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Speaker 1: Pushkin. Kim Deal is an indie rock icon. In the

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Speaker 1: mid eighties, she joined The Pixies as the band's original

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Speaker 1: bassist and co vocalist. After the release of their debut album,

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Speaker 1: Come On Pilgrim in eighty seven, followed by the classics

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Speaker 1: Surfarosa and Doolittle, Kim took a break from the Pixies

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Speaker 1: to form her own band, The Breeders. With the help

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Speaker 1: of Kim's twin sister Kelly on lead guitar, The Breeders

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Speaker 1: released a couple of EPs and four studio albums, including

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Speaker 1: the platinum selling nineties hit Last Splash. After a run

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Speaker 1: with The Breeders opening up for Olivia Rodrigo's worldwide Guts

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Speaker 1: Tour this year, Kim Deal is once again heading out

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Speaker 1: on her own with the release of her first solo album,

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Speaker 1: Nobody Loves You More. The album was recorded by the

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Speaker 1: late Steve Albini, a close friend and longtime collaborator of Kim's,

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Speaker 1: and it features a slew of her other friends and collaborators,

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Speaker 1: including Slint's Britt Walford on drums and The Breeders, Josephine Wiggs,

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Speaker 1: Jim McPherson, and of course, Kelly Deal. On today's episode,

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Speaker 1: Lea Rose talks to Kim Deal about working with Steve

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Speaker 1: Albini on The Pixie Surfer Rosa and why he always

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Speaker 1: regretted a specific contribution to that album. Kim also recalls

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Speaker 1: recording The Breeders' first two albums, and she remembers how

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Speaker 1: a group of surfers on a druggy trip to Nantucket

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Speaker 1: helped inspire her new lead single, Coast. This is broken

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Speaker 1: record liner notes for the digital Age. I'm justin Mitchman.

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Speaker 1: Here's Lea Rose in conversation with Kim Deal.

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Speaker 2: Let's talk about the first song from that upcoming solo album, Coast.

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Speaker 2: So tell me about that. How did that song come about?

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Speaker 3: Was the inspiration the song was written sort of in

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Speaker 3: twenty nineteen something like that maybe, but sitting down riding

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Speaker 3: the guitar chords and wanting to come up with what

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Speaker 3: I thought it sounded like. And what I wanted to

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Speaker 3: talk about was this period of time back when I

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Speaker 3: was staying in Nantucket in the off season in like

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Speaker 3: two thousand. I was living a very druggy sort of

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Speaker 3: life in New York City and I thought I needed

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Speaker 3: to clean up, so I went to Nantucket. What I

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Speaker 3: did was I got a lot of drugs. I go

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Speaker 3: and put them on the island and did them. Eventually

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Speaker 3: I just got I just decided I can't do this anymore.

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Speaker 3: And one of the things I always will remember are

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Speaker 3: these young island off season workers, you know, looking they were,

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Speaker 3: you know, there was a daytime for them. They went

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Speaker 3: out and enjoyed the outdoors and they were so nice

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Speaker 3: and weird and I was like so depleted, but I

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Speaker 3: was hanging out with them, and then they would be

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Speaker 3: yelling about the wham. Checked the wham, We checked the wham,

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Speaker 3: and then they would take up the wham. Is a way,

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Speaker 3: it's a mob a government model for wave action because

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Speaker 3: they're on an attacket. There's no huge Portuguese sir, so

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Speaker 3: they you know, need to know if there's some even

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Speaker 3: a possibility of some waves. Then they would whatever they're doing,

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Speaker 3: they're you know, painting job and they're getting the bar

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Speaker 3: ready for the evening jobs, and they would run to

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Speaker 3: the ocean, you know, get with their stuff and their

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Speaker 3: boards out and their wetsuits. They had the waters cold, yeah,

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Speaker 3: and it was just like it was so the idea

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Speaker 3: that people were doing an outdoor activity. It was really

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Speaker 3: nice to see that. Yeah, And I always have a

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Speaker 3: fond memory of that thinking about that, and I just

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Speaker 3: like wham. I thought it was cool anyway, and I

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Speaker 3: had always stuck with me, and so that's what the

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Speaker 3: songs basically. I recorded it as Steve Albini's. Lindsey Glover

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Speaker 3: is the drummer. Mondo Lopez is the bass player. He's

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Speaker 3: the base player for the Breeders Too Long Time.

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Speaker 2: Yeah, was he the one who was in the I

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Speaker 2: watched an old documentary. It was like a Dutch documentary

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Speaker 2: from I think like he was Yeah, yeah, yeah, from Yeah, Yeah.

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Speaker 2: I liked Los Readers. I was wondering what happened to

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Speaker 2: that lineup.

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Speaker 3: I was in New York City and I was thinking

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Speaker 3: I would get I was recording trying to kind of

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Speaker 3: Rivington and Christie down like a two about two thousand

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Speaker 3: or something, and I was in a bar, surprisingly and

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Speaker 3: there were some dudes in there. It was really close

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Speaker 3: to the studio and I liked them a lot, and

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Speaker 3: they told me they were playing with leaving the singer

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Speaker 3: for Fear. They were in Fear. Now obviously this is

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Speaker 3: the og guy's in Fear. But there was a show

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Speaker 3: and they were playing, and now they were hanging out

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Speaker 3: in the bar and I their studio nearby. You guys

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Speaker 3: want to go hang out? And we played all night long.

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Speaker 3: They were such good players. And I told them, I'm

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Speaker 3: going to follow you guys out. Where do you guys live?

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Speaker 3: And they said East La. Wow. I said, I'm going

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Speaker 3: to follow you out to East La. They were so

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Speaker 3: surprised when I got there. I didn't even know what

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Speaker 3: East La was, but I soon found out. When I

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Speaker 3: got out there. In East La, everybody was so cool.

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Speaker 3: I think they told everybody to be cool to us,

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Speaker 3: and everybody was. They were probably been cool anyway. And

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Speaker 3: we would go to Vernon that was where a rehearsal

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Speaker 3: space was and we rode up Title TK and all

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Speaker 3: those guys were on Title TK and then got It

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Speaker 3: also they were on Mountain Battles too.

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Speaker 2: Got It.

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Speaker 3: Yeah, But during I wasn't living there during Mountain Battles.

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Speaker 3: I was living there during Title TK. I went to

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Speaker 3: rehab after the tour for Title TK. I went to rehab,

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Speaker 3: so then I moved back to my parents' house.

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Speaker 2: And you moved back to your parents.

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Speaker 3: House after rehab.

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Speaker 2: After rehab to take care of your mom.

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Speaker 1: Is that right?

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Speaker 3: No, I couldn't taken care of anybody. They picked me

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Speaker 3: up from rehab and they drove me back home and

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Speaker 3: they told me on the way home long was diagnosed.

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Speaker 3: But she was fine. I guess once you've diagnosed, there

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Speaker 3: are some obvious signs within the family that there's some trouble.

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Speaker 3: But it wasn't huge. You know how thing have you

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Speaker 3: ever dealt with anybody with Alzheimer's or dementia?

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Speaker 2: I have it.

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Speaker 3: It starts a little bit at a time and then

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Speaker 3: it gets worse. So it was it was pretty new.

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Speaker 3: So yeah, no, that she was. I wasn't taking care

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Speaker 3: of her. Okay, Yeah, I landed there, got it? Yeah?

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Speaker 2: What was rehab like? Do you feel like it was effective?

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Speaker 2: Did the rehab work? What was your experience like there?

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Speaker 3: Oh? I loved it. I loved being loved, I loved

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Speaker 3: being sober. I loved not drinking. I had a great time.

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Speaker 3: Haven't had a drink since so too.

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Speaker 2: That's incredible.

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Speaker 3: Yeah, I really liked it. I really like it still. Yeah.

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Speaker 2: Do you miss smoking pot?

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Speaker 3: I do I miss smoking cigarettes? Oh, got no serruts anymore. No,

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Speaker 3: Sometimes I go past a big cigarette cloud and I'm

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Speaker 3: just like, oh my god, that's soap god.

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Speaker 2: Yeah, so you miss it, you miss the weed, you

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Speaker 2: miss the cigarette, the smoking stuff.

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Speaker 3: I've heard that the weed isn't the same and it's

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Speaker 3: kind of a bummer, like you get too stoned or something.

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Speaker 3: But I would smoke. I had to quit because I

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Speaker 3: was awake and baked person, so like everything, Like, I

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Speaker 3: didn't just smoke when I drank. I smoked, you know,

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Speaker 3: two packs a day. Yeah.

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Speaker 2: Yeah, So I saw on Reddit people are saying that,

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Speaker 2: I guess you have a collection of hundreds and hundreds

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Speaker 2: of solo songs that you've written over the past, like

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Speaker 2: twenty years. But is this collection the new Kim Deal

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Speaker 2: album that's coming out. Is that all new songs or

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Speaker 2: is that some of old stuff mixed in.

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Speaker 3: I don't have hundreds and hundreds of songs, so I

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Speaker 3: wish I did, but I don't. Thanks for rubbing it

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Speaker 3: in and now I feel like I'm just haven't been

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Speaker 3: doing anything.

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Speaker 2: No, that was not the intention.

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Speaker 3: They are new songs, you know what, though, there are

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Speaker 3: two that are not. But if you just follow me,

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Speaker 3: you'll see why these two had to be on there. Okay,

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Speaker 3: one of them is, are you mind that was a

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Speaker 3: solo song that I've released on a seven inch okay,

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Speaker 3: but I did it on a three eighty eight task

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Speaker 3: Camp that's consumer grade. That is a quarter inch tape.

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Speaker 3: The task Am three eighty eight looks like a huge

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Speaker 3: four track machine and it's but it's got one driver

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Speaker 3: and so it's consumer grade. It's not really no good.

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Speaker 3: That's what I recorded a seven inch on for Are

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Speaker 3: You Mine? Lindsey Glover Mondo. This guy named Jeffrey played

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Speaker 3: guitar on it. I played guitar on it, saying eight

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Speaker 3: tracks we played at the same time, miked us all up.

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Speaker 3: But it's an old dumb machine and it lost track eight.

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Speaker 3: So the guitar player, Jeffrey, his beautiful guitar playing was gone.

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Speaker 3: You can hear it when you play our in mind.

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Speaker 3: You could hear it in the distance. It's like a

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Speaker 3: ghost track. So of course I'm going to try to

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Speaker 3: fix it. So I take the quarters tape and put

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Speaker 3: it on a different three eighty eight. That consumer grade.

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Speaker 3: You can't go from one machine to the next. Basically,

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Speaker 3: it's a cassette tape, a big, bigger cassette tape. It

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Speaker 3: won't go and play it sounds warble and out of pitch.

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Speaker 3: So to me, not recording always sounded a little broken.

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Speaker 3: I like it, but to me it was like, oh man,

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Speaker 3: too bad, yeah lah lah. So we re recorded it professionally.

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Speaker 3: We recorded in Dayton, Ohio. I'm sorry, in Dayton, Kentucky. Oh.

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Speaker 3: We drove from Dayton, Ohio to Dayton, Kentucky. It's one

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Speaker 3: and one minute, one minute away from one shitty place

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Speaker 3: to an even shittier place, let's say that. And then

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Speaker 3: we Londo was going through town. He was he was

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Speaker 3: on stage with Morrissey. He was playing bass in the band,

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Speaker 3: so he said he would do it. So we got

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Speaker 3: some time. Lindsay flew out from LA and we recorded

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Speaker 3: the basic tracks over again, and then I finished it

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Speaker 3: up at Albini's and then there's a pedal steel on it,

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Speaker 3: and then there's strings added on to it. So I

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Speaker 3: really like the way it turned out. So but that's

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Speaker 3: why I recorded that song. And then which I was

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Speaker 3: is the other song on the new album that has

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Speaker 3: been released as a as a seven inch. Already got it,

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Speaker 3: but it has vocals. It always had lyrics, but I

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Speaker 3: never could make the lyrics sound cool. I'm sang on

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Speaker 3: the seven inch version of Wish I Was. And Kelly

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Speaker 3: told me it didn't sound good. Just release it as

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Speaker 3: an instrumental. Look, that's my sister telling me. It's like, yeah,

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Speaker 3: it says not great, but still ash. That's harsh, Kel.

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Speaker 3: But I did it and it sounded cool. I released

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Speaker 3: it as an instrumental, but I always liked how you know.

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Speaker 3: I even took wish I Was and I went to Australia.

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Speaker 3: I was doing a Pixie's tour. I stayed over late.

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Speaker 3: I went to the studio. I thought, I can get

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Speaker 3: some Australian players. We can pull up wish I Was.

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Speaker 3: This time I can sing on it. I have it,

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Speaker 3: I've got it unlocked. It's gonna sound cool like this

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Speaker 3: three four short of a country song. There was even

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Speaker 3: petal steel on it down there nice And I didn't

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Speaker 3: like it. It is okay?

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Speaker 2: Is Kelly usually the last person you play stuff for.

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Speaker 2: Is she like the ultimate judge?

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Speaker 3: Oh? Because you know if somebody, you know, how many

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Speaker 3: of you wear something, you said you like this, and

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Speaker 3: somebody goes, yeah, you look good. You don't like it,

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Speaker 3: you go okay, great, and you change totally because it doesn't.

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Speaker 3: But it's nice to ask somebody, because when you show somebody,

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Speaker 3: you look at the outfit differently, you know, in a

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Speaker 3: different way. But it's not what they said. It's how

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Speaker 3: you're looking at the whole thing yourself what I'm talking about.

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Speaker 2: Yeah, it's like your mind is already made up anyway,

216
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Speaker 2: but you're just asking to ask, but you're already gonna

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Speaker 2: do what you're gonna do.

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Speaker 3: I'm not sure it could be. This could be okay,

219
00:12:20,196 --> 00:12:24,916
Speaker 3: but seeing it the process of standing there and with

220
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Speaker 3: another person in the room, like whenever somebody's listening to it,

221
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Speaker 3: I hear it in a different way. Yeah, in ir

222
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Speaker 3: respect of what their experience was. They could like it.

223
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Speaker 3: They could turn around and go, I really like that,

224
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Speaker 3: and I could be cringing the whole time. It's odd, No,

225
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Speaker 3: I understand that. Yeah.

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Speaker 2: Is Kelly on the on your solo stuff.

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Speaker 3: Yeah, she's on the lot, She's on Coast, She's doing

228
00:12:49,316 --> 00:12:53,116
Speaker 3: the guitar on Coast and then Disobedience. There's a song

229
00:12:53,196 --> 00:12:57,316
Speaker 3: she's doing guitar all over Disobedience, and she's doing bass

230
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Speaker 3: pedals on a song called Crystal Math. She's got a

231
00:13:00,196 --> 00:13:03,476
Speaker 3: cool set up, a cool bass pedal setup, and she's

232
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Speaker 3: hitting those bass Pedals and Jim McPherson is too oh awesome.

233
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Speaker 2: Tell me about working with Albini. First time you met him.

234
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Speaker 3: I was giving him a nash from Urge over Kill.

235
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Speaker 3: His room name's Nate. I was giving Steve and Nate

236
00:13:22,396 --> 00:13:29,596
Speaker 3: a ride in Boston to the studio Q Division, and

237
00:13:29,716 --> 00:13:34,476
Speaker 3: Steve was producing the Pixies at Q Division, and Steve

238
00:13:34,596 --> 00:13:38,956
Speaker 3: was They were playing this cassette tape in the car

239
00:13:38,996 --> 00:13:41,516
Speaker 3: because they had done some stuff in reverse or something,

240
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Speaker 3: and they thought it was really cool. But then that's

241
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Speaker 3: the first time I met him, giving him a ride

242
00:13:46,476 --> 00:13:52,956
Speaker 3: to Q Division to be the engineer recordist. He would

243
00:13:52,996 --> 00:13:55,156
Speaker 3: never want to use the word producer.

244
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Speaker 2: Yeah, I was curious about that. So he Moore was

245
00:13:58,396 --> 00:14:01,396
Speaker 2: just an engineer and he liked to kind of stay

246
00:14:01,436 --> 00:14:03,836
Speaker 2: out of things and not give his opinion.

247
00:14:04,956 --> 00:14:09,156
Speaker 3: Oh he has lots of opinions, he might say that,

248
00:14:10,876 --> 00:14:14,596
Speaker 3: But you know, I think what happened, like okay, during

249
00:14:14,596 --> 00:14:17,036
Speaker 3: that period of time, he had a lot of ideas

250
00:14:17,036 --> 00:14:19,516
Speaker 3: and we did, and he had this thing that he

251
00:14:19,556 --> 00:14:22,916
Speaker 3: was taping us that we didn't we knew he was taping,

252
00:14:23,076 --> 00:14:25,236
Speaker 3: we didn't know which parts he was taping, and then

253
00:14:25,276 --> 00:14:29,156
Speaker 3: he spliced it into the album, and it was hilarious.

254
00:14:29,196 --> 00:14:32,236
Speaker 3: It was really fun. I loved it. But then I

255
00:14:32,276 --> 00:14:37,396
Speaker 3: think towards you know, later on, while he was working,

256
00:14:37,636 --> 00:14:41,356
Speaker 3: I know that it bothers him to think that he

257
00:14:41,436 --> 00:14:47,876
Speaker 3: would suggest anything to alter any decision that a band

258
00:14:47,916 --> 00:14:51,476
Speaker 3: would make, or have any influence at all. He told

259
00:14:51,636 --> 00:14:54,716
Speaker 3: Iggy Pop he was a plumber. He's not, you know

260
00:14:54,916 --> 00:14:56,676
Speaker 3: what I mean. I don't know why he had to

261
00:14:56,716 --> 00:15:00,236
Speaker 3: go all that way. I like his ideas. He had good,

262
00:15:00,396 --> 00:15:01,396
Speaker 3: cool ideas.

263
00:15:01,556 --> 00:15:03,916
Speaker 2: You know, well, I think it came because of that

264
00:15:03,956 --> 00:15:06,396
Speaker 2: Pixies album. He's I heard him talking to Mark Marin.

265
00:15:06,476 --> 00:15:10,236
Speaker 2: He said, because he inserted himself so much made that suggestion.

266
00:15:10,996 --> 00:15:14,276
Speaker 2: He didn't like the fact that for history, the rest

267
00:15:14,276 --> 00:15:16,636
Speaker 2: of history, the band would have to answer to his

268
00:15:16,756 --> 00:15:20,956
Speaker 2: decision and talk about why that was on the record

269
00:15:20,956 --> 00:15:23,716
Speaker 2: when it wasn't their idea anyway. And I think that

270
00:15:23,756 --> 00:15:24,516
Speaker 2: bothered him.

271
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Speaker 3: I have a feeling he doesn't know that we were choking.

272
00:15:28,756 --> 00:15:33,316
Speaker 3: I think he thinks maybe I don't know, because I

273
00:15:33,356 --> 00:15:36,556
Speaker 3: don't get it. He feels so much remorse about that.

274
00:15:36,716 --> 00:15:40,716
Speaker 3: You know, there was this movie called Stripes where there

275
00:15:40,756 --> 00:15:42,716
Speaker 3: was a guy named Francis and he was a real

276
00:15:42,796 --> 00:15:45,596
Speaker 3: paranoid guys. Don't touch me, don't touch me, don't touch

277
00:15:45,596 --> 00:15:47,236
Speaker 3: any of my stuff, don't even look at that sort

278
00:15:47,236 --> 00:15:50,236
Speaker 3: of thing. And Bill Moorey looks at him and says,

279
00:15:50,316 --> 00:15:53,796
Speaker 3: lighten up, Francis. So me and Charles were doing a skit,

280
00:15:54,796 --> 00:15:57,596
Speaker 3: and what's on there is him saying to me, don't

281
00:15:57,636 --> 00:16:02,836
Speaker 3: touch my stuff something like that. I think Steve might

282
00:16:02,916 --> 00:16:06,996
Speaker 3: have clips that moment and thought maybe it was a

283
00:16:07,036 --> 00:16:10,276
Speaker 3: moment of real I could see him loving to put

284
00:16:10,356 --> 00:16:14,436
Speaker 3: that moment on the album. He might have thought he

285
00:16:14,516 --> 00:16:17,956
Speaker 3: was putting a real, vulnerable moment of us, right. I mean,

286
00:16:17,996 --> 00:16:20,676
Speaker 3: I've told him it was I don't know, but I

287
00:16:20,716 --> 00:16:23,596
Speaker 3: don't I'm not I've never heard him say that he

288
00:16:23,716 --> 00:16:26,156
Speaker 3: thought it was real. But why else would it bothered

289
00:16:26,236 --> 00:16:30,436
Speaker 3: him so much? Nobody really talks about it. Maybe I

290
00:16:30,556 --> 00:16:32,716
Speaker 3: make me think that there might have been something else

291
00:16:32,756 --> 00:16:36,596
Speaker 3: he might have done that he hated that he maybe

292
00:16:36,676 --> 00:16:39,876
Speaker 3: made a really bad choice, and he sees it. Maybe

293
00:16:40,516 --> 00:16:44,156
Speaker 3: it came to realize that some of the I don't

294
00:16:44,196 --> 00:16:46,076
Speaker 3: know some of Maybe there's some of the arguments he

295
00:16:46,196 --> 00:16:49,556
Speaker 3: might have had in the studio that went his way.

296
00:16:50,556 --> 00:16:54,676
Speaker 3: Maybe he realized, as I do it's probably everybody does that.

297
00:16:55,636 --> 00:16:58,636
Speaker 3: Listening to it at you know, five years later, it's like,

298
00:16:58,796 --> 00:17:00,156
Speaker 3: oh my god, they were right.

299
00:17:01,476 --> 00:17:04,516
Speaker 2: Hmmm yeah, could be.

300
00:17:05,796 --> 00:17:08,596
Speaker 3: Yeah, but you said Mark barn that that specifically was

301
00:17:08,636 --> 00:17:09,436
Speaker 3: bothering him.

302
00:17:10,116 --> 00:17:12,396
Speaker 2: Yeah, he talked about that exact thing, but.

303
00:17:12,396 --> 00:17:15,596
Speaker 3: That wasn't a problem for us personally. Maybe he didn't

304
00:17:15,676 --> 00:17:17,716
Speaker 3: like to be asked about it, maybe he was being

305
00:17:17,756 --> 00:17:18,596
Speaker 3: asked about.

306
00:17:18,356 --> 00:17:20,996
Speaker 2: It, or maybe somebody else in the band came to

307
00:17:21,076 --> 00:17:23,516
Speaker 2: him and had an issue with it after and that's

308
00:17:23,556 --> 00:17:24,596
Speaker 2: why no.

309
00:17:25,956 --> 00:17:26,236
Speaker 3: Knew.

310
00:17:27,596 --> 00:17:28,276
Speaker 2: Yeah, I don't know.

311
00:17:28,676 --> 00:17:30,116
Speaker 3: Yeah. Yeah.

312
00:17:30,156 --> 00:17:31,956
Speaker 2: He also said that you were one of the best

313
00:17:31,956 --> 00:17:34,676
Speaker 2: people he's ever worked with, and you're the real deal.

314
00:17:34,716 --> 00:17:37,036
Speaker 3: And yeah, he really likes me. We're like family. We

315
00:17:37,076 --> 00:17:39,236
Speaker 3: were like family. Yeah.

316
00:17:39,356 --> 00:17:40,996
Speaker 2: What was it like working with him? Like, how was

317
00:17:40,996 --> 00:17:43,956
Speaker 2: it different than other engineers or I know, he doesn't

318
00:17:43,996 --> 00:17:46,796
Speaker 2: like the word producer, but other people you had collaborated with.

319
00:17:46,876 --> 00:17:49,436
Speaker 3: Well here's why. Okay, people might think he's a big

320
00:17:49,476 --> 00:17:52,436
Speaker 3: dick about not liking it. He was a big asshole

321
00:17:52,436 --> 00:17:54,756
Speaker 3: from not liking the word producer. But back in the

322
00:17:54,836 --> 00:17:58,196
Speaker 3: day as a producer, if I was to produce Natalie Cole,

323
00:17:58,316 --> 00:18:02,116
Speaker 3: I would hire out the studios and the musicians. I

324
00:18:02,116 --> 00:18:05,236
Speaker 3: would also have worked closely with Natalie to pick out

325
00:18:05,636 --> 00:18:09,236
Speaker 3: all of the songs that people have submitted that we

326
00:18:09,276 --> 00:18:12,956
Speaker 3: would be covering and trying out with the new musicians

327
00:18:13,196 --> 00:18:16,396
Speaker 3: as we rehearse this record together. I would probably also

328
00:18:16,996 --> 00:18:20,036
Speaker 3: have hired the musical director to work over the arrangements

329
00:18:20,076 --> 00:18:23,116
Speaker 3: with her. Maybe we'd start with the piano, just me

330
00:18:23,756 --> 00:18:26,916
Speaker 3: as a producer of the record in Natalie and a

331
00:18:26,916 --> 00:18:30,116
Speaker 3: pianist and a musical arranger or something a musical director.

332
00:18:30,756 --> 00:18:34,196
Speaker 3: So the producer is very involved. I think in the

333
00:18:34,276 --> 00:18:37,116
Speaker 3: old days that's what a producer did. So there are

334
00:18:37,196 --> 00:18:43,436
Speaker 3: bands that just love Albini and he is available to anybody.

335
00:18:43,796 --> 00:18:46,396
Speaker 3: You call up the studio, he might answer and book

336
00:18:46,436 --> 00:18:49,996
Speaker 3: your session, or somebody there who's at the desk will

337
00:18:50,076 --> 00:18:53,236
Speaker 3: just book it two days. You know, you want to

338
00:18:53,276 --> 00:18:55,876
Speaker 3: go in without being this is what it costs. Okay,

339
00:18:55,996 --> 00:18:59,756
Speaker 3: see you there. And so they come in and he's

340
00:18:59,876 --> 00:19:03,676
Speaker 3: never heard of them, He's never you know, he'll do

341
00:19:03,716 --> 00:19:06,876
Speaker 3: it professionally. I'll make sure he has the tape. Then

342
00:19:06,916 --> 00:19:09,476
Speaker 3: he'll know how many, what the setup, the mic setup

343
00:19:09,476 --> 00:19:11,916
Speaker 3: will be, so it will all go quickly as possible.

344
00:19:12,756 --> 00:19:15,716
Speaker 3: But you know, if they put produced by Steve Albini

345
00:19:15,836 --> 00:19:19,956
Speaker 3: on the record. Then it kind of sometimes can look

346
00:19:20,116 --> 00:19:24,636
Speaker 3: like they went there to get produced by Steve Albini

347
00:19:24,676 --> 00:19:27,916
Speaker 3: on the record sort of sometimes because it's not really true.

348
00:19:27,956 --> 00:19:31,356
Speaker 3: And so you know, he recorded it and he did

349
00:19:31,436 --> 00:19:36,076
Speaker 3: he was the engineer, but he wasn't the producer. Who right,

350
00:19:36,436 --> 00:19:38,196
Speaker 3: I mean he had never heard the songs. How could

351
00:19:38,236 --> 00:19:41,076
Speaker 3: he produce it without ever hearing the songs? He didn't

352
00:19:41,196 --> 00:19:45,716
Speaker 3: produce the recording at all. He recorded the recording, right,

353
00:19:45,916 --> 00:19:48,796
Speaker 3: So I think that's what he was saying that It's

354
00:19:48,836 --> 00:19:53,156
Speaker 3: not like he doesn't like producer. It's like he doesn't produce.

355
00:19:53,276 --> 00:19:56,836
Speaker 3: So it's just would bother him because it's not true, right.

356
00:19:56,716 --> 00:19:58,996
Speaker 2: It's not technically what he's doing, It's not at all

357
00:19:59,036 --> 00:19:59,636
Speaker 2: that makes sense.

358
00:19:59,796 --> 00:20:02,836
Speaker 1: Yeah, after a quick break, we're back with more from

359
00:20:02,916 --> 00:20:09,676
Speaker 1: Lea Rose and Ken Deal. We're back with more from

360
00:20:09,796 --> 00:20:10,236
Speaker 1: Ken Deal.

361
00:20:11,316 --> 00:20:14,036
Speaker 2: When you first started working on the first Breeders album,

362
00:20:14,076 --> 00:20:15,716
Speaker 2: how is that different than you had when you had

363
00:20:15,716 --> 00:20:16,596
Speaker 2: worked with the Pixies.

364
00:20:17,636 --> 00:20:21,116
Speaker 3: We were up in Edinburgh and Scotland and we were

365
00:20:21,116 --> 00:20:24,316
Speaker 3: there for I think eleven days, and I had Tanya

366
00:20:24,476 --> 00:20:29,516
Speaker 3: and Josephine and Carrie and Britt Walford. You know, Steve

367
00:20:29,716 --> 00:20:32,916
Speaker 3: is the one who introduced me to Britt Walford to

368
00:20:32,956 --> 00:20:37,396
Speaker 3: be the drummer of the band. You know, he loved

369
00:20:37,556 --> 00:20:40,956
Speaker 3: you know, Slint and Britt. He's an eighteen year old

370
00:20:41,076 --> 00:20:48,236
Speaker 3: kid out of Kentucky. Jorl Lane is so jiller. He's

371
00:20:48,436 --> 00:20:53,396
Speaker 3: not a good drummer, bread awesome drummer. It's insane. He's

372
00:20:53,436 --> 00:20:55,716
Speaker 3: so cool. He's on some of the solo stuff, you know,

373
00:20:55,796 --> 00:20:57,676
Speaker 3: that's one thing I really and he's on this record.

374
00:20:58,356 --> 00:21:00,596
Speaker 3: That's one thing I really think. It's cool about this record.

375
00:21:00,636 --> 00:21:03,516
Speaker 3: Like I've played with I've known Britt in the eighties.

376
00:21:03,596 --> 00:21:07,356
Speaker 3: It was eighty nine. He passed out at the pub

377
00:21:07,436 --> 00:21:09,756
Speaker 3: down the road and they do this thing with blacked

378
00:21:09,756 --> 00:21:12,396
Speaker 3: out your face if you pass out. He came back

379
00:21:12,436 --> 00:21:15,396
Speaker 3: to the Edinburgh studio and he had black ash all

380
00:21:15,436 --> 00:21:18,996
Speaker 3: over from the chimney sort all over his face. It

381
00:21:19,076 --> 00:21:21,556
Speaker 3: was done with love. I mean they loved it, of course,

382
00:21:21,636 --> 00:21:27,196
Speaker 3: but they totally shooded them up. So it was really

383
00:21:27,316 --> 00:21:30,596
Speaker 3: we had a good time. It was really fun. I

384
00:21:30,636 --> 00:21:31,076
Speaker 3: loved it.

385
00:21:31,716 --> 00:21:34,476
Speaker 2: How did it feel for you just creatively, like leaving

386
00:21:34,796 --> 00:21:37,276
Speaker 2: or not leaving it because you weren't leaving the Pixies

387
00:21:37,356 --> 00:21:39,516
Speaker 2: yet right, you were still in the Pixies like on

388
00:21:39,556 --> 00:21:42,916
Speaker 2: a break, that's right. How did it feel for you

389
00:21:43,076 --> 00:21:45,916
Speaker 2: creatively to have this different band?

390
00:21:46,036 --> 00:21:48,316
Speaker 3: That's a weird question, Like how did it feel to

391
00:21:48,356 --> 00:21:53,436
Speaker 3: get your hair cut? It felt like the wind and blowing.

392
00:21:53,516 --> 00:21:55,876
Speaker 3: It's just like, I don't it didn't feel I don't

393
00:21:55,916 --> 00:21:57,836
Speaker 3: know what. I don't have an answer to that question.

394
00:21:58,556 --> 00:22:02,236
Speaker 3: How did it feel to do music?

395
00:22:03,156 --> 00:22:05,516
Speaker 2: Was it exciting? Because now I was exciting.

396
00:22:05,516 --> 00:22:07,756
Speaker 3: I mean, it's always exciting. It's exciting to do records

397
00:22:07,756 --> 00:22:11,716
Speaker 3: with the Pixies too, super exciting. Yeah, I was excited.

398
00:22:11,756 --> 00:22:13,716
Speaker 3: I was excited to be in Edinburgh in a new

399
00:22:13,796 --> 00:22:14,556
Speaker 3: place and.

400
00:22:14,676 --> 00:22:18,076
Speaker 2: Yeah, yeah, yeah. You know, I'm just guessing from the

401
00:22:18,116 --> 00:22:20,076
Speaker 2: outside what it was like for you to have a

402
00:22:20,156 --> 00:22:25,036
Speaker 2: totally new lane where it's all coming from you.

403
00:22:25,996 --> 00:22:27,796
Speaker 3: I didn't feel like it was all coming from me though,

404
00:22:27,836 --> 00:22:32,876
Speaker 3: because we went to where Josephine lives in biggles Way,

405
00:22:33,116 --> 00:22:37,476
Speaker 3: the family manor. It's run down. It was a rundown.

406
00:22:37,636 --> 00:22:40,636
Speaker 3: I had thirty two rooms or something of rundown. But

407
00:22:40,716 --> 00:22:43,036
Speaker 3: it was so it was they were her mom and

408
00:22:43,076 --> 00:22:45,356
Speaker 3: dad were so sweet and we cleared out one of

409
00:22:45,396 --> 00:22:48,476
Speaker 3: the rooms and she left. We played there, we rehearse there.

410
00:22:49,276 --> 00:22:53,516
Speaker 3: Britt had drums which we had our stuff there, so

411
00:22:53,556 --> 00:22:56,396
Speaker 3: we rehearsed at Josephine Spot and then we left biggles

412
00:22:56,396 --> 00:23:00,116
Speaker 3: Wade and Steve came for a minute and then we

413
00:23:00,196 --> 00:23:02,716
Speaker 3: left biggles Wade and went to Edinburgh. So it just

414
00:23:02,756 --> 00:23:04,956
Speaker 3: felt like we just were recording what we were doing.

415
00:23:05,036 --> 00:23:06,796
Speaker 3: So but it was cool to be in Edinburgh.

416
00:23:06,916 --> 00:23:11,076
Speaker 2: Yeah, yeah, yeah, And then at what point, how soon

417
00:23:11,116 --> 00:23:13,276
Speaker 2: after that did you start playing shows? Like when did

418
00:23:13,276 --> 00:23:15,356
Speaker 2: you start playing the songs live?

419
00:23:15,996 --> 00:23:20,916
Speaker 3: You know, we didn't do it. We did two shows

420
00:23:20,956 --> 00:23:26,476
Speaker 3: for POD or maybe one, I don't know, and I

421
00:23:26,476 --> 00:23:29,556
Speaker 3: thought it was weird. I remember those two shows and

422
00:23:29,596 --> 00:23:33,556
Speaker 3: I remember thinking, this feels weird. I don't know why

423
00:23:34,676 --> 00:23:39,596
Speaker 3: shows we were over there. I was nervous. We didn't

424
00:23:39,756 --> 00:23:43,756
Speaker 3: have the album, wasn't out or anything. We just were there,

425
00:23:43,996 --> 00:23:47,236
Speaker 3: had recorded and then also like we don't have a

426
00:23:47,236 --> 00:23:51,196
Speaker 3: whole set, we have a twenty eight minute album or whatever.

427
00:23:51,996 --> 00:23:54,116
Speaker 3: I don't think we did every song. It was weird

428
00:23:54,836 --> 00:23:56,796
Speaker 3: and I don't remember it really clearly, but I remember

429
00:23:56,836 --> 00:24:00,156
Speaker 3: not enjoying it and I thought it was weird.

430
00:24:01,316 --> 00:24:05,076
Speaker 2: Yeah, how soon after did you start working on Last Splash?

431
00:24:05,956 --> 00:24:11,916
Speaker 3: Well, we recorded POD and the December of nineteen eighty nine.

432
00:24:12,156 --> 00:24:17,916
Speaker 3: Then it came out in ninety and then we did

433
00:24:19,276 --> 00:24:22,956
Speaker 3: let me guess, I'm going to guess, I'm gonna say.

434
00:24:24,156 --> 00:24:31,956
Speaker 3: Then I began rehearsals for Bosonova and La and then

435
00:24:32,596 --> 00:24:36,916
Speaker 3: and then recording Safari in New York City and recording

436
00:24:37,636 --> 00:24:43,316
Speaker 3: Bosonova and Los Angeles and then recording Trump Lamont in

437
00:24:43,436 --> 00:24:47,476
Speaker 3: ninety one. So we did. I did touring with YouTube,

438
00:24:47,556 --> 00:24:51,716
Speaker 3: thirty two shows with YouTube. That's in ninety two. We

439
00:24:51,836 --> 00:24:56,636
Speaker 3: opened for them, and then I was in the studio

440
00:24:56,796 --> 00:25:01,436
Speaker 3: in ninety three. Like we drove out in January nineteen

441
00:25:01,476 --> 00:25:04,636
Speaker 3: ninety three. So that's what happened between POD and Last

442
00:25:04,676 --> 00:25:05,516
Speaker 3: Splash to record it.

443
00:25:06,476 --> 00:25:10,356
Speaker 2: And you recorded Last Splash in San Francisco, Yeah, and

444
00:25:10,396 --> 00:25:11,596
Speaker 2: you drove from Dayton.

445
00:25:11,916 --> 00:25:14,436
Speaker 3: Yeah. We had to take a box truck pull a

446
00:25:14,516 --> 00:25:16,996
Speaker 3: gear careening through the mountains in the snow. It was

447
00:25:18,276 --> 00:25:22,156
Speaker 3: really really scary, and Jim was driving and we were

448
00:25:22,476 --> 00:25:26,156
Speaker 3: yelling and the wyoming passed it was blocked and we

449
00:25:26,236 --> 00:25:28,636
Speaker 3: had to spend the night since it was really harrowing.

450
00:25:28,756 --> 00:25:30,836
Speaker 3: I mean, there was a lot of snow there. I

451
00:25:30,876 --> 00:25:33,276
Speaker 3: think we went the weird way, like we didn't go like,

452
00:25:33,436 --> 00:25:36,356
Speaker 3: I don't know what way you go. Then we went

453
00:25:36,396 --> 00:25:37,236
Speaker 3: into San France.

454
00:25:37,836 --> 00:25:39,676
Speaker 2: How long did it take to record Last Splash?

455
00:25:40,116 --> 00:25:42,836
Speaker 3: A couple of months. It was really fun. It was

456
00:25:42,916 --> 00:25:44,876
Speaker 3: a lot of work. I remember, We're just going to

457
00:25:44,916 --> 00:25:46,476
Speaker 3: the back room just so I couldn sist it for

458
00:25:46,516 --> 00:25:49,796
Speaker 3: a minute. There were so many decisions to be made

459
00:25:49,796 --> 00:25:52,716
Speaker 3: and so much to do, you know, I just like again,

460
00:25:52,916 --> 00:25:55,676
Speaker 3: then it's coming. It was a lot of work. Yeah,

461
00:25:55,716 --> 00:26:00,476
Speaker 3: we had two studios going because you know, Coast Recorders

462
00:26:01,396 --> 00:26:04,356
Speaker 3: was a strip. It was in a strip mall, Like

463
00:26:04,356 --> 00:26:06,876
Speaker 3: this little strip wasn't a strip a huge but the

464
00:26:06,876 --> 00:26:10,436
Speaker 3: little strip mall buildings. So it was like a jazz room.

465
00:26:10,516 --> 00:26:13,596
Speaker 3: It had a really low ceiling. I had got, you know,

466
00:26:13,756 --> 00:26:15,676
Speaker 3: I had got by looking at the specs. I didn't

467
00:26:15,716 --> 00:26:18,956
Speaker 3: think about the ceiling height or anything. So I was

468
00:26:18,996 --> 00:26:20,756
Speaker 3: looking for something that had a little bit more air

469
00:26:20,796 --> 00:26:23,156
Speaker 3: in it for drums, you know, because I don't really

470
00:26:23,276 --> 00:26:28,556
Speaker 3: use outboard gear that will gate and also give you

471
00:26:28,636 --> 00:26:30,876
Speaker 3: a reverb on your share. You don't, you know, it's

472
00:26:30,916 --> 00:26:33,836
Speaker 3: not it's not an outboard gear. It's like it's in

473
00:26:33,876 --> 00:26:37,436
Speaker 3: my positioning, you know, and having a nice drum sound

474
00:26:37,756 --> 00:26:41,076
Speaker 3: in a room, because a drum is an is an

475
00:26:41,116 --> 00:26:44,716
Speaker 3: acoustic instrument in a room. So if you have an

476
00:26:44,756 --> 00:26:47,316
Speaker 3: acoustic instrument in a room, you need to mike it

477
00:26:48,156 --> 00:26:50,316
Speaker 3: and you need to make it properly for to sound good.

478
00:26:51,076 --> 00:26:54,996
Speaker 3: So usually that's how I, you know, get the verb,

479
00:26:55,556 --> 00:26:57,716
Speaker 3: unless it's to be funny or you know, to have

480
00:26:58,596 --> 00:27:01,876
Speaker 3: some sort of crazy thing going on. But anyway, I

481
00:27:01,916 --> 00:27:04,756
Speaker 3: wanted out another studio call Brilliant, with a big room.

482
00:27:05,316 --> 00:27:08,596
Speaker 3: We had to heavy curtain and we did some drumming.

483
00:27:08,676 --> 00:27:13,876
Speaker 2: There is the drum sound the most important sound for

484
00:27:13,996 --> 00:27:15,516
Speaker 2: you on a project.

485
00:27:15,596 --> 00:27:21,236
Speaker 3: Usually, I think for me, if the drums, if drum

486
00:27:21,316 --> 00:27:25,436
Speaker 3: can sound shitty, actually they can, if they sound shitty,

487
00:27:25,516 --> 00:27:28,516
Speaker 3: cool and if they're played cool and the song is

488
00:27:28,596 --> 00:27:31,316
Speaker 3: cool and it's cool. B yeah, it can sound shitty,

489
00:27:31,996 --> 00:27:35,356
Speaker 3: but it's not cool to have shitty drums on every

490
00:27:35,396 --> 00:27:37,196
Speaker 3: single song. I mean, it would be bad if the

491
00:27:37,556 --> 00:27:40,756
Speaker 3: whole record had like shitty drum sound, I think. And

492
00:27:40,796 --> 00:27:42,916
Speaker 3: I'm not used to the shitty drum sound. I'm used

493
00:27:42,916 --> 00:27:46,836
Speaker 3: to the acoustic drum sound. So if it sounds like

494
00:27:47,236 --> 00:27:49,436
Speaker 3: not like that, then it's like that sounds. You know,

495
00:27:49,596 --> 00:27:52,556
Speaker 3: things are built to go on top of this acoustic

496
00:27:52,636 --> 00:27:55,596
Speaker 3: drum sound, so it's not going to sound right if

497
00:27:55,636 --> 00:28:00,156
Speaker 3: it's got a weird it's sensitive, it's touchy. Put reverb

498
00:28:00,196 --> 00:28:02,836
Speaker 3: on the snare in an outboard gear, it's just like,

499
00:28:02,836 --> 00:28:05,676
Speaker 3: excuse me, what, Wait a minute, what's what's that sound?

500
00:28:06,516 --> 00:28:10,996
Speaker 3: It's like what? Maybe? No, I don't think so, but

501
00:28:11,036 --> 00:28:11,756
Speaker 3: it could be cool.

502
00:28:13,116 --> 00:28:16,076
Speaker 2: Before you started recording Last Splash, were you thinking about

503
00:28:16,156 --> 00:28:18,916
Speaker 2: the project and what you wanted it to sound like

504
00:28:19,076 --> 00:28:21,916
Speaker 2: or was it all sort of happening organically? How does

505
00:28:21,956 --> 00:28:24,236
Speaker 2: that work? How does an album come together?

506
00:28:24,636 --> 00:28:29,916
Speaker 3: Usually? Well, I don't really think about albums. I just

507
00:28:29,916 --> 00:28:33,036
Speaker 3: think about songs. I think for me that makes sense

508
00:28:33,036 --> 00:28:37,276
Speaker 3: more sense. Although I guess people think of albums, don't they,

509
00:28:37,556 --> 00:28:40,996
Speaker 3: But they've probably got their shit together way more than

510
00:28:41,036 --> 00:28:44,156
Speaker 3: I do. Well, I don't think about albums because it's

511
00:28:44,156 --> 00:28:47,956
Speaker 3: just it's like, you get enough decent songs together, you're lucky,

512
00:28:47,996 --> 00:28:50,356
Speaker 3: and you put it out and you always are looking.

513
00:28:50,396 --> 00:28:53,276
Speaker 3: I'm always looking at the run time. How much is it?

514
00:28:54,036 --> 00:28:59,076
Speaker 3: Is it near forty at all? Forty minutes? Oh my god?

515
00:28:59,116 --> 00:29:02,196
Speaker 3: How many minutes to twenty eight minutes? And then you

516
00:29:02,276 --> 00:29:03,636
Speaker 3: hear the inevitable.

517
00:29:03,876 --> 00:29:07,596
Speaker 4: Well, Sun's albums twenty eight minutes long. We don't need

518
00:29:07,636 --> 00:29:08,956
Speaker 4: to do it any longer than that.

519
00:29:12,676 --> 00:29:15,956
Speaker 3: Oh my god, I think they're not even twenty eight

520
00:29:16,036 --> 00:29:19,276
Speaker 3: minutes the Black Sabbath albums. I think they might be

521
00:29:19,316 --> 00:29:23,916
Speaker 3: fucking twenty minutes long the albums, or like twenty two,

522
00:29:24,116 --> 00:29:27,356
Speaker 3: because then you get somebody thing. Remember more than eleven

523
00:29:27,436 --> 00:29:28,956
Speaker 3: minutes one side of an album.

524
00:29:29,556 --> 00:29:33,596
Speaker 4: It's really sobers. The audio soffers along later the track

525
00:29:33,676 --> 00:29:35,796
Speaker 4: is on the album, the audio really suffers.

526
00:29:36,036 --> 00:29:38,756
Speaker 3: We shouldn't make it long at all. That's me.

527
00:29:40,836 --> 00:29:42,636
Speaker 1: After this last break, we're back with the rest of

528
00:29:42,676 --> 00:29:49,876
Speaker 1: our conversation with Kim Deal. We're back with the rest

529
00:29:49,876 --> 00:29:52,356
Speaker 1: of Leo Rose's conversation with Kim Deal.

530
00:29:53,676 --> 00:29:57,116
Speaker 2: I want to ask you a little bit about growing up.

531
00:29:57,396 --> 00:30:00,916
Speaker 2: If you're okay to talk about that, sure, tell me

532
00:30:00,956 --> 00:30:03,356
Speaker 2: a little bit about your parents. Are they both from

533
00:30:03,356 --> 00:30:04,316
Speaker 2: West Virginia?

534
00:30:04,556 --> 00:30:07,756
Speaker 3: Yes, my whole where we're from. They're from West Virginia. Yeah,

535
00:30:08,116 --> 00:30:12,716
Speaker 3: they're from Tator Holler. And my brother's the only deal

536
00:30:12,876 --> 00:30:15,716
Speaker 3: that never worked the coal mine, the first male deal

537
00:30:16,236 --> 00:30:18,956
Speaker 3: that never worked at the coal mines. He was born

538
00:30:19,036 --> 00:30:23,316
Speaker 3: down there too, everybody's down there. We go Thanksgiving, Christmases,

539
00:30:23,516 --> 00:30:27,596
Speaker 3: everything goes, we go there. Okay, they came up to

540
00:30:27,756 --> 00:30:34,236
Speaker 3: Ohio because after the Korean thing, my dad met my

541
00:30:34,316 --> 00:30:36,916
Speaker 3: mom and then you get the gi Bill. You know,

542
00:30:37,436 --> 00:30:40,276
Speaker 3: isn't that a great thing? Yes, So they put him

543
00:30:40,276 --> 00:30:46,796
Speaker 3: to school. So he was a math professor at Marshall University.

544
00:30:47,476 --> 00:30:52,916
Speaker 3: And then friend of his from West Virginia was hiring White.

545
00:30:52,916 --> 00:30:55,196
Speaker 3: Patterson Air Force Base is a huge air force base

546
00:30:55,196 --> 00:30:59,956
Speaker 3: in Dayton, Ohio, were the right piece accords resigned and

547
00:31:00,036 --> 00:31:04,556
Speaker 3: for you know, and the Serbian stuff. So he had

548
00:31:04,556 --> 00:31:07,516
Speaker 3: a job there. And so Kevin and my mom and

549
00:31:07,596 --> 00:31:10,236
Speaker 3: dad moved up to Ohio and then me and Kelly

550
00:31:10,276 --> 00:31:11,636
Speaker 3: were born like a year later.

551
00:31:11,836 --> 00:31:16,956
Speaker 2: So okay, so your parents originally met in West Virginia. Yeah,

552
00:31:17,196 --> 00:31:19,676
Speaker 2: have you heard stories about their childhood? What did they

553
00:31:19,676 --> 00:31:20,836
Speaker 2: tell you about growing up?

554
00:31:21,116 --> 00:31:25,316
Speaker 3: Oh? For sure, they out for each other, do you know,

555
00:31:25,396 --> 00:31:27,356
Speaker 3: poor people, they out for each other. They try to

556
00:31:27,356 --> 00:31:29,676
Speaker 3: outdore each other. So I listened to my mom and

557
00:31:29,756 --> 00:31:31,756
Speaker 3: dad try to outdoor each other. You know. My dad

558
00:31:31,836 --> 00:31:34,316
Speaker 3: would always give it to my mother. Now, you know,

559
00:31:34,436 --> 00:31:36,156
Speaker 3: he did a good thing. They would go back and

560
00:31:36,196 --> 00:31:39,676
Speaker 3: forth and back and forth, but I remember he always

561
00:31:39,876 --> 00:31:43,276
Speaker 3: ended up saying you win. She's sure. What really was

562
00:31:43,476 --> 00:31:47,396
Speaker 3: way poor. But Dad had like he was like talked

563
00:31:47,396 --> 00:31:53,036
Speaker 3: about putting up a newspaper on the inside of the

564
00:31:53,076 --> 00:31:55,876
Speaker 3: walls because the wind, the cold wind blowing to it.

565
00:31:56,596 --> 00:31:58,756
Speaker 3: So I don't remember him having a good time either.

566
00:32:00,076 --> 00:32:03,916
Speaker 3: And they were up in the mountains, because even if

567
00:32:03,956 --> 00:32:07,076
Speaker 3: it's a holler, you're still up the low part, you're

568
00:32:07,116 --> 00:32:09,916
Speaker 3: still high, I mean the mountains of West virgin or crazy,

569
00:32:11,116 --> 00:32:13,556
Speaker 3: I mean, because you just you look out and it's

570
00:32:13,676 --> 00:32:20,316
Speaker 3: like there's no horizon line anywhere in Westernchinia. You never

571
00:32:20,316 --> 00:32:23,036
Speaker 3: see where the sun is setting. Not where they took me.

572
00:32:24,036 --> 00:32:26,236
Speaker 2: Do you know, like their romance story, like how they

573
00:32:26,236 --> 00:32:26,836
Speaker 2: got together.

574
00:32:27,756 --> 00:32:32,476
Speaker 3: Yeah, she was a great dancer. And his first words

575
00:32:32,476 --> 00:32:34,676
Speaker 3: supposedly were, do you want to go to Helen Back?

576
00:32:35,316 --> 00:32:37,876
Speaker 3: Which is a movie to Helen Back. That was the

577
00:32:37,916 --> 00:32:39,756
Speaker 3: first thing he said. You know, he was asking her

578
00:32:39,756 --> 00:32:42,396
Speaker 3: for a date. You want to go to Helen Back? Yeah,

579
00:32:42,396 --> 00:32:44,316
Speaker 3: to the drive ins or whatever they do.

580
00:32:44,756 --> 00:32:47,236
Speaker 2: I was gonna say, that's pretty racy, it is.

581
00:32:47,876 --> 00:32:51,836
Speaker 3: And she danced till her ankles were black, which you

582
00:32:51,916 --> 00:32:54,516
Speaker 3: do because it's coal mining, so there's a lot of

583
00:32:54,556 --> 00:32:59,236
Speaker 3: coal dust around, so everybody got dirty. So she played

584
00:32:59,316 --> 00:33:05,116
Speaker 3: in the sand piles when she was young near the tracks.

585
00:33:05,276 --> 00:33:07,996
Speaker 3: She grew up in the American coal mining camp that

586
00:33:08,036 --> 00:33:11,156
Speaker 3: has a company store and stuff like that. And her

587
00:33:11,196 --> 00:33:16,116
Speaker 3: granddaddy was a cool miner. He died a black lung. Wow.

588
00:33:16,436 --> 00:33:20,076
Speaker 3: And dad lost us an out of the key on

589
00:33:20,196 --> 00:33:23,556
Speaker 3: the side of the mountain because he just hit something

590
00:33:23,636 --> 00:33:26,476
Speaker 3: that or cicheted off while he was dangling. Just the

591
00:33:26,556 --> 00:33:29,596
Speaker 3: front take from hair to hear like one like two,

592
00:33:29,676 --> 00:33:33,156
Speaker 3: pass the incisors and then of all the front teeth. Yeah,

593
00:33:33,836 --> 00:33:35,876
Speaker 3: with the c ciche of the hammer when he was

594
00:33:36,716 --> 00:33:39,876
Speaker 3: hitting something or other vein or something of coal. I

595
00:33:39,876 --> 00:33:40,236
Speaker 3: don't know.

596
00:33:41,156 --> 00:33:42,796
Speaker 2: So he worked in coal mine, but then he went

597
00:33:42,836 --> 00:33:43,556
Speaker 2: to college.

598
00:33:43,916 --> 00:33:46,596
Speaker 3: That's right. He was signed on as a physicist. I

599
00:33:46,636 --> 00:33:48,636
Speaker 3: believe that right, Patterson Air Force Base.

600
00:33:49,436 --> 00:33:49,916
Speaker 2: Wow.

601
00:33:50,356 --> 00:33:53,356
Speaker 3: Yeah, then he ended up being I think I was

602
00:33:53,396 --> 00:33:56,116
Speaker 3: the director of the avionics lab up there, and he

603
00:33:56,236 --> 00:33:59,316
Speaker 3: was responsible for the down pilot system and some radar.

604
00:33:59,516 --> 00:34:02,156
Speaker 3: My brothers all about it because he really likes that stuff.

605
00:34:02,196 --> 00:34:06,516
Speaker 2: And yeah, did you feel pressure as a kid to

606
00:34:06,676 --> 00:34:08,276
Speaker 2: like follow in his past.

607
00:34:08,396 --> 00:34:11,156
Speaker 3: No, because he would never discuss any of that with me.

608
00:34:11,836 --> 00:34:13,596
Speaker 3: I don't know if he discussed it with Kevin that

609
00:34:13,676 --> 00:34:19,156
Speaker 3: much either until he got older. Yeah, it's a depression Eric,

610
00:34:19,396 --> 00:34:22,556
Speaker 3: you know. So he didn't really talk that much. He

611
00:34:22,556 --> 00:34:25,196
Speaker 3: didn't talk about work. He didn't talk about you know,

612
00:34:25,276 --> 00:34:27,596
Speaker 3: down pilot projects as he was working on. To me,

613
00:34:28,356 --> 00:34:31,276
Speaker 3: he did try to take he took guitar lessons, and

614
00:34:31,276 --> 00:34:34,116
Speaker 3: that's where he would have the guitar on the floor.

615
00:34:34,476 --> 00:34:36,676
Speaker 3: I was certain, and I picked it up and started

616
00:34:36,676 --> 00:34:39,836
Speaker 3: playing it, and there was a folder there and there

617
00:34:39,876 --> 00:34:42,076
Speaker 3: was a tableature for King of the Road. And that's

618
00:34:42,076 --> 00:34:44,436
Speaker 3: when I started picking it up. And he did say,

619
00:34:45,316 --> 00:34:49,476
Speaker 3: you're that guitar quicker than I am, so, and I did.

620
00:34:49,516 --> 00:34:51,716
Speaker 3: I don't even know if he ever learned how to

621
00:34:51,836 --> 00:34:52,436
Speaker 3: play guitar.

622
00:34:52,556 --> 00:34:55,476
Speaker 2: Actually, So, do you feel like you had sort of

623
00:34:55,636 --> 00:34:57,556
Speaker 2: just like a natural knack for guitar.

624
00:34:58,316 --> 00:35:00,396
Speaker 3: I didn't feel like it, but maybe I did because

625
00:35:00,396 --> 00:35:02,636
Speaker 3: he didn't learn it and I did, so it would

626
00:35:02,676 --> 00:35:05,956
Speaker 3: sound easy to me. There's a little picture with the

627
00:35:05,956 --> 00:35:08,636
Speaker 3: little dots, a little tablature, and you put your little

628
00:35:08,636 --> 00:35:12,796
Speaker 3: dot on the dots. It's fun. Oh yeah, yeah. So

629
00:35:12,956 --> 00:35:15,076
Speaker 3: then you just keep doing and it's just sitting there.

630
00:35:15,116 --> 00:35:19,236
Speaker 3: It's a quiet thing to do. It was nice and

631
00:35:19,276 --> 00:35:23,156
Speaker 3: I enjoyed the strings resonating and the guitar body resonating.

632
00:35:23,356 --> 00:35:27,236
Speaker 3: I think it's a really relaxing, peaceful sound. I like

633
00:35:27,316 --> 00:35:28,436
Speaker 3: it very much.

634
00:35:29,076 --> 00:35:32,276
Speaker 2: Yeah, what were you like when you were in high school?

635
00:35:32,596 --> 00:35:32,676
Speaker 3: Like?

636
00:35:32,716 --> 00:35:34,796
Speaker 2: What was your style? Like, what were you into?

637
00:35:36,036 --> 00:35:41,276
Speaker 3: Well, we lived in Juber Heights. It was a sebs

638
00:35:42,156 --> 00:35:46,116
Speaker 3: and it was a smaller town, you know, I think

639
00:35:46,156 --> 00:35:51,516
Speaker 3: I said thirty thousand smiling people. It was a community

640
00:35:51,556 --> 00:35:57,436
Speaker 3: of brick homes and little streets, and the kids played

641
00:35:57,476 --> 00:35:59,756
Speaker 3: out outside on the street with each other, and there

642
00:35:59,796 --> 00:36:02,356
Speaker 3: was a lot of other children to play with, so

643
00:36:02,436 --> 00:36:06,676
Speaker 3: there was you know, teams of kids running around the streets.

644
00:36:06,716 --> 00:36:08,876
Speaker 3: So that was nice. And we got called in you

645
00:36:08,916 --> 00:36:13,076
Speaker 3: know at the when the street lights came on. Yeah,

646
00:36:13,596 --> 00:36:17,516
Speaker 3: and catching lightning bugs. And there was a stand up

647
00:36:17,676 --> 00:36:20,756
Speaker 3: swimming pool in the backyard. Kids came over and we.

648
00:36:20,916 --> 00:36:23,076
Speaker 2: Did you do whirlpools where everyone runs out?

649
00:36:23,316 --> 00:36:26,156
Speaker 3: Yeah, yeah, and the water splashes out and the dad

650
00:36:26,156 --> 00:36:30,716
Speaker 3: would getting mad because they have to with hose back in. Yes, definitely.

651
00:36:31,596 --> 00:36:33,876
Speaker 2: Were you a musician already in high school? Were you

652
00:36:33,996 --> 00:36:37,716
Speaker 2: known as sort of like, you know, someone who plays.

653
00:36:37,396 --> 00:36:42,356
Speaker 3: Yeah, I was playing Yeah. I wasn't a known musician

654
00:36:42,396 --> 00:36:45,076
Speaker 3: in high school though, but I had a guitar and

655
00:36:45,116 --> 00:36:48,596
Speaker 3: I was writing stuff. I would have died if if

656
00:36:48,596 --> 00:36:50,756
Speaker 3: somebody had heard me, you know, died.

657
00:36:51,876 --> 00:36:52,916
Speaker 2: What were you writing about?

658
00:36:54,076 --> 00:36:57,596
Speaker 3: Stupid shit? Just horrible stuff.

659
00:36:58,076 --> 00:36:59,796
Speaker 2: Do you remember any of your songs from back then?

660
00:37:00,836 --> 00:37:06,836
Speaker 3: Yeah? I do so long. Yeah, And there was a

661
00:37:06,876 --> 00:37:10,996
Speaker 3: place called hair Or Arena, and that's where all the

662
00:37:11,116 --> 00:37:15,236
Speaker 3: hard rock. There's a big culture of hard rock in

663
00:37:15,276 --> 00:37:19,476
Speaker 3: the Midwest and the sevs. I mean we saw black

664
00:37:19,556 --> 00:37:27,676
Speaker 3: og Ark and saw Brownsville Station, Sammy Agar, Marshall Tucker Band, Rush, Nugent,

665
00:37:28,396 --> 00:37:34,116
Speaker 3: the Outlaws, Rainbow. I mean it was just part of

666
00:37:34,156 --> 00:37:35,236
Speaker 3: the touring circuit.

667
00:37:35,796 --> 00:37:37,876
Speaker 2: Were you into it, UFO?

668
00:37:38,636 --> 00:37:40,756
Speaker 3: Yeah. I liked the hard rock bands. Yeah, some I

669
00:37:40,836 --> 00:37:43,916
Speaker 3: liked more than the others. You know. I loved Zeppelin

670
00:37:44,276 --> 00:37:48,916
Speaker 3: and Sabbath and Journey. I loved back then when host

671
00:37:48,916 --> 00:37:53,756
Speaker 3: did I like, I liked Floydster Cult Don't Feel a Reaper.

672
00:37:54,636 --> 00:37:57,636
Speaker 3: The Queen News of the World album was huge for me.

673
00:37:58,116 --> 00:37:58,836
Speaker 4: Yeah.

674
00:37:59,276 --> 00:38:01,236
Speaker 2: Would you always hang out with Kelly, Like, who was

675
00:38:01,276 --> 00:38:04,236
Speaker 2: your crew? To like go to two shows?

676
00:38:04,676 --> 00:38:08,756
Speaker 3: Sometimes I went with Kelly. Sometimes I didn't, you know,

677
00:38:10,316 --> 00:38:15,676
Speaker 3: I remember being seeing Kelly like on stage during Marshall

678
00:38:16,196 --> 00:38:19,756
Speaker 3: Tucker Bant like she was somehow sitting on the PA

679
00:38:19,996 --> 00:38:22,676
Speaker 3: or something. It was crazy, that's cool.

680
00:38:22,716 --> 00:38:24,476
Speaker 2: Did you think like back then, like, oh I want

681
00:38:24,516 --> 00:38:25,836
Speaker 2: to be on stage one day, I want to be

682
00:38:25,876 --> 00:38:26,996
Speaker 2: a professional musician.

683
00:38:28,156 --> 00:38:32,316
Speaker 3: Oh no, absolutely not, I don't. Yeah. No.

684
00:38:33,676 --> 00:38:35,836
Speaker 2: Then how did you and Kelly start playing around town?

685
00:38:35,916 --> 00:38:36,916
Speaker 2: How did that come about?

686
00:38:38,396 --> 00:38:42,716
Speaker 3: Probably the first thing we did probably is I think

687
00:38:42,916 --> 00:38:50,196
Speaker 3: maybe my mom, who was an early early childhood education teacher.

688
00:38:51,316 --> 00:38:55,196
Speaker 3: She was very involved. She was in parents co op

689
00:38:55,236 --> 00:38:58,756
Speaker 3: and she was a teacher. She organized it all. And

690
00:38:58,876 --> 00:39:04,396
Speaker 3: I think they had a booth at the community park

691
00:39:05,516 --> 00:39:11,436
Speaker 3: for a summer fourth or something like that, and I

692
00:39:11,436 --> 00:39:15,076
Speaker 3: think there were two stools, and also weddings. We were

693
00:39:15,156 --> 00:39:20,876
Speaker 3: asked to play weddings for adults. Any song was big.

694
00:39:22,436 --> 00:39:27,436
Speaker 3: Kelly could sing alvam Maria, Wow. Kelly sang the rose

695
00:39:27,556 --> 00:39:31,196
Speaker 3: Bet Midler and we would play like the ground round.

696
00:39:32,276 --> 00:39:34,756
Speaker 3: It's like people at tables and you would drink eat

697
00:39:34,836 --> 00:39:37,756
Speaker 3: peanuts and you would the shells would just fall on

698
00:39:37,756 --> 00:39:40,156
Speaker 3: the floor and do four sets a night.

699
00:39:41,436 --> 00:39:41,716
Speaker 2: Wow.

700
00:39:41,796 --> 00:39:44,356
Speaker 3: And there wasn't a PA, I don't think there.

701
00:39:45,116 --> 00:39:48,796
Speaker 2: So you're ambiance while people are saying there eating peanuts, drinking.

702
00:39:48,916 --> 00:39:53,236
Speaker 3: Absolutely and we would sing original songs that you know,

703
00:39:53,476 --> 00:39:55,956
Speaker 3: as well as other songs that were playing.

704
00:39:56,796 --> 00:39:58,916
Speaker 2: I wanted to ask you about the Big Sur the

705
00:39:58,956 --> 00:40:01,316
Speaker 2: Big Surch show that you just recorded.

706
00:40:01,516 --> 00:40:05,556
Speaker 3: Didn't that turn out great? Those animations it's beautiful, Yeah,

707
00:40:05,596 --> 00:40:06,276
Speaker 3: it really is.

708
00:40:06,916 --> 00:40:08,796
Speaker 2: It's really really nice and you look like you're having

709
00:40:08,836 --> 00:40:09,636
Speaker 2: so much much fun.

710
00:40:09,796 --> 00:40:12,196
Speaker 3: I was really nice. You know. The show was canceled

711
00:40:12,196 --> 00:40:15,476
Speaker 3: because there was so much rain. It was just raining

712
00:40:15,556 --> 00:40:19,556
Speaker 3: and raining, and everything was sort of flooded, like the

713
00:40:19,556 --> 00:40:22,516
Speaker 3: stage itself. Some of the cabling was just sitting in

714
00:40:22,636 --> 00:40:24,876
Speaker 3: water because it was outdoors and it just be there

715
00:40:24,876 --> 00:40:27,676
Speaker 3: was a deluge for so long. If you imagine people

716
00:40:27,756 --> 00:40:32,236
Speaker 3: walking in there was just huge puddles of mud just

717
00:40:32,316 --> 00:40:35,796
Speaker 3: even standing where they would be standing. Oh yeah, so

718
00:40:35,996 --> 00:40:37,876
Speaker 3: it's like, let's call it. And I guess it happens

719
00:40:38,436 --> 00:40:40,756
Speaker 3: quite often, you know that there's so much train.

720
00:40:40,916 --> 00:40:41,436
Speaker 4: Yeah.

721
00:40:41,636 --> 00:40:42,116
Speaker 1: Yeah.

722
00:40:42,196 --> 00:40:45,996
Speaker 3: So our tour manager, a guy named Rory, I knew

723
00:40:46,036 --> 00:40:48,596
Speaker 3: symb Ellas and they were interested in recording us, and

724
00:40:49,636 --> 00:40:51,556
Speaker 3: there was an ideal about it and they said, you know,

725
00:40:51,956 --> 00:40:55,196
Speaker 3: we can come up to Big Sur and record the show,

726
00:40:55,396 --> 00:40:57,516
Speaker 3: and then the show wasn't happening, so we just went

727
00:40:57,556 --> 00:41:00,116
Speaker 3: into the woods and they did that and it turned

728
00:41:00,156 --> 00:41:00,836
Speaker 3: out so good.

729
00:41:01,556 --> 00:41:04,356
Speaker 2: Yeah, everybody seems so happy and it sounds so beautiful.

730
00:41:04,836 --> 00:41:05,036
Speaker 1: Yeah.

731
00:41:05,476 --> 00:41:08,356
Speaker 2: How did you pick what songs to play out there?

732
00:41:08,916 --> 00:41:11,276
Speaker 3: We wanted to do them. You know, the violin is

733
00:41:11,316 --> 00:41:13,316
Speaker 3: a good one, you know, stuff to do with violin

734
00:41:13,396 --> 00:41:16,876
Speaker 3: because we have the violin there, and it kind of

735
00:41:16,876 --> 00:41:19,996
Speaker 3: picked the ones that work with the instrumentation that's available,

736
00:41:20,636 --> 00:41:22,996
Speaker 3: so it was pretty easy to pick them.

737
00:41:23,356 --> 00:41:24,436
Speaker 2: I love do You Love Me?

738
00:41:24,556 --> 00:41:26,236
Speaker 3: Now? Yeah?

739
00:41:26,596 --> 00:41:29,236
Speaker 2: That song is so beautiful when you write like a

740
00:41:29,236 --> 00:41:31,956
Speaker 2: song like that, is that come from a personal experience

741
00:41:32,036 --> 00:41:35,276
Speaker 2: or is it just a fictional thing?

742
00:41:35,956 --> 00:41:38,516
Speaker 3: That is one of the songs me and Kelly would

743
00:41:38,556 --> 00:41:44,996
Speaker 3: sing during being sort of you know, Joe's is a

744
00:41:45,036 --> 00:41:51,916
Speaker 3: fish house days really Yeah, And I remember like we

745
00:41:51,996 --> 00:41:55,396
Speaker 3: were doing many sets in one day, you know, in

746
00:41:55,396 --> 00:41:57,756
Speaker 3: one evening, did you got to do three sets or something?

747
00:41:58,196 --> 00:42:01,796
Speaker 3: And I remember I think if they were traveling for work,

748
00:42:02,276 --> 00:42:05,396
Speaker 3: because one of the guys came up and just who

749
00:42:06,116 --> 00:42:08,836
Speaker 3: you know, we did a lot and they were sitting

750
00:42:08,876 --> 00:42:11,596
Speaker 3: there in the hotel or when nearby or something, and

751
00:42:11,636 --> 00:42:14,836
Speaker 3: they I remember somebody specifically saying they really liked that song.

752
00:42:15,396 --> 00:42:19,636
Speaker 3: It was good, but then that's not the song that's

753
00:42:19,716 --> 00:42:25,636
Speaker 3: on the record, though it's been changed a little bit

754
00:42:25,676 --> 00:42:29,436
Speaker 3: because I went back at it, you know, in my twenties.

755
00:42:29,556 --> 00:42:31,916
Speaker 3: I look back at that thing that I used to

756
00:42:31,996 --> 00:42:34,316
Speaker 3: sing at Jose as a fish house, and I just went,

757
00:42:34,436 --> 00:42:38,756
Speaker 3: this is almost good. But it's so dumb. But the

758
00:42:38,796 --> 00:42:43,716
Speaker 3: sentiment that what it used to be. The sentiment makes

759
00:42:43,756 --> 00:42:48,516
Speaker 3: me feel so it's like, I don't know. It was

760
00:42:48,556 --> 00:42:51,076
Speaker 3: so easy to like relate to the song in a

761
00:42:51,116 --> 00:42:55,036
Speaker 3: different way, like in a more of a snarling way.

762
00:42:55,156 --> 00:42:58,316
Speaker 2: I think the way that you first sang it it

763
00:42:58,356 --> 00:42:59,996
Speaker 2: was more snarling, or the second way.

764
00:43:00,116 --> 00:43:03,236
Speaker 3: The second way, I think was more snarling. There was

765
00:43:03,316 --> 00:43:07,276
Speaker 3: something innocent and sort of benign about the first way

766
00:43:07,316 --> 00:43:09,636
Speaker 3: I did it, although I liked, I like to song,

767
00:43:09,676 --> 00:43:12,076
Speaker 3: and I wanted to do it. But it was easy

768
00:43:12,116 --> 00:43:14,876
Speaker 3: to just change the arrangement a little bit, make it

769
00:43:14,916 --> 00:43:17,356
Speaker 3: more menacing and to me that the meaning of the

770
00:43:17,396 --> 00:43:20,316
Speaker 3: song has changed for me, and it doesn't sound like,

771
00:43:20,876 --> 00:43:23,476
Speaker 3: you know, instead of like when two hearts have torn away,

772
00:43:23,516 --> 00:43:26,476
Speaker 3: now sothing like a bloody horns just thar. It's just

773
00:43:26,596 --> 00:43:27,596
Speaker 3: so stupid.

774
00:43:27,796 --> 00:43:29,476
Speaker 1: It's also jump.

775
00:43:30,836 --> 00:43:34,236
Speaker 3: And that I enjoyed. That was not the song we

776
00:43:34,356 --> 00:43:37,276
Speaker 3: sang at Jose's offishals. It was a little different. But

777
00:43:37,396 --> 00:43:39,116
Speaker 3: this is if that makes sense.

778
00:43:39,676 --> 00:43:41,276
Speaker 2: Do you remember who you wrote it about?

779
00:43:42,676 --> 00:43:46,836
Speaker 3: Not really? I mean I didn't really write it about anybody.

780
00:43:47,676 --> 00:43:52,476
Speaker 3: They're kind of somebody, but not enough to Actually it was,

781
00:43:53,076 --> 00:43:56,316
Speaker 3: you know, not really, And I think that's why it

782
00:43:56,476 --> 00:43:59,796
Speaker 3: kind of it was easy to bend into something different

783
00:43:59,796 --> 00:44:06,156
Speaker 3: because it wasn't sobdenly about really anything other than you know, oh,

784
00:44:06,196 --> 00:44:12,036
Speaker 3: this is a song goes like this, but now the

785
00:44:12,276 --> 00:44:15,916
Speaker 3: transformation of it being menacing and stuff. Oh, it's definitely

786
00:44:16,476 --> 00:44:21,236
Speaker 3: about some stuff now. Oh, definitely. It means way more

787
00:44:21,276 --> 00:44:24,556
Speaker 3: now than it did, which is weird to have. That's

788
00:44:24,596 --> 00:44:28,676
Speaker 3: a nice successful song, something that meant nothing before that,

789
00:44:28,796 --> 00:44:35,076
Speaker 3: I don't makes itself now. Good job.

790
00:44:37,196 --> 00:44:37,676
Speaker 2: Success.

791
00:44:37,956 --> 00:44:38,316
Speaker 3: Yeah.

792
00:44:39,196 --> 00:44:40,796
Speaker 2: What was the melody like at first?

793
00:44:41,116 --> 00:44:45,036
Speaker 3: It's pretty similar. The melody was pretty similar. Yeah, yeah,

794
00:44:45,116 --> 00:44:49,516
Speaker 3: it's the same melody. The arrangements were different, and it's

795
00:44:49,556 --> 00:44:51,996
Speaker 3: just a versus were a little different. Stuff like that.

796
00:44:53,156 --> 00:44:54,956
Speaker 2: Is there anything else you want to talk about with

797
00:44:54,996 --> 00:44:57,596
Speaker 2: the new album? Any songs you want to talk about.

798
00:44:57,316 --> 00:44:59,876
Speaker 3: Or you know, one of things about the record that

799
00:44:59,916 --> 00:45:01,916
Speaker 3: I like is that I'm proud of the good relationships

800
00:45:01,916 --> 00:45:03,796
Speaker 3: I've had with people that I've been playing with in

801
00:45:03,836 --> 00:45:08,116
Speaker 3: my life, like Mondo and Lindsay just working with Tee

802
00:45:08,476 --> 00:45:12,916
Speaker 3: I've known in the eighties, and Kelly and Jim McPherson's

803
00:45:12,916 --> 00:45:18,436
Speaker 3: been on it, and Josephine actually played bass on Disobedience,

804
00:45:18,476 --> 00:45:23,356
Speaker 3: but her bass guitar was weirding out and so I

805
00:45:23,396 --> 00:45:27,756
Speaker 3: had replayed it. And then some new people the Jack Lawrence,

806
00:45:27,876 --> 00:45:32,716
Speaker 3: you know he plays bass for Racontourskay, and it's Kentucky.

807
00:45:32,756 --> 00:45:35,396
Speaker 3: He's from the Green you know, Green Horns, since it's

808
00:45:35,396 --> 00:45:38,756
Speaker 3: sort of a Cincinnati band. I used, you know, the

809
00:45:38,836 --> 00:45:42,676
Speaker 3: Teenage Fan Club. Yeah, there's a guy named Raymond who's

810
00:45:42,716 --> 00:45:45,516
Speaker 3: the guitar player, and I used him on the guitar.

811
00:45:45,516 --> 00:45:48,076
Speaker 3: It was the first time i'd used had played with Raymond.

812
00:45:48,876 --> 00:45:53,476
Speaker 3: And then like when coming up with the songs, like

813
00:45:53,556 --> 00:45:58,316
Speaker 3: I I had sang at Albini's wedding with Heather, Me

814
00:45:58,396 --> 00:46:01,756
Speaker 3: and Kelly went to Hawaii. We were like family, sang

815
00:46:01,876 --> 00:46:05,556
Speaker 3: at the wedding and we played a song that she

816
00:46:05,636 --> 00:46:09,276
Speaker 3: wanted for her wedding song at Dolly Parton song and

817
00:46:09,316 --> 00:46:11,436
Speaker 3: we did the bridal march. I played the Bridal March

818
00:46:11,476 --> 00:46:15,396
Speaker 3: on guitar, and I went to the island and got

819
00:46:15,396 --> 00:46:18,636
Speaker 3: a bunch of ukuleles and handed them out as so

820
00:46:18,836 --> 00:46:20,756
Speaker 3: all of us, you know, because there's a lot of

821
00:46:20,836 --> 00:46:22,876
Speaker 3: musicians can play along, you know.

822
00:46:23,476 --> 00:46:26,556
Speaker 2: With the ut you know, and that's such a good idea.

823
00:46:26,636 --> 00:46:28,916
Speaker 3: Yeah, it was really fun. It was good there. It

824
00:46:28,996 --> 00:46:32,276
Speaker 3: was such a great such a great time. And for

825
00:46:32,636 --> 00:46:36,796
Speaker 3: a wedding gift, Steve and Heather got us quite like

826
00:46:37,076 --> 00:46:42,596
Speaker 3: nice ukuleles, you know. And I was packing my stuff up,

827
00:46:42,916 --> 00:46:45,876
Speaker 3: my gear to go someplace, and I threw with the ukulelean.

828
00:46:46,556 --> 00:46:48,996
Speaker 3: It wasn't even mine, it was my one my sister got.

829
00:46:49,756 --> 00:46:53,676
Speaker 3: There was a sheet that came in the package, that

830
00:46:54,116 --> 00:46:57,076
Speaker 3: laminated chord sheet, and I just started picking it up,

831
00:46:57,436 --> 00:47:00,276
Speaker 3: found how to shoot my dog has fleas, and then

832
00:47:00,356 --> 00:47:05,036
Speaker 3: had the laminated chord sheet and started playing around with it,

833
00:47:05,116 --> 00:47:08,556
Speaker 3: and I wrote this song on it, the ukulelean in

834
00:47:08,596 --> 00:47:13,756
Speaker 3: my head. It had these melodies and these incredibly complicated

835
00:47:13,836 --> 00:47:17,836
Speaker 3: orchestral movement happening all the way through it. And I

836
00:47:17,916 --> 00:47:20,636
Speaker 3: just and I was like Joseph being she was up,

837
00:47:20,996 --> 00:47:22,836
Speaker 3: you know. We were going to rehearse for some stuff.

838
00:47:24,036 --> 00:47:26,396
Speaker 3: I think it was doing all nerve stuff or something,

839
00:47:27,156 --> 00:47:31,196
Speaker 3: and I grabbed the ukulele. I have written a song

840
00:47:31,236 --> 00:47:35,796
Speaker 3: on ukulele and she looked at me. She went, absolutely not,

841
00:47:38,556 --> 00:47:40,556
Speaker 3: it's just funny. So then I knew, like that song

842
00:47:40,596 --> 00:47:42,756
Speaker 3: would be a solo one. It wouldn't be a Breederish one.

843
00:47:42,796 --> 00:47:45,596
Speaker 3: You know, It's like and that's yeah, on the way

844
00:47:45,636 --> 00:47:46,956
Speaker 3: to thinking about an album.

845
00:47:47,036 --> 00:47:50,916
Speaker 2: You know, is there new Breeders music coming out or

846
00:47:50,956 --> 00:47:51,396
Speaker 2: working on?

847
00:47:51,636 --> 00:47:55,676
Speaker 3: Or we play Disobedience in the Breeders shows. Well they're

848
00:47:55,676 --> 00:48:00,436
Speaker 3: all on it. Yeah, it gets confusing, It gets confusing.

849
00:48:00,716 --> 00:48:01,556
Speaker 3: It is confusing.

850
00:48:01,596 --> 00:48:05,716
Speaker 2: So yeah, yes, and yeah, thank you Kim. It's so

851
00:48:05,796 --> 00:48:07,396
Speaker 2: nice to talk you and.

852
00:48:07,156 --> 00:48:09,116
Speaker 3: I love talking to you. Thank you.

853
00:48:09,396 --> 00:48:12,196
Speaker 2: Yeah, thank you for doing this and best of luck

854
00:48:12,236 --> 00:48:12,556
Speaker 2: with all.

855
00:48:12,756 --> 00:48:16,476
Speaker 3: Thank you for doing this. I really appreciate it.

856
00:48:17,716 --> 00:48:19,796
Speaker 1: Thanks Token Deal for chatting through her career and the

857
00:48:19,796 --> 00:48:22,516
Speaker 1: making of her new solo album, Nobody Loves You More.

858
00:48:23,156 --> 00:48:25,276
Speaker 1: You can hear all of our favorite tracks from the Pixies,

859
00:48:25,316 --> 00:48:27,836
Speaker 1: the Breeders, and Kim solo work on a playlist at

860
00:48:27,836 --> 00:48:31,396
Speaker 1: Broken record podcast dot com, and be sure to follow

861
00:48:31,476 --> 00:48:34,596
Speaker 1: us on Instagram at the Broken Record Pod. You can

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Speaker 1: follow us on Twitter at Broken Record. Broken Record is

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Speaker 1: produced and edited by Leah Rose, with marketing help from

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Speaker 1: Erek Sandler and Jordan McMillan. Our engineer is Ben Tollinday.

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Speaker 1: Broken Record is a production of Pushkin Industries. If you

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Speaker 1: love this show and others from Pushkin, consider subscribing to

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Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers

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Speaker 1: bonus content and ad free listening for four ninety nine

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Speaker 1: a month. Look for Pushkin Plus on Apple Podcasts subscriptions,

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Speaker 1: and if you like this show, please remember to share, rate,

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Speaker 1: and review us on your podcast app. Theme musics by

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Speaker 1: Anny beats On Justin Richmond

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Speaker 3: M HM