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Speaker 1: Pushkin. This is broken record, real musicians, real conversations. Here's

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Speaker 1: my conversation with Dan Auerbach and Patrick Carney of the

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Speaker 1: Black Keys. So you guys are finishing a new album.

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Speaker 1: It's not not quite done though.

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Speaker 2: It's basically it's we's to have to mix it. So

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Speaker 2: that's almost done. So we're going to LA in two

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Speaker 2: weeks too to tweak some mixes and yeah, it's gotta

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Speaker 2: be sent to uh often get pressed in like three weeks.

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Speaker 2: So we're basically done with it, just have to master it,

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Speaker 2: mix it.

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Speaker 1: Have you guys mastered anything out there or do you

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Speaker 1: typically come out to LA to do that?

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Speaker 2: I mean we've met, we have stuff mastered all over,

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Speaker 2: we have stuff mixed all over, but typically we don't

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Speaker 2: attend a mixed session. This is like what it's like

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Speaker 2: the first time we've ever done that, just to kind

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Speaker 2: of do final tweaks because it's so difficult to you know,

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Speaker 2: it just sucks trying to explain stuff in an email,

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Speaker 2: so little, tiny, nuanced stuff.

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Speaker 1: Is that in response to having been unhappy with any

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Speaker 1: mixes recently or just was it album moting mixed once

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Speaker 1: and it wasn't the standard?

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Speaker 2: Or well, I mean I think you know, uh, since

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Speaker 2: Brothers we've been kind of sending stuff off to get mixed.

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Speaker 2: That was that was a game changer for us to

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Speaker 2: be able to tap into someone that's like, uh, you know,

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Speaker 2: that's what they do for a living. Prior to that,

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Speaker 2: we'd mix stuff ourselves, or we would like, you know,

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Speaker 2: mix it with a maybe just an engineer at the studio.

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Speaker 2: But you know, when we sent Brothers to Chad Blake,

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Speaker 2: that was a real eye opener. See what it's like

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Speaker 2: to get something back from someone that's just you know,

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Speaker 2: a master at that craft. And so we've you know,

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Speaker 2: we've made a lot of albums with Chad. We did

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Speaker 2: the last record with Spike Stint and then we're working

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Speaker 2: with Manny Merrickuhen on this album.

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Speaker 1: Wow, Delta Kaream. I guess this decade from like Delta

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Speaker 1: Cream to now its four albums, it does seem like

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Speaker 1: the sounds like you started the decade almost It sounds

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Speaker 1: like back to like the big come up kind of sound,

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Speaker 1: down to doing do the Romp Again Part two and

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Speaker 1: have kind of slowly moved away, or not moved away,

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Speaker 1: but slowly drifted to a sound that's like it's a

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Speaker 1: more complete production sound maybe or a more full production sound.

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Speaker 3: Yeah, Delta Cream was really just a jam session that

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Speaker 3: we released. You know, we didn't really know we had

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Speaker 3: an album until how long was it after we recorded

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Speaker 3: that that we even listened to it?

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Speaker 4: Yeah, we did it.

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Speaker 2: We recorded in December of twenty nineteen, right after the

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Speaker 2: first leg of the Let's Rock Tour, and then the

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Speaker 2: pandemic happened. I don't think we really checked it out

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Speaker 2: to see what was there until the July or August.

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Speaker 3: And then we didn't fix anything. So it's just it's

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Speaker 3: just a it is what it is, you know, no

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Speaker 3: overdubs at all, no overdubs on it, just some percussion

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Speaker 3: and then Yeah, so when we got back to making

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Speaker 3: like a normal Black Keys record, he was more kind

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Speaker 3: of back to you know, being creative in the studio,

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Speaker 3: working with the studio as a tool to you know,

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Speaker 3: kind of get creative and stuff. And because that's you know,

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Speaker 3: part of the fun of it for us has always

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Speaker 3: been recording.

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Speaker 2: Yeah, basically we put we put Delta Cream out in

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Speaker 2: spring of twenty twenty one, and then we did some

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Speaker 2: promo around that. That was the first time we were

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Speaker 2: able to work in like you know, a year and

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Speaker 2: a half and then around that promo stuff, we just

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Speaker 2: hopped in the studio and started working on what became

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Speaker 2: Dropout Boogie, And when we kept when we finished that album,

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Speaker 2: we just kept working so kind of like the basically,

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Speaker 2: you know, from that spring of twenty twenty one until now,

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Speaker 2: we've just been in a constant state of recording. So yeah,

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Speaker 2: like we went from the Drop Off Boogie into making

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Speaker 2: what became Ohio Players, you know, which was we recorded

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Speaker 2: like a ton of songs for that album. We end

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Speaker 2: up releasing nineteen and then you know, we put that

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Speaker 2: out and then kind of ended up right back in

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Speaker 2: the studio this summer and just once again it got

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Speaker 2: another batch of like twenty songs and we'll put you know,

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Speaker 2: like eleven of them out.

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Speaker 4: On this album.

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Speaker 1: Do you guys typically record jam sessions or was that No,

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Speaker 1: we don't usually do that, to be honest, I mean,

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Speaker 1: all of our recording sessions start with us jamming, but

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Speaker 1: then we build on it.

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Speaker 3: But this thing was this happened because I was making

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Speaker 3: a record with Robert Finley in the studio and I

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Speaker 3: had Kenny Brown there and Eric Deaton, so you know,

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Speaker 3: that was sort of the the reason that we got

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Speaker 3: in the studio for that in the first place, you know,

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Speaker 3: because we've never recorded with a bass player ever. That

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Speaker 3: was the first time on Delda Cream, so you know,

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Speaker 3: that was even though it felt like the big come

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Speaker 3: up days and it was like something new at the

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Speaker 3: same time.

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Speaker 1: You know, have you guys recorded with the bass player

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Speaker 1: live since then or no?

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Speaker 2: Yeah, a couple of times. Our cover of Forgot to

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Speaker 2: Be Your Lover, that's right, we did that in La

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Speaker 2: with Tommy Branneck on bass, and we did a couple

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Speaker 2: other songs. I think, but I love it, you know

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Speaker 2: it really I under you know, now after twenty some

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Speaker 2: years of playing drums, I understand why. You know, it's

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Speaker 2: great to have a good bass player. Nice to lock

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Speaker 2: in with the bass player.

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Speaker 4: It's fun. Yeah.

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Speaker 3: Yeah, a lot of the songs I'm Brothers started with

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Speaker 3: bass and drums.

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Speaker 2: Yeah, that's right. So Brothers was basically cut that way

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Speaker 2: because we when we were making that record Black Rock

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Speaker 2: right before that, we're doing like, you know, the music,

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Speaker 2: and then we're having rappers come in, so we're making

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Speaker 2: beats essentially, we were you know, focusing on starting the

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Speaker 2: tracks with a lot of them with just bass and drums.

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Speaker 2: So we went into Brothers, we just kind of maintained

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Speaker 2: that method and.

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Speaker 3: Mark Neil had an amazing Rickenbacker bass. It was like

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Speaker 3: a rick four thousand or something. It was awesome, sounded

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Speaker 3: so good.

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Speaker 1: And so for Brothers, did you guys put guitar over

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Speaker 1: those basic tracks? Then? Yeah, wow, that's a that's a

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Speaker 1: unique way. I don't know, that's a really unique way

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Speaker 1: of doing it, especially considering the guitar or drum band.

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Speaker 4: You know.

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Speaker 2: Well that yeah, that album, most of it was recorded

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Speaker 2: at Muscle Shoals Sound and when we did that, it

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Speaker 2: still hadn't been renovated, so it was it was pretty

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Speaker 2: messed up. And Mark Neil brought like this twelve channel

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Speaker 2: stood suitcase mixer, so that's what we tracked through. So

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Speaker 2: we were only able to monitor twelve tracks at a time.

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Speaker 2: So like I think there was a couple songs that

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Speaker 2: had thirteen songs when we or thirteen tracks, and when

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Speaker 2: we had listened back, we just would like not listen.

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Speaker 4: To the tambourine, but we not.

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Speaker 2: We couldn't hear the whole thing together for the most

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Speaker 2: part until we got mixes.

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Speaker 1: You had to trust the tambourinees coming through right.

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Speaker 3: Yeah, but there was something about the way that we

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Speaker 3: recorded that so minimal and then gave it to Chad Blake,

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Speaker 3: who was able to just like maximize everything. And he

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Speaker 3: loved it too. He's used to getting sessions that have

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Speaker 3: a million tracks, and he was he loved that mixing

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Speaker 3: that record.

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Speaker 1: He loved that there was only about thirteen tracks, yeah, versus.

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Speaker 3: The exactly Delta Cream the same thing when he was

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Speaker 3: mixing that.

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Speaker 1: How come you guys sent that record of Chat instead

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Speaker 1: of doing it yourselves.

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Speaker 4: We're not Chad Blake. Yeah, well there's only one Chat.

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Speaker 3: There's only one Chad Blake. Yeah.

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Speaker 1: But if you guys had been doing it yourself before,

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Speaker 1: was it was just a experiment in a sense.

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Speaker 4: Well, us doing it ourselves.

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Speaker 3: This whole thing was an experiment.

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Speaker 4: Yeah.

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Speaker 3: Everything we did was we had no idea what we

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Speaker 3: were doing. Man, there's no re frame of reference. We'd

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Speaker 3: never seen anybody mix, you know, so we didn't know

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Speaker 3: what mixing.

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Speaker 2: What we kind of had because we've gone to like

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Speaker 2: shitty studios and Acronym made recordings on like an eight

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Speaker 2: and then we get we get the recording back and

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Speaker 2: it would just sound like the drums would sound like

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Speaker 2: someone was smacking a pillow. So that's when we started

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Speaker 2: just doing everything ourselves. It's like, if it's gonna sound

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Speaker 2: fucked up, like at least make it sound fu Yeah,

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Speaker 2: at least, let's let's do it ourselves. And then every

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Speaker 2: time when we first tried to go into studios, you know,

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Speaker 2: like back then around the first second record, we did

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Speaker 2: not We didn't know how to commune. We were so

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Speaker 2: used to using like a real to real eight track

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Speaker 2: or like a primitive digital recorder. Then we started dealing

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Speaker 2: with like looking at like a real compressor and stuff,

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Speaker 2: you know, Like I remember being mystified and why the

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Speaker 2: VU wasn't hitting the red on a on a compressor

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Speaker 2: and it was going backwards, and I was like, dude,

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Speaker 2: thing's broken, bro, And you know, I'm sure they thought

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Speaker 2: we were complete idiots. But it was frustrating because we

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Speaker 2: kept wanting things to sound distorted and you know, kind

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Speaker 2: of gritty, and it was really hard to get those

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Speaker 2: sounds in a real studio.

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Speaker 3: It's been a lifelong search for those sounds really, to

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Speaker 3: be honest, that's half the fun of it. Though.

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Speaker 1: Yeah, the sound on Ohio Players was really cool.

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Speaker 3: I mean there's live performances at the root of every

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Speaker 3: one of those songs real, you know, absolutely, yeah, songs

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Speaker 3: like on the game stuff like that were we're kind

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Speaker 3: of we're live in the studio. We tracked that one

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Speaker 3: with bass, bass, guitar, our, keyboards and drums live, and

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Speaker 3: a couple other ones from that session too, so they

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Speaker 3: really have a great like live raw feel. And those

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Speaker 3: were recorded at toe Rag World, Famous Toe Rag that

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Speaker 3: has closed recently, but we always wanted to record there,

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Speaker 3: and I think we may have been like one of

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Speaker 3: the very last to record there, Famous London's all analog studio.

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Speaker 3: The guy was really inspired by Joe Meek. Liam Watson,

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Speaker 3: he ran It's really cool place and Mark Neil designed

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Speaker 3: the room right, Yeah, Mark Neil helped him design it.

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Speaker 3: The guy who recorded us in Muscle Shoals.

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Speaker 1: Did he work with Joe Meek? Was he around like when.

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Speaker 2: No, Joe Meek died like he killed himself in his

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Speaker 2: land lady right, something like that? Yeah, some tragic story. Yeah,

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Speaker 2: were you guys?

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Speaker 1: Were you guys around for.

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Speaker 3: God?

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Speaker 1: Who's the other great?

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Speaker 4: Uh?

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Speaker 1: John Peel? Did you guys ever do like a Peel session?

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Speaker 4: Oh?

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Speaker 3: Yeah, yeah, we did a couple of them.

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Speaker 2: That was our first That was our first kind of

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Speaker 2: big break outside of the US was John Peel playing

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Speaker 2: the Big come Up. And then our first trip over

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Speaker 2: to England was like a promo trip when Thick Freakness

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Speaker 2: was about to come out in April of two thousand

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Speaker 2: and three, and uh and yeah, we did our first

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Speaker 2: Peel session there and then a couple of months later

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Speaker 2: we got asked to come.

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Speaker 3: To his house, his country estate.

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Speaker 2: Yeah, he would do it. He would do like his

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Speaker 2: show in the summertime from his house. We we had

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Speaker 2: this crazy year of two thousand and three, just you know,

224
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Speaker 2: being really broke but traveling a lot, and this one,

225
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Speaker 2: you know, we went and played some festival in Norway.

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Speaker 2: Then we flew to London and we got picked up,

227
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Speaker 2: drove right to his house. Remember we were just so

228
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Speaker 2: jet lagged. I took an app in his daughter's bed

229
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Speaker 2: while Dan played soccer with him in the yard and

230
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Speaker 2: went through his record collection. And then we did another

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Speaker 2: Peel session like literally two months after that. It was

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Speaker 2: a live thing again with like Steve Malcolms and the

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Speaker 2: jicks from in Brighton, and then you know, we did

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Speaker 2: a Peel set when we put out Rubber Factory. We

235
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Speaker 2: landed in London to do a tour there, like right

236
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Speaker 2: at the end of October, and uh, when we got

237
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Speaker 2: picked up from the airport, our driver had a newspaper

238
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Speaker 2: and the headline was John Peel dead at sixty four

239
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Speaker 2: And we were supposed to head to a Peel session

240
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Speaker 2: like the very next day. So we actually went to

241
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Speaker 2: the Peel session still and they were like, we don't

242
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Speaker 2: know what to do, Like I made a veil three right, Yeah, yeah,

243
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Speaker 2: they're like, you know, we don't know what's happening, but

244
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Speaker 2: we know like he's like he was trying to do

245
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Speaker 2: John Peele, trying to accomplistion of Lonnie Donegan songs. So

246
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Speaker 2: like we just spent two hours trying to learn these

247
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Speaker 2: two little Lonnie down Against songs. But yeah, it was

248
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Speaker 2: like it took all the momentum out of our out

249
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Speaker 2: of our thing, because that was like our only supporter

250
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Speaker 2: in the UK.

251
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Speaker 4: He died. He went on a trip to Peru and

252
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Speaker 4: had a heart attack.

253
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Speaker 1: What was what was it? First of all, what was

254
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Speaker 1: his record collection? Like that record collection must have been crazy.

255
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Speaker 3: He was crazy. He had different how like different outbuildings

256
00:13:37,116 --> 00:13:39,676
Speaker 3: like there was like a barn over here, and they

257
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Speaker 3: all had thatched roofs. Right, So there's like a thatched

258
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Speaker 3: roof barn over here. That was all his seventy eighths,

259
00:13:45,516 --> 00:13:48,676
Speaker 3: and then over in this thatched roof big thing was

260
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Speaker 3: like all his you know, forty fives. And we we

261
00:13:52,436 --> 00:13:55,516
Speaker 3: dug through his LPs and looked for some stuff. You know,

262
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Speaker 3: I wanted to hear like let's Work Together by Wilbur Harrison,

263
00:14:01,116 --> 00:14:03,196
Speaker 3: and so we searched for it and found the record

264
00:14:03,276 --> 00:14:05,076
Speaker 3: and played it and he's like, I'm like, no, that's

265
00:14:05,116 --> 00:14:07,396
Speaker 3: not that's the wrong version. You know, we need the

266
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Speaker 3: earlier version. So we he went back and he found it.

267
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Speaker 3: He had it.

268
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Speaker 1: Fuck, he had had all the everything.

269
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Speaker 4: I mean, he had a million albums, right, wasn't that

270
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Speaker 4: you know?

271
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Speaker 3: As soon as you sent him on attached to find something,

272
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Speaker 3: He's like giddy. It was awesome.

273
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Speaker 4: Yeah.

274
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Speaker 2: That Peel session at his house was live on BBC,

275
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Speaker 2: and uh, his whole family was there and they made

276
00:14:31,556 --> 00:14:34,796
Speaker 2: a stinner. It was like, you know, it was really special,

277
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Speaker 2: you know, and us like at the time, you know,

278
00:14:39,196 --> 00:14:41,876
Speaker 2: we you know, we weren't really kind of aware of

279
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Speaker 2: the gravity of what it was to.

280
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Speaker 4: Be hanging out with that guy. You know, he was

281
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Speaker 4: just kind of this cool DJ. And then.

282
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Speaker 2: You know, as we got older, we kind of learned

283
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Speaker 2: like what that show really meant to people and what

284
00:14:54,356 --> 00:14:57,076
Speaker 2: it really was, and you know, I wish that we

285
00:14:57,156 --> 00:14:58,836
Speaker 2: had something like that. I mean, I think the world

286
00:14:58,836 --> 00:15:04,356
Speaker 2: would benefit from another John Peel. I mean, I mean, look,

287
00:15:04,356 --> 00:15:06,676
Speaker 2: if you go back and look at his playlists and stuff,

288
00:15:06,916 --> 00:15:10,836
Speaker 2: it's it's incredible what he's sposing people too, especially like

289
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Speaker 2: pre internet, to be able to turn on the radio

290
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Speaker 2: and have some guy playing you the Residents and then

291
00:15:16,356 --> 00:15:20,836
Speaker 2: you know, like you know, a Howard tape single pretty cool.

292
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Speaker 1: And the continuity between you know, he'd done it so long.

293
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Speaker 1: Just being able to present like led Zeppelin in like

294
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Speaker 1: nineteen seventy and you know you guys in two thousand

295
00:15:30,476 --> 00:15:32,436
Speaker 1: and three. I mean, that's just that's crazy. You know,

296
00:15:33,036 --> 00:15:36,756
Speaker 1: it's nuts. And his sessions always sounded really good to

297
00:15:36,796 --> 00:15:39,636
Speaker 1: me too. I always love finding like an appeal session,

298
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Speaker 1: you know, because they sound always they sound pretty different

299
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Speaker 1: from the records usually, but they just sound I don't know,

300
00:15:46,596 --> 00:15:49,036
Speaker 1: there was a really I don't know how he who

301
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Speaker 1: if he used it, like, I don't know who engineered sessions.

302
00:15:52,116 --> 00:15:52,956
Speaker 1: But they were incredible.

303
00:15:53,036 --> 00:15:54,876
Speaker 2: You know, I did it made a veil when we

304
00:15:54,916 --> 00:15:56,636
Speaker 2: were doing them. I think that's really did them.

305
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Speaker 3: He has a BBC. Their studios are incredible, They're their

306
00:16:00,276 --> 00:16:02,636
Speaker 3: gear was always amazing. It was like that was the

307
00:16:02,636 --> 00:16:05,916
Speaker 3: first time we ever saw Cole's microphones. Yeah, Cole's ribbon

308
00:16:05,916 --> 00:16:10,556
Speaker 3: mics you know. Yeah, no, those those some BBC sessions

309
00:16:10,596 --> 00:16:11,876
Speaker 3: always sound.

310
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Speaker 1: Amazing because basically use a ribbon mike.

311
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Speaker 3: Always, you know. I mean after those sessions we started

312
00:16:18,356 --> 00:16:20,276
Speaker 3: to but yeah, they would have ribbons on everything.

313
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Speaker 4: Yeah, now that's a cool thing.

314
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Speaker 2: You show up and then basically, here's this world class studio.

315
00:16:25,436 --> 00:16:28,916
Speaker 2: You've got like six hours to record four songs, and

316
00:16:28,996 --> 00:16:32,156
Speaker 2: you can do anything you want to do. So you know,

317
00:16:32,156 --> 00:16:35,356
Speaker 2: if you wanted to, who knows, they would let you

318
00:16:35,356 --> 00:16:40,076
Speaker 2: do whatever you wanted to do. The coolest John pil

319
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Speaker 2: Antono is that he told us he was present in

320
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Speaker 2: Dallas when Lee Harvey Oswald was killed in that parking

321
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Speaker 2: garage at the police station because he was working for

322
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Speaker 2: a radio station.

323
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Speaker 4: And so he saw that in person. And I guess

324
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Speaker 4: he's in the I guess he's in the film.

325
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Speaker 1: Wait, wait, he wasn't he was actually at the police station.

326
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Speaker 2: Yeah, when Lee Harvey Oswald gets killed by Jack Ruby,

327
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Speaker 2: he's one of the guys there.

328
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Speaker 1: That's incredible. I'm gonna go I'm gonna.

329
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Speaker 4: Yeah, watch it on slow mo. See if you can

330
00:17:14,916 --> 00:17:15,316
Speaker 4: find him.

331
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Speaker 3: Yeah, maybe somebody can find them in the pictures.

332
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Speaker 1: Maybe he'll be in the files of releasing the JFK

333
00:17:20,276 --> 00:17:26,116
Speaker 1: files that are coming out. John Petle was involved. How

334
00:17:26,156 --> 00:17:27,916
Speaker 1: does it feel promote I mean, I guess the difference

335
00:17:27,916 --> 00:17:31,276
Speaker 1: between promoting a record then and now. I'm just curious.

336
00:17:31,316 --> 00:17:33,156
Speaker 1: You guys do do a lot of press, do you

337
00:17:33,156 --> 00:17:38,076
Speaker 1: guys like what how do you guys go about figuring

338
00:17:38,116 --> 00:17:40,196
Speaker 1: out the way in which you want to promote a

339
00:17:40,236 --> 00:17:42,396
Speaker 1: record or do not spend much time thinking about it?

340
00:17:43,036 --> 00:17:44,916
Speaker 2: Back then, I remember one of the first interviews we

341
00:17:44,916 --> 00:17:47,276
Speaker 2: ever did with like a European you know, first one

342
00:17:47,276 --> 00:17:49,716
Speaker 2: of the first interviews period. We were at south By

343
00:17:49,796 --> 00:17:52,476
Speaker 2: Southwest two thousand and three, and we we did a

344
00:17:52,476 --> 00:17:56,076
Speaker 2: couple of interviews. One of them was with enemy and

345
00:17:56,116 --> 00:17:57,956
Speaker 2: then we landed in England a couple of weeks later

346
00:17:57,996 --> 00:18:01,356
Speaker 2: for the first time to and our publicists handed us

347
00:18:01,356 --> 00:18:05,036
Speaker 2: to the enemy and in this interview, We talked for

348
00:18:05,036 --> 00:18:06,956
Speaker 2: like thirty minutes, and at the very end of the interview,

349
00:18:06,956 --> 00:18:09,436
Speaker 2: the journalist is like, so, do you guys take drugs?

350
00:18:09,436 --> 00:18:10,716
Speaker 4: You've ever taken any drugs?

351
00:18:11,636 --> 00:18:13,836
Speaker 2: And we're like we were like naive kids, you know,

352
00:18:13,876 --> 00:18:15,996
Speaker 2: and we're like, I was like, oh, I spoke opium

353
00:18:16,036 --> 00:18:19,596
Speaker 2: once and uh the headline of the fucking m was

354
00:18:19,636 --> 00:18:25,036
Speaker 2: like Opium fueled Blues Duo and I was like, holy shit,

355
00:18:25,156 --> 00:18:30,156
Speaker 2: this is insane. It didn't really help us sell any records, but.

356
00:18:32,476 --> 00:18:32,956
Speaker 4: It was cool.

357
00:18:32,956 --> 00:18:35,876
Speaker 1: Look kind of miss headlines like that. Miss magazines in general,

358
00:18:35,956 --> 00:18:39,156
Speaker 1: kind of sometimes for for for you know, headline like that.

359
00:18:39,516 --> 00:18:43,436
Speaker 2: You know me too, Yeah, I miss I missed being

360
00:18:43,436 --> 00:18:47,036
Speaker 2: able to like pick up a music magazine and I

361
00:18:47,156 --> 00:18:48,516
Speaker 2: have something I want to see in it.

362
00:18:48,676 --> 00:18:48,956
Speaker 3: You know.

363
00:18:49,436 --> 00:18:51,636
Speaker 4: It's like back in the day, like.

364
00:18:53,636 --> 00:18:56,956
Speaker 2: Just you know, Magnet or Alternative Press or Flip Side

365
00:18:57,196 --> 00:19:01,516
Speaker 2: or Maximum Rock and Roll. Even just at our local

366
00:19:01,516 --> 00:19:03,356
Speaker 2: grocery store, you could pick up this one cook magazine

367
00:19:03,396 --> 00:19:05,876
Speaker 2: called ray Gun, which is like as a music magazine

368
00:19:05,876 --> 00:19:07,636
Speaker 2: that lasted for just maybe a couple of years, but

369
00:19:07,676 --> 00:19:11,236
Speaker 2: it was like the graundraphic design was so crazy, like

370
00:19:11,276 --> 00:19:14,476
Speaker 2: you could barely read the articles because they like lay

371
00:19:14,516 --> 00:19:17,636
Speaker 2: the articles out. But you know, that's where I've actually

372
00:19:17,796 --> 00:19:20,356
Speaker 2: in the you know, you know, early magnet magazines and stuff.

373
00:19:20,356 --> 00:19:23,436
Speaker 2: That's where I kind of discovered a lot of what

374
00:19:23,516 --> 00:19:25,756
Speaker 2: I know about music. They kind of set me in

375
00:19:25,756 --> 00:19:28,156
Speaker 2: the right direction. Like that's when I read about Daniel Johnson,

376
00:19:29,996 --> 00:19:33,396
Speaker 2: you know, love his laughter and K Records and all

377
00:19:33,396 --> 00:19:34,036
Speaker 2: that kind of stuff.

378
00:19:34,636 --> 00:19:36,396
Speaker 1: I don't know for me too, though, I'd get sit

379
00:19:36,476 --> 00:19:38,356
Speaker 1: down a lot of like dead ends, you know, like

380
00:19:38,596 --> 00:19:40,116
Speaker 1: looking through a magazine and you have to try to

381
00:19:40,716 --> 00:19:43,196
Speaker 1: spend you know, fifty bucks on a bunch of records

382
00:19:43,196 --> 00:19:44,716
Speaker 1: I saw on a magazine and then you know, they

383
00:19:44,756 --> 00:19:46,076
Speaker 1: all sucked, and that was kind of a bust.

384
00:19:46,156 --> 00:19:50,476
Speaker 2: It usually sucks. Yeah, yeah, yeah, I bought a lot.

385
00:19:50,396 --> 00:19:51,276
Speaker 4: Of shitty records.

386
00:19:51,516 --> 00:19:56,756
Speaker 1: Were there local like zines in Akron or.

387
00:19:58,196 --> 00:19:58,796
Speaker 4: Sort of, But.

388
00:20:00,356 --> 00:20:02,716
Speaker 2: It seemed like a lot of that stuff was like

389
00:20:02,716 --> 00:20:06,156
Speaker 2: geared towards hardcore punk, which Dan and I.

390
00:20:05,596 --> 00:20:09,276
Speaker 1: Were never into, never never had a stage.

391
00:20:09,596 --> 00:20:16,116
Speaker 2: No. We get along too well with our fathers.

392
00:20:16,996 --> 00:20:18,996
Speaker 1: Will be back with more from the Black Keys after

393
00:20:19,036 --> 00:20:26,396
Speaker 1: the break. Your dads were friends too, weren't they our dads?

394
00:20:26,436 --> 00:20:28,596
Speaker 4: I mean we're neighbors, they're neighbors. Yeah.

395
00:20:28,876 --> 00:20:32,276
Speaker 2: Yeah, that's how Dan and I know each other from

396
00:20:33,076 --> 00:20:34,916
Speaker 2: just growing up around the corner from each other.

397
00:20:35,396 --> 00:20:38,836
Speaker 1: And your dad was an art teacher or procure of

398
00:20:38,916 --> 00:20:40,556
Speaker 1: art supplies, Yeah he was.

399
00:20:41,476 --> 00:20:45,356
Speaker 3: He was an antique dealer and he collected folk art

400
00:20:45,436 --> 00:20:51,996
Speaker 3: outsideer art. Yeah, he would, you know, he was like

401
00:20:51,996 --> 00:20:52,476
Speaker 3: a picker.

402
00:20:52,716 --> 00:20:52,916
Speaker 4: You know.

403
00:20:52,996 --> 00:20:56,436
Speaker 3: He would go around Ohio and Pennsylvania and West Virginia

404
00:20:56,476 --> 00:20:59,116
Speaker 3: and he would have his routes that he would run

405
00:20:59,156 --> 00:21:02,596
Speaker 3: and go to different places and buy things and then

406
00:21:02,596 --> 00:21:05,596
Speaker 3: he would sell at shows, antique shows he would go

407
00:21:05,676 --> 00:21:09,036
Speaker 3: to like Brimfield, or he would go to the Triple

408
00:21:09,196 --> 00:21:13,036
Speaker 3: Here Expo in Manhattan and set up a booth, and

409
00:21:13,076 --> 00:21:14,756
Speaker 3: you know I would go and help him and ship

410
00:21:14,876 --> 00:21:18,076
Speaker 3: and it was always fun. I love doing that stuff.

411
00:21:18,676 --> 00:21:20,476
Speaker 3: Did you learn a lot about art through him or

412
00:21:20,516 --> 00:21:22,596
Speaker 3: were you interested in learning? Yeah? I learned everything about

413
00:21:22,676 --> 00:21:25,996
Speaker 3: art through through him. Being around him and being on

414
00:21:26,036 --> 00:21:30,716
Speaker 3: the road, you know, you know, probably prepped me for touring,

415
00:21:31,596 --> 00:21:35,156
Speaker 3: you know, getting in my dad's van and driving from

416
00:21:35,196 --> 00:21:38,596
Speaker 3: Ohio to New York City and you know, loading and

417
00:21:38,676 --> 00:21:42,956
Speaker 3: unloading the van for the shows and stuffy yeah no,

418
00:21:43,116 --> 00:21:45,836
Speaker 3: and he you know, he would introduce me to two

419
00:21:45,916 --> 00:21:49,276
Speaker 3: artists and and and show me the difference between different

420
00:21:49,276 --> 00:21:52,116
Speaker 3: different types of art. And yeah, absolutely.

421
00:21:51,956 --> 00:21:54,476
Speaker 1: Has anything of his or anything you've gotten from him

422
00:21:54,476 --> 00:21:59,156
Speaker 1: made it to any artwork Blackie's artwork or arts.

423
00:21:59,596 --> 00:22:04,836
Speaker 3: Mm, I don't think so, but I mean no, I

424
00:22:04,876 --> 00:22:09,796
Speaker 3: mean one of the guys that he would help facilitate

425
00:22:09,836 --> 00:22:14,956
Speaker 3: an acron this artist named Alfred mcmore. My dad would

426
00:22:14,996 --> 00:22:18,636
Speaker 3: like bring him crayons and art supplies and pipe tobacco

427
00:22:18,796 --> 00:22:22,196
Speaker 3: and bring him stuff he needed, and he would try

428
00:22:22,236 --> 00:22:24,876
Speaker 3: to help him get his art out there, you know.

429
00:22:25,516 --> 00:22:29,756
Speaker 3: And this guy was he would leave voicemails on the

430
00:22:29,756 --> 00:22:34,316
Speaker 3: phone at our house. And Pat's dad did a story

431
00:22:34,476 --> 00:22:37,796
Speaker 3: in the local newspaper on this artist, so Pat would

432
00:22:37,796 --> 00:22:41,916
Speaker 3: get these voicemails too, and it became, you know, the

433
00:22:41,956 --> 00:22:43,996
Speaker 3: origin of the name of our band, the Black Keys

434
00:22:44,076 --> 00:22:46,356
Speaker 3: was this outsider artist, you know.

435
00:22:46,516 --> 00:22:50,316
Speaker 2: So he would call our houses like every day, multiple

436
00:22:50,316 --> 00:22:51,076
Speaker 2: times a day.

437
00:22:51,076 --> 00:22:54,356
Speaker 3: Demanding pipe tobacco and crayons.

438
00:22:54,876 --> 00:22:57,996
Speaker 4: And he would tell like, you you're big. If you

439
00:22:57,996 --> 00:23:00,716
Speaker 4: don't bring me a two liters of coke some crans,

440
00:23:01,556 --> 00:23:04,996
Speaker 4: you're a black Key, you're d flat.

441
00:23:05,596 --> 00:23:09,796
Speaker 2: And he'd make these five foot wide he put long

442
00:23:09,916 --> 00:23:16,156
Speaker 2: scrolls with cran and pencil, and so Dan's father had like,

443
00:23:16,596 --> 00:23:16,956
Speaker 2: you know.

444
00:23:17,436 --> 00:23:20,396
Speaker 3: Just a basement filled hundred of them.

445
00:23:20,876 --> 00:23:23,276
Speaker 4: Maybe because he would, you know, give him.

446
00:23:23,636 --> 00:23:26,156
Speaker 2: He's living in like a halfway house, you know, and

447
00:23:26,236 --> 00:23:29,756
Speaker 2: he had very little resources, so chuck with like give

448
00:23:29,836 --> 00:23:34,196
Speaker 2: him some Cran's paper stuff. Then get these scrolls and

449
00:23:34,596 --> 00:23:38,476
Speaker 2: sell some, give him some of the money. And but yeah,

450
00:23:38,636 --> 00:23:40,716
Speaker 2: they're they're pretty incredible. He would draw a lot of

451
00:23:40,796 --> 00:23:51,116
Speaker 2: like a lot of highway patrol people in high heels.

452
00:23:48,276 --> 00:23:51,916
Speaker 3: Big chandelier, earrings, chandelier because he done boots.

453
00:23:52,236 --> 00:23:52,996
Speaker 4: Yeah, it was so cool.

454
00:23:53,036 --> 00:23:55,436
Speaker 3: They were. They were like these long stream of consciousness.

455
00:23:55,476 --> 00:23:59,316
Speaker 3: They would be like funeral processions, you know, people in

456
00:23:59,476 --> 00:24:04,036
Speaker 3: open cadillacs and like all these different Jesus was playing

457
00:24:04,076 --> 00:24:06,836
Speaker 3: like rock and roll guitar and they're amazing.

458
00:24:06,956 --> 00:24:09,316
Speaker 2: Really, I mean, Alfred would wear about the three or

459
00:24:09,316 --> 00:24:12,756
Speaker 2: four suits at the same time. And then his daily

460
00:24:12,876 --> 00:24:15,236
Speaker 2: ritual was like to go to the Stewart and Calhoun

461
00:24:15,436 --> 00:24:21,436
Speaker 2: funeral home to any random funeral and just cry.

462
00:24:23,236 --> 00:24:25,116
Speaker 1: He show up to random funerals and cry.

463
00:24:25,196 --> 00:24:28,196
Speaker 3: This is the person that my dad brought over to

464
00:24:28,196 --> 00:24:34,476
Speaker 3: the house to spend time with his sons. Exposed expose

465
00:24:34,556 --> 00:24:35,636
Speaker 3: us to his artwork.

466
00:24:35,996 --> 00:24:37,716
Speaker 4: Alfred No, I mean his.

467
00:24:37,756 --> 00:24:41,076
Speaker 3: Artwork was so beautiful, but like impossible to display, Like

468
00:24:41,196 --> 00:24:43,436
Speaker 3: where where do you put a fifty foot roll of

469
00:24:43,676 --> 00:24:44,236
Speaker 3: art work?

470
00:24:45,756 --> 00:24:46,756
Speaker 1: Do you guys still have some of this?

471
00:24:47,076 --> 00:24:50,836
Speaker 3: Uh huh oh? Yeah, man, my dad got him to

472
00:24:50,876 --> 00:24:52,716
Speaker 3: do a couple of small pieces and they're okay, but

473
00:24:53,196 --> 00:24:54,716
Speaker 3: the roles are actually where it's at.

474
00:24:55,476 --> 00:25:00,076
Speaker 2: Yeah, I got one little small one. It says mcmore

475
00:25:00,196 --> 00:25:02,836
Speaker 2: mclusts and that's where. That's what we named our publishing

476
00:25:02,876 --> 00:25:04,956
Speaker 2: company after mcmore mcless.

477
00:25:06,756 --> 00:25:08,036
Speaker 1: Is he still Is he still around? No?

478
00:25:08,196 --> 00:25:10,876
Speaker 4: He died in two thousand and nine.

479
00:25:11,436 --> 00:25:14,156
Speaker 1: I think did he Did you guys ever play him

480
00:25:14,156 --> 00:25:14,956
Speaker 1: any of your music?

481
00:25:16,436 --> 00:25:17,236
Speaker 3: I don't believe so.

482
00:25:18,076 --> 00:25:20,836
Speaker 1: He knew about the band, but I don't think probably

483
00:25:20,836 --> 00:25:24,876
Speaker 1: no interest in Yeah, you guys might have set him

484
00:25:24,916 --> 00:25:28,636
Speaker 1: off a little. I don't know, I could aggravate him.

485
00:25:28,716 --> 00:25:28,996
Speaker 4: You know.

486
00:25:30,876 --> 00:25:33,396
Speaker 1: Were there other people like characters like that around town?

487
00:25:34,396 --> 00:25:36,156
Speaker 3: Yeah, there's a lot of like, there's a lot of

488
00:25:36,436 --> 00:25:37,396
Speaker 3: characters an Akron.

489
00:25:37,756 --> 00:25:40,996
Speaker 2: There was the purple Purple man. That guy his house

490
00:25:41,076 --> 00:25:45,516
Speaker 2: is purple as cars, probably acrons full of that kind

491
00:25:45,516 --> 00:25:50,436
Speaker 2: of stuff there. There's like it's kind of like pull man.

492
00:25:52,156 --> 00:25:53,836
Speaker 4: Then there was a guy we called Eep.

493
00:25:55,116 --> 00:26:02,716
Speaker 2: In ild Square and uh, the little neighborhood we kind

494
00:26:02,716 --> 00:26:06,596
Speaker 2: of grew up around. Uh, there was a really eccentric

495
00:26:06,716 --> 00:26:11,356
Speaker 2: shoe repair man who just retired, but he'd be in

496
00:26:11,356 --> 00:26:15,076
Speaker 2: there with the fumes and stuff and he dressed the

497
00:26:15,116 --> 00:26:21,476
Speaker 2: window up in like inflatable dolls, really really out there. Yeah,

498
00:26:21,516 --> 00:26:24,236
Speaker 2: there's all that's my kind of when I when I

499
00:26:24,276 --> 00:26:28,596
Speaker 2: think about like classic Akron, it's like, my brother was

500
00:26:28,596 --> 00:26:32,636
Speaker 2: really into trains, like model trains and stuff, and so

501
00:26:32,676 --> 00:26:34,836
Speaker 2: we would go on Saturday sometimes to this place called

502
00:26:34,836 --> 00:26:38,396
Speaker 2: Glenn's Train Shop and it was this building covered in

503
00:26:38,476 --> 00:26:41,596
Speaker 2: ivy in the middle of like the worst neighborhooded Akron

504
00:26:42,036 --> 00:26:44,116
Speaker 2: back in this lot. You'd walk in there and just

505
00:26:44,116 --> 00:26:47,436
Speaker 2: be this guy just smoking with like you know, ten

506
00:26:47,516 --> 00:26:50,356
Speaker 2: thousand boxes of vintage trains, just mean as hell.

507
00:26:51,636 --> 00:26:56,396
Speaker 4: They total Like that's what Akron that did?

508
00:26:56,396 --> 00:26:57,396
Speaker 1: He did he deal them?

509
00:26:57,476 --> 00:26:59,076
Speaker 4: Or yeah, you sell them? He was like.

510
00:26:59,396 --> 00:27:03,876
Speaker 2: Yeah, you're like, what gauge do you want? He's like

511
00:27:04,116 --> 00:27:08,356
Speaker 2: h ah, he'd like judge you by the gauge of

512
00:27:08,396 --> 00:27:10,596
Speaker 2: the train that you want. The real trains are, oh

513
00:27:10,676 --> 00:27:13,716
Speaker 2: gauge Apparently that's what you want. The real trains are what,

514
00:27:13,916 --> 00:27:15,196
Speaker 2: oh gauge the big ones?

515
00:27:15,876 --> 00:27:16,716
Speaker 1: Well, I don't know what that means.

516
00:27:16,756 --> 00:27:19,116
Speaker 4: I know, well, sounds about right. I bet Neil Young

517
00:27:19,196 --> 00:27:20,716
Speaker 4: knows I was gonna say.

518
00:27:20,716 --> 00:27:25,956
Speaker 1: Neil Young probably knows this guy. Oh yeah, why did

519
00:27:25,996 --> 00:27:27,756
Speaker 1: you call the what was the one guy called?

520
00:27:29,196 --> 00:27:30,476
Speaker 4: This is what he said all the time.

521
00:27:33,316 --> 00:27:38,996
Speaker 1: That makes sense. National's got to be filled the characters too, right.

522
00:27:39,636 --> 00:27:42,796
Speaker 3: Yeah, it's just filled to the brim.

523
00:27:43,596 --> 00:27:46,476
Speaker 2: When we first moved to town, we both moved like

524
00:27:46,596 --> 00:27:51,796
Speaker 2: to the same area here, and uh we were neighbors

525
00:27:51,796 --> 00:27:55,876
Speaker 2: with Harmony Krinn, so we hit it off with him

526
00:27:55,916 --> 00:27:58,276
Speaker 2: right off the bat, and through Harmony we met like,

527
00:27:58,396 --> 00:28:01,636
Speaker 2: you know, David Berman and and then also you know,

528
00:28:01,756 --> 00:28:08,436
Speaker 2: introduced to the original kind of cast of eccentrics. What

529
00:28:08,636 --> 00:28:11,316
Speaker 2: you no longer see any of them anymore, but most

530
00:28:11,356 --> 00:28:12,756
Speaker 2: of them were in Gummo or something.

531
00:28:13,396 --> 00:28:15,356
Speaker 1: You guys have been there over a decade now, right,

532
00:28:15,956 --> 00:28:21,076
Speaker 1: they're fifteen years You mentioned the cover of Forgot to

533
00:28:21,076 --> 00:28:23,796
Speaker 1: Be Your Lover earlier? What made you guys cover that song?

534
00:28:25,876 --> 00:28:27,436
Speaker 1: So I was scared to click on it, to be honest,

535
00:28:27,436 --> 00:28:30,836
Speaker 1: because it's such like a perfect record, the original you

536
00:28:30,876 --> 00:28:32,156
Speaker 1: guys version is really good too.

537
00:28:33,116 --> 00:28:36,756
Speaker 3: Yeah. No, it's just it was just one of our favorites,

538
00:28:36,876 --> 00:28:39,036
Speaker 3: you know, and we were in the studio, we were

539
00:28:39,076 --> 00:28:42,116
Speaker 3: hanging out. We were just inspired to do something like that,

540
00:28:42,156 --> 00:28:45,116
Speaker 3: and you know, we really didn't think too much about it,

541
00:28:45,156 --> 00:28:46,556
Speaker 3: and we really didn't even know if it was going

542
00:28:46,636 --> 00:28:48,676
Speaker 3: to be on the record or not, you know, but

543
00:28:50,556 --> 00:28:52,196
Speaker 3: it felt good when we cut it. You know, we

544
00:28:52,276 --> 00:28:56,516
Speaker 3: had our buddy Kelly Finnigan and Tommy Brenneckan there with us.

545
00:28:56,956 --> 00:29:02,036
Speaker 3: Kelly sings harmony, and it was just felt felt good. Yeah,

546
00:29:02,076 --> 00:29:05,996
Speaker 3: we did that. Never going to give you up on Brothers.

547
00:29:06,036 --> 00:29:08,836
Speaker 3: You know, I think we've done some soul songs before.

548
00:29:09,316 --> 00:29:13,436
Speaker 3: You know, it's those types of songs are pretty big

549
00:29:13,436 --> 00:29:14,716
Speaker 3: influence on us.

550
00:29:15,116 --> 00:29:16,476
Speaker 4: Oh yeah, it's.

551
00:29:16,276 --> 00:29:18,756
Speaker 1: Just such big you know, like Forgot to Be Your Lover.

552
00:29:20,036 --> 00:29:21,716
Speaker 4: It's just such a big record, you know.

553
00:29:23,196 --> 00:29:25,236
Speaker 3: Yeah, one of those perfect records.

554
00:29:25,116 --> 00:29:28,716
Speaker 1: From like the opening opening riff, the drums on it

555
00:29:28,756 --> 00:29:31,236
Speaker 1: are perfect, opening lines, perfect.

556
00:29:31,516 --> 00:29:36,116
Speaker 3: Yeah. Absolutely. We mostly we mostly just wanted to hear

557
00:29:36,156 --> 00:29:37,716
Speaker 3: Tommy play that opening list.

558
00:29:37,796 --> 00:29:43,436
Speaker 1: Yeah, yeah, that's it's pretty much.

559
00:29:43,596 --> 00:29:45,516
Speaker 3: That was the reason we cut it. No, that was Tommy.

560
00:29:45,876 --> 00:29:48,356
Speaker 1: How much time do you spend listening to music these days.

561
00:29:48,716 --> 00:29:51,476
Speaker 4: I probably listened to like an hour at least a

562
00:29:51,596 --> 00:29:52,276
Speaker 4: day of music.

563
00:29:52,756 --> 00:29:54,676
Speaker 1: What's what's moving you these days?

564
00:29:55,036 --> 00:29:59,556
Speaker 2: Man, I'm kind of all over the map what I'm

565
00:29:59,596 --> 00:30:01,716
Speaker 2: into right now. But you know, we've been doing these

566
00:30:01,756 --> 00:30:06,876
Speaker 2: record hangs where we playing forty five's, so that will

567
00:30:08,636 --> 00:30:12,796
Speaker 2: you know, that's kind of got my algorithm going trying

568
00:30:12,796 --> 00:30:18,196
Speaker 2: to find these kind of trying to find like songs

569
00:30:18,236 --> 00:30:22,236
Speaker 2: that I feel like hits but weren't hits.

570
00:30:22,796 --> 00:30:24,316
Speaker 4: It's kind of like the ultimate goal.

571
00:30:24,756 --> 00:30:26,636
Speaker 2: But I've got, you know, got I've got a little

572
00:30:27,036 --> 00:30:29,996
Speaker 2: I've got a six year old boy who's into music

573
00:30:31,316 --> 00:30:35,956
Speaker 2: and opinionated, so a lot of the stuff I'm like

574
00:30:35,996 --> 00:30:38,396
Speaker 2: trying to play him stuff, see what he's into.

575
00:30:39,196 --> 00:30:40,836
Speaker 1: What are his opinions.

576
00:30:41,836 --> 00:30:49,116
Speaker 4: I mean, he's got good tastes. But uh, it's funny

577
00:30:49,156 --> 00:30:51,436
Speaker 4: when he when he'll he'll hear something and like it,

578
00:30:51,476 --> 00:30:55,156
Speaker 4: and he'll he'll he'll he's like aware enough to think

579
00:30:55,756 --> 00:30:58,156
Speaker 4: like that he should be embarrassed by liking it.

580
00:30:58,196 --> 00:31:01,116
Speaker 2: If so, he will like not he'll keep it a secret,

581
00:31:02,636 --> 00:31:04,916
Speaker 2: like if he thinks because he'll think like I will

582
00:31:04,996 --> 00:31:06,876
Speaker 2: like make fun.

583
00:31:10,676 --> 00:31:11,196
Speaker 3: Smart kid.

584
00:31:11,276 --> 00:31:16,076
Speaker 2: Yeah, I know, I mean his intuition's spot on. But no,

585
00:31:16,196 --> 00:31:17,796
Speaker 2: you don't get made fun of for what you listen

586
00:31:17,836 --> 00:31:19,036
Speaker 2: to in my house till you're eleven.

587
00:31:19,556 --> 00:31:21,236
Speaker 1: What about you, Dan, Do you listen to a lot

588
00:31:21,236 --> 00:31:24,236
Speaker 1: of music or like not work related?

589
00:31:24,556 --> 00:31:31,436
Speaker 3: Yeah, I mean yeah, i'd say similar, you know, especially

590
00:31:33,516 --> 00:31:37,076
Speaker 3: digging for records you know, online. It's kind of become

591
00:31:37,196 --> 00:31:41,116
Speaker 3: like one of my favorite things to do is just

592
00:31:41,196 --> 00:31:43,676
Speaker 3: like chill out for an hour and like search for music,

593
00:31:44,476 --> 00:31:46,916
Speaker 3: you know, because I swear to God, every single day

594
00:31:47,476 --> 00:31:50,396
Speaker 3: I can find something that blows my mind if I

595
00:31:50,596 --> 00:31:51,836
Speaker 3: if I search hard enough.

596
00:31:52,196 --> 00:31:52,476
Speaker 4: True.

597
00:31:53,476 --> 00:31:58,396
Speaker 3: So yeah, honestly, like as soon as we started doing

598
00:31:58,436 --> 00:32:00,836
Speaker 3: these record hangs, I think I started listening to way

599
00:32:00,876 --> 00:32:02,796
Speaker 3: more music on average.

600
00:32:03,876 --> 00:32:08,196
Speaker 1: Same who organizes the record hangs we do.

601
00:32:09,636 --> 00:32:10,876
Speaker 4: We just kind of picked like.

602
00:32:13,196 --> 00:32:16,436
Speaker 2: Cities where it will makes sense when we're on the road,

603
00:32:17,156 --> 00:32:19,036
Speaker 2: or cities we think it will be fun to do.

604
00:32:20,156 --> 00:32:21,596
Speaker 2: So yeah, we just had to meeting the other day

605
00:32:21,636 --> 00:32:24,316
Speaker 2: to kind of pick out like the next couple months

606
00:32:24,396 --> 00:32:27,476
Speaker 2: of it, and then some of them are kind of

607
00:32:27,516 --> 00:32:28,756
Speaker 2: last spin it, you know.

608
00:32:29,036 --> 00:32:30,876
Speaker 3: Yeah, it's kind of fun just to pop in somewhere

609
00:32:30,916 --> 00:32:32,636
Speaker 3: and unannounced and spend some records.

610
00:32:32,876 --> 00:32:35,556
Speaker 1: Did you did you guys spend records like that out

611
00:32:35,596 --> 00:32:38,716
Speaker 1: like out and about like before that or no, a little.

612
00:32:38,516 --> 00:32:42,516
Speaker 3: Bit, a little bit bit. Yeah, you know, back when

613
00:32:42,556 --> 00:32:44,796
Speaker 3: I did the ARC stuff, I would spend records with

614
00:32:44,916 --> 00:32:48,996
Speaker 3: Richard Swift and Leon a few times, you know, here

615
00:32:49,036 --> 00:32:53,356
Speaker 3: and there, and and then I started doing it on

616
00:32:53,396 --> 00:32:56,916
Speaker 3: my own just a little bit, and then shortly thereafter

617
00:32:57,156 --> 00:33:00,116
Speaker 3: invited Pat to do it with me, and then we

618
00:33:00,196 --> 00:33:02,756
Speaker 3: both kind of got hooked on it. Really.

619
00:33:04,396 --> 00:33:08,676
Speaker 2: Yeah, it's addictive, you know, I'm with Dan on that. Like,

620
00:33:08,676 --> 00:33:15,356
Speaker 2: I've definitely probably spending like ten uh, I don't know,

621
00:33:15,436 --> 00:33:18,076
Speaker 2: at least another thirty minutes a day extra listening to

622
00:33:18,196 --> 00:33:22,876
Speaker 2: music because of this. I'll go down rabbit holes and

623
00:33:23,036 --> 00:33:27,476
Speaker 2: uh trying to find stuff. And I've learned more about

624
00:33:27,556 --> 00:33:29,516
Speaker 2: music in the last probably two years than I had

625
00:33:29,556 --> 00:33:34,276
Speaker 2: in the previous ten years really for sure, not just

626
00:33:34,916 --> 00:33:37,156
Speaker 2: not just like hit history of music, but just like.

627
00:33:39,156 --> 00:33:40,276
Speaker 4: Kind of maybe how to make.

628
00:33:40,196 --> 00:33:45,076
Speaker 1: It well, you know. I mean that's an interesting point,

629
00:33:45,076 --> 00:33:49,476
Speaker 1: because I mean to your earlier point, like finding songs

630
00:33:49,476 --> 00:33:50,796
Speaker 1: that sound like they could have been a hit or

631
00:33:50,836 --> 00:33:53,156
Speaker 1: should have been. I mean, it's it's just it's it's

632
00:33:53,196 --> 00:33:56,276
Speaker 1: fascinating how much a hit I mean, I guess we

633
00:33:56,316 --> 00:33:58,156
Speaker 1: all know because we know hits that kind of aren't

634
00:33:58,156 --> 00:34:00,836
Speaker 1: that that great. But it's fascinating how much it hit

635
00:34:00,876 --> 00:34:02,196
Speaker 1: really has nothing to do with how good a song.

636
00:34:02,236 --> 00:34:03,836
Speaker 1: It's necessarily you know, it's all these.

637
00:34:03,836 --> 00:34:06,276
Speaker 3: Oh yeah, absolutely, man. That's why we feel like we

638
00:34:06,316 --> 00:34:10,396
Speaker 3: can play records for like three hours and like they're

639
00:34:10,516 --> 00:34:13,636
Speaker 3: jams and people will be dancing for three hours straight

640
00:34:14,556 --> 00:34:16,996
Speaker 3: and they won't know a single fucking song, you know

641
00:34:16,996 --> 00:34:17,396
Speaker 3: what I mean.

642
00:34:17,396 --> 00:34:17,956
Speaker 4: We love that.

643
00:34:18,676 --> 00:34:20,876
Speaker 3: Yeah, like this song could have Like there's nothing that's

644
00:34:20,916 --> 00:34:24,036
Speaker 3: like more annoying than just somebody going up and just

645
00:34:24,076 --> 00:34:26,636
Speaker 3: playing hits off iPod, you know what I mean, off

646
00:34:26,636 --> 00:34:30,276
Speaker 3: a computer. But like, oh my god, it is fun

647
00:34:30,436 --> 00:34:34,196
Speaker 3: to be like be able to like see the crowd

648
00:34:34,236 --> 00:34:37,476
Speaker 3: move to a song they don't know. You know. It

649
00:34:37,596 --> 00:34:39,036
Speaker 3: really is satisfying.

650
00:34:39,556 --> 00:34:42,316
Speaker 2: I think that's the biggest thrill. It's because it's not

651
00:34:43,476 --> 00:34:46,716
Speaker 2: playing something obscure to be obscure. It's like it's got

652
00:34:46,756 --> 00:34:49,156
Speaker 2: to have this. It's like this perfect combination of like.

653
00:34:49,116 --> 00:34:50,956
Speaker 3: Yeah, if it doesn't work, we're turning it off.

654
00:34:51,036 --> 00:34:53,916
Speaker 2: Yeah, it's like it's a you know, because it's got

655
00:34:53,956 --> 00:34:55,556
Speaker 2: to not only does it have to like groove and

656
00:34:55,636 --> 00:34:57,196
Speaker 2: have the right production.

657
00:34:57,276 --> 00:34:58,796
Speaker 4: It's got to have like the right mix.

658
00:34:58,876 --> 00:35:01,236
Speaker 2: There's so many of these songs where you they like

659
00:35:01,916 --> 00:35:03,156
Speaker 2: they seem like they're going to be it, and then

660
00:35:03,156 --> 00:35:05,116
Speaker 2: you get the record and the mix is.

661
00:35:05,116 --> 00:35:08,196
Speaker 3: Just it's fucked up. The drums aren't there, it doesn't work.

662
00:35:08,556 --> 00:35:11,236
Speaker 4: Yeah, sucks. It's a lot of it.

663
00:35:11,236 --> 00:35:13,676
Speaker 3: It's weird. Yeah, you'll spend hours and hours and hours

664
00:35:13,716 --> 00:35:17,036
Speaker 3: searching for songs. You'll find like songs and you get

665
00:35:17,116 --> 00:35:19,996
Speaker 3: them sent to your house and like, only like ten

666
00:35:20,116 --> 00:35:23,556
Speaker 3: fifteen percent of them actually are as good as you thought.

667
00:35:23,636 --> 00:35:26,436
Speaker 3: They were pretty consistent, pretty consistently.

668
00:35:26,596 --> 00:35:30,236
Speaker 2: Yeah, Like the vocals are like twenty five percent too loud.

669
00:35:30,276 --> 00:35:33,516
Speaker 2: The drums are just like almost good, loud enough but

670
00:35:33,556 --> 00:35:35,036
Speaker 2: not there, and then you put it on the club

671
00:35:35,076 --> 00:35:37,396
Speaker 2: and it doesn't work.

672
00:35:38,276 --> 00:35:39,916
Speaker 1: Or like the drums are great, but then there's like

673
00:35:39,956 --> 00:35:40,476
Speaker 1: the high hat.

674
00:35:40,596 --> 00:35:43,596
Speaker 3: It's like something, it's just messing all up.

675
00:35:43,876 --> 00:35:45,916
Speaker 4: We can live with the as long as we can

676
00:35:45,956 --> 00:35:46,676
Speaker 4: live with some of it.

677
00:35:48,516 --> 00:35:51,236
Speaker 1: But yeah, do you find that it do you find

678
00:35:51,276 --> 00:35:53,236
Speaker 1: through digging though that some do you ever find yourself

679
00:35:53,276 --> 00:35:56,716
Speaker 1: lost in a sense of like after thirty minutes an

680
00:35:56,716 --> 00:36:00,916
Speaker 1: hour of listening to something you you kind of don't

681
00:36:00,956 --> 00:36:01,876
Speaker 1: know what's good anymore.

682
00:36:03,636 --> 00:36:06,316
Speaker 2: Oh yeah, that happens to me when it comes into

683
00:36:06,356 --> 00:36:10,796
Speaker 2: this specific thing. I've definitely I purchased a few records

684
00:36:10,836 --> 00:36:13,436
Speaker 2: and I'll get them like why the fuck did I

685
00:36:13,436 --> 00:36:14,156
Speaker 2: buy this record?

686
00:36:14,196 --> 00:36:16,236
Speaker 4: And I was like, really, be like what was going

687
00:36:16,276 --> 00:36:16,676
Speaker 4: on here?

688
00:36:17,436 --> 00:36:18,556
Speaker 2: And I was like, you know what it was, is

689
00:36:18,596 --> 00:36:21,356
Speaker 2: like I just put so many hours into looking for

690
00:36:21,436 --> 00:36:23,596
Speaker 2: something that I think I just wanted to buy something

691
00:36:23,796 --> 00:36:25,596
Speaker 2: so I could have something to show for it.

692
00:36:25,916 --> 00:36:28,556
Speaker 1: You can get yourself worked up about the smallest thing

693
00:36:28,596 --> 00:36:31,156
Speaker 1: about a record that the smallest reason why you need

694
00:36:31,156 --> 00:36:32,716
Speaker 1: this record, you know, is enough to buy it.

695
00:36:32,796 --> 00:36:35,156
Speaker 2: And then I've definitely bought a record the other day

696
00:36:35,156 --> 00:36:38,876
Speaker 2: because the snare drums sounded so bad in a good

697
00:36:38,876 --> 00:36:41,836
Speaker 2: way that I was like, maybe Dan, I should sample this.

698
00:36:42,796 --> 00:36:43,676
Speaker 1: What record was it?

699
00:36:45,316 --> 00:36:46,036
Speaker 4: Oh Man?

700
00:36:46,876 --> 00:36:50,036
Speaker 2: Because his last name was Washington, I forget. It's this

701
00:36:50,116 --> 00:36:53,836
Speaker 2: decent song, but the snare drum's real messed up. It

702
00:36:53,956 --> 00:36:55,516
Speaker 2: sounds like a broken four track.

703
00:36:56,476 --> 00:36:56,996
Speaker 4: It's cool.

704
00:36:57,476 --> 00:37:00,756
Speaker 1: Do the record hangs im like impact the way you

705
00:37:00,796 --> 00:37:03,276
Speaker 1: guys make records in the studio.

706
00:37:04,436 --> 00:37:09,916
Speaker 3: One thousand, Absolutely no, I mean we're spinning records and

707
00:37:10,116 --> 00:37:14,556
Speaker 3: and and like seeing what what gets the crowd moving

708
00:37:14,636 --> 00:37:17,356
Speaker 3: definitely influences us when we get in the studio and

709
00:37:17,356 --> 00:37:19,876
Speaker 3: what we want to try to do. Absolutely.

710
00:37:20,836 --> 00:37:20,996
Speaker 4: Yeah.

711
00:37:21,036 --> 00:37:22,636
Speaker 2: I think there's a couple of songs on the new

712
00:37:22,836 --> 00:37:27,836
Speaker 2: album that definitely exists because of the record.

713
00:37:27,916 --> 00:37:30,756
Speaker 3: Hangs mm hmm.

714
00:37:31,556 --> 00:37:34,276
Speaker 1: What tracks are those? I've only been over to here too.

715
00:37:34,236 --> 00:37:36,796
Speaker 4: But yeah, and one of the songs you're I mean,

716
00:37:36,836 --> 00:37:39,236
Speaker 4: both of them are. One of them was a rough mix.

717
00:37:40,636 --> 00:37:41,396
Speaker 1: Which one was that?

718
00:37:41,996 --> 00:37:43,916
Speaker 2: I mean, if they sent you no Raino Flowers that

719
00:37:43,996 --> 00:37:49,716
Speaker 2: was that was the title. That was the wrong mix. Yeah, yeah,

720
00:37:49,716 --> 00:37:51,836
Speaker 2: that's like part of the thing did sound very different

721
00:37:51,836 --> 00:37:52,516
Speaker 2: from the night before.

722
00:37:52,556 --> 00:37:56,476
Speaker 1: I heard the night before and it sounded the production wise,

723
00:37:56,516 --> 00:37:57,716
Speaker 1: it did sound very different.

724
00:37:58,716 --> 00:38:00,836
Speaker 2: Well, it's like, you know, it's the thing that's interesting

725
00:38:00,876 --> 00:38:03,836
Speaker 2: thing about like we started this album and the very

726
00:38:03,916 --> 00:38:09,196
Speaker 2: very end of July and and really got going on

727
00:38:09,196 --> 00:38:11,196
Speaker 2: on it like in September.

728
00:38:12,396 --> 00:38:13,196
Speaker 4: But when you're like.

729
00:38:15,556 --> 00:38:20,156
Speaker 2: Writing recording, you know that much work that in that

730
00:38:20,396 --> 00:38:23,556
Speaker 2: bunch of a condensed period of time, you know, it

731
00:38:23,556 --> 00:38:26,996
Speaker 2: takes it takes a few Like we kind of finished

732
00:38:26,996 --> 00:38:30,676
Speaker 2: tracking mostly in the middle of December, but then I

733
00:38:30,676 --> 00:38:32,596
Speaker 2: think it took us like a couple of weeks of

734
00:38:32,676 --> 00:38:34,676
Speaker 2: getting away from the record to get back to the

735
00:38:34,716 --> 00:38:39,156
Speaker 2: place where we could start mixing it, start getting it finished.

736
00:38:39,716 --> 00:38:40,636
Speaker 4: That's where we are now.

737
00:38:40,756 --> 00:38:44,116
Speaker 2: But yeah, there's like one song on it that's just

738
00:38:44,156 --> 00:38:46,796
Speaker 2: a kind of Cumbia influenced because dances. We're playing a

739
00:38:46,796 --> 00:38:52,276
Speaker 2: lot of Cumbia at the record hangs. But yeah, I

740
00:38:52,316 --> 00:38:55,716
Speaker 2: think that it's an interesting thing trying to figure out

741
00:38:55,716 --> 00:38:57,956
Speaker 2: how to put an album out in twenty twenty five

742
00:38:58,476 --> 00:39:01,836
Speaker 2: versus two thousand and five, because it used to be

743
00:39:01,876 --> 00:39:03,716
Speaker 2: like the biggest difference is it's like, yeah, of course

744
00:39:03,756 --> 00:39:05,396
Speaker 2: there was press and stuff that you could do.

745
00:39:05,516 --> 00:39:10,076
Speaker 4: There's things to do, but really it was like it

746
00:39:10,116 --> 00:39:10,956
Speaker 4: really felt like.

747
00:39:13,236 --> 00:39:15,396
Speaker 2: Back then, like your album came out then it was

748
00:39:15,476 --> 00:39:19,556
Speaker 2: like okay, now like now people are finally gonna get

749
00:39:19,596 --> 00:39:23,076
Speaker 2: to hear it, and like there was this life to

750
00:39:23,116 --> 00:39:26,156
Speaker 2: it like where it was like you know, and it

751
00:39:26,236 --> 00:39:29,676
Speaker 2: kind of feels inverted now where it's like with a

752
00:39:29,716 --> 00:39:32,636
Speaker 2: minute your album comes out, it's like unless you have

753
00:39:32,676 --> 00:39:35,396
Speaker 2: a couple of hit songs on it, it's just what's

754
00:39:35,396 --> 00:39:36,316
Speaker 2: coming out next week?

755
00:39:36,596 --> 00:39:39,596
Speaker 4: You know. Yeah.

756
00:39:39,716 --> 00:39:44,836
Speaker 1: The weird thing about that though, from the you know,

757
00:39:45,236 --> 00:39:48,676
Speaker 1: listener perspective and just thinking about music as a consumer,

758
00:39:48,716 --> 00:39:53,916
Speaker 1: I guess is it automatically puts all new music in

759
00:39:53,996 --> 00:39:59,676
Speaker 1: the same frame, in the same context as like old music,

760
00:40:00,756 --> 00:40:05,156
Speaker 1: like in the sense of like when a new when

761
00:40:05,236 --> 00:40:08,436
Speaker 1: when the Ohio Players comes out, I'm sort of guilty

762
00:40:08,436 --> 00:40:10,956
Speaker 1: of the same phenomen on. I listened to it, and

763
00:40:10,996 --> 00:40:13,516
Speaker 1: I pretty quickly move on. But then also fine, just

764
00:40:13,516 --> 00:40:16,556
Speaker 1: as quickly as I move on, I pretty quickly come

765
00:40:16,636 --> 00:40:18,396
Speaker 1: back to it. But I mean, you know, I'm usually

766
00:40:18,396 --> 00:40:19,716
Speaker 1: listening to old stuff because it's like you have this

767
00:40:19,756 --> 00:40:22,756
Speaker 1: whole everything's at your fingertips now, So I'm like listening

768
00:40:22,756 --> 00:40:26,476
Speaker 1: to you know, whatever Aretha records I never heard before really,

769
00:40:26,636 --> 00:40:28,716
Speaker 1: or you know, in the Nat King Cole and then

770
00:40:28,716 --> 00:40:30,996
Speaker 1: I'm listening and then it's like I'm back to listening

771
00:40:30,996 --> 00:40:33,756
Speaker 1: to the Ohio Players. And so in a weird way,

772
00:40:33,956 --> 00:40:39,876
Speaker 1: I also feel like it makes new records, it makes

773
00:40:39,916 --> 00:40:43,516
Speaker 1: them feel like classic records a little sooner than it

774
00:40:43,636 --> 00:40:45,756
Speaker 1: used to, you know, whereas before I used to just

775
00:40:45,916 --> 00:40:49,476
Speaker 1: burn records out after a year, and then I'm like,

776
00:40:49,476 --> 00:40:51,316
Speaker 1: I don't know if I ever need to hear that again.

777
00:40:51,356 --> 00:40:56,396
Speaker 4: You know, I heard something a couple of weeks ago.

778
00:40:56,596 --> 00:40:59,196
Speaker 2: I don't know if it's true, but the mere thought

779
00:40:59,196 --> 00:41:02,636
Speaker 2: of it gave me a slight existential crisis, which was

780
00:41:02,676 --> 00:41:07,196
Speaker 2: that there's more like that. There's more music released every

781
00:41:07,236 --> 00:41:09,756
Speaker 2: single day in twenty twenty four as there was in

782
00:41:09,796 --> 00:41:15,276
Speaker 2: the entirety of nineteen eighty nine. I don't know if

783
00:41:15,276 --> 00:41:18,836
Speaker 2: that's true, but could that be true? It feels like

784
00:41:19,916 --> 00:41:23,316
Speaker 2: there's some sort of It kind of feels like that,

785
00:41:24,756 --> 00:41:29,116
Speaker 2: you know, I've chosen to believe it also, you know,

786
00:41:29,156 --> 00:41:31,596
Speaker 2: I have other feelings about UAPs and things like that

787
00:41:31,596 --> 00:41:32,596
Speaker 2: I've chosen to believe.

788
00:41:34,036 --> 00:41:37,116
Speaker 1: What are those feelings. I don't know they changed day

789
00:41:37,156 --> 00:41:37,516
Speaker 1: to day.

790
00:41:39,276 --> 00:41:42,996
Speaker 4: What are they today? I haven't thought about.

791
00:41:42,756 --> 00:41:47,876
Speaker 2: It yet today, So I'm like, no, But you know

792
00:41:47,876 --> 00:41:49,516
Speaker 2: what there is there's just so much good music that's

793
00:41:49,516 --> 00:41:55,756
Speaker 2: been made, and it's like, you know, it's like if

794
00:41:56,516 --> 00:41:58,916
Speaker 2: you're a fifteen year old now and you have Spotify,

795
00:41:59,036 --> 00:42:01,476
Speaker 2: like I just I wish I could have experienced it,

796
00:42:02,396 --> 00:42:06,316
Speaker 2: you know, I wish I could have had my teenage

797
00:42:06,396 --> 00:42:10,076
Speaker 2: years when there was something like Spotify. The amount of

798
00:42:10,116 --> 00:42:12,156
Speaker 2: time Dan and I spent looking for music when we

799
00:42:12,156 --> 00:42:16,276
Speaker 2: were teenagers and up through our twenties, it is insane.

800
00:42:16,476 --> 00:42:18,236
Speaker 2: Like when Dan used to come over to my house

801
00:42:18,356 --> 00:42:19,876
Speaker 2: or that I lived in with some friends where we

802
00:42:19,876 --> 00:42:23,076
Speaker 2: would do like started the band his minivan. He'd pull

803
00:42:23,156 --> 00:42:24,796
Speaker 2: up with his minivan and open the side door to

804
00:42:24,796 --> 00:42:27,636
Speaker 2: get his amp out, and just like literally one hundred

805
00:42:27,716 --> 00:42:28,396
Speaker 2: CDs just.

806
00:42:28,356 --> 00:42:29,156
Speaker 4: Fall on the ground.

807
00:42:29,276 --> 00:42:33,276
Speaker 2: We'd been picking them up, crazy box sets things. Just

808
00:42:33,316 --> 00:42:35,716
Speaker 2: like every single dollar he was making was going into

809
00:42:35,716 --> 00:42:39,076
Speaker 2: buying music to try to hear it, see what was there,

810
00:42:39,316 --> 00:42:41,196
Speaker 2: you know, And.

811
00:42:41,796 --> 00:42:43,756
Speaker 1: Asn't I say, forget time the amount of money when

812
00:42:43,796 --> 00:42:46,396
Speaker 1: you had no money you'd spend you know.

813
00:42:46,796 --> 00:42:49,836
Speaker 2: Yeah, well you know I think Dan spent all his

814
00:42:49,916 --> 00:42:54,436
Speaker 2: money on that. But yeah, you know, like that choice

815
00:42:54,476 --> 00:42:57,276
Speaker 2: you have to make when you're like a fourteen year

816
00:42:57,276 --> 00:42:59,236
Speaker 2: old kid and you're just getting into like lead uppein

817
00:42:59,276 --> 00:43:02,716
Speaker 2: and you go look at the go to the record store,

818
00:43:02,756 --> 00:43:06,116
Speaker 2: and like, you know, you could end up hating LEDs up.

819
00:43:06,156 --> 00:43:08,876
Speaker 2: And if you picked the wrong record right there, if

820
00:43:08,916 --> 00:43:11,996
Speaker 2: you walked out with presence, you might never like leads

821
00:43:12,036 --> 00:43:15,676
Speaker 2: up on. But if you walked if you if you

822
00:43:15,756 --> 00:43:18,676
Speaker 2: got like leads up on one two three or one

823
00:43:18,716 --> 00:43:21,316
Speaker 2: two four, Houses.

824
00:43:20,996 --> 00:43:24,476
Speaker 4: Of a Holy I think then I imagine you'd end

825
00:43:24,516 --> 00:43:25,316
Speaker 4: upuying presents.

826
00:43:25,316 --> 00:43:30,716
Speaker 1: Eventually you would get there, that'd be last Yeah, did

827
00:43:30,716 --> 00:43:32,396
Speaker 1: you were the record? I'm trying to think, were there

828
00:43:32,436 --> 00:43:34,236
Speaker 1: groups like that for you or artists like that for

829
00:43:34,276 --> 00:43:36,396
Speaker 1: you where you just heard the wrong thing first and

830
00:43:36,396 --> 00:43:39,316
Speaker 1: then just had the wrong impression for far too long.

831
00:43:39,396 --> 00:43:41,076
Speaker 2: So I wonder if they had that record in through

832
00:43:41,076 --> 00:43:42,556
Speaker 2: the Outdoor. I wonder if that as some sort of

833
00:43:42,636 --> 00:43:46,716
Speaker 2: reference to their catalog. But yeah, I mean, like here,

834
00:43:47,276 --> 00:43:51,076
Speaker 2: it's just today. One of our engineers at the studio

835
00:43:51,116 --> 00:43:54,836
Speaker 2: asked me if I was into Space Spend three, and

836
00:43:55,916 --> 00:43:59,396
Speaker 2: I was like, actually, you know, I was like a

837
00:43:59,476 --> 00:44:02,356
Speaker 2: hip teenager. I you know, I bought a Spaceman three

838
00:44:02,436 --> 00:44:05,636
Speaker 2: CD when I was like fifteen, and I it was

839
00:44:05,716 --> 00:44:09,796
Speaker 2: way over my head. I really didn't get it. But

840
00:44:09,836 --> 00:44:15,436
Speaker 2: then I got into Spiritualized and I'm just now getting

841
00:44:15,476 --> 00:44:17,596
Speaker 2: into Spacement three a little bit. And it's been you know,

842
00:44:17,716 --> 00:44:22,996
Speaker 2: thirty years. But there's a lot of times I think

843
00:44:23,836 --> 00:44:27,996
Speaker 2: if you get the wrong album, you could maybe not

844
00:44:28,036 --> 00:44:28,556
Speaker 2: see the light.

845
00:44:28,756 --> 00:44:29,636
Speaker 4: But I think that's cool.

846
00:44:29,676 --> 00:44:33,316
Speaker 2: I end up respecting bands that have catalogs like that,

847
00:44:33,356 --> 00:44:35,356
Speaker 2: Like Pink Floyd is that band to me too. There's

848
00:44:35,356 --> 00:44:39,116
Speaker 2: just a lot of evolution from the first record through

849
00:44:39,116 --> 00:44:42,956
Speaker 2: the you know, I guess through the mid seventies all

850
00:44:42,956 --> 00:44:43,436
Speaker 2: the way up.

851
00:44:43,356 --> 00:44:45,396
Speaker 4: To the Wall.

852
00:44:46,276 --> 00:44:48,916
Speaker 1: Then there's groups like the Rolling Stones where it's like

853
00:44:50,396 --> 00:44:53,156
Speaker 1: there's a lot of output for a certain period and

854
00:44:53,156 --> 00:44:56,916
Speaker 1: then like a limited output. But it's it'd be, it'd

855
00:44:56,956 --> 00:45:00,156
Speaker 1: be the odds are against you picking a bad one.

856
00:45:00,196 --> 00:45:01,596
Speaker 1: I guess you know, if you're at the record store

857
00:45:01,636 --> 00:45:03,796
Speaker 1: and you're twelve, you never heard of the Rolling Stones,

858
00:45:03,756 --> 00:45:05,636
Speaker 1: a bi Rolling Stones record, there's.

859
00:45:05,476 --> 00:45:07,516
Speaker 2: Just good advice to pick up, yeah, if you like

860
00:45:07,596 --> 00:45:10,396
Speaker 2: you know, the advice is, if you're gonna buy a

861
00:45:10,436 --> 00:45:14,276
Speaker 2: record from a classic rock band, just avoid any album

862
00:45:14,356 --> 00:45:18,196
Speaker 2: where they're wearing like a pastel sport jacket, if they're

863
00:45:18,236 --> 00:45:23,156
Speaker 2: wearing like pastel, like muscle shirt, if they're dressed like

864
00:45:23,156 --> 00:45:26,196
Speaker 2: Miami vice, skip the record and you're gonna be good.

865
00:45:26,356 --> 00:45:28,036
Speaker 1: And there is this what is that Stones record where

866
00:45:28,036 --> 00:45:30,996
Speaker 1: they're like laying down and they got a like neon

867
00:45:31,116 --> 00:45:32,316
Speaker 1: on or sport coats.

868
00:45:32,516 --> 00:45:34,076
Speaker 2: I owe it to them to never listen to that

869
00:45:34,156 --> 00:45:36,516
Speaker 2: bad though. I don't know, the cover is just so bad.

870
00:45:36,756 --> 00:45:40,476
Speaker 2: They got such good it's not bad. I just have

871
00:45:40,556 --> 00:45:43,276
Speaker 2: a thing about digital eighties reverb, and so I just

872
00:45:43,396 --> 00:45:45,956
Speaker 2: I hate the whole I think maybe because my parents

873
00:45:45,956 --> 00:45:49,556
Speaker 2: got divorced right in mid eighties. I just I fucking

874
00:45:49,636 --> 00:45:51,956
Speaker 2: hate like people are like, oh, man, like you like

875
00:45:52,036 --> 00:45:53,956
Speaker 2: this band. It kind of sounds like Bruce Hornsby, like

876
00:45:54,036 --> 00:45:57,676
Speaker 2: you fucking just kill me right now because I don't want.

877
00:45:57,876 --> 00:46:00,756
Speaker 2: I don't want to remember what nineteen eighty six felt like.

878
00:46:01,036 --> 00:46:05,996
Speaker 3: That's amazing. Yeah, Digital REAVERB brings back too many painful men.

879
00:46:06,196 --> 00:46:10,876
Speaker 4: It fucking does, dude. I really can't hear it. It's amazing. Sorry, man,

880
00:46:11,036 --> 00:46:12,276
Speaker 4: no nostalgia for that.

881
00:46:13,556 --> 00:46:15,836
Speaker 2: I do like dire Straits a lot though, that Brothers

882
00:46:15,836 --> 00:46:17,916
Speaker 2: and Arms, but it's like that's.

883
00:46:17,876 --> 00:46:21,716
Speaker 1: A REAVERB on that or on the on there.

884
00:46:21,876 --> 00:46:26,916
Speaker 2: It's tasteful, but like that, you know, I can't go.

885
00:46:27,116 --> 00:46:28,916
Speaker 2: I can't go later in the eighties than that.

886
00:46:29,156 --> 00:46:33,316
Speaker 1: Do you have prejudices like that, Dan, like musical? Oh god, yeah,

887
00:46:33,556 --> 00:46:36,556
Speaker 1: not not.

888
00:46:37,236 --> 00:46:40,196
Speaker 4: Absolutely. He's not the same prejudice, that's the thing.

889
00:46:40,476 --> 00:46:46,836
Speaker 3: Yeah. No, I'm picky, man, I'm picky about I mean everything.

890
00:46:46,876 --> 00:46:48,676
Speaker 3: I mean. That's like when people say that you guys

891
00:46:48,676 --> 00:46:51,396
Speaker 3: are influenced by blues, It's like, yeah, but like what

892
00:46:51,396 --> 00:46:53,316
Speaker 3: blues are we talking about? You know what I mean?

893
00:46:53,436 --> 00:46:55,516
Speaker 3: Or like what hip hop are you talking about It's

894
00:46:55,556 --> 00:46:58,356
Speaker 3: like we start getting into specifics. I mean, we love

895
00:46:58,476 --> 00:47:01,476
Speaker 3: music too much to just generalize. Really at this point,

896
00:47:01,836 --> 00:47:03,876
Speaker 3: we spend so much time thinking about it. It's like,

897
00:47:04,916 --> 00:47:09,836
Speaker 3: you know, not everything's created equal. Yeah, not, you know

898
00:47:11,036 --> 00:47:12,076
Speaker 3: freeze person is different.

899
00:47:12,116 --> 00:47:12,596
Speaker 4: But yeah.

900
00:47:12,636 --> 00:47:14,236
Speaker 2: It's like if you tell if they get someone's like

901
00:47:14,276 --> 00:47:16,516
Speaker 2: I'm really in the wine, It's like, well, what does

902
00:47:16,556 --> 00:47:19,236
Speaker 2: that actually mean? It means they're a complete fucking snob

903
00:47:19,836 --> 00:47:22,356
Speaker 2: about what win to drink. It's like us about music.

904
00:47:22,396 --> 00:47:24,596
Speaker 2: You know, hear the same, Oh I really love food.

905
00:47:24,596 --> 00:47:27,876
Speaker 2: It's like, oh, do you want some ruffles? No, motherfucker? Like,

906
00:47:28,356 --> 00:47:31,076
Speaker 2: I'm like, good, you want. It's a good call.

907
00:47:32,636 --> 00:47:34,476
Speaker 1: We'll be back with the rest of the Black Keys.

908
00:47:34,836 --> 00:47:41,396
Speaker 1: Shortly you mentioned it, like, do you just like how

909
00:47:41,476 --> 00:47:43,516
Speaker 1: general the label blues can be? Like I feel like

910
00:47:43,556 --> 00:47:48,036
Speaker 1: when people think blues, like the reactive thought is like

911
00:47:48,116 --> 00:47:52,436
Speaker 1: Muddy Waters. But you know, I don't know if it's sacrilegious.

912
00:47:52,436 --> 00:47:55,116
Speaker 1: I'm not really I don't really like Muddy Waters. No,

913
00:47:56,676 --> 00:47:59,876
Speaker 1: you know, Like, but pretty quickly, I guess if you

914
00:47:59,956 --> 00:48:01,836
Speaker 1: if you think about the blues, it's like Muddy Waters.

915
00:48:02,436 --> 00:48:06,516
Speaker 1: Howland Wolf might be like the yeah, the two strains maybe,

916
00:48:06,556 --> 00:48:09,236
Speaker 1: And it's like, I think I'm just more on that

917
00:48:09,356 --> 00:48:10,836
Speaker 1: side of things, and I don't know.

918
00:48:11,756 --> 00:48:15,076
Speaker 2: Yeah, the first blues album I ever heard was Electric Mud,

919
00:48:16,596 --> 00:48:18,676
Speaker 2: So I love I love How, I love Al Wolf,

920
00:48:18,796 --> 00:48:22,516
Speaker 2: and I love Muddy Waters, but I like the bastardized

921
00:48:22,636 --> 00:48:24,796
Speaker 2: version of it all. That's right, But and I'm just

922
00:48:24,876 --> 00:48:29,356
Speaker 2: now kind of getting into the other shit Dan's way

923
00:48:29,396 --> 00:48:33,396
Speaker 2: into like Mississippi, Fred McDowell, all kinds of shit I'd

924
00:48:33,436 --> 00:48:33,836
Speaker 2: never heard.

925
00:48:33,836 --> 00:48:35,156
Speaker 4: He exposed me to all this stuff.

926
00:48:37,916 --> 00:48:42,316
Speaker 3: Yeah, man, I loved like the raw, early primitive kind

927
00:48:42,316 --> 00:48:45,476
Speaker 3: of blues like stuff from Memphis before they actually had

928
00:48:45,516 --> 00:48:47,036
Speaker 3: like bass, you know, where it's just kind of like

929
00:48:47,076 --> 00:48:50,236
Speaker 3: guitars and drums, a lot of like one man bands,

930
00:48:50,276 --> 00:48:53,836
Speaker 3: two man band kind of stuff. Joe Hill Lewis and

931
00:48:54,276 --> 00:48:58,196
Speaker 3: Doctor Ross, the Harmonica Boss, stuff like that. Those guys

932
00:48:58,196 --> 00:48:58,996
Speaker 3: were my favorites.

933
00:49:00,036 --> 00:49:02,436
Speaker 1: How did you How did you start discovering that stuff?

934
00:49:02,596 --> 00:49:06,156
Speaker 3: My uncle Tim was really into blues music and has

935
00:49:06,316 --> 00:49:09,756
Speaker 3: really great taste. He's a fucking snob too, and he

936
00:49:10,196 --> 00:49:12,836
Speaker 3: hit me to some really cool stuff early on. But

937
00:49:13,156 --> 00:49:16,596
Speaker 3: you know, right when we were starting to like get

938
00:49:16,636 --> 00:49:20,916
Speaker 3: serious about music, that whole fat Powesome Records record label

939
00:49:21,156 --> 00:49:23,876
Speaker 3: kind of came to be and started to have their moment,

940
00:49:23,956 --> 00:49:27,236
Speaker 3: and it was really you know, it had a major

941
00:49:27,276 --> 00:49:30,076
Speaker 3: effect on me, you know because for the first time

942
00:49:30,156 --> 00:49:32,956
Speaker 3: these you know, I loved blues music, but it was

943
00:49:32,996 --> 00:49:37,276
Speaker 3: all like antiquity, you know, it wasn't like current. But

944
00:49:37,356 --> 00:49:41,076
Speaker 3: then the Fat Possum stuff came out and it was like, oh,

945
00:49:41,116 --> 00:49:44,316
Speaker 3: these guys are real. You can go to the and

946
00:49:44,316 --> 00:49:47,396
Speaker 3: they come to like the rock club in Cleveland, and

947
00:49:47,436 --> 00:49:49,236
Speaker 3: I can go see them, you know what I mean.

948
00:49:49,396 --> 00:49:52,396
Speaker 3: So it was like it was just so such a

949
00:49:52,396 --> 00:49:55,716
Speaker 3: game changer, and so I started to like really get

950
00:49:55,756 --> 00:49:59,676
Speaker 3: influenced by that. That scene in particular, which was very

951
00:49:59,796 --> 00:50:02,996
Speaker 3: raw and stuff like Siddell Davis is really hard for

952
00:50:03,036 --> 00:50:06,076
Speaker 3: people to listen to. You know, it's very out of tune,

953
00:50:07,556 --> 00:50:11,516
Speaker 3: but you know it's also very beautiful.

954
00:50:12,196 --> 00:50:15,316
Speaker 1: Yeah, which I guess is even more so. I mean, again,

955
00:50:15,356 --> 00:50:21,876
Speaker 1: we were talking about the way a record's mixed, where

956
00:50:21,916 --> 00:50:23,076
Speaker 1: you get when you get you think the records is

957
00:50:23,076 --> 00:50:25,116
Speaker 1: gonna be great, you get it and it's mixed weird

958
00:50:25,116 --> 00:50:26,996
Speaker 1: and it sucks. But then there's records that are mixed

959
00:50:27,156 --> 00:50:30,276
Speaker 1: terribly and you wouldn't want them any other way.

960
00:50:30,316 --> 00:50:30,516
Speaker 4: Yah.

961
00:50:30,516 --> 00:50:32,316
Speaker 1: Almost times they try to wonder what would they sound

962
00:50:32,396 --> 00:50:35,916
Speaker 1: like if they had been recorded. Well, that's sort of like, fuck,

963
00:50:35,916 --> 00:50:36,916
Speaker 1: I don't know if I want to hear that.

964
00:50:36,996 --> 00:50:37,196
Speaker 4: You know.

965
00:50:37,636 --> 00:50:41,236
Speaker 3: It's like, yeah, a lot of blues music got messed

966
00:50:41,276 --> 00:50:43,236
Speaker 3: up because it got recorded too well, you know what

967
00:50:43,276 --> 00:50:47,716
Speaker 3: I mean. It's like I think jazz too Yeah, maybe, yeah,

968
00:50:47,836 --> 00:50:52,436
Speaker 3: something about like that kind of like you know, music

969
00:50:52,436 --> 00:50:54,996
Speaker 3: that's heavy on the improvisation. It's really nice to get

970
00:50:54,996 --> 00:50:57,316
Speaker 3: it in a place that's not actually a recording studio,

971
00:50:57,836 --> 00:51:01,156
Speaker 3: to where there's like a the room is kind of

972
00:51:01,156 --> 00:51:05,036
Speaker 3: alive and more less of like a science laboratory, you

973
00:51:05,076 --> 00:51:08,236
Speaker 3: know what I mean. And I think there's that's why

974
00:51:08,276 --> 00:51:10,916
Speaker 3: some of the best recordings or you know, live recordings,

975
00:51:11,516 --> 00:51:15,036
Speaker 3: field recordings, like my favorite Fred McDowell recordings were always

976
00:51:15,196 --> 00:51:18,996
Speaker 3: the ones recorded at his house, you know, stuff like that.

977
00:51:20,556 --> 00:51:23,916
Speaker 4: Yeah, the jazz definitely preferred.

978
00:51:23,956 --> 00:51:27,596
Speaker 2: Jazz recorded at a like live of the village vanguarden

979
00:51:27,676 --> 00:51:30,156
Speaker 2: type of ship always sounds much better.

980
00:51:31,156 --> 00:51:34,516
Speaker 1: Whatever magics and like those Fred McDowell records recorded at home.

981
00:51:35,636 --> 00:51:37,676
Speaker 1: That does that ever in your mind when you're recording

982
00:51:37,676 --> 00:51:41,436
Speaker 1: stuff like it would be I want something like that

983
00:51:41,476 --> 00:51:42,916
Speaker 1: I want to go for that, you know you're not

984
00:51:42,916 --> 00:51:43,996
Speaker 1: going to get it, I guess, you know.

985
00:51:44,036 --> 00:51:46,836
Speaker 3: I mean that's why we went to muscle Shoals, you know,

986
00:51:47,116 --> 00:51:52,796
Speaker 3: that's why you know, that's probably why we recorded in

987
00:51:52,836 --> 00:51:55,636
Speaker 3: an old tire factory instead of going to a studio.

988
00:51:56,236 --> 00:51:59,836
Speaker 3: You know, it's all because of that. I think we've

989
00:51:59,876 --> 00:52:03,076
Speaker 3: made most of our decisions based on that, you know.

990
00:52:03,476 --> 00:52:07,116
Speaker 3: And you know, when I'm producing records too, you know,

991
00:52:07,716 --> 00:52:10,676
Speaker 3: I've recorded a bunch of records in that houses when

992
00:52:10,716 --> 00:52:12,356
Speaker 3: it was just as easy to record in a studio,

993
00:52:12,556 --> 00:52:14,196
Speaker 3: when it was easier to record in the studio now,

994
00:52:14,196 --> 00:52:17,036
Speaker 3: just because it was like musically more appropriate.

995
00:52:17,196 --> 00:52:17,396
Speaker 1: You know.

996
00:52:18,356 --> 00:52:21,476
Speaker 2: I was way into a music from Big Pink when

997
00:52:21,476 --> 00:52:27,676
Speaker 2: I was like sixteen seventeen, and my dad was, you know,

998
00:52:27,796 --> 00:52:29,956
Speaker 2: told me like they made this, you know, record in

999
00:52:29,956 --> 00:52:32,836
Speaker 2: the basement of this house on the cover, and ever

1000
00:52:32,876 --> 00:52:36,956
Speaker 2: since then, I was like, that's that's that's the coolest

1001
00:52:37,476 --> 00:52:40,636
Speaker 2: you can do that. So yeah, I mean I got

1002
00:52:40,636 --> 00:52:43,956
Speaker 2: a four track when I was thirteen thirteen years old,

1003
00:52:45,196 --> 00:52:50,636
Speaker 2: started fucking around with one in my basement, making absolutely

1004
00:52:50,836 --> 00:52:54,196
Speaker 2: terrible shit. But yeah, the first time Dan and I

1005
00:52:54,196 --> 00:52:56,596
Speaker 2: had jammed, he came down, and at that time I

1006
00:52:56,596 --> 00:53:00,796
Speaker 2: had this Morant's pretty nice concept four track, and I

1007
00:53:00,836 --> 00:53:02,596
Speaker 2: don't think Dan had seen a four track yet.

1008
00:53:02,676 --> 00:53:03,996
Speaker 4: We just kind of sat there and.

1009
00:53:05,476 --> 00:53:07,836
Speaker 2: Started fucking around showing him that, and I would take

1010
00:53:07,876 --> 00:53:10,796
Speaker 2: it over to his parents house to be set up,

1011
00:53:10,796 --> 00:53:13,996
Speaker 2: like in their child bathroom, just to get different sounds.

1012
00:53:15,836 --> 00:53:19,756
Speaker 4: Sounded like shit, sounded like dog shit, but it was

1013
00:53:19,796 --> 00:53:20,516
Speaker 4: worth a shot.

1014
00:53:22,556 --> 00:53:24,676
Speaker 2: We used to do shit like too. I got think freakness.

1015
00:53:24,716 --> 00:53:32,036
Speaker 2: There's I'll forget what song it is, but damn wanted

1016
00:53:32,676 --> 00:53:34,956
Speaker 2: like a Leslie effect or something. I just started swinging

1017
00:53:34,996 --> 00:53:38,476
Speaker 2: the microphone in front of the amp while we recorded.

1018
00:53:38,516 --> 00:53:42,236
Speaker 2: It actually sounded fucking cool. That's kind of shit we

1019
00:53:42,236 --> 00:53:44,996
Speaker 2: would do, put like broken the record. Yeah, that's on

1020
00:53:45,116 --> 00:53:45,836
Speaker 2: the record.

1021
00:53:46,356 --> 00:53:47,996
Speaker 1: Was it like a first did you get that first take?

1022
00:53:49,836 --> 00:53:50,316
Speaker 4: Probably?

1023
00:53:52,676 --> 00:53:56,916
Speaker 1: I forget what song is, but it's there. That's pretty amazing.

1024
00:53:57,716 --> 00:53:57,916
Speaker 4: Yeah.

1025
00:53:57,956 --> 00:54:00,836
Speaker 2: Dan's uncle Tim Wants brought over this like Fender reverb tank,

1026
00:54:01,676 --> 00:54:03,956
Speaker 2: and then that became our whole identity for like about

1027
00:54:03,956 --> 00:54:06,956
Speaker 2: two months, just putting everything through that shit.

1028
00:54:07,436 --> 00:54:08,316
Speaker 3: Our first effect.

1029
00:54:08,556 --> 00:54:17,556
Speaker 1: Yeah, how does the no Rain, no Flowers? I heard

1030
00:54:17,596 --> 00:54:21,636
Speaker 1: the wrong mix? How different does the final mix sound?

1031
00:54:22,596 --> 00:54:26,196
Speaker 3: I mean you get the just the basic idea I think, yeah,

1032
00:54:26,516 --> 00:54:34,516
Speaker 3: it's not that far okay, but yeah, just a little

1033
00:54:34,556 --> 00:54:35,276
Speaker 3: bit more work to do.

1034
00:54:36,556 --> 00:54:38,796
Speaker 1: It was pretty It's a it's a pretty different record

1035
00:54:39,196 --> 00:54:42,116
Speaker 1: for you guys. Like the song I don't know sound icenically,

1036
00:54:42,196 --> 00:54:43,316
Speaker 1: it just sounded so different.

1037
00:54:44,156 --> 00:54:48,916
Speaker 3: Yeah, we've we've never really written with piano players before.

1038
00:54:49,476 --> 00:54:51,516
Speaker 3: It was one of the first times we've ever done that.

1039
00:54:52,956 --> 00:54:58,156
Speaker 3: So that kind of that instantly was like different for us,

1040
00:54:58,956 --> 00:55:00,836
Speaker 3: but natural. You know, it was like we wrote it

1041
00:55:00,876 --> 00:55:04,596
Speaker 3: together with with Rick Knowles in the studio here and

1042
00:55:04,636 --> 00:55:10,076
Speaker 3: it was like we worked really u quickly together. So

1043
00:55:10,196 --> 00:55:14,156
Speaker 3: it's just whatever sounds like it was. It was pretty

1044
00:55:14,196 --> 00:55:16,916
Speaker 3: natural the way that that it unrolled.

1045
00:55:16,996 --> 00:55:19,436
Speaker 1: You know, how did the writing go. I mean, was

1046
00:55:19,436 --> 00:55:22,796
Speaker 1: it was it based off jamming or was it based

1047
00:55:22,836 --> 00:55:24,916
Speaker 1: off of someone bringing something in?

1048
00:55:25,676 --> 00:55:28,436
Speaker 2: Rick likes to start with a song title, so he

1049
00:55:28,636 --> 00:55:30,596
Speaker 2: was asking what if we had any song titles, and

1050
00:55:30,636 --> 00:55:31,196
Speaker 2: that was one.

1051
00:55:31,076 --> 00:55:31,636
Speaker 4: That Dan had.

1052
00:55:31,676 --> 00:55:34,116
Speaker 2: And you know, writing with a keyboard player like we

1053
00:55:34,196 --> 00:55:36,956
Speaker 2: worked with. Yeah, Like I said, I guess a lot

1054
00:55:36,996 --> 00:55:39,356
Speaker 2: of keyboard players are on this record, and to see

1055
00:55:40,396 --> 00:55:43,036
Speaker 2: the way that they choose to voice chords versus you know,

1056
00:55:43,156 --> 00:55:45,236
Speaker 2: guitar obviously, it's just it's all kind of a lot

1057
00:55:45,276 --> 00:55:49,236
Speaker 2: of it's pretty. It was very fresh to us to

1058
00:55:49,276 --> 00:55:52,636
Speaker 2: hear what you can kind of get to, you know,

1059
00:55:52,636 --> 00:55:55,436
Speaker 2: and Rick's really good at that and it's a chord master.

1060
00:55:57,476 --> 00:55:59,156
Speaker 2: So to sit there and watch the guy, it's like

1061
00:55:59,276 --> 00:56:02,276
Speaker 2: master of his craft and been doing it for a

1062
00:56:02,316 --> 00:56:05,716
Speaker 2: long time. It's like, you know, the thing is is that,

1063
00:56:06,556 --> 00:56:08,756
Speaker 2: I mean, I've never sat in a room with a

1064
00:56:08,916 --> 00:56:11,396
Speaker 2: guy like that before. You know, we've we've worked with

1065
00:56:11,716 --> 00:56:14,836
Speaker 2: musicians that are writers that we're friends with, but to

1066
00:56:14,916 --> 00:56:18,996
Speaker 2: work with like someone whose sole job is that it

1067
00:56:19,116 --> 00:56:23,676
Speaker 2: was like, uh, you know, it's.

1068
00:56:23,556 --> 00:56:25,356
Speaker 4: Like going to songwriting school a bit.

1069
00:56:25,596 --> 00:56:28,516
Speaker 2: It was just to see how they how they choose

1070
00:56:28,556 --> 00:56:31,156
Speaker 2: to work, and then then to see how they entertain,

1071
00:56:31,716 --> 00:56:35,436
Speaker 2: you know, the way that we want to move the

1072
00:56:35,516 --> 00:56:38,956
Speaker 2: song forward, and like, don't get that collaboration thing happening.

1073
00:56:38,996 --> 00:56:40,956
Speaker 2: Like that's the cool thing with Rick is that we

1074
00:56:40,956 --> 00:56:44,156
Speaker 2: we wrote these songs with Rick like four or five

1075
00:56:44,196 --> 00:56:45,716
Speaker 2: months ago, and you know, he was in the studio

1076
00:56:45,716 --> 00:56:47,876
Speaker 2: a couple of days ago and we're sitting there still

1077
00:56:48,196 --> 00:56:51,636
Speaker 2: he's passionate enough about the ship that he still wants

1078
00:56:51,676 --> 00:56:54,516
Speaker 2: to make sure that we're getting everything, you know, and

1079
00:56:55,116 --> 00:56:57,036
Speaker 2: he has ideas and we have ideas, and so it's

1080
00:56:57,156 --> 00:56:59,556
Speaker 2: it's a it's a cool thing to see the see

1081
00:56:59,596 --> 00:57:01,596
Speaker 2: the process all the way through with someone that gives

1082
00:57:01,596 --> 00:57:02,316
Speaker 2: a ship.

1083
00:57:02,196 --> 00:57:05,076
Speaker 1: You know, you know, you want like tweaking songs still

1084
00:57:05,076 --> 00:57:08,356
Speaker 1: a couple of days ago, right, we're still tweaking ship still.

1085
00:57:08,636 --> 00:57:11,756
Speaker 1: Oh yeah, was my impression with that? You guys worked

1086
00:57:12,196 --> 00:57:16,316
Speaker 1: pretty quickly, But is it like I guess, working pretty

1087
00:57:16,396 --> 00:57:18,116
Speaker 1: quickly and then going back to something you know, like

1088
00:57:18,156 --> 00:57:18,556
Speaker 1: that's not It.

1089
00:57:18,716 --> 00:57:19,836
Speaker 4: Depends on what it is. You know.

1090
00:57:19,876 --> 00:57:22,716
Speaker 2: It's like we we record. We decided to do a

1091
00:57:22,716 --> 00:57:26,156
Speaker 2: cover of this song two days ago, and so we

1092
00:57:26,516 --> 00:57:31,116
Speaker 2: spent like three hours. We spent two hours tracking the

1093
00:57:31,156 --> 00:57:33,876
Speaker 2: basics and then getting a rough together, then another two

1094
00:57:33,916 --> 00:57:37,196
Speaker 2: hours the next day, and there's four hours all in

1095
00:57:37,236 --> 00:57:40,036
Speaker 2: on a song and it's maybe very close to donn.

1096
00:57:40,956 --> 00:57:42,276
Speaker 4: That's one way that we can do shit.

1097
00:57:42,396 --> 00:57:45,116
Speaker 2: And then another way is like this this method where

1098
00:57:45,596 --> 00:57:48,516
Speaker 2: it's like, you know, get with a songwriter and with Rick,

1099
00:57:48,596 --> 00:57:50,716
Speaker 2: maybe we'll write in two or three songs in a day,

1100
00:57:51,716 --> 00:57:54,596
Speaker 2: and then there's like you know, then you started to

1101
00:57:54,596 --> 00:57:57,476
Speaker 2: get into that start trying to figure out how to

1102
00:57:57,796 --> 00:58:00,956
Speaker 2: do this, and then maybe there's multiple approaches to it.

1103
00:58:01,836 --> 00:58:03,316
Speaker 2: But once you get to a point where you have

1104
00:58:03,396 --> 00:58:05,796
Speaker 2: seventeen songs going, it's like if you go in for

1105
00:58:05,836 --> 00:58:08,356
Speaker 2: a day of work, even if you only want to

1106
00:58:08,396 --> 00:58:11,276
Speaker 2: do a little bit on like half those songs, whether

1107
00:58:11,316 --> 00:58:16,076
Speaker 2: it's just overnumber two, you know, you're talking about five

1108
00:58:16,116 --> 00:58:18,836
Speaker 2: hours of work to touch all the songs a little bit,

1109
00:58:18,916 --> 00:58:21,036
Speaker 2: you know, so the record takes it can take time.

1110
00:58:22,156 --> 00:58:23,676
Speaker 1: What song did you guys decide to cover.

1111
00:58:27,596 --> 00:58:29,076
Speaker 3: We're gonna let it be a surprise.

1112
00:58:29,156 --> 00:58:30,676
Speaker 4: I think, Yeah, it's a surprise.

1113
00:58:31,156 --> 00:58:35,476
Speaker 1: Yeah, all right, all right, we.

1114
00:58:35,556 --> 00:58:38,516
Speaker 3: Just cut it yesterday. We haven't even had time to

1115
00:58:38,516 --> 00:58:39,356
Speaker 3: think about it yet.

1116
00:58:39,916 --> 00:58:42,036
Speaker 2: Yeah, all right, I'll tell you what it is. We're

1117
00:58:42,036 --> 00:58:46,116
Speaker 2: doing a compilation of songs considered the world's worst songs,

1118
00:58:46,156 --> 00:58:49,196
Speaker 2: and we're trying to make them good. And this is

1119
00:58:49,396 --> 00:58:52,916
Speaker 2: We Built this City. It's our cover of Jefferson Starship

1120
00:58:52,956 --> 00:58:56,596
Speaker 2: We Built the City, written by Bernie Tappin.

1121
00:58:56,956 --> 00:59:01,596
Speaker 4: You guys made a documentary, right, we didn't, but some

1122
00:59:02,276 --> 00:59:04,156
Speaker 4: but there has been one made.

1123
00:59:04,436 --> 00:59:07,196
Speaker 1: Is that coming out? Not coming out? Sounds like not

1124
00:59:07,276 --> 00:59:11,996
Speaker 1: too exciting? No, I think I think it come out? Yeah,

1125
00:59:12,316 --> 00:59:16,716
Speaker 1: you know, we've we've just been fucking grinding in the studio.

1126
00:59:16,836 --> 00:59:17,036
Speaker 4: Bro.

1127
00:59:18,676 --> 00:59:20,796
Speaker 2: Yeah, I think since between you know, we I think

1128
00:59:20,796 --> 00:59:25,476
Speaker 2: we've you know, we've been really on this creative streak

1129
00:59:25,556 --> 00:59:26,236
Speaker 2: right lately.

1130
00:59:26,316 --> 00:59:29,996
Speaker 4: So we've just been focused on that, you know. And

1131
00:59:29,996 --> 00:59:31,716
Speaker 4: now we're about to put this out and we're gonna

1132
00:59:31,756 --> 00:59:36,676
Speaker 4: go on the road a bit this year, and uh, you.

1133
00:59:36,596 --> 00:59:38,556
Speaker 3: Know, yeah, we're getting ready to not be able to

1134
00:59:38,596 --> 00:59:41,236
Speaker 3: like go in the studio very often. There's lots of

1135
00:59:41,276 --> 00:59:43,516
Speaker 3: shows coming up, so got it.

1136
00:59:43,636 --> 00:59:45,076
Speaker 4: I'm trying to get it in while we can.

1137
00:59:45,436 --> 00:59:49,116
Speaker 1: Yeah, that is that a fun shift to make going

1138
00:59:49,156 --> 00:59:50,156
Speaker 1: from the studio on tour.

1139
00:59:50,756 --> 00:59:52,756
Speaker 4: You know, I think I think tours fun. Playing the

1140
00:59:52,756 --> 00:59:53,396
Speaker 4: shows is fun.

1141
00:59:53,436 --> 00:59:57,796
Speaker 2: It's just about I think we you know, like if

1142
00:59:57,836 --> 01:00:01,796
Speaker 2: you like, are drink too much tequila, like you might

1143
01:00:01,956 --> 01:00:03,156
Speaker 2: never want to like taste it.

1144
01:00:03,196 --> 01:00:03,476
Speaker 3: Again.

1145
01:00:05,396 --> 01:00:07,676
Speaker 2: We almost got there kind of with touring before. So

1146
01:00:07,676 --> 01:00:11,196
Speaker 2: it's like there's a little bit of that, you know,

1147
01:00:11,516 --> 01:00:15,756
Speaker 2: a little bit of that sense memory of what it

1148
01:00:15,796 --> 01:00:18,836
Speaker 2: feels like to be on the road for an entire year.

1149
01:00:19,396 --> 01:00:21,716
Speaker 2: So even though we have like it's only like maybe

1150
01:00:22,396 --> 01:00:25,876
Speaker 2: fifty or forty five shows, it's still like, you know,

1151
01:00:26,116 --> 01:00:28,116
Speaker 2: and now that we have kids. You know, Dance had

1152
01:00:28,196 --> 01:00:32,636
Speaker 2: kids for you know, seventeen years, but I've only ever

1153
01:00:32,716 --> 01:00:34,516
Speaker 2: toured like twice with the kids and now, so like,

1154
01:00:36,076 --> 01:00:40,756
Speaker 2: you know, it's a little bit it's hard to get away.

1155
01:00:41,596 --> 01:00:43,476
Speaker 2: Well then I guess once I'm away, it's kind of good.

1156
01:00:43,596 --> 01:00:47,956
Speaker 2: I get more sleep. But I think I think, I

1157
01:00:47,956 --> 01:00:49,916
Speaker 2: think that we're excited about doing some shows. We're going

1158
01:00:49,956 --> 01:00:51,236
Speaker 2: to open up the set list. I feel like it's

1159
01:00:51,276 --> 01:00:53,476
Speaker 2: like it's it's the thing that you got to do.

1160
01:00:53,956 --> 01:00:56,156
Speaker 2: It's the thing that the fans want, and so they

1161
01:00:56,396 --> 01:00:58,756
Speaker 2: just make the most of it. And I think one

1162
01:00:58,836 --> 01:01:00,676
Speaker 2: thing we've talked about is just like really kind of

1163
01:01:00,716 --> 01:01:03,076
Speaker 2: opening up our set list.

1164
01:01:03,316 --> 01:01:03,476
Speaker 4: You know.

1165
01:01:03,516 --> 01:01:05,716
Speaker 2: When we kind of did this transition, like started moving

1166
01:01:05,756 --> 01:01:11,156
Speaker 2: into the arenas around brother Zell Camino, it was like,

1167
01:01:11,556 --> 01:01:13,836
Speaker 2: you know, getting into this whole different thing that we

1168
01:01:13,916 --> 01:01:17,716
Speaker 2: never not only I'd never experienced, but Dan had only

1169
01:01:17,756 --> 01:01:19,756
Speaker 2: ever been to like one arena show and I'd never

1170
01:01:19,796 --> 01:01:21,516
Speaker 2: been to arena show. So it was like we were

1171
01:01:21,556 --> 01:01:24,276
Speaker 2: now playing our job, was not doing something that we'd

1172
01:01:24,316 --> 01:01:27,076
Speaker 2: never even experienced. Yeah, and so it was kind of

1173
01:01:27,116 --> 01:01:28,956
Speaker 2: I feel like with the lights and the whole thing,

1174
01:01:28,996 --> 01:01:30,476
Speaker 2: it's like I feel like we started kind of like

1175
01:01:32,636 --> 01:01:36,556
Speaker 2: maybe losing sight of the catalog that we've created.

1176
01:01:37,356 --> 01:01:38,196
Speaker 1: Were they fun show?

1177
01:01:38,236 --> 01:01:38,316
Speaker 4: Like?

1178
01:01:38,316 --> 01:01:40,516
Speaker 1: Were they fun to play arenas?

1179
01:01:41,716 --> 01:01:42,116
Speaker 3: Yeah?

1180
01:01:42,156 --> 01:01:44,716
Speaker 4: Absolutely, Yeah, any show, any show can be fun.

1181
01:01:45,156 --> 01:01:48,236
Speaker 3: Yeah, it's all. It all depends on the audience. Play festival,

1182
01:01:48,716 --> 01:01:50,476
Speaker 3: you know, it really helps when there's an open pit

1183
01:01:50,836 --> 01:01:53,956
Speaker 3: in the front. You know, Yeah, when the when you're

1184
01:01:53,956 --> 01:01:55,996
Speaker 3: in an arena and it's seated, or when you're in

1185
01:01:56,036 --> 01:01:59,156
Speaker 3: a theater and it's seated, it's like it's hard, it's

1186
01:01:59,196 --> 01:02:01,436
Speaker 3: not so much so so much fun to play rock

1187
01:02:01,476 --> 01:02:02,916
Speaker 3: and roll in those kind of places.

1188
01:02:03,396 --> 01:02:05,596
Speaker 2: Or we're on stage and there's like a football field

1189
01:02:05,636 --> 01:02:06,916
Speaker 2: between you and the front.

1190
01:02:07,316 --> 01:02:10,876
Speaker 4: Yeah, like festival, you know there's where there's like.

1191
01:02:12,036 --> 01:02:14,756
Speaker 2: You know, the energy from the crowd is there is

1192
01:02:15,116 --> 01:02:18,156
Speaker 2: crucial crucial that's like the most How does that get decided?

1193
01:02:18,156 --> 01:02:20,076
Speaker 1: I mean, obviously a festival that's kind of out of

1194
01:02:20,476 --> 01:02:23,796
Speaker 1: I mean, that's just up to somebody somewhere. But when

1195
01:02:23,796 --> 01:02:26,556
Speaker 1: it's like a black Key show and you're going you

1196
01:02:26,556 --> 01:02:28,796
Speaker 1: know to a different city to city, like, are you

1197
01:02:28,836 --> 01:02:32,356
Speaker 1: guys allowed to dictate like how like front the first

1198
01:02:32,436 --> 01:02:33,756
Speaker 1: ten rows are seated or not?

1199
01:02:34,156 --> 01:02:36,876
Speaker 2: Or you know, I mean if you're playing in an

1200
01:02:36,876 --> 01:02:40,036
Speaker 2: ample theater, you're kind of stuck with whatever's there. If

1201
01:02:40,076 --> 01:02:42,116
Speaker 2: you're in an arena, you get a little bit of choice,

1202
01:02:44,356 --> 01:02:47,396
Speaker 2: you know, to a certain degree.

1203
01:02:48,036 --> 01:02:49,556
Speaker 4: But there's certain rooms where it's.

1204
01:02:49,396 --> 01:02:53,716
Speaker 2: Just you know, designed to to be that way, like

1205
01:02:54,076 --> 01:03:01,476
Speaker 2: the Oregon Theater in Chicago, Brickson Academy in London, the

1206
01:03:01,636 --> 01:03:05,756
Speaker 2: Zenith Barrow Lands, like there's these rooms there are like

1207
01:03:05,996 --> 01:03:09,756
Speaker 2: four just six thousand seeds, like the Anthem and DC.

1208
01:03:10,196 --> 01:03:12,796
Speaker 2: The rooms that are like four or five six thousand

1209
01:03:12,836 --> 01:03:16,796
Speaker 2: seat big rooms, big theaters with an open floor.

1210
01:03:16,916 --> 01:03:19,956
Speaker 4: Those are those are those are the that's the sweet

1211
01:03:19,996 --> 01:03:21,036
Speaker 4: spot for us.

1212
01:03:22,036 --> 01:03:24,836
Speaker 1: Is there a world where you guys would say like

1213
01:03:24,836 --> 01:03:28,556
Speaker 1: we're only ever going to play those or primarily.

1214
01:03:28,836 --> 01:03:31,076
Speaker 2: Well, I don't think enough of them exists to you

1215
01:03:31,196 --> 01:03:34,236
Speaker 2: just be playing the same ten cities. But those are

1216
01:03:34,276 --> 01:03:36,676
Speaker 2: the most fun, you know, I think it's almost worth

1217
01:03:36,716 --> 01:03:39,316
Speaker 2: it to just do a couple of nights in those

1218
01:03:40,396 --> 01:03:45,476
Speaker 2: versus a you know, hitting some stuff where it's you know,

1219
01:03:45,516 --> 01:03:47,356
Speaker 2: you might miss energy. But it's the same time, part

1220
01:03:47,396 --> 01:03:49,716
Speaker 2: of the fun of this job is traveling. You know,

1221
01:03:49,756 --> 01:03:53,636
Speaker 2: it's just about how much you do, and it's like

1222
01:03:54,636 --> 01:03:59,276
Speaker 2: it could be fun like, you know, to hit up

1223
01:03:59,276 --> 01:04:02,116
Speaker 2: some of these you know, off the beaten paths cities

1224
01:04:02,156 --> 01:04:04,116
Speaker 2: and stuff. It's just about how long you're out there for,

1225
01:04:04,676 --> 01:04:09,476
Speaker 2: you know. But I'm excited about our first Legacy tours,

1226
01:04:09,516 --> 01:04:12,276
Speaker 2: like three weeks. That's it's like, that's the ideal amount.

1227
01:04:12,476 --> 01:04:14,716
Speaker 2: We have to go to Europe for a month. That's

1228
01:04:15,796 --> 01:04:20,836
Speaker 2: that's a little bit much. And it's like funny because

1229
01:04:20,836 --> 01:04:22,276
Speaker 2: every time we go to Europe, and this has been

1230
01:04:22,276 --> 01:04:25,076
Speaker 2: the case except with the exception of one or two

1231
01:04:25,116 --> 01:04:28,356
Speaker 2: tours for twenty years, it's like you're not going to

1232
01:04:28,436 --> 01:04:32,996
Speaker 2: make any money, but it's really important to get over

1233
01:04:32,996 --> 01:04:34,356
Speaker 2: there and do this thing. I was like, well, who's

1234
01:04:34,396 --> 01:04:38,076
Speaker 2: making this money? Because we're earning it, like it's coming in.

1235
01:04:38,196 --> 01:04:42,636
Speaker 2: There's like millions of bucks, bro, But where.

1236
01:04:42,396 --> 01:04:45,156
Speaker 4: Does it go? Dog?

1237
01:04:45,396 --> 01:04:46,276
Speaker 1: Did you find that out?

1238
01:04:46,636 --> 01:04:47,676
Speaker 4: Yeah? I did find it out.

1239
01:04:49,196 --> 01:04:50,756
Speaker 3: We just have to do one more tour and then.

1240
01:04:50,676 --> 01:04:52,836
Speaker 2: Yeah, we will tell us they're always like one more tour.

1241
01:04:53,236 --> 01:04:57,076
Speaker 2: We had done this tour. This is in twenty twelve, dude,

1242
01:04:57,116 --> 01:05:01,236
Speaker 2: that's the year that gave us like that's tequila taste

1243
01:05:01,236 --> 01:05:03,836
Speaker 2: of tour. We were on the road all year and

1244
01:05:03,876 --> 01:05:07,516
Speaker 2: we had just finished playing writing Festival right outside London,

1245
01:05:09,276 --> 01:05:11,116
Speaker 2: and yeah, we were about to go home for a

1246
01:05:11,156 --> 01:05:13,516
Speaker 2: month off and then we and then we had uh

1247
01:05:13,556 --> 01:05:16,316
Speaker 2: to still do the West coast of the US and Australia,

1248
01:05:16,836 --> 01:05:19,156
Speaker 2: so we still had like four weeks of touring left

1249
01:05:19,196 --> 01:05:21,316
Speaker 2: and we just gone all year and our agent comes back.

1250
01:05:21,356 --> 01:05:24,756
Speaker 2: He's like, I need you to come back in December.

1251
01:05:25,836 --> 01:05:27,276
Speaker 2: Right where come back way? He's like, you got to

1252
01:05:27,316 --> 01:05:30,396
Speaker 2: do more Europe December. You got to And we had

1253
01:05:30,436 --> 01:05:33,556
Speaker 2: just played three nights at this place, Ali Alexandria Palace,

1254
01:05:33,676 --> 01:05:36,276
Speaker 2: so we sold like thirty thousand tickets in London. Plus

1255
01:05:36,356 --> 01:05:39,676
Speaker 2: we had just played the Writing Festival direct support to

1256
01:05:40,036 --> 01:05:43,916
Speaker 2: food Fighters, so we'd already sold thirty thousand tickets in

1257
01:05:43,956 --> 01:05:45,796
Speaker 2: the city. And he like, I need you back. You

1258
01:05:45,916 --> 01:05:48,276
Speaker 2: got to really prove, you know, you got to really

1259
01:05:48,316 --> 01:05:52,276
Speaker 2: like this is gonna you know, uh, it's going to

1260
01:05:52,316 --> 01:05:53,676
Speaker 2: set the tone. You know, you got to go to

1261
01:05:53,676 --> 01:05:56,356
Speaker 2: you gotta do like a Marquee show. So we need

1262
01:05:56,436 --> 01:06:00,236
Speaker 2: you back. Two nights. We went back to London, the

1263
01:06:00,356 --> 01:06:02,276
Speaker 2: two nights at the O two Arena. So in like

1264
01:06:02,396 --> 01:06:06,876
Speaker 2: one year we sold like fifty five thousand tickets just

1265
01:06:06,916 --> 01:06:07,436
Speaker 2: in London.

1266
01:06:10,196 --> 01:06:11,876
Speaker 4: And I still don't know if we made money on

1267
01:06:11,876 --> 01:06:12,276
Speaker 4: that tour.

1268
01:06:12,596 --> 01:06:16,796
Speaker 2: Actually I don't think that we didn't.

1269
01:06:16,836 --> 01:06:23,036
Speaker 4: You can't you audit that kind of thing. This sketchy dude, what.

1270
01:06:23,236 --> 01:06:24,396
Speaker 1: In hindsight would you go back?

1271
01:06:24,476 --> 01:06:24,556
Speaker 4: Like?

1272
01:06:24,636 --> 01:06:27,316
Speaker 1: Is that was that the problem? Just what's that saying?

1273
01:06:27,396 --> 01:06:27,596
Speaker 4: Though?

1274
01:06:28,196 --> 01:06:31,636
Speaker 2: No, I think that that's the problem with the that happened,

1275
01:06:31,676 --> 01:06:34,076
Speaker 2: Like it can happen. It's just like you got to

1276
01:06:34,116 --> 01:06:36,316
Speaker 2: know when to say when. Like the other day, just

1277
01:06:36,356 --> 01:06:38,396
Speaker 2: so today, like you know, our manager called and was like,

1278
01:06:38,916 --> 01:06:40,556
Speaker 2: we got to you know, we have this tour that's

1279
01:06:40,596 --> 01:06:42,956
Speaker 2: already too long to go to Europe and they're like,

1280
01:06:43,036 --> 01:06:45,476
Speaker 2: we got to offer to go to to add on

1281
01:06:45,516 --> 01:06:48,956
Speaker 2: to this one more show. And I'm just like, it

1282
01:06:48,996 --> 01:06:50,836
Speaker 2: doesn't really matter how much it's going to pay or

1283
01:06:50,876 --> 01:06:55,076
Speaker 2: what it is. It's like it can't it can't do that.

1284
01:06:55,076 --> 01:06:58,516
Speaker 2: That's the time slot. That's the thing, because I always

1285
01:06:58,556 --> 01:07:00,636
Speaker 2: gets you by the balls. But be like, you know,

1286
01:07:00,836 --> 01:07:05,036
Speaker 2: the next tour, next time you go back, it's always happens.

1287
01:07:05,516 --> 01:07:07,116
Speaker 2: But you've learned now, Well that's why if you look

1288
01:07:07,196 --> 01:07:10,116
Speaker 2: like the interview with What's your Face Kate Nash, I

1289
01:07:10,116 --> 01:07:12,796
Speaker 2: saw like she's did an interview about like you know,

1290
01:07:12,916 --> 01:07:16,756
Speaker 2: touring what touring looks like for her. And you know,

1291
01:07:16,836 --> 01:07:19,036
Speaker 2: I think people who aren't in the industry like see

1292
01:07:19,036 --> 01:07:21,316
Speaker 2: that and are like, what, you know, what's she on about? Like,

1293
01:07:21,716 --> 01:07:24,076
Speaker 2: but no, what she's saying is one hundred percent accurate.

1294
01:07:24,956 --> 01:07:26,836
Speaker 2: You know what did she say? She says she's just

1295
01:07:26,956 --> 01:07:29,076
Speaker 2: going on a month on tour of Europe. Everything's basically

1296
01:07:29,116 --> 01:07:32,396
Speaker 2: sold out. She's not making money. That's that's the reality

1297
01:07:32,436 --> 01:07:36,236
Speaker 2: of what this touring has become because they you know,

1298
01:07:36,236 --> 01:07:38,396
Speaker 2: once all the money went away from the recording side,

1299
01:07:38,516 --> 01:07:41,676
Speaker 2: then the people that like suck the life out of

1300
01:07:42,796 --> 01:07:44,516
Speaker 2: suck the money out of the music industry, they have

1301
01:07:44,556 --> 01:07:46,716
Speaker 2: to go into the live side because that's where all

1302
01:07:46,756 --> 01:07:48,556
Speaker 2: the money is, and they saw people making it tons

1303
01:07:48,596 --> 01:07:50,236
Speaker 2: of money. I mean the Taylor Swift's tour did like

1304
01:07:50,276 --> 01:07:54,876
Speaker 2: what like six billion dollars. Yeah, people are going there

1305
01:07:54,916 --> 01:07:57,916
Speaker 2: to get the money. The cost of like renting a

1306
01:07:57,956 --> 01:08:00,156
Speaker 2: bus is like four x what it was ten years ago.

1307
01:08:01,996 --> 01:08:05,836
Speaker 2: You know, you got your commissions or taxes, the the

1308
01:08:06,116 --> 01:08:08,196
Speaker 2: you know what people expect to get paid to go

1309
01:08:08,236 --> 01:08:10,956
Speaker 2: on tour with you so way up, you know, as

1310
01:08:10,956 --> 01:08:13,716
Speaker 2: it should because inflation is crazy. So then the only

1311
01:08:13,756 --> 01:08:15,996
Speaker 2: thing that hasn't gone up, but has maybe gone down

1312
01:08:16,556 --> 01:08:18,276
Speaker 2: is the fees that are coming into the band.

1313
01:08:19,196 --> 01:08:20,116
Speaker 4: You know, ticket.

1314
01:08:19,836 --> 01:08:24,596
Speaker 2: Prices up, hotels are up, all the all the vendors

1315
01:08:24,636 --> 01:08:26,396
Speaker 2: are up. Everything's way out of control.

1316
01:08:26,436 --> 01:08:26,836
Speaker 4: But like.

1317
01:08:28,796 --> 01:08:30,796
Speaker 2: The amount of money that hits the you know, the

1318
01:08:30,836 --> 01:08:33,236
Speaker 2: actual musicians is way down.

1319
01:08:33,556 --> 01:08:34,836
Speaker 4: Yeah, we're excited about this album.

1320
01:08:35,116 --> 01:08:36,436
Speaker 2: But yeah, I was gonna say that trying to say

1321
01:08:36,436 --> 01:08:38,916
Speaker 2: this earlier, it was just like, you know, part of

1322
01:08:38,956 --> 01:08:40,396
Speaker 2: this whole thing is like figure out how to like

1323
01:08:41,116 --> 01:08:43,396
Speaker 2: how to like roll record out, how to like you know,

1324
01:08:44,596 --> 01:08:46,596
Speaker 2: and so for us, it's kind of like for me

1325
01:08:46,636 --> 01:08:48,716
Speaker 2: at least, it's like the most exciting thing about making

1326
01:08:48,796 --> 01:08:52,556
Speaker 2: music is like people kind of get to That's like

1327
01:08:52,596 --> 01:08:54,196
Speaker 2: the one perk of this. It's like people get to

1328
01:08:54,276 --> 01:08:57,036
Speaker 2: experience music for the first time together. And I feel like,

1329
01:08:57,676 --> 01:08:59,476
Speaker 2: you know, we're giving the first peek in this record

1330
01:08:59,636 --> 01:09:02,116
Speaker 2: in February, and the record doesn't come out until way

1331
01:09:02,196 --> 01:09:04,036
Speaker 2: later in the year. But I think that the reason

1332
01:09:04,116 --> 01:09:06,596
Speaker 2: is just so we can find a few more other

1333
01:09:06,636 --> 01:09:09,076
Speaker 2: special moments to introduce these songs in a way that

1334
01:09:09,596 --> 01:09:11,076
Speaker 2: thoughtful and fun for the fans.

1335
01:09:11,556 --> 01:09:13,036
Speaker 4: So yeah, we got a lot of cool shit to

1336
01:09:13,076 --> 01:09:13,756
Speaker 4: share this year.

1337
01:09:14,036 --> 01:09:15,476
Speaker 2: I mean, I think I think the reason why we

1338
01:09:15,556 --> 01:09:17,356
Speaker 2: never got into writing on the road is because we've

1339
01:09:17,356 --> 01:09:22,276
Speaker 2: always been like a band that writes and makes music

1340
01:09:22,556 --> 01:09:27,756
Speaker 2: centered around creating a master essentially, you know, like it's

1341
01:09:27,756 --> 01:09:30,676
Speaker 2: always been about the recording since day one.

1342
01:09:30,796 --> 01:09:32,356
Speaker 4: It's been like since.

1343
01:09:32,156 --> 01:09:35,516
Speaker 2: Literally the first time we officially like kind of started

1344
01:09:35,596 --> 01:09:37,596
Speaker 2: this band, it was like we were making we made

1345
01:09:37,596 --> 01:09:41,236
Speaker 2: a recording, and then after that it was like, when

1346
01:09:41,276 --> 01:09:45,356
Speaker 2: we get together to make music, it's it's it's it's

1347
01:09:45,396 --> 01:09:47,556
Speaker 2: based around that. So on the road, it's like we're

1348
01:09:47,596 --> 01:09:50,036
Speaker 2: gonna put a studio in your bus, like a fucking idiot, Like,

1349
01:09:51,476 --> 01:09:52,036
Speaker 2: come on.

1350
01:09:52,316 --> 01:09:53,716
Speaker 1: Why would that make you a fucking idiot?

1351
01:09:54,196 --> 01:09:55,916
Speaker 4: It's just like sleep on your bus.

1352
01:09:57,196 --> 01:10:00,036
Speaker 2: It's gonna sound like shit, there's a fucking diesel engine below.

1353
01:10:00,396 --> 01:10:03,596
Speaker 4: Come on, Like, you can't.

1354
01:10:03,316 --> 01:10:05,556
Speaker 2: Tell me that what you're doing is so valuable. I

1355
01:10:05,596 --> 01:10:08,076
Speaker 2: have to be recording eight hour. I have to have

1356
01:10:08,196 --> 01:10:11,716
Speaker 2: my studio with me on the road in the bus.

1357
01:10:13,996 --> 01:10:15,756
Speaker 2: Do you know anyone that does that?

1358
01:10:17,116 --> 01:10:19,316
Speaker 4: No, just I M start doing.

1359
01:10:21,796 --> 01:10:27,756
Speaker 1: Don't be a fucking idiot man, just sleep man. Well,

1360
01:10:27,996 --> 01:10:31,676
Speaker 1: good luck on the road, Thank you, Thanks, look forward

1361
01:10:31,676 --> 01:10:35,476
Speaker 1: to hearing the record, and uh, I hope you guys

1362
01:10:35,476 --> 01:10:36,116
Speaker 1: make some money.

1363
01:10:36,196 --> 01:10:36,476
Speaker 3: You know.

1364
01:10:37,956 --> 01:10:40,956
Speaker 4: Me too, Thanks man, Thanks dude.

1365
01:10:41,036 --> 01:10:46,356
Speaker 1: Later y'all see it does Dan Arbach and Patrick Carney

1366
01:10:46,396 --> 01:10:48,796
Speaker 1: of the Black Keys. Their new album, No Rain, No

1367
01:10:48,876 --> 01:10:51,476
Speaker 1: Flowers is out later the spring, with the worldwide tour

1368
01:10:51,596 --> 01:10:54,676
Speaker 1: starting in May. You can hear our favorite songs from Dan,

1369
01:10:54,716 --> 01:10:56,956
Speaker 1: Patrick and the band on a playlist at broken Record

1370
01:10:56,996 --> 01:11:00,116
Speaker 1: podcast dot com. To see the video version of this episode,

1371
01:11:00,196 --> 01:11:04,316
Speaker 1: visit YouTube dot com slash Broken Record Podcast and be

1372
01:11:04,356 --> 01:11:07,156
Speaker 1: sure to follow us on Instagram at the Broken Record Pod.

1373
01:11:07,796 --> 01:11:11,316
Speaker 1: You can follow us on Twitter Broken Record Broken Record

1374
01:11:11,356 --> 01:11:14,316
Speaker 1: is produced and edited by Leah Rose, with marketing help

1375
01:11:14,356 --> 01:11:18,196
Speaker 1: from Eric Sandler and Jordan McMillan. Our engineer is Ben Tollinay.

1376
01:11:18,836 --> 01:11:22,316
Speaker 1: Broken Record is a production of Pushkin Industries. If you

1377
01:11:22,396 --> 01:11:25,676
Speaker 1: love this show and others from Pushkin, consider subscribing to

1378
01:11:25,796 --> 01:11:29,756
Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers

1379
01:11:29,796 --> 01:11:32,876
Speaker 1: bonus content and ad free listening for four ninety nine

1380
01:11:32,956 --> 01:11:36,916
Speaker 1: a month. Look for Pushkin Plus on Apple podcast subscriptions.

1381
01:11:37,716 --> 01:11:40,316
Speaker 1: And if you like this show, please remember to share, rate,

1382
01:11:40,356 --> 01:11:43,196
Speaker 1: and review us on your podcast a. Our theme music's

1383
01:11:43,196 --> 01:11:45,236
Speaker 1: by Kenny Beats. I'm justin Richmond,