WEBVTT - The Black Keys 0:00:15.476 --> 0:00:28.236 Pushkin. This is broken record, real musicians, real conversations. Here's 0:00:28.276 --> 0:00:31.276 my conversation with Dan Auerbach and Patrick Carney of the 0:00:31.316 --> 0:00:34.916 Black Keys. So you guys are finishing a new album. 0:00:35.076 --> 0:00:36.836 It's not not quite done though. 0:00:36.836 --> 0:00:39.516 It's basically it's we's to have to mix it. So 0:00:39.796 --> 0:00:42.076 that's almost done. So we're going to LA in two 0:00:42.076 --> 0:00:46.716 weeks too to tweak some mixes and yeah, it's gotta 0:00:46.756 --> 0:00:53.036 be sent to uh often get pressed in like three weeks. 0:00:53.436 --> 0:00:56.276 So we're basically done with it, just have to master it, 0:00:56.356 --> 0:00:56.716 mix it. 0:00:57.036 --> 0:01:00.036 Have you guys mastered anything out there or do you 0:01:00.036 --> 0:01:01.556 typically come out to LA to do that? 0:01:02.116 --> 0:01:03.996 I mean we've met, we have stuff mastered all over, 0:01:04.116 --> 0:01:07.836 we have stuff mixed all over, but typically we don't 0:01:07.876 --> 0:01:09.596 attend a mixed session. This is like what it's like 0:01:09.596 --> 0:01:11.636 the first time we've ever done that, just to kind 0:01:11.636 --> 0:01:16.156 of do final tweaks because it's so difficult to you know, 0:01:16.196 --> 0:01:18.236 it just sucks trying to explain stuff in an email, 0:01:18.596 --> 0:01:21.196 so little, tiny, nuanced stuff. 0:01:21.636 --> 0:01:23.916 Is that in response to having been unhappy with any 0:01:24.156 --> 0:01:27.116 mixes recently or just was it album moting mixed once 0:01:27.156 --> 0:01:29.396 and it wasn't the standard? 0:01:29.476 --> 0:01:33.436 Or well, I mean I think you know, uh, since 0:01:33.476 --> 0:01:35.756 Brothers we've been kind of sending stuff off to get mixed. 0:01:35.796 --> 0:01:38.316 That was that was a game changer for us to 0:01:38.316 --> 0:01:41.796 be able to tap into someone that's like, uh, you know, 0:01:43.076 --> 0:01:45.236 that's what they do for a living. Prior to that, 0:01:45.276 --> 0:01:48.596 we'd mix stuff ourselves, or we would like, you know, 0:01:48.716 --> 0:01:51.916 mix it with a maybe just an engineer at the studio. 0:01:51.996 --> 0:01:54.636 But you know, when we sent Brothers to Chad Blake, 0:01:54.716 --> 0:01:57.476 that was a real eye opener. See what it's like 0:01:57.516 --> 0:02:00.236 to get something back from someone that's just you know, 0:02:00.356 --> 0:02:04.116 a master at that craft. And so we've you know, 0:02:04.116 --> 0:02:06.796 we've made a lot of albums with Chad. We did 0:02:06.836 --> 0:02:10.316 the last record with Spike Stint and then we're working 0:02:10.356 --> 0:02:12.796 with Manny Merrickuhen on this album. 0:02:13.156 --> 0:02:16.756 Wow, Delta Kaream. I guess this decade from like Delta 0:02:16.836 --> 0:02:19.956 Cream to now its four albums, it does seem like 0:02:22.116 --> 0:02:25.636 the sounds like you started the decade almost It sounds 0:02:25.636 --> 0:02:28.356 like back to like the big come up kind of sound, 0:02:28.476 --> 0:02:33.156 down to doing do the Romp Again Part two and 0:02:33.196 --> 0:02:38.076 have kind of slowly moved away, or not moved away, 0:02:38.076 --> 0:02:42.716 but slowly drifted to a sound that's like it's a 0:02:42.716 --> 0:02:45.636 more complete production sound maybe or a more full production sound. 0:02:46.356 --> 0:02:49.876 Yeah, Delta Cream was really just a jam session that 0:02:49.916 --> 0:02:52.676 we released. You know, we didn't really know we had 0:02:52.676 --> 0:02:56.516 an album until how long was it after we recorded 0:02:56.516 --> 0:02:57.676 that that we even listened to it? 0:02:58.956 --> 0:02:59.476 Yeah, we did it. 0:02:59.556 --> 0:03:02.236 We recorded in December of twenty nineteen, right after the 0:03:02.276 --> 0:03:05.116 first leg of the Let's Rock Tour, and then the 0:03:05.156 --> 0:03:07.516 pandemic happened. I don't think we really checked it out 0:03:07.516 --> 0:03:11.196 to see what was there until the July or August. 0:03:10.916 --> 0:03:13.476 And then we didn't fix anything. So it's just it's 0:03:13.596 --> 0:03:16.836 just a it is what it is, you know, no 0:03:16.996 --> 0:03:21.636 overdubs at all, no overdubs on it, just some percussion 0:03:22.236 --> 0:03:26.156 and then Yeah, so when we got back to making 0:03:26.196 --> 0:03:29.276 like a normal Black Keys record, he was more kind 0:03:29.276 --> 0:03:32.676 of back to you know, being creative in the studio, 0:03:32.876 --> 0:03:35.276 working with the studio as a tool to you know, 0:03:35.596 --> 0:03:38.476 kind of get creative and stuff. And because that's you know, 0:03:38.996 --> 0:03:40.796 part of the fun of it for us has always 0:03:40.836 --> 0:03:41.996 been recording. 0:03:43.316 --> 0:03:45.676 Yeah, basically we put we put Delta Cream out in 0:03:46.916 --> 0:03:51.076 spring of twenty twenty one, and then we did some 0:03:51.116 --> 0:03:52.636 promo around that. That was the first time we were 0:03:52.636 --> 0:03:54.316 able to work in like you know, a year and 0:03:54.356 --> 0:03:58.076 a half and then around that promo stuff, we just 0:03:58.156 --> 0:04:00.356 hopped in the studio and started working on what became 0:04:00.916 --> 0:04:06.036 Dropout Boogie, And when we kept when we finished that album, 0:04:06.036 --> 0:04:10.196 we just kept working so kind of like the basically, 0:04:10.316 --> 0:04:13.596 you know, from that spring of twenty twenty one until now, 0:04:13.636 --> 0:04:18.556 we've just been in a constant state of recording. So yeah, 0:04:18.636 --> 0:04:21.196 like we went from the Drop Off Boogie into making 0:04:21.236 --> 0:04:25.076 what became Ohio Players, you know, which was we recorded 0:04:25.196 --> 0:04:27.436 like a ton of songs for that album. We end 0:04:27.556 --> 0:04:33.556 up releasing nineteen and then you know, we put that 0:04:33.636 --> 0:04:36.436 out and then kind of ended up right back in 0:04:36.436 --> 0:04:39.716 the studio this summer and just once again it got 0:04:39.716 --> 0:04:43.036 another batch of like twenty songs and we'll put you know, 0:04:43.116 --> 0:04:44.756 like eleven of them out. 0:04:46.516 --> 0:04:47.356 On this album. 0:04:47.956 --> 0:04:51.796 Do you guys typically record jam sessions or was that No, 0:04:51.916 --> 0:04:53.916 we don't usually do that, to be honest, I mean, 0:04:54.516 --> 0:04:56.956 all of our recording sessions start with us jamming, but 0:04:56.996 --> 0:04:57.836 then we build on it. 0:04:57.876 --> 0:05:00.756 But this thing was this happened because I was making 0:05:00.796 --> 0:05:02.836 a record with Robert Finley in the studio and I 0:05:02.876 --> 0:05:06.356 had Kenny Brown there and Eric Deaton, so you know, 0:05:07.916 --> 0:05:10.356 that was sort of the the reason that we got 0:05:10.356 --> 0:05:12.756 in the studio for that in the first place, you know, 0:05:13.236 --> 0:05:17.876 because we've never recorded with a bass player ever. That 0:05:17.996 --> 0:05:20.596 was the first time on Delda Cream, so you know, 0:05:21.276 --> 0:05:23.716 that was even though it felt like the big come 0:05:23.796 --> 0:05:25.596 up days and it was like something new at the 0:05:25.636 --> 0:05:26.116 same time. 0:05:26.396 --> 0:05:30.276 You know, have you guys recorded with the bass player 0:05:30.316 --> 0:05:32.716 live since then or no? 0:05:33.116 --> 0:05:37.236 Yeah, a couple of times. Our cover of Forgot to 0:05:37.276 --> 0:05:41.116 Be Your Lover, that's right, we did that in La 0:05:41.356 --> 0:05:46.956 with Tommy Branneck on bass, and we did a couple 0:05:46.996 --> 0:05:50.796 other songs. I think, but I love it, you know 0:05:51.276 --> 0:05:56.156 it really I under you know, now after twenty some 0:05:56.236 --> 0:06:00.676 years of playing drums, I understand why. You know, it's 0:06:00.676 --> 0:06:03.276 great to have a good bass player. Nice to lock 0:06:03.316 --> 0:06:04.156 in with the bass player. 0:06:04.196 --> 0:06:04.956 It's fun. Yeah. 0:06:05.076 --> 0:06:06.996 Yeah, a lot of the songs I'm Brothers started with 0:06:07.516 --> 0:06:08.516 bass and drums. 0:06:09.196 --> 0:06:12.636 Yeah, that's right. So Brothers was basically cut that way 0:06:12.636 --> 0:06:15.076 because we when we were making that record Black Rock 0:06:15.636 --> 0:06:18.716 right before that, we're doing like, you know, the music, 0:06:18.756 --> 0:06:20.476 and then we're having rappers come in, so we're making 0:06:20.476 --> 0:06:24.956 beats essentially, we were you know, focusing on starting the 0:06:24.996 --> 0:06:28.236 tracks with a lot of them with just bass and drums. 0:06:28.236 --> 0:06:30.516 So we went into Brothers, we just kind of maintained 0:06:30.556 --> 0:06:33.236 that method and. 0:06:33.236 --> 0:06:36.436 Mark Neil had an amazing Rickenbacker bass. It was like 0:06:36.436 --> 0:06:39.036 a rick four thousand or something. It was awesome, sounded 0:06:39.116 --> 0:06:39.476 so good. 0:06:40.116 --> 0:06:42.476 And so for Brothers, did you guys put guitar over 0:06:43.316 --> 0:06:51.676 those basic tracks? Then? Yeah, wow, that's a that's a 0:06:51.756 --> 0:06:53.676 unique way. I don't know, that's a really unique way 0:06:53.676 --> 0:06:56.556 of doing it, especially considering the guitar or drum band. 0:06:56.716 --> 0:06:56.916 You know. 0:06:58.076 --> 0:06:59.996 Well that yeah, that album, most of it was recorded 0:07:00.036 --> 0:07:02.876 at Muscle Shoals Sound and when we did that, it 0:07:03.356 --> 0:07:07.196 still hadn't been renovated, so it was it was pretty 0:07:07.236 --> 0:07:10.996 messed up. And Mark Neil brought like this twelve channel 0:07:11.036 --> 0:07:14.876 stood suitcase mixer, so that's what we tracked through. So 0:07:14.916 --> 0:07:17.836 we were only able to monitor twelve tracks at a time. 0:07:18.676 --> 0:07:20.316 So like I think there was a couple songs that 0:07:20.396 --> 0:07:23.756 had thirteen songs when we or thirteen tracks, and when 0:07:23.756 --> 0:07:25.916 we had listened back, we just would like not listen. 0:07:25.756 --> 0:07:28.796 To the tambourine, but we not. 0:07:28.876 --> 0:07:31.196 We couldn't hear the whole thing together for the most 0:07:31.196 --> 0:07:32.396 part until we got mixes. 0:07:33.316 --> 0:07:35.316 You had to trust the tambourinees coming through right. 0:07:35.596 --> 0:07:38.756 Yeah, but there was something about the way that we 0:07:38.836 --> 0:07:41.916 recorded that so minimal and then gave it to Chad Blake, 0:07:42.036 --> 0:07:47.756 who was able to just like maximize everything. And he 0:07:47.796 --> 0:07:51.156 loved it too. He's used to getting sessions that have 0:07:51.236 --> 0:07:55.756 a million tracks, and he was he loved that mixing 0:07:55.796 --> 0:07:56.276 that record. 0:07:57.596 --> 0:08:01.156 He loved that there was only about thirteen tracks, yeah, versus. 0:08:00.876 --> 0:08:05.876 The exactly Delta Cream the same thing when he was 0:08:05.916 --> 0:08:06.356 mixing that. 0:08:08.116 --> 0:08:10.316 How come you guys sent that record of Chat instead 0:08:10.316 --> 0:08:11.156 of doing it yourselves. 0:08:11.996 --> 0:08:15.516 We're not Chad Blake. Yeah, well there's only one Chat. 0:08:15.436 --> 0:08:17.916 There's only one Chad Blake. Yeah. 0:08:17.996 --> 0:08:19.676 But if you guys had been doing it yourself before, 0:08:19.956 --> 0:08:23.396 was it was just a experiment in a sense. 0:08:23.836 --> 0:08:25.076 Well, us doing it ourselves. 0:08:25.156 --> 0:08:26.636 This whole thing was an experiment. 0:08:26.676 --> 0:08:27.596 Yeah. 0:08:27.676 --> 0:08:29.516 Everything we did was we had no idea what we 0:08:29.516 --> 0:08:32.236 were doing. Man, there's no re frame of reference. We'd 0:08:32.276 --> 0:08:35.196 never seen anybody mix, you know, so we didn't know 0:08:35.196 --> 0:08:35.756 what mixing. 0:08:35.956 --> 0:08:38.556 What we kind of had because we've gone to like 0:08:38.596 --> 0:08:41.396 shitty studios and Acronym made recordings on like an eight 0:08:42.156 --> 0:08:44.516 and then we get we get the recording back and 0:08:44.556 --> 0:08:46.516 it would just sound like the drums would sound like 0:08:46.516 --> 0:08:50.516 someone was smacking a pillow. So that's when we started 0:08:50.556 --> 0:08:53.436 just doing everything ourselves. It's like, if it's gonna sound 0:08:54.196 --> 0:08:57.396 fucked up, like at least make it sound fu Yeah, 0:08:57.396 --> 0:09:00.236 at least, let's let's do it ourselves. And then every 0:09:00.236 --> 0:09:02.356 time when we first tried to go into studios, you know, 0:09:02.476 --> 0:09:07.756 like back then around the first second record, we did 0:09:07.836 --> 0:09:09.756 not We didn't know how to commune. We were so 0:09:09.876 --> 0:09:12.436 used to using like a real to real eight track 0:09:12.596 --> 0:09:15.516 or like a primitive digital recorder. Then we started dealing 0:09:15.556 --> 0:09:18.436 with like looking at like a real compressor and stuff, 0:09:18.996 --> 0:09:20.996 you know, Like I remember being mystified and why the 0:09:21.076 --> 0:09:24.036 VU wasn't hitting the red on a on a compressor 0:09:24.116 --> 0:09:25.716 and it was going backwards, and I was like, dude, 0:09:26.316 --> 0:09:29.716 thing's broken, bro, And you know, I'm sure they thought 0:09:29.716 --> 0:09:32.396 we were complete idiots. But it was frustrating because we 0:09:32.476 --> 0:09:36.596 kept wanting things to sound distorted and you know, kind 0:09:36.596 --> 0:09:42.076 of gritty, and it was really hard to get those 0:09:42.116 --> 0:09:43.956 sounds in a real studio. 0:09:44.156 --> 0:09:47.156 It's been a lifelong search for those sounds really, to 0:09:47.196 --> 0:09:48.996 be honest, that's half the fun of it. Though. 0:09:49.356 --> 0:09:52.556 Yeah, the sound on Ohio Players was really cool. 0:09:52.836 --> 0:09:55.316 I mean there's live performances at the root of every 0:09:55.316 --> 0:09:59.396 one of those songs real, you know, absolutely, yeah, songs 0:09:59.436 --> 0:10:02.636 like on the game stuff like that were we're kind 0:10:02.676 --> 0:10:06.756 of we're live in the studio. We tracked that one 0:10:06.796 --> 0:10:12.076 with bass, bass, guitar, our, keyboards and drums live, and 0:10:12.156 --> 0:10:14.356 a couple other ones from that session too, so they 0:10:14.396 --> 0:10:19.316 really have a great like live raw feel. And those 0:10:19.356 --> 0:10:22.596 were recorded at toe Rag World, Famous Toe Rag that 0:10:22.756 --> 0:10:25.956 has closed recently, but we always wanted to record there, 0:10:25.956 --> 0:10:27.396 and I think we may have been like one of 0:10:27.396 --> 0:10:33.516 the very last to record there, Famous London's all analog studio. 0:10:34.196 --> 0:10:38.036 The guy was really inspired by Joe Meek. Liam Watson, 0:10:38.076 --> 0:10:41.076 he ran It's really cool place and Mark Neil designed 0:10:41.116 --> 0:10:43.516 the room right, Yeah, Mark Neil helped him design it. 0:10:43.876 --> 0:10:46.716 The guy who recorded us in Muscle Shoals. 0:10:47.236 --> 0:10:49.316 Did he work with Joe Meek? Was he around like when. 0:10:49.476 --> 0:10:55.316 No, Joe Meek died like he killed himself in his 0:10:55.396 --> 0:11:02.676 land lady right, something like that? Yeah, some tragic story. Yeah, 0:11:02.956 --> 0:11:03.436 were you guys? 0:11:03.436 --> 0:11:04.636 Were you guys around for. 0:11:06.196 --> 0:11:06.396 God? 0:11:06.396 --> 0:11:07.316 Who's the other great? 0:11:07.556 --> 0:11:09.116 Uh? 0:11:09.516 --> 0:11:11.556 John Peel? Did you guys ever do like a Peel session? 0:11:11.876 --> 0:11:11.996 Oh? 0:11:12.076 --> 0:11:14.876 Yeah, yeah, we did a couple of them. 0:11:15.116 --> 0:11:16.956 That was our first That was our first kind of 0:11:16.996 --> 0:11:22.556 big break outside of the US was John Peel playing 0:11:22.596 --> 0:11:25.956 the Big come Up. And then our first trip over 0:11:25.996 --> 0:11:30.596 to England was like a promo trip when Thick Freakness 0:11:30.636 --> 0:11:32.556 was about to come out in April of two thousand 0:11:32.556 --> 0:11:35.756 and three, and uh and yeah, we did our first 0:11:35.796 --> 0:11:40.196 Peel session there and then a couple of months later 0:11:40.196 --> 0:11:41.116 we got asked to come. 0:11:40.996 --> 0:11:45.276 To his house, his country estate. 0:11:46.076 --> 0:11:48.156 Yeah, he would do it. He would do like his 0:11:48.236 --> 0:11:51.236 show in the summertime from his house. We we had 0:11:51.236 --> 0:11:53.796 this crazy year of two thousand and three, just you know, 0:11:53.916 --> 0:11:58.316 being really broke but traveling a lot, and this one, 0:11:58.956 --> 0:12:00.836 you know, we went and played some festival in Norway. 0:12:00.916 --> 0:12:02.436 Then we flew to London and we got picked up, 0:12:02.516 --> 0:12:06.636 drove right to his house. Remember we were just so 0:12:06.756 --> 0:12:10.356 jet lagged. I took an app in his daughter's bed 0:12:10.436 --> 0:12:13.876 while Dan played soccer with him in the yard and 0:12:14.036 --> 0:12:16.876 went through his record collection. And then we did another 0:12:16.916 --> 0:12:20.276 Peel session like literally two months after that. It was 0:12:20.316 --> 0:12:23.116 a live thing again with like Steve Malcolms and the 0:12:23.196 --> 0:12:29.196 jicks from in Brighton, and then you know, we did 0:12:29.196 --> 0:12:32.436 a Peel set when we put out Rubber Factory. We 0:12:32.836 --> 0:12:36.276 landed in London to do a tour there, like right 0:12:36.316 --> 0:12:40.076 at the end of October, and uh, when we got 0:12:40.076 --> 0:12:43.636 picked up from the airport, our driver had a newspaper 0:12:44.036 --> 0:12:46.796 and the headline was John Peel dead at sixty four 0:12:46.996 --> 0:12:48.836 And we were supposed to head to a Peel session 0:12:49.956 --> 0:12:52.276 like the very next day. So we actually went to 0:12:52.316 --> 0:12:56.556 the Peel session still and they were like, we don't 0:12:56.556 --> 0:13:01.556 know what to do, Like I made a veil three right, Yeah, yeah, 0:13:01.556 --> 0:13:04.116 they're like, you know, we don't know what's happening, but 0:13:04.436 --> 0:13:06.996 we know like he's like he was trying to do 0:13:07.076 --> 0:13:09.596 John Peele, trying to accomplistion of Lonnie Donegan songs. So 0:13:10.076 --> 0:13:11.996 like we just spent two hours trying to learn these 0:13:11.996 --> 0:13:15.196 two little Lonnie down Against songs. But yeah, it was 0:13:15.236 --> 0:13:18.356 like it took all the momentum out of our out 0:13:18.356 --> 0:13:21.156 of our thing, because that was like our only supporter 0:13:21.836 --> 0:13:22.516 in the UK. 0:13:23.436 --> 0:13:27.796 He died. He went on a trip to Peru and 0:13:27.836 --> 0:13:28.596 had a heart attack. 0:13:29.596 --> 0:13:31.836 What was what was it? First of all, what was 0:13:31.876 --> 0:13:34.116 his record collection? Like that record collection must have been crazy. 0:13:34.116 --> 0:13:37.076 He was crazy. He had different how like different outbuildings 0:13:37.116 --> 0:13:39.676 like there was like a barn over here, and they 0:13:39.716 --> 0:13:42.796 all had thatched roofs. Right, So there's like a thatched 0:13:42.876 --> 0:13:45.196 roof barn over here. That was all his seventy eighths, 0:13:45.516 --> 0:13:48.676 and then over in this thatched roof big thing was 0:13:48.716 --> 0:13:52.356 like all his you know, forty fives. And we we 0:13:52.436 --> 0:13:55.516 dug through his LPs and looked for some stuff. You know, 0:13:55.916 --> 0:14:00.596 I wanted to hear like let's Work Together by Wilbur Harrison, 0:14:01.116 --> 0:14:03.196 and so we searched for it and found the record 0:14:03.276 --> 0:14:05.076 and played it and he's like, I'm like, no, that's 0:14:05.116 --> 0:14:07.396 not that's the wrong version. You know, we need the 0:14:07.436 --> 0:14:10.476 earlier version. So we he went back and he found it. 0:14:10.636 --> 0:14:11.076 He had it. 0:14:11.116 --> 0:14:13.556 Fuck, he had had all the everything. 0:14:13.596 --> 0:14:15.956 I mean, he had a million albums, right, wasn't that 0:14:16.476 --> 0:14:16.676 you know? 0:14:16.716 --> 0:14:18.916 As soon as you sent him on attached to find something, 0:14:18.956 --> 0:14:23.236 He's like giddy. It was awesome. 0:14:23.636 --> 0:14:23.836 Yeah. 0:14:23.836 --> 0:14:26.436 That Peel session at his house was live on BBC, 0:14:27.276 --> 0:14:31.516 and uh, his whole family was there and they made 0:14:31.556 --> 0:14:34.796 a stinner. It was like, you know, it was really special, 0:14:34.916 --> 0:14:37.436 you know, and us like at the time, you know, 0:14:39.196 --> 0:14:41.876 we you know, we weren't really kind of aware of 0:14:41.996 --> 0:14:43.396 the gravity of what it was to. 0:14:43.316 --> 0:14:45.916 Be hanging out with that guy. You know, he was 0:14:45.956 --> 0:14:47.996 just kind of this cool DJ. And then. 0:14:49.396 --> 0:14:51.756 You know, as we got older, we kind of learned 0:14:51.796 --> 0:14:54.356 like what that show really meant to people and what 0:14:54.356 --> 0:14:57.076 it really was, and you know, I wish that we 0:14:57.156 --> 0:14:58.836 had something like that. I mean, I think the world 0:14:58.836 --> 0:15:04.356 would benefit from another John Peel. I mean, I mean, look, 0:15:04.356 --> 0:15:06.676 if you go back and look at his playlists and stuff, 0:15:06.916 --> 0:15:10.836 it's it's incredible what he's sposing people too, especially like 0:15:10.956 --> 0:15:13.036 pre internet, to be able to turn on the radio 0:15:13.516 --> 0:15:16.156 and have some guy playing you the Residents and then 0:15:16.356 --> 0:15:20.836 you know, like you know, a Howard tape single pretty cool. 0:15:21.436 --> 0:15:24.116 And the continuity between you know, he'd done it so long. 0:15:24.316 --> 0:15:27.556 Just being able to present like led Zeppelin in like 0:15:27.676 --> 0:15:30.436 nineteen seventy and you know you guys in two thousand 0:15:30.476 --> 0:15:32.436 and three. I mean, that's just that's crazy. You know, 0:15:33.036 --> 0:15:36.756 it's nuts. And his sessions always sounded really good to 0:15:36.796 --> 0:15:39.636 me too. I always love finding like an appeal session, 0:15:39.676 --> 0:15:41.876 you know, because they sound always they sound pretty different 0:15:41.876 --> 0:15:46.356 from the records usually, but they just sound I don't know, 0:15:46.596 --> 0:15:49.036 there was a really I don't know how he who 0:15:49.116 --> 0:15:52.116 if he used it, like, I don't know who engineered sessions. 0:15:52.116 --> 0:15:52.956 But they were incredible. 0:15:53.036 --> 0:15:54.876 You know, I did it made a veil when we 0:15:54.916 --> 0:15:56.636 were doing them. I think that's really did them. 0:15:56.756 --> 0:16:00.196 He has a BBC. Their studios are incredible, They're their 0:16:00.276 --> 0:16:02.636 gear was always amazing. It was like that was the 0:16:02.636 --> 0:16:05.916 first time we ever saw Cole's microphones. Yeah, Cole's ribbon 0:16:05.916 --> 0:16:10.556 mics you know. Yeah, no, those those some BBC sessions 0:16:10.596 --> 0:16:11.876 always sound. 0:16:11.756 --> 0:16:14.196 Amazing because basically use a ribbon mike. 0:16:15.076 --> 0:16:18.356 Always, you know. I mean after those sessions we started 0:16:18.356 --> 0:16:20.276 to but yeah, they would have ribbons on everything. 0:16:20.356 --> 0:16:22.116 Yeah, now that's a cool thing. 0:16:22.116 --> 0:16:24.836 You show up and then basically, here's this world class studio. 0:16:25.436 --> 0:16:28.916 You've got like six hours to record four songs, and 0:16:28.996 --> 0:16:32.156 you can do anything you want to do. So you know, 0:16:32.156 --> 0:16:35.356 if you wanted to, who knows, they would let you 0:16:35.356 --> 0:16:40.076 do whatever you wanted to do. The coolest John pil 0:16:40.116 --> 0:16:44.796 Antono is that he told us he was present in 0:16:44.956 --> 0:16:49.756 Dallas when Lee Harvey Oswald was killed in that parking 0:16:49.756 --> 0:16:52.196 garage at the police station because he was working for 0:16:52.316 --> 0:16:54.716 a radio station. 0:16:56.836 --> 0:16:58.716 And so he saw that in person. And I guess 0:16:58.796 --> 0:17:00.796 he's in the I guess he's in the film. 0:17:01.036 --> 0:17:04.756 Wait, wait, he wasn't he was actually at the police station. 0:17:05.396 --> 0:17:07.916 Yeah, when Lee Harvey Oswald gets killed by Jack Ruby, 0:17:07.956 --> 0:17:09.476 he's one of the guys there. 0:17:10.476 --> 0:17:13.836 That's incredible. I'm gonna go I'm gonna. 0:17:13.196 --> 0:17:14.876 Yeah, watch it on slow mo. See if you can 0:17:14.916 --> 0:17:15.316 find him. 0:17:15.396 --> 0:17:17.756 Yeah, maybe somebody can find them in the pictures. 0:17:18.076 --> 0:17:20.076 Maybe he'll be in the files of releasing the JFK 0:17:20.276 --> 0:17:26.116 files that are coming out. John Petle was involved. How 0:17:26.156 --> 0:17:27.916 does it feel promote I mean, I guess the difference 0:17:27.916 --> 0:17:31.276 between promoting a record then and now. I'm just curious. 0:17:31.316 --> 0:17:33.156 You guys do do a lot of press, do you 0:17:33.156 --> 0:17:38.076 guys like what how do you guys go about figuring 0:17:38.116 --> 0:17:40.196 out the way in which you want to promote a 0:17:40.236 --> 0:17:42.396 record or do not spend much time thinking about it? 0:17:43.036 --> 0:17:44.916 Back then, I remember one of the first interviews we 0:17:44.916 --> 0:17:47.276 ever did with like a European you know, first one 0:17:47.276 --> 0:17:49.716 of the first interviews period. We were at south By 0:17:49.796 --> 0:17:52.476 Southwest two thousand and three, and we we did a 0:17:52.476 --> 0:17:56.076 couple of interviews. One of them was with enemy and 0:17:56.116 --> 0:17:57.956 then we landed in England a couple of weeks later 0:17:57.996 --> 0:18:01.356 for the first time to and our publicists handed us 0:18:01.356 --> 0:18:05.036 to the enemy and in this interview, We talked for 0:18:05.036 --> 0:18:06.956 like thirty minutes, and at the very end of the interview, 0:18:06.956 --> 0:18:09.436 the journalist is like, so, do you guys take drugs? 0:18:09.436 --> 0:18:10.716 You've ever taken any drugs? 0:18:11.636 --> 0:18:13.836 And we're like we were like naive kids, you know, 0:18:13.876 --> 0:18:15.996 and we're like, I was like, oh, I spoke opium 0:18:16.036 --> 0:18:19.596 once and uh the headline of the fucking m was 0:18:19.636 --> 0:18:25.036 like Opium fueled Blues Duo and I was like, holy shit, 0:18:25.156 --> 0:18:30.156 this is insane. It didn't really help us sell any records, but. 0:18:32.476 --> 0:18:32.956 It was cool. 0:18:32.956 --> 0:18:35.876 Look kind of miss headlines like that. Miss magazines in general, 0:18:35.956 --> 0:18:39.156 kind of sometimes for for for you know, headline like that. 0:18:39.516 --> 0:18:43.436 You know me too, Yeah, I miss I missed being 0:18:43.436 --> 0:18:47.036 able to like pick up a music magazine and I 0:18:47.156 --> 0:18:48.516 have something I want to see in it. 0:18:48.676 --> 0:18:48.956 You know. 0:18:49.436 --> 0:18:51.636 It's like back in the day, like. 0:18:53.636 --> 0:18:56.956 Just you know, Magnet or Alternative Press or Flip Side 0:18:57.196 --> 0:19:01.516 or Maximum Rock and Roll. Even just at our local 0:19:01.516 --> 0:19:03.356 grocery store, you could pick up this one cook magazine 0:19:03.396 --> 0:19:05.876 called ray Gun, which is like as a music magazine 0:19:05.876 --> 0:19:07.636 that lasted for just maybe a couple of years, but 0:19:07.676 --> 0:19:11.236 it was like the graundraphic design was so crazy, like 0:19:11.276 --> 0:19:14.476 you could barely read the articles because they like lay 0:19:14.516 --> 0:19:17.636 the articles out. But you know, that's where I've actually 0:19:17.796 --> 0:19:20.356 in the you know, you know, early magnet magazines and stuff. 0:19:20.356 --> 0:19:23.436 That's where I kind of discovered a lot of what 0:19:23.516 --> 0:19:25.756 I know about music. They kind of set me in 0:19:25.756 --> 0:19:28.156 the right direction. Like that's when I read about Daniel Johnson, 0:19:29.996 --> 0:19:33.396 you know, love his laughter and K Records and all 0:19:33.396 --> 0:19:34.036 that kind of stuff. 0:19:34.636 --> 0:19:36.396 I don't know for me too, though, I'd get sit 0:19:36.476 --> 0:19:38.356 down a lot of like dead ends, you know, like 0:19:38.596 --> 0:19:40.116 looking through a magazine and you have to try to 0:19:40.716 --> 0:19:43.196 spend you know, fifty bucks on a bunch of records 0:19:43.196 --> 0:19:44.716 I saw on a magazine and then you know, they 0:19:44.756 --> 0:19:46.076 all sucked, and that was kind of a bust. 0:19:46.156 --> 0:19:50.476 It usually sucks. Yeah, yeah, yeah, I bought a lot. 0:19:50.396 --> 0:19:51.276 Of shitty records. 0:19:51.516 --> 0:19:56.756 Were there local like zines in Akron or. 0:19:58.196 --> 0:19:58.796 Sort of, But. 0:20:00.356 --> 0:20:02.716 It seemed like a lot of that stuff was like 0:20:02.716 --> 0:20:06.156 geared towards hardcore punk, which Dan and I. 0:20:05.596 --> 0:20:09.276 Were never into, never never had a stage. 0:20:09.596 --> 0:20:16.116 No. We get along too well with our fathers. 0:20:16.996 --> 0:20:18.996 Will be back with more from the Black Keys after 0:20:19.036 --> 0:20:26.396 the break. Your dads were friends too, weren't they our dads? 0:20:26.436 --> 0:20:28.596 I mean we're neighbors, they're neighbors. Yeah. 0:20:28.876 --> 0:20:32.276 Yeah, that's how Dan and I know each other from 0:20:33.076 --> 0:20:34.916 just growing up around the corner from each other. 0:20:35.396 --> 0:20:38.836 And your dad was an art teacher or procure of 0:20:38.916 --> 0:20:40.556 art supplies, Yeah he was. 0:20:41.476 --> 0:20:45.356 He was an antique dealer and he collected folk art 0:20:45.436 --> 0:20:51.996 outsideer art. Yeah, he would, you know, he was like 0:20:51.996 --> 0:20:52.476 a picker. 0:20:52.716 --> 0:20:52.916 You know. 0:20:52.996 --> 0:20:56.436 He would go around Ohio and Pennsylvania and West Virginia 0:20:56.476 --> 0:20:59.116 and he would have his routes that he would run 0:20:59.156 --> 0:21:02.596 and go to different places and buy things and then 0:21:02.596 --> 0:21:05.596 he would sell at shows, antique shows he would go 0:21:05.676 --> 0:21:09.036 to like Brimfield, or he would go to the Triple 0:21:09.196 --> 0:21:13.036 Here Expo in Manhattan and set up a booth, and 0:21:13.076 --> 0:21:14.756 you know I would go and help him and ship 0:21:14.876 --> 0:21:18.076 and it was always fun. I love doing that stuff. 0:21:18.676 --> 0:21:20.476 Did you learn a lot about art through him or 0:21:20.516 --> 0:21:22.596 were you interested in learning? Yeah? I learned everything about 0:21:22.676 --> 0:21:25.996 art through through him. Being around him and being on 0:21:26.036 --> 0:21:30.716 the road, you know, you know, probably prepped me for touring, 0:21:31.596 --> 0:21:35.156 you know, getting in my dad's van and driving from 0:21:35.196 --> 0:21:38.596 Ohio to New York City and you know, loading and 0:21:38.676 --> 0:21:42.956 unloading the van for the shows and stuffy yeah no, 0:21:43.116 --> 0:21:45.836 and he you know, he would introduce me to two 0:21:45.916 --> 0:21:49.276 artists and and and show me the difference between different 0:21:49.276 --> 0:21:52.116 different types of art. And yeah, absolutely. 0:21:51.956 --> 0:21:54.476 Has anything of his or anything you've gotten from him 0:21:54.476 --> 0:21:59.156 made it to any artwork Blackie's artwork or arts. 0:21:59.596 --> 0:22:04.836 Mm, I don't think so, but I mean no, I 0:22:04.876 --> 0:22:09.796 mean one of the guys that he would help facilitate 0:22:09.836 --> 0:22:14.956 an acron this artist named Alfred mcmore. My dad would 0:22:14.996 --> 0:22:18.636 like bring him crayons and art supplies and pipe tobacco 0:22:18.796 --> 0:22:22.196 and bring him stuff he needed, and he would try 0:22:22.236 --> 0:22:24.876 to help him get his art out there, you know. 0:22:25.516 --> 0:22:29.756 And this guy was he would leave voicemails on the 0:22:29.756 --> 0:22:34.316 phone at our house. And Pat's dad did a story 0:22:34.476 --> 0:22:37.796 in the local newspaper on this artist, so Pat would 0:22:37.796 --> 0:22:41.916 get these voicemails too, and it became, you know, the 0:22:41.956 --> 0:22:43.996 origin of the name of our band, the Black Keys 0:22:44.076 --> 0:22:46.356 was this outsider artist, you know. 0:22:46.516 --> 0:22:50.316 So he would call our houses like every day, multiple 0:22:50.316 --> 0:22:51.076 times a day. 0:22:51.076 --> 0:22:54.356 Demanding pipe tobacco and crayons. 0:22:54.876 --> 0:22:57.996 And he would tell like, you you're big. If you 0:22:57.996 --> 0:23:00.716 don't bring me a two liters of coke some crans, 0:23:01.556 --> 0:23:04.996 you're a black Key, you're d flat. 0:23:05.596 --> 0:23:09.796 And he'd make these five foot wide he put long 0:23:09.916 --> 0:23:16.156 scrolls with cran and pencil, and so Dan's father had like, 0:23:16.596 --> 0:23:16.956 you know. 0:23:17.436 --> 0:23:20.396 Just a basement filled hundred of them. 0:23:20.876 --> 0:23:23.276 Maybe because he would, you know, give him. 0:23:23.636 --> 0:23:26.156 He's living in like a halfway house, you know, and 0:23:26.236 --> 0:23:29.756 he had very little resources, so chuck with like give 0:23:29.836 --> 0:23:34.196 him some Cran's paper stuff. Then get these scrolls and 0:23:34.596 --> 0:23:38.476 sell some, give him some of the money. And but yeah, 0:23:38.636 --> 0:23:40.716 they're they're pretty incredible. He would draw a lot of 0:23:40.796 --> 0:23:51.116 like a lot of highway patrol people in high heels. 0:23:48.276 --> 0:23:51.916 Big chandelier, earrings, chandelier because he done boots. 0:23:52.236 --> 0:23:52.996 Yeah, it was so cool. 0:23:53.036 --> 0:23:55.436 They were. They were like these long stream of consciousness. 0:23:55.476 --> 0:23:59.316 They would be like funeral processions, you know, people in 0:23:59.476 --> 0:24:04.036 open cadillacs and like all these different Jesus was playing 0:24:04.076 --> 0:24:06.836 like rock and roll guitar and they're amazing. 0:24:06.956 --> 0:24:09.316 Really, I mean, Alfred would wear about the three or 0:24:09.316 --> 0:24:12.756 four suits at the same time. And then his daily 0:24:12.876 --> 0:24:15.236 ritual was like to go to the Stewart and Calhoun 0:24:15.436 --> 0:24:21.436 funeral home to any random funeral and just cry. 0:24:23.236 --> 0:24:25.116 He show up to random funerals and cry. 0:24:25.196 --> 0:24:28.196 This is the person that my dad brought over to 0:24:28.196 --> 0:24:34.476 the house to spend time with his sons. Exposed expose 0:24:34.556 --> 0:24:35.636 us to his artwork. 0:24:35.996 --> 0:24:37.716 Alfred No, I mean his. 0:24:37.756 --> 0:24:41.076 Artwork was so beautiful, but like impossible to display, Like 0:24:41.196 --> 0:24:43.436 where where do you put a fifty foot roll of 0:24:43.676 --> 0:24:44.236 art work? 0:24:45.756 --> 0:24:46.756 Do you guys still have some of this? 0:24:47.076 --> 0:24:50.836 Uh huh oh? Yeah, man, my dad got him to 0:24:50.876 --> 0:24:52.716 do a couple of small pieces and they're okay, but 0:24:53.196 --> 0:24:54.716 the roles are actually where it's at. 0:24:55.476 --> 0:25:00.076 Yeah, I got one little small one. It says mcmore 0:25:00.196 --> 0:25:02.836 mclusts and that's where. That's what we named our publishing 0:25:02.876 --> 0:25:04.956 company after mcmore mcless. 0:25:06.756 --> 0:25:08.036 Is he still Is he still around? No? 0:25:08.196 --> 0:25:10.876 He died in two thousand and nine. 0:25:11.436 --> 0:25:14.156 I think did he Did you guys ever play him 0:25:14.156 --> 0:25:14.956 any of your music? 0:25:16.436 --> 0:25:17.236 I don't believe so. 0:25:18.076 --> 0:25:20.836 He knew about the band, but I don't think probably 0:25:20.836 --> 0:25:24.876 no interest in Yeah, you guys might have set him 0:25:24.916 --> 0:25:28.636 off a little. I don't know, I could aggravate him. 0:25:28.716 --> 0:25:28.996 You know. 0:25:30.876 --> 0:25:33.396 Were there other people like characters like that around town? 0:25:34.396 --> 0:25:36.156 Yeah, there's a lot of like, there's a lot of 0:25:36.436 --> 0:25:37.396 characters an Akron. 0:25:37.756 --> 0:25:40.996 There was the purple Purple man. That guy his house 0:25:41.076 --> 0:25:45.516 is purple as cars, probably acrons full of that kind 0:25:45.516 --> 0:25:50.436 of stuff there. There's like it's kind of like pull man. 0:25:52.156 --> 0:25:53.836 Then there was a guy we called Eep. 0:25:55.116 --> 0:26:02.716 In ild Square and uh, the little neighborhood we kind 0:26:02.716 --> 0:26:06.596 of grew up around. Uh, there was a really eccentric 0:26:06.716 --> 0:26:11.356 shoe repair man who just retired, but he'd be in 0:26:11.356 --> 0:26:15.076 there with the fumes and stuff and he dressed the 0:26:15.116 --> 0:26:21.476 window up in like inflatable dolls, really really out there. Yeah, 0:26:21.516 --> 0:26:24.236 there's all that's my kind of when I when I 0:26:24.276 --> 0:26:28.596 think about like classic Akron, it's like, my brother was 0:26:28.596 --> 0:26:32.636 really into trains, like model trains and stuff, and so 0:26:32.676 --> 0:26:34.836 we would go on Saturday sometimes to this place called 0:26:34.836 --> 0:26:38.396 Glenn's Train Shop and it was this building covered in 0:26:38.476 --> 0:26:41.596 ivy in the middle of like the worst neighborhooded Akron 0:26:42.036 --> 0:26:44.116 back in this lot. You'd walk in there and just 0:26:44.116 --> 0:26:47.436 be this guy just smoking with like you know, ten 0:26:47.516 --> 0:26:50.356 thousand boxes of vintage trains, just mean as hell. 0:26:51.636 --> 0:26:56.396 They total Like that's what Akron that did? 0:26:56.396 --> 0:26:57.396 He did he deal them? 0:26:57.476 --> 0:26:59.076 Or yeah, you sell them? He was like. 0:26:59.396 --> 0:27:03.876 Yeah, you're like, what gauge do you want? He's like 0:27:04.116 --> 0:27:08.356 h ah, he'd like judge you by the gauge of 0:27:08.396 --> 0:27:10.596 the train that you want. The real trains are, oh 0:27:10.676 --> 0:27:13.716 gauge Apparently that's what you want. The real trains are what, 0:27:13.916 --> 0:27:15.196 oh gauge the big ones? 0:27:15.876 --> 0:27:16.716 Well, I don't know what that means. 0:27:16.756 --> 0:27:19.116 I know, well, sounds about right. I bet Neil Young 0:27:19.196 --> 0:27:20.716 knows I was gonna say. 0:27:20.716 --> 0:27:25.956 Neil Young probably knows this guy. Oh yeah, why did 0:27:25.996 --> 0:27:27.756 you call the what was the one guy called? 0:27:29.196 --> 0:27:30.476 This is what he said all the time. 0:27:33.316 --> 0:27:38.996 That makes sense. National's got to be filled the characters too, right. 0:27:39.636 --> 0:27:42.796 Yeah, it's just filled to the brim. 0:27:43.596 --> 0:27:46.476 When we first moved to town, we both moved like 0:27:46.596 --> 0:27:51.796 to the same area here, and uh we were neighbors 0:27:51.796 --> 0:27:55.876 with Harmony Krinn, so we hit it off with him 0:27:55.916 --> 0:27:58.276 right off the bat, and through Harmony we met like, 0:27:58.396 --> 0:28:01.636 you know, David Berman and and then also you know, 0:28:01.756 --> 0:28:08.436 introduced to the original kind of cast of eccentrics. What 0:28:08.636 --> 0:28:11.316 you no longer see any of them anymore, but most 0:28:11.356 --> 0:28:12.756 of them were in Gummo or something. 0:28:13.396 --> 0:28:15.356 You guys have been there over a decade now, right, 0:28:15.956 --> 0:28:21.076 they're fifteen years You mentioned the cover of Forgot to 0:28:21.076 --> 0:28:23.796 Be Your Lover earlier? What made you guys cover that song? 0:28:25.876 --> 0:28:27.436 So I was scared to click on it, to be honest, 0:28:27.436 --> 0:28:30.836 because it's such like a perfect record, the original you 0:28:30.876 --> 0:28:32.156 guys version is really good too. 0:28:33.116 --> 0:28:36.756 Yeah. No, it's just it was just one of our favorites, 0:28:36.876 --> 0:28:39.036 you know, and we were in the studio, we were 0:28:39.076 --> 0:28:42.116 hanging out. We were just inspired to do something like that, 0:28:42.156 --> 0:28:45.116 and you know, we really didn't think too much about it, 0:28:45.156 --> 0:28:46.556 and we really didn't even know if it was going 0:28:46.636 --> 0:28:48.676 to be on the record or not, you know, but 0:28:50.556 --> 0:28:52.196 it felt good when we cut it. You know, we 0:28:52.276 --> 0:28:56.516 had our buddy Kelly Finnigan and Tommy Brenneckan there with us. 0:28:56.956 --> 0:29:02.036 Kelly sings harmony, and it was just felt felt good. Yeah, 0:29:02.076 --> 0:29:05.996 we did that. Never going to give you up on Brothers. 0:29:06.036 --> 0:29:08.836 You know, I think we've done some soul songs before. 0:29:09.316 --> 0:29:13.436 You know, it's those types of songs are pretty big 0:29:13.436 --> 0:29:14.716 influence on us. 0:29:15.116 --> 0:29:16.476 Oh yeah, it's. 0:29:16.276 --> 0:29:18.756 Just such big you know, like Forgot to Be Your Lover. 0:29:20.036 --> 0:29:21.716 It's just such a big record, you know. 0:29:23.196 --> 0:29:25.236 Yeah, one of those perfect records. 0:29:25.116 --> 0:29:28.716 From like the opening opening riff, the drums on it 0:29:28.756 --> 0:29:31.236 are perfect, opening lines, perfect. 0:29:31.516 --> 0:29:36.116 Yeah. Absolutely. We mostly we mostly just wanted to hear 0:29:36.156 --> 0:29:37.716 Tommy play that opening list. 0:29:37.796 --> 0:29:43.436 Yeah, yeah, that's it's pretty much. 0:29:43.596 --> 0:29:45.516 That was the reason we cut it. No, that was Tommy. 0:29:45.876 --> 0:29:48.356 How much time do you spend listening to music these days. 0:29:48.716 --> 0:29:51.476 I probably listened to like an hour at least a 0:29:51.596 --> 0:29:52.276 day of music. 0:29:52.756 --> 0:29:54.676 What's what's moving you these days? 0:29:55.036 --> 0:29:59.556 Man, I'm kind of all over the map what I'm 0:29:59.596 --> 0:30:01.716 into right now. But you know, we've been doing these 0:30:01.756 --> 0:30:06.876 record hangs where we playing forty five's, so that will 0:30:08.636 --> 0:30:12.796 you know, that's kind of got my algorithm going trying 0:30:12.796 --> 0:30:18.196 to find these kind of trying to find like songs 0:30:18.236 --> 0:30:22.236 that I feel like hits but weren't hits. 0:30:22.796 --> 0:30:24.316 It's kind of like the ultimate goal. 0:30:24.756 --> 0:30:26.636 But I've got, you know, got I've got a little 0:30:27.036 --> 0:30:29.996 I've got a six year old boy who's into music 0:30:31.316 --> 0:30:35.956 and opinionated, so a lot of the stuff I'm like 0:30:35.996 --> 0:30:38.396 trying to play him stuff, see what he's into. 0:30:39.196 --> 0:30:40.836 What are his opinions. 0:30:41.836 --> 0:30:49.116 I mean, he's got good tastes. But uh, it's funny 0:30:49.156 --> 0:30:51.436 when he when he'll he'll hear something and like it, 0:30:51.476 --> 0:30:55.156 and he'll he'll he'll he's like aware enough to think 0:30:55.756 --> 0:30:58.156 like that he should be embarrassed by liking it. 0:30:58.196 --> 0:31:01.116 If so, he will like not he'll keep it a secret, 0:31:02.636 --> 0:31:04.916 like if he thinks because he'll think like I will 0:31:04.996 --> 0:31:06.876 like make fun. 0:31:10.676 --> 0:31:11.196 Smart kid. 0:31:11.276 --> 0:31:16.076 Yeah, I know, I mean his intuition's spot on. But no, 0:31:16.196 --> 0:31:17.796 you don't get made fun of for what you listen 0:31:17.836 --> 0:31:19.036 to in my house till you're eleven. 0:31:19.556 --> 0:31:21.236 What about you, Dan, Do you listen to a lot 0:31:21.236 --> 0:31:24.236 of music or like not work related? 0:31:24.556 --> 0:31:31.436 Yeah, I mean yeah, i'd say similar, you know, especially 0:31:33.516 --> 0:31:37.076 digging for records you know, online. It's kind of become 0:31:37.196 --> 0:31:41.116 like one of my favorite things to do is just 0:31:41.196 --> 0:31:43.676 like chill out for an hour and like search for music, 0:31:44.476 --> 0:31:46.916 you know, because I swear to God, every single day 0:31:47.476 --> 0:31:50.396 I can find something that blows my mind if I 0:31:50.596 --> 0:31:51.836 if I search hard enough. 0:31:52.196 --> 0:31:52.476 True. 0:31:53.476 --> 0:31:58.396 So yeah, honestly, like as soon as we started doing 0:31:58.436 --> 0:32:00.836 these record hangs, I think I started listening to way 0:32:00.876 --> 0:32:02.796 more music on average. 0:32:03.876 --> 0:32:08.196 Same who organizes the record hangs we do. 0:32:09.636 --> 0:32:10.876 We just kind of picked like. 0:32:13.196 --> 0:32:16.436 Cities where it will makes sense when we're on the road, 0:32:17.156 --> 0:32:19.036 or cities we think it will be fun to do. 0:32:20.156 --> 0:32:21.596 So yeah, we just had to meeting the other day 0:32:21.636 --> 0:32:24.316 to kind of pick out like the next couple months 0:32:24.396 --> 0:32:27.476 of it, and then some of them are kind of 0:32:27.516 --> 0:32:28.756 last spin it, you know. 0:32:29.036 --> 0:32:30.876 Yeah, it's kind of fun just to pop in somewhere 0:32:30.916 --> 0:32:32.636 and unannounced and spend some records. 0:32:32.876 --> 0:32:35.556 Did you did you guys spend records like that out 0:32:35.596 --> 0:32:38.716 like out and about like before that or no, a little. 0:32:38.516 --> 0:32:42.516 Bit, a little bit bit. Yeah, you know, back when 0:32:42.556 --> 0:32:44.796 I did the ARC stuff, I would spend records with 0:32:44.916 --> 0:32:48.996 Richard Swift and Leon a few times, you know, here 0:32:49.036 --> 0:32:53.356 and there, and and then I started doing it on 0:32:53.396 --> 0:32:56.916 my own just a little bit, and then shortly thereafter 0:32:57.156 --> 0:33:00.116 invited Pat to do it with me, and then we 0:33:00.196 --> 0:33:02.756 both kind of got hooked on it. Really. 0:33:04.396 --> 0:33:08.676 Yeah, it's addictive, you know, I'm with Dan on that. Like, 0:33:08.676 --> 0:33:15.356 I've definitely probably spending like ten uh, I don't know, 0:33:15.436 --> 0:33:18.076 at least another thirty minutes a day extra listening to 0:33:18.196 --> 0:33:22.876 music because of this. I'll go down rabbit holes and 0:33:23.036 --> 0:33:27.476 uh trying to find stuff. And I've learned more about 0:33:27.556 --> 0:33:29.516 music in the last probably two years than I had 0:33:29.556 --> 0:33:34.276 in the previous ten years really for sure, not just 0:33:34.916 --> 0:33:37.156 not just like hit history of music, but just like. 0:33:39.156 --> 0:33:40.276 Kind of maybe how to make. 0:33:40.196 --> 0:33:45.076 It well, you know. I mean that's an interesting point, 0:33:45.076 --> 0:33:49.476 because I mean to your earlier point, like finding songs 0:33:49.476 --> 0:33:50.796 that sound like they could have been a hit or 0:33:50.836 --> 0:33:53.156 should have been. I mean, it's it's just it's it's 0:33:53.196 --> 0:33:56.276 fascinating how much a hit I mean, I guess we 0:33:56.316 --> 0:33:58.156 all know because we know hits that kind of aren't 0:33:58.156 --> 0:34:00.836 that that great. But it's fascinating how much it hit 0:34:00.876 --> 0:34:02.196 really has nothing to do with how good a song. 0:34:02.236 --> 0:34:03.836 It's necessarily you know, it's all these. 0:34:03.836 --> 0:34:06.276 Oh yeah, absolutely, man. That's why we feel like we 0:34:06.316 --> 0:34:10.396 can play records for like three hours and like they're 0:34:10.516 --> 0:34:13.636 jams and people will be dancing for three hours straight 0:34:14.556 --> 0:34:16.996 and they won't know a single fucking song, you know 0:34:16.996 --> 0:34:17.396 what I mean. 0:34:17.396 --> 0:34:17.956 We love that. 0:34:18.676 --> 0:34:20.876 Yeah, like this song could have Like there's nothing that's 0:34:20.916 --> 0:34:24.036 like more annoying than just somebody going up and just 0:34:24.076 --> 0:34:26.636 playing hits off iPod, you know what I mean, off 0:34:26.636 --> 0:34:30.276 a computer. But like, oh my god, it is fun 0:34:30.436 --> 0:34:34.196 to be like be able to like see the crowd 0:34:34.236 --> 0:34:37.476 move to a song they don't know. You know. It 0:34:37.596 --> 0:34:39.036 really is satisfying. 0:34:39.556 --> 0:34:42.316 I think that's the biggest thrill. It's because it's not 0:34:43.476 --> 0:34:46.716 playing something obscure to be obscure. It's like it's got 0:34:46.756 --> 0:34:49.156 to have this. It's like this perfect combination of like. 0:34:49.116 --> 0:34:50.956 Yeah, if it doesn't work, we're turning it off. 0:34:51.036 --> 0:34:53.916 Yeah, it's like it's a you know, because it's got 0:34:53.956 --> 0:34:55.556 to not only does it have to like groove and 0:34:55.636 --> 0:34:57.196 have the right production. 0:34:57.276 --> 0:34:58.796 It's got to have like the right mix. 0:34:58.876 --> 0:35:01.236 There's so many of these songs where you they like 0:35:01.916 --> 0:35:03.156 they seem like they're going to be it, and then 0:35:03.156 --> 0:35:05.116 you get the record and the mix is. 0:35:05.116 --> 0:35:08.196 Just it's fucked up. The drums aren't there, it doesn't work. 0:35:08.556 --> 0:35:11.236 Yeah, sucks. It's a lot of it. 0:35:11.236 --> 0:35:13.676 It's weird. Yeah, you'll spend hours and hours and hours 0:35:13.716 --> 0:35:17.036 searching for songs. You'll find like songs and you get 0:35:17.116 --> 0:35:19.996 them sent to your house and like, only like ten 0:35:20.116 --> 0:35:23.556 fifteen percent of them actually are as good as you thought. 0:35:23.636 --> 0:35:26.436 They were pretty consistent, pretty consistently. 0:35:26.596 --> 0:35:30.236 Yeah, Like the vocals are like twenty five percent too loud. 0:35:30.276 --> 0:35:33.516 The drums are just like almost good, loud enough but 0:35:33.556 --> 0:35:35.036 not there, and then you put it on the club 0:35:35.076 --> 0:35:37.396 and it doesn't work. 0:35:38.276 --> 0:35:39.916 Or like the drums are great, but then there's like 0:35:39.956 --> 0:35:40.476 the high hat. 0:35:40.596 --> 0:35:43.596 It's like something, it's just messing all up. 0:35:43.876 --> 0:35:45.916 We can live with the as long as we can 0:35:45.956 --> 0:35:46.676 live with some of it. 0:35:48.516 --> 0:35:51.236 But yeah, do you find that it do you find 0:35:51.276 --> 0:35:53.236 through digging though that some do you ever find yourself 0:35:53.276 --> 0:35:56.716 lost in a sense of like after thirty minutes an 0:35:56.716 --> 0:36:00.916 hour of listening to something you you kind of don't 0:36:00.956 --> 0:36:01.876 know what's good anymore. 0:36:03.636 --> 0:36:06.316 Oh yeah, that happens to me when it comes into 0:36:06.356 --> 0:36:10.796 this specific thing. I've definitely I purchased a few records 0:36:10.836 --> 0:36:13.436 and I'll get them like why the fuck did I 0:36:13.436 --> 0:36:14.156 buy this record? 0:36:14.196 --> 0:36:16.236 And I was like, really, be like what was going 0:36:16.276 --> 0:36:16.676 on here? 0:36:17.436 --> 0:36:18.556 And I was like, you know what it was, is 0:36:18.596 --> 0:36:21.356 like I just put so many hours into looking for 0:36:21.436 --> 0:36:23.596 something that I think I just wanted to buy something 0:36:23.796 --> 0:36:25.596 so I could have something to show for it. 0:36:25.916 --> 0:36:28.556 You can get yourself worked up about the smallest thing 0:36:28.596 --> 0:36:31.156 about a record that the smallest reason why you need 0:36:31.156 --> 0:36:32.716 this record, you know, is enough to buy it. 0:36:32.796 --> 0:36:35.156 And then I've definitely bought a record the other day 0:36:35.156 --> 0:36:38.876 because the snare drums sounded so bad in a good 0:36:38.876 --> 0:36:41.836 way that I was like, maybe Dan, I should sample this. 0:36:42.796 --> 0:36:43.676 What record was it? 0:36:45.316 --> 0:36:46.036 Oh Man? 0:36:46.876 --> 0:36:50.036 Because his last name was Washington, I forget. It's this 0:36:50.116 --> 0:36:53.836 decent song, but the snare drum's real messed up. It 0:36:53.956 --> 0:36:55.516 sounds like a broken four track. 0:36:56.476 --> 0:36:56.996 It's cool. 0:36:57.476 --> 0:37:00.756 Do the record hangs im like impact the way you 0:37:00.796 --> 0:37:03.276 guys make records in the studio. 0:37:04.436 --> 0:37:09.916 One thousand, Absolutely no, I mean we're spinning records and 0:37:10.116 --> 0:37:14.556 and and like seeing what what gets the crowd moving 0:37:14.636 --> 0:37:17.356 definitely influences us when we get in the studio and 0:37:17.356 --> 0:37:19.876 what we want to try to do. Absolutely. 0:37:20.836 --> 0:37:20.996 Yeah. 0:37:21.036 --> 0:37:22.636 I think there's a couple of songs on the new 0:37:22.836 --> 0:37:27.836 album that definitely exists because of the record. 0:37:27.916 --> 0:37:30.756 Hangs mm hmm. 0:37:31.556 --> 0:37:34.276 What tracks are those? I've only been over to here too. 0:37:34.236 --> 0:37:36.796 But yeah, and one of the songs you're I mean, 0:37:36.836 --> 0:37:39.236 both of them are. One of them was a rough mix. 0:37:40.636 --> 0:37:41.396 Which one was that? 0:37:41.996 --> 0:37:43.916 I mean, if they sent you no Raino Flowers that 0:37:43.996 --> 0:37:49.716 was that was the title. That was the wrong mix. Yeah, yeah, 0:37:49.716 --> 0:37:51.836 that's like part of the thing did sound very different 0:37:51.836 --> 0:37:52.516 from the night before. 0:37:52.556 --> 0:37:56.476 I heard the night before and it sounded the production wise, 0:37:56.516 --> 0:37:57.716 it did sound very different. 0:37:58.716 --> 0:38:00.836 Well, it's like, you know, it's the thing that's interesting 0:38:00.876 --> 0:38:03.836 thing about like we started this album and the very 0:38:03.916 --> 0:38:09.196 very end of July and and really got going on 0:38:09.196 --> 0:38:11.196 on it like in September. 0:38:12.396 --> 0:38:13.196 But when you're like. 0:38:15.556 --> 0:38:20.156 Writing recording, you know that much work that in that 0:38:20.396 --> 0:38:23.556 bunch of a condensed period of time, you know, it 0:38:23.556 --> 0:38:26.996 takes it takes a few Like we kind of finished 0:38:26.996 --> 0:38:30.676 tracking mostly in the middle of December, but then I 0:38:30.676 --> 0:38:32.596 think it took us like a couple of weeks of 0:38:32.676 --> 0:38:34.676 getting away from the record to get back to the 0:38:34.716 --> 0:38:39.156 place where we could start mixing it, start getting it finished. 0:38:39.716 --> 0:38:40.636 That's where we are now. 0:38:40.756 --> 0:38:44.116 But yeah, there's like one song on it that's just 0:38:44.156 --> 0:38:46.796 a kind of Cumbia influenced because dances. We're playing a 0:38:46.796 --> 0:38:52.276 lot of Cumbia at the record hangs. But yeah, I 0:38:52.316 --> 0:38:55.716 think that it's an interesting thing trying to figure out 0:38:55.716 --> 0:38:57.956 how to put an album out in twenty twenty five 0:38:58.476 --> 0:39:01.836 versus two thousand and five, because it used to be 0:39:01.876 --> 0:39:03.716 like the biggest difference is it's like, yeah, of course 0:39:03.756 --> 0:39:05.396 there was press and stuff that you could do. 0:39:05.516 --> 0:39:10.076 There's things to do, but really it was like it 0:39:10.116 --> 0:39:10.956 really felt like. 0:39:13.236 --> 0:39:15.396 Back then, like your album came out then it was 0:39:15.476 --> 0:39:19.556 like okay, now like now people are finally gonna get 0:39:19.596 --> 0:39:23.076 to hear it, and like there was this life to 0:39:23.116 --> 0:39:26.156 it like where it was like you know, and it 0:39:26.236 --> 0:39:29.676 kind of feels inverted now where it's like with a 0:39:29.716 --> 0:39:32.636 minute your album comes out, it's like unless you have 0:39:32.676 --> 0:39:35.396 a couple of hit songs on it, it's just what's 0:39:35.396 --> 0:39:36.316 coming out next week? 0:39:36.596 --> 0:39:39.596 You know. Yeah. 0:39:39.716 --> 0:39:44.836 The weird thing about that though, from the you know, 0:39:45.236 --> 0:39:48.676 listener perspective and just thinking about music as a consumer, 0:39:48.716 --> 0:39:53.916 I guess is it automatically puts all new music in 0:39:53.996 --> 0:39:59.676 the same frame, in the same context as like old music, 0:40:00.756 --> 0:40:05.156 like in the sense of like when a new when 0:40:05.236 --> 0:40:08.436 when the Ohio Players comes out, I'm sort of guilty 0:40:08.436 --> 0:40:10.956 of the same phenomen on. I listened to it, and 0:40:10.996 --> 0:40:13.516 I pretty quickly move on. But then also fine, just 0:40:13.516 --> 0:40:16.556 as quickly as I move on, I pretty quickly come 0:40:16.636 --> 0:40:18.396 back to it. But I mean, you know, I'm usually 0:40:18.396 --> 0:40:19.716 listening to old stuff because it's like you have this 0:40:19.756 --> 0:40:22.756 whole everything's at your fingertips now, So I'm like listening 0:40:22.756 --> 0:40:26.476 to you know, whatever Aretha records I never heard before really, 0:40:26.636 --> 0:40:28.716 or you know, in the Nat King Cole and then 0:40:28.716 --> 0:40:30.996 I'm listening and then it's like I'm back to listening 0:40:30.996 --> 0:40:33.756 to the Ohio Players. And so in a weird way, 0:40:33.956 --> 0:40:39.876 I also feel like it makes new records, it makes 0:40:39.916 --> 0:40:43.516 them feel like classic records a little sooner than it 0:40:43.636 --> 0:40:45.756 used to, you know, whereas before I used to just 0:40:45.916 --> 0:40:49.476 burn records out after a year, and then I'm like, 0:40:49.476 --> 0:40:51.316 I don't know if I ever need to hear that again. 0:40:51.356 --> 0:40:56.396 You know, I heard something a couple of weeks ago. 0:40:56.596 --> 0:40:59.196 I don't know if it's true, but the mere thought 0:40:59.196 --> 0:41:02.636 of it gave me a slight existential crisis, which was 0:41:02.676 --> 0:41:07.196 that there's more like that. There's more music released every 0:41:07.236 --> 0:41:09.756 single day in twenty twenty four as there was in 0:41:09.796 --> 0:41:15.276 the entirety of nineteen eighty nine. I don't know if 0:41:15.276 --> 0:41:18.836 that's true, but could that be true? It feels like 0:41:19.916 --> 0:41:23.316 there's some sort of It kind of feels like that, 0:41:24.756 --> 0:41:29.116 you know, I've chosen to believe it also, you know, 0:41:29.156 --> 0:41:31.596 I have other feelings about UAPs and things like that 0:41:31.596 --> 0:41:32.596 I've chosen to believe. 0:41:34.036 --> 0:41:37.116 What are those feelings. I don't know they changed day 0:41:37.156 --> 0:41:37.516 to day. 0:41:39.276 --> 0:41:42.996 What are they today? I haven't thought about. 0:41:42.756 --> 0:41:47.876 It yet today, So I'm like, no, But you know 0:41:47.876 --> 0:41:49.516 what there is there's just so much good music that's 0:41:49.516 --> 0:41:55.756 been made, and it's like, you know, it's like if 0:41:56.516 --> 0:41:58.916 you're a fifteen year old now and you have Spotify, 0:41:59.036 --> 0:42:01.476 like I just I wish I could have experienced it, 0:42:02.396 --> 0:42:06.316 you know, I wish I could have had my teenage 0:42:06.396 --> 0:42:10.076 years when there was something like Spotify. The amount of 0:42:10.116 --> 0:42:12.156 time Dan and I spent looking for music when we 0:42:12.156 --> 0:42:16.276 were teenagers and up through our twenties, it is insane. 0:42:16.476 --> 0:42:18.236 Like when Dan used to come over to my house 0:42:18.356 --> 0:42:19.876 or that I lived in with some friends where we 0:42:19.876 --> 0:42:23.076 would do like started the band his minivan. He'd pull 0:42:23.156 --> 0:42:24.796 up with his minivan and open the side door to 0:42:24.796 --> 0:42:27.636 get his amp out, and just like literally one hundred 0:42:27.716 --> 0:42:28.396 CDs just. 0:42:28.356 --> 0:42:29.156 Fall on the ground. 0:42:29.276 --> 0:42:33.276 We'd been picking them up, crazy box sets things. Just 0:42:33.316 --> 0:42:35.716 like every single dollar he was making was going into 0:42:35.716 --> 0:42:39.076 buying music to try to hear it, see what was there, 0:42:39.316 --> 0:42:41.196 you know, And. 0:42:41.796 --> 0:42:43.756 Asn't I say, forget time the amount of money when 0:42:43.796 --> 0:42:46.396 you had no money you'd spend you know. 0:42:46.796 --> 0:42:49.836 Yeah, well you know I think Dan spent all his 0:42:49.916 --> 0:42:54.436 money on that. But yeah, you know, like that choice 0:42:54.476 --> 0:42:57.276 you have to make when you're like a fourteen year 0:42:57.276 --> 0:42:59.236 old kid and you're just getting into like lead uppein 0:42:59.276 --> 0:43:02.716 and you go look at the go to the record store, 0:43:02.756 --> 0:43:06.116 and like, you know, you could end up hating LEDs up. 0:43:06.156 --> 0:43:08.876 And if you picked the wrong record right there, if 0:43:08.916 --> 0:43:11.996 you walked out with presence, you might never like leads 0:43:12.036 --> 0:43:15.676 up on. But if you walked if you if you 0:43:15.756 --> 0:43:18.676 got like leads up on one two three or one 0:43:18.716 --> 0:43:21.316 two four, Houses. 0:43:20.996 --> 0:43:24.476 Of a Holy I think then I imagine you'd end 0:43:24.516 --> 0:43:25.316 upuying presents. 0:43:25.316 --> 0:43:30.716 Eventually you would get there, that'd be last Yeah, did 0:43:30.716 --> 0:43:32.396 you were the record? I'm trying to think, were there 0:43:32.436 --> 0:43:34.236 groups like that for you or artists like that for 0:43:34.276 --> 0:43:36.396 you where you just heard the wrong thing first and 0:43:36.396 --> 0:43:39.316 then just had the wrong impression for far too long. 0:43:39.396 --> 0:43:41.076 So I wonder if they had that record in through 0:43:41.076 --> 0:43:42.556 the Outdoor. I wonder if that as some sort of 0:43:42.636 --> 0:43:46.716 reference to their catalog. But yeah, I mean, like here, 0:43:47.276 --> 0:43:51.076 it's just today. One of our engineers at the studio 0:43:51.116 --> 0:43:54.836 asked me if I was into Space Spend three, and 0:43:55.916 --> 0:43:59.396 I was like, actually, you know, I was like a 0:43:59.476 --> 0:44:02.356 hip teenager. I you know, I bought a Spaceman three 0:44:02.436 --> 0:44:05.636 CD when I was like fifteen, and I it was 0:44:05.716 --> 0:44:09.796 way over my head. I really didn't get it. But 0:44:09.836 --> 0:44:15.436 then I got into Spiritualized and I'm just now getting 0:44:15.476 --> 0:44:17.596 into Spacement three a little bit. And it's been you know, 0:44:17.716 --> 0:44:22.996 thirty years. But there's a lot of times I think 0:44:23.836 --> 0:44:27.996 if you get the wrong album, you could maybe not 0:44:28.036 --> 0:44:28.556 see the light. 0:44:28.756 --> 0:44:29.636 But I think that's cool. 0:44:29.676 --> 0:44:33.316 I end up respecting bands that have catalogs like that, 0:44:33.356 --> 0:44:35.356 Like Pink Floyd is that band to me too. There's 0:44:35.356 --> 0:44:39.116 just a lot of evolution from the first record through 0:44:39.116 --> 0:44:42.956 the you know, I guess through the mid seventies all 0:44:42.956 --> 0:44:43.436 the way up. 0:44:43.356 --> 0:44:45.396 To the Wall. 0:44:46.276 --> 0:44:48.916 Then there's groups like the Rolling Stones where it's like 0:44:50.396 --> 0:44:53.156 there's a lot of output for a certain period and 0:44:53.156 --> 0:44:56.916 then like a limited output. But it's it'd be, it'd 0:44:56.956 --> 0:45:00.156 be the odds are against you picking a bad one. 0:45:00.196 --> 0:45:01.596 I guess you know, if you're at the record store 0:45:01.636 --> 0:45:03.796 and you're twelve, you never heard of the Rolling Stones, 0:45:03.756 --> 0:45:05.636 a bi Rolling Stones record, there's. 0:45:05.476 --> 0:45:07.516 Just good advice to pick up, yeah, if you like 0:45:07.596 --> 0:45:10.396 you know, the advice is, if you're gonna buy a 0:45:10.436 --> 0:45:14.276 record from a classic rock band, just avoid any album 0:45:14.356 --> 0:45:18.196 where they're wearing like a pastel sport jacket, if they're 0:45:18.236 --> 0:45:23.156 wearing like pastel, like muscle shirt, if they're dressed like 0:45:23.156 --> 0:45:26.196 Miami vice, skip the record and you're gonna be good. 0:45:26.356 --> 0:45:28.036 And there is this what is that Stones record where 0:45:28.036 --> 0:45:30.996 they're like laying down and they got a like neon 0:45:31.116 --> 0:45:32.316 on or sport coats. 0:45:32.516 --> 0:45:34.076 I owe it to them to never listen to that 0:45:34.156 --> 0:45:36.516 bad though. I don't know, the cover is just so bad. 0:45:36.756 --> 0:45:40.476 They got such good it's not bad. I just have 0:45:40.556 --> 0:45:43.276 a thing about digital eighties reverb, and so I just 0:45:43.396 --> 0:45:45.956 I hate the whole I think maybe because my parents 0:45:45.956 --> 0:45:49.556 got divorced right in mid eighties. I just I fucking 0:45:49.636 --> 0:45:51.956 hate like people are like, oh, man, like you like 0:45:52.036 --> 0:45:53.956 this band. It kind of sounds like Bruce Hornsby, like 0:45:54.036 --> 0:45:57.676 you fucking just kill me right now because I don't want. 0:45:57.876 --> 0:46:00.756 I don't want to remember what nineteen eighty six felt like. 0:46:01.036 --> 0:46:05.996 That's amazing. Yeah, Digital REAVERB brings back too many painful men. 0:46:06.196 --> 0:46:10.876 It fucking does, dude. I really can't hear it. It's amazing. Sorry, man, 0:46:11.036 --> 0:46:12.276 no nostalgia for that. 0:46:13.556 --> 0:46:15.836 I do like dire Straits a lot though, that Brothers 0:46:15.836 --> 0:46:17.916 and Arms, but it's like that's. 0:46:17.876 --> 0:46:21.716 A REAVERB on that or on the on there. 0:46:21.876 --> 0:46:26.916 It's tasteful, but like that, you know, I can't go. 0:46:27.116 --> 0:46:28.916 I can't go later in the eighties than that. 0:46:29.156 --> 0:46:33.316 Do you have prejudices like that, Dan, like musical? Oh god, yeah, 0:46:33.556 --> 0:46:36.556 not not. 0:46:37.236 --> 0:46:40.196 Absolutely. He's not the same prejudice, that's the thing. 0:46:40.476 --> 0:46:46.836 Yeah. No, I'm picky, man, I'm picky about I mean everything. 0:46:46.876 --> 0:46:48.676 I mean. That's like when people say that you guys 0:46:48.676 --> 0:46:51.396 are influenced by blues, It's like, yeah, but like what 0:46:51.396 --> 0:46:53.316 blues are we talking about? You know what I mean? 0:46:53.436 --> 0:46:55.516 Or like what hip hop are you talking about It's 0:46:55.556 --> 0:46:58.356 like we start getting into specifics. I mean, we love 0:46:58.476 --> 0:47:01.476 music too much to just generalize. Really at this point, 0:47:01.836 --> 0:47:03.876 we spend so much time thinking about it. It's like, 0:47:04.916 --> 0:47:09.836 you know, not everything's created equal. Yeah, not, you know 0:47:11.036 --> 0:47:12.076 freeze person is different. 0:47:12.116 --> 0:47:12.596 But yeah. 0:47:12.636 --> 0:47:14.236 It's like if you tell if they get someone's like 0:47:14.276 --> 0:47:16.516 I'm really in the wine, It's like, well, what does 0:47:16.556 --> 0:47:19.236 that actually mean? It means they're a complete fucking snob 0:47:19.836 --> 0:47:22.356 about what win to drink. It's like us about music. 0:47:22.396 --> 0:47:24.596 You know, hear the same, Oh I really love food. 0:47:24.596 --> 0:47:27.876 It's like, oh, do you want some ruffles? No, motherfucker? Like, 0:47:28.356 --> 0:47:31.076 I'm like, good, you want. It's a good call. 0:47:32.636 --> 0:47:34.476 We'll be back with the rest of the Black Keys. 0:47:34.836 --> 0:47:41.396 Shortly you mentioned it, like, do you just like how 0:47:41.476 --> 0:47:43.516 general the label blues can be? Like I feel like 0:47:43.556 --> 0:47:48.036 when people think blues, like the reactive thought is like 0:47:48.116 --> 0:47:52.436 Muddy Waters. But you know, I don't know if it's sacrilegious. 0:47:52.436 --> 0:47:55.116 I'm not really I don't really like Muddy Waters. No, 0:47:56.676 --> 0:47:59.876 you know, Like, but pretty quickly, I guess if you 0:47:59.956 --> 0:48:01.836 if you think about the blues, it's like Muddy Waters. 0:48:02.436 --> 0:48:06.516 Howland Wolf might be like the yeah, the two strains maybe, 0:48:06.556 --> 0:48:09.236 And it's like, I think I'm just more on that 0:48:09.356 --> 0:48:10.836 side of things, and I don't know. 0:48:11.756 --> 0:48:15.076 Yeah, the first blues album I ever heard was Electric Mud, 0:48:16.596 --> 0:48:18.676 So I love I love How, I love Al Wolf, 0:48:18.796 --> 0:48:22.516 and I love Muddy Waters, but I like the bastardized 0:48:22.636 --> 0:48:24.796 version of it all. That's right, But and I'm just 0:48:24.876 --> 0:48:29.356 now kind of getting into the other shit Dan's way 0:48:29.396 --> 0:48:33.396 into like Mississippi, Fred McDowell, all kinds of shit I'd 0:48:33.436 --> 0:48:33.836 never heard. 0:48:33.836 --> 0:48:35.156 He exposed me to all this stuff. 0:48:37.916 --> 0:48:42.316 Yeah, man, I loved like the raw, early primitive kind 0:48:42.316 --> 0:48:45.476 of blues like stuff from Memphis before they actually had 0:48:45.516 --> 0:48:47.036 like bass, you know, where it's just kind of like 0:48:47.076 --> 0:48:50.236 guitars and drums, a lot of like one man bands, 0:48:50.276 --> 0:48:53.836 two man band kind of stuff. Joe Hill Lewis and 0:48:54.276 --> 0:48:58.196 Doctor Ross, the Harmonica Boss, stuff like that. Those guys 0:48:58.196 --> 0:48:58.996 were my favorites. 0:49:00.036 --> 0:49:02.436 How did you How did you start discovering that stuff? 0:49:02.596 --> 0:49:06.156 My uncle Tim was really into blues music and has 0:49:06.316 --> 0:49:09.756 really great taste. He's a fucking snob too, and he 0:49:10.196 --> 0:49:12.836 hit me to some really cool stuff early on. But 0:49:13.156 --> 0:49:16.596 you know, right when we were starting to like get 0:49:16.636 --> 0:49:20.916 serious about music, that whole fat Powesome Records record label 0:49:21.156 --> 0:49:23.876 kind of came to be and started to have their moment, 0:49:23.956 --> 0:49:27.236 and it was really you know, it had a major 0:49:27.276 --> 0:49:30.076 effect on me, you know because for the first time 0:49:30.156 --> 0:49:32.956 these you know, I loved blues music, but it was 0:49:32.996 --> 0:49:37.276 all like antiquity, you know, it wasn't like current. But 0:49:37.356 --> 0:49:41.076 then the Fat Possum stuff came out and it was like, oh, 0:49:41.116 --> 0:49:44.316 these guys are real. You can go to the and 0:49:44.316 --> 0:49:47.396 they come to like the rock club in Cleveland, and 0:49:47.436 --> 0:49:49.236 I can go see them, you know what I mean. 0:49:49.396 --> 0:49:52.396 So it was like it was just so such a 0:49:52.396 --> 0:49:55.716 game changer, and so I started to like really get 0:49:55.756 --> 0:49:59.676 influenced by that. That scene in particular, which was very 0:49:59.796 --> 0:50:02.996 raw and stuff like Siddell Davis is really hard for 0:50:03.036 --> 0:50:06.076 people to listen to. You know, it's very out of tune, 0:50:07.556 --> 0:50:11.516 but you know it's also very beautiful. 0:50:12.196 --> 0:50:15.316 Yeah, which I guess is even more so. I mean, again, 0:50:15.356 --> 0:50:21.876 we were talking about the way a record's mixed, where 0:50:21.916 --> 0:50:23.076 you get when you get you think the records is 0:50:23.076 --> 0:50:25.116 gonna be great, you get it and it's mixed weird 0:50:25.116 --> 0:50:26.996 and it sucks. But then there's records that are mixed 0:50:27.156 --> 0:50:30.276 terribly and you wouldn't want them any other way. 0:50:30.316 --> 0:50:30.516 Yah. 0:50:30.516 --> 0:50:32.316 Almost times they try to wonder what would they sound 0:50:32.396 --> 0:50:35.916 like if they had been recorded. Well, that's sort of like, fuck, 0:50:35.916 --> 0:50:36.916 I don't know if I want to hear that. 0:50:36.996 --> 0:50:37.196 You know. 0:50:37.636 --> 0:50:41.236 It's like, yeah, a lot of blues music got messed 0:50:41.276 --> 0:50:43.236 up because it got recorded too well, you know what 0:50:43.276 --> 0:50:47.716 I mean. It's like I think jazz too Yeah, maybe, yeah, 0:50:47.836 --> 0:50:52.436 something about like that kind of like you know, music 0:50:52.436 --> 0:50:54.996 that's heavy on the improvisation. It's really nice to get 0:50:54.996 --> 0:50:57.316 it in a place that's not actually a recording studio, 0:50:57.836 --> 0:51:01.156 to where there's like a the room is kind of 0:51:01.156 --> 0:51:05.036 alive and more less of like a science laboratory, you 0:51:05.076 --> 0:51:08.236 know what I mean. And I think there's that's why 0:51:08.276 --> 0:51:10.916 some of the best recordings or you know, live recordings, 0:51:11.516 --> 0:51:15.036 field recordings, like my favorite Fred McDowell recordings were always 0:51:15.196 --> 0:51:18.996 the ones recorded at his house, you know, stuff like that. 0:51:20.556 --> 0:51:23.916 Yeah, the jazz definitely preferred. 0:51:23.956 --> 0:51:27.596 Jazz recorded at a like live of the village vanguarden 0:51:27.676 --> 0:51:30.156 type of ship always sounds much better. 0:51:31.156 --> 0:51:34.516 Whatever magics and like those Fred McDowell records recorded at home. 0:51:35.636 --> 0:51:37.676 That does that ever in your mind when you're recording 0:51:37.676 --> 0:51:41.436 stuff like it would be I want something like that 0:51:41.476 --> 0:51:42.916 I want to go for that, you know you're not 0:51:42.916 --> 0:51:43.996 going to get it, I guess, you know. 0:51:44.036 --> 0:51:46.836 I mean that's why we went to muscle Shoals, you know, 0:51:47.116 --> 0:51:52.796 that's why you know, that's probably why we recorded in 0:51:52.836 --> 0:51:55.636 an old tire factory instead of going to a studio. 0:51:56.236 --> 0:51:59.836 You know, it's all because of that. I think we've 0:51:59.876 --> 0:52:03.076 made most of our decisions based on that, you know. 0:52:03.476 --> 0:52:07.116 And you know, when I'm producing records too, you know, 0:52:07.716 --> 0:52:10.676 I've recorded a bunch of records in that houses when 0:52:10.716 --> 0:52:12.356 it was just as easy to record in a studio, 0:52:12.556 --> 0:52:14.196 when it was easier to record in the studio now, 0:52:14.196 --> 0:52:17.036 just because it was like musically more appropriate. 0:52:17.196 --> 0:52:17.396 You know. 0:52:18.356 --> 0:52:21.476 I was way into a music from Big Pink when 0:52:21.476 --> 0:52:27.676 I was like sixteen seventeen, and my dad was, you know, 0:52:27.796 --> 0:52:29.956 told me like they made this, you know, record in 0:52:29.956 --> 0:52:32.836 the basement of this house on the cover, and ever 0:52:32.876 --> 0:52:36.956 since then, I was like, that's that's that's the coolest 0:52:37.476 --> 0:52:40.636 you can do that. So yeah, I mean I got 0:52:40.636 --> 0:52:43.956 a four track when I was thirteen thirteen years old, 0:52:45.196 --> 0:52:50.636 started fucking around with one in my basement, making absolutely 0:52:50.836 --> 0:52:54.196 terrible shit. But yeah, the first time Dan and I 0:52:54.196 --> 0:52:56.596 had jammed, he came down, and at that time I 0:52:56.596 --> 0:53:00.796 had this Morant's pretty nice concept four track, and I 0:53:00.836 --> 0:53:02.596 don't think Dan had seen a four track yet. 0:53:02.676 --> 0:53:03.996 We just kind of sat there and. 0:53:05.476 --> 0:53:07.836 Started fucking around showing him that, and I would take 0:53:07.876 --> 0:53:10.796 it over to his parents house to be set up, 0:53:10.796 --> 0:53:13.996 like in their child bathroom, just to get different sounds. 0:53:15.836 --> 0:53:19.756 Sounded like shit, sounded like dog shit, but it was 0:53:19.796 --> 0:53:20.516 worth a shot. 0:53:22.556 --> 0:53:24.676 We used to do shit like too. I got think freakness. 0:53:24.716 --> 0:53:32.036 There's I'll forget what song it is, but damn wanted 0:53:32.676 --> 0:53:34.956 like a Leslie effect or something. I just started swinging 0:53:34.996 --> 0:53:38.476 the microphone in front of the amp while we recorded. 0:53:38.516 --> 0:53:42.236 It actually sounded fucking cool. That's kind of shit we 0:53:42.236 --> 0:53:44.996 would do, put like broken the record. Yeah, that's on 0:53:45.116 --> 0:53:45.836 the record. 0:53:46.356 --> 0:53:47.996 Was it like a first did you get that first take? 0:53:49.836 --> 0:53:50.316 Probably? 0:53:52.676 --> 0:53:56.916 I forget what song is, but it's there. That's pretty amazing. 0:53:57.716 --> 0:53:57.916 Yeah. 0:53:57.956 --> 0:54:00.836 Dan's uncle Tim Wants brought over this like Fender reverb tank, 0:54:01.676 --> 0:54:03.956 and then that became our whole identity for like about 0:54:03.956 --> 0:54:06.956 two months, just putting everything through that shit. 0:54:07.436 --> 0:54:08.316 Our first effect. 0:54:08.556 --> 0:54:17.556 Yeah, how does the no Rain, no Flowers? I heard 0:54:17.596 --> 0:54:21.636 the wrong mix? How different does the final mix sound? 0:54:22.596 --> 0:54:26.196 I mean you get the just the basic idea I think, yeah, 0:54:26.516 --> 0:54:34.516 it's not that far okay, but yeah, just a little 0:54:34.556 --> 0:54:35.276 bit more work to do. 0:54:36.556 --> 0:54:38.796 It was pretty It's a it's a pretty different record 0:54:39.196 --> 0:54:42.116 for you guys. Like the song I don't know sound icenically, 0:54:42.196 --> 0:54:43.316 it just sounded so different. 0:54:44.156 --> 0:54:48.916 Yeah, we've we've never really written with piano players before. 0:54:49.476 --> 0:54:51.516 It was one of the first times we've ever done that. 0:54:52.956 --> 0:54:58.156 So that kind of that instantly was like different for us, 0:54:58.956 --> 0:55:00.836 but natural. You know, it was like we wrote it 0:55:00.876 --> 0:55:04.596 together with with Rick Knowles in the studio here and 0:55:04.636 --> 0:55:10.076 it was like we worked really u quickly together. So 0:55:10.196 --> 0:55:14.156 it's just whatever sounds like it was. It was pretty 0:55:14.196 --> 0:55:16.916 natural the way that that it unrolled. 0:55:16.996 --> 0:55:19.436 You know, how did the writing go. I mean, was 0:55:19.436 --> 0:55:22.796 it was it based off jamming or was it based 0:55:22.836 --> 0:55:24.916 off of someone bringing something in? 0:55:25.676 --> 0:55:28.436 Rick likes to start with a song title, so he 0:55:28.636 --> 0:55:30.596 was asking what if we had any song titles, and 0:55:30.636 --> 0:55:31.196 that was one. 0:55:31.076 --> 0:55:31.636 That Dan had. 0:55:31.676 --> 0:55:34.116 And you know, writing with a keyboard player like we 0:55:34.196 --> 0:55:36.956 worked with. Yeah, Like I said, I guess a lot 0:55:36.996 --> 0:55:39.356 of keyboard players are on this record, and to see 0:55:40.396 --> 0:55:43.036 the way that they choose to voice chords versus you know, 0:55:43.156 --> 0:55:45.236 guitar obviously, it's just it's all kind of a lot 0:55:45.276 --> 0:55:49.236 of it's pretty. It was very fresh to us to 0:55:49.276 --> 0:55:52.636 hear what you can kind of get to, you know, 0:55:52.636 --> 0:55:55.436 and Rick's really good at that and it's a chord master. 0:55:57.476 --> 0:55:59.156 So to sit there and watch the guy, it's like 0:55:59.276 --> 0:56:02.276 master of his craft and been doing it for a 0:56:02.316 --> 0:56:05.716 long time. It's like, you know, the thing is is that, 0:56:06.556 --> 0:56:08.756 I mean, I've never sat in a room with a 0:56:08.916 --> 0:56:11.396 guy like that before. You know, we've we've worked with 0:56:11.716 --> 0:56:14.836 musicians that are writers that we're friends with, but to 0:56:14.916 --> 0:56:18.996 work with like someone whose sole job is that it 0:56:19.116 --> 0:56:23.676 was like, uh, you know, it's. 0:56:23.556 --> 0:56:25.356 Like going to songwriting school a bit. 0:56:25.596 --> 0:56:28.516 It was just to see how they how they choose 0:56:28.556 --> 0:56:31.156 to work, and then then to see how they entertain, 0:56:31.716 --> 0:56:35.436 you know, the way that we want to move the 0:56:35.516 --> 0:56:38.956 song forward, and like, don't get that collaboration thing happening. 0:56:38.996 --> 0:56:40.956 Like that's the cool thing with Rick is that we 0:56:40.956 --> 0:56:44.156 we wrote these songs with Rick like four or five 0:56:44.196 --> 0:56:45.716 months ago, and you know, he was in the studio 0:56:45.716 --> 0:56:47.876 a couple of days ago and we're sitting there still 0:56:48.196 --> 0:56:51.636 he's passionate enough about the ship that he still wants 0:56:51.676 --> 0:56:54.516 to make sure that we're getting everything, you know, and 0:56:55.116 --> 0:56:57.036 he has ideas and we have ideas, and so it's 0:56:57.156 --> 0:56:59.556 it's a it's a cool thing to see the see 0:56:59.596 --> 0:57:01.596 the process all the way through with someone that gives 0:57:01.596 --> 0:57:02.316 a ship. 0:57:02.196 --> 0:57:05.076 You know, you know, you want like tweaking songs still 0:57:05.076 --> 0:57:08.356 a couple of days ago, right, we're still tweaking ship still. 0:57:08.636 --> 0:57:11.756 Oh yeah, was my impression with that? You guys worked 0:57:12.196 --> 0:57:16.316 pretty quickly, But is it like I guess, working pretty 0:57:16.396 --> 0:57:18.116 quickly and then going back to something you know, like 0:57:18.156 --> 0:57:18.556 that's not It. 0:57:18.716 --> 0:57:19.836 Depends on what it is. You know. 0:57:19.876 --> 0:57:22.716 It's like we we record. We decided to do a 0:57:22.716 --> 0:57:26.156 cover of this song two days ago, and so we 0:57:26.516 --> 0:57:31.116 spent like three hours. We spent two hours tracking the 0:57:31.156 --> 0:57:33.876 basics and then getting a rough together, then another two 0:57:33.916 --> 0:57:37.196 hours the next day, and there's four hours all in 0:57:37.236 --> 0:57:40.036 on a song and it's maybe very close to donn. 0:57:40.956 --> 0:57:42.276 That's one way that we can do shit. 0:57:42.396 --> 0:57:45.116 And then another way is like this this method where 0:57:45.596 --> 0:57:48.516 it's like, you know, get with a songwriter and with Rick, 0:57:48.596 --> 0:57:50.716 maybe we'll write in two or three songs in a day, 0:57:51.716 --> 0:57:54.596 and then there's like you know, then you started to 0:57:54.596 --> 0:57:57.476 get into that start trying to figure out how to 0:57:57.796 --> 0:58:00.956 do this, and then maybe there's multiple approaches to it. 0:58:01.836 --> 0:58:03.316 But once you get to a point where you have 0:58:03.396 --> 0:58:05.796 seventeen songs going, it's like if you go in for 0:58:05.836 --> 0:58:08.356 a day of work, even if you only want to 0:58:08.396 --> 0:58:11.276 do a little bit on like half those songs, whether 0:58:11.316 --> 0:58:16.076 it's just overnumber two, you know, you're talking about five 0:58:16.116 --> 0:58:18.836 hours of work to touch all the songs a little bit, 0:58:18.916 --> 0:58:21.036 you know, so the record takes it can take time. 0:58:22.156 --> 0:58:23.676 What song did you guys decide to cover. 0:58:27.596 --> 0:58:29.076 We're gonna let it be a surprise. 0:58:29.156 --> 0:58:30.676 I think, Yeah, it's a surprise. 0:58:31.156 --> 0:58:35.476 Yeah, all right, all right, we. 0:58:35.556 --> 0:58:38.516 Just cut it yesterday. We haven't even had time to 0:58:38.516 --> 0:58:39.356 think about it yet. 0:58:39.916 --> 0:58:42.036 Yeah, all right, I'll tell you what it is. We're 0:58:42.036 --> 0:58:46.116 doing a compilation of songs considered the world's worst songs, 0:58:46.156 --> 0:58:49.196 and we're trying to make them good. And this is 0:58:49.396 --> 0:58:52.916 We Built this City. It's our cover of Jefferson Starship 0:58:52.956 --> 0:58:56.596 We Built the City, written by Bernie Tappin. 0:58:56.956 --> 0:59:01.596 You guys made a documentary, right, we didn't, but some 0:59:02.276 --> 0:59:04.156 but there has been one made. 0:59:04.436 --> 0:59:07.196 Is that coming out? Not coming out? Sounds like not 0:59:07.276 --> 0:59:11.996 too exciting? No, I think I think it come out? Yeah, 0:59:12.316 --> 0:59:16.716 you know, we've we've just been fucking grinding in the studio. 0:59:16.836 --> 0:59:17.036 Bro. 0:59:18.676 --> 0:59:20.796 Yeah, I think since between you know, we I think 0:59:20.796 --> 0:59:25.476 we've you know, we've been really on this creative streak 0:59:25.556 --> 0:59:26.236 right lately. 0:59:26.316 --> 0:59:29.996 So we've just been focused on that, you know. And 0:59:29.996 --> 0:59:31.716 now we're about to put this out and we're gonna 0:59:31.756 --> 0:59:36.676 go on the road a bit this year, and uh, you. 0:59:36.596 --> 0:59:38.556 Know, yeah, we're getting ready to not be able to 0:59:38.596 --> 0:59:41.236 like go in the studio very often. There's lots of 0:59:41.276 --> 0:59:43.516 shows coming up, so got it. 0:59:43.636 --> 0:59:45.076 I'm trying to get it in while we can. 0:59:45.436 --> 0:59:49.116 Yeah, that is that a fun shift to make going 0:59:49.156 --> 0:59:50.156 from the studio on tour. 0:59:50.756 --> 0:59:52.756 You know, I think I think tours fun. Playing the 0:59:52.756 --> 0:59:53.396 shows is fun. 0:59:53.436 --> 0:59:57.796 It's just about I think we you know, like if 0:59:57.836 --> 1:00:01.796 you like, are drink too much tequila, like you might 1:00:01.956 --> 1:00:03.156 never want to like taste it. 1:00:03.196 --> 1:00:03.476 Again. 1:00:05.396 --> 1:00:07.676 We almost got there kind of with touring before. So 1:00:07.676 --> 1:00:11.196 it's like there's a little bit of that, you know, 1:00:11.516 --> 1:00:15.756 a little bit of that sense memory of what it 1:00:15.796 --> 1:00:18.836 feels like to be on the road for an entire year. 1:00:19.396 --> 1:00:21.716 So even though we have like it's only like maybe 1:00:22.396 --> 1:00:25.876 fifty or forty five shows, it's still like, you know, 1:00:26.116 --> 1:00:28.116 and now that we have kids. You know, Dance had 1:00:28.196 --> 1:00:32.636 kids for you know, seventeen years, but I've only ever 1:00:32.716 --> 1:00:34.516 toured like twice with the kids and now, so like, 1:00:36.076 --> 1:00:40.756 you know, it's a little bit it's hard to get away. 1:00:41.596 --> 1:00:43.476 Well then I guess once I'm away, it's kind of good. 1:00:43.596 --> 1:00:47.956 I get more sleep. But I think I think, I 1:00:47.956 --> 1:00:49.916 think that we're excited about doing some shows. We're going 1:00:49.956 --> 1:00:51.236 to open up the set list. I feel like it's 1:00:51.276 --> 1:00:53.476 like it's it's the thing that you got to do. 1:00:53.956 --> 1:00:56.156 It's the thing that the fans want, and so they 1:00:56.396 --> 1:00:58.756 just make the most of it. And I think one 1:00:58.836 --> 1:01:00.676 thing we've talked about is just like really kind of 1:01:00.716 --> 1:01:03.076 opening up our set list. 1:01:03.316 --> 1:01:03.476 You know. 1:01:03.516 --> 1:01:05.716 When we kind of did this transition, like started moving 1:01:05.756 --> 1:01:11.156 into the arenas around brother Zell Camino, it was like, 1:01:11.556 --> 1:01:13.836 you know, getting into this whole different thing that we 1:01:13.916 --> 1:01:17.716 never not only I'd never experienced, but Dan had only 1:01:17.756 --> 1:01:19.756 ever been to like one arena show and I'd never 1:01:19.796 --> 1:01:21.516 been to arena show. So it was like we were 1:01:21.556 --> 1:01:24.276 now playing our job, was not doing something that we'd 1:01:24.316 --> 1:01:27.076 never even experienced. Yeah, and so it was kind of 1:01:27.116 --> 1:01:28.956 I feel like with the lights and the whole thing, 1:01:28.996 --> 1:01:30.476 it's like I feel like we started kind of like 1:01:32.636 --> 1:01:36.556 maybe losing sight of the catalog that we've created. 1:01:37.356 --> 1:01:38.196 Were they fun show? 1:01:38.236 --> 1:01:38.316 Like? 1:01:38.316 --> 1:01:40.516 Were they fun to play arenas? 1:01:41.716 --> 1:01:42.116 Yeah? 1:01:42.156 --> 1:01:44.716 Absolutely, Yeah, any show, any show can be fun. 1:01:45.156 --> 1:01:48.236 Yeah, it's all. It all depends on the audience. Play festival, 1:01:48.716 --> 1:01:50.476 you know, it really helps when there's an open pit 1:01:50.836 --> 1:01:53.956 in the front. You know, Yeah, when the when you're 1:01:53.956 --> 1:01:55.996 in an arena and it's seated, or when you're in 1:01:56.036 --> 1:01:59.156 a theater and it's seated, it's like it's hard, it's 1:01:59.196 --> 1:02:01.436 not so much so so much fun to play rock 1:02:01.476 --> 1:02:02.916 and roll in those kind of places. 1:02:03.396 --> 1:02:05.596 Or we're on stage and there's like a football field 1:02:05.636 --> 1:02:06.916 between you and the front. 1:02:07.316 --> 1:02:10.876 Yeah, like festival, you know there's where there's like. 1:02:12.036 --> 1:02:14.756 You know, the energy from the crowd is there is 1:02:15.116 --> 1:02:18.156 crucial crucial that's like the most How does that get decided? 1:02:18.156 --> 1:02:20.076 I mean, obviously a festival that's kind of out of 1:02:20.476 --> 1:02:23.796 I mean, that's just up to somebody somewhere. But when 1:02:23.796 --> 1:02:26.556 it's like a black Key show and you're going you 1:02:26.556 --> 1:02:28.796 know to a different city to city, like, are you 1:02:28.836 --> 1:02:32.356 guys allowed to dictate like how like front the first 1:02:32.436 --> 1:02:33.756 ten rows are seated or not? 1:02:34.156 --> 1:02:36.876 Or you know, I mean if you're playing in an 1:02:36.876 --> 1:02:40.036 ample theater, you're kind of stuck with whatever's there. If 1:02:40.076 --> 1:02:42.116 you're in an arena, you get a little bit of choice, 1:02:44.356 --> 1:02:47.396 you know, to a certain degree. 1:02:48.036 --> 1:02:49.556 But there's certain rooms where it's. 1:02:49.396 --> 1:02:53.716 Just you know, designed to to be that way, like 1:02:54.076 --> 1:03:01.476 the Oregon Theater in Chicago, Brickson Academy in London, the 1:03:01.636 --> 1:03:05.756 Zenith Barrow Lands, like there's these rooms there are like 1:03:05.996 --> 1:03:09.756 four just six thousand seeds, like the Anthem and DC. 1:03:10.196 --> 1:03:12.796 The rooms that are like four or five six thousand 1:03:12.836 --> 1:03:16.796 seat big rooms, big theaters with an open floor. 1:03:16.916 --> 1:03:19.956 Those are those are those are the that's the sweet 1:03:19.996 --> 1:03:21.036 spot for us. 1:03:22.036 --> 1:03:24.836 Is there a world where you guys would say like 1:03:24.836 --> 1:03:28.556 we're only ever going to play those or primarily. 1:03:28.836 --> 1:03:31.076 Well, I don't think enough of them exists to you 1:03:31.196 --> 1:03:34.236 just be playing the same ten cities. But those are 1:03:34.276 --> 1:03:36.676 the most fun, you know, I think it's almost worth 1:03:36.716 --> 1:03:39.316 it to just do a couple of nights in those 1:03:40.396 --> 1:03:45.476 versus a you know, hitting some stuff where it's you know, 1:03:45.516 --> 1:03:47.356 you might miss energy. But it's the same time, part 1:03:47.396 --> 1:03:49.716 of the fun of this job is traveling. You know, 1:03:49.756 --> 1:03:53.636 it's just about how much you do, and it's like 1:03:54.636 --> 1:03:59.276 it could be fun like, you know, to hit up 1:03:59.276 --> 1:04:02.116 some of these you know, off the beaten paths cities 1:04:02.156 --> 1:04:04.116 and stuff. It's just about how long you're out there for, 1:04:04.676 --> 1:04:09.476 you know. But I'm excited about our first Legacy tours, 1:04:09.516 --> 1:04:12.276 like three weeks. That's it's like, that's the ideal amount. 1:04:12.476 --> 1:04:14.716 We have to go to Europe for a month. That's 1:04:15.796 --> 1:04:20.836 that's a little bit much. And it's like funny because 1:04:20.836 --> 1:04:22.276 every time we go to Europe, and this has been 1:04:22.276 --> 1:04:25.076 the case except with the exception of one or two 1:04:25.116 --> 1:04:28.356 tours for twenty years, it's like you're not going to 1:04:28.436 --> 1:04:32.996 make any money, but it's really important to get over 1:04:32.996 --> 1:04:34.356 there and do this thing. I was like, well, who's 1:04:34.396 --> 1:04:38.076 making this money? Because we're earning it, like it's coming in. 1:04:38.196 --> 1:04:42.636 There's like millions of bucks, bro, But where. 1:04:42.396 --> 1:04:45.156 Does it go? Dog? 1:04:45.396 --> 1:04:46.276 Did you find that out? 1:04:46.636 --> 1:04:47.676 Yeah? I did find it out. 1:04:49.196 --> 1:04:50.756 We just have to do one more tour and then. 1:04:50.676 --> 1:04:52.836 Yeah, we will tell us they're always like one more tour. 1:04:53.236 --> 1:04:57.076 We had done this tour. This is in twenty twelve, dude, 1:04:57.116 --> 1:05:01.236 that's the year that gave us like that's tequila taste 1:05:01.236 --> 1:05:03.836 of tour. We were on the road all year and 1:05:03.876 --> 1:05:07.516 we had just finished playing writing Festival right outside London, 1:05:09.276 --> 1:05:11.116 and yeah, we were about to go home for a 1:05:11.156 --> 1:05:13.516 month off and then we and then we had uh 1:05:13.556 --> 1:05:16.316 to still do the West coast of the US and Australia, 1:05:16.836 --> 1:05:19.156 so we still had like four weeks of touring left 1:05:19.196 --> 1:05:21.316 and we just gone all year and our agent comes back. 1:05:21.356 --> 1:05:24.756 He's like, I need you to come back in December. 1:05:25.836 --> 1:05:27.276 Right where come back way? He's like, you got to 1:05:27.316 --> 1:05:30.396 do more Europe December. You got to And we had 1:05:30.436 --> 1:05:33.556 just played three nights at this place, Ali Alexandria Palace, 1:05:33.676 --> 1:05:36.276 so we sold like thirty thousand tickets in London. Plus 1:05:36.356 --> 1:05:39.676 we had just played the Writing Festival direct support to 1:05:40.036 --> 1:05:43.916 food Fighters, so we'd already sold thirty thousand tickets in 1:05:43.956 --> 1:05:45.796 the city. And he like, I need you back. You 1:05:45.916 --> 1:05:48.276 got to really prove, you know, you got to really 1:05:48.316 --> 1:05:52.276 like this is gonna you know, uh, it's going to 1:05:52.316 --> 1:05:53.676 set the tone. You know, you got to go to 1:05:53.676 --> 1:05:56.356 you gotta do like a Marquee show. So we need 1:05:56.436 --> 1:06:00.236 you back. Two nights. We went back to London, the 1:06:00.356 --> 1:06:02.276 two nights at the O two Arena. So in like 1:06:02.396 --> 1:06:06.876 one year we sold like fifty five thousand tickets just 1:06:06.916 --> 1:06:07.436 in London. 1:06:10.196 --> 1:06:11.876 And I still don't know if we made money on 1:06:11.876 --> 1:06:12.276 that tour. 1:06:12.596 --> 1:06:16.796 Actually I don't think that we didn't. 1:06:16.836 --> 1:06:23.036 You can't you audit that kind of thing. This sketchy dude, what. 1:06:23.236 --> 1:06:24.396 In hindsight would you go back? 1:06:24.476 --> 1:06:24.556 Like? 1:06:24.636 --> 1:06:27.316 Is that was that the problem? Just what's that saying? 1:06:27.396 --> 1:06:27.596 Though? 1:06:28.196 --> 1:06:31.636 No, I think that that's the problem with the that happened, 1:06:31.676 --> 1:06:34.076 Like it can happen. It's just like you got to 1:06:34.116 --> 1:06:36.316 know when to say when. Like the other day, just 1:06:36.356 --> 1:06:38.396 so today, like you know, our manager called and was like, 1:06:38.916 --> 1:06:40.556 we got to you know, we have this tour that's 1:06:40.596 --> 1:06:42.956 already too long to go to Europe and they're like, 1:06:43.036 --> 1:06:45.476 we got to offer to go to to add on 1:06:45.516 --> 1:06:48.956 to this one more show. And I'm just like, it 1:06:48.996 --> 1:06:50.836 doesn't really matter how much it's going to pay or 1:06:50.876 --> 1:06:55.076 what it is. It's like it can't it can't do that. 1:06:55.076 --> 1:06:58.516 That's the time slot. That's the thing, because I always 1:06:58.556 --> 1:07:00.636 gets you by the balls. But be like, you know, 1:07:00.836 --> 1:07:05.036 the next tour, next time you go back, it's always happens. 1:07:05.516 --> 1:07:07.116 But you've learned now, Well that's why if you look 1:07:07.196 --> 1:07:10.116 like the interview with What's your Face Kate Nash, I 1:07:10.116 --> 1:07:12.796 saw like she's did an interview about like you know, 1:07:12.916 --> 1:07:16.756 touring what touring looks like for her. And you know, 1:07:16.836 --> 1:07:19.036 I think people who aren't in the industry like see 1:07:19.036 --> 1:07:21.316 that and are like, what, you know, what's she on about? Like, 1:07:21.716 --> 1:07:24.076 but no, what she's saying is one hundred percent accurate. 1:07:24.956 --> 1:07:26.836 You know what did she say? She says she's just 1:07:26.956 --> 1:07:29.076 going on a month on tour of Europe. Everything's basically 1:07:29.116 --> 1:07:32.396 sold out. She's not making money. That's that's the reality 1:07:32.436 --> 1:07:36.236 of what this touring has become because they you know, 1:07:36.236 --> 1:07:38.396 once all the money went away from the recording side, 1:07:38.516 --> 1:07:41.676 then the people that like suck the life out of 1:07:42.796 --> 1:07:44.516 suck the money out of the music industry, they have 1:07:44.556 --> 1:07:46.716 to go into the live side because that's where all 1:07:46.756 --> 1:07:48.556 the money is, and they saw people making it tons 1:07:48.596 --> 1:07:50.236 of money. I mean the Taylor Swift's tour did like 1:07:50.276 --> 1:07:54.876 what like six billion dollars. Yeah, people are going there 1:07:54.916 --> 1:07:57.916 to get the money. The cost of like renting a 1:07:57.956 --> 1:08:00.156 bus is like four x what it was ten years ago. 1:08:01.996 --> 1:08:05.836 You know, you got your commissions or taxes, the the 1:08:06.116 --> 1:08:08.196 you know what people expect to get paid to go 1:08:08.236 --> 1:08:10.956 on tour with you so way up, you know, as 1:08:10.956 --> 1:08:13.716 it should because inflation is crazy. So then the only 1:08:13.756 --> 1:08:15.996 thing that hasn't gone up, but has maybe gone down 1:08:16.556 --> 1:08:18.276 is the fees that are coming into the band. 1:08:19.196 --> 1:08:20.116 You know, ticket. 1:08:19.836 --> 1:08:24.596 Prices up, hotels are up, all the all the vendors 1:08:24.636 --> 1:08:26.396 are up. Everything's way out of control. 1:08:26.436 --> 1:08:26.836 But like. 1:08:28.796 --> 1:08:30.796 The amount of money that hits the you know, the 1:08:30.836 --> 1:08:33.236 actual musicians is way down. 1:08:33.556 --> 1:08:34.836 Yeah, we're excited about this album. 1:08:35.116 --> 1:08:36.436 But yeah, I was gonna say that trying to say 1:08:36.436 --> 1:08:38.916 this earlier, it was just like, you know, part of 1:08:38.956 --> 1:08:40.396 this whole thing is like figure out how to like 1:08:41.116 --> 1:08:43.396 how to like roll record out, how to like you know, 1:08:44.596 --> 1:08:46.596 and so for us, it's kind of like for me 1:08:46.636 --> 1:08:48.716 at least, it's like the most exciting thing about making 1:08:48.796 --> 1:08:52.556 music is like people kind of get to That's like 1:08:52.596 --> 1:08:54.196 the one perk of this. It's like people get to 1:08:54.276 --> 1:08:57.036 experience music for the first time together. And I feel like, 1:08:57.676 --> 1:08:59.476 you know, we're giving the first peek in this record 1:08:59.636 --> 1:09:02.116 in February, and the record doesn't come out until way 1:09:02.196 --> 1:09:04.036 later in the year. But I think that the reason 1:09:04.116 --> 1:09:06.596 is just so we can find a few more other 1:09:06.636 --> 1:09:09.076 special moments to introduce these songs in a way that 1:09:09.596 --> 1:09:11.076 thoughtful and fun for the fans. 1:09:11.556 --> 1:09:13.036 So yeah, we got a lot of cool shit to 1:09:13.076 --> 1:09:13.756 share this year. 1:09:14.036 --> 1:09:15.476 I mean, I think I think the reason why we 1:09:15.556 --> 1:09:17.356 never got into writing on the road is because we've 1:09:17.356 --> 1:09:22.276 always been like a band that writes and makes music 1:09:22.556 --> 1:09:27.756 centered around creating a master essentially, you know, like it's 1:09:27.756 --> 1:09:30.676 always been about the recording since day one. 1:09:30.796 --> 1:09:32.356 It's been like since. 1:09:32.156 --> 1:09:35.516 Literally the first time we officially like kind of started 1:09:35.596 --> 1:09:37.596 this band, it was like we were making we made 1:09:37.596 --> 1:09:41.236 a recording, and then after that it was like, when 1:09:41.276 --> 1:09:45.356 we get together to make music, it's it's it's it's 1:09:45.396 --> 1:09:47.556 based around that. So on the road, it's like we're 1:09:47.596 --> 1:09:50.036 gonna put a studio in your bus, like a fucking idiot, Like, 1:09:51.476 --> 1:09:52.036 come on. 1:09:52.316 --> 1:09:53.716 Why would that make you a fucking idiot? 1:09:54.196 --> 1:09:55.916 It's just like sleep on your bus. 1:09:57.196 --> 1:10:00.036 It's gonna sound like shit, there's a fucking diesel engine below. 1:10:00.396 --> 1:10:03.596 Come on, Like, you can't. 1:10:03.316 --> 1:10:05.556 Tell me that what you're doing is so valuable. I 1:10:05.596 --> 1:10:08.076 have to be recording eight hour. I have to have 1:10:08.196 --> 1:10:11.716 my studio with me on the road in the bus. 1:10:13.996 --> 1:10:15.756 Do you know anyone that does that? 1:10:17.116 --> 1:10:19.316 No, just I M start doing. 1:10:21.796 --> 1:10:27.756 Don't be a fucking idiot man, just sleep man. Well, 1:10:27.996 --> 1:10:31.676 good luck on the road, Thank you, Thanks, look forward 1:10:31.676 --> 1:10:35.476 to hearing the record, and uh, I hope you guys 1:10:35.476 --> 1:10:36.116 make some money. 1:10:36.196 --> 1:10:36.476 You know. 1:10:37.956 --> 1:10:40.956 Me too, Thanks man, Thanks dude. 1:10:41.036 --> 1:10:46.356 Later y'all see it does Dan Arbach and Patrick Carney 1:10:46.396 --> 1:10:48.796 of the Black Keys. Their new album, No Rain, No 1:10:48.876 --> 1:10:51.476 Flowers is out later the spring, with the worldwide tour 1:10:51.596 --> 1:10:54.676 starting in May. You can hear our favorite songs from Dan, 1:10:54.716 --> 1:10:56.956 Patrick and the band on a playlist at broken Record 1:10:56.996 --> 1:11:00.116 podcast dot com. To see the video version of this episode, 1:11:00.196 --> 1:11:04.316 visit YouTube dot com slash Broken Record Podcast and be 1:11:04.356 --> 1:11:07.156 sure to follow us on Instagram at the Broken Record Pod. 1:11:07.796 --> 1:11:11.316 You can follow us on Twitter Broken Record Broken Record 1:11:11.356 --> 1:11:14.316 is produced and edited by Leah Rose, with marketing help 1:11:14.356 --> 1:11:18.196 from Eric Sandler and Jordan McMillan. Our engineer is Ben Tollinay. 1:11:18.836 --> 1:11:22.316 Broken Record is a production of Pushkin Industries. If you 1:11:22.396 --> 1:11:25.676 love this show and others from Pushkin, consider subscribing to 1:11:25.796 --> 1:11:29.756 Pushkin Plus. Pushkin Plus is a podcast subscription that offers 1:11:29.796 --> 1:11:32.876 bonus content and ad free listening for four ninety nine 1:11:32.956 --> 1:11:36.916 a month. Look for Pushkin Plus on Apple podcast subscriptions. 1:11:37.716 --> 1:11:40.316 And if you like this show, please remember to share, rate, 1:11:40.356 --> 1:11:43.196 and review us on your podcast a. Our theme music's 1:11:43.196 --> 1:11:45.236 by Kenny Beats. I'm justin Richmond,