, and feel more, and you know, use all

508
00:29:59,920 --> 00:30:02,720
Speaker 1: the clubs in your bag, right, Like you don't have

509
00:30:02,720 --> 00:30:05,760
Speaker 1: to get up there any driver. Every time you're saying

510
00:30:07,080 --> 00:30:11,080
Speaker 1: it's great to see it, you know, tangibly in action

511
00:30:11,160 --> 00:30:12,960
Speaker 1: because you talk about it and you mess around. But

512
00:30:13,600 --> 00:30:15,200
Speaker 1: when you're down here like this is you know, the

513
00:30:15,240 --> 00:30:18,680
Speaker 1: proof is in the pudding. Down here Session three, three

514
00:30:18,720 --> 00:30:22,320
Speaker 1: weeks after our first zoom call. The report is progress.

515
00:30:22,840 --> 00:30:25,240
Speaker 1: I feel like the song is fully written. Now, Wow,

516
00:30:25,280 --> 00:30:27,880
Speaker 1: I feel like it's great. Um, there's a there's a

517
00:30:28,000 --> 00:30:30,920
Speaker 1: there's a few. Yeah, I mean it's awesome. Um, I

518
00:30:31,000 --> 00:30:35,400
Speaker 1: love it. Uh, there's a few things in the um

519
00:30:35,440 --> 00:30:37,600
Speaker 1: that we just have to sort of work out in person.

520
00:30:38,320 --> 00:30:41,080
Speaker 1: Uh maybe drop a word here there, just to sort

521
00:30:41,080 --> 00:30:44,400
Speaker 1: of work on the way the vocal phrasing kind of fits,

522
00:30:44,480 --> 00:30:47,479
Speaker 1: you know, depending on the rhythm. You know, when you're

523
00:30:47,520 --> 00:30:51,600
Speaker 1: singing something live, there's like live versions of songs and lyrics,

524
00:30:51,920 --> 00:30:55,440
Speaker 1: and then there's like recorded versions songs and lyrics and

525
00:30:55,480 --> 00:30:58,360
Speaker 1: the live. I've done way more live songs in my

526
00:30:58,400 --> 00:31:02,040
Speaker 1: life than recorded. And it's easy to sort of sneak

527
00:31:02,080 --> 00:31:03,920
Speaker 1: a word in there in a live performance and people

528
00:31:04,000 --> 00:31:06,240
Speaker 1: not pay attention. It's very hard to do that on

529
00:31:06,360 --> 00:31:10,360
Speaker 1: a recorded version of anything. You can't just slipper. And

530
00:31:10,400 --> 00:31:13,440
Speaker 1: there's as I was so eloquently told one of the

531
00:31:13,440 --> 00:31:16,040
Speaker 1: first one of the records I made, they were like,

532
00:31:16,080 --> 00:31:18,440
Speaker 1: you know when when you sign off on a lyric

533
00:31:18,520 --> 00:31:21,920
Speaker 1: and a recording like it's it's there forever, so you

534
00:31:22,080 --> 00:31:24,560
Speaker 1: better you better be in love with every single word.

535
00:31:24,600 --> 00:31:27,960
Speaker 1: And I think actually shared this with you about you know,

536
00:31:28,640 --> 00:31:31,440
Speaker 1: not just finishing a song to finish a song, or

537
00:31:31,760 --> 00:31:33,840
Speaker 1: not just finish a phrase, to finish a phrase, like

538
00:31:34,680 --> 00:31:37,400
Speaker 1: you have to be so cautious because every word can

539
00:31:37,400 --> 00:31:41,360
Speaker 1: turn off a generation. And if you think of it

540
00:31:41,400 --> 00:31:45,120
Speaker 1: that way, like there's no throwaway lines, you know, and

541
00:31:45,120 --> 00:31:50,240
Speaker 1: in recorded music, so now that well there definitely shouldn't be. Yeah.

542
00:31:50,480 --> 00:31:53,920
Speaker 1: Progress is also being made in Nashville, where we should

543
00:31:53,920 --> 00:31:57,480
Speaker 1: take a second to appreciate the role of Dawson the intern. Yeah,

544
00:31:57,520 --> 00:31:59,000
Speaker 1: you know what, let's get let's get through a really

545
00:31:59,560 --> 00:32:01,120
Speaker 1: pass that and I feel good about that. We can

546
00:32:01,160 --> 00:32:02,880
Speaker 1: listen to and you can kind of crack a beer

547
00:32:02,920 --> 00:32:04,760
Speaker 1: and we can sort of and you can kind of

548
00:32:04,760 --> 00:32:08,240
Speaker 1: go go back in there with some confidence. Yeah, so cool,

549
00:32:08,600 --> 00:32:15,000
Speaker 1: some push ups. You need an intern. I'm taking Dawson's job.

550
00:32:16,440 --> 00:32:19,360
Speaker 1: Are you technically the intern? He's a man whatever. Yeah,

551
00:32:19,360 --> 00:32:23,480
Speaker 1: I was gonna say he's wrapping up his internship, transferring it.

552
00:32:23,600 --> 00:32:27,200
Speaker 1: Yeah yeah, yeah. So I have a feeling you're going

553
00:32:27,280 --> 00:32:28,960
Speaker 1: to be good at what you do. Well, thank you

554
00:32:29,000 --> 00:32:32,959
Speaker 1: very I have a figure already. Okay, you use it.

555
00:32:33,080 --> 00:32:35,120
Speaker 1: This is a whole other language. This is a whole

556
00:32:35,120 --> 00:32:39,640
Speaker 1: other language. This is like, it's so deep, y'all turned up.

557
00:32:40,040 --> 00:32:42,120
Speaker 1: I am Dawson. Are you sitting down? I have a

558
00:32:42,120 --> 00:32:44,920
Speaker 1: sitting down Stand up for one second. While you're up.

559
00:32:44,920 --> 00:32:54,120
Speaker 1: You want to give me some water? Yeah? That what temperature?

560
00:32:54,240 --> 00:33:00,120
Speaker 1: You like? Here? As they wrap session three Jack. It

561
00:33:00,160 --> 00:33:04,720
Speaker 1: reiterates restraint and why that's critical to this song in particular.

562
00:33:05,120 --> 00:33:08,840
Speaker 1: This is a really wonderful opportunity where um, this is

563
00:33:08,880 --> 00:33:11,680
Speaker 1: a little bit more understated it. Like you said, Matt,

564
00:33:11,760 --> 00:33:14,760
Speaker 1: it does because he's singing low and kind of quiet,

565
00:33:14,760 --> 00:33:17,760
Speaker 1: and you feel like he's singing just for you and

566
00:33:17,800 --> 00:33:20,720
Speaker 1: you're kind of in close. It makes it feel special important.

567
00:33:20,800 --> 00:33:23,080
Speaker 1: He's not trying to shout and get anybody's attention. It's

568
00:33:23,120 --> 00:33:25,920
Speaker 1: just like, hey, if you know, you know, and you're

569
00:33:25,960 --> 00:33:28,760
Speaker 1: just gonna sit here and you're gonna listen quietly and

570
00:33:28,880 --> 00:33:31,400
Speaker 1: you know you're you know, you'll feel what I'm feeling.

571
00:33:31,680 --> 00:33:33,200
Speaker 1: I don't, you know, I don't have to shout at

572
00:33:33,240 --> 00:33:35,960
Speaker 1: you get your attention. It's just like we're you know,

573
00:33:36,040 --> 00:33:39,560
Speaker 1: we're here. We're here to to be present. And that's

574
00:33:39,600 --> 00:33:42,480
Speaker 1: kind of one of the the things that kind of

575
00:33:42,520 --> 00:33:46,160
Speaker 1: happens with using this particular gear for this song. You know,

576
00:33:46,240 --> 00:33:48,800
Speaker 1: it never it's never going to get loud, it's never

577
00:33:48,800 --> 00:33:51,200
Speaker 1: gonna shout, it's always going to be of this sort

578
00:33:51,200 --> 00:33:55,600
Speaker 1: of this tenor and dynamic, you know, and it's it

579
00:33:55,760 --> 00:33:58,520
Speaker 1: really is engaging. It makes it makes it more powerful

580
00:33:59,040 --> 00:34:01,520
Speaker 1: in session for we start to hear it all come together.

581
00:34:01,920 --> 00:34:05,480
Speaker 1: The story is written, tone is set, but the bridge

582
00:34:05,760 --> 00:34:08,160
Speaker 1: is an issue. Why don't we just pick the song up?

583
00:34:08,200 --> 00:34:09,680
Speaker 1: I mean you could start on course too if you

584
00:34:09,719 --> 00:34:11,560
Speaker 1: want to get into it. But but I'd love to hear.

585
00:34:11,680 --> 00:34:14,480
Speaker 1: I love to hear myself and share with Matt. Just

586
00:34:15,320 --> 00:34:17,399
Speaker 1: verse two on out and let's see if let's see

587
00:34:17,400 --> 00:34:19,759
Speaker 1: if there's any more lyric amending we want to do

588
00:34:20,160 --> 00:34:24,280
Speaker 1: and and and just sort of wear That's that, okay, Um,

589
00:34:24,360 --> 00:34:26,600
Speaker 1: I'll sort of I'll do the second chorus into the

590
00:34:26,640 --> 00:34:40,000
Speaker 1: second verse. Not a logo by nobody hears, get me tied,

591
00:34:43,320 --> 00:34:58,360
Speaker 1: settle down suddenly? Story he is about tales are told

592
00:34:58,600 --> 00:35:03,360
Speaker 1: or war and gold. The lover's lost in life long dreams.

593
00:35:04,840 --> 00:35:12,000
Speaker 1: So maybe you should stop burning this up to the

594
00:35:12,160 --> 00:35:16,920
Speaker 1: wisdom in the year. Maybe you should pull your harder

595
00:35:18,000 --> 00:35:24,440
Speaker 1: being going no way, fund your mercy and the sound

596
00:35:28,280 --> 00:35:37,200
Speaker 1: as the smoke gets pushed around in your soul. Put

597
00:35:37,320 --> 00:35:49,800
Speaker 1: another log fine, nobody hears, get the time settle down

598
00:35:50,840 --> 00:36:34,280
Speaker 1: setting story means about the game. Back to the log fire.

599
00:36:38,160 --> 00:36:50,360
Speaker 1: What are here to give time? Sitting down? Said story?

600
00:36:50,480 --> 00:37:01,600
Speaker 1: He used back to begin the story used back to begin. Oh,

601
00:37:03,080 --> 00:37:06,760
Speaker 1: great second verse right, and the bridge was The bridge

602
00:37:06,760 --> 00:37:10,240
Speaker 1: is still something that I think needs work, whether it's

603
00:37:10,280 --> 00:37:14,600
Speaker 1: simply instrumental, whether there's some vocal accompaniment, whether we've punt

604
00:37:14,640 --> 00:37:17,879
Speaker 1: it all together. I have a question for you, Joe,

605
00:37:18,320 --> 00:37:23,359
Speaker 1: Can you play harmonica? Sure? Okay? I think I think

606
00:37:23,400 --> 00:37:26,120
Speaker 1: the bridge should just be that length of instrumental with

607
00:37:26,239 --> 00:37:28,439
Speaker 1: like a little bit of harmonica over because I can see,

608
00:37:28,480 --> 00:37:31,240
Speaker 1: you know, because I can see this, you know, Troubadoor

609
00:37:31,480 --> 00:37:35,080
Speaker 1: sitting around the campfire or the fire pit with his

610
00:37:35,200 --> 00:37:37,439
Speaker 1: guitar and you know, one of those with those heart

611
00:37:37,520 --> 00:37:39,759
Speaker 1: you know, with the heart basket around your neck, and

612
00:37:39,760 --> 00:37:41,680
Speaker 1: you just you just you just play, you just play

613
00:37:41,719 --> 00:37:43,799
Speaker 1: a little melody in the bridge kind of make me

614
00:37:43,840 --> 00:37:46,319
Speaker 1: feel kind of make me feel that the you know,

615
00:37:46,640 --> 00:37:50,120
Speaker 1: sort through the smoke and my soul, you know. And uh,

616
00:37:50,640 --> 00:37:52,160
Speaker 1: And I think that should be. I think I think

617
00:37:52,160 --> 00:37:54,640
Speaker 1: that would be. I think that just would make sense

618
00:37:54,800 --> 00:37:57,680
Speaker 1: and just feel feel cool, you know, just like put

619
00:37:57,680 --> 00:38:02,040
Speaker 1: a little harp in there. You think maybe start with

620
00:38:02,080 --> 00:38:03,600
Speaker 1: a little bit of that too, to sort of tie

621
00:38:03,640 --> 00:38:05,719
Speaker 1: it in at the end, or like now, I think

622
00:38:05,680 --> 00:38:08,680
Speaker 1: could just be a moment before we all descended upon

623
00:38:08,760 --> 00:38:12,480
Speaker 1: Nashville we had one final check in session. This phase

624
00:38:12,560 --> 00:38:15,359
Speaker 1: of ARECT recording project I would call pre production. This

625
00:38:15,400 --> 00:38:17,920
Speaker 1: is sort of the writing and pre production preparation stage.

626
00:38:18,400 --> 00:38:22,400
Speaker 1: I feel like we have not nailed the ending down yet, um,

627
00:38:22,480 --> 00:38:24,480
Speaker 1: and we have to prove that my idea about a

628
00:38:24,520 --> 00:38:27,799
Speaker 1: harmonica and the bridge could work. But that to me

629
00:38:28,000 --> 00:38:32,160
Speaker 1: is like, Okay, the song is great. You know, the

630
00:38:32,520 --> 00:38:34,800
Speaker 1: vibe of the song is great. It's it's all there.

631
00:38:34,880 --> 00:38:37,200
Speaker 1: It's now really just down to a little bit of execution.

632
00:38:37,480 --> 00:38:39,239
Speaker 1: I mean, I feel like we're ready to go. I

633
00:38:39,280 --> 00:38:41,000
Speaker 1: would love I would love to have the ending be

634
00:38:41,040 --> 00:38:43,560
Speaker 1: a little bit shorter. I think I think the harmonica

635
00:38:44,320 --> 00:38:47,200
Speaker 1: in the bridge would be great, and and the rest

636
00:38:47,239 --> 00:38:48,839
Speaker 1: of the song is, you know, other than a few

637
00:38:48,920 --> 00:38:51,360
Speaker 1: lyric things that we're gonna that we've addressed, and we

638
00:38:51,440 --> 00:38:53,560
Speaker 1: might typen up a couple of other small things. But

639
00:38:53,920 --> 00:38:55,719
Speaker 1: I feel like we're like, we're ready to rock. It's

640
00:38:55,719 --> 00:39:00,399
Speaker 1: time to like schedule the session game. That's the same

641
00:39:00,400 --> 00:39:05,040
Speaker 1: way I appreciate all your sentiments there too, is as

642
00:39:05,040 --> 00:39:08,000
Speaker 1: far as leaving you know, the finishing touches to be

643
00:39:08,040 --> 00:39:11,320
Speaker 1: done in person, Like I think that's so important because

644
00:39:11,960 --> 00:39:16,400
Speaker 1: there's nothing nothing can replicate, you know, like the smell

645
00:39:16,480 --> 00:39:20,480
Speaker 1: of a studio and the vibe you have with another human,

646
00:39:21,160 --> 00:39:23,960
Speaker 1: you know, and and even you know, sharing a beer

647
00:39:24,120 --> 00:39:27,799
Speaker 1: after a session. An idea pops in like ch after

648
00:39:27,880 --> 00:39:32,200
Speaker 1: We have to wait till after during the session. Okay,

649
00:39:33,320 --> 00:39:36,760
Speaker 1: so it's June. We're in studio to stay now. Joe

650
00:39:36,920 --> 00:39:40,120
Speaker 1: is swapping out the guitar for the harp. This is

651
00:39:41,000 --> 00:39:46,920
Speaker 1: harmonica Fender. They did a little bit of research and

652
00:39:46,960 --> 00:39:48,959
Speaker 1: harmonicas and you can go as big as you want.

653
00:39:49,680 --> 00:39:52,439
Speaker 1: You can spend five hundred bucks in harmonic if you want.

654
00:39:52,760 --> 00:39:56,200
Speaker 1: I did not do that. I bought a bunch of

655
00:39:56,239 --> 00:40:00,759
Speaker 1: them because of the different keys. M and this is

656
00:40:02,320 --> 00:40:05,200
Speaker 1: it's the first sotto of every quarter ago with that harmonica.

657
00:40:06,280 --> 00:40:09,120
Speaker 1: Kind of disappointed in myself, but it took this long,

658
00:40:10,040 --> 00:40:16,399
Speaker 1: But I'm happy we're here. Yeah, how's it going to cure?

659
00:40:16,719 --> 00:40:19,440
Speaker 1: How it's going fantastic? Sure to put the icing on

660
00:40:19,480 --> 00:40:22,879
Speaker 1: the cake right now? Why the harmonica? Do you think?

661
00:40:23,280 --> 00:40:25,360
Speaker 1: You know? It's just a sort of a classic dealing

662
00:40:25,600 --> 00:40:28,960
Speaker 1: storytelling thanks to making to think of Neil Young too,

663
00:40:29,120 --> 00:40:30,560
Speaker 1: and a lot of a lot of different a lot

664
00:40:30,600 --> 00:40:38,520
Speaker 1: of different true doors. Joe put down about twelve takes

665
00:40:38,600 --> 00:40:41,719
Speaker 1: that day, and at some point they decided to eliminate

666
00:40:41,760 --> 00:40:45,920
Speaker 1: the third course. The instrumental starts, No, it's a bridge.

667
00:40:45,960 --> 00:40:50,640
Speaker 1: It's an a minor. Ok Can we just see how

668
00:40:50,760 --> 00:40:53,600
Speaker 1: how that might feel? Could you? You could either start

669
00:40:53,600 --> 00:40:56,279
Speaker 1: on the second verse or the second pre course, then

670
00:40:56,400 --> 00:41:01,879
Speaker 1: you go into the harmonica. Okay, so skin the second chorus. Well,

671
00:41:01,880 --> 00:41:04,960
Speaker 1: that's the third course technically, because we start on a course, right, right,

672
00:41:05,000 --> 00:41:07,880
Speaker 1: That's right, So that's where that's where that's because I'm

673
00:41:07,920 --> 00:41:10,400
Speaker 1: I'm saying that's the third course because we start on

674
00:41:10,400 --> 00:41:12,759
Speaker 1: a course. Let me see good, yeah, let me just

675
00:41:12,800 --> 00:41:14,279
Speaker 1: get it. Let me see it in getting yeah, so

676
00:41:15,960 --> 00:41:35,919
Speaker 1: Vonjamburg scenes as the smoke gets pushed around. I got

677
00:41:36,400 --> 00:41:40,640
Speaker 1: I got, yeah, I got about it. I got chills

678
00:41:40,640 --> 00:41:43,279
Speaker 1: in here, man, I think yeah. I mean I don't

679
00:41:43,280 --> 00:41:45,799
Speaker 1: think we should. I don't think we should change the bridge. No,

680
00:41:45,960 --> 00:41:47,600
Speaker 1: I mean like, okay, well if you got chills and

681
00:41:47,640 --> 00:41:52,280
Speaker 1: I got chills. All told. We were in the studio

682
00:41:52,400 --> 00:41:56,240
Speaker 1: after breakfast and left before dinner, but not before finding

683
00:41:56,239 --> 00:41:59,400
Speaker 1: out Joe had only been playing the harmonica for three weeks.

684
00:42:04,000 --> 00:42:11,879
Speaker 1: Could be done. What's the number on that um? Two

685
00:42:12,040 --> 00:42:31,439
Speaker 1: sixty nine could be done if it's settled in this yeah,

686
00:42:32,239 --> 00:42:37,960
Speaker 1: the theme of the whole mm hmm. Yeah, it's so

687
00:42:38,000 --> 00:42:42,319
Speaker 1: fun to play this thing. You're pretty good at it, man,

688
00:42:42,360 --> 00:42:44,480
Speaker 1: Like you're really good at It's literally the first time

689
00:42:44,520 --> 00:42:49,120
Speaker 1: I've done it three weeks ago. I mean like when

690
00:42:49,120 --> 00:42:50,920
Speaker 1: I when I threw out the suggestion, you didn't even

691
00:42:50,960 --> 00:42:53,839
Speaker 1: blank there. You're like no, You're like I've never played

692
00:42:53,880 --> 00:42:56,319
Speaker 1: this before, but like you know, it's like good, like

693
00:42:56,320 --> 00:43:00,640
Speaker 1: you blew these things. Yeah, And I'm like, how that

694
00:43:00,680 --> 00:43:03,000
Speaker 1: really pisses me? Honest, Actually, I really don't need to

695
00:43:03,040 --> 00:43:05,799
Speaker 1: hear that. I really want to punch you in your face.

696
00:43:05,880 --> 00:43:07,440
Speaker 1: Well know, you know what it comes down to you though,

697
00:43:07,480 --> 00:43:10,839
Speaker 1: like people like that pick up. I don't know. I'll

698
00:43:10,840 --> 00:43:12,200
Speaker 1: tell you what it feels like for me because I'm

699
00:43:12,200 --> 00:43:14,360
Speaker 1: not I'm not a very good lead guitar player. Like

700
00:43:14,400 --> 00:43:16,960
Speaker 1: solos and stuff, and I've always hummed them in my

701
00:43:17,040 --> 00:43:19,440
Speaker 1: head in my own songs, like oh this would be

702
00:43:19,440 --> 00:43:21,600
Speaker 1: good here like or whistle like do do do do?

703
00:43:22,160 --> 00:43:25,200
Speaker 1: And that's what this is. You just it's like a solo,

704
00:43:26,280 --> 00:43:28,200
Speaker 1: but that's what it is. Like it's my extension to

705
00:43:28,280 --> 00:43:31,719
Speaker 1: be creative than like lead and in my head, have

706
00:43:31,760 --> 00:43:40,200
Speaker 1: always played them, but I'm just sending that talented right, well,

707
00:43:43,520 --> 00:43:48,000
Speaker 1: shall be listening again more time with thought. Yeah. Remember

708
00:43:48,040 --> 00:43:51,040
Speaker 1: every song is a story, and this is a story

709
00:43:51,200 --> 00:43:55,920
Speaker 1: about a song, which Joe calls the story and it's

710
00:43:55,960 --> 00:44:10,960
Speaker 1: produced by Jakier king m. Put another log on the fire.

711
00:44:14,440 --> 00:44:26,560
Speaker 1: Nobody hears getting tired, settle down and settle in the

712
00:44:26,640 --> 00:44:36,719
Speaker 1: story hears about to begin, the circles starting to take

713
00:44:36,800 --> 00:44:41,560
Speaker 1: its shape, seats the field, and the tired sun lands

714
00:44:41,680 --> 00:44:51,799
Speaker 1: its skin, And everybody's got some glory. Just wait unto unfold.

715
00:44:53,000 --> 00:44:57,359
Speaker 1: Everybody's got some story, Just wait unto and be too.

716
00:45:00,120 --> 00:45:07,200
Speaker 1: The place for that is here, all those smiles and

717
00:45:07,360 --> 00:45:15,960
Speaker 1: all those tears, let them go. Put another log on

718
00:45:16,520 --> 00:45:28,960
Speaker 1: the figh. Nobody hears getting tired, settle down, and settle

719
00:45:29,040 --> 00:45:42,320
Speaker 1: in the story hears about to begin. Tales were told

720
00:45:42,320 --> 00:45:47,719
Speaker 1: of warring gold, lover is lost in a lifetimes dreams

721
00:45:47,880 --> 00:45:56,000
Speaker 1: ours soult. Maybe you should stop in the sun at

722
00:45:56,000 --> 00:46:00,440
Speaker 1: the wisdom in the air. Maybe you should or your

723
00:46:00,480 --> 00:46:07,360
Speaker 1: hot out. We angle in the way, find your mercy

724
00:46:07,560 --> 00:46:16,840
Speaker 1: in the sound as the smoke gets pushed around and

725
00:46:17,040 --> 00:46:59,520
Speaker 1: your soul. Put another lock on the fire. Nobody hears

726
00:47:00,440 --> 00:47:11,680
Speaker 1: get in time, settle down and settling the story. Here's

727
00:47:11,840 --> 00:47:23,280
Speaker 1: about to begin the story. Here's about to begin the story.

728
00:47:23,400 --> 00:47:30,319
Speaker 1: Here's about to begin. So that's it. A night at

729
00:47:30,320 --> 00:47:33,560
Speaker 1: Goat Hill Park almost four years ago, which leads to

730
00:47:33,640 --> 00:47:37,120
Speaker 1: the last four months, and this story has come to

731
00:47:37,200 --> 00:47:43,040
Speaker 1: an end. That song lives forever. Before we go some

732
00:47:43,120 --> 00:47:46,960
Speaker 1: reflections on the finished product. It's funny how it started

733
00:47:47,280 --> 00:47:50,759
Speaker 1: with just me, you know, in a in a bathroom

734
00:47:50,760 --> 00:47:52,600
Speaker 1: at a fire pit, you know, start at the fire

735
00:47:52,640 --> 00:47:55,239
Speaker 1: pit that I started writing it in the hotel, and

736
00:47:55,280 --> 00:47:59,200
Speaker 1: then it ended with you know, the final recording is

737
00:47:59,280 --> 00:48:03,080
Speaker 1: just me obviously with you know, the production of here

738
00:48:03,120 --> 00:48:06,920
Speaker 1: and discussion with you. But like that's always how this

739
00:48:06,960 --> 00:48:09,239
Speaker 1: song was supposed to be. It was supposed to be

740
00:48:09,280 --> 00:48:13,360
Speaker 1: the stripped down version. This is what you know, the

741
00:48:13,400 --> 00:48:15,279
Speaker 1: stories of the fire pit and the sounds of the

742
00:48:15,360 --> 00:48:17,759
Speaker 1: fire pit. So that's you know, that's kind of where

743
00:48:17,800 --> 00:48:22,680
Speaker 1: my thought processes in terms of record making. I'm always

744
00:48:22,719 --> 00:48:26,640
Speaker 1: looking for a feeling. I don't really have an absolutely

745
00:48:26,680 --> 00:48:29,080
Speaker 1: definite idea in my mind about what something should be

746
00:48:29,080 --> 00:48:31,120
Speaker 1: before we start. So it's it's just kind of about

747
00:48:31,120 --> 00:48:32,880
Speaker 1: taking a journey and trying to figure out how to

748
00:48:32,920 --> 00:48:35,320
Speaker 1: tell the story of the song and how the artist

749
00:48:35,360 --> 00:48:37,520
Speaker 1: relates to it, and how to make the best presentation

750
00:48:37,600 --> 00:48:40,919
Speaker 1: of it. So Um. You know, but like I said,

751
00:48:40,920 --> 00:48:43,759
Speaker 1: I wouldn't be I wouldn't I wouldn't be. I'd be

752
00:48:43,840 --> 00:48:45,680
Speaker 1: lying if I didn't say that. I conjured it all

753
00:48:45,719 --> 00:48:47,560
Speaker 1: up in my head. I mean, we definitely have the

754
00:48:47,640 --> 00:48:53,000
Speaker 1: context of the origins of the song and the purpose

755
00:48:53,200 --> 00:48:55,960
Speaker 1: of turning this into an anthem for the podcast, which

756
00:48:56,000 --> 00:48:58,239
Speaker 1: is the fire Pit. It's about telling stories, you know.

757
00:48:58,280 --> 00:49:03,960
Speaker 1: That also influenced. Um. The key that we chose. You know,

758
00:49:04,000 --> 00:49:06,160
Speaker 1: it's different than it's different than what what it was

759
00:49:06,160 --> 00:49:09,480
Speaker 1: originally written. It's a little bit lower. That makes it

760
00:49:09,520 --> 00:49:12,520
Speaker 1: feel a little bit more intimate. It makes makes me

761
00:49:12,640 --> 00:49:15,000
Speaker 1: and I think it makes it the emotion of wanting

762
00:49:15,000 --> 00:49:16,960
Speaker 1: to listen, and so I think it helps draw you

763
00:49:17,000 --> 00:49:20,040
Speaker 1: in by lowering the key a little bit. Um. And

764
00:49:20,080 --> 00:49:21,839
Speaker 1: this has been a good This has been a good thing,

765
00:49:22,400 --> 00:49:24,640
Speaker 1: you know, because Joe and I started a conversation about

766
00:49:24,640 --> 00:49:28,760
Speaker 1: making records together before you presented this idea to us, Matt,

767
00:49:28,800 --> 00:49:32,919
Speaker 1: so Um, this actually played into some of the things

768
00:49:32,960 --> 00:49:39,000
Speaker 1: that I want to help develop and nurture with Joe's

769
00:49:39,080 --> 00:49:43,920
Speaker 1: music and him as a performer. So yeah, it's just

770
00:49:44,040 --> 00:49:45,840
Speaker 1: kind of like it's just kind of been a perfect

771
00:49:45,840 --> 00:49:50,480
Speaker 1: thing that it's been magical, and I am just really

772
00:49:50,480 --> 00:49:53,759
Speaker 1: pleased with the outcome and the emotion and the storytelling

773
00:49:53,800 --> 00:49:57,320
Speaker 1: that it has in it. The story by Joe Horowitz

774
00:49:57,400 --> 00:50:00,400
Speaker 1: is now available on iTunes, Spotify or whatever you get

775
00:50:00,400 --> 00:50:03,160
Speaker 1: your music, and I'm guessing it's not the last you'll

776
00:50:03,239 --> 00:50:06,120
Speaker 1: hear from these guys. Me and Jakire have discussed many

777
00:50:06,120 --> 00:50:09,560
Speaker 1: different platforms, and but it starts with the music, right,

778
00:50:09,640 --> 00:50:13,120
Speaker 1: Everything starts with the music. So that's that's what's next.

779
00:50:13,160 --> 00:50:17,799
Speaker 1: You continue to write, continue to um hone honely in

780
00:50:17,800 --> 00:50:19,680
Speaker 1: all the things that I've learned from Shakier and from

781
00:50:19,719 --> 00:50:23,440
Speaker 1: you in this process, and hopefully get back in the

782
00:50:23,480 --> 00:50:33,960
Speaker 1: studio as soon as possible. Saire, do you have a

783
00:50:33,960 --> 00:50:42,000
Speaker 1: favorite fire pit? Uh? At Forest Dunes, Lou Thompson's backyard

784
00:50:42,200 --> 00:50:44,480
Speaker 1: just felt like the way a fire pit is supposed to.

785
00:50:44,640 --> 00:50:46,480
Speaker 1: And it was a good group of people that I

786
00:50:46,520 --> 00:50:50,560
Speaker 1: was there with and Lou told a great story that

787
00:50:50,560 --> 00:50:52,799
Speaker 1: you made a podcast out of as great honored to

788
00:50:52,840 --> 00:50:56,360
Speaker 1: be there and kind of hear that and just to

789
00:50:56,400 --> 00:50:59,799
Speaker 1: hear his story like it's you know, I have some

790
00:51:00,000 --> 00:51:03,040
Speaker 1: more family stories and and you know in my in

791
00:51:03,080 --> 00:51:06,640
Speaker 1: my circle or my family, and I just felt it

792
00:51:06,719 --> 00:51:10,600
Speaker 1: just felt very comfortable, it felt very inviting, and um,

793
00:51:10,640 --> 00:51:12,600
Speaker 1: you know that's a special place up there force doing

794
00:51:12,680 --> 00:51:14,920
Speaker 1: so I just kind of you know, dug it. I've

795
00:51:15,000 --> 00:51:17,640
Speaker 1: not you know, I've not been around a lot of

796
00:51:17,680 --> 00:51:23,440
Speaker 1: firefits in my life, oddly enough. Um, and uh, you

797
00:51:23,480 --> 00:51:27,439
Speaker 1: know as a teenager, we would make bonfires. But that's

798
00:51:27,640 --> 00:51:29,759
Speaker 1: that's kind of was a different environment. It wasn't a

799
00:51:29,800 --> 00:51:31,920
Speaker 1: story it wasn't a gathering at the end of the

800
00:51:32,000 --> 00:51:34,239
Speaker 1: day kind of storytelling places. It's kind of like a

801
00:51:34,280 --> 00:51:37,960
Speaker 1: party atmosphere. So, um, I've you know, I've not had

802
00:51:38,000 --> 00:51:39,680
Speaker 1: a lot of experience with it, and that was a

803
00:51:39,840 --> 00:51:42,440
Speaker 1: that's a that's a recent thing, and it just it

804
00:51:42,600 --> 00:51:45,000
Speaker 1: just felt right to me. When people ask my favorite

805
00:51:45,000 --> 00:51:46,560
Speaker 1: golf course to have a one in the one a

806
00:51:47,520 --> 00:51:49,759
Speaker 1: and it's pebble and Cyprus, and they can kind of

807
00:51:50,320 --> 00:51:53,440
Speaker 1: interchange based on the day, So I have two of them.

808
00:51:53,520 --> 00:51:58,120
Speaker 1: It's it's abandoned and it's the Go Go hill. Yeah,

809
00:51:58,200 --> 00:52:00,560
Speaker 1: for for different reasons, I would tend I would I

810
00:52:00,560 --> 00:52:03,880
Speaker 1: would put god Hill maybe like a tiny notch above

811
00:52:04,560 --> 00:52:08,239
Speaker 1: Bandon bull Spectacular, but there's something about god Hill. I mean,

812
00:52:09,160 --> 00:52:12,200
Speaker 1: I wrote the damn song there right, That's where it started,

813
00:52:12,640 --> 00:52:15,360
Speaker 1: so I have to there is something that holds me

814
00:52:15,400 --> 00:52:20,239
Speaker 1: there between Professor you know, Professor Bean's and John and

815
00:52:20,360 --> 00:52:23,839
Speaker 1: you like it's hard and I'm getting chills thinking about it.

816
00:52:23,920 --> 00:52:27,360
Speaker 1: So that means god Hill is one and Bandon one?

817
00:52:29,719 --> 00:52:32,160
Speaker 1: Are you looking for good value on great golf apparel

818
00:52:32,719 --> 00:52:35,520
Speaker 1: as a listener to this podcast, my friends John Ashworth

819
00:52:35,520 --> 00:52:38,759
Speaker 1: and Jeff Cunningham at Link Soul in Oceanside, California are

820
00:52:38,800 --> 00:52:43,040
Speaker 1: offering you a discount on all future orders of what

821
00:52:43,200 --> 00:52:46,600
Speaker 1: I Wear all Day, every day, on and off the course.

822
00:52:47,640 --> 00:52:50,040
Speaker 1: Whenever you go to link soul dot com, just use

823
00:52:50,080 --> 00:52:53,960
Speaker 1: promo code matty G M A T T y G.

824
00:52:56,480 --> 00:52:58,800
Speaker 1: Thank you for listening to the fire Pit. It's produced

825
00:52:58,800 --> 00:53:01,960
Speaker 1: by Alex u Peggy. It's edited by Rex Lint. The

826
00:53:01,960 --> 00:53:05,720
Speaker 1: theme song is by Joe Horowitz. Please rate and review

827
00:53:05,760 --> 00:53:08,600
Speaker 1: this podcast on Apple Podcasts and we might track you

828
00:53:08,680 --> 00:53:11,720
Speaker 1: down and send you one of our new Imperial Row pads.

829
00:53:12,920 --> 00:53:14,840
Speaker 1: Got a question, comment, or a story for us to

830
00:53:14,880 --> 00:53:17,399
Speaker 1: track down, You can find me on Twitter at Matt

831
00:53:17,560 --> 00:53:21,279
Speaker 1: Janella or on Instagram at Matt Underscore Janella. And if

832
00:53:21,280 --> 00:53:24,120
Speaker 1: you haven't already done so, please subscribe to the fire

833
00:53:24,160 --> 00:53:27,759
Speaker 1: Pit on iTunes, Spotify, Stitcher, or wherever you listen to

834
00:53:27,760 --> 00:53:30,759
Speaker 1: a story like this one. You can also subscribe to

835
00:53:30,800 --> 00:53:33,520
Speaker 1: our YouTube channel, which is where we post portions of

836
00:53:33,560 --> 00:53:36,319
Speaker 1: our podcast and add some visual surprises.