WEBVTT - The Black Keys’ Dan Auerbach 0:00:01.639 --> 0:00:04.720 Hello everyone, and welcome to another episode of Inside the 0:00:04.760 --> 0:00:07.760 Studio on iHeart Radio. My name is Jordan run Tug, 0:00:07.920 --> 0:00:11.440 but enough about me. My guest today is one of 0:00:11.440 --> 0:00:14.560 my all time favorite fans. He's an audio artisan with 0:00:14.600 --> 0:00:17.599 a relentless commitment to his craft and a purveyor of 0:00:17.720 --> 0:00:20.520 gut punching guitar leads that have made The Black Keys 0:00:20.760 --> 0:00:23.400 one of the biggest rock groups on the planet. After 0:00:23.440 --> 0:00:25.959 a five year hiatus, he re teamed with his old 0:00:26.000 --> 0:00:30.159 friend and bandmate Patrick Carney for Let's Rock. But it 0:00:30.240 --> 0:00:33.440 was their next record, a blues covers album called Delta Cream, 0:00:33.479 --> 0:00:36.600 that was their true homecoming. Recorded in just a day, 0:00:36.880 --> 0:00:40.040 the spontaneous studio jam was something of a reset, a 0:00:40.159 --> 0:00:42.720 reminder of the sounds and the spirit that first drew 0:00:42.760 --> 0:00:45.839 them to music as teenage neighbors growing up in Akron, Ohio. 0:00:46.600 --> 0:00:49.120 The down in dirty blues atmosphere is apparent on their 0:00:49.159 --> 0:00:52.360 latest album, Drop Out Boogie, or at least twenty years 0:00:52.400 --> 0:00:55.080 almost to the day after their debut, the Big Come Up. 0:00:55.560 --> 0:00:58.440 A lot's changed since those days of recording in basements 0:00:58.440 --> 0:01:01.480 and touring in bands. Now they've become heroes themselves to 0:01:01.600 --> 0:01:04.920 a whole new generation of brash blues punks, all awaiting 0:01:04.920 --> 0:01:07.640 their own big come up. I'm so happy to welcome 0:01:07.760 --> 0:01:15.120 Dan our By first and foremost congratulations on a new record. 0:01:15.120 --> 0:01:17.160 I mean, it's really it's setting the summer off right 0:01:17.200 --> 0:01:19.760 for me. It's to me, it's the perfect convertible album. 0:01:19.800 --> 0:01:22.120 I know you released Waiting on a Song on eight track, 0:01:22.160 --> 0:01:24.119 and I'm kind of wishing you did that with this 0:01:24.160 --> 0:01:27.400 one too. I feel like it's the perfect eight track record. 0:01:27.560 --> 0:01:30.679 UM started at the very beginning, what role did your 0:01:30.720 --> 0:01:34.240 album Delta Cream, their previous record, play in the creation 0:01:34.319 --> 0:01:37.600 of Dropout Boogie? You know, I don't think we could 0:01:37.600 --> 0:01:39.800 have had one without the other. You know, I think 0:01:39.959 --> 0:01:46.440 Um Delta Delta Cream kind of paved the way for 0:01:46.440 --> 0:01:49.440 for Dropout Boogie. You know, we it was so um 0:01:49.480 --> 0:01:54.000 off the cuff Delta Cream was and it was so easy, 0:01:55.640 --> 0:01:59.000 and we ended up both really loving it and loving 0:01:59.000 --> 0:02:01.520 the way it sounded. We just kind of took that 0:02:01.600 --> 0:02:06.000 positive momentum and we went right into making Drop Up Booie. Yeah. 0:02:06.000 --> 0:02:08.320 I think Pat called it a great reset of the band, 0:02:08.400 --> 0:02:11.440 and was it amuse reset musically in terms of reminding 0:02:11.480 --> 0:02:13.760 you of the the artists and the songs that first 0:02:13.760 --> 0:02:15.760 brought you together or was it a reset in terms 0:02:15.800 --> 0:02:20.720 of actually playing the music in a room together. I mean, um, 0:02:20.760 --> 0:02:22.920 a little bit of both. I mean, we definitely were 0:02:22.960 --> 0:02:25.840 playing stuff that influences when we first started, but we 0:02:25.840 --> 0:02:28.200 were also playing with Kenny Brown for the very first time. 0:02:28.240 --> 0:02:30.440 We were playing with the bass player for the very 0:02:30.480 --> 0:02:32.679 first time in the studio, we were playing with the 0:02:32.760 --> 0:02:36.040 percussionists for the very first time. So it was like 0:02:36.280 --> 0:02:40.760 it was this weird combination of absolutely brand new and old. 0:02:41.000 --> 0:02:45.400 And I think that that is a balance that we 0:02:45.440 --> 0:02:47.480 always kind of strive for in our records, you know, 0:02:48.480 --> 0:02:51.160 Oh yeah, I mean Kenny Brown and stuff Eric Deaton 0:02:51.200 --> 0:02:53.200 was bringing to the table. It sounds so good. I mean, 0:02:53.320 --> 0:02:55.959 I feel like a huge debt of gratitude not only 0:02:56.000 --> 0:02:57.840 for the music that you've made as the Black Keys, 0:02:58.080 --> 0:03:01.840 but just turned me onto acts like you know, Junior, 0:03:01.919 --> 0:03:04.960 kimbro Are, All Burnside Mississippi, Fred McDowell, I mean people 0:03:05.000 --> 0:03:06.480 I never would have heard of where it not through 0:03:06.520 --> 0:03:09.360 your covers on Delta Cream and just people you cited 0:03:09.360 --> 0:03:12.240 in interviews as influences. And and I gotta say that 0:03:12.320 --> 0:03:15.520 Robert Finley record, Oh my god, Sharecropper's son is just 0:03:15.560 --> 0:03:18.560 such an incredible album, and he's he's the real deal. 0:03:18.600 --> 0:03:20.680 I so I want to thank you for all those 0:03:20.720 --> 0:03:24.720 influences you've You've shared with your fans too, Yeah, of course. 0:03:24.800 --> 0:03:26.959 I mean I was honored to get to make those 0:03:27.000 --> 0:03:28.960 records with Robert. I mean, as soon as he walked 0:03:28.960 --> 0:03:31.840 in my studio, it was just like he was electric. 0:03:32.120 --> 0:03:34.600 He just was like he was wearing a three quarter 0:03:34.720 --> 0:03:37.840 length leather duster and a giant cowboy belt. Buckley had 0:03:37.960 --> 0:03:41.600 snakeskin boots, song leather pants. He had a satin cowboy 0:03:41.680 --> 0:03:44.360 shirt on and a leather cowboy hat, and his hair 0:03:44.480 --> 0:03:48.040 was braided underneath it. It was like, I was like, 0:03:48.280 --> 0:03:52.160 who is this guy? I'm so glad to hear that 0:03:52.280 --> 0:03:55.040 living up to all of my dreams and expectations like 0:03:55.080 --> 0:04:01.400 a Louisiana superhero. That's so cool. I mean it sounds like, 0:04:01.440 --> 0:04:03.200 in the same way that you opened up the band 0:04:03.280 --> 0:04:06.360 on Delta Cream, you opened up the songwriting process a 0:04:06.360 --> 0:04:09.160 bit on dropout boogie, working with outside writers and I 0:04:09.200 --> 0:04:12.200 think five tracks. What led you to bring Greg Cartwright 0:04:12.280 --> 0:04:15.000 and Angelo into the sessions. Well, those are a couple 0:04:15.000 --> 0:04:17.440 of guys that I had worked with a lot in 0:04:17.480 --> 0:04:21.120 the past, and I just wrote some songs with Greg 0:04:21.360 --> 0:04:23.599 and Angelo on the new Marcus King record. You know, 0:04:23.680 --> 0:04:26.440 I I've done a bunch of things, you know, we 0:04:26.520 --> 0:04:29.320 worked on the Velvet Heres together and just all kinds 0:04:29.360 --> 0:04:31.520 of stuff. So I kind of had a feeling that 0:04:31.520 --> 0:04:33.800 Pat would get along with them and that it would 0:04:33.800 --> 0:04:38.039 be fruitful. So we rang them up and it was great. 0:04:38.120 --> 0:04:42.040 It was so easy, it was fun. And and here, 0:04:42.080 --> 0:04:44.760 you know, we are like twenty years into our album 0:04:44.839 --> 0:04:49.280 career and uh, we're you know, doing something we've never 0:04:49.360 --> 0:04:52.400 done before. So it was really nice. Yeah, I wanted 0:04:52.400 --> 0:04:54.440 to ask you more about what you're writing processes is 0:04:55.279 --> 0:04:57.960 historically like with Pat, because how much of it is 0:04:58.160 --> 0:05:01.560 improvising together versus want of you bringing sort of a 0:05:01.560 --> 0:05:04.760 song frack into the studio and then working it out 0:05:04.800 --> 0:05:07.320 at a table. It sounds like it's more improvisational, right. 0:05:07.640 --> 0:05:10.440 It's always been improvisational, you know, We've always just kind 0:05:10.440 --> 0:05:13.440 of messed around in the studio and and something happens. 0:05:14.600 --> 0:05:16.479 You know. It's been something that we've been able to 0:05:16.520 --> 0:05:19.080 do since we were like sixteen seventeen. I think that's 0:05:19.080 --> 0:05:21.320 why we stuck with it when we started, because we 0:05:21.400 --> 0:05:24.479 realized right off the bat, We really didn't have to 0:05:24.520 --> 0:05:28.120 work at getting it to sound cool. You know. It's like, 0:05:29.400 --> 0:05:32.440 as soon as we started making music together, it was like, Oh, 0:05:32.480 --> 0:05:35.719 that's I like that whatever that is that sounds fun, 0:05:36.680 --> 0:05:39.080 you know. So I think we just it's just always 0:05:39.120 --> 0:05:42.480 been there like that for us. So that's that's generally 0:05:42.480 --> 0:05:44.240 how we started the songs, and then we kind of 0:05:46.040 --> 0:05:47.880 you know, have to shape the song that way. It's 0:05:47.920 --> 0:05:51.160 a little bit reverse, you know. And since moving to Nashville, 0:05:51.200 --> 0:05:56.560 I've definitely, like UM, gotten to appreciate more old school 0:05:56.640 --> 0:06:01.280 style of UM songwriting, you know, just the base chords 0:06:01.320 --> 0:06:06.039 and melodies and lyrics first. But you know, so I 0:06:06.040 --> 0:06:07.920 guess I understand how that works too. But the way 0:06:07.920 --> 0:06:09.440 the pattern I work is just different, you know, you 0:06:09.560 --> 0:06:13.040 just always has been. Yeah, I mean moving to Nashville, 0:06:13.040 --> 0:06:15.720 it's such a collaborative musical scene that must have been 0:06:15.800 --> 0:06:18.279 sounds very different to you know, having been sort of 0:06:18.320 --> 0:06:20.320 more self contained the two of you. That must have 0:06:20.320 --> 0:06:24.799 been a really cool, uh you know, sort of new 0:06:25.000 --> 0:06:28.800 learning process of working in a whole different way. Yeah, 0:06:29.120 --> 0:06:35.080 it was. It was you know, pretty uh I opening 0:06:35.080 --> 0:06:39.640 when we first got here. But you know, I always 0:06:39.680 --> 0:06:42.120 loved Nashville and the and the music scene here, and 0:06:43.120 --> 0:06:45.480 I can't imagine living anywhere else. I mean, I've been 0:06:45.480 --> 0:06:49.360 here eleven years, almost twelve, I guess now, and it's 0:06:49.360 --> 0:06:52.400 an amazing city if you're a musician, you know, it's 0:06:52.440 --> 0:06:59.400 just like there's so many tools in the toolbox here. It's, um, 0:06:59.440 --> 0:07:01.120 you know, I find it hard to live without. At 0:07:01.200 --> 0:07:04.760 this point, you're talking about that a little bit of 0:07:04.800 --> 0:07:07.120 magic with you and Pat. I mean, this blew my mind, 0:07:07.839 --> 0:07:10.120 good love, burn the damn thing down, didn't I love you? 0:07:10.160 --> 0:07:12.920 I think these are all first takes, right, that is 0:07:12.960 --> 0:07:16.640 just incredible to me. Yeah, those are all just first take, 0:07:16.680 --> 0:07:21.200 one take songs. Wow, that is there. I'll go back 0:07:21.240 --> 0:07:23.520 and um, spruce up the lyrics. But I'm as we're 0:07:23.520 --> 0:07:27.840 playing it down, I'm like improvising lines and stuff. Sometimes 0:07:27.840 --> 0:07:30.160 the line of work. Sometimes it sparks some better line. 0:07:30.560 --> 0:07:33.200 But you know, yeah, those are those are first takes. 0:07:33.240 --> 0:07:35.880 But that's why they have that feel and that sound 0:07:35.920 --> 0:07:39.080 and you can't really fake that. And um, you know 0:07:39.160 --> 0:07:41.360 Wild Child does not have that sound, but we like 0:07:41.440 --> 0:07:45.320 to have a mix of those, those different kinds of recordings. 0:07:45.360 --> 0:07:47.920 You know, I think it I think it's a nice 0:07:48.040 --> 0:07:49.680 to to have a like a little bit of a 0:07:51.160 --> 0:07:55.680 you know, different palette there. Oh absolutely, I mean that's spontaneity, 0:07:55.760 --> 0:07:58.440 the excitement of the moment of creation. It's so cool 0:07:58.480 --> 0:08:00.880 and it's so apparent in the tracks, but it got 0:08:00.920 --> 0:08:04.320 something like wild Child. It's it's such a great vibe. 0:08:04.360 --> 0:08:06.320 I feel like it's it's got a different feel to 0:08:06.400 --> 0:08:08.240 it than things I've heard from you. It almost feels 0:08:08.720 --> 0:08:11.960 the groove is thord funky comes to mind. I know 0:08:12.040 --> 0:08:14.320 that's an overused word, but it's got such a different 0:08:14.320 --> 0:08:16.600 flavor to it. It's such a cool track. How did 0:08:16.600 --> 0:08:19.920 that track come together? I mean I probably started with 0:08:19.960 --> 0:08:23.560 the drum loop, you know, is a funky ass due 0:08:23.640 --> 0:08:28.560 wipe Bo, And you know, we started with the with 0:08:28.640 --> 0:08:33.160 the rhythm track, and I think instantly we really liked 0:08:33.160 --> 0:08:35.319 it. It It was so simple. We both there's something so 0:08:36.160 --> 0:08:40.280 kind of like instantly likable, catchy about it. Um, so 0:08:40.320 --> 0:08:44.600 we just kept working at it, you know what I mean. So, uh, 0:08:44.880 --> 0:08:46.319 that was the That was one of the songs we 0:08:46.440 --> 0:08:49.920 called in Angelo, were called him Greg and we sat 0:08:49.960 --> 0:08:52.000 down at the table with some acoustic guitars and we 0:08:52.080 --> 0:08:54.600 kind of like worked out the melodies and the lyrics, 0:08:55.120 --> 0:08:57.000 but that was after we had the instrumental, you know, 0:08:57.120 --> 0:09:00.520 so it was fun. You know, I think it was 0:09:00.520 --> 0:09:04.240 worth It was definitely worth while. I know you've worked 0:09:04.240 --> 0:09:06.240 a lot with Danger Mouse in the past, and something 0:09:06.280 --> 0:09:08.040 that I've noticed is that I feel like I can 0:09:08.080 --> 0:09:10.280 always tell the albums you made with him because there's 0:09:10.360 --> 0:09:13.120 something in the rhythm that's different and I can't put 0:09:13.120 --> 0:09:16.520 my finger on it. It just it swings differently these 0:09:16.520 --> 0:09:18.800 albums that that you self produce. I don't know if 0:09:18.840 --> 0:09:21.200 it's not playing with a click or something, but I 0:09:21.200 --> 0:09:23.080 feel like on a track like how Long on this 0:09:23.120 --> 0:09:25.640 new album, it's got this incredible feel to it. It's 0:09:25.640 --> 0:09:28.240 a slower and looser That's one of my favorite tracks 0:09:28.240 --> 0:09:31.439 on this how Long. It's such an incredible I really 0:09:31.480 --> 0:09:35.880 liked that song a lot, and you know, that was 0:09:35.960 --> 0:09:40.280 just that just happened out of an improblem playing guitar 0:09:40.640 --> 0:09:42.679 and drums across from each other, you know, just started 0:09:42.679 --> 0:09:46.920 playing that lick and Pat fell in and that one 0:09:47.000 --> 0:09:50.440 came together really quickly. To be honest, I do like 0:09:50.559 --> 0:09:53.959 that song a lot. I love how your vocal sits 0:09:53.960 --> 0:09:55.880 in it. It's like it's not like a lead singer 0:09:55.920 --> 0:09:58.520 it's like another instrument to me. It's it's such a 0:09:58.520 --> 0:10:02.599 cool way that it sits in the track. Yeah, I 0:10:04.640 --> 0:10:06.959 don't know. You know, when Pat and I UM are 0:10:06.960 --> 0:10:11.960 in a good place and comfortable, Um, I don't know. 0:10:12.040 --> 0:10:15.640 It's I've never been more comfortable playing with someone, you know, 0:10:15.720 --> 0:10:18.960 in my life. I don't even have to think about it, 0:10:19.000 --> 0:10:32.240 you know. I wanted to ask you about your I 0:10:32.240 --> 0:10:34.920 think your latest single, and it Ain't Over UM has 0:10:34.960 --> 0:10:37.280 this really unique sound on it. When I was listening 0:10:37.280 --> 0:10:38.480 to it, I couldn't figure out what it was. I 0:10:38.520 --> 0:10:40.840 assumed it was a keyboard sound. I did a little 0:10:40.840 --> 0:10:43.000 digging and I learned it was something called an optagan, 0:10:43.160 --> 0:10:47.160 which I'd never heard of in my life. Oh well, 0:10:47.280 --> 0:10:49.280 tell me about that. Almost like an early sample, like 0:10:49.320 --> 0:10:52.520 a souped up melotron, right, Like, what is that? Yeah? 0:10:52.559 --> 0:10:55.679 They had UM these little disks that you would put 0:10:55.679 --> 0:10:57.920 in it. It was basically like a Fisher Prize keyboard 0:10:57.920 --> 0:11:02.120 toy for kids. And you know, I think people got 0:11:02.200 --> 0:11:05.120 hip to them, and people like Tom Wade's and I 0:11:05.160 --> 0:11:08.400 don't know everybody's used them, but they just have an 0:11:08.440 --> 0:11:12.280 amazing sound, and you know, you can flip the discs 0:11:12.360 --> 0:11:17.120 upside down and it plays the sounds backwards, so you know, 0:11:17.480 --> 0:11:19.320 it has a keyboard sound and then like a rhythm 0:11:19.320 --> 0:11:22.640 accompaniment which is like got some like kind of generally 0:11:22.720 --> 0:11:27.320 cheesy sounding percussion or drums or bass or something like that. 0:11:27.880 --> 0:11:30.800 And Uh, it's really fun to kind of spark ideas. 0:11:31.080 --> 0:11:32.840 I've done it before. You know, I used it on 0:11:32.880 --> 0:11:35.720 the Doctor John record I made. Um. You know, we 0:11:35.880 --> 0:11:37.880 used it a bunch. You know, it's a fun tool. 0:11:39.400 --> 0:11:42.400 I like, there's definitely some different sounds on this record. 0:11:42.440 --> 0:11:44.800 I know that, UH used the wall for the first 0:11:44.840 --> 0:11:50.520 time right on on what what track was on Wild Child? Yeah? Yeah? 0:11:50.520 --> 0:11:53.960 On Wild Child? Yeah, some rhythm guitar. Yeah. I don't 0:11:53.960 --> 0:11:59.280 know what got into me feeling crazy that day. M 0:12:01.760 --> 0:12:05.040 I gotta ask you about the guitar work by Mr 0:12:05.120 --> 0:12:08.160 Billy F. Gibbins. How did he get involved and what 0:12:08.240 --> 0:12:11.080 was he like just to play with in the room? Man? 0:12:11.120 --> 0:12:14.400 He Uh, he's the best. He's the coolest, coolest guy 0:12:14.440 --> 0:12:17.480 on earth. I mean I texted him and told him 0:12:17.520 --> 0:12:20.280 Pat and I would be in the studio and if 0:12:20.320 --> 0:12:22.079 he was free, he should stop by because I heard 0:12:22.080 --> 0:12:25.200 he was in town. And uh, and I didn't hear 0:12:25.240 --> 0:12:27.120 anything from a few hours went by, and then he 0:12:27.320 --> 0:12:30.120 got a text from him he said, I'm headed over, amigo. 0:12:33.360 --> 0:12:35.240 He showed up. Man, he didn't bring guitar. He just 0:12:35.280 --> 0:12:38.959 brought bottle of bottle of wine. And uh. I handed 0:12:39.040 --> 0:12:42.480 him a guitar that I had plugged it straight into 0:12:42.480 --> 0:12:44.760 an AMP, a guitar he's never played before. You know, 0:12:46.000 --> 0:12:48.640 pour him a glass of wine and we just started playing. 0:12:49.080 --> 0:12:53.240 And we played for you know, almost two hours and um, 0:12:53.280 --> 0:12:55.400 and then he took off and I think we probably 0:12:55.400 --> 0:12:58.200 had like four songs kind of written in that time. 0:12:58.240 --> 0:13:01.720 We were just flowing. It was great and good Love 0:13:01.800 --> 0:13:04.240 is one of those songs. And it's just like his 0:13:04.360 --> 0:13:10.040 sound is so instantly identifiable as it's awesome to be 0:13:10.080 --> 0:13:13.600 able to like, um, sit in the room with him 0:13:13.600 --> 0:13:17.560 and play music. It's like, it's pretty cool. Oh man, man, 0:13:17.559 --> 0:13:20.000 it wasn't even his guitar. Wow, just all in the fingers. 0:13:20.040 --> 0:13:24.840 What what is man? He had this old triny Lopez 0:13:24.840 --> 0:13:27.319 that I own that that used to be used to 0:13:27.400 --> 0:13:32.319 belong to Mississippi Fred McDowell. What. It's a beautiful guitar. 0:13:32.440 --> 0:13:35.240 You can see video footage of him of Fred McDowell 0:13:35.280 --> 0:13:38.040 playing it. On YouTube. He's Scott his wife glued like 0:13:38.160 --> 0:13:42.760 some um jewelry, some like brooches to the headstock into 0:13:42.760 --> 0:13:47.560 the upper about of the guitar. And um, it's a 0:13:47.600 --> 0:13:51.120 cool guitar, you know. But we've always heard stuff about 0:13:51.120 --> 0:13:53.800 Billy Gibbons like he plays special kind of slinky strings 0:13:53.840 --> 0:13:57.360 and only uses this kind of whatever. It's like, Man, 0:13:57.400 --> 0:14:01.760 this guitar had normal as strings, plugged it straight into 0:14:01.800 --> 0:14:04.560 an amp and it sounded instantly like Billy Gibbinson was 0:14:04.760 --> 0:14:09.720 fucking awesome. Wow have you played with them before. We've 0:14:09.720 --> 0:14:12.280 done a couple of things with them before, but not 0:14:12.440 --> 0:14:16.480 like this. Oh. Man, that that is incredible. I hope 0:14:16.480 --> 0:14:18.200 we get to hear those other songs you guys worked 0:14:18.240 --> 0:14:21.120 on too. I hope there's a you know, expanded edition 0:14:21.240 --> 0:14:25.760 or EP or you know special seven inch or something coming. Yeah, 0:14:25.760 --> 0:14:29.360 I mean you never know. Man, Oh, that is so cool. 0:14:29.400 --> 0:14:32.680 I mean you've you've worked with so many amazing artists. 0:14:32.720 --> 0:14:35.160 I mean you mentioned Dr John, Robert Finley, you know, 0:14:35.640 --> 0:14:38.600 Yola see low Green, Lana del Rey. How is your 0:14:38.720 --> 0:14:41.560 production work outside of the Black Keys impacted your work 0:14:41.800 --> 0:14:44.800 in the band as producing outside people almost given you 0:14:45.240 --> 0:14:47.720 kind of more objectivity when it comes to your own 0:14:47.720 --> 0:14:50.080 band and your own sound and change the way you worked. 0:14:51.280 --> 0:14:53.400 I think so. I think it really has. I think 0:14:53.440 --> 0:14:56.920 it especially in the last few years, being able to 0:14:56.920 --> 0:14:59.840 hone in on our strengths and being able to like 0:15:01.480 --> 0:15:05.200 maybe figure out how we how it's like max enjoyable 0:15:06.120 --> 0:15:08.880 what I mean, because that's really what's most important for 0:15:08.960 --> 0:15:12.440 Pat and I at this point, is to like be 0:15:12.480 --> 0:15:17.040 able to do this, uh and enjoy it. You know, 0:15:17.160 --> 0:15:20.520 that's kind of the goal. I think he said in 0:15:20.560 --> 0:15:22.640 a few interviews that this is the most enjoyable record 0:15:22.680 --> 0:15:26.560 you guys have ever made. You do you echo that sentiment? Yeah, 0:15:26.640 --> 0:15:30.440 it was. It was pretty awesome. I mean, you know, 0:15:31.480 --> 0:15:33.640 every record we got to make is really fun, but 0:15:34.680 --> 0:15:36.400 there was something about this when where it was just 0:15:36.440 --> 0:15:38.560 like we're firing on all cylinders, you know, It's just 0:15:38.600 --> 0:15:42.080 like we were so um, we're just in that in 0:15:42.120 --> 0:15:46.760 the zone. I love the title of the record. I 0:15:46.760 --> 0:15:49.360 immediately thought of Captain Beefhart and Safe as Milk was 0:15:49.400 --> 0:15:52.040 sort of my access point to his music. I just 0:15:52.160 --> 0:15:54.440 I think that record is incredible. I mean, I'm glad 0:15:54.520 --> 0:15:58.040 those spine tingling vocals. I mean, that's crazy kind of 0:15:58.120 --> 0:16:01.200 warp do wop sound. I mean Ryan Cooter's guitar work. 0:16:01.680 --> 0:16:03.640 Such an amazing record. I know that sounds like that 0:16:03.680 --> 0:16:06.600 was a real point of connection for YouTube growing up 0:16:06.600 --> 0:16:09.960 when you first were um discovering music together. Yeah, it 0:16:10.000 --> 0:16:12.200 was a huge influence on on us. And when we 0:16:12.200 --> 0:16:15.680 were first touring in the van, just the two of us, 0:16:15.920 --> 0:16:19.640 you know, zigzagging back and forth across the States. It 0:16:19.720 --> 0:16:21.440 was one of the records we listened to the most. 0:16:22.600 --> 0:16:26.000 I still amazing to me. But when you were growing up, 0:16:26.160 --> 0:16:28.200 I can't imagine there are many other kids in town 0:16:28.440 --> 0:16:30.840 who were listening to Captain Beefar and yet you guys 0:16:30.840 --> 0:16:32.680 were just down the street from one another. It's just 0:16:32.720 --> 0:16:35.160 such a crazy thing to consider. I mean, it really 0:16:35.200 --> 0:16:38.280 does make you, you know, I wonder about fate. What 0:16:38.400 --> 0:16:40.640 were some other musical points of connection between the two 0:16:40.640 --> 0:16:42.880 of you when you were first getting to know each other. 0:16:43.880 --> 0:16:47.040 I mean, we loved Which Hang Records. We loved Liquid Sours, 0:16:47.600 --> 0:16:50.560 the Jizz album, just the aesthetic of the record, the 0:16:50.560 --> 0:16:54.880 way it sounded. We loved Um Credence clear Water. We 0:16:54.960 --> 0:16:57.360 used to sit and listen to Buy You Country over 0:16:57.400 --> 0:17:01.000 and over again. Um. Yeah, we love to be hard 0:17:01.040 --> 0:17:06.200 and we would listen to the Sonics all the time. Um, yeah, 0:17:06.359 --> 0:17:09.080 I don't know. We we liked We liked music that 0:17:09.160 --> 0:17:12.679 was real, raw, kind of grimy and and fun. That 0:17:12.760 --> 0:17:15.800 was kind of what we were into. Had read that 0:17:16.320 --> 0:17:18.399 The Big Come Up. Initially, an early version of it 0:17:18.440 --> 0:17:20.640 had like skits in between the songs, like a hip 0:17:20.680 --> 0:17:24.200 hop record. Yeah, and the dude who owned the record 0:17:24.280 --> 0:17:26.440 labels this French guy who's like in the rock and 0:17:26.560 --> 0:17:30.520 roll hated rap. He was like, he's like, what is 0:17:30.600 --> 0:17:32.639 this ship? You got got to get rid of this stuff, 0:17:33.480 --> 0:17:36.479 And uh, it was probably the smart idea. We did 0:17:36.600 --> 0:17:38.520 leave a couple of little things and so it was nice, 0:17:38.520 --> 0:17:43.239 but it was probably It's crazy that Dropout Bookie came 0:17:43.280 --> 0:17:46.800 out the day before the twenty anniversary of your debut, 0:17:46.840 --> 0:17:49.360 The Big Come Up. Uh what do you see when 0:17:49.400 --> 0:17:51.600 you contrast those two, Because in a funny way, I 0:17:51.600 --> 0:17:54.240 almost feel like Dropout Boogie is more like your first 0:17:54.280 --> 0:17:56.520 record than any you've made in a while, all aside 0:17:56.520 --> 0:17:59.680 from maybe Delta Cream, especially something like the closer Didn't 0:17:59.720 --> 0:18:01.240 I Love You? I Mean to me, that feels like 0:18:01.280 --> 0:18:03.240 something that that could have come out of the basement 0:18:03.280 --> 0:18:09.480 in a way. Yeah, I think that we are. The 0:18:09.520 --> 0:18:11.440 more I work with other people, the more I appreciate, 0:18:11.880 --> 0:18:14.760 you know what, the thing that the specialty gift that 0:18:14.800 --> 0:18:16.320 Pat and I were given, you know what I mean, 0:18:17.040 --> 0:18:19.320 And to be to be able to have our own 0:18:19.359 --> 0:18:23.320 sound and our own thing. It's just like we're just 0:18:23.359 --> 0:18:26.720 really starting to be able to really enjoy it. I think, 0:18:27.160 --> 0:18:31.080 you know what I mean? And uh, I agree with you. 0:18:31.200 --> 0:18:34.040 I think that I think that the The Deltas Cream 0:18:34.119 --> 0:18:36.679 album was definitely like a reset and and and this 0:18:36.720 --> 0:18:40.040 album does feel like it's it's coming from the same 0:18:40.080 --> 0:18:56.800 place as the big come up was. I know you're 0:18:56.840 --> 0:18:59.320 you're just wrapped an album and you're hitting the road, 0:18:59.359 --> 0:19:02.679 but I understand you're working on more material in the studio. 0:19:02.720 --> 0:19:07.560 Where are you at with that? We we're pretty far 0:19:07.600 --> 0:19:10.280 along on a on another record, and we had some 0:19:11.000 --> 0:19:15.120 fun people come in and write with us. So yeah, 0:19:15.160 --> 0:19:19.359 we're excited about that. It's actually pretty legit so far. 0:19:20.640 --> 0:19:22.119 Are you able to say who or is it a 0:19:22.119 --> 0:19:24.879 little too early for that? Yeah? Too early for me. 0:19:26.240 --> 0:19:27.960 I talked to me about the tour of this summer 0:19:28.000 --> 0:19:30.280 because it sounds like you've got a few friends going 0:19:30.280 --> 0:19:32.080 out with you. Kenny and Eric and you're gonna do 0:19:32.080 --> 0:19:35.080 a Delta Cream Spotlight and the Gabber Brothers and they 0:19:35.080 --> 0:19:37.639 go way back with you, right, Yeah. The Gabber Brothers 0:19:37.640 --> 0:19:39.760 played in a band called the Shams who played with 0:19:39.800 --> 0:19:42.000 the Black Keys on at the Black He's very first 0:19:42.040 --> 0:19:47.040 show in Cleveland, Ohio at the Beachland Town. Oh Man, 0:19:47.119 --> 0:19:49.720 what do you remember by that gig? Not a whole lot. 0:19:50.000 --> 0:19:53.000 We feel like we had like thirty minutes of music 0:19:54.359 --> 0:19:56.359 and we played it in like fifteen minutes because we 0:19:56.359 --> 0:19:59.080 were so nervous. We played everything like four times speed. 0:20:02.080 --> 0:20:03.639 It was like when you're on your TV and it 0:20:03.680 --> 0:20:05.560 says two times speed and then you go to four 0:20:05.600 --> 0:20:08.920 times speed. That's where were we were at the whole 0:20:08.960 --> 0:20:12.680 set and I remember going. I just remember we came 0:20:12.720 --> 0:20:16.119 to backstage and it was like we looked at each 0:20:16.160 --> 0:20:19.320 other like what just happened? Was the fun though out? 0:20:21.480 --> 0:20:24.280 Not really? Is it fun? Oh No? It was never racking, 0:20:25.640 --> 0:20:29.840 but it was cool when they asked us to come back. 0:20:31.960 --> 0:20:34.080 I mean a lot of full circle moments. I got 0:20:34.119 --> 0:20:36.000 the gab of Brothers with you and sounds like you're 0:20:36.040 --> 0:20:38.320 gonna be hitting the Blossom Music Center in Ohio for 0:20:38.359 --> 0:20:40.480 this tour. You know that spot's got a special meeting 0:20:40.520 --> 0:20:43.040 for you. Yeah. I used to work there when I was, 0:20:44.800 --> 0:20:48.080 uh teenager. I used to be one of those kids 0:20:48.080 --> 0:20:50.240 in the parking and with the flag waving the cars. 0:20:52.080 --> 0:20:53.920 So but I mean it was always like a real 0:20:54.000 --> 0:20:59.640 magical place. I used to kind of like be able 0:20:59.680 --> 0:21:03.520 to go backstage and stuff, and I saw the inner 0:21:03.520 --> 0:21:06.040 workings of the place, and it's like right in the 0:21:06.160 --> 0:21:08.200 in the middle of the woods. It's really beautiful there. 0:21:08.200 --> 0:21:11.040 It's like everybody goes there is really happy to be 0:21:11.160 --> 0:21:14.640 there that you know. So it was like a kind 0:21:14.680 --> 0:21:18.159 of an amazing place. Oh man, were you able to 0:21:18.200 --> 0:21:21.240 see many of the acts there. I went and saw 0:21:21.240 --> 0:21:28.240 Whitney Houston with my mom that rule. That's so cool. Yeah, 0:21:28.520 --> 0:21:31.639 he was awesome. She was all I remember is we 0:21:31.640 --> 0:21:35.520 were in the grass and they didn't have really good 0:21:36.000 --> 0:21:40.960 video screens, so looking at her on stage, she was 0:21:41.000 --> 0:21:44.639 just like a little minuscule neon dot running back and forth. 0:21:46.280 --> 0:21:48.879 I just remember everybody on stage head on kneeon like 0:21:49.000 --> 0:21:52.760 jogging outfits. It was crazy. So it feels like that 0:21:52.840 --> 0:21:55.000 was her aesthetic for a while, Like you know, the 0:21:55.119 --> 0:22:00.600 Jamee found the workout tape aesthetic late eighties stuff. Oh man, 0:22:00.800 --> 0:22:05.160 I've I've had the pleasure of seeing you several times 0:22:05.160 --> 0:22:07.879 in concert. I'm looking forward to it again this summer. 0:22:08.280 --> 0:22:11.080