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Speaker 1: Pushkin. When were you in Japan most recently?

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Speaker 2: March, I think. Jeremy, would I go in March? I

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Speaker 2: think so. It's like my kids' spring break. They get

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Speaker 2: this big break, and that is where they.

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Speaker 1: Want to go. Like all the time or every time?

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Speaker 2: We've gone twice, and it's like, for whatever reason, they just,

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Speaker 2: it's wild, you know? It's so different.

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Speaker 1: Yeah.

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Speaker 2: And they just love that, I think. The problem is

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Speaker 2: we did the almost, we almost mirrored the trip identically,

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Speaker 2: like the restaurants and, and the spots, you know? And

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Speaker 2: I'm just like, we got to switch it up a little,

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Speaker 2: but they're just like, no, this was this cause it

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Speaker 2: was good. That was good.

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Speaker 1: That's always a problem with life is you find something

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Speaker 1: you want to, do you like, and it's like, do

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Speaker 1: you stick, do you, you know, like, do you go

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Speaker 1: to order the same thing at the restaurant or switch

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Speaker 1: it up?

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Speaker 2: You need that variety, that spice.

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Speaker 1: Cause it could ruin Japan next year. You know? Congratulations

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Speaker 1: on the album, man. It's a really amazing, it's a

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Speaker 1: great record. Oh, thanks. Yeah. When it got sent over,

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Speaker 1: they're like, you should give a listen to Brandon Flowers'

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Speaker 1: country album. It might seem strange, but we think you'll

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Speaker 1: like it. And I was like, actually, you know what?

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Speaker 1: It doesn't seem that strange to me when I put

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Speaker 1: it on. I was like, oh, he's doing it. He's

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Speaker 1: doing it for real.

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Speaker 2: Yeah, we went for it.

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Speaker 1: Yeah, you really did.

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Speaker 2: We went to the heart of it. We went to

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Speaker 2: Nashville and did it. That was the appropriate place to

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Speaker 2: do it.

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Speaker 1: How did that transpire? Did you know to go there

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Speaker 1: or what?

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Speaker 2: I didn't. I feel embarrassed about it. I got to

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Speaker 2: give credit to the producers. It was, you know, Rado

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Speaker 2: and Sean Everett. And they just were all, as we

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Speaker 2: were writing the songs and making demos, it was like,

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Speaker 2: we got to go to Nashville. And I sort of,

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Speaker 2: I wasn't kicking against it, but I was just like,

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Speaker 2: this studio's good. They were in Provo.

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Speaker 1: In Provo, Utah.

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Speaker 2: And, you know, Burbank's fine by me, whatever.

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Speaker 1: Yeah.

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Speaker 2: But we ended up just booking some time at the

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Speaker 2: iconic RCA, and it was definitely the right move.

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Speaker 1: How did they sell you.

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Speaker 2: On it, ultimately? It was just, they were talking about

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Speaker 2: the musicianship and the people that were there that they

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Speaker 2: were going to assemble, and I was like, all right,

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Speaker 2: I'm going to just go with it.

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Speaker 1: Were you aware of it as a, I mean, obviously

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Speaker 1: everyone's aware of Nashville as a musical place, but were

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Speaker 1: you aware of, the sort of studio legacy of Nashville.

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Speaker 2: Not until, again, I don't know if I should, I'm

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Speaker 2: embarrassed to say it. No, I didn't know exactly, you know,

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Speaker 2: what transpired just in this room that we were recording

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Speaker 2: in and in the room next door. So many magical.

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Speaker 2: What was in those rooms?

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Speaker 1: It's RCA that you recorded, right?

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Speaker 2: Yeah, I mean, everything. I mean, Roy Orbison, Dolly Parton,

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Speaker 2: Waylon Jennings, everything, everything. chris christopherson every you know it's

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Speaker 2: just um really incredible that's just the surface yeah.

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Speaker 1: Are you a person who believes that rooms hold a certain.

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Speaker 2: It has to yeah i mean there's there is a

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Speaker 2: you walk in and you can feel you know you

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Speaker 2: can you can feel it there's this there's it's kind

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Speaker 2: of tangible sometimes and there's just something we're in the

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Speaker 2: big room in rca and it's just It's just one

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Speaker 2: of the great live rooms in the world. And there's

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Speaker 2: been so many great bands in there. And it's so

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Speaker 2: many great recordings.

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Speaker 1: Did you help in picking out the players?

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Speaker 2: No, again, I'm embarrassed. No, I did no hand in it. Well,

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Speaker 2: I did have some. We had Griff and Taylor from Dawes. Great.

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Speaker 2: So I knew I always wanted them to be a

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Speaker 2: part of it.

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Speaker 1: Had you known them for a while? Yeah, yeah, yeah.

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Speaker 2: So we've been friends. And it was like, so Griff

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Speaker 2: was on drums for most of the songs. And then

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Speaker 2: Taylor was on guitar, and then we had some other,

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Speaker 2: and then obviously seven other people. Yeah.

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Speaker 1: What was it like? I mean, you have a couple

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Speaker 1: of solo records, but I imagine even those were people

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Speaker 1: you were more familiar with. And then, of course, you

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Speaker 1: have The Killers, your band, you've been playing with a

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Speaker 1: long time. So how odd is it to play with

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Speaker 1: people you don't necessarily have a rapport with?

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Speaker 2: At first, it felt a little intimidating because of the...

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Speaker 2: caliber of musicians that these guys are. And I started

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Speaker 2: to understand what I was getting myself into. Um, but

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Speaker 2: luckily I was sort of in the middle of touring

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Speaker 2: when it happened. So I was sort of in good

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Speaker 2: singing form and we went and recorded it like you're

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Speaker 2: supposed to record, like, you know, a band playing the

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Speaker 2: songs live. Um, I haven't done that in 20 years. Yeah.

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Speaker 1: Yeah.

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Speaker 2: You know, we all played and it wasn't one guy

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Speaker 2: at a time in front of the computer. Um, it

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Speaker 2: was everybody playing and, and yeah, we haven't done, I

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Speaker 2: haven't done that since Sam's town. And so, We did it,

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Speaker 2: and they loved that. That was something that they have

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Speaker 2: also sort of grown away from. It's just changed.

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Speaker 1: Even in Nashville?

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Speaker 2: Yeah, even in Nashville. So it was great. They loved

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Speaker 2: that I was singing with them. I think they're accustomed

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Speaker 2: to people kind of coming in and doing vocals later.

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Speaker 2: And so they instantly, there was a bond, I think,

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Speaker 2: right away when they saw that I was going to

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Speaker 2: go and sing these songs, and we were all going

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Speaker 2: to sweat it out together. and instantly you know it

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Speaker 2: yeah we sort of connected there.

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Speaker 1: Did you sing in the room with them or did.

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Speaker 2: You yeah i was in the room yeah in the

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Speaker 2: room really great and it's so much i had a

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Speaker 2: i had a great you know partitions you know the

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Speaker 2: drummer's over here so i can't really see him but

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Speaker 2: i can see the steel player and he was sort

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Speaker 2: of my gauge for how things were going his name

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Speaker 2: is bruce he's just like iconic steel player you know

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Speaker 2: but he's also he wears a lot um on his

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Speaker 2: face so i was like i knew how everything was

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Speaker 2: going by bruce's scowl or smile or And he's emotional.

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Speaker 2: We get emotional about the emotional songs. And, and it was,

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Speaker 2: it was, it was actually a real comfort being next

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Speaker 2: to Bruce.

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Speaker 1: So he was your gauge, not only to like maybe

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Speaker 1: how the take was going, but also how the song

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Speaker 1: was resonating.

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Speaker 2: And that was, that was interesting to see. Cause he really,

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Speaker 2: seeing his emotions was, was a part that stood out

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Speaker 2: to me. It was like, okay, that made me feel,

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Speaker 2: you know, like maybe I, I, I'm not such an outlier.

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Speaker 2: Maybe I could, you know, I got a shot here.

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Speaker 1: Do you need, like, I'm wondering, it's funny. I mean,

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Speaker 1: I'm similar. I think a lot of people are like,

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Speaker 1: just sometimes if you're in a room and you're uncomfortable,

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Speaker 1: you pick a person and they just, for whatever reason,

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Speaker 1: end up becoming like your source of, your rock for that, whatever,

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Speaker 1: however long you're in that room. Is that something you

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Speaker 1: feel you need live as well? Or that you, or

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Speaker 1: do you, is that a whole different?

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Speaker 2: No, I think, well, if it depends on what world

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Speaker 2: we're in, if we're in the killer's world, I do

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Speaker 2: think I, get a lot of um security having venucci

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Speaker 2: there on drums behind me and the you know he

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Speaker 2: just has a a way of playing and an intensity

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Speaker 2: and uh reliability that i'm accustomed to and and and

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Speaker 2: that it makes me feel like i'm where i'm supposed

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Speaker 2: to be.

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Speaker 1: Yeah has that been true like the entire run with

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Speaker 1: the Or has it changed?

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Speaker 2: Since we started? I think it's grown over time, you know?

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Speaker 2: Because in the early days, you're playing bars and you're

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Speaker 2: getting to know each other. We didn't grow up together,

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Speaker 2: you know? The band sort of came together piece by

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Speaker 2: piece and then just sort of catapulted into the stratosphere.

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Speaker 2: And so it wasn't that thing. We don't have that thing.

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Speaker 2: Just be honest about it. You know, we weren't like

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Speaker 2: childhood friends. We had to grow to like each other or...

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Speaker 2: As time went on.

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Speaker 1: Well, now you have 20-something years. Yeah. As good as

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Speaker 1: probably growing up together at this point, right?

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Speaker 2: Yeah.

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Speaker 1: But back to Thrasher. Why did you depart from recording

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Speaker 1: live for almost 20 years?

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Speaker 2: I think it's just, it's not laziness. It's just easy.

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Speaker 1: Makes me think it may be a little lazy.

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Speaker 2: Well, it's just easier.

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Speaker 1: Yeah.

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Speaker 2: We went and made the third record, and it was

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Speaker 2: a little bit, The Killers made the third record. So

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Speaker 2: after Sam's Time, we'd record live. the third record was

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Speaker 2: more pop leaning, um, and more the producer that we chose,

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Speaker 2: Stuart Price, who's an amazing producer. This, he's just works

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Speaker 2: with logic and, you know, logic versus produce on it.

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Speaker 2: So he's a logic guy and he came from the

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Speaker 2: dance world. Um, and he's an amazing DJ and record producer.

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Speaker 2: And so he had just made like that Madonna's, uh,

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Speaker 2: confessions record was, was a massive record and he'd done

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Speaker 2: a great, um, a really great remix of Mr. Brightside

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Speaker 2: that had done really well, the Jacques Lacan remix. I

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Speaker 2: remember that. And so we're like, let's check this guy out.

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Speaker 2: And so we went in and did a record with him.

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Speaker 2: And that was where it started, for better or for worse.

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Speaker 2: But it was just, that's how he recorded. And I

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Speaker 2: was like, oh, this is kind of fast. And just

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Speaker 2: kind of on the fly and taking turns. And we just,

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Speaker 2: I don't know, we drifted away. I think a lot

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Speaker 2: of people have done that.

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Speaker 1: Prior to that, what slowed you down? Was there any particular...

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Speaker 1: As a group, the dynamic in your group, was it

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Speaker 1: not being able to sort of iterate quickly enough?

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Speaker 2: Yeah, no, it wasn't a problem. It was just, it

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Speaker 2: is more convenient to do it that way. But you

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Speaker 2: lose something also, I think. What you avoid is a

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Speaker 2: band sitting in a room and fighting over parts. You know,

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Speaker 2: and that can be a blessing for a band. Maybe

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Speaker 2: it kept us... From breaking up over a fight, you know,

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Speaker 2: over a bridge in a middle eight in a song

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Speaker 2: or something like that, you know. So you avoid that

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Speaker 2: uncomfortable situation. But you also maybe miss out on magical moments.

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Speaker 2: And so there is something to maybe mourn the loss of.

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Speaker 1: Yeah.

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Speaker 2: But I'm going back to it now. I think the

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Speaker 2: next Killers record we will, you know, I've learned a

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Speaker 2: lot from making this record in Nashville.

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Speaker 1: Yeah.

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Speaker 2: I think we'll definitely implement that back into the next

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Speaker 2: Killers record.

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Speaker 1: That re-inspired you. Yeah.

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Speaker 2: Oh, yeah. To play, we should record live. That's who

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Speaker 2: we are, yeah.

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Speaker 1: It is different, though. I mean, I guess, you know,

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Speaker 1: those Nashville sessions, though, I mean, they're so efficient. So

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Speaker 1: I think you always... also probably avoid the sitting around.

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Speaker 2: Well, that was the thing I keep coming back to.

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Speaker 2: I would watch these guys make these decisions. It sounds

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Speaker 2: like I'm being funny, but they would make a decision

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Speaker 2: on the fly that a band today is going to

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Speaker 2: break up over a fight about this kind of a decision.

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Speaker 2: And they are, that is, they cut that shit out. Like,

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Speaker 2: it is just like, we know what, you know, it's,

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Speaker 2: you do, you just move on. You make the decision,

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Speaker 2: you move on. Everybody makes the note, play the song.

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Speaker 2: It's just, there's just, it was amazing to watch.

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Speaker 1: Do they tell you they're going to do it or

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Speaker 1: is it just, we all.

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Speaker 2: Agree, but it's just like, it's, there's so much behind it.

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Speaker 2: It's just like, this is why this is, you know, this, no,

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Speaker 2: you know, somebody will make their, say their piece. And

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Speaker 2: if they have, these are guys that have been doing

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Speaker 2: this for 60 years, some of them. And it's just like,

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Speaker 2: they know why that this is going to work.

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Speaker 1: Speaking of, you know, these guys, some of these guys

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Speaker 1: playing 60 years on, um, the second track, One of Us. Yeah. Your,

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Speaker 1: your harmonica player, Charlie, who is like, he's been around

240
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Speaker 1: a long time, played on like Highway 61 and Blonde

241
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Speaker 1: on Blonde, Dylan's records.

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Speaker 2: He played on, he played on The Boxer.

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Speaker 1: He did?

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Speaker 2: Simon and Garfunkel. He played on Pretty Woman.

245
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Speaker 1: I didn't know that.

246
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Speaker 2: Played on Leonard Cohen stuff. Just, he's played on everything. And, Yeah, incredible.

247
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Speaker 2: He owns one of us. It's like Charlie featuring Brandon,

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Speaker 2: that song. ¶ ¶ ¶ They slapped a decal of

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Speaker 2: your face ¶ ¶ An 18-wheeler smiling like you would ¶ ¶

250
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Speaker 2: If we were over to your place on Thanksgiving.

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Speaker 1: ¶ ¶ In the neighborhood ¶ ¶.

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Speaker 2: You were from the true north, strong and free ¶ ¶

253
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Speaker 2: But we never raised a fuss ¶ You were always

254
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Speaker 2: one of us.

255
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Speaker 1: You were always one of us.

256
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Speaker 2: Oh, there ain't a thing to discuss. Miss you like

257
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Speaker 2: the rain, miss the bus.

258
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Speaker 1: Roll sign, read it.

259
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Speaker 2: Someplace, bluebird sing. And that about just sums it up.

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Speaker 2: Life ain't but a dream, it's a bitter cup. Nothing

261
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Speaker 2: stays the same, it'll make you cry.

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Speaker 1: It'll make you cuss. You were always one of us.

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Speaker 1: His harmonic plane is like so wistful and kind of

264
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Speaker 1: has a joy to it. And then there's like a verve.

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Speaker 1: It's almost how you sing it too. It took me

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Speaker 1: a handful of listens to realize it's not necessarily a

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Speaker 1: happy song.

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Speaker 2: Yeah, it's a little bit of a sad song. It's

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Speaker 2: about my brother-in-law. He passed away a couple of years back.

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Speaker 2: But it's one of those things where there's family that

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Speaker 2: you're born into and then there's family that you find.

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Speaker 2: And he was in that category for me. And sometimes

273
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Speaker 2: those are just as powerful or more powerful than other people.

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Speaker 1: Yeah, sometimes much more.

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Speaker 2: And so I just loved him. My sister's quite a

276
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Speaker 2: bit older than me, 17 years my senior. So when

277
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Speaker 2: they were married, I was a kid. So he was

278
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Speaker 2: like my brother. And so I just wanted to honor

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Speaker 2: him with the song. And there's this amazing thing that

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Speaker 2: can happen that I find within this genre, within the

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Speaker 2: genre where sadness and playfulness... can kind of walk hand

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Speaker 2: in hand. And people like John Prine are masters of that.

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Speaker 2: I always come back to that. But so that was

284
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Speaker 2: kind of, I was definitely able to play with that

285
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Speaker 2: on this song.

286
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Speaker 1: I mean, even from your own catalog, I would say

287
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Speaker 1: that there's instances of that, you know, where, I mean,

288
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Speaker 1: on Killer's records, there's certain songs that, I mean, maybe

289
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Speaker 1: the first hundred listens, I had no clue that the

290
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Speaker 1: song was a little darker or a little, you know,

291
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Speaker 1: there was something under the surface. Yeah. Yeah.

292
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Speaker 2: It's, it's, I think I have a knack for that.

293
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Speaker 2: I don't know why. I think just whenever you start

294
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Speaker 2: to tell stories, you can't help but go there sometimes.

295
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Speaker 1: At least I can't. To go to sort of some

296
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Speaker 1: of the darker.

297
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Speaker 2: Yeah, I think so. I have a tendency or just

298
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Speaker 2: maybe it's emotional or sadder things.

299
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Speaker 1: Do you find yourself drawn also in terms of the

300
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Speaker 1: things you like to sadder or darker?

301
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Speaker 2: Those emotional responses. I'm an emotional guy. I used to

302
00:14:18,576 --> 00:14:23,236
Speaker 2: think that that was maybe a weakness. And now I'm

303
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Speaker 2: 45 and I see it as a strength. And so

304
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Speaker 2: I think that I've always been like that. I've always

305
00:14:29,386 --> 00:14:34,346
Speaker 2: been touched by music or movies or moments or whatever

306
00:14:34,386 --> 00:14:38,556
Speaker 2: it is. And when I know maybe other people wouldn't

307
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Speaker 2: have been so... moved by it or or care about

308
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Speaker 2: it but but whatever it's just my my law in life.

309
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Speaker 1: It's a superpower to be affected deeply by.

310
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Speaker 2: Yeah and to be able to sometimes be a part

311
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Speaker 2: of it and have that translate into the work is

312
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Speaker 2: not it's really amazing.

313
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Speaker 1: Yeah yeah about when did you realize it wasn't like

314
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Speaker 1: a character defect.

315
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Speaker 2: Oh, just like recently with a therapist.

316
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Speaker 1: Do you stand for therapy, by the way? Yes. Yeah. Oh, hell.

317
00:15:13,626 --> 00:15:14,466
Speaker 2: Yeah. Hell yes.

318
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Speaker 1: I'm going to try that myself. That's amazing. I mean,

319
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Speaker 1: you would think just given the success, the sheer amount

320
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Speaker 1: of success that you've had, that that might have occurred sooner,

321
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Speaker 1: you know?

322
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Speaker 2: Oh, understanding that?

323
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Speaker 1: Yeah. Yeah. That was a gift.

324
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Speaker 2: Well, you want, yeah, no, I think you want to be,

325
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Speaker 2: you know, there's this masculinity and there's this, uh, you know,

326
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Speaker 2: you want to be strong and, but you, you know,

327
00:15:41,266 --> 00:15:45,056
Speaker 2: but those things can also, you know, totally coexist. And,

328
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Speaker 2: but it's just, it's just something that has come with

329
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Speaker 2: time for me.

330
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Speaker 1: Yeah.

331
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Speaker 2: Yeah.

332
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Speaker 1: I feel like maybe on Miss America, there might be

333
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Speaker 1: some themes you're playing with there too, of, of masculinity,

334
00:15:55,506 --> 00:15:59,876
Speaker 1: especially in more rural America where, You know, I would

335
00:15:59,896 --> 00:16:05,616
Speaker 1: say there's probably even more opportunity to dabble in what

336
00:16:05,716 --> 00:16:09,676
Speaker 1: feels more stereotypically masculine, you know, whether it's riding pickup

337
00:16:09,716 --> 00:16:11,656
Speaker 1: trucks or hunting or, you know.

338
00:16:12,616 --> 00:16:15,466
Speaker 2: Yeah. And there's not, and I don't, because, you know,

339
00:16:15,486 --> 00:16:19,826
Speaker 2: the big, the big phrase is toxic masculinity. And I

340
00:16:19,826 --> 00:16:21,126
Speaker 2: always feel like I want to say this and I'm

341
00:16:21,146 --> 00:16:25,746
Speaker 2: going to say it. They're talking about toxic masculinity is

342
00:16:25,786 --> 00:16:30,096
Speaker 2: different than masculinity. You know, sometimes they don't differentiate it.

343
00:16:30,936 --> 00:16:36,256
Speaker 2: Being masculine is fine, but being dangerous or being hurtful and,

344
00:16:36,276 --> 00:16:40,256
Speaker 2: you know, and attributing it to you being a man

345
00:16:40,616 --> 00:16:41,556
Speaker 2: is not fine.

346
00:16:41,736 --> 00:16:41,956
Speaker 1: Right.

347
00:16:42,176 --> 00:16:45,876
Speaker 2: So it's like, anyway, so that's my two cents. Obviously

348
00:16:45,896 --> 00:16:48,646
Speaker 2: that makes sense, but sometimes people don't seem like they

349
00:16:48,666 --> 00:16:50,326
Speaker 2: can differentiate those two things.

350
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Speaker 1: Well, I think certain ways of thinking become fashionable and

351
00:16:54,846 --> 00:16:57,666
Speaker 1: certain phrases become shortcuts to like a, A thing, and

352
00:16:57,706 --> 00:17:00,986
Speaker 1: it's like, I definitely, I concede your point. I think

353
00:17:01,026 --> 00:17:03,726
Speaker 1: it's super, I think it's really true. I think that

354
00:17:03,766 --> 00:17:07,986
Speaker 1: sort of verbiage, toxic masculinity has somehow shortcutted to just

355
00:17:08,006 --> 00:17:12,826
Speaker 1: being masculinity at large. And it's like, how is that?

356
00:17:12,906 --> 00:17:15,766
Speaker 1: It's funny. It's not, it's certainly not true. And you're

357
00:17:16,026 --> 00:17:18,106
Speaker 1: raising sons. So, you know, I'm sure that's also something

358
00:17:18,126 --> 00:17:19,316
Speaker 1: you have to think deeply about. Yeah.

359
00:17:19,456 --> 00:17:21,236
Speaker 2: You know. Three boys.

360
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Speaker 1: Was that present in your upbringing? Like, was that a common...

361
00:17:29,776 --> 00:17:32,186
Speaker 1: Like were those conversations you commonly had at home?

362
00:17:32,726 --> 00:17:38,726
Speaker 2: No, not, not so much. My dad, my dad is

363
00:17:38,766 --> 00:17:42,986
Speaker 2: a very, he's born in the forties and he, you know, was,

364
00:17:43,126 --> 00:17:44,726
Speaker 2: he dropped out of high school in the ninth grade

365
00:17:44,786 --> 00:17:47,376
Speaker 2: and sort of had a, a really different upbringing than

366
00:17:47,416 --> 00:17:50,316
Speaker 2: I would have had. Um, he grew up, you know,

367
00:17:50,416 --> 00:17:54,776
Speaker 2: just went to work right away and, um, had pretty,

368
00:17:55,236 --> 00:18:00,636
Speaker 2: pretty rough upbringing. And, um, his dad was tough. And

369
00:18:01,216 --> 00:18:04,936
Speaker 2: so it was, um, there was a weird, a strange

370
00:18:04,976 --> 00:18:09,296
Speaker 2: tug of war because he also, he converted to, to

371
00:18:09,656 --> 00:18:12,256
Speaker 2: my church when we, when he, when I was about six.

372
00:18:13,176 --> 00:18:13,776
Speaker 2: And so there was.

373
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Speaker 1: Cause your mom, cause your mother.

374
00:18:15,496 --> 00:18:17,346
Speaker 2: No, he did. He was hit, you know, she had

375
00:18:17,366 --> 00:18:20,006
Speaker 2: been LDS the entire time, which was kind of interesting.

376
00:18:20,046 --> 00:18:21,246
Speaker 2: So it was, I think she had been just kind

377
00:18:21,266 --> 00:18:24,846
Speaker 2: of waiting and, and it was so after, you know,

378
00:18:24,886 --> 00:18:27,246
Speaker 2: however many years of marriage that was 20, whatever years

379
00:18:27,286 --> 00:18:32,886
Speaker 2: of marriage he converted, um, And it was a heartfelt conversion.

380
00:18:33,186 --> 00:18:37,516
Speaker 2: And he just changed. And it was an interesting thing

381
00:18:37,536 --> 00:18:39,696
Speaker 2: to be a part of. So there was that side

382
00:18:39,736 --> 00:18:42,956
Speaker 2: of him where I grew up with this dad and

383
00:18:43,016 --> 00:18:48,516
Speaker 2: it was like the pork chop. He looked like some

384
00:18:48,556 --> 00:18:50,856
Speaker 2: of these... I'd say he embodied some of these guys

385
00:18:50,906 --> 00:18:53,686
Speaker 2: that I keep referencing for this country record. He looked

386
00:18:53,726 --> 00:18:55,766
Speaker 2: like those guys. He looked like he could be playing

387
00:18:55,786 --> 00:18:58,826
Speaker 2: with Merle Haggard or something like that. Yeah, and so...

388
00:18:59,236 --> 00:19:02,816
Speaker 2: And it was like drinking and bar fights and pool

389
00:19:03,186 --> 00:19:05,806
Speaker 2: halls and gambling and all that kind of stuff. You

390
00:19:05,906 --> 00:19:08,046
Speaker 2: would hear these kind of stories about my dad racing

391
00:19:08,086 --> 00:19:12,996
Speaker 2: cars and stuff. I don't recognize it because when I

392
00:19:13,006 --> 00:19:14,836
Speaker 2: was six, he became this other thing.

393
00:19:15,676 --> 00:19:19,596
Speaker 1: Wow. So, like, and his demeanor changed even, you would say? Yeah. Yeah.

394
00:19:19,616 --> 00:19:21,416
Speaker 2: So, he was always, I think, a good man, but

395
00:19:21,436 --> 00:19:22,356
Speaker 2: he became a better man.

396
00:19:22,496 --> 00:19:22,716
Speaker 1: Okay.

397
00:19:22,736 --> 00:19:23,836
Speaker 2: That's how I look at it. Okay.

398
00:19:24,036 --> 00:19:24,756
Speaker 1: Some of the edges.

399
00:19:25,146 --> 00:19:28,266
Speaker 2: And maybe, yeah. And so, all my siblings are older.

400
00:19:28,306 --> 00:19:31,166
Speaker 2: I'm the baby by quite a big margin. So, they

401
00:19:31,206 --> 00:19:33,026
Speaker 2: sort of had this different guy. And it wasn't like,

402
00:19:33,146 --> 00:19:36,166
Speaker 2: he wasn't terrible, but it was a really different thing

403
00:19:36,186 --> 00:19:39,556
Speaker 2: where he, I think he was more gentle and. And just,

404
00:19:40,276 --> 00:19:43,316
Speaker 2: it really changed the trajectory of my life and our house.

405
00:19:43,596 --> 00:19:47,166
Speaker 1: Do you think it was down to his conversion? Yeah, yeah, yeah.

406
00:19:47,186 --> 00:19:48,556
Speaker 2: His finding religion and God and all that?

407
00:19:48,576 --> 00:19:48,966
Speaker 1: You think so?

408
00:19:48,986 --> 00:19:49,246
Speaker 2: Yeah.

409
00:19:50,946 --> 00:19:54,866
Speaker 1: Wow, that's pretty wild. Yeah. You don't think it was age,

410
00:19:55,046 --> 00:19:56,366
Speaker 1: just sort of like it was time to.

411
00:19:56,806 --> 00:19:58,816
Speaker 2: Maybe, it could be, yeah, Cause he was about, he

412
00:19:58,836 --> 00:20:01,416
Speaker 2: was about, he was in his early forties when it happened. Yeah.

413
00:20:01,836 --> 00:20:03,016
Speaker 1: Yeah. Wow. That's wild.

414
00:20:03,456 --> 00:20:06,476
Speaker 2: It was crazy. I mean, it wasn't like he was

415
00:20:06,496 --> 00:20:09,226
Speaker 2: like going to prison, but you know, but it was like,

416
00:20:09,306 --> 00:20:11,046
Speaker 2: it went from that. It went to, you know, he

417
00:20:11,086 --> 00:20:13,686
Speaker 2: would bring home a homeless. One day I came home

418
00:20:13,706 --> 00:20:16,386
Speaker 2: from school and there was a homeless family in my house.

419
00:20:16,786 --> 00:20:16,946
Speaker 1: Wow.

420
00:20:17,326 --> 00:20:20,746
Speaker 2: He brought them and they lived in our house. Wow.

421
00:20:20,806 --> 00:20:22,026
Speaker 2: Which is a wild thing to do.

422
00:20:22,046 --> 00:20:22,586
Speaker 1: Wow.

423
00:20:23,066 --> 00:20:25,786
Speaker 2: For a while. Things like that. And all of a sudden,

424
00:20:25,846 --> 00:20:31,376
Speaker 2: he's involved in Boy Scouts. But he's great. He's a

425
00:20:31,396 --> 00:20:31,796
Speaker 2: great guy.

426
00:20:31,916 --> 00:20:35,336
Speaker 1: It's a real benefit to you that that happened. At

427
00:20:35,356 --> 00:20:37,316
Speaker 1: that point, were you also going to church?

428
00:20:38,536 --> 00:20:42,826
Speaker 2: Yeah, we went. And then we went. fairly consistently. And

429
00:20:42,846 --> 00:20:44,926
Speaker 2: then we started going even more when, when, when he

430
00:20:44,966 --> 00:20:45,746
Speaker 2: was on board.

431
00:20:46,046 --> 00:20:51,216
Speaker 1: Cause now he's now there's excitement. Yeah. That's pretty amazing.

432
00:20:54,496 --> 00:20:56,776
Speaker 1: This moment is brought to you by Sierra Nevada's hazy

433
00:20:56,856 --> 00:21:00,216
Speaker 1: little thing. Your go-to beer for good times. The best

434
00:21:00,256 --> 00:21:02,876
Speaker 1: pool days aren't rushed. The only real decision all afternoon

435
00:21:02,956 --> 00:21:05,476
Speaker 1: is who controls the playlist. Get that part right. And

436
00:21:05,616 --> 00:21:08,796
Speaker 1: everything just falls into place. Just the sun, the water,

437
00:21:08,996 --> 00:21:11,266
Speaker 1: and a hazy little thing in your hand. That's the

438
00:21:11,306 --> 00:21:13,466
Speaker 1: mission for part two of this year Nevada Sounds of

439
00:21:13,526 --> 00:21:16,266
Speaker 1: Summer series. We're building a playlist that makes having no

440
00:21:16,306 --> 00:21:19,476
Speaker 1: agenda feel like the best plan you've had all week.

441
00:21:19,976 --> 00:21:22,496
Speaker 1: Here's what I'll have on my rotation during my next

442
00:21:22,536 --> 00:21:26,236
Speaker 1: pool day. And be warned, my criteria is for the

443
00:21:26,356 --> 00:21:28,096
Speaker 1: most part that I want to feel like I'm in

444
00:21:28,116 --> 00:21:31,116
Speaker 1: the opening scene from Goldfinger, where James Brown's relaxing at

445
00:21:31,136 --> 00:21:34,196
Speaker 1: that Miami Beach hotel where he first encounters Goldfinger and Oddjob.

446
00:21:34,956 --> 00:21:36,956
Speaker 1: That's the vibe I'm going for. And so the first

447
00:21:36,976 --> 00:21:39,406
Speaker 1: couple I'm going to pick are along those lines. First

448
00:21:39,446 --> 00:21:43,356
Speaker 1: of all, Nem Saudade by Eliana Pittman, a wonderful entry

449
00:21:43,416 --> 00:21:47,196
Speaker 1: from Brazilian popular music in the early 1970s. Has that

450
00:21:47,396 --> 00:21:50,016
Speaker 1: wonderful mid-range sound, which, you know, when you're bobbing, you're

451
00:21:50,036 --> 00:21:51,436
Speaker 1: heading out of the pool, it's really all you're going

452
00:21:51,456 --> 00:21:55,596
Speaker 1: for anyway, is that nice little mid-range sound. Lush orchestration,

453
00:21:55,676 --> 00:22:00,926
Speaker 1: great songwriting, beautiful feel. And then along those same lines,

454
00:22:01,246 --> 00:22:05,286
Speaker 1: keeping in mind that mid-range sound and this amazing bubbly

455
00:22:05,306 --> 00:22:09,576
Speaker 1: guitar that comes up, in La Ponce by Marino Marini.

456
00:22:10,076 --> 00:22:14,056
Speaker 1: This is a Neapolitan song with a jazzy twist. And

457
00:22:14,096 --> 00:22:16,876
Speaker 1: then similar along those lines, they're a new group, but

458
00:22:16,916 --> 00:22:19,016
Speaker 1: they make music that feels like it could have come

459
00:22:19,056 --> 00:22:22,186
Speaker 1: out of the 50s, 60s, and 70s because they're song-centric,

460
00:22:22,306 --> 00:22:26,106
Speaker 1: but also there's amazing orchestration. Pearl and the Oysters song,

461
00:22:26,186 --> 00:22:30,886
Speaker 1: Together Alone. These guys, they write concise, catchy songs, but

462
00:22:30,906 --> 00:22:35,116
Speaker 1: they arrange them in these incredible ways and They're one

463
00:22:35,136 --> 00:22:36,956
Speaker 1: of my favorite groups. I'm going to go see them

464
00:22:37,096 --> 00:22:41,316
Speaker 1: in Los Angeles actually later this month. And then last

465
00:22:41,406 --> 00:22:44,226
Speaker 1: but not least, a perennial favorite of mine. Well, it's

466
00:22:44,306 --> 00:22:46,786
Speaker 1: usually the Pixies, but this is a song from a

467
00:22:47,126 --> 00:22:50,106
Speaker 1: Frank Black solo album called Oddballs, which was only sold

468
00:22:50,166 --> 00:22:52,866
Speaker 1: at shows for the longest time. Track five is a

469
00:22:52,906 --> 00:22:55,286
Speaker 1: song called At the End of the World. And in

470
00:22:55,326 --> 00:22:57,476
Speaker 1: the credits, he says he's trying to sound like David Bowie.

471
00:22:57,826 --> 00:23:00,476
Speaker 1: But to me, it sounds like some sort of weird

472
00:23:01,076 --> 00:23:05,316
Speaker 1: 80s ska song. But I absolutely love it. And it

473
00:23:05,376 --> 00:23:07,236
Speaker 1: makes me feel like I want to frolic by the

474
00:23:07,276 --> 00:23:09,656
Speaker 1: pool all day long. You know, a good pool day

475
00:23:09,676 --> 00:23:12,296
Speaker 1: playlist doesn't rush anything. It just keeps the pace with

476
00:23:12,316 --> 00:23:14,756
Speaker 1: the afternoon so you can feel good about kicking your

477
00:23:14,796 --> 00:23:16,976
Speaker 1: feet up until it's time to grab another cold one.

478
00:23:17,846 --> 00:23:19,506
Speaker 1: If you've ever reached for a cheers when your favorite

479
00:23:19,546 --> 00:23:21,746
Speaker 1: song comes on, you're ready to embrace the haze with

480
00:23:21,766 --> 00:23:26,226
Speaker 1: Hazy Little Thing from Sierra, Nevada. Hazy, citrusy, smooth, juicy,

481
00:23:26,266 --> 00:23:30,206
Speaker 1: but not sweet, hoppy, but not bitter. America's best-selling hazy

482
00:23:30,306 --> 00:23:37,616
Speaker 1: IPA for a reason. Hazy Little Thing. Enjoy responsibly. My

483
00:23:37,656 --> 00:23:41,176
Speaker 1: best friend from middle school is LDS, and so he

484
00:23:41,416 --> 00:23:44,996
Speaker 1: has a lot of family in Utah that's also just

485
00:23:45,396 --> 00:23:47,676
Speaker 1: become as good as family as well to me so

486
00:23:47,786 --> 00:23:49,616
Speaker 1: i've spent a lot of time out there so one

487
00:23:49,636 --> 00:23:51,836
Speaker 1: of the things that really struck me on on the

488
00:23:51,916 --> 00:23:55,536
Speaker 1: record is uh i think it's miss america as well

489
00:23:55,956 --> 00:23:59,036
Speaker 1: um because every time i'd go there and we'd be

490
00:23:59,056 --> 00:24:01,196
Speaker 1: driving past a certain place to be like oh yeah

491
00:24:01,236 --> 00:24:03,676
Speaker 1: footloose was filmed here oh yeah it's like really okay

492
00:24:03,716 --> 00:24:05,576
Speaker 1: and you know it became like the 20th time like

493
00:24:05,756 --> 00:24:07,446
Speaker 1: you know footloose was filmed here it's like oh okay

494
00:24:07,486 --> 00:24:09,326
Speaker 1: you know it's like this is like a really big

495
00:24:09,366 --> 00:24:12,716
Speaker 1: thing here you know listening to your record and I

496
00:24:12,736 --> 00:24:14,376
Speaker 1: think it was on Miss America. It's like, you know,

497
00:24:14,396 --> 00:24:16,636
Speaker 1: it's a scene where Chris Penn and Kevin Bacon filmed.

498
00:24:16,776 --> 00:24:18,996
Speaker 1: And I was like, oh, yes. I'm not the only

499
00:24:19,036 --> 00:24:20,346
Speaker 1: one that's been hearing this forever.

500
00:24:21,066 --> 00:24:22,406
Speaker 2: It was a big deal. We moved there when I

501
00:24:22,446 --> 00:24:24,886
Speaker 2: was eight to this town called Payson. So it was filmed.

502
00:24:24,986 --> 00:24:26,466
Speaker 2: You probably are driving by Lehigh.

503
00:24:26,666 --> 00:24:28,206
Speaker 1: There we go. And it's like a school.

504
00:24:28,246 --> 00:24:30,586
Speaker 2: Yeah. And so Payson and Lehigh are the two towns

505
00:24:30,766 --> 00:24:34,066
Speaker 2: where Footloose was filmed. And we moved to Payson. So

506
00:24:34,106 --> 00:24:37,176
Speaker 2: I lived on Utah Avenue in Payson, Utah. At the

507
00:24:37,276 --> 00:24:39,536
Speaker 2: end of Utah Avenue on this corner, there was a

508
00:24:41,236 --> 00:24:44,656
Speaker 2: car wash. And there's this just like idyllic scene in

509
00:24:44,676 --> 00:24:46,716
Speaker 2: that movie. I don't know. Fire it up if you can.

510
00:24:46,796 --> 00:24:49,236
Speaker 2: Fire it up because it's so beautiful. But the trees

511
00:24:49,296 --> 00:24:53,946
Speaker 2: lining the streets and they're washing this bug. And anyway,

512
00:24:54,086 --> 00:24:56,066
Speaker 2: it was, yeah, but that was like, that was the

513
00:24:56,086 --> 00:24:59,226
Speaker 2: thing when we moved there. Like Footloose was filmed. I

514
00:24:59,266 --> 00:25:01,866
Speaker 2: told Kevin Bacon once that I lived on that street.

515
00:25:02,686 --> 00:25:04,166
Speaker 2: Zero Fs given.

516
00:25:04,526 --> 00:25:07,186
Speaker 1: No. Come on, really? Zero. I don't know.

517
00:25:07,206 --> 00:25:09,126
Speaker 2: What was his response? I was like, what am I

518
00:25:09,166 --> 00:25:11,106
Speaker 2: going to do? I saw you. I lived on the

519
00:25:11,166 --> 00:25:14,016
Speaker 2: street where you filmed the scene with Chris Penn. And

520
00:25:14,076 --> 00:25:15,096
Speaker 2: it was just, he didn't care.

521
00:25:15,276 --> 00:25:16,036
Speaker 1: Did he know who you were?

522
00:25:16,456 --> 00:25:17,176
Speaker 2: I think he did, yeah.

523
00:25:17,196 --> 00:25:18,876
Speaker 1: He's like a music guy. I feel like he.

524
00:25:18,816 --> 00:25:20,496
Speaker 2: Would really appreciate it.

525
00:25:20,556 --> 00:25:20,816
Speaker 1: I know.

526
00:25:20,836 --> 00:25:27,506
Speaker 2: We were doing a John Lennon tribute. And everybody was

527
00:25:27,526 --> 00:25:31,316
Speaker 2: singing a song. I think he was hosting it. Yeah. Anyway,

528
00:25:31,336 --> 00:25:32,916
Speaker 2: I'm outing Kevin on that. He didn't care.

529
00:25:34,196 --> 00:25:37,776
Speaker 1: I guess it's the things that become really meaningful to us.

530
00:25:37,816 --> 00:25:40,256
Speaker 1: And it's like for him, he was there for two

531
00:25:40,296 --> 00:25:44,726
Speaker 1: weeks in 1984 or whenever that came out, you know?

532
00:25:44,736 --> 00:25:48,426
Speaker 1: So I guess it's no shade on him. How long

533
00:25:48,446 --> 00:25:51,926
Speaker 1: had that thought as a, I mean, so you've known

534
00:25:51,966 --> 00:25:53,706
Speaker 1: that for a long time and it's just working its

535
00:25:53,766 --> 00:25:54,726
Speaker 1: way into a song.

536
00:25:55,446 --> 00:25:59,066
Speaker 2: Well, I wanted it to show there's a beauty in it.

537
00:25:59,146 --> 00:26:04,096
Speaker 2: She's so young and naive. she's writing this letter to

538
00:26:04,136 --> 00:26:07,276
Speaker 2: this man that beats her, like, you know, that like

539
00:26:07,336 --> 00:26:08,186
Speaker 2: should go to jail.

540
00:26:08,206 --> 00:26:08,596
Speaker 1: Yeah.

541
00:26:09,056 --> 00:26:11,466
Speaker 2: And she can't help, but tell him that, that they

542
00:26:11,526 --> 00:26:13,946
Speaker 2: filmed footloose here. So there's like this other layer to

543
00:26:14,026 --> 00:26:15,586
Speaker 2: it that, and that, and that would have been how

544
00:26:15,606 --> 00:26:17,566
Speaker 2: it was. That was the way it felt when we

545
00:26:17,606 --> 00:26:17,946
Speaker 2: moved there.

546
00:26:18,166 --> 00:26:18,386
Speaker 1: Yeah.

547
00:26:18,426 --> 00:26:20,046
Speaker 2: Cause she was just, she would have just been, you know,

548
00:26:20,046 --> 00:26:21,846
Speaker 2: 22 or something like that when she left him.

549
00:26:22,086 --> 00:26:25,226
Speaker 1: Yeah. It feels like the kind of song that, um,

550
00:26:26,906 --> 00:26:29,646
Speaker 1: I feel like some of the reason you make, make

551
00:26:29,686 --> 00:26:33,756
Speaker 1: it a country album didn't, necessarily surprise me is you've

552
00:26:33,776 --> 00:26:38,236
Speaker 1: always stood out as a really from the from the

553
00:26:38,256 --> 00:26:44,086
Speaker 1: very beginning like a really a really I don't know

554
00:26:44,126 --> 00:26:47,046
Speaker 1: the right phrase but just a really good songwriter you

555
00:26:47,066 --> 00:26:52,006
Speaker 1: know like undergirding everything like undergirding Hot Fuss with all

556
00:26:52,026 --> 00:26:55,676
Speaker 1: the great production and great you know the band is

557
00:26:55,716 --> 00:26:59,076
Speaker 1: great and your performance is amazing but what you realized

558
00:26:59,356 --> 00:27:03,166
Speaker 1: what set that apart from Everything else from... Or not

559
00:27:03,346 --> 00:27:05,766
Speaker 1: everything else, but much else from that era was just

560
00:27:05,926 --> 00:27:07,826
Speaker 1: how tight and amazing the songwriting was.

561
00:27:08,786 --> 00:27:12,416
Speaker 2: Yeah, thanks. Yeah, I think storytelling was always there, too.

562
00:27:12,456 --> 00:27:15,676
Speaker 2: That was what maybe... That little tilt that made us

563
00:27:15,716 --> 00:27:19,896
Speaker 2: different than Kings of Leon or whatever... Strokes or whatever

564
00:27:19,936 --> 00:27:20,216
Speaker 2: it was.

565
00:27:20,236 --> 00:27:21,316
Speaker 1: Yeah.

566
00:27:21,436 --> 00:27:24,796
Speaker 2: You might not... I was very interested in that. It

567
00:27:24,836 --> 00:27:26,316
Speaker 2: just made sense to me to tell stories.

568
00:27:26,536 --> 00:27:26,776
Speaker 1: Yeah.

569
00:27:26,896 --> 00:27:29,906
Speaker 2: And I think that's put us... in our own little

570
00:27:29,946 --> 00:27:30,786
Speaker 2: lane off.

571
00:27:30,686 --> 00:27:32,666
Speaker 1: To the side yeah at a time when there were

572
00:27:32,906 --> 00:27:36,486
Speaker 1: clearly a lot of groups that were um like disciples

573
00:27:36,526 --> 00:27:40,966
Speaker 1: of like joy division right or or or you know

574
00:27:41,346 --> 00:27:43,406
Speaker 1: um depeche mode or any of the sort of like

575
00:27:43,566 --> 00:27:46,626
Speaker 1: uk post-punk kind of yeah but then but then it

576
00:27:46,646 --> 00:27:49,936
Speaker 1: got really like in that time too when you guys

577
00:27:49,956 --> 00:27:52,656
Speaker 1: came out that music got really like dancey and really

578
00:27:52,676 --> 00:27:56,716
Speaker 1: upbeat but then i think that's the fact that that

579
00:27:56,746 --> 00:27:59,116
Speaker 1: music was so upbeat and so big and so broad,

580
00:27:59,176 --> 00:28:03,886
Speaker 1: but was sort of streamlined by this beautiful songwriting underneath it.

581
00:28:04,336 --> 00:28:07,496
Speaker 1: He really did give it legs beyond, you know, yeah,

582
00:28:07,616 --> 00:28:09,396
Speaker 1: probably what otherwise it would have had if we didn't

583
00:28:09,436 --> 00:28:10,836
Speaker 1: have that songwriting under it, you know?

584
00:28:10,936 --> 00:28:13,856
Speaker 2: Yeah. There was, there was always a, like a, some

585
00:28:13,876 --> 00:28:17,946
Speaker 2: kind of a, even a moral compass in there somewhere that, that, that,

586
00:28:18,206 --> 00:28:20,506
Speaker 2: that's just a part of, I think, you know, my

587
00:28:20,546 --> 00:28:22,986
Speaker 2: upbringing and things like that, that I couldn't help but

588
00:28:23,046 --> 00:28:26,426
Speaker 2: inject into there. And, Luckily, it's, I think it's, like

589
00:28:26,466 --> 00:28:30,086
Speaker 2: you said, I think it's given it something of its own. Yeah.

590
00:28:30,366 --> 00:28:34,846
Speaker 1: Did it feel ever, like you said, on that first album,

591
00:28:34,906 --> 00:28:37,046
Speaker 1: and then you, well, you have the Murder Ballad.

592
00:28:38,206 --> 00:28:39,466
Speaker 2: Yeah. Jenny was a friend of mine.

593
00:28:39,486 --> 00:28:40,826
Speaker 1: Jenny was a friend of mine. You have the Murder

594
00:28:40,886 --> 00:28:41,686
Speaker 1: Ballad trilogy.

595
00:28:42,026 --> 00:28:42,386
Speaker 2: Yeah.

596
00:28:42,446 --> 00:28:45,366
Speaker 1: You know, and then also on Country, you have Murder Ballads,

597
00:28:45,386 --> 00:28:47,586
Speaker 1: you know? Yeah. So, but did it ever feel like

598
00:28:47,626 --> 00:28:51,156
Speaker 1: you were riding a line between morality and maybe like

599
00:28:51,196 --> 00:28:52,356
Speaker 1: a darker sort of....

600
00:28:54,496 --> 00:28:57,176
Speaker 2: That specifically, Jenny was a friend of mine, just for me,

601
00:28:57,296 --> 00:29:00,336
Speaker 2: I know exactly where it comes from. And it's just Morrissey.

602
00:29:02,896 --> 00:29:05,336
Speaker 2: He has this line, I love the romance of crime.

603
00:29:05,376 --> 00:29:09,756
Speaker 2: And he's singing about the craze in England and things

604
00:29:09,796 --> 00:29:13,406
Speaker 2: like that. And he would have little seeds like that.

605
00:29:13,486 --> 00:29:16,586
Speaker 2: And I was just a big Morrissey fan. And you

606
00:29:16,966 --> 00:29:21,636
Speaker 2: knew about Nick Cave's... stuff like that. It's kind of

607
00:29:21,696 --> 00:29:23,816
Speaker 2: those two things came together on, on songs like Jenny

608
00:29:23,836 --> 00:29:24,496
Speaker 2: was a friend of mine.

609
00:29:24,876 --> 00:29:26,796
Speaker 1: How much of, how much of that and country music

610
00:29:26,836 --> 00:29:28,056
Speaker 1: were you, were you drawn to?

611
00:29:29,016 --> 00:29:29,756
Speaker 2: The murder stuff?

612
00:29:29,816 --> 00:29:35,346
Speaker 1: The murder stuff. The stuff that was kind of moral storytelling,

613
00:29:35,386 --> 00:29:35,926
Speaker 1: but through.

614
00:29:36,226 --> 00:29:38,606
Speaker 2: Yeah, no, yeah, not so, not so much. It was,

615
00:29:39,086 --> 00:29:42,446
Speaker 2: like I said, with, it was something that it was

616
00:29:42,466 --> 00:29:44,746
Speaker 2: like a flash in my life that where I, where,

617
00:29:44,886 --> 00:29:47,526
Speaker 2: where I was, cause when I was 13, I just,

618
00:29:47,546 --> 00:29:51,186
Speaker 2: I chose what I was going to, be. Like my,

619
00:29:51,206 --> 00:29:55,506
Speaker 2: I was going to be this synth pop and Brit

620
00:29:55,566 --> 00:29:59,056
Speaker 2: pop and new wave, like that is my alley. And

621
00:29:59,136 --> 00:30:03,656
Speaker 2: so I didn't abandon country music, but I had, but

622
00:30:03,676 --> 00:30:07,756
Speaker 2: I am realizing now that I had an education from it,

623
00:30:07,836 --> 00:30:10,406
Speaker 2: from listening to it. I was surrounded by it in

624
00:30:10,886 --> 00:30:15,386
Speaker 2: Utah and then by my father and the music that

625
00:30:15,426 --> 00:30:18,586
Speaker 2: he gave. So it wasn't– not a lot of the dark–

626
00:30:18,626 --> 00:30:19,766
Speaker 2: not so much of the dark stuff.

627
00:30:20,366 --> 00:30:21,306
Speaker 1: Did you ever sing like this?

628
00:30:22,186 --> 00:30:25,546
Speaker 2: No. I don't– I'm only singing– I'm leaning into it

629
00:30:25,586 --> 00:30:27,516
Speaker 2: a little bit, but it feels like pretty natural to

630
00:30:27,536 --> 00:30:28,536
Speaker 2: sing like some of these songs.

631
00:30:28,556 --> 00:30:29,816
Speaker 1: No, I'm not– not even in the sense that you're

632
00:30:29,836 --> 00:30:33,966
Speaker 1: leaning into the country, but just it's more– it's almost

633
00:30:34,026 --> 00:30:36,866
Speaker 1: more straight than like less theatrical. Yeah.

634
00:30:36,906 --> 00:30:39,866
Speaker 2: I think the words are really important in, in the,

635
00:30:40,006 --> 00:30:42,686
Speaker 2: in the tradition of country music. And so that was

636
00:30:42,706 --> 00:30:44,026
Speaker 2: one of the things we went for with the mixes

637
00:30:44,066 --> 00:30:49,046
Speaker 2: and everything, Sean, because Sean is, this isn't necessarily his, um,

638
00:30:49,466 --> 00:30:52,266
Speaker 2: you know, his genre either. And so, but, uh, you know,

639
00:30:52,286 --> 00:30:55,506
Speaker 2: sometimes you can, things can be ambiguous and, but when

640
00:30:55,526 --> 00:30:58,106
Speaker 2: you're telling these stories, you really want it to be clear.

641
00:30:58,866 --> 00:31:01,926
Speaker 2: And so I think maybe that's what you're picking up on. Yeah. Yeah.

642
00:31:02,766 --> 00:31:08,286
Speaker 1: Um, Was it, this leads me to, was Paradise, was

643
00:31:08,326 --> 00:31:09,646
Speaker 1: it Paradise the last song that you wrote?

644
00:31:10,226 --> 00:31:10,786
Speaker 2: Paradise, yeah.

645
00:31:10,806 --> 00:31:14,186
Speaker 1: Or that you recorded? Yeah, yeah, yeah. And that wasn't

646
00:31:14,306 --> 00:31:17,156
Speaker 1: even initially, that wasn't initially going to make the album, right?

647
00:31:17,456 --> 00:31:20,216
Speaker 2: It wasn't written, I wrote it right, I had a

648
00:31:20,256 --> 00:31:21,856
Speaker 2: gap to go home before we were going to do

649
00:31:21,896 --> 00:31:25,516
Speaker 2: another session. And I was like, I got, I just loved,

650
00:31:25,536 --> 00:31:28,536
Speaker 2: I watched them. It goes back to One of Us.

651
00:31:28,556 --> 00:31:30,776
Speaker 2: We went and played One of Us. We had done

652
00:31:30,816 --> 00:31:33,476
Speaker 2: a couple of tracks together. And Bobby, the piano player,

653
00:31:33,576 --> 00:31:37,836
Speaker 2: he's an amazing piano player, mainstay in Nashville. He played

654
00:31:37,856 --> 00:31:43,796
Speaker 2: with Elvis and everybody. And I still remember he played

655
00:31:43,836 --> 00:31:46,226
Speaker 2: him the demo of One of Us. And he just,

656
00:31:47,126 --> 00:31:49,066
Speaker 2: he had this pep in his step walking back to

657
00:31:49,086 --> 00:31:52,066
Speaker 2: the piano. And he goes, this is country. And it

658
00:31:52,106 --> 00:31:55,766
Speaker 2: just meant, oh, I know, like, this is what I do. Like,

659
00:31:55,826 --> 00:31:57,566
Speaker 2: I know what to do here. And I wanted to

660
00:31:57,606 --> 00:32:01,446
Speaker 2: write another song that made Bobby... that made Bobby do

661
00:32:01,486 --> 00:32:03,646
Speaker 2: that or something like that. It was just like, oh, okay,

662
00:32:03,786 --> 00:32:05,946
Speaker 2: this is what, you know, this is what, they all

663
00:32:05,986 --> 00:32:08,346
Speaker 2: seem to just love that more, that vibe a little

664
00:32:08,386 --> 00:32:10,896
Speaker 2: bit more. And I wanted to get one more lick in.

665
00:32:11,046 --> 00:32:12,006
Speaker 2: So I wrote Paradise.

666
00:32:13,136 --> 00:32:14,196
Speaker 1: To satisfy that sort of.

667
00:32:14,196 --> 00:32:15,956
Speaker 2: Yeah, and just because I knew they would be so great.

668
00:32:16,096 --> 00:32:19,336
Speaker 2: It was like, they don't, there's not a question of

669
00:32:19,416 --> 00:32:21,636
Speaker 2: what to, you know, there's a blueprint for this kind

670
00:32:21,676 --> 00:32:22,056
Speaker 2: of a thing.

671
00:32:22,176 --> 00:32:26,606
Speaker 1: Yeah, yeah. Were there any songs you tried that didn't,

672
00:32:26,686 --> 00:32:29,166
Speaker 1: you feel, that in your mind didn't fit.

673
00:32:29,996 --> 00:32:33,846
Speaker 2: No, it all worked. The strangest one is Plans, which

674
00:32:33,886 --> 00:32:36,166
Speaker 2: was sort of the face of the record, the lead single,

675
00:32:37,966 --> 00:32:42,466
Speaker 2: was a totally, was an up-tempo, completely the exact same song,

676
00:32:42,506 --> 00:32:45,766
Speaker 2: but a different genre. And they're just so great at

677
00:32:45,806 --> 00:32:48,976
Speaker 2: recording that we ran out of, you know, the clock's ticking,

678
00:32:49,596 --> 00:32:51,916
Speaker 2: and I'm paying for the studio. And there's like, you

679
00:32:52,136 --> 00:32:54,716
Speaker 2: got anything else kind of a thing. And I had

680
00:32:55,096 --> 00:32:58,076
Speaker 2: this song, Plans, but it was sort of like, you know,

681
00:32:58,116 --> 00:33:01,246
Speaker 2: Ark of a Diver, Steve Winwood? It's a weird reference, maybe.

682
00:33:01,266 --> 00:33:03,466
Speaker 2: I think it's like 79 or 80 or something like that.

683
00:33:03,986 --> 00:33:07,186
Speaker 2: Before it's big, like, it's before the big stuff, before

684
00:33:07,226 --> 00:33:08,446
Speaker 2: Back in the High Life and stuff like that, but

685
00:33:08,486 --> 00:33:12,136
Speaker 2: it's really cool. And it was in that vein, anyway.

686
00:33:12,196 --> 00:33:13,636
Speaker 2: And so it's a little bit more up-tempo, and I

687
00:33:13,656 --> 00:33:16,616
Speaker 2: sang the verses up high, and then we just tried

688
00:33:16,676 --> 00:33:23,436
Speaker 2: it country, exactly the same song. And it just settled

689
00:33:23,496 --> 00:33:26,056
Speaker 2: right into that genre, and that was an amazing thing

690
00:33:26,076 --> 00:33:26,636
Speaker 2: to witness.

691
00:33:26,676 --> 00:33:31,086
Speaker 1: Well, that makes me wonder, like, are there... country songs

692
00:33:31,126 --> 00:33:33,686
Speaker 1: and non-country songs or can any song like is there

693
00:33:33,706 --> 00:33:34,966
Speaker 1: a difference could you know.

694
00:33:35,186 --> 00:33:37,186
Speaker 2: Yeah i don't know i think you could make it

695
00:33:37,206 --> 00:33:39,866
Speaker 2: yeah you know you could manipulate anything i guess.

696
00:33:40,066 --> 00:33:42,586
Speaker 1: Well let me ask more directly like could could mr

697
00:33:42,626 --> 00:33:43,806
Speaker 1: brightside be a country.

698
00:33:43,926 --> 00:33:46,286
Speaker 2: Song my buddy sent me a somebody made a version

699
00:33:46,716 --> 00:33:48,456
Speaker 2: you know it's not the same melodies and everything but

700
00:33:48,496 --> 00:33:52,516
Speaker 2: somebody has made a some ai version of it where

701
00:33:52,556 --> 00:33:56,436
Speaker 2: it's like a dark a dark country song i don't know.

702
00:33:56,396 --> 00:33:58,436
Speaker 1: Did it work Besides that it was AF.

703
00:33:58,436 --> 00:34:04,496
Speaker 2: Embarrassing. Yes, it was. There's something about the lyrics. I

704
00:34:04,516 --> 00:34:05,536
Speaker 2: think you could make it anything.

705
00:34:05,646 --> 00:34:11,466
Speaker 1: That's interesting. Because it feels like the songwriting, similar to

706
00:34:11,486 --> 00:34:16,006
Speaker 1: the vocal delivery, the songwriting on this is so plain,

707
00:34:16,146 --> 00:34:22,656
Speaker 1: but in a beautiful way. There's some really just talking

708
00:34:22,676 --> 00:34:27,086
Speaker 1: about Elvis, like that line, jet black Elvis. Oh yeah.

709
00:34:27,106 --> 00:34:30,766
Speaker 2: The comeback, you know, jet black 68 comeback.

710
00:34:30,826 --> 00:34:34,346
Speaker 1: Black 68 comeback leather. Like that's just a, it's, it's a,

711
00:34:34,646 --> 00:34:35,526
Speaker 1: just a description.

712
00:34:35,546 --> 00:34:35,726
Speaker 2: Yeah.

713
00:34:35,806 --> 00:34:39,146
Speaker 1: It's like a wonderful description. It makes you feel something.

714
00:34:39,186 --> 00:34:39,466
Speaker 2: Yeah.

715
00:34:39,746 --> 00:34:41,586
Speaker 1: You know, and it feels like there's, but there's no

716
00:34:41,626 --> 00:34:43,166
Speaker 1: sleight of hand in it necessarily.

717
00:34:43,326 --> 00:34:45,026
Speaker 2: I think that came from, that's, that kind of stuff

718
00:34:45,066 --> 00:34:48,096
Speaker 2: comes from petty. I think I attribute that to a

719
00:34:48,116 --> 00:34:52,236
Speaker 2: lot to him. Just like, this is my language. How

720
00:34:52,276 --> 00:34:54,936
Speaker 2: can I convey what I need to say in a

721
00:34:54,956 --> 00:34:58,886
Speaker 2: way that anyone can get it? And he was the king,

722
00:34:59,086 --> 00:35:00,106
Speaker 2: the king of that. Yeah.

723
00:35:00,846 --> 00:35:02,786
Speaker 1: When did you get into Petty?

724
00:35:03,526 --> 00:35:06,206
Speaker 2: He came later. I was always aware of him. But

725
00:35:06,246 --> 00:35:10,176
Speaker 2: it wasn't until I just had this strange renaissance. I

726
00:35:10,196 --> 00:35:13,856
Speaker 2: had this in my mid-20s. Everybody has their thing when

727
00:35:13,876 --> 00:35:16,776
Speaker 2: they're 13. And I had my thing when I was 13.

728
00:35:16,776 --> 00:35:19,076
Speaker 2: And then I had this thing. I got to do

729
00:35:19,116 --> 00:35:22,536
Speaker 2: it again in my 20s. And it was amazing. I

730
00:35:22,596 --> 00:35:24,796
Speaker 2: fell in love with a whole new genre of music.

731
00:35:24,816 --> 00:35:27,416
Speaker 2: It started with Bruce Springsteen. And then that led to

732
00:35:27,476 --> 00:35:31,686
Speaker 2: Petty and Tom Waits and Mellencamp and all of those

733
00:35:31,706 --> 00:35:33,666
Speaker 2: kind of people. Which I think is also a gateway

734
00:35:34,026 --> 00:35:34,626
Speaker 2: to this record.

735
00:35:35,886 --> 00:35:41,056
Speaker 1: Yeah, it seems like it. What was your Bruce awakening?

736
00:35:41,856 --> 00:35:44,096
Speaker 2: Man, I mean, I've talked about it a little bit before.

737
00:35:44,136 --> 00:35:45,836
Speaker 2: I can still see it. I was on Boulder Highway.

738
00:35:46,366 --> 00:35:48,506
Speaker 2: boulder highway and horizon is where i'm from you know

739
00:35:48,786 --> 00:35:50,936
Speaker 2: in henderson it's old henderson if anybody out there is

740
00:35:51,006 --> 00:35:54,136
Speaker 2: watching because henderson has gotten so big now but so

741
00:35:54,156 --> 00:35:57,336
Speaker 2: like the og henderson and i was listening to classic

742
00:35:57,396 --> 00:36:01,956
Speaker 2: rock station it was like 97.1 and they played thunder

743
00:36:01,996 --> 00:36:03,706
Speaker 2: road and it's like yeah i know about born to

744
00:36:03,756 --> 00:36:05,466
Speaker 2: run i know about born in the usa you how

745
00:36:05,486 --> 00:36:07,706
Speaker 2: could you not you know it um if you've been

746
00:36:07,986 --> 00:36:13,356
Speaker 2: alive but and i knew who it was uh And

747
00:36:13,376 --> 00:36:15,136
Speaker 2: I was just, we had, we had, we were, we

748
00:36:15,176 --> 00:36:17,916
Speaker 2: were on a break from, from, we had finished touring

749
00:36:17,956 --> 00:36:23,236
Speaker 2: the first record, Hot Fuss. So I'm 25 or whatever, 24.

750
00:36:23,236 --> 00:36:31,276
Speaker 2: And it was sunny and hot, you know, and it

751
00:36:31,296 --> 00:36:35,276
Speaker 2: just clicked, you know, like I understood it's that thing again.

752
00:36:35,316 --> 00:36:39,386
Speaker 2: He's speaking my language. Like I, it's nothing against Morrissey

753
00:36:39,446 --> 00:36:41,166
Speaker 2: or anybody, but that they're not speaking my language. Yes,

754
00:36:41,206 --> 00:36:45,786
Speaker 2: it's English. but I don't, but it isn't mine. And

755
00:36:45,826 --> 00:36:48,886
Speaker 2: it was like this, something happened and I understood like

756
00:36:48,946 --> 00:36:51,306
Speaker 2: if I'm going to do what I'm trying to do

757
00:36:51,966 --> 00:36:54,666
Speaker 2: and be a creative person and represent who I am

758
00:36:54,706 --> 00:36:57,006
Speaker 2: and where I'm from, like it's got to be, this

759
00:36:57,066 --> 00:37:00,986
Speaker 2: is more me than what I've been trying to, you know,

760
00:37:01,026 --> 00:37:01,766
Speaker 2: than this facade.

761
00:37:02,046 --> 00:37:04,406
Speaker 1: Interesting. It wasn't just that it was you at 13

762
00:37:04,406 --> 00:37:06,246
Speaker 1: and it wasn't you at 24, 25. You just didn't

763
00:37:06,266 --> 00:37:09,396
Speaker 1: think that they're sort of, that lexic, that, that, that

764
00:37:09,586 --> 00:37:12,806
Speaker 1: voir wasn't actually where you were, raised it's like more

765
00:37:12,846 --> 00:37:13,666
Speaker 1: of a yeah.

766
00:37:13,466 --> 00:37:16,606
Speaker 2: It was it was like an epiphany yeah and and

767
00:37:17,136 --> 00:37:19,436
Speaker 2: um it was also everything had happened so fast up

768
00:37:19,476 --> 00:37:22,036
Speaker 2: to that point you know and then there's gonna be

769
00:37:22,056 --> 00:37:23,456
Speaker 2: people that see me say this and say they wish

770
00:37:23,536 --> 00:37:26,416
Speaker 2: you know that i would have just kept going with

771
00:37:26,456 --> 00:37:28,896
Speaker 2: the other thing you know um and it's you know

772
00:37:28,936 --> 00:37:30,456
Speaker 2: it's been a little bit of a of a i

773
00:37:32,146 --> 00:37:33,946
Speaker 2: don't know if it's a dilemma but it's been kind

774
00:37:33,986 --> 00:37:36,066
Speaker 2: of interesting to see you because you because then since

775
00:37:36,106 --> 00:37:39,866
Speaker 2: that point you see these things combined in the killers

776
00:37:39,906 --> 00:37:43,336
Speaker 2: and sometimes when they when they meet is what is

777
00:37:43,416 --> 00:37:45,856
Speaker 2: really a magical thing, you know, cause who would have

778
00:37:45,876 --> 00:37:49,996
Speaker 2: thought that someone would be, would be trying to, to

779
00:37:50,056 --> 00:37:52,736
Speaker 2: reconcile or try to make these things, these influences work.

780
00:37:53,036 --> 00:37:54,556
Speaker 1: Do you still have that other side of you? You

781
00:37:54,596 --> 00:37:55,706
Speaker 1: think the, the, the.

782
00:37:55,936 --> 00:37:57,906
Speaker 2: Yeah, I do. I hear it. Oh, I see it

783
00:37:57,946 --> 00:37:59,406
Speaker 2: in my sons. Cause I have, I have one son

784
00:37:59,426 --> 00:38:01,286
Speaker 2: the other day that was, you know, like listening to

785
00:38:01,326 --> 00:38:04,646
Speaker 2: black celebration from Depeche mode or music for the masses

786
00:38:04,686 --> 00:38:07,446
Speaker 2: or something like that. It's like, there's a song on, uh, uh,

787
00:38:08,506 --> 00:38:12,016
Speaker 2: there's a song called, but not tonight. The last song, on,

788
00:38:12,216 --> 00:38:16,956
Speaker 2: I think on black celebration, man, like crazy to, to

789
00:38:17,016 --> 00:38:19,296
Speaker 2: hear it and remember being his age and what that

790
00:38:19,716 --> 00:38:22,696
Speaker 2: felt like. And I could, I could feel it, you know,

791
00:38:23,236 --> 00:38:25,196
Speaker 2: but I don't think, Oh, I want to do that

792
00:38:25,216 --> 00:38:25,366
Speaker 2: at all.

793
00:38:25,436 --> 00:38:26,956
Speaker 1: It didn't make you want to go down that road again.

794
00:38:30,046 --> 00:38:30,646
Speaker 1: That's fascinating.

795
00:38:30,666 --> 00:38:32,706
Speaker 2: I have another son who's into right now. The other

796
00:38:32,806 --> 00:38:36,926
Speaker 2: one is Oasis. Like everything's Oasis and we're playing pool

797
00:38:36,986 --> 00:38:41,336
Speaker 2: and he's just whistling, whistling little by little. Yeah. So

798
00:38:42,506 --> 00:38:45,646
Speaker 2: he loves it. And so I got that again a

799
00:38:45,646 --> 00:38:48,406
Speaker 2: little bit. Because I did have a real big love

800
00:38:48,446 --> 00:38:53,066
Speaker 2: affair with them when I was 18, 19. And that

801
00:38:53,106 --> 00:38:56,186
Speaker 2: was really nice. And the thing that I go back

802
00:38:56,226 --> 00:39:00,826
Speaker 2: to with them is just the songwriting. Because a lot

803
00:39:00,846 --> 00:39:04,026
Speaker 2: of people, a lot of stuff, a lot was talked about.

804
00:39:04,046 --> 00:39:06,466
Speaker 2: And when our first record, it was like Duran Duran,

805
00:39:06,526 --> 00:39:09,466
Speaker 2: Depeche Mode, and whatever they were talking about. And New

806
00:39:09,566 --> 00:39:13,676
Speaker 2: Order and stuff like that. But the songwriting was, I

807
00:39:14,336 --> 00:39:16,596
Speaker 2: was learning from Oasis. It was like, you look at,

808
00:39:17,176 --> 00:39:22,286
Speaker 2: somebody told me, Mr. Brightside, they have these big prolonged pre-choruses.

809
00:39:22,606 --> 00:39:25,426
Speaker 2: And that is just, that's Noel Gallagher's book. Like that's

810
00:39:25,506 --> 00:39:27,546
Speaker 2: straight from him. Like those other bands didn't do that

811
00:39:27,586 --> 00:39:29,906
Speaker 2: kind of stuff as much. But it sets you up

812
00:39:29,946 --> 00:39:32,566
Speaker 2: for these big choruses. And that's why those Oasis songs

813
00:39:32,586 --> 00:39:33,046
Speaker 2: are so big.

814
00:39:33,086 --> 00:39:35,546
Speaker 1: That's fascinating. So that's the magic of at least early

815
00:39:35,566 --> 00:39:42,976
Speaker 1: Killers is like that Brit pop song. school with the

816
00:39:43,536 --> 00:39:46,736
Speaker 1: dressed up as kind of these like New Order-y.

817
00:39:46,816 --> 00:39:49,416
Speaker 2: Yeah, yeah, yeah.

818
00:39:49,496 --> 00:39:53,356
Speaker 1: I'd never put that together as being sort of the

819
00:39:53,396 --> 00:39:54,456
Speaker 1: confluence of those two things.

820
00:39:54,496 --> 00:39:57,276
Speaker 2: Yeah, it's pretty cool. It's amazing how it all just meshes.

821
00:40:01,646 --> 00:40:06,226
Speaker 1: So you had the Bruce Springsteen epiphany. Yeah. And that

822
00:40:06,266 --> 00:40:08,986
Speaker 1: led you down, you know, I imagine like a.

823
00:40:09,006 --> 00:40:11,976
Speaker 2: Well, it's like, I wear, sometimes I wear, you know,

824
00:40:12,006 --> 00:40:13,836
Speaker 2: we're from Las Vegas and that gives us permission to,

825
00:40:14,076 --> 00:40:16,396
Speaker 2: you know, wear flashy things on stage. You know, I do,

826
00:40:16,456 --> 00:40:18,776
Speaker 2: I get away with things that other bands maybe not,

827
00:40:19,456 --> 00:40:23,916
Speaker 2: maybe not, maybe they couldn't. But there's this part of

828
00:40:23,956 --> 00:40:26,026
Speaker 2: me that's, you know, that's my dad's side or that's

829
00:40:26,046 --> 00:40:29,026
Speaker 2: the person that I, the way I dress when I'm

830
00:40:29,066 --> 00:40:31,566
Speaker 2: not on stage. And it was like, those kind of

831
00:40:31,606 --> 00:40:33,726
Speaker 2: things are starting to come into play. You're becoming a man,

832
00:40:33,766 --> 00:40:36,046
Speaker 2: you're figuring out who you are. And so, yeah, that was,

833
00:40:36,066 --> 00:40:38,486
Speaker 2: it was like, okay, this is more, this is reality.

834
00:40:38,506 --> 00:40:39,606
Speaker 2: It's more authentic to me.

835
00:40:40,026 --> 00:40:43,736
Speaker 1: Since then, have you had another musical discovery?

836
00:40:45,236 --> 00:40:47,936
Speaker 2: No, I think it's getting more into like the nuances

837
00:40:48,296 --> 00:40:51,036
Speaker 2: of these. So like that, like I would, like I

838
00:40:51,076 --> 00:40:53,526
Speaker 2: go back to John Prine or something like that, where that's,

839
00:40:53,546 --> 00:40:57,776
Speaker 2: he's this sort of, he's in the periphery. of tom

840
00:40:57,816 --> 00:40:59,496
Speaker 2: petty in a way you know what i mean and

841
00:40:59,536 --> 00:41:01,816
Speaker 2: it's like you you get led there yeah and then

842
00:41:01,856 --> 00:41:04,436
Speaker 2: it's like these are these are you know um you

843
00:41:04,456 --> 00:41:07,156
Speaker 2: know the songwriter songwriters and people like that that start

844
00:41:07,176 --> 00:41:09,636
Speaker 2: to come into play yeah and so that that's the

845
00:41:09,736 --> 00:41:12,996
Speaker 2: those are the nice surprises that that have come into

846
00:41:13,036 --> 00:41:13,816
Speaker 2: my life along the.

847
00:41:13,776 --> 00:41:16,356
Speaker 1: Way was was neil ever uh neil young ever.

848
00:41:16,176 --> 00:41:19,596
Speaker 2: Uh yeah he's he's he's in there okay i feel

849
00:41:19,616 --> 00:41:21,236
Speaker 2: like i hear a little neil on this yeah this

850
00:41:21,276 --> 00:41:22,736
Speaker 2: way i could hear some of that you know.

851
00:41:22,706 --> 00:41:26,506
Speaker 1: Every once in a while um angel felt a little

852
00:41:26,526 --> 00:41:29,386
Speaker 1: oh yeah yeah yeah there's a yeah there's a priny

853
00:41:29,406 --> 00:41:30,466
Speaker 1: though in the lyrics.

854
00:41:30,286 --> 00:41:33,186
Speaker 2: Yeah yeah um i could see that yeah for sure

855
00:41:33,246 --> 00:41:37,486
Speaker 2: in the especially the some of the heavier moments yeah.

856
00:41:37,346 --> 00:41:39,946
Speaker 1: Yeah tell me about tell me about that angel into

857
00:41:40,246 --> 00:41:42,826
Speaker 1: um the next track is the red uh red red

858
00:41:42,866 --> 00:41:46,766
Speaker 1: ground red ground i don't know if it's incidental or

859
00:41:46,826 --> 00:41:50,416
Speaker 1: on purpose but having the merit that slight mariachi moment

860
00:41:50,456 --> 00:41:52,826
Speaker 1: at the end of angel and then the big moment

861
00:41:52,866 --> 00:41:54,406
Speaker 1: at the top of the red yeah i mean it's

862
00:41:54,486 --> 00:41:56,366
Speaker 1: fun that's it's fun yeah that's great.

863
00:41:57,666 --> 00:42:00,406
Speaker 2: Yeah i know it's um we got everything was recorded

864
00:42:00,446 --> 00:42:04,036
Speaker 2: in nashville but the mariachi was la you can't you

865
00:42:04,076 --> 00:42:06,276
Speaker 2: just can't can't fake it has to be in la

866
00:42:06,916 --> 00:42:10,916
Speaker 2: and so that's the only that's the only one that

867
00:42:10,956 --> 00:42:14,136
Speaker 2: wasn't done the only thing that wasn't done in nashville.

868
00:42:14,666 --> 00:42:16,506
Speaker 1: Did you know there was going to be a mariachi there?

869
00:42:16,526 --> 00:42:20,666
Speaker 2: Yeah, well, it was going to be, it's a story

870
00:42:20,686 --> 00:42:24,696
Speaker 2: about a Hispanic young man. Yeah. And it's a true story.

871
00:42:24,716 --> 00:42:27,156
Speaker 2: It's a true story. And I've just, I've conceived, I've

872
00:42:27,196 --> 00:42:30,676
Speaker 2: changed his name. And so it just felt appropriate to

873
00:42:30,716 --> 00:42:33,026
Speaker 2: have the mariachi at the end.

874
00:42:33,436 --> 00:42:35,356
Speaker 1: Something you read or it's a person, you know, this

875
00:42:35,396 --> 00:42:37,346
Speaker 1: person I know. Wow. Yeah. I was going to ask,

876
00:42:37,356 --> 00:42:40,696
Speaker 1: cause it is so specific, you know, like in a way.

877
00:42:40,996 --> 00:42:41,816
Speaker 2: Yeah.

878
00:42:42,336 --> 00:42:45,076
Speaker 1: Um, but like, like, like beautiful. I mean, I have

879
00:42:45,196 --> 00:42:47,676
Speaker 1: nothing in common with that person.

880
00:42:47,796 --> 00:42:48,116
Speaker 2: Right.

881
00:42:48,176 --> 00:42:50,106
Speaker 1: Really. It's so that's that specific that I can tell

882
00:42:50,126 --> 00:42:52,546
Speaker 1: I have nothing really in common. I'm not, I don't

883
00:42:52,566 --> 00:42:54,706
Speaker 1: play baseball. There's no one, no one was ever scouting

884
00:42:54,726 --> 00:42:59,336
Speaker 1: me for anything, you know? And, um, but, uh, it's,

885
00:42:59,596 --> 00:43:01,506
Speaker 1: it's a really moving, it's really moving, you know?

886
00:43:01,526 --> 00:43:03,326
Speaker 2: Oh yeah. It's a, the chorus, I love what the

887
00:43:03,366 --> 00:43:08,186
Speaker 2: chorus does. Um, and how each, you know, it, it

888
00:43:08,326 --> 00:43:13,206
Speaker 2: represents each verse, but each verse is so different. And every,

889
00:43:13,246 --> 00:43:16,346
Speaker 2: so every time you've got this new development and the,

890
00:43:16,456 --> 00:43:19,196
Speaker 2: but the chorus stays this permanent to it. And I

891
00:43:19,356 --> 00:43:19,716
Speaker 2: love that.

892
00:43:19,956 --> 00:43:21,996
Speaker 1: Yeah. Yeah. What about the red ground?

893
00:43:22,196 --> 00:43:24,016
Speaker 2: That's a, Red Ground, I was trying to write like

894
00:43:24,036 --> 00:43:29,376
Speaker 2: a Lee Hazelwood song. It ended up not like Lee

895
00:43:29,396 --> 00:43:36,176
Speaker 2: Hazelwood at all. But yeah, it was the fastest written song.

896
00:43:36,296 --> 00:43:38,856
Speaker 2: It's one of those moments that you hear about that

897
00:43:38,876 --> 00:43:46,986
Speaker 2: just falls from heaven or falls into your lap. We

898
00:43:47,026 --> 00:43:49,666
Speaker 2: open with it most nights. We've only done a few shows,

899
00:43:49,686 --> 00:43:51,226
Speaker 2: but we open with it. And it's just such a

900
00:43:51,346 --> 00:43:54,446
Speaker 2: fun way to start the show. and was, was going

901
00:43:54,466 --> 00:43:56,936
Speaker 2: to be reserved for the other record. Cause there's two

902
00:43:57,016 --> 00:43:59,776
Speaker 2: records that we cut. Um, so it's really an outlier

903
00:43:59,816 --> 00:44:01,876
Speaker 2: in that sense, because it's more of a romantic song

904
00:44:02,196 --> 00:44:04,796
Speaker 2: where the rest are more narrative songs. Um, but, but

905
00:44:04,836 --> 00:44:07,556
Speaker 2: it just, um, it just felt good. It just felt

906
00:44:07,596 --> 00:44:08,336
Speaker 2: good after Angel.

907
00:44:08,396 --> 00:44:12,246
Speaker 1: Yeah. Wait, wait. Yeah. So what, so the second, you

908
00:44:12,266 --> 00:44:14,106
Speaker 1: do have a second album and it's done.

909
00:44:14,706 --> 00:44:18,046
Speaker 2: It's, it just needs, uh, mixed more, more mixing. Okay.

910
00:44:18,946 --> 00:44:22,376
Speaker 1: And, uh, is it in a similar vein?

911
00:44:22,456 --> 00:44:29,826
Speaker 2: Is it, Same band. It's just thematically different. It's more romance-leaning.

912
00:44:31,166 --> 00:44:35,716
Speaker 2: But not like sappy romance. It's more like, what's it

913
00:44:35,756 --> 00:44:38,056
Speaker 2: going to take for this to last? What does it

914
00:44:38,096 --> 00:44:40,916
Speaker 2: take for people to make it and stay together kind

915
00:44:40,936 --> 00:44:45,216
Speaker 2: of a thing? It's like a hard-earned thing and not

916
00:44:45,256 --> 00:44:47,336
Speaker 2: so much a sappy love album.

917
00:44:47,736 --> 00:44:48,796
Speaker 1: It's a grown-up take on.

918
00:44:49,296 --> 00:44:49,656
Speaker 2: Yeah.

919
00:44:49,676 --> 00:44:52,706
Speaker 1: I mean, you've been in a long-term... that what like

920
00:44:52,906 --> 00:44:55,706
Speaker 1: in your view as some you know i'm also.

921
00:44:55,526 --> 00:44:57,786
Speaker 2: Married trying to make it what is it yeah in

922
00:44:57,826 --> 00:44:59,686
Speaker 2: your view well i i always go back to my

923
00:44:59,746 --> 00:45:05,086
Speaker 2: parents because i i hate from my perspective i always

924
00:45:05,246 --> 00:45:07,926
Speaker 2: whenever it's difficult to give advice but it's like i

925
00:45:07,966 --> 00:45:11,366
Speaker 2: don't i i'm so lucky i'm so successful in my

926
00:45:11,406 --> 00:45:13,706
Speaker 2: life with money and things like that i don't i

927
00:45:13,726 --> 00:45:15,726
Speaker 2: don't have i'm not fighting with my wife over bills

928
00:45:15,756 --> 00:45:18,516
Speaker 2: yeah so whenever i see like a super or a

929
00:45:18,536 --> 00:45:21,546
Speaker 2: movie star or something like that like giving, you know,

930
00:45:21,566 --> 00:45:24,546
Speaker 2: marriage advice or something, I always like recoil a little bit.

931
00:45:25,206 --> 00:45:28,946
Speaker 2: So I can just tell you from my parents, who

932
00:45:28,986 --> 00:45:33,266
Speaker 2: were not super famous people or rich at all, they were,

933
00:45:33,466 --> 00:45:36,206
Speaker 2: you know, poor people. It was just, you know, it

934
00:45:36,246 --> 00:45:42,556
Speaker 2: was the love and letting little things go and foundation,

935
00:45:42,576 --> 00:45:45,836
Speaker 2: you know, they both had this shared faith and this

936
00:45:46,196 --> 00:45:49,976
Speaker 2: shared belief in what the job was and they kept

937
00:45:49,996 --> 00:45:53,456
Speaker 2: the family close and they prioritized the family. My dad

938
00:45:53,506 --> 00:45:56,906
Speaker 2: wasn't like, it was, you know, very much around the

939
00:45:56,946 --> 00:45:59,286
Speaker 2: family as I grew up. That's a big part. You

940
00:45:59,306 --> 00:46:02,506
Speaker 2: know that from your LDS experience. And that's also just

941
00:46:02,546 --> 00:46:04,046
Speaker 2: part of my upbringing.

942
00:46:04,186 --> 00:46:06,286
Speaker 1: Yeah, it's huge. Like there's a big, I mean, the

943
00:46:06,386 --> 00:46:08,866
Speaker 1: fact that, I mean, there's these big families and everyone knows,

944
00:46:09,446 --> 00:46:10,866
Speaker 1: I would forget everybody.

945
00:46:13,586 --> 00:46:17,746
Speaker 2: Yeah, when I was four, My sister started having babies.

946
00:46:17,866 --> 00:46:21,186
Speaker 2: So by the time I was probably 13, there were

947
00:46:21,186 --> 00:46:24,466
Speaker 2: 17 or 18 nieces and nephews. And so it was

948
00:46:24,506 --> 00:46:26,346
Speaker 2: just like, it was kind of a madhouse.

949
00:46:26,726 --> 00:46:30,986
Speaker 1: That's wild, man. Yeah. Does it feel strange to be

950
00:46:31,026 --> 00:46:33,726
Speaker 1: in such a different position than your parents were at

951
00:46:34,066 --> 00:46:37,656
Speaker 1: your age? Does it feel a bit disorienting?

952
00:46:37,716 --> 00:46:41,216
Speaker 2: Yeah, it can be a little bit. There wasn't really

953
00:46:41,256 --> 00:46:44,636
Speaker 2: a blueprint for me. And you're just kind of trying to,

954
00:46:45,166 --> 00:46:48,306
Speaker 2: figure out how, you know, how, how it all plays out.

955
00:46:50,586 --> 00:46:53,166
Speaker 2: There's just not a, yeah, I don't know. It's a,

956
00:46:53,226 --> 00:46:54,676
Speaker 2: it's a kind of a tough one. Yeah.

957
00:46:55,596 --> 00:46:55,796
Speaker 1: Yeah.

958
00:46:55,876 --> 00:46:59,336
Speaker 2: Cause there's no, it's a miracle what's happened to me.

959
00:46:59,516 --> 00:47:01,496
Speaker 2: You know, I've been saying it on stage, you know,

960
00:47:01,516 --> 00:47:02,696
Speaker 2: it's part, it's part of the end of the show.

961
00:47:02,736 --> 00:47:09,976
Speaker 2: It's a miracle. Um, I, my family wasn't artistic. They weren't,

962
00:47:10,096 --> 00:47:12,176
Speaker 2: you know, there were nobody, I always say that was

963
00:47:12,216 --> 00:47:16,936
Speaker 2: something that other people did. Um, When I was five,

964
00:47:17,836 --> 00:47:21,146
Speaker 2: my great-grandma moved in with us, and she lived with

965
00:47:21,186 --> 00:47:23,006
Speaker 2: us for a year until she passed away when she

966
00:47:23,046 --> 00:47:27,326
Speaker 2: was 93. And she had a piano, and that got

967
00:47:27,366 --> 00:47:29,706
Speaker 2: dropped off. When they dropped her off at our house,

968
00:47:30,126 --> 00:47:33,446
Speaker 2: they dropped off her piano, and that's it. I would

969
00:47:33,466 --> 00:47:36,936
Speaker 2: have never played an instrument.

970
00:47:37,106 --> 00:47:37,396
Speaker 1: Wow.

971
00:47:37,476 --> 00:47:38,546
Speaker 2: It wouldn't have even.

972
00:47:38,336 --> 00:47:45,246
Speaker 1: Been a question. How quickly were you drawn to the

973
00:47:45,286 --> 00:47:46,106
Speaker 1: piano once it was.

974
00:47:46,426 --> 00:47:51,146
Speaker 2: I started getting piano lessons when I was six. And

975
00:47:51,286 --> 00:47:53,586
Speaker 2: it's off and on until I was 12. But that

976
00:47:53,606 --> 00:47:56,006
Speaker 2: was enough for me to do what I'm able to

977
00:47:56,046 --> 00:48:01,636
Speaker 2: do now. I know the shapes of chords. And that

978
00:48:01,676 --> 00:48:03,576
Speaker 2: was kind of all I needed.

979
00:48:04,636 --> 00:48:09,166
Speaker 1: Do you play guitar as well? No. No. So you

980
00:48:09,186 --> 00:48:10,486
Speaker 1: write primarily on piano?

981
00:48:10,566 --> 00:48:10,866
Speaker 2: Yeah.

982
00:48:11,466 --> 00:48:14,446
Speaker 1: And do you play on your records often?

983
00:48:16,386 --> 00:48:16,786
Speaker 2: Synths?

984
00:48:17,126 --> 00:48:17,886
Speaker 1: These days?

985
00:48:17,906 --> 00:48:22,286
Speaker 2: Oh, like, yeah. On this, on Thrasher, no. But there

986
00:48:22,326 --> 00:48:24,616
Speaker 2: might be a couple of melodies that I had pre,

987
00:48:26,216 --> 00:48:27,856
Speaker 2: you know, that were already sort of set in stone

988
00:48:27,896 --> 00:48:30,016
Speaker 2: before we went there that we would have showed the guys.

989
00:48:30,116 --> 00:48:30,316
Speaker 1: Yeah.

990
00:48:31,416 --> 00:48:35,336
Speaker 2: Like the head on Paradise. I call it the head.

991
00:48:35,356 --> 00:48:37,796
Speaker 2: I don't even know what, you know, the head on Paradise?

992
00:48:37,816 --> 00:48:39,856
Speaker 1: Yes. You flexing your music target.

993
00:48:39,876 --> 00:48:41,416
Speaker 2: Well, you know, the only reason I know that, well, no,

994
00:48:41,436 --> 00:48:45,956
Speaker 2: Vinucci went to music college, whatever he did. And so

995
00:48:46,036 --> 00:48:48,536
Speaker 2: I only learned that from him. So I know the

996
00:48:48,556 --> 00:48:51,516
Speaker 2: head on Paradise. I wrote that at home, and then

997
00:48:51,536 --> 00:48:53,056
Speaker 2: we just showed it to Lauer.

998
00:48:53,536 --> 00:48:58,916
Speaker 1: Yeah, so how did you have demos of these? How

999
00:48:58,936 --> 00:49:01,256
Speaker 1: did you show this? In what form did you bring

1000
00:49:01,296 --> 00:49:03,326
Speaker 1: the songs to Nashville to show the band?

1001
00:49:03,906 --> 00:49:06,946
Speaker 2: Some of them were pretty well demoed. Okay.

1002
00:49:07,006 --> 00:49:07,226
Speaker 1: Yeah.

1003
00:49:07,896 --> 00:49:11,456
Speaker 2: They weren't, they weren't, they didn't sound necessarily, definitely not

1004
00:49:11,496 --> 00:49:13,756
Speaker 2: as good as they sound now, but they were, you know,

1005
00:49:13,816 --> 00:49:17,026
Speaker 2: they were, the structure was there and the song was there.

1006
00:49:17,626 --> 00:49:20,026
Speaker 1: It's cool because sometimes I hear demos for songs and

1007
00:49:20,066 --> 00:49:23,456
Speaker 1: I'm like, man, the demo sounds better because it has

1008
00:49:23,456 --> 00:49:27,066
Speaker 1: a sparseness and just has a stark, it just it

1009
00:49:27,126 --> 00:49:30,756
Speaker 1: feels like but this album does not sound at all

1010
00:49:30,796 --> 00:49:34,656
Speaker 1: overproduced i mean so it's i i um i'm i'm

1011
00:49:34,716 --> 00:49:36,596
Speaker 1: grateful that there wasn't like it feels like.

1012
00:49:37,396 --> 00:49:38,856
Speaker 2: Every time you know every time we make a record

1013
00:49:38,896 --> 00:49:40,576
Speaker 2: i think i'm gonna go i'm gonna go sing it

1014
00:49:40,576 --> 00:49:43,376
Speaker 2: 10 times after and we're gonna make a comp and

1015
00:49:43,416 --> 00:49:46,356
Speaker 2: then i went and did that for this record and

1016
00:49:46,696 --> 00:49:50,316
Speaker 2: every time we went back to me singing live and

1017
00:49:50,396 --> 00:49:54,976
Speaker 2: used the live stuff. It's just, there was a spontaneity

1018
00:49:55,056 --> 00:49:57,376
Speaker 2: and just a, there was a real spirit just playing

1019
00:49:57,396 --> 00:49:58,596
Speaker 2: with the guys.

1020
00:49:58,976 --> 00:50:03,356
Speaker 1: Yeah. How many songs are on the next thing?

1021
00:50:03,356 --> 00:50:04,166
Speaker 2: 10, 10 or 11.

1022
00:50:04,166 --> 00:50:04,996
Speaker 1: 10 or 11?

1023
00:50:04,996 --> 00:50:05,216
Speaker 2: Yeah.

1024
00:50:05,316 --> 00:50:08,606
Speaker 1: Okay. So you had about 20 some songs?

1025
00:50:08,646 --> 00:50:10,346
Speaker 2: I think we did 23. There might be a couple

1026
00:50:10,366 --> 00:50:12,566
Speaker 2: that just may never surface.

1027
00:50:12,586 --> 00:50:16,066
Speaker 1: Never, never surface. And are these albums of a piece?

1028
00:50:16,366 --> 00:50:17,366
Speaker 1: When is the second album?

1029
00:50:17,696 --> 00:50:19,656
Speaker 2: Oh, I think the next one will come out next, uh,

1030
00:50:19,876 --> 00:50:24,596
Speaker 2: in 2027. Okay. Okay. Yeah. Probably in the summer, around

1031
00:50:24,616 --> 00:50:25,526
Speaker 2: the summertime. Yeah.

1032
00:50:26,186 --> 00:50:28,166
Speaker 1: What, um, you know, I was, I'm going to ask

1033
00:50:28,206 --> 00:50:30,046
Speaker 1: about the title where it came from. I think that

1034
00:50:30,086 --> 00:50:33,766
Speaker 1: might also be why I was so in the Neil,

1035
00:50:34,006 --> 00:50:35,226
Speaker 1: Neil Young lines. Yeah.

1036
00:50:35,266 --> 00:50:36,606
Speaker 2: He has a song called Thrasher.

1037
00:50:36,626 --> 00:50:39,226
Speaker 1: Yeah. From Russ Never Sleeps. That's, you know, phenomenal. Yeah.

1038
00:50:39,306 --> 00:50:41,206
Speaker 2: No, it goes back to the, the, the more about

1039
00:50:41,226 --> 00:50:42,836
Speaker 2: the masculinity question, actually.

1040
00:50:42,916 --> 00:50:43,956
Speaker 1: Okay. Yeah.

1041
00:50:44,976 --> 00:50:47,786
Speaker 2: Um, I was, when we first moved to, To Payson,

1042
00:50:48,166 --> 00:50:49,306
Speaker 2: where Footloose was filmed.

1043
00:50:50,866 --> 00:50:52,666
Speaker 1: Forever will be known as.

1044
00:50:53,326 --> 00:50:55,106
Speaker 2: Jewel was born there also.

1045
00:50:55,396 --> 00:50:57,656
Speaker 1: Jewel? Jewel? Yeah. I thought she was from Alaska.

1046
00:50:57,796 --> 00:50:59,496
Speaker 2: She was born in Payson.

1047
00:50:59,736 --> 00:51:00,656
Speaker 1: Wow. Okay.

1048
00:51:00,936 --> 00:51:05,036
Speaker 2: Anyway. I'll tell another one. I'm just going to say it.

1049
00:51:05,036 --> 00:51:06,186
Speaker 2: I'm going to tell another one. I met her once.

1050
00:51:06,206 --> 00:51:06,586
Speaker 2: I told her.

1051
00:51:06,606 --> 00:51:07,156
Speaker 1: Did you tell her?

1052
00:51:07,386 --> 00:51:09,426
Speaker 2: I told her I grew up in Payson. I lived

1053
00:51:09,446 --> 00:51:12,386
Speaker 2: in Payson. Did not care. She said, thanks for sharing.

1054
00:51:12,406 --> 00:51:14,106
Speaker 1: What?

1055
00:51:16,046 --> 00:51:18,966
Speaker 2: I was like, what a weird answer. See, you guys

1056
00:51:19,006 --> 00:51:20,256
Speaker 2: are getting my guard down on the couch.

1057
00:51:20,816 --> 00:51:21,416
Speaker 1: I'm sorry.

1058
00:51:21,436 --> 00:51:24,656
Speaker 2: I shouldn't be sitting down. But what a weird answer, Jewel.

1059
00:51:25,056 --> 00:51:30,516
Speaker 2: All right. Sorry. I would never answer. I don't know.

1060
00:51:30,656 --> 00:51:33,296
Speaker 2: Show some. I don't know. It's kind of interesting.

1061
00:51:33,656 --> 00:51:37,116
Speaker 1: I mean, how many people in your line of work

1062
00:51:39,016 --> 00:51:44,336
Speaker 1: have any connection to bass in Utah? Maybe Salt Lake.

1063
00:51:44,416 --> 00:51:45,166
Speaker 1: You know, you could see. Yeah.

1064
00:51:46,036 --> 00:51:47,296
Speaker 2: It is, yeah. I'm in the right.

1065
00:51:47,836 --> 00:51:53,386
Speaker 1: You are. I'm telling you firmly. How do you interact

1066
00:51:53,426 --> 00:51:53,946
Speaker 1: with fans?

1067
00:51:54,806 --> 00:52:00,106
Speaker 2: I try to do my best. I had some unsavory experiences.

1068
00:52:00,126 --> 00:52:03,106
Speaker 2: I had some great experiences with people I idolized. I

1069
00:52:03,126 --> 00:52:04,226
Speaker 2: also had some weird ones.

1070
00:52:04,586 --> 00:52:05,826
Speaker 1: What were the good ones?

1071
00:52:06,266 --> 00:52:10,386
Speaker 2: Good ones. I always go back to this. Danny Elfman.

1072
00:52:11,256 --> 00:52:13,216
Speaker 2: who I know is a little bit on the fringe

1073
00:52:14,376 --> 00:52:18,206
Speaker 2: right now. Older, yeah. But he was having a birthday.

1074
00:52:18,386 --> 00:52:19,706
Speaker 2: I was a busboy at Spago.

1075
00:52:21,626 --> 00:52:22,466
Speaker 1: Was there Spago in Vegas?

1076
00:52:22,526 --> 00:52:26,026
Speaker 2: Yeah, in Caesars Palace. And I was 18. And I

1077
00:52:26,066 --> 00:52:30,656
Speaker 2: loved Oingo Boingo. Man. It was sort of like the

1078
00:52:30,716 --> 00:52:33,256
Speaker 2: closest thing I got to punk. You know what I mean?

1079
00:52:33,396 --> 00:52:36,476
Speaker 2: They had a real punk ethos, I think, in that band.

1080
00:52:36,516 --> 00:52:39,096
Speaker 1: But then had the keyboards to sort of mitigate that. Yeah,

1081
00:52:39,196 --> 00:52:39,536
Speaker 1: and brass.

1082
00:52:39,776 --> 00:52:43,356
Speaker 2: And it was so good. They have a song called

1083
00:52:43,396 --> 00:52:47,236
Speaker 2: Private Life that's just like... You could wake me up

1084
00:52:47,256 --> 00:52:49,066
Speaker 2: at three in the morning out of dead sleep and

1085
00:52:49,086 --> 00:52:50,726
Speaker 2: I could sing the lyrics of Private Life. Anyway.

1086
00:52:51,446 --> 00:52:51,686
Speaker 1: Love it.

1087
00:52:54,026 --> 00:52:59,386
Speaker 2: He's having dinner with his wife and his friends. And my...

1088
00:53:00,876 --> 00:53:05,416
Speaker 2: We're told not to, obviously not to harass anyone, but especially,

1089
00:53:05,436 --> 00:53:08,296
Speaker 2: you know, celebrities and famous people and all that, that

1090
00:53:08,316 --> 00:53:10,696
Speaker 2: come into the restaurant. He's not in my section. I'm

1091
00:53:10,756 --> 00:53:15,476
Speaker 2: out front, like, you know, where the Gucci and, you know,

1092
00:53:15,536 --> 00:53:17,136
Speaker 2: whatever is out here. And I'm out here and he's

1093
00:53:17,156 --> 00:53:19,116
Speaker 2: back in the dining room, but I know he's back there.

1094
00:53:19,696 --> 00:53:22,926
Speaker 2: And so I break protocol. I can't help it. And

1095
00:53:22,966 --> 00:53:25,566
Speaker 2: I go up to the table and I'm like, you

1096
00:53:25,586 --> 00:53:28,926
Speaker 2: just say the thing. I'm a big fan or whatever.

1097
00:53:29,046 --> 00:53:32,636
Speaker 2: I don't know what you're hoping for. But he was fine.

1098
00:53:32,656 --> 00:53:35,316
Speaker 2: I think he shook my hand. So as soon as

1099
00:53:35,356 --> 00:53:37,616
Speaker 2: I walk out, I see we had this manager named Trinny.

1100
00:53:38,536 --> 00:53:41,126
Speaker 2: And it's a strange name, Trinny. I guess that's why

1101
00:53:41,146 --> 00:53:41,676
Speaker 2: I remember it.

1102
00:53:41,736 --> 00:53:42,566
Speaker 1: Like Trinny Lopez.

1103
00:53:42,626 --> 00:53:42,906
Speaker 2: Trinny.

1104
00:53:42,926 --> 00:53:44,116
Speaker 1: That's the only other Trinny I can think of.

1105
00:53:44,146 --> 00:53:49,946
Speaker 2: And Trinny is pissed that I just did what I did.

1106
00:53:50,026 --> 00:53:52,446
Speaker 2: He saw what I did. But the interesting thing about Trinny,

1107
00:53:52,726 --> 00:53:56,506
Speaker 2: this is crazy. He met his wife at an Oingo

1108
00:53:56,546 --> 00:53:57,226
Speaker 2: Boingo concert.

1109
00:53:57,246 --> 00:53:59,176
Speaker 1: Wait, what? After the... Like, before.

1110
00:53:59,196 --> 00:53:59,736
Speaker 2: This is true.

1111
00:53:59,936 --> 00:54:00,936
Speaker 1: Before. No, before.

1112
00:54:01,536 --> 00:54:04,386
Speaker 2: So he gets it. Like, if anybody gets it, Trini

1113
00:54:04,426 --> 00:54:04,876
Speaker 2: gets it.

1114
00:54:04,886 --> 00:54:05,506
Speaker 1: Yeah.

1115
00:54:05,686 --> 00:54:09,326
Speaker 2: Sorry. In all of Las Vegas, like, how many people even...

1116
00:54:09,226 --> 00:54:09,926
Speaker 2: You know what I mean?

1117
00:54:10,046 --> 00:54:10,306
Speaker 1: Yeah.

1118
00:54:10,366 --> 00:54:11,126
Speaker 2: Trini gets it.

1119
00:54:11,126 --> 00:54:12,386
Speaker 1: Trini got it, but he still got.

1120
00:54:12,406 --> 00:54:15,746
Speaker 2: He didn't fire me, but I got in trouble. And Elfman...

1121
00:54:15,806 --> 00:54:17,686
Speaker 2: I always call him the Elfman, which is a thing

1122
00:54:17,706 --> 00:54:20,756
Speaker 2: from my brother. But anyways, the Elfman sees this happen.

1123
00:54:20,836 --> 00:54:25,446
Speaker 2: He kind of knows I'm in trouble. It's not... It

1124
00:54:25,486 --> 00:54:27,336
Speaker 2: wasn't common, but I worked the night shift. Then I

1125
00:54:27,356 --> 00:54:29,616
Speaker 2: worked the day shift. So the next morning, I'm opening.

1126
00:54:30,716 --> 00:54:34,316
Speaker 2: And I'm, you know, like, whatever. I'm, like, cleaning spots

1127
00:54:34,376 --> 00:54:37,836
Speaker 2: off of glasses and rolling up silverware and all that.

1128
00:54:38,576 --> 00:54:42,536
Speaker 2: And I see Danny Elfman walking. He's just walking in

1129
00:54:42,576 --> 00:54:44,976
Speaker 2: the mall, which I'm just kind of excited. Again, there

1130
00:54:44,996 --> 00:54:48,136
Speaker 2: he is. And he walks up. And walks straight to

1131
00:54:48,156 --> 00:54:50,496
Speaker 2: the hostess desk and leaves a piece of paper and

1132
00:54:50,516 --> 00:54:53,316
Speaker 2: then just walks off. And I run over to the

1133
00:54:53,356 --> 00:54:55,336
Speaker 2: hostess desk like, what is he saying? What is he doing?

1134
00:54:55,796 --> 00:54:59,516
Speaker 2: And it was a note to me. And just like so,

1135
00:54:59,676 --> 00:55:01,736
Speaker 2: you know, went out of his way to write me

1136
00:55:01,776 --> 00:55:03,296
Speaker 2: a note and bring it back the next day.

1137
00:55:03,316 --> 00:55:03,386
Speaker 1: Wow.

1138
00:55:04,076 --> 00:55:05,686
Speaker 2: And it's like, that's a great experience.

1139
00:55:06,316 --> 00:55:07,356
Speaker 1: That is phenomenal. Yeah.

1140
00:55:07,376 --> 00:55:08,126
Speaker 2: That was really nice.

1141
00:55:08,146 --> 00:55:08,976
Speaker 1: Have you had a chance to?

1142
00:55:09,006 --> 00:55:13,426
Speaker 2: Yeah, I've talked to him about it. Later on, we

1143
00:55:13,446 --> 00:55:15,906
Speaker 2: were able to work with Tim Burton, which has been

1144
00:55:15,926 --> 00:55:19,866
Speaker 2: a really amazing thing. And so they have that great

1145
00:55:20,366 --> 00:55:24,046
Speaker 2: history together. Anyway, yeah.

1146
00:55:24,476 --> 00:55:26,646
Speaker 1: That was a good one. Give us another bad one.

1147
00:55:26,726 --> 00:55:27,626
Speaker 1: Give us another bad one.

1148
00:55:28,586 --> 00:55:33,636
Speaker 2: The bad is... I mean, the same restaurant is a Morrissey.

1149
00:55:34,796 --> 00:55:37,456
Speaker 2: Morrissey Interaction wasn't the greatest. But that's just what you expect.

1150
00:55:37,476 --> 00:55:38,276
Speaker 1: Morrissey has Spago?

1151
00:55:38,336 --> 00:55:39,316
Speaker 2: That's to be expected.

1152
00:55:39,336 --> 00:55:41,236
Speaker 1: But Morrissey has Spago.

1153
00:55:41,256 --> 00:55:42,496
Speaker 2: Spago, yeah, yeah, yeah.

1154
00:55:42,776 --> 00:55:43,876
Speaker 1: That's amazing.

1155
00:55:43,976 --> 00:55:47,336
Speaker 2: I think it was... And if I'm right, because you

1156
00:55:47,356 --> 00:55:50,116
Speaker 2: know he can't– he's in the news now for canceling gigs,

1157
00:55:50,156 --> 00:55:55,646
Speaker 2: but he's been canceling gigs forever. So it's just par

1158
00:55:55,806 --> 00:55:58,486
Speaker 2: for the course. So I think I saw him– I

1159
00:55:58,526 --> 00:56:00,386
Speaker 2: was meant to see him four times growing up, and

1160
00:56:00,626 --> 00:56:02,946
Speaker 2: he canceled two of them, which is like that's about right.

1161
00:56:02,966 --> 00:56:04,156
Speaker 1: Half and half.

1162
00:56:04,236 --> 00:56:05,896
Speaker 2: And my kids now want to see him, and we

1163
00:56:06,136 --> 00:56:08,376
Speaker 2: were going to go see him, and he's canceled both

1164
00:56:08,416 --> 00:56:09,806
Speaker 2: times that we were supposed to go see him.

1165
00:56:11,306 --> 00:56:12,486
Speaker 1: That's not the bad part, though, right?

1166
00:56:12,526 --> 00:56:14,926
Speaker 2: No, no, it was just like I was, but this,

1167
00:56:15,326 --> 00:56:16,846
Speaker 2: I tell you, I'm partly to blame for it because

1168
00:56:16,866 --> 00:56:19,966
Speaker 2: I was a little bit over the top. Because I

1169
00:56:20,006 --> 00:56:22,066
Speaker 2: was like, he has an effect on people, you know.

1170
00:56:23,206 --> 00:56:24,006
Speaker 1: It's that, it's the.

1171
00:56:24,066 --> 00:56:29,236
Speaker 2: Yeah. It's just, and so I was like a disciple, man.

1172
00:56:29,516 --> 00:56:31,596
Speaker 2: And he came to eat. And I think he was

1173
00:56:31,636 --> 00:56:33,496
Speaker 2: coming to eat the day after he canceled the gig

1174
00:56:33,516 --> 00:56:35,676
Speaker 2: that I was supposed to go to. I'm pretty sure

1175
00:56:35,716 --> 00:56:39,056
Speaker 2: it was the same, the same trip. Anyway, so he

1176
00:56:39,096 --> 00:56:42,716
Speaker 2: didn't look too sick to sing. He was going out

1177
00:56:43,236 --> 00:56:47,496
Speaker 2: and he was getting a mushroom pizza. And it's fine.

1178
00:56:47,796 --> 00:56:52,666
Speaker 2: And he just wasn't having it. He's used to that.

1179
00:56:52,946 --> 00:56:56,626
Speaker 2: He's used to it. To people just falling over themselves.

1180
00:56:56,786 --> 00:56:57,966
Speaker 1: Was it just complete ignoring?

1181
00:56:58,186 --> 00:56:59,426
Speaker 2: Yeah, it was nothing.

1182
00:56:59,506 --> 00:57:03,346
Speaker 1: Nothing. Yeah. How excited would you be for a Smiths reunion,

1183
00:57:03,386 --> 00:57:04,206
Speaker 1: a proper Smiths?

1184
00:57:04,526 --> 00:57:08,896
Speaker 2: Now it's just different. Now it's just... Well, it's impossible now, too.

1185
00:57:08,916 --> 00:57:10,866
Speaker 1: I heard they got close, man.

1186
00:57:11,086 --> 00:57:13,906
Speaker 2: Yeah, they say that. And they say that Johnny Marr

1187
00:57:14,086 --> 00:57:15,826
Speaker 2: was the one that turned it down. And it's like

1188
00:57:15,946 --> 00:57:20,916
Speaker 2: out of righteous indignation. And it's like, good on him. Yeah,

1189
00:57:21,096 --> 00:57:22,416
Speaker 2: that's true. That's a bold move.

1190
00:57:22,516 --> 00:57:25,066
Speaker 1: That's true. I love Johnny Marr.

1191
00:57:25,126 --> 00:57:26,606
Speaker 2: We love him, yeah. We've got to tour with him

1192
00:57:26,646 --> 00:57:28,566
Speaker 2: a little bit and got to know him a little bit,

1193
00:57:28,626 --> 00:57:29,546
Speaker 2: and he's just great.

1194
00:57:29,926 --> 00:57:30,626
Speaker 1: Have you played with him?

1195
00:57:30,906 --> 00:57:34,806
Speaker 2: Yeah, we did a whole tour playing with him across

1196
00:57:34,846 --> 00:57:35,446
Speaker 2: North America.

1197
00:57:35,646 --> 00:57:37,226
Speaker 1: Have you done a studio session with him?

1198
00:57:37,386 --> 00:57:40,916
Speaker 2: No, but we did This Charming Man. What's crazy, we

1199
00:57:40,956 --> 00:57:45,696
Speaker 2: did This Charming Man with him at Glastonbury. What's amazing

1200
00:57:45,736 --> 00:57:50,816
Speaker 2: about that is we'd never... met before the before backstage

1201
00:57:51,096 --> 00:57:53,556
Speaker 2: yeah and we just ran through the song backstage and

1202
00:57:53,576 --> 00:57:55,596
Speaker 2: then went out and played to 100 000 people and

1203
00:57:55,616 --> 00:57:59,056
Speaker 2: did and did it and it was like so great

1204
00:57:59,316 --> 00:58:01,896
Speaker 2: such a fun night such a fun moment um and

1205
00:58:01,916 --> 00:58:04,156
Speaker 2: then he ended up coming around with us and um

1206
00:58:04,376 --> 00:58:06,016
Speaker 2: and we would do fun we would do songs that

1207
00:58:06,076 --> 00:58:09,336
Speaker 2: he hasn't played in you know 40 years and um

1208
00:58:09,496 --> 00:58:10,916
Speaker 2: and some that he had never played live that i

1209
00:58:10,956 --> 00:58:14,236
Speaker 2: didn't realize i'd forgotten that they broke up before they

1210
00:58:14,276 --> 00:58:16,976
Speaker 2: toured the last record yeah so we're doing, if you're

1211
00:58:17,006 --> 00:58:19,406
Speaker 2: doing a song on strange ways, here we come. He's

1212
00:58:19,446 --> 00:58:22,846
Speaker 2: never played that live with, with, with the singer. And

1213
00:58:22,966 --> 00:58:24,846
Speaker 2: so we chose stop me. If you think you've heard

1214
00:58:24,866 --> 00:58:27,106
Speaker 2: this one before, and I didn't realize I'm, this is

1215
00:58:27,146 --> 00:58:30,886
Speaker 2: the first time, you know, that he's doing it with a,

1216
00:58:30,956 --> 00:58:34,236
Speaker 2: with a band and a singer. And that was, that

1217
00:58:34,256 --> 00:58:36,376
Speaker 2: was a while to, to realize that after we did

1218
00:58:36,416 --> 00:58:38,836
Speaker 2: cool stuff, like what she said and some deep cuts

1219
00:58:38,876 --> 00:58:39,416
Speaker 2: that I love.

1220
00:58:39,956 --> 00:58:42,116
Speaker 1: What was he so articulate about music too? What was

1221
00:58:42,156 --> 00:58:43,936
Speaker 1: his read on, on, on you guys?

1222
00:58:44,556 --> 00:58:50,146
Speaker 2: Um, He's, you know, he was really, really positive about us.

1223
00:58:50,466 --> 00:58:53,006
Speaker 2: He seems to like us enough.

1224
00:58:53,026 --> 00:58:53,986
Speaker 1: Yeah, no, yeah.

1225
00:58:54,046 --> 00:58:57,066
Speaker 2: He would watch the shows. There was a special moment. Well,

1226
00:58:57,086 --> 00:58:59,606
Speaker 2: there's two special moments. So he would watch every night,

1227
00:58:59,936 --> 00:59:02,576
Speaker 2: which has no business. He doesn't need to do this.

1228
00:59:03,016 --> 00:59:06,396
Speaker 2: And he would watch from the side. And there's a

1229
00:59:06,536 --> 00:59:09,276
Speaker 2: moment at the end of Runaways where I'm just, I'm

1230
00:59:09,316 --> 00:59:11,696
Speaker 2: ripping this little Tom Petty thing. And he called me

1231
00:59:11,816 --> 00:59:13,716
Speaker 2: out on it. And it's just a little, it's just

1232
00:59:13,756 --> 00:59:15,906
Speaker 2: more of like a, tip of the hat to him.

1233
00:59:15,926 --> 00:59:18,206
Speaker 2: It's not like for stealing anything bad. And I would,

1234
00:59:18,336 --> 00:59:20,066
Speaker 2: and I, every time I did it after he told me,

1235
00:59:20,076 --> 00:59:22,116
Speaker 2: I would look over at him and he would, you know,

1236
00:59:23,616 --> 00:59:25,956
Speaker 2: like give me a little look. And then the other

1237
00:59:25,996 --> 00:59:28,916
Speaker 2: thing is there's this moment on caution. This is a

1238
00:59:28,936 --> 00:59:31,116
Speaker 2: song of ours is a single from imploding the mirage,

1239
00:59:32,296 --> 00:59:34,786
Speaker 2: which sort of went under the radar. It was during

1240
00:59:34,826 --> 00:59:40,626
Speaker 2: COVID and everything was just blah, blah. But this song,

1241
00:59:40,726 --> 00:59:45,776
Speaker 2: it's got something. Everybody go check out Caution from Imploding

1242
00:59:45,796 --> 00:59:48,916
Speaker 2: the Mirage. But we would play it and there's this

1243
00:59:48,996 --> 00:59:53,676
Speaker 2: beautiful moment. It's a synth line after the chorus. It's

1244
00:59:53,696 --> 00:59:58,756
Speaker 2: the head. And he told me, he said this beautiful

1245
00:59:58,776 --> 01:00:01,636
Speaker 2: thing to me once. And he said, when you play that,

1246
01:00:03,466 --> 01:00:06,486
Speaker 2: It's one of the beautiful things about live music. It's like,

1247
01:00:06,606 --> 01:00:09,446
Speaker 2: I like to think of it like when that's happening,

1248
01:00:09,466 --> 01:00:13,816
Speaker 2: you know, in the whole world, like that for those

1249
01:00:13,816 --> 01:00:17,276
Speaker 2: 15 seconds, it's the best, you know, it's the most

1250
01:00:17,356 --> 01:00:20,036
Speaker 2: beautiful thing that's happening in the world. And when you

1251
01:00:20,056 --> 01:00:23,306
Speaker 2: play that melody at the end, after the chorus is across,

1252
01:00:23,606 --> 01:00:25,536
Speaker 2: I mean, after the chorus of Caution. And it was

1253
01:00:25,556 --> 01:00:27,856
Speaker 2: just like, what a thing to say, you know, what

1254
01:00:27,876 --> 01:00:29,116
Speaker 2: a great thing to hear from Johnny Marr.

1255
01:00:29,496 --> 01:00:32,316
Speaker 1: Yeah, that's enough to make you look, you know.

1256
01:00:32,416 --> 01:00:35,036
Speaker 2: It is a pretty part, but I don't, you know.

1257
01:00:35,056 --> 01:00:37,096
Speaker 1: That's beautiful, man, to get that kind of an endorsement.

1258
01:00:37,116 --> 01:00:40,376
Speaker 2: Yeah, you can't help but like walk a little bit taller.

1259
01:00:40,586 --> 01:00:44,326
Speaker 1: Yeah, of course. Speaking of songs that I feel like never,

1260
01:00:44,346 --> 01:00:46,606
Speaker 1: and I think people like the song, I think people

1261
01:00:46,626 --> 01:00:49,386
Speaker 1: like the album, but the first song.

1262
01:00:49,406 --> 01:00:49,946
Speaker 2: Crossfire.

1263
01:00:50,346 --> 01:00:53,246
Speaker 1: No, the first song from your first solo album. Oh,

1264
01:00:53,766 --> 01:00:56,496
Speaker 1: what is it? Welcome to Fabulous Las Vegas.

1265
01:00:56,506 --> 01:00:57,276
Speaker 2: Is that the first song?

1266
01:00:57,396 --> 01:01:01,256
Speaker 1: First song. And, you know, never got, like, at the

1267
01:01:01,296 --> 01:01:04,276
Speaker 1: time it didn't get in that sense, obviously, either. Never got, like,

1268
01:01:04,416 --> 01:01:07,816
Speaker 1: single treatment. No, yeah. But it's such a, I don't know,

1269
01:01:07,856 --> 01:01:11,816
Speaker 1: it's just like, it's so clearly like a phenomenal song.

1270
01:01:11,856 --> 01:01:14,196
Speaker 2: Oh, thanks. Yeah, we haven't been playing that. We need

1271
01:01:14,216 --> 01:01:16,976
Speaker 2: to break that thing out, maybe. It's sort of like

1272
01:01:17,036 --> 01:01:20,736
Speaker 2: coming from a, it's like an Elvis impersonator, like, down

1273
01:01:20,796 --> 01:01:22,306
Speaker 2: on his luck kind of a story.

1274
01:01:22,326 --> 01:01:23,546
Speaker 1: That's what you think of it?

1275
01:01:23,586 --> 01:01:23,706
Speaker 2: Yeah.

1276
01:01:23,726 --> 01:01:26,976
Speaker 1: That's right. Do you ever embody a character when you're singing?

1277
01:01:28,796 --> 01:01:32,246
Speaker 2: Yeah, I try. I mean, I try to inhabit them.

1278
01:01:32,646 --> 01:01:36,786
Speaker 2: You know, if it's a narrative and it's a specific person,

1279
01:01:36,906 --> 01:01:40,666
Speaker 2: I try to a little bit, yeah. On the new record,

1280
01:01:41,206 --> 01:01:44,186
Speaker 2: there's a song called Paradise about an aging valet, Parker.

1281
01:01:44,826 --> 01:01:45,246
Speaker 1: Yes.

1282
01:01:46,066 --> 01:01:48,386
Speaker 2: And so I try to, you know, because that was

1283
01:01:48,506 --> 01:01:52,786
Speaker 2: my plan. What do you mean that was your plan?

1284
01:01:52,986 --> 01:01:53,196
Speaker 1: That was.

1285
01:01:53,676 --> 01:01:56,816
Speaker 2: my, that was what I wanted to do in Bay,

1286
01:01:56,836 --> 01:01:59,576
Speaker 2: you know, being in Vegas. And my, my cousin was

1287
01:01:59,596 --> 01:02:00,796
Speaker 2: your life's plan. Yeah.

1288
01:02:00,816 --> 01:02:00,896
Speaker 1: Yeah.

1289
01:02:00,956 --> 01:02:04,236
Speaker 2: My uncles and my cousins and, and you know, my

1290
01:02:04,276 --> 01:02:07,326
Speaker 2: dad even was a bellman at treasure Island. And, um,

1291
01:02:07,646 --> 01:02:10,686
Speaker 2: and right now this one stems from my cousin, Bobby.

1292
01:02:10,806 --> 01:02:13,566
Speaker 2: He's a, he works at the Luxor. So I'm sort

1293
01:02:13,586 --> 01:02:15,266
Speaker 2: of trying to step into his shoes a little bit.

1294
01:02:15,466 --> 01:02:17,266
Speaker 1: Wow. Did you, does he know this?

1295
01:02:17,506 --> 01:02:19,766
Speaker 2: Yeah. I went, I okayed it with him.

1296
01:02:19,906 --> 01:02:21,366
Speaker 1: Does he appreciate the song?

1297
01:02:21,386 --> 01:02:21,466
Speaker 2: Yeah.

1298
01:02:22,106 --> 01:02:25,536
Speaker 1: It's great. It's that song has some, really kind of

1299
01:02:25,576 --> 01:02:27,356
Speaker 1: poignant couplets.

1300
01:02:27,416 --> 01:02:30,096
Speaker 2: Yeah the second verse gets starts to get a little sad.

1301
01:02:29,836 --> 01:02:33,296
Speaker 1: Yeah yeah vegas when you were growing up i feel

1302
01:02:33,316 --> 01:02:35,146
Speaker 1: like kind of went through had a i mean maybe

1303
01:02:35,166 --> 01:02:37,086
Speaker 1: when you're through i don't know for the 80s the

1304
01:02:37,446 --> 01:02:40,166
Speaker 1: 90s for vegas felt like from the outside a bit

1305
01:02:40,206 --> 01:02:42,126
Speaker 1: of a a renaissance.

1306
01:02:42,066 --> 01:02:44,426
Speaker 2: Yeah uh no 80s and 90s was a big deal

1307
01:02:44,546 --> 01:02:49,196
Speaker 2: yeah um well in the 80s we got the It

1308
01:02:49,276 --> 01:02:51,396
Speaker 2: started to go family friendly. Okay.

1309
01:02:51,546 --> 01:02:52,906
Speaker 1: That was in the 80s when that started?

1310
01:02:52,926 --> 01:02:54,526
Speaker 2: 80s, yeah. It started in the late 80s and you

1311
01:02:54,966 --> 01:02:57,366
Speaker 2: got the volcano. You started getting these attractions. The Mirage

1312
01:02:57,406 --> 01:02:58,166
Speaker 2: had the volcano.

1313
01:02:58,426 --> 01:02:58,646
Speaker 1: Right.

1314
01:02:59,186 --> 01:03:01,086
Speaker 2: And it was like, man, I mean, if somebody came

1315
01:03:01,126 --> 01:03:03,926
Speaker 2: to town, we were going to the Mirage to see

1316
01:03:03,966 --> 01:03:07,326
Speaker 2: the volcano. Like that's what we were doing 100%. And

1317
01:03:10,056 --> 01:03:12,956
Speaker 2: so that kind of stuff started happening. And then there

1318
01:03:12,976 --> 01:03:14,236
Speaker 2: was like a theme park at the MGM.

1319
01:03:14,256 --> 01:03:14,436
Speaker 1: Yeah.

1320
01:03:15,736 --> 01:03:17,956
Speaker 2: And, and that, that, and that started going into the

1321
01:03:18,026 --> 01:03:21,146
Speaker 2: nineties and, and then it was really family, you know,

1322
01:03:21,166 --> 01:03:22,966
Speaker 2: it was really in the nineties. It was like a

1323
01:03:23,006 --> 01:03:23,686
Speaker 2: really family.

1324
01:03:23,866 --> 01:03:24,106
Speaker 1: Yeah.

1325
01:03:24,366 --> 01:03:26,486
Speaker 2: And it's crazy how big dance culture became in the

1326
01:03:26,626 --> 01:03:29,306
Speaker 2: early two thousands and switched, you know, started switching into

1327
01:03:29,326 --> 01:03:31,666
Speaker 2: the two, in the two thousands, but it was a great,

1328
01:03:31,876 --> 01:03:33,456
Speaker 2: it was great. I think that feel like that was

1329
01:03:33,476 --> 01:03:36,176
Speaker 2: the golden. I mean, obviously there was like the rat pack,

1330
01:03:36,216 --> 01:03:38,716
Speaker 2: the rat pack vibe, but there was something special about

1331
01:03:39,376 --> 01:03:41,556
Speaker 2: that late eighties. There was a sweet spot, man.

1332
01:03:41,876 --> 01:03:42,476
Speaker 1: Yeah, yeah.

1333
01:03:42,496 --> 01:03:43,016
Speaker 2: That's gone.

1334
01:03:43,176 --> 01:03:46,116
Speaker 1: And probably what makes that such a sweet spot, too,

1335
01:03:46,176 --> 01:03:50,226
Speaker 1: is because some of the people from that initial era

1336
01:03:50,266 --> 01:03:51,026
Speaker 1: were still there.

1337
01:03:51,066 --> 01:03:54,426
Speaker 2: Yeah, you had Siegfried and Roy, and you had Wayne Newton.

1338
01:03:54,806 --> 01:03:57,186
Speaker 1: Who you've gotten to. Yeah, yeah.

1339
01:03:57,206 --> 01:03:58,936
Speaker 2: Perform with Wayne. Yeah, we've done it.

1340
01:03:58,946 --> 01:03:59,686
Speaker 1: It's crazy. Yeah.

1341
01:04:00,846 --> 01:04:02,586
Speaker 2: That was another one of those things. It was just like,

1342
01:04:02,826 --> 01:04:04,066
Speaker 2: you knew where Wayne Newton lived.

1343
01:04:04,686 --> 01:04:06,496
Speaker 1: You actually knew where he lived. Oh, yeah.

1344
01:04:06,516 --> 01:04:10,296
Speaker 2: I mean, he had a huge compound in Green Valley.

1345
01:04:10,316 --> 01:04:13,556
Speaker 2: It's called Green Valley. It's in between... Henderson and Las Vegas.

1346
01:04:14,376 --> 01:04:19,216
Speaker 2: And it was a massive wall. My brother, I remember

1347
01:04:19,236 --> 01:04:21,536
Speaker 2: him coming home one night and being like, him and

1348
01:04:21,556 --> 01:04:23,676
Speaker 2: his buddies jumped up on the wall and looked over

1349
01:04:23,716 --> 01:04:26,316
Speaker 2: the wall into Wayne's world.

1350
01:04:26,396 --> 01:04:28,116
Speaker 1: Into Wayne's world.

1351
01:04:28,596 --> 01:04:31,856
Speaker 2: And they were so excited. And there was a helicopter.

1352
01:04:33,606 --> 01:04:35,206
Speaker 1: Was Tyson living there at that time too?

1353
01:04:35,446 --> 01:04:39,186
Speaker 2: Yeah, yeah. I love these little bits. It's like the

1354
01:04:39,206 --> 01:04:41,616
Speaker 2: gym I would go to. had a speed bag, and

1355
01:04:41,636 --> 01:04:44,456
Speaker 2: the ball, the bag was off of it, and there's

1356
01:04:44,476 --> 01:04:47,776
Speaker 2: just a chain hanging. And Tyson had come to the

1357
01:04:47,836 --> 01:04:50,556
Speaker 2: gym one day just to mess around and broke it.

1358
01:04:50,916 --> 01:04:56,546
Speaker 2: So forever, there's just a chain. They never replaced it.

1359
01:04:56,566 --> 01:04:59,826
Speaker 2: Those are like those little Las Vegas-centric things that I love.

1360
01:04:59,986 --> 01:05:03,706
Speaker 2: I went to a daddy day at school with my

1361
01:05:03,726 --> 01:05:06,726
Speaker 2: kids once, and one of the other dads was David Copperfields.

1362
01:05:08,096 --> 01:05:11,636
Speaker 2: wait it's like what yeah it's like vegas is wild

1363
01:05:12,436 --> 01:05:14,686
Speaker 2: um it was it's but yeah that was it was

1364
01:05:14,706 --> 01:05:15,846
Speaker 2: a good time it's a good time.

1365
01:05:15,686 --> 01:05:19,946
Speaker 1: David copperville it's phenomenal just like on his phone he

1366
01:05:19,986 --> 01:05:21,826
Speaker 1: was at your kid's school yeah his kid was.

1367
01:05:21,786 --> 01:05:23,626
Speaker 2: In the same grade as my grade as my kid

1368
01:05:23,666 --> 01:05:27,006
Speaker 2: yeah kids yeah funny yeah yeah he had a straggler

1369
01:05:27,666 --> 01:05:32,496
Speaker 2: yeah do you remember tupac nine yeah my friend sorry

1370
01:05:32,876 --> 01:05:35,436
Speaker 2: A kid on my golf team, his dad was one

1371
01:05:35,456 --> 01:05:36,856
Speaker 2: of the surgeons that worked on him. So it was like,

1372
01:05:36,876 --> 01:05:39,136
Speaker 2: because you know all of the whatever, the lore, is

1373
01:05:39,176 --> 01:05:41,626
Speaker 2: he alive or any of that. But my friend was like,

1374
01:05:42,166 --> 01:05:45,686
Speaker 2: I can confirm my dad was like in the room. Yeah.

1375
01:05:46,326 --> 01:05:48,386
Speaker 2: And yeah, that was a crazy, crazy thing.

1376
01:05:48,426 --> 01:05:48,926
Speaker 1: That's wild.

1377
01:05:49,226 --> 01:05:51,886
Speaker 2: That music was so good. That was when I was

1378
01:05:53,066 --> 01:05:54,706
Speaker 2: in high school, in my last couple years of high

1379
01:05:54,726 --> 01:05:57,386
Speaker 2: school is when all that stuff was, it was just

1380
01:05:57,426 --> 01:05:58,246
Speaker 2: so undeniable.

1381
01:05:58,266 --> 01:06:00,566
Speaker 1: Yeah. You were into hip hop? Yeah, either.

1382
01:06:00,626 --> 01:06:03,026
Speaker 2: It didn't matter, East Coast or West Coast. What was

1383
01:06:03,066 --> 01:06:06,106
Speaker 2: good was good, and it was just so good.

1384
01:06:06,286 --> 01:06:08,486
Speaker 1: Yeah. Did that put a pall on the city, though,

1385
01:06:08,526 --> 01:06:09,286
Speaker 1: for a bit?

1386
01:06:10,506 --> 01:06:12,786
Speaker 2: Or not so much? Not so much. Maybe for a

1387
01:06:12,826 --> 01:06:14,786
Speaker 2: couple of weeks. You know, it's in the headlines again.

1388
01:06:14,806 --> 01:06:15,346
Speaker 1: I know.

1389
01:06:15,386 --> 01:06:18,546
Speaker 2: The guy that, were they arrested, that guy? That's old

1390
01:06:18,566 --> 01:06:21,546
Speaker 2: Henderson that I was talking about. That's where you grew up?

1391
01:06:21,856 --> 01:06:26,196
Speaker 2: I lived a street over from where that guy's house was.

1392
01:06:26,376 --> 01:06:28,316
Speaker 2: That's where I lived with my sister when the band started.

1393
01:06:28,626 --> 01:06:32,026
Speaker 1: It's crazy that they solved that. Any songs we haven't

1394
01:06:32,066 --> 01:06:34,066
Speaker 1: talked about that you want to talk about from this?

1395
01:06:34,346 --> 01:06:35,286
Speaker 2: I'm okay.

1396
01:06:37,286 --> 01:06:38,706
Speaker 1: What's In a Heartbeat about?

1397
01:06:40,056 --> 01:06:43,036
Speaker 2: Well, most of the songs on the record are really

1398
01:06:43,556 --> 01:06:48,476
Speaker 2: personal songs and about actual people. In a Heartbeat is, again,

1399
01:06:48,516 --> 01:06:50,736
Speaker 2: a little bit, is the only one that's a little different.

1400
01:06:50,996 --> 01:06:53,666
Speaker 2: It was just, I'm just doing my best Chris Christopherson

1401
01:06:53,746 --> 01:06:56,946
Speaker 2: and just wrote a sad story. Yeah.

1402
01:06:56,986 --> 01:06:59,696
Speaker 1: He's Chris Christopherson is one of the, yeah, that was

1403
01:06:59,716 --> 01:07:00,916
Speaker 1: one of the few on the album where I knew

1404
01:07:00,976 --> 01:07:04,936
Speaker 1: right away. Okay. This is clearly, this is super sad.

1405
01:07:04,956 --> 01:07:05,576
Speaker 2: You know? Yeah.

1406
01:07:05,776 --> 01:07:07,616
Speaker 1: But, um, it's, it's a great listen.

1407
01:07:07,756 --> 01:07:10,776
Speaker 2: Oh, thanks. Yeah. The musicianship on that, the, with the outro,

1408
01:07:11,276 --> 01:07:13,146
Speaker 2: we just let them run. It goes on for about

1409
01:07:13,186 --> 01:07:14,846
Speaker 2: a minute at the end, which I don't typically do.

1410
01:07:15,526 --> 01:07:18,266
Speaker 2: They just, it sounds so good. We were just like,

1411
01:07:18,306 --> 01:07:19,646
Speaker 2: let the guys keep playing.

1412
01:07:19,666 --> 01:07:20,346
Speaker 1: Yeah.

1413
01:07:20,366 --> 01:07:22,606
Speaker 2: And I love, I love, I love the outro. Yeah.

1414
01:07:22,726 --> 01:07:25,366
Speaker 1: It's phenomenal, man. And who are you playing with on,

1415
01:07:25,486 --> 01:07:25,886
Speaker 1: on the road?

1416
01:07:26,816 --> 01:07:30,696
Speaker 2: We got guys. The bass player is Snake Blanton. He

1417
01:07:32,256 --> 01:07:35,656
Speaker 2: was an auxiliary musician with the Killers, and when Mark's

1418
01:07:35,696 --> 01:07:38,186
Speaker 2: not there, he plays bass. And then he's been with

1419
01:07:38,226 --> 01:07:43,726
Speaker 2: me on all three solo endeavors. And we got a

1420
01:07:43,806 --> 01:07:46,826
Speaker 2: drummer from the Howling Bells named Glenn. We got a

1421
01:07:48,206 --> 01:07:54,416
Speaker 2: pedal steel player who's also a Nevada kid, Muskrat. His

1422
01:07:54,436 --> 01:07:56,556
Speaker 2: name is Musgrat. Brady Musgrat Henry.

1423
01:07:56,596 --> 01:07:58,296
Speaker 1: Just Kristen and Musgrat.

1424
01:07:58,616 --> 01:08:00,696
Speaker 2: But yeah, there's like nine of us up there. But yeah,

1425
01:08:00,716 --> 01:08:05,196
Speaker 2: we got Robbie Conley, who's another Killers Auxiliary musician who

1426
01:08:05,236 --> 01:08:07,796
Speaker 2: gets to play lead with me on this and is

1427
01:08:08,096 --> 01:08:11,576
Speaker 2: like a phenomenal guitar player. And it's been going great.

1428
01:08:11,796 --> 01:08:15,976
Speaker 1: How does performing this feel compared to being the front

1429
01:08:15,996 --> 01:08:16,656
Speaker 1: man of the Killers?

1430
01:08:16,736 --> 01:08:21,876
Speaker 2: Yeah, it's a little bit more tame of an experience.

1431
01:08:22,776 --> 01:08:26,206
Speaker 2: But there's a I've been taking the time to tell

1432
01:08:26,226 --> 01:08:28,546
Speaker 2: a little bit more stories because the rooms are smaller,

1433
01:08:28,926 --> 01:08:31,596
Speaker 2: and it really lends itself to that, this music. And

1434
01:08:32,616 --> 01:08:34,836
Speaker 2: that's been really interesting. It gives you a whole new

1435
01:08:34,876 --> 01:08:37,816
Speaker 2: insight into the songs before you play them, and you

1436
01:08:37,836 --> 01:08:38,996
Speaker 2: might see them through a different lens.

1437
01:08:39,776 --> 01:08:42,976
Speaker 1: Do you walk? I was thinking, going back to you

1438
01:08:43,006 --> 01:08:46,746
Speaker 1: were loathe to be sitting for this part, but this

1439
01:08:46,826 --> 01:08:49,416
Speaker 1: album seems like it would lend itself... to sitting and

1440
01:08:49,696 --> 01:08:50,916
Speaker 1: you could sit for me i.

1441
01:08:50,856 --> 01:08:51,356
Speaker 2: Choose not to.

1442
01:08:53,896 --> 01:08:55,726
Speaker 1: You so you just are you stationed harry are.

1443
01:08:55,706 --> 01:08:58,286
Speaker 2: You i drew i try yeah i i do a

1444
01:08:58,306 --> 01:09:02,126
Speaker 2: lot with my face if i need to but i

1445
01:09:02,206 --> 01:09:03,986
Speaker 2: know i move a little bit i just it's just

1446
01:09:04,206 --> 01:09:05,866
Speaker 2: if if there's a moment you know i got i

1447
01:09:05,926 --> 01:09:07,206
Speaker 2: got a couple of moments worked out.

1448
01:09:07,146 --> 01:09:10,266
Speaker 1: Amazing And I'm realizing before we wrap up too, I

1449
01:09:10,306 --> 01:09:13,486
Speaker 1: never let you finish the Thrasher meeting. You said it.

1450
01:09:13,406 --> 01:09:15,326
Speaker 2: Was related to.

1451
01:09:15,336 --> 01:09:15,596
Speaker 1: Oh, yeah.

1452
01:09:15,646 --> 01:09:19,416
Speaker 2: Yeah. No, it's okay. When we first moved to Payson,

1453
01:09:20,156 --> 01:09:23,856
Speaker 2: I don't want to over exaggerate. It wasn't like I was...

1454
01:09:23,836 --> 01:09:24,196
Speaker 2: It was like.

1455
01:09:28,086 --> 01:09:30,286
Speaker 2: Trauma that i carry but i was built i you

1456
01:09:30,306 --> 01:09:32,826
Speaker 2: know i i got into a couple of fights and

1457
01:09:32,886 --> 01:09:36,646
Speaker 2: i got i was mildly bullied and i got my

1458
01:09:36,686 --> 01:09:39,326
Speaker 2: butt kicked one time in particular by this kid that

1459
01:09:40,486 --> 01:09:43,066
Speaker 2: country kid that was just like i had no i

1460
01:09:43,096 --> 01:09:45,016
Speaker 2: had no chance it was like a thing that you

1461
01:09:45,036 --> 01:09:47,216
Speaker 2: just didn't see coming either it was like it wasn't

1462
01:09:47,256 --> 01:09:49,196
Speaker 2: even like we didn't like square up and you know

1463
01:09:49,576 --> 01:09:51,496
Speaker 2: he just it was sort of a sucker punch and

1464
01:09:51,516 --> 01:09:53,896
Speaker 2: it was just like those things you know when you're

1465
01:09:53,916 --> 01:09:58,196
Speaker 2: in the fourth grade You don't want that. That's not

1466
01:09:58,216 --> 01:10:02,316
Speaker 2: what you're looking for. And so my dad took the

1467
01:10:02,336 --> 01:10:06,266
Speaker 2: opportunity to try to teach me how to fight. And

1468
01:10:07,246 --> 01:10:11,226
Speaker 2: that's sort of where, in Utah, to thrash someone is

1469
01:10:11,306 --> 01:10:16,646
Speaker 2: to be a victor in a fight, basically. And so

1470
01:10:16,886 --> 01:10:22,576
Speaker 2: I've always felt, back to masculinity, like I wasn't as...

1471
01:10:23,826 --> 01:10:26,266
Speaker 2: masculine as maybe my dad wanted me to be or

1472
01:10:26,306 --> 01:10:30,286
Speaker 2: as I could have been. But I've become a thrasher

1473
01:10:30,426 --> 01:10:31,166
Speaker 2: in another sense.

1474
01:10:31,306 --> 01:10:31,846
Speaker 1: In another sense.

1475
01:10:31,866 --> 01:10:34,186
Speaker 2: Yeah, and so that was where the title came from.

1476
01:10:34,226 --> 01:10:35,786
Speaker 2: And on the cover, I'm swinging.

1477
01:10:36,106 --> 01:10:39,166
Speaker 1: What did he make of the theatrics of sort of

1478
01:10:39,206 --> 01:10:39,906
Speaker 1: your front man?

1479
01:10:39,926 --> 01:10:44,336
Speaker 2: Oh, once that happened, it was such a surprise to everybody,

1480
01:10:44,356 --> 01:10:48,496
Speaker 2: I think, the way it all played out, that he's

1481
01:10:48,596 --> 01:10:50,876
Speaker 2: always been really supportive and proud. But he's always been

1482
01:10:50,896 --> 01:10:53,436
Speaker 2: waiting for me to make this record. So he's really,

1483
01:10:53,736 --> 01:10:55,156
Speaker 2: really into this record.

1484
01:10:55,636 --> 01:11:00,926
Speaker 1: Also, before we go, what was the impetus for your

1485
01:11:01,126 --> 01:11:03,766
Speaker 1: falling out with or your distaste for Fall Out Boy

1486
01:11:03,786 --> 01:11:08,826
Speaker 1: and all of that? I have a similar distaste for it. Okay.

1487
01:11:08,866 --> 01:11:13,746
Speaker 2: It was weird. I think going back to that, they

1488
01:11:13,766 --> 01:11:15,186
Speaker 2: were on the same label as us and the same

1489
01:11:15,486 --> 01:11:16,466
Speaker 2: A & R guy, and I think we were just

1490
01:11:16,506 --> 01:11:19,636
Speaker 2: sort of fighting for attention. Okay. And I wanted all

1491
01:11:19,656 --> 01:11:19,846
Speaker 2: of it.

1492
01:11:19,856 --> 01:11:20,276
Speaker 1: Does.

1493
01:11:22,626 --> 01:11:24,586
Speaker 1: Does that competitive spirit remain in you?

1494
01:11:24,666 --> 01:11:26,706
Speaker 2: Yeah, I think it's how I was born. I was

1495
01:11:27,266 --> 01:11:30,806
Speaker 2: just born this way, you know, just, uh, it's, um,

1496
01:11:31,146 --> 01:11:33,566
Speaker 2: I think it's healthy. I don't, you know, it shouldn't

1497
01:11:33,586 --> 01:11:36,346
Speaker 2: just be reserved for sports or, you know, I think,

1498
01:11:36,366 --> 01:11:38,246
Speaker 2: you know, it's just, it's okay to have, it's, it's

1499
01:11:38,266 --> 01:11:40,836
Speaker 2: become more of a friendly thing now, but, you know, I'm,

1500
01:11:40,846 --> 01:11:42,936
Speaker 2: I'm excited to hear something that that's great.

1501
01:11:43,276 --> 01:11:46,616
Speaker 1: Music in general has become more friendly or you've become more? Both. Yeah.

1502
01:11:46,676 --> 01:11:48,056
Speaker 2: And just both in the way that I see it,

1503
01:11:48,156 --> 01:11:49,536
Speaker 2: you know, there's room for all of us. Yeah.

1504
01:11:50,556 --> 01:11:53,246
Speaker 1: I do like some of the competitiveness, though. I do

1505
01:11:53,266 --> 01:11:56,526
Speaker 1: miss that. I mean, that quote was like, when I

1506
01:11:56,546 --> 01:11:58,806
Speaker 1: revisited it, I was like, that's a throwback to another

1507
01:11:58,826 --> 01:12:01,766
Speaker 1: time when you could just say crazy shit.

1508
01:12:02,196 --> 01:12:04,596
Speaker 2: I mean, you know, it just wasn't. They're just doing

1509
01:12:04,616 --> 01:12:06,676
Speaker 2: the best they can. They're just doing the music that

1510
01:12:06,696 --> 01:12:09,536
Speaker 2: they like, you know. I'm doing the music I like.

1511
01:12:10,396 --> 01:12:15,866
Speaker 1: Thanks for doing your music, man. Appreciate it. Broken Record

1512
01:12:15,886 --> 01:12:18,206
Speaker 1: is produced and edited by Leah Rose with marketing help

1513
01:12:18,226 --> 01:12:21,796
Speaker 1: from Eric Sandler and Jordan McMillan. Our engineer is Ben Talladay.

1514
01:12:22,636 --> 01:12:25,276
Speaker 1: Broken Record is a production of Pushkin Industries. If you

1515
01:12:25,316 --> 01:12:28,216
Speaker 1: love this show and others from Pushkin, consider subscribing to

1516
01:12:28,236 --> 01:12:31,496
Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers

1517
01:12:31,556 --> 01:12:35,196
Speaker 1: bonus content and ad-free listening for $ 4. 99 a month. Look

1518
01:12:35,216 --> 01:12:38,476
Speaker 1: for Pushkin Plus on Apple Podcast Subscriptions. And if you

1519
01:12:38,506 --> 01:12:40,766
Speaker 1: like this show, please remember to share, rate, and review

1520
01:12:40,826 --> 01:12:43,006
Speaker 1: us on your podcast app. Our theme music is by

1521
01:12:43,046 --> 01:12:44,586
Speaker 1: Kenny Beats. I'm Justin Richmond.