Speaker 1: Pushkin. This is broken record, real musicians, real conversations. Here's
Speaker 1: my conversation with Dan Auerbach and Patrick Carney of the
Speaker 1: Black Keys. So you guys are finishing a new album.
Speaker 1: It's not not quite done though.
Speaker 2: It's basically it's we's to have to mix it. So
Speaker 2: that's almost done. So we're going to LA in two
Speaker 2: weeks too to tweak some mixes and yeah, it's gotta
Speaker 2: be sent to uh often get pressed in like three weeks.
Speaker 2: So we're basically done with it, just have to master it,
Speaker 2: mix it.
Speaker 1: Have you guys mastered anything out there or do you
Speaker 1: typically come out to LA to do that?
Speaker 2: I mean we've met, we have stuff mastered all over,
Speaker 2: we have stuff mixed all over, but typically we don't
Speaker 2: attend a mixed session. This is like what it's like
Speaker 2: the first time we've ever done that, just to kind
Speaker 2: of do final tweaks because it's so difficult to you know,
Speaker 2: it just sucks trying to explain stuff in an email,
Speaker 2: so little, tiny, nuanced stuff.
Speaker 1: Is that in response to having been unhappy with any
Speaker 1: mixes recently or just was it album moting mixed once
Speaker 1: and it wasn't the standard?
Speaker 2: Or well, I mean I think you know, uh, since
Speaker 2: Brothers we've been kind of sending stuff off to get mixed.
Speaker 2: That was that was a game changer for us to
Speaker 2: be able to tap into someone that's like, uh, you know,
Speaker 2: that's what they do for a living. Prior to that,
Speaker 2: we'd mix stuff ourselves, or we would like, you know,
Speaker 2: mix it with a maybe just an engineer at the studio.
Speaker 2: But you know, when we sent Brothers to Chad Blake,
Speaker 2: that was a real eye opener. See what it's like
Speaker 2: to get something back from someone that's just you know,
Speaker 2: a master at that craft. And so we've you know,
Speaker 2: we've made a lot of albums with Chad. We did
Speaker 2: the last record with Spike Stint and then we're working
Speaker 2: with Manny Merrickuhen on this album.
Speaker 1: Wow, Delta Kaream. I guess this decade from like Delta
Speaker 1: Cream to now its four albums, it does seem like
Speaker 1: the sounds like you started the decade almost It sounds
Speaker 1: like back to like the big come up kind of sound,
Speaker 1: down to doing do the Romp Again Part two and
Speaker 1: have kind of slowly moved away, or not moved away,
Speaker 1: but slowly drifted to a sound that's like it's a
Speaker 1: more complete production sound maybe or a more full production sound.
Speaker 3: Yeah, Delta Cream was really just a jam session that
Speaker 3: we released. You know, we didn't really know we had
Speaker 3: an album until how long was it after we recorded
Speaker 3: that that we even listened to it?
Speaker 4: Yeah, we did it.
Speaker 2: We recorded in December of twenty nineteen, right after the
Speaker 2: first leg of the Let's Rock Tour, and then the
Speaker 2: pandemic happened. I don't think we really checked it out
Speaker 2: to see what was there until the July or August.
Speaker 3: And then we didn't fix anything. So it's just it's
Speaker 3: just a it is what it is, you know, no
Speaker 3: overdubs at all, no overdubs on it, just some percussion
Speaker 3: and then Yeah, so when we got back to making
Speaker 3: like a normal Black Keys record, he was more kind
Speaker 3: of back to you know, being creative in the studio,
Speaker 3: working with the studio as a tool to you know,
Speaker 3: kind of get creative and stuff. And because that's you know,
Speaker 3: part of the fun of it for us has always
Speaker 3: been recording.
Speaker 2: Yeah, basically we put we put Delta Cream out in
Speaker 2: spring of twenty twenty one, and then we did some
Speaker 2: promo around that. That was the first time we were
Speaker 2: able to work in like you know, a year and
Speaker 2: a half and then around that promo stuff, we just
Speaker 2: hopped in the studio and started working on what became
Speaker 2: Dropout Boogie, And when we kept when we finished that album,
Speaker 2: we just kept working so kind of like the basically,
Speaker 2: you know, from that spring of twenty twenty one until now,
Speaker 2: we've just been in a constant state of recording. So yeah,
Speaker 2: like we went from the Drop Off Boogie into making
Speaker 2: what became Ohio Players, you know, which was we recorded
Speaker 2: like a ton of songs for that album. We end
Speaker 2: up releasing nineteen and then you know, we put that
Speaker 2: out and then kind of ended up right back in
Speaker 2: the studio this summer and just once again it got
Speaker 2: another batch of like twenty songs and we'll put you know,
Speaker 2: like eleven of them out.
Speaker 4: On this album.
Speaker 1: Do you guys typically record jam sessions or was that No,
Speaker 1: we don't usually do that, to be honest, I mean,
Speaker 1: all of our recording sessions start with us jamming, but
Speaker 1: then we build on it.
Speaker 3: But this thing was this happened because I was making
Speaker 3: a record with Robert Finley in the studio and I
Speaker 3: had Kenny Brown there and Eric Deaton, so you know,
Speaker 3: that was sort of the the reason that we got
Speaker 3: in the studio for that in the first place, you know,
Speaker 3: because we've never recorded with a bass player ever. That
Speaker 3: was the first time on Delda Cream, so you know,
Speaker 3: that was even though it felt like the big come
Speaker 3: up days and it was like something new at the
Speaker 3: same time.
Speaker 1: You know, have you guys recorded with the bass player
Speaker 1: live since then or no?
Speaker 2: Yeah, a couple of times. Our cover of Forgot to
Speaker 2: Be Your Lover, that's right, we did that in La
Speaker 2: with Tommy Branneck on bass, and we did a couple
Speaker 2: other songs. I think, but I love it, you know
Speaker 2: it really I under you know, now after twenty some
Speaker 2: years of playing drums, I understand why. You know, it's
Speaker 2: great to have a good bass player. Nice to lock
Speaker 2: in with the bass player.
Speaker 4: It's fun. Yeah.
Speaker 3: Yeah, a lot of the songs I'm Brothers started with
Speaker 3: bass and drums.
Speaker 2: Yeah, that's right. So Brothers was basically cut that way
Speaker 2: because we when we were making that record Black Rock
Speaker 2: right before that, we're doing like, you know, the music,
Speaker 2: and then we're having rappers come in, so we're making
Speaker 2: beats essentially, we were you know, focusing on starting the
Speaker 2: tracks with a lot of them with just bass and drums.
Speaker 2: So we went into Brothers, we just kind of maintained
Speaker 2: that method and.
Speaker 3: Mark Neil had an amazing Rickenbacker bass. It was like
Speaker 3: a rick four thousand or something. It was awesome, sounded
Speaker 3: so good.
Speaker 1: And so for Brothers, did you guys put guitar over
Speaker 1: those basic tracks? Then? Yeah, wow, that's a that's a
Speaker 1: unique way. I don't know, that's a really unique way
Speaker 1: of doing it, especially considering the guitar or drum band.
Speaker 4: You know.
Speaker 2: Well that yeah, that album, most of it was recorded
Speaker 2: at Muscle Shoals Sound and when we did that, it
Speaker 2: still hadn't been renovated, so it was it was pretty
Speaker 2: messed up. And Mark Neil brought like this twelve channel
Speaker 2: stood suitcase mixer, so that's what we tracked through. So
Speaker 2: we were only able to monitor twelve tracks at a time.
Speaker 2: So like I think there was a couple songs that
Speaker 2: had thirteen songs when we or thirteen tracks, and when
Speaker 2: we had listened back, we just would like not listen.
Speaker 4: To the tambourine, but we not.
Speaker 2: We couldn't hear the whole thing together for the most
Speaker 2: part until we got mixes.
Speaker 1: You had to trust the tambourinees coming through right.
Speaker 3: Yeah, but there was something about the way that we
Speaker 3: recorded that so minimal and then gave it to Chad Blake,
Speaker 3: who was able to just like maximize everything. And he
Speaker 3: loved it too. He's used to getting sessions that have
Speaker 3: a million tracks, and he was he loved that mixing
Speaker 3: that record.
Speaker 1: He loved that there was only about thirteen tracks, yeah, versus.
Speaker 3: The exactly Delta Cream the same thing when he was
Speaker 3: mixing that.
Speaker 1: How come you guys sent that record of Chat instead
Speaker 1: of doing it yourselves.
Speaker 4: We're not Chad Blake. Yeah, well there's only one Chat.
Speaker 3: There's only one Chad Blake. Yeah.
Speaker 1: But if you guys had been doing it yourself before,
Speaker 1: was it was just a experiment in a sense.
Speaker 4: Well, us doing it ourselves.
Speaker 3: This whole thing was an experiment.
Speaker 4: Yeah.
Speaker 3: Everything we did was we had no idea what we
Speaker 3: were doing. Man, there's no re frame of reference. We'd
Speaker 3: never seen anybody mix, you know, so we didn't know
Speaker 3: what mixing.
Speaker 2: What we kind of had because we've gone to like
Speaker 2: shitty studios and Acronym made recordings on like an eight
Speaker 2: and then we get we get the recording back and
Speaker 2: it would just sound like the drums would sound like
Speaker 2: someone was smacking a pillow. So that's when we started
Speaker 2: just doing everything ourselves. It's like, if it's gonna sound
Speaker 2: fucked up, like at least make it sound fu Yeah,
Speaker 2: at least, let's let's do it ourselves. And then every
Speaker 2: time when we first tried to go into studios, you know,
Speaker 2: like back then around the first second record, we did
Speaker 2: not We didn't know how to commune. We were so
Speaker 2: used to using like a real to real eight track
Speaker 2: or like a primitive digital recorder. Then we started dealing
Speaker 2: with like looking at like a real compressor and stuff,
Speaker 2: you know, Like I remember being mystified and why the
Speaker 2: VU wasn't hitting the red on a on a compressor
Speaker 2: and it was going backwards, and I was like, dude,
Speaker 2: thing's broken, bro, And you know, I'm sure they thought
Speaker 2: we were complete idiots. But it was frustrating because we
Speaker 2: kept wanting things to sound distorted and you know, kind
Speaker 2: of gritty, and it was really hard to get those
Speaker 2: sounds in a real studio.
Speaker 3: It's been a lifelong search for those sounds really, to
Speaker 3: be honest, that's half the fun of it. Though.
Speaker 1: Yeah, the sound on Ohio Players was really cool.
Speaker 3: I mean there's live performances at the root of every
Speaker 3: one of those songs real, you know, absolutely, yeah, songs
Speaker 3: like on the game stuff like that were we're kind
Speaker 3: of we're live in the studio. We tracked that one
Speaker 3: with bass, bass, guitar, our, keyboards and drums live, and
Speaker 3: a couple other ones from that session too, so they
Speaker 3: really have a great like live raw feel. And those
Speaker 3: were recorded at toe Rag World, Famous Toe Rag that
Speaker 3: has closed recently, but we always wanted to record there,
Speaker 3: and I think we may have been like one of
Speaker 3: the very last to record there, Famous London's all analog studio.
Speaker 3: The guy was really inspired by Joe Meek. Liam Watson,
Speaker 3: he ran It's really cool place and Mark Neil designed
Speaker 3: the room right, Yeah, Mark Neil helped him design it.
Speaker 3: The guy who recorded us in Muscle Shoals.
Speaker 1: Did he work with Joe Meek? Was he around like when.
Speaker 2: No, Joe Meek died like he killed himself in his
Speaker 2: land lady right, something like that? Yeah, some tragic story. Yeah,
Speaker 2: were you guys?
Speaker 1: Were you guys around for.
Speaker 3: God?
Speaker 1: Who's the other great?
Speaker 4: Uh?
Speaker 1: John Peel? Did you guys ever do like a Peel session?
Speaker 4: Oh?
Speaker 3: Yeah, yeah, we did a couple of them.
Speaker 2: That was our first That was our first kind of
Speaker 2: big break outside of the US was John Peel playing
Speaker 2: the Big come Up. And then our first trip over
Speaker 2: to England was like a promo trip when Thick Freakness
Speaker 2: was about to come out in April of two thousand
Speaker 2: and three, and uh and yeah, we did our first
Speaker 2: Peel session there and then a couple of months later
Speaker 2: we got asked to come.
Speaker 3: To his house, his country estate.
Speaker 2: Yeah, he would do it. He would do like his
Speaker 2: show in the summertime from his house. We we had
Speaker 2: this crazy year of two thousand and three, just you know,
Speaker 2: being really broke but traveling a lot, and this one,
Speaker 2: you know, we went and played some festival in Norway.
Speaker 2: Then we flew to London and we got picked up,
Speaker 2: drove right to his house. Remember we were just so
Speaker 2: jet lagged. I took an app in his daughter's bed
Speaker 2: while Dan played soccer with him in the yard and
Speaker 2: went through his record collection. And then we did another
Speaker 2: Peel session like literally two months after that. It was
Speaker 2: a live thing again with like Steve Malcolms and the
Speaker 2: jicks from in Brighton, and then you know, we did
Speaker 2: a Peel set when we put out Rubber Factory. We
Speaker 2: landed in London to do a tour there, like right
Speaker 2: at the end of October, and uh, when we got
Speaker 2: picked up from the airport, our driver had a newspaper
Speaker 2: and the headline was John Peel dead at sixty four
Speaker 2: And we were supposed to head to a Peel session
Speaker 2: like the very next day. So we actually went to
Speaker 2: the Peel session still and they were like, we don't
Speaker 2: know what to do, Like I made a veil three right, Yeah, yeah,
Speaker 2: they're like, you know, we don't know what's happening, but
Speaker 2: we know like he's like he was trying to do
Speaker 2: John Peele, trying to accomplistion of Lonnie Donegan songs. So
Speaker 2: like we just spent two hours trying to learn these
Speaker 2: two little Lonnie down Against songs. But yeah, it was
Speaker 2: like it took all the momentum out of our out
Speaker 2: of our thing, because that was like our only supporter
Speaker 2: in the UK.
Speaker 4: He died. He went on a trip to Peru and
Speaker 4: had a heart attack.
Speaker 1: What was what was it? First of all, what was
Speaker 1: his record collection? Like that record collection must have been crazy.
Speaker 3: He was crazy. He had different how like different outbuildings
Speaker 3: like there was like a barn over here, and they
Speaker 3: all had thatched roofs. Right, So there's like a thatched
Speaker 3: roof barn over here. That was all his seventy eighths,
Speaker 3: and then over in this thatched roof big thing was
Speaker 3: like all his you know, forty fives. And we we
Speaker 3: dug through his LPs and looked for some stuff. You know,
Speaker 3: I wanted to hear like let's Work Together by Wilbur Harrison,
Speaker 3: and so we searched for it and found the record
Speaker 3: and played it and he's like, I'm like, no, that's
Speaker 3: not that's the wrong version. You know, we need the
Speaker 3: earlier version. So we he went back and he found it.
Speaker 3: He had it.
Speaker 1: Fuck, he had had all the everything.
Speaker 4: I mean, he had a million albums, right, wasn't that
Speaker 4: you know?
Speaker 3: As soon as you sent him on attached to find something,
Speaker 3: He's like giddy. It was awesome.
Speaker 4: Yeah.
Speaker 2: That Peel session at his house was live on BBC,
Speaker 2: and uh, his whole family was there and they made
Speaker 2: a stinner. It was like, you know, it was really special,
Speaker 2: you know, and us like at the time, you know,
Speaker 2: we you know, we weren't really kind of aware of
Speaker 2: the gravity of what it was to.
Speaker 4: Be hanging out with that guy. You know, he was
Speaker 4: just kind of this cool DJ. And then.
Speaker 2: You know, as we got older, we kind of learned
Speaker 2: like what that show really meant to people and what
Speaker 2: it really was, and you know, I wish that we
Speaker 2: had something like that. I mean, I think the world
Speaker 2: would benefit from another John Peel. I mean, I mean, look,
Speaker 2: if you go back and look at his playlists and stuff,
Speaker 2: it's it's incredible what he's sposing people too, especially like
Speaker 2: pre internet, to be able to turn on the radio
Speaker 2: and have some guy playing you the Residents and then
Speaker 2: you know, like you know, a Howard tape single pretty cool.
Speaker 1: And the continuity between you know, he'd done it so long.
Speaker 1: Just being able to present like led Zeppelin in like
Speaker 1: nineteen seventy and you know you guys in two thousand
Speaker 1: and three. I mean, that's just that's crazy. You know,
Speaker 1: it's nuts. And his sessions always sounded really good to
Speaker 1: me too. I always love finding like an appeal session,
Speaker 1: you know, because they sound always they sound pretty different
Speaker 1: from the records usually, but they just sound I don't know,
Speaker 1: there was a really I don't know how he who
Speaker 1: if he used it, like, I don't know who engineered sessions.
Speaker 1: But they were incredible.
Speaker 2: You know, I did it made a veil when we
Speaker 2: were doing them. I think that's really did them.
Speaker 3: He has a BBC. Their studios are incredible, They're their
Speaker 3: gear was always amazing. It was like that was the
Speaker 3: first time we ever saw Cole's microphones. Yeah, Cole's ribbon
Speaker 3: mics you know. Yeah, no, those those some BBC sessions
Speaker 3: always sound.
Speaker 1: Amazing because basically use a ribbon mike.
Speaker 3: Always, you know. I mean after those sessions we started
Speaker 3: to but yeah, they would have ribbons on everything.
Speaker 4: Yeah, now that's a cool thing.
Speaker 2: You show up and then basically, here's this world class studio.
Speaker 2: You've got like six hours to record four songs, and
Speaker 2: you can do anything you want to do. So you know,
Speaker 2: if you wanted to, who knows, they would let you
Speaker 2: do whatever you wanted to do. The coolest John pil
Speaker 2: Antono is that he told us he was present in
Speaker 2: Dallas when Lee Harvey Oswald was killed in that parking
Speaker 2: garage at the police station because he was working for
Speaker 2: a radio station.
Speaker 4: And so he saw that in person. And I guess
Speaker 4: he's in the I guess he's in the film.
Speaker 1: Wait, wait, he wasn't he was actually at the police station.
Speaker 2: Yeah, when Lee Harvey Oswald gets killed by Jack Ruby,
Speaker 2: he's one of the guys there.
Speaker 1: That's incredible. I'm gonna go I'm gonna.
Speaker 4: Yeah, watch it on slow mo. See if you can
Speaker 4: find him.
Speaker 3: Yeah, maybe somebody can find them in the pictures.
Speaker 1: Maybe he'll be in the files of releasing the JFK
Speaker 1: files that are coming out. John Petle was involved. How
Speaker 1: does it feel promote I mean, I guess the difference
Speaker 1: between promoting a record then and now. I'm just curious.
Speaker 1: You guys do do a lot of press, do you
Speaker 1: guys like what how do you guys go about figuring
Speaker 1: out the way in which you want to promote a
Speaker 1: record or do not spend much time thinking about it?
Speaker 2: Back then, I remember one of the first interviews we
Speaker 2: ever did with like a European you know, first one
Speaker 2: of the first interviews period. We were at south By
Speaker 2: Southwest two thousand and three, and we we did a
Speaker 2: couple of interviews. One of them was with enemy and
Speaker 2: then we landed in England a couple of weeks later
Speaker 2: for the first time to and our publicists handed us
Speaker 2: to the enemy and in this interview, We talked for
Speaker 2: like thirty minutes, and at the very end of the interview,
Speaker 2: the journalist is like, so, do you guys take drugs?
Speaker 4: You've ever taken any drugs?
Speaker 2: And we're like we were like naive kids, you know,
Speaker 2: and we're like, I was like, oh, I spoke opium
Speaker 2: once and uh the headline of the fucking m was
Speaker 2: like Opium fueled Blues Duo and I was like, holy shit,
Speaker 2: this is insane. It didn't really help us sell any records, but.
Speaker 4: It was cool.
Speaker 1: Look kind of miss headlines like that. Miss magazines in general,
Speaker 1: kind of sometimes for for for you know, headline like that.
Speaker 2: You know me too, Yeah, I miss I missed being
Speaker 2: able to like pick up a music magazine and I
Speaker 2: have something I want to see in it.
Speaker 3: You know.
Speaker 4: It's like back in the day, like.
Speaker 2: Just you know, Magnet or Alternative Press or Flip Side
Speaker 2: or Maximum Rock and Roll. Even just at our local
Speaker 2: grocery store, you could pick up this one cook magazine
Speaker 2: called ray Gun, which is like as a music magazine
Speaker 2: that lasted for just maybe a couple of years, but
Speaker 2: it was like the graundraphic design was so crazy, like
Speaker 2: you could barely read the articles because they like lay
Speaker 2: the articles out. But you know, that's where I've actually
Speaker 2: in the you know, you know, early magnet magazines and stuff.
Speaker 2: That's where I kind of discovered a lot of what
Speaker 2: I know about music. They kind of set me in
Speaker 2: the right direction. Like that's when I read about Daniel Johnson,
Speaker 2: you know, love his laughter and K Records and all
Speaker 2: that kind of stuff.
Speaker 1: I don't know for me too, though, I'd get sit
Speaker 1: down a lot of like dead ends, you know, like
Speaker 1: looking through a magazine and you have to try to
Speaker 1: spend you know, fifty bucks on a bunch of records
Speaker 1: I saw on a magazine and then you know, they
Speaker 1: all sucked, and that was kind of a bust.
Speaker 2: It usually sucks. Yeah, yeah, yeah, I bought a lot.
Speaker 4: Of shitty records.
Speaker 1: Were there local like zines in Akron or.
Speaker 4: Sort of, But.
Speaker 2: It seemed like a lot of that stuff was like
Speaker 2: geared towards hardcore punk, which Dan and I.
Speaker 1: Were never into, never never had a stage.
Speaker 2: No. We get along too well with our fathers.
Speaker 1: Will be back with more from the Black Keys after
Speaker 1: the break. Your dads were friends too, weren't they our dads?
Speaker 4: I mean we're neighbors, they're neighbors. Yeah.
Speaker 2: Yeah, that's how Dan and I know each other from
Speaker 2: just growing up around the corner from each other.
Speaker 1: And your dad was an art teacher or procure of
Speaker 1: art supplies, Yeah he was.
Speaker 3: He was an antique dealer and he collected folk art
Speaker 3: outsideer art. Yeah, he would, you know, he was like
Speaker 3: a picker.
Speaker 4: You know.
Speaker 3: He would go around Ohio and Pennsylvania and West Virginia
Speaker 3: and he would have his routes that he would run
Speaker 3: and go to different places and buy things and then
Speaker 3: he would sell at shows, antique shows he would go
Speaker 3: to like Brimfield, or he would go to the Triple
Speaker 3: Here Expo in Manhattan and set up a booth, and
Speaker 3: you know I would go and help him and ship
Speaker 3: and it was always fun. I love doing that stuff.
Speaker 3: Did you learn a lot about art through him or
Speaker 3: were you interested in learning? Yeah? I learned everything about
Speaker 3: art through through him. Being around him and being on
Speaker 3: the road, you know, you know, probably prepped me for touring,
Speaker 3: you know, getting in my dad's van and driving from
Speaker 3: Ohio to New York City and you know, loading and
Speaker 3: unloading the van for the shows and stuffy yeah no,
Speaker 3: and he you know, he would introduce me to two
Speaker 3: artists and and and show me the difference between different
Speaker 3: different types of art. And yeah, absolutely.
Speaker 1: Has anything of his or anything you've gotten from him
Speaker 1: made it to any artwork Blackie's artwork or arts.
Speaker 3: Mm, I don't think so, but I mean no, I
Speaker 3: mean one of the guys that he would help facilitate
Speaker 3: an acron this artist named Alfred mcmore. My dad would
Speaker 3: like bring him crayons and art supplies and pipe tobacco
Speaker 3: and bring him stuff he needed, and he would try
Speaker 3: to help him get his art out there, you know.
Speaker 3: And this guy was he would leave voicemails on the
Speaker 3: phone at our house. And Pat's dad did a story
Speaker 3: in the local newspaper on this artist, so Pat would
Speaker 3: get these voicemails too, and it became, you know, the
Speaker 3: origin of the name of our band, the Black Keys
Speaker 3: was this outsider artist, you know.
Speaker 2: So he would call our houses like every day, multiple
Speaker 2: times a day.
Speaker 3: Demanding pipe tobacco and crayons.
Speaker 4: And he would tell like, you you're big. If you
Speaker 4: don't bring me a two liters of coke some crans,
Speaker 4: you're a black Key, you're d flat.
Speaker 2: And he'd make these five foot wide he put long
Speaker 2: scrolls with cran and pencil, and so Dan's father had like,
Speaker 2: you know.
Speaker 3: Just a basement filled hundred of them.
Speaker 4: Maybe because he would, you know, give him.
Speaker 2: He's living in like a halfway house, you know, and
Speaker 2: he had very little resources, so chuck with like give
Speaker 2: him some Cran's paper stuff. Then get these scrolls and
Speaker 2: sell some, give him some of the money. And but yeah,
Speaker 2: they're they're pretty incredible. He would draw a lot of
Speaker 2: like a lot of highway patrol people in high heels.
Speaker 3: Big chandelier, earrings, chandelier because he done boots.
Speaker 4: Yeah, it was so cool.
Speaker 3: They were. They were like these long stream of consciousness.
Speaker 3: They would be like funeral processions, you know, people in
Speaker 3: open cadillacs and like all these different Jesus was playing
Speaker 3: like rock and roll guitar and they're amazing.
Speaker 2: Really, I mean, Alfred would wear about the three or
Speaker 2: four suits at the same time. And then his daily
Speaker 2: ritual was like to go to the Stewart and Calhoun
Speaker 2: funeral home to any random funeral and just cry.
Speaker 1: He show up to random funerals and cry.
Speaker 3: This is the person that my dad brought over to
Speaker 3: the house to spend time with his sons. Exposed expose
Speaker 3: us to his artwork.
Speaker 4: Alfred No, I mean his.
Speaker 3: Artwork was so beautiful, but like impossible to display, Like
Speaker 3: where where do you put a fifty foot roll of
Speaker 3: art work?
Speaker 1: Do you guys still have some of this?
Speaker 3: Uh huh oh? Yeah, man, my dad got him to
Speaker 3: do a couple of small pieces and they're okay, but
Speaker 3: the roles are actually where it's at.
Speaker 2: Yeah, I got one little small one. It says mcmore
Speaker 2: mclusts and that's where. That's what we named our publishing
Speaker 2: company after mcmore mcless.
Speaker 1: Is he still Is he still around? No?
Speaker 4: He died in two thousand and nine.
Speaker 1: I think did he Did you guys ever play him
Speaker 1: any of your music?
Speaker 3: I don't believe so.
Speaker 1: He knew about the band, but I don't think probably
Speaker 1: no interest in Yeah, you guys might have set him
Speaker 1: off a little. I don't know, I could aggravate him.
Speaker 4: You know.
Speaker 1: Were there other people like characters like that around town?
Speaker 3: Yeah, there's a lot of like, there's a lot of
Speaker 3: characters an Akron.
Speaker 2: There was the purple Purple man. That guy his house
Speaker 2: is purple as cars, probably acrons full of that kind
Speaker 2: of stuff there. There's like it's kind of like pull man.
Speaker 4: Then there was a guy we called Eep.
Speaker 2: In ild Square and uh, the little neighborhood we kind
Speaker 2: of grew up around. Uh, there was a really eccentric
Speaker 2: shoe repair man who just retired, but he'd be in
Speaker 2: there with the fumes and stuff and he dressed the
Speaker 2: window up in like inflatable dolls, really really out there. Yeah,
Speaker 2: there's all that's my kind of when I when I
Speaker 2: think about like classic Akron, it's like, my brother was
Speaker 2: really into trains, like model trains and stuff, and so
Speaker 2: we would go on Saturday sometimes to this place called
Speaker 2: Glenn's Train Shop and it was this building covered in
Speaker 2: ivy in the middle of like the worst neighborhooded Akron
Speaker 2: back in this lot. You'd walk in there and just
Speaker 2: be this guy just smoking with like you know, ten
Speaker 2: thousand boxes of vintage trains, just mean as hell.
Speaker 4: They total Like that's what Akron that did?
Speaker 1: He did he deal them?
Speaker 4: Or yeah, you sell them? He was like.
Speaker 2: Yeah, you're like, what gauge do you want? He's like
Speaker 2: h ah, he'd like judge you by the gauge of
Speaker 2: the train that you want. The real trains are, oh
Speaker 2: gauge Apparently that's what you want. The real trains are what,
Speaker 2: oh gauge the big ones?
Speaker 1: Well, I don't know what that means.
Speaker 4: I know, well, sounds about right. I bet Neil Young
Speaker 4: knows I was gonna say.
Speaker 1: Neil Young probably knows this guy. Oh yeah, why did
Speaker 1: you call the what was the one guy called?
Speaker 4: This is what he said all the time.
Speaker 1: That makes sense. National's got to be filled the characters too, right.
Speaker 3: Yeah, it's just filled to the brim.
Speaker 2: When we first moved to town, we both moved like
Speaker 2: to the same area here, and uh we were neighbors
Speaker 2: with Harmony Krinn, so we hit it off with him
Speaker 2: right off the bat, and through Harmony we met like,
Speaker 2: you know, David Berman and and then also you know,
Speaker 2: introduced to the original kind of cast of eccentrics. What
Speaker 2: you no longer see any of them anymore, but most
Speaker 2: of them were in Gummo or something.
Speaker 1: You guys have been there over a decade now, right,
Speaker 1: they're fifteen years You mentioned the cover of Forgot to
Speaker 1: Be Your Lover earlier? What made you guys cover that song?
Speaker 1: So I was scared to click on it, to be honest,
Speaker 1: because it's such like a perfect record, the original you
Speaker 1: guys version is really good too.
Speaker 3: Yeah. No, it's just it was just one of our favorites,
Speaker 3: you know, and we were in the studio, we were
Speaker 3: hanging out. We were just inspired to do something like that,
Speaker 3: and you know, we really didn't think too much about it,
Speaker 3: and we really didn't even know if it was going
Speaker 3: to be on the record or not, you know, but
Speaker 3: it felt good when we cut it. You know, we
Speaker 3: had our buddy Kelly Finnigan and Tommy Brenneckan there with us.
Speaker 3: Kelly sings harmony, and it was just felt felt good. Yeah,
Speaker 3: we did that. Never going to give you up on Brothers.
Speaker 3: You know, I think we've done some soul songs before.
Speaker 3: You know, it's those types of songs are pretty big
Speaker 3: influence on us.
Speaker 4: Oh yeah, it's.
Speaker 1: Just such big you know, like Forgot to Be Your Lover.
Speaker 4: It's just such a big record, you know.
Speaker 3: Yeah, one of those perfect records.
Speaker 1: From like the opening opening riff, the drums on it
Speaker 1: are perfect, opening lines, perfect.
Speaker 3: Yeah. Absolutely. We mostly we mostly just wanted to hear
Speaker 3: Tommy play that opening list.
Speaker 1: Yeah, yeah, that's it's pretty much.
Speaker 3: That was the reason we cut it. No, that was Tommy.
Speaker 1: How much time do you spend listening to music these days.
Speaker 4: I probably listened to like an hour at least a
Speaker 4: day of music.
Speaker 1: What's what's moving you these days?
Speaker 2: Man, I'm kind of all over the map what I'm
Speaker 2: into right now. But you know, we've been doing these
Speaker 2: record hangs where we playing forty five's, so that will
Speaker 2: you know, that's kind of got my algorithm going trying
Speaker 2: to find these kind of trying to find like songs
Speaker 2: that I feel like hits but weren't hits.
Speaker 4: It's kind of like the ultimate goal.
Speaker 2: But I've got, you know, got I've got a little
Speaker 2: I've got a six year old boy who's into music
Speaker 2: and opinionated, so a lot of the stuff I'm like
Speaker 2: trying to play him stuff, see what he's into.
Speaker 1: What are his opinions.
Speaker 4: I mean, he's got good tastes. But uh, it's funny
Speaker 4: when he when he'll he'll hear something and like it,
Speaker 4: and he'll he'll he'll he's like aware enough to think
Speaker 4: like that he should be embarrassed by liking it.
Speaker 2: If so, he will like not he'll keep it a secret,
Speaker 2: like if he thinks because he'll think like I will
Speaker 2: like make fun.
Speaker 3: Smart kid.
Speaker 2: Yeah, I know, I mean his intuition's spot on. But no,
Speaker 2: you don't get made fun of for what you listen
Speaker 2: to in my house till you're eleven.
Speaker 1: What about you, Dan, Do you listen to a lot
Speaker 1: of music or like not work related?
Speaker 3: Yeah, I mean yeah, i'd say similar, you know, especially
Speaker 3: digging for records you know, online. It's kind of become
Speaker 3: like one of my favorite things to do is just
Speaker 3: like chill out for an hour and like search for music,
Speaker 3: you know, because I swear to God, every single day
Speaker 3: I can find something that blows my mind if I
Speaker 3: if I search hard enough.
Speaker 4: True.
Speaker 3: So yeah, honestly, like as soon as we started doing
Speaker 3: these record hangs, I think I started listening to way
Speaker 3: more music on average.
Speaker 1: Same who organizes the record hangs we do.
Speaker 4: We just kind of picked like.
Speaker 2: Cities where it will makes sense when we're on the road,
Speaker 2: or cities we think it will be fun to do.
Speaker 2: So yeah, we just had to meeting the other day
Speaker 2: to kind of pick out like the next couple months
Speaker 2: of it, and then some of them are kind of
Speaker 2: last spin it, you know.
Speaker 3: Yeah, it's kind of fun just to pop in somewhere
Speaker 3: and unannounced and spend some records.
Speaker 1: Did you did you guys spend records like that out
Speaker 1: like out and about like before that or no, a little.
Speaker 3: Bit, a little bit bit. Yeah, you know, back when
Speaker 3: I did the ARC stuff, I would spend records with
Speaker 3: Richard Swift and Leon a few times, you know, here
Speaker 3: and there, and and then I started doing it on
Speaker 3: my own just a little bit, and then shortly thereafter
Speaker 3: invited Pat to do it with me, and then we
Speaker 3: both kind of got hooked on it. Really.
Speaker 2: Yeah, it's addictive, you know, I'm with Dan on that. Like,
Speaker 2: I've definitely probably spending like ten uh, I don't know,
Speaker 2: at least another thirty minutes a day extra listening to
Speaker 2: music because of this. I'll go down rabbit holes and
Speaker 2: uh trying to find stuff. And I've learned more about
Speaker 2: music in the last probably two years than I had
Speaker 2: in the previous ten years really for sure, not just
Speaker 2: not just like hit history of music, but just like.
Speaker 4: Kind of maybe how to make.
Speaker 1: It well, you know. I mean that's an interesting point,
Speaker 1: because I mean to your earlier point, like finding songs
Speaker 1: that sound like they could have been a hit or
Speaker 1: should have been. I mean, it's it's just it's it's
Speaker 1: fascinating how much a hit I mean, I guess we
Speaker 1: all know because we know hits that kind of aren't
Speaker 1: that that great. But it's fascinating how much it hit
Speaker 1: really has nothing to do with how good a song.
Speaker 1: It's necessarily you know, it's all these.
Speaker 3: Oh yeah, absolutely, man. That's why we feel like we
Speaker 3: can play records for like three hours and like they're
Speaker 3: jams and people will be dancing for three hours straight
Speaker 3: and they won't know a single fucking song, you know
Speaker 3: what I mean.
Speaker 4: We love that.
Speaker 3: Yeah, like this song could have Like there's nothing that's
Speaker 3: like more annoying than just somebody going up and just
Speaker 3: playing hits off iPod, you know what I mean, off
Speaker 3: a computer. But like, oh my god, it is fun
Speaker 3: to be like be able to like see the crowd
Speaker 3: move to a song they don't know. You know. It
Speaker 3: really is satisfying.
Speaker 2: I think that's the biggest thrill. It's because it's not
Speaker 2: playing something obscure to be obscure. It's like it's got
Speaker 2: to have this. It's like this perfect combination of like.
Speaker 3: Yeah, if it doesn't work, we're turning it off.
Speaker 2: Yeah, it's like it's a you know, because it's got
Speaker 2: to not only does it have to like groove and
Speaker 2: have the right production.
Speaker 4: It's got to have like the right mix.
Speaker 2: There's so many of these songs where you they like
Speaker 2: they seem like they're going to be it, and then
Speaker 2: you get the record and the mix is.
Speaker 3: Just it's fucked up. The drums aren't there, it doesn't work.
Speaker 4: Yeah, sucks. It's a lot of it.
Speaker 3: It's weird. Yeah, you'll spend hours and hours and hours
Speaker 3: searching for songs. You'll find like songs and you get
Speaker 3: them sent to your house and like, only like ten
Speaker 3: fifteen percent of them actually are as good as you thought.
Speaker 3: They were pretty consistent, pretty consistently.
Speaker 2: Yeah, Like the vocals are like twenty five percent too loud.
Speaker 2: The drums are just like almost good, loud enough but
Speaker 2: not there, and then you put it on the club
Speaker 2: and it doesn't work.
Speaker 1: Or like the drums are great, but then there's like
Speaker 1: the high hat.
Speaker 3: It's like something, it's just messing all up.
Speaker 4: We can live with the as long as we can
Speaker 4: live with some of it.
Speaker 1: But yeah, do you find that it do you find
Speaker 1: through digging though that some do you ever find yourself
Speaker 1: lost in a sense of like after thirty minutes an
Speaker 1: hour of listening to something you you kind of don't
Speaker 1: know what's good anymore.
Speaker 2: Oh yeah, that happens to me when it comes into
Speaker 2: this specific thing. I've definitely I purchased a few records
Speaker 2: and I'll get them like why the fuck did I
Speaker 2: buy this record?
Speaker 4: And I was like, really, be like what was going
Speaker 4: on here?
Speaker 2: And I was like, you know what it was, is
Speaker 2: like I just put so many hours into looking for
Speaker 2: something that I think I just wanted to buy something
Speaker 2: so I could have something to show for it.
Speaker 1: You can get yourself worked up about the smallest thing
Speaker 1: about a record that the smallest reason why you need
Speaker 1: this record, you know, is enough to buy it.
Speaker 2: And then I've definitely bought a record the other day
Speaker 2: because the snare drums sounded so bad in a good
Speaker 2: way that I was like, maybe Dan, I should sample this.
Speaker 1: What record was it?
Speaker 4: Oh Man?
Speaker 2: Because his last name was Washington, I forget. It's this
Speaker 2: decent song, but the snare drum's real messed up. It
Speaker 2: sounds like a broken four track.
Speaker 4: It's cool.
Speaker 1: Do the record hangs im like impact the way you
Speaker 1: guys make records in the studio.
Speaker 3: One thousand, Absolutely no, I mean we're spinning records and
Speaker 3: and and like seeing what what gets the crowd moving
Speaker 3: definitely influences us when we get in the studio and
Speaker 3: what we want to try to do. Absolutely.
Speaker 4: Yeah.
Speaker 2: I think there's a couple of songs on the new
Speaker 2: album that definitely exists because of the record.
Speaker 3: Hangs mm hmm.
Speaker 1: What tracks are those? I've only been over to here too.
Speaker 4: But yeah, and one of the songs you're I mean,
Speaker 4: both of them are. One of them was a rough mix.
Speaker 1: Which one was that?
Speaker 2: I mean, if they sent you no Raino Flowers that
Speaker 2: was that was the title. That was the wrong mix. Yeah, yeah,
Speaker 2: that's like part of the thing did sound very different
Speaker 2: from the night before.
Speaker 1: I heard the night before and it sounded the production wise,
Speaker 1: it did sound very different.
Speaker 2: Well, it's like, you know, it's the thing that's interesting
Speaker 2: thing about like we started this album and the very
Speaker 2: very end of July and and really got going on
Speaker 2: on it like in September.
Speaker 4: But when you're like.
Speaker 2: Writing recording, you know that much work that in that
Speaker 2: bunch of a condensed period of time, you know, it
Speaker 2: takes it takes a few Like we kind of finished
Speaker 2: tracking mostly in the middle of December, but then I
Speaker 2: think it took us like a couple of weeks of
Speaker 2: getting away from the record to get back to the
Speaker 2: place where we could start mixing it, start getting it finished.
Speaker 4: That's where we are now.
Speaker 2: But yeah, there's like one song on it that's just
Speaker 2: a kind of Cumbia influenced because dances. We're playing a
Speaker 2: lot of Cumbia at the record hangs. But yeah, I
Speaker 2: think that it's an interesting thing trying to figure out
Speaker 2: how to put an album out in twenty twenty five
Speaker 2: versus two thousand and five, because it used to be
Speaker 2: like the biggest difference is it's like, yeah, of course
Speaker 2: there was press and stuff that you could do.
Speaker 4: There's things to do, but really it was like it
Speaker 4: really felt like.
Speaker 2: Back then, like your album came out then it was
Speaker 2: like okay, now like now people are finally gonna get
Speaker 2: to hear it, and like there was this life to
Speaker 2: it like where it was like you know, and it
Speaker 2: kind of feels inverted now where it's like with a
Speaker 2: minute your album comes out, it's like unless you have
Speaker 2: a couple of hit songs on it, it's just what's
Speaker 2: coming out next week?
Speaker 4: You know. Yeah.
Speaker 1: The weird thing about that though, from the you know,
Speaker 1: listener perspective and just thinking about music as a consumer,
Speaker 1: I guess is it automatically puts all new music in
Speaker 1: the same frame, in the same context as like old music,
Speaker 1: like in the sense of like when a new when
Speaker 1: when the Ohio Players comes out, I'm sort of guilty
Speaker 1: of the same phenomen on. I listened to it, and
Speaker 1: I pretty quickly move on. But then also fine, just
Speaker 1: as quickly as I move on, I pretty quickly come
Speaker 1: back to it. But I mean, you know, I'm usually
Speaker 1: listening to old stuff because it's like you have this
Speaker 1: whole everything's at your fingertips now, So I'm like listening
Speaker 1: to you know, whatever Aretha records I never heard before really,
Speaker 1: or you know, in the Nat King Cole and then
Speaker 1: I'm listening and then it's like I'm back to listening
Speaker 1: to the Ohio Players. And so in a weird way,
Speaker 1: I also feel like it makes new records, it makes
Speaker 1: them feel like classic records a little sooner than it
Speaker 1: used to, you know, whereas before I used to just
Speaker 1: burn records out after a year, and then I'm like,
Speaker 1: I don't know if I ever need to hear that again.
Speaker 4: You know, I heard something a couple of weeks ago.
Speaker 2: I don't know if it's true, but the mere thought
Speaker 2: of it gave me a slight existential crisis, which was
Speaker 2: that there's more like that. There's more music released every
Speaker 2: single day in twenty twenty four as there was in
Speaker 2: the entirety of nineteen eighty nine. I don't know if
Speaker 2: that's true, but could that be true? It feels like
Speaker 2: there's some sort of It kind of feels like that,
Speaker 2: you know, I've chosen to believe it also, you know,
Speaker 2: I have other feelings about UAPs and things like that
Speaker 2: I've chosen to believe.
Speaker 1: What are those feelings. I don't know they changed day
Speaker 1: to day.
Speaker 4: What are they today? I haven't thought about.
Speaker 2: It yet today, So I'm like, no, But you know
Speaker 2: what there is there's just so much good music that's
Speaker 2: been made, and it's like, you know, it's like if
Speaker 2: you're a fifteen year old now and you have Spotify,
Speaker 2: like I just I wish I could have experienced it,
Speaker 2: you know, I wish I could have had my teenage
Speaker 2: years when there was something like Spotify. The amount of
Speaker 2: time Dan and I spent looking for music when we
Speaker 2: were teenagers and up through our twenties, it is insane.
Speaker 2: Like when Dan used to come over to my house
Speaker 2: or that I lived in with some friends where we
Speaker 2: would do like started the band his minivan. He'd pull
Speaker 2: up with his minivan and open the side door to
Speaker 2: get his amp out, and just like literally one hundred
Speaker 2: CDs just.
Speaker 4: Fall on the ground.
Speaker 2: We'd been picking them up, crazy box sets things. Just
Speaker 2: like every single dollar he was making was going into
Speaker 2: buying music to try to hear it, see what was there,
Speaker 2: you know, And.
Speaker 1: Asn't I say, forget time the amount of money when
Speaker 1: you had no money you'd spend you know.
Speaker 2: Yeah, well you know I think Dan spent all his
Speaker 2: money on that. But yeah, you know, like that choice
Speaker 2: you have to make when you're like a fourteen year
Speaker 2: old kid and you're just getting into like lead uppein
Speaker 2: and you go look at the go to the record store,
Speaker 2: and like, you know, you could end up hating LEDs up.
Speaker 2: And if you picked the wrong record right there, if
Speaker 2: you walked out with presence, you might never like leads
Speaker 2: up on. But if you walked if you if you
Speaker 2: got like leads up on one two three or one
Speaker 2: two four, Houses.
Speaker 4: Of a Holy I think then I imagine you'd end
Speaker 4: upuying presents.
Speaker 1: Eventually you would get there, that'd be last Yeah, did
Speaker 1: you were the record? I'm trying to think, were there
Speaker 1: groups like that for you or artists like that for
Speaker 1: you where you just heard the wrong thing first and
Speaker 1: then just had the wrong impression for far too long.
Speaker 2: So I wonder if they had that record in through
Speaker 2: the Outdoor. I wonder if that as some sort of
Speaker 2: reference to their catalog. But yeah, I mean, like here,
Speaker 2: it's just today. One of our engineers at the studio
Speaker 2: asked me if I was into Space Spend three, and
Speaker 2: I was like, actually, you know, I was like a
Speaker 2: hip teenager. I you know, I bought a Spaceman three
Speaker 2: CD when I was like fifteen, and I it was
Speaker 2: way over my head. I really didn't get it. But
Speaker 2: then I got into Spiritualized and I'm just now getting
Speaker 2: into Spacement three a little bit. And it's been you know,
Speaker 2: thirty years. But there's a lot of times I think
Speaker 2: if you get the wrong album, you could maybe not
Speaker 2: see the light.
Speaker 4: But I think that's cool.
Speaker 2: I end up respecting bands that have catalogs like that,
Speaker 2: Like Pink Floyd is that band to me too. There's
Speaker 2: just a lot of evolution from the first record through
Speaker 2: the you know, I guess through the mid seventies all
Speaker 2: the way up.
Speaker 4: To the Wall.
Speaker 1: Then there's groups like the Rolling Stones where it's like
Speaker 1: there's a lot of output for a certain period and
Speaker 1: then like a limited output. But it's it'd be, it'd
Speaker 1: be the odds are against you picking a bad one.
Speaker 1: I guess you know, if you're at the record store
Speaker 1: and you're twelve, you never heard of the Rolling Stones,
Speaker 1: a bi Rolling Stones record, there's.
Speaker 2: Just good advice to pick up, yeah, if you like
Speaker 2: you know, the advice is, if you're gonna buy a
Speaker 2: record from a classic rock band, just avoid any album
Speaker 2: where they're wearing like a pastel sport jacket, if they're
Speaker 2: wearing like pastel, like muscle shirt, if they're dressed like
Speaker 2: Miami vice, skip the record and you're gonna be good.
Speaker 1: And there is this what is that Stones record where
Speaker 1: they're like laying down and they got a like neon
Speaker 1: on or sport coats.
Speaker 2: I owe it to them to never listen to that
Speaker 2: bad though. I don't know, the cover is just so bad.
Speaker 2: They got such good it's not bad. I just have
Speaker 2: a thing about digital eighties reverb, and so I just
Speaker 2: I hate the whole I think maybe because my parents
Speaker 2: got divorced right in mid eighties. I just I fucking
Speaker 2: hate like people are like, oh, man, like you like
Speaker 2: this band. It kind of sounds like Bruce Hornsby, like
Speaker 2: you fucking just kill me right now because I don't want.
Speaker 2: I don't want to remember what nineteen eighty six felt like.
Speaker 3: That's amazing. Yeah, Digital REAVERB brings back too many painful men.
Speaker 4: It fucking does, dude. I really can't hear it. It's amazing. Sorry, man,
Speaker 4: no nostalgia for that.
Speaker 2: I do like dire Straits a lot though, that Brothers
Speaker 2: and Arms, but it's like that's.
Speaker 1: A REAVERB on that or on the on there.
Speaker 2: It's tasteful, but like that, you know, I can't go.
Speaker 2: I can't go later in the eighties than that.
Speaker 1: Do you have prejudices like that, Dan, like musical? Oh god, yeah,
Speaker 1: not not.
Speaker 4: Absolutely. He's not the same prejudice, that's the thing.
Speaker 3: Yeah. No, I'm picky, man, I'm picky about I mean everything.
Speaker 3: I mean. That's like when people say that you guys
Speaker 3: are influenced by blues, It's like, yeah, but like what
Speaker 3: blues are we talking about? You know what I mean?
Speaker 3: Or like what hip hop are you talking about It's
Speaker 3: like we start getting into specifics. I mean, we love
Speaker 3: music too much to just generalize. Really at this point,
Speaker 3: we spend so much time thinking about it. It's like,
Speaker 3: you know, not everything's created equal. Yeah, not, you know
Speaker 3: freeze person is different.
Speaker 4: But yeah.
Speaker 2: It's like if you tell if they get someone's like
Speaker 2: I'm really in the wine, It's like, well, what does
Speaker 2: that actually mean? It means they're a complete fucking snob
Speaker 2: about what win to drink. It's like us about music.
Speaker 2: You know, hear the same, Oh I really love food.
Speaker 2: It's like, oh, do you want some ruffles? No, motherfucker? Like,
Speaker 2: I'm like, good, you want. It's a good call.
Speaker 1: We'll be back with the rest of the Black Keys.
Speaker 1: Shortly you mentioned it, like, do you just like how
Speaker 1: general the label blues can be? Like I feel like
Speaker 1: when people think blues, like the reactive thought is like
Speaker 1: Muddy Waters. But you know, I don't know if it's sacrilegious.
Speaker 1: I'm not really I don't really like Muddy Waters. No,
Speaker 1: you know, Like, but pretty quickly, I guess if you
Speaker 1: if you think about the blues, it's like Muddy Waters.
Speaker 1: Howland Wolf might be like the yeah, the two strains maybe,
Speaker 1: And it's like, I think I'm just more on that
Speaker 1: side of things, and I don't know.
Speaker 2: Yeah, the first blues album I ever heard was Electric Mud,
Speaker 2: So I love I love How, I love Al Wolf,
Speaker 2: and I love Muddy Waters, but I like the bastardized
Speaker 2: version of it all. That's right, But and I'm just
Speaker 2: now kind of getting into the other shit Dan's way
Speaker 2: into like Mississippi, Fred McDowell, all kinds of shit I'd
Speaker 2: never heard.
Speaker 4: He exposed me to all this stuff.
Speaker 3: Yeah, man, I loved like the raw, early primitive kind
Speaker 3: of blues like stuff from Memphis before they actually had
Speaker 3: like bass, you know, where it's just kind of like
Speaker 3: guitars and drums, a lot of like one man bands,
Speaker 3: two man band kind of stuff. Joe Hill Lewis and
Speaker 3: Doctor Ross, the Harmonica Boss, stuff like that. Those guys
Speaker 3: were my favorites.
Speaker 1: How did you How did you start discovering that stuff?
Speaker 3: My uncle Tim was really into blues music and has
Speaker 3: really great taste. He's a fucking snob too, and he
Speaker 3: hit me to some really cool stuff early on. But
Speaker 3: you know, right when we were starting to like get
Speaker 3: serious about music, that whole fat Powesome Records record label
Speaker 3: kind of came to be and started to have their moment,
Speaker 3: and it was really you know, it had a major
Speaker 3: effect on me, you know because for the first time
Speaker 3: these you know, I loved blues music, but it was
Speaker 3: all like antiquity, you know, it wasn't like current. But
Speaker 3: then the Fat Possum stuff came out and it was like, oh,
Speaker 3: these guys are real. You can go to the and
Speaker 3: they come to like the rock club in Cleveland, and
Speaker 3: I can go see them, you know what I mean.
Speaker 3: So it was like it was just so such a
Speaker 3: game changer, and so I started to like really get
Speaker 3: influenced by that. That scene in particular, which was very
Speaker 3: raw and stuff like Siddell Davis is really hard for
Speaker 3: people to listen to. You know, it's very out of tune,
Speaker 3: but you know it's also very beautiful.
Speaker 1: Yeah, which I guess is even more so. I mean, again,
Speaker 1: we were talking about the way a record's mixed, where
Speaker 1: you get when you get you think the records is
Speaker 1: gonna be great, you get it and it's mixed weird
Speaker 1: and it sucks. But then there's records that are mixed
Speaker 1: terribly and you wouldn't want them any other way.
Speaker 4: Yah.
Speaker 1: Almost times they try to wonder what would they sound
Speaker 1: like if they had been recorded. Well, that's sort of like, fuck,
Speaker 1: I don't know if I want to hear that.
Speaker 4: You know.
Speaker 3: It's like, yeah, a lot of blues music got messed
Speaker 3: up because it got recorded too well, you know what
Speaker 3: I mean. It's like I think jazz too Yeah, maybe, yeah,
Speaker 3: something about like that kind of like you know, music
Speaker 3: that's heavy on the improvisation. It's really nice to get
Speaker 3: it in a place that's not actually a recording studio,
Speaker 3: to where there's like a the room is kind of
Speaker 3: alive and more less of like a science laboratory, you
Speaker 3: know what I mean. And I think there's that's why
Speaker 3: some of the best recordings or you know, live recordings,
Speaker 3: field recordings, like my favorite Fred McDowell recordings were always
Speaker 3: the ones recorded at his house, you know, stuff like that.
Speaker 4: Yeah, the jazz definitely preferred.
Speaker 2: Jazz recorded at a like live of the village vanguarden
Speaker 2: type of ship always sounds much better.
Speaker 1: Whatever magics and like those Fred McDowell records recorded at home.
Speaker 1: That does that ever in your mind when you're recording
Speaker 1: stuff like it would be I want something like that
Speaker 1: I want to go for that, you know you're not
Speaker 1: going to get it, I guess, you know.
Speaker 3: I mean that's why we went to muscle Shoals, you know,
Speaker 3: that's why you know, that's probably why we recorded in
Speaker 3: an old tire factory instead of going to a studio.
Speaker 3: You know, it's all because of that. I think we've
Speaker 3: made most of our decisions based on that, you know.
Speaker 3: And you know, when I'm producing records too, you know,
Speaker 3: I've recorded a bunch of records in that houses when
Speaker 3: it was just as easy to record in a studio,
Speaker 3: when it was easier to record in the studio now,
Speaker 3: just because it was like musically more appropriate.
Speaker 1: You know.
Speaker 2: I was way into a music from Big Pink when
Speaker 2: I was like sixteen seventeen, and my dad was, you know,
Speaker 2: told me like they made this, you know, record in
Speaker 2: the basement of this house on the cover, and ever
Speaker 2: since then, I was like, that's that's that's the coolest
Speaker 2: you can do that. So yeah, I mean I got
Speaker 2: a four track when I was thirteen thirteen years old,
Speaker 2: started fucking around with one in my basement, making absolutely
Speaker 2: terrible shit. But yeah, the first time Dan and I
Speaker 2: had jammed, he came down, and at that time I
Speaker 2: had this Morant's pretty nice concept four track, and I
Speaker 2: don't think Dan had seen a four track yet.
Speaker 4: We just kind of sat there and.
Speaker 2: Started fucking around showing him that, and I would take
Speaker 2: it over to his parents house to be set up,
Speaker 2: like in their child bathroom, just to get different sounds.
Speaker 4: Sounded like shit, sounded like dog shit, but it was
Speaker 4: worth a shot.
Speaker 2: We used to do shit like too. I got think freakness.
Speaker 2: There's I'll forget what song it is, but damn wanted
Speaker 2: like a Leslie effect or something. I just started swinging
Speaker 2: the microphone in front of the amp while we recorded.
Speaker 2: It actually sounded fucking cool. That's kind of shit we
Speaker 2: would do, put like broken the record. Yeah, that's on
Speaker 2: the record.
Speaker 1: Was it like a first did you get that first take?
Speaker 4: Probably?
Speaker 1: I forget what song is, but it's there. That's pretty amazing.
Speaker 4: Yeah.
Speaker 2: Dan's uncle Tim Wants brought over this like Fender reverb tank,
Speaker 2: and then that became our whole identity for like about
Speaker 2: two months, just putting everything through that shit.
Speaker 3: Our first effect.
Speaker 1: Yeah, how does the no Rain, no Flowers? I heard
Speaker 1: the wrong mix? How different does the final mix sound?
Speaker 3: I mean you get the just the basic idea I think, yeah,
Speaker 3: it's not that far okay, but yeah, just a little
Speaker 3: bit more work to do.
Speaker 1: It was pretty It's a it's a pretty different record
Speaker 1: for you guys. Like the song I don't know sound icenically,
Speaker 1: it just sounded so different.
Speaker 3: Yeah, we've we've never really written with piano players before.
Speaker 3: It was one of the first times we've ever done that.
Speaker 3: So that kind of that instantly was like different for us,
Speaker 3: but natural. You know, it was like we wrote it
Speaker 3: together with with Rick Knowles in the studio here and
Speaker 3: it was like we worked really u quickly together. So
Speaker 3: it's just whatever sounds like it was. It was pretty
Speaker 3: natural the way that that it unrolled.
Speaker 1: You know, how did the writing go. I mean, was
Speaker 1: it was it based off jamming or was it based
Speaker 1: off of someone bringing something in?
Speaker 2: Rick likes to start with a song title, so he
Speaker 2: was asking what if we had any song titles, and
Speaker 2: that was one.
Speaker 4: That Dan had.
Speaker 2: And you know, writing with a keyboard player like we
Speaker 2: worked with. Yeah, Like I said, I guess a lot
Speaker 2: of keyboard players are on this record, and to see
Speaker 2: the way that they choose to voice chords versus you know,
Speaker 2: guitar obviously, it's just it's all kind of a lot
Speaker 2: of it's pretty. It was very fresh to us to
Speaker 2: hear what you can kind of get to, you know,
Speaker 2: and Rick's really good at that and it's a chord master.
Speaker 2: So to sit there and watch the guy, it's like
Speaker 2: master of his craft and been doing it for a
Speaker 2: long time. It's like, you know, the thing is is that,
Speaker 2: I mean, I've never sat in a room with a
Speaker 2: guy like that before. You know, we've we've worked with
Speaker 2: musicians that are writers that we're friends with, but to
Speaker 2: work with like someone whose sole job is that it
Speaker 2: was like, uh, you know, it's.
Speaker 4: Like going to songwriting school a bit.
Speaker 2: It was just to see how they how they choose
Speaker 2: to work, and then then to see how they entertain,
Speaker 2: you know, the way that we want to move the
Speaker 2: song forward, and like, don't get that collaboration thing happening.
Speaker 2: Like that's the cool thing with Rick is that we
Speaker 2: we wrote these songs with Rick like four or five
Speaker 2: months ago, and you know, he was in the studio
Speaker 2: a couple of days ago and we're sitting there still
Speaker 2: he's passionate enough about the ship that he still wants
Speaker 2: to make sure that we're getting everything, you know, and
Speaker 2: he has ideas and we have ideas, and so it's
Speaker 2: it's a it's a cool thing to see the see
Speaker 2: the process all the way through with someone that gives
Speaker 2: a ship.
Speaker 1: You know, you know, you want like tweaking songs still
Speaker 1: a couple of days ago, right, we're still tweaking ship still.
Speaker 1: Oh yeah, was my impression with that? You guys worked
Speaker 1: pretty quickly, But is it like I guess, working pretty
Speaker 1: quickly and then going back to something you know, like
Speaker 1: that's not It.
Speaker 4: Depends on what it is. You know.
Speaker 2: It's like we we record. We decided to do a
Speaker 2: cover of this song two days ago, and so we
Speaker 2: spent like three hours. We spent two hours tracking the
Speaker 2: basics and then getting a rough together, then another two
Speaker 2: hours the next day, and there's four hours all in
Speaker 2: on a song and it's maybe very close to donn.
Speaker 4: That's one way that we can do shit.
Speaker 2: And then another way is like this this method where
Speaker 2: it's like, you know, get with a songwriter and with Rick,
Speaker 2: maybe we'll write in two or three songs in a day,
Speaker 2: and then there's like you know, then you started to
Speaker 2: get into that start trying to figure out how to
Speaker 2: do this, and then maybe there's multiple approaches to it.
Speaker 2: But once you get to a point where you have
Speaker 2: seventeen songs going, it's like if you go in for
Speaker 2: a day of work, even if you only want to
Speaker 2: do a little bit on like half those songs, whether
Speaker 2: it's just overnumber two, you know, you're talking about five
Speaker 2: hours of work to touch all the songs a little bit,
Speaker 2: you know, so the record takes it can take time.
Speaker 1: What song did you guys decide to cover.
Speaker 3: We're gonna let it be a surprise.
Speaker 4: I think, Yeah, it's a surprise.
Speaker 1: Yeah, all right, all right, we.
Speaker 3: Just cut it yesterday. We haven't even had time to
Speaker 3: think about it yet.
Speaker 2: Yeah, all right, I'll tell you what it is. We're
Speaker 2: doing a compilation of songs considered the world's worst songs,
Speaker 2: and we're trying to make them good. And this is
Speaker 2: We Built this City. It's our cover of Jefferson Starship
Speaker 2: We Built the City, written by Bernie Tappin.
Speaker 4: You guys made a documentary, right, we didn't, but some
Speaker 4: but there has been one made.
Speaker 1: Is that coming out? Not coming out? Sounds like not
Speaker 1: too exciting? No, I think I think it come out? Yeah,
Speaker 1: you know, we've we've just been fucking grinding in the studio.
Speaker 4: Bro.
Speaker 2: Yeah, I think since between you know, we I think
Speaker 2: we've you know, we've been really on this creative streak
Speaker 2: right lately.
Speaker 4: So we've just been focused on that, you know. And
Speaker 4: now we're about to put this out and we're gonna
Speaker 4: go on the road a bit this year, and uh, you.
Speaker 3: Know, yeah, we're getting ready to not be able to
Speaker 3: like go in the studio very often. There's lots of
Speaker 3: shows coming up, so got it.
Speaker 4: I'm trying to get it in while we can.
Speaker 1: Yeah, that is that a fun shift to make going
Speaker 1: from the studio on tour.
Speaker 4: You know, I think I think tours fun. Playing the
Speaker 4: shows is fun.
Speaker 2: It's just about I think we you know, like if
Speaker 2: you like, are drink too much tequila, like you might
Speaker 2: never want to like taste it.
Speaker 3: Again.
Speaker 2: We almost got there kind of with touring before. So
Speaker 2: it's like there's a little bit of that, you know,
Speaker 2: a little bit of that sense memory of what it
Speaker 2: feels like to be on the road for an entire year.
Speaker 2: So even though we have like it's only like maybe
Speaker 2: fifty or forty five shows, it's still like, you know,
Speaker 2: and now that we have kids. You know, Dance had
Speaker 2: kids for you know, seventeen years, but I've only ever
Speaker 2: toured like twice with the kids and now, so like,
Speaker 2: you know, it's a little bit it's hard to get away.
Speaker 2: Well then I guess once I'm away, it's kind of good.
Speaker 2: I get more sleep. But I think I think, I
Speaker 2: think that we're excited about doing some shows. We're going
Speaker 2: to open up the set list. I feel like it's
Speaker 2: like it's it's the thing that you got to do.
Speaker 2: It's the thing that the fans want, and so they
Speaker 2: just make the most of it. And I think one
Speaker 2: thing we've talked about is just like really kind of
Speaker 2: opening up our set list.
Speaker 4: You know.
Speaker 2: When we kind of did this transition, like started moving
Speaker 2: into the arenas around brother Zell Camino, it was like,
Speaker 2: you know, getting into this whole different thing that we
Speaker 2: never not only I'd never experienced, but Dan had only
Speaker 2: ever been to like one arena show and I'd never
Speaker 2: been to arena show. So it was like we were
Speaker 2: now playing our job, was not doing something that we'd
Speaker 2: never even experienced. Yeah, and so it was kind of
Speaker 2: I feel like with the lights and the whole thing,
Speaker 2: it's like I feel like we started kind of like
Speaker 2: maybe losing sight of the catalog that we've created.
Speaker 1: Were they fun show?
Speaker 4: Like?
Speaker 1: Were they fun to play arenas?
Speaker 3: Yeah?
Speaker 4: Absolutely, Yeah, any show, any show can be fun.
Speaker 3: Yeah, it's all. It all depends on the audience. Play festival,
Speaker 3: you know, it really helps when there's an open pit
Speaker 3: in the front. You know, Yeah, when the when you're
Speaker 3: in an arena and it's seated, or when you're in
Speaker 3: a theater and it's seated, it's like it's hard, it's
Speaker 3: not so much so so much fun to play rock
Speaker 3: and roll in those kind of places.
Speaker 2: Or we're on stage and there's like a football field
Speaker 2: between you and the front.
Speaker 4: Yeah, like festival, you know there's where there's like.
Speaker 2: You know, the energy from the crowd is there is
Speaker 2: crucial crucial that's like the most How does that get decided?
Speaker 1: I mean, obviously a festival that's kind of out of
Speaker 1: I mean, that's just up to somebody somewhere. But when
Speaker 1: it's like a black Key show and you're going you
Speaker 1: know to a different city to city, like, are you
Speaker 1: guys allowed to dictate like how like front the first
Speaker 1: ten rows are seated or not?
Speaker 2: Or you know, I mean if you're playing in an
Speaker 2: ample theater, you're kind of stuck with whatever's there. If
Speaker 2: you're in an arena, you get a little bit of choice,
Speaker 2: you know, to a certain degree.
Speaker 4: But there's certain rooms where it's.
Speaker 2: Just you know, designed to to be that way, like
Speaker 2: the Oregon Theater in Chicago, Brickson Academy in London, the
Speaker 2: Zenith Barrow Lands, like there's these rooms there are like
Speaker 2: four just six thousand seeds, like the Anthem and DC.
Speaker 2: The rooms that are like four or five six thousand
Speaker 2: seat big rooms, big theaters with an open floor.
Speaker 4: Those are those are those are the that's the sweet
Speaker 4: spot for us.
Speaker 1: Is there a world where you guys would say like
Speaker 1: we're only ever going to play those or primarily.
Speaker 2: Well, I don't think enough of them exists to you
Speaker 2: just be playing the same ten cities. But those are
Speaker 2: the most fun, you know, I think it's almost worth
Speaker 2: it to just do a couple of nights in those
Speaker 2: versus a you know, hitting some stuff where it's you know,
Speaker 2: you might miss energy. But it's the same time, part
Speaker 2: of the fun of this job is traveling. You know,
Speaker 2: it's just about how much you do, and it's like
Speaker 2: it could be fun like, you know, to hit up
Speaker 2: some of these you know, off the beaten paths cities
Speaker 2: and stuff. It's just about how long you're out there for,
Speaker 2: you know. But I'm excited about our first Legacy tours,
Speaker 2: like three weeks. That's it's like, that's the ideal amount.
Speaker 2: We have to go to Europe for a month. That's
Speaker 2: that's a little bit much. And it's like funny because
Speaker 2: every time we go to Europe, and this has been
Speaker 2: the case except with the exception of one or two
Speaker 2: tours for twenty years, it's like you're not going to
Speaker 2: make any money, but it's really important to get over
Speaker 2: there and do this thing. I was like, well, who's
Speaker 2: making this money? Because we're earning it, like it's coming in.
Speaker 2: There's like millions of bucks, bro, But where.
Speaker 4: Does it go? Dog?
Speaker 1: Did you find that out?
Speaker 4: Yeah? I did find it out.
Speaker 3: We just have to do one more tour and then.
Speaker 2: Yeah, we will tell us they're always like one more tour.
Speaker 2: We had done this tour. This is in twenty twelve, dude,
Speaker 2: that's the year that gave us like that's tequila taste
Speaker 2: of tour. We were on the road all year and
Speaker 2: we had just finished playing writing Festival right outside London,
Speaker 2: and yeah, we were about to go home for a
Speaker 2: month off and then we and then we had uh
Speaker 2: to still do the West coast of the US and Australia,
Speaker 2: so we still had like four weeks of touring left
Speaker 2: and we just gone all year and our agent comes back.
Speaker 2: He's like, I need you to come back in December.
Speaker 2: Right where come back way? He's like, you got to
Speaker 2: do more Europe December. You got to And we had
Speaker 2: just played three nights at this place, Ali Alexandria Palace,
Speaker 2: so we sold like thirty thousand tickets in London. Plus
Speaker 2: we had just played the Writing Festival direct support to
Speaker 2: food Fighters, so we'd already sold thirty thousand tickets in
Speaker 2: the city. And he like, I need you back. You
Speaker 2: got to really prove, you know, you got to really
Speaker 2: like this is gonna you know, uh, it's going to
Speaker 2: set the tone. You know, you got to go to
Speaker 2: you gotta do like a Marquee show. So we need
Speaker 2: you back. Two nights. We went back to London, the
Speaker 2: two nights at the O two Arena. So in like
Speaker 2: one year we sold like fifty five thousand tickets just
Speaker 2: in London.
Speaker 4: And I still don't know if we made money on
Speaker 4: that tour.
Speaker 2: Actually I don't think that we didn't.
Speaker 4: You can't you audit that kind of thing. This sketchy dude, what.
Speaker 1: In hindsight would you go back?
Speaker 4: Like?
Speaker 1: Is that was that the problem? Just what's that saying?
Speaker 4: Though?
Speaker 2: No, I think that that's the problem with the that happened,
Speaker 2: Like it can happen. It's just like you got to
Speaker 2: know when to say when. Like the other day, just
Speaker 2: so today, like you know, our manager called and was like,
Speaker 2: we got to you know, we have this tour that's
Speaker 2: already too long to go to Europe and they're like,
Speaker 2: we got to offer to go to to add on
Speaker 2: to this one more show. And I'm just like, it
Speaker 2: doesn't really matter how much it's going to pay or
Speaker 2: what it is. It's like it can't it can't do that.
Speaker 2: That's the time slot. That's the thing, because I always
Speaker 2: gets you by the balls. But be like, you know,
Speaker 2: the next tour, next time you go back, it's always happens.
Speaker 2: But you've learned now, Well that's why if you look
Speaker 2: like the interview with What's your Face Kate Nash, I
Speaker 2: saw like she's did an interview about like you know,
Speaker 2: touring what touring looks like for her. And you know,
Speaker 2: I think people who aren't in the industry like see
Speaker 2: that and are like, what, you know, what's she on about? Like,
Speaker 2: but no, what she's saying is one hundred percent accurate.
Speaker 2: You know what did she say? She says she's just
Speaker 2: going on a month on tour of Europe. Everything's basically
Speaker 2: sold out. She's not making money. That's that's the reality
Speaker 2: of what this touring has become because they you know,
Speaker 2: once all the money went away from the recording side,
Speaker 2: then the people that like suck the life out of
Speaker 2: suck the money out of the music industry, they have
Speaker 2: to go into the live side because that's where all
Speaker 2: the money is, and they saw people making it tons
Speaker 2: of money. I mean the Taylor Swift's tour did like
Speaker 2: what like six billion dollars. Yeah, people are going there
Speaker 2: to get the money. The cost of like renting a
Speaker 2: bus is like four x what it was ten years ago.
Speaker 2: You know, you got your commissions or taxes, the the
Speaker 2: you know what people expect to get paid to go
Speaker 2: on tour with you so way up, you know, as
Speaker 2: it should because inflation is crazy. So then the only
Speaker 2: thing that hasn't gone up, but has maybe gone down
Speaker 2: is the fees that are coming into the band.
Speaker 4: You know, ticket.
Speaker 2: Prices up, hotels are up, all the all the vendors
Speaker 2: are up. Everything's way out of control.
Speaker 4: But like.
Speaker 2: The amount of money that hits the you know, the
Speaker 2: actual musicians is way down.
Speaker 4: Yeah, we're excited about this album.
Speaker 2: But yeah, I was gonna say that trying to say
Speaker 2: this earlier, it was just like, you know, part of
Speaker 2: this whole thing is like figure out how to like
Speaker 2: how to like roll record out, how to like you know,
Speaker 2: and so for us, it's kind of like for me
Speaker 2: at least, it's like the most exciting thing about making
Speaker 2: music is like people kind of get to That's like
Speaker 2: the one perk of this. It's like people get to
Speaker 2: experience music for the first time together. And I feel like,
Speaker 2: you know, we're giving the first peek in this record
Speaker 2: in February, and the record doesn't come out until way
Speaker 2: later in the year. But I think that the reason
Speaker 2: is just so we can find a few more other
Speaker 2: special moments to introduce these songs in a way that
Speaker 2: thoughtful and fun for the fans.
Speaker 4: So yeah, we got a lot of cool shit to
Speaker 4: share this year.
Speaker 2: I mean, I think I think the reason why we
Speaker 2: never got into writing on the road is because we've
Speaker 2: always been like a band that writes and makes music
Speaker 2: centered around creating a master essentially, you know, like it's
Speaker 2: always been about the recording since day one.
Speaker 4: It's been like since.
Speaker 2: Literally the first time we officially like kind of started
Speaker 2: this band, it was like we were making we made
Speaker 2: a recording, and then after that it was like, when
Speaker 2: we get together to make music, it's it's it's it's
Speaker 2: based around that. So on the road, it's like we're
Speaker 2: gonna put a studio in your bus, like a fucking idiot, Like,
Speaker 2: come on.
Speaker 1: Why would that make you a fucking idiot?
Speaker 4: It's just like sleep on your bus.
Speaker 2: It's gonna sound like shit, there's a fucking diesel engine below.
Speaker 4: Come on, Like, you can't.
Speaker 2: Tell me that what you're doing is so valuable. I
Speaker 2: have to be recording eight hour. I have to have
Speaker 2: my studio with me on the road in the bus.
Speaker 2: Do you know anyone that does that?
Speaker 4: No, just I M start doing.
Speaker 1: Don't be a fucking idiot man, just sleep man. Well,
Speaker 1: good luck on the road, Thank you, Thanks, look forward
Speaker 1: to hearing the record, and uh, I hope you guys
Speaker 1: make some money.
Speaker 3: You know.
Speaker 4: Me too, Thanks man, Thanks dude.
Speaker 1: Later y'all see it does Dan Arbach and Patrick Carney
Speaker 1: of the Black Keys. Their new album, No Rain, No
Speaker 1: Flowers is out later the spring, with the worldwide tour
Speaker 1: starting in May. You can hear our favorite songs from Dan,
Speaker 1: Patrick and the band on a playlist at broken Record
Speaker 1: podcast dot com. To see the video version of this episode,
Speaker 1: visit YouTube dot com slash Broken Record Podcast and be
Speaker 1: sure to follow us on Instagram at the Broken Record Pod.
Speaker 1: You can follow us on Twitter Broken Record Broken Record
Speaker 1: is produced and edited by Leah Rose, with marketing help
Speaker 1: from Eric Sandler and Jordan McMillan. Our engineer is Ben Tollinay.
Speaker 1: Broken Record is a production of Pushkin Industries. If you
Speaker 1: love this show and others from Pushkin, consider subscribing to
Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers
Speaker 1: bonus content and ad free listening for four ninety nine
Speaker 1: a month. Look for Pushkin Plus on Apple podcast subscriptions.
Speaker 1: And if you like this show, please remember to share, rate,
Speaker 1: and review us on your podcast a. Our theme music's
Speaker 1: by Kenny Beats. I'm justin Richmond,