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Speaker 1: Hey, I'm Norah Jones and today I'm reliving playing alone

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Speaker 1: with Dave Girl.

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Speaker 2: I'm just playing.

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Speaker 3: With you.

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Speaker 1: I'm just playing lone with you. Hi. I'm Norah and

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Speaker 1: with me is Sarah.

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Speaker 2: Hi.

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Speaker 1: How are you? I'm good? How are you?

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Speaker 4: I am good?

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Speaker 3: Today we're revisiting one of our favorite episodes from the archive,

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Speaker 3: our episode with the one and only Dave Girl. Of course,

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Speaker 3: he's been a legend in rock history from his time

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Speaker 3: with Nirvana to Foo Fighters, and I love this episode

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Speaker 3: because I feel like you just see a different side

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Speaker 3: of him.

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Speaker 1: Yes, this was a fun one to record. I love

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Speaker 1: playing with Dave, have known him for a long time.

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Speaker 1: And it's a good time to revisit this episode because

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Speaker 1: Foo Fighters have a new album coming out.

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Speaker 3: That's right, it's coming out April twenty fourth. It's called

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Speaker 3: Your Favorite Toy and the title track is out now,

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Speaker 3: so be sure to check that out. Yay, So, have

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Speaker 3: you missed it the first time or if you just

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Speaker 3: want to hear it again, here's our episode Dave Cool.

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Speaker 1: Hope you enjoyed this episode.

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Speaker 4: The funniest part of that whole Kennedy Center experience was

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Speaker 4: hanging out with Steven.

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Speaker 1: Tyler Oh, he was a hoot.

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Speaker 4: He was amazing. But I got stuck behind him at

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Speaker 4: a metal detector no, and it was like a good

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Speaker 4: twenty minutes of my life.

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Speaker 1: Why if he made out of me ring?

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Speaker 5: Oh, ring, ring, necklaces, necklace, nacklace.

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Speaker 1: It was just likeous.

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Speaker 4: I know, I felt like I was at Tiffany's. It

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Speaker 4: was completely insane. But yeah, what a crazy experience. You know.

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Speaker 4: One of the coolest things about that that weekend was

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Speaker 4: there was that rehearsal stage. It was off to the side.

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Speaker 4: First of all, I grew up in DC. I grew

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Speaker 4: up outside.

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Speaker 1: That's right where in.

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Speaker 4: Alexandria, Virginia, just outside, and so you know, as a kid,

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Speaker 4: we would go to the Kennedy Center on like field

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Speaker 4: trips or sometimes like there'd be a show and the

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Speaker 4: family would go. I saw Beatlemania there kid, And so

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Speaker 4: the Kennedy Center was always this really really special place,

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Speaker 4: even just to go, you know, it seemed like one

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Speaker 4: of the museums, almost like a museum of music. You

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Speaker 4: had the Smithsonian, but then to go to the Kennedy

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Speaker 4: Center it was such a huge deal. And then to

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Speaker 4: be invited to it to play, so I was I

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Speaker 4: was freaking out. I'm like, oh my god, this is

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Speaker 4: the coolest thing I've ever done in my life.

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Speaker 1: That was the first time you'd been invited to do

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Speaker 1: something there.

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Speaker 4: No, okay, I went once when they were honoring the

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Speaker 4: who Ah And it was during you guys can come in,

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Speaker 4: It's fine. It was during the George W. Bush administration,

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Speaker 4: so you felt conflict. Well, yes, I didn't necessarily agree

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Speaker 4: with a lot of the politics at the time. But

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Speaker 4: one of the things that was really cool about those

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Speaker 4: Kennedy Center events was that people could kind of put

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Speaker 4: aside their differences and just be there for their music. Yeah,

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Speaker 4: and you know, you'd go to those receptions and you

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Speaker 4: would meet people from both sides of the aisle. And

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Speaker 4: having grown up outside of DC, the reason why my

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Speaker 4: family moved to d C was because my father was

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Speaker 4: a journalist, he was a writer, and he was a

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Speaker 4: conservative Republican. My mother was a public school teacher and

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Speaker 4: she was much more at liberal Democrat. So I kind

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Speaker 4: of grew up in this world where both of those

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Speaker 4: things can coexist. They divorced, but whatever, Like, I was

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Speaker 4: kind of in the middle of those two things, so

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Speaker 4: you know, I could hang out with my father's friends

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Speaker 4: on the weekend when I was a kid, and we'd

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Speaker 4: go to Georgetown and you know, they'd sit at this

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Speaker 4: bar and have cocktails and talk politics and not really

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Speaker 4: everybody agreed on everything, but they could at least like

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Speaker 4: sit and have a cocktail and talk politics without like

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Speaker 4: a brawl.

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Speaker 1: That's kind of what we're missing totally.

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Speaker 4: That old environment that fun, like all the president's men,

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Speaker 4: like VW bugs and corduroys and cigarettes and the elevator

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Speaker 4: and Scotch on the weekends or whatever. That's how I

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Speaker 4: remember Washington, d C. Much different than it is now.

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Speaker 4: But anyway, but being at those events, getting to really

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Speaker 4: sit and talk to different people. At that one with

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Speaker 4: George Bush, w you know, they do the metal ceremony

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Speaker 4: in the East Room of the White House and afterwards

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Speaker 4: it was around Christmas, and afterwards they said, hey, do

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Speaker 4: you want to get your picture taken with the President?

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Speaker 4: And there was that part of me that was like

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Speaker 4: really kind of politically conflicted, But then I decided, well,

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Speaker 4: we're here, and we're here to be a part of

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Speaker 4: this event, and we're here to honor the musicians whatever.

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Speaker 4: So I my wife and I walked into the room

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Speaker 4: next to the Christmas tree to get our picture taken,

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Speaker 4: and I greeted the first lady and then I said

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Speaker 4: hello to him, and I mean, I look like this right,

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Speaker 4: I don't look like a marine or a Republican or

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Speaker 4: a politician or everything. And he looks at me and

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Speaker 4: he goes really loud. He goes, where are you from?

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Speaker 4: And I was like, uh, just right over the bridge

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Speaker 4: over there. We're facing like the south lawn. I'm like,

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Speaker 4: just over in Virginia. He's like, oh, what are you

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Speaker 4: doing here? I said, I'm doing a song with the

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Speaker 4: for the Who. He's like, oh cool. And we got

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Speaker 4: a picture taken, and then I go downstairs. At the time, Jordan,

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Speaker 4: my wife was pregnant, and she had left her coat

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Speaker 4: in the coat room and I was going to try

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Speaker 4: to find it before we went down to the Kennedy Center.

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Speaker 4: So I was downstairs looking for the coat room and

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Speaker 4: was lost in the White House and all of a sudden,

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Speaker 4: these secret Service people come through the hallway and they're

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Speaker 4: like they're like, everybody step beside. President's coming through and

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Speaker 4: I kind of like hugged the wall and here he

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Speaker 4: comes and he's walking and he looks me dead in

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Speaker 4: the eyes and he goes, I see you down there, dude,

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Speaker 4: and I was like, oh my god, I want to

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Speaker 4: get wasted with this guy. I wanted totally hang and

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Speaker 4: have cocktails and stuff. That was the thing. Oh but

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Speaker 4: the one, the one for Paul, that was so cool.

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Speaker 4: There was that rehearsal space that was sort of on

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Speaker 4: the side of the main stage, and I was sitting

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Speaker 4: there waiting. I think Steven Tyler was performing, rehearsing his thing.

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Speaker 4: And I looked and I saw there's a house band

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Speaker 4: and I saw one of the horn players was Blue

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Speaker 4: Lou Marini from the Blues Brothers band.

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Speaker 1: Wow.

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Speaker 4: And when I was a kid, I was obsessed, fucking

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Speaker 4: obsessed with I had Beatles records, Steve Martin records, and

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Speaker 4: the Blues Brothers record and that was like, that's my

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Speaker 4: musical foundation, Like Steve Martin at the Beatles, that's it.

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Speaker 1: That's perfect.

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Speaker 4: But then to see Blue Lou and he was kind

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Speaker 4: of sitting by himself in the corner and I walked up.

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Speaker 4: I star fucked him so hard. It was just like

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Speaker 4: mister Marine. He's like, yeah, I'm like, oh my god,

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Speaker 4: I freaked out so bad on him.

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Speaker 1: That's so fun. Yeah, I mean yeah, meeting people like

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Speaker 1: that you probably made his day too. He was probably stoked.

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Speaker 4: I just I still honestly feel like that first of all,

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Speaker 4: like meeting those heroes, like, it's never lost on me.

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Speaker 1: Yeah, I never go it doesn't seem like it is.

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Speaker 4: Yeah, it doesn't feel like that at all. It's that

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Speaker 4: first moment of feeling like, oh my god, that person's real.

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Speaker 4: This is like three D this is actually happening right now. Yes,

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Speaker 4: But then over time you start to realize like, oh,

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Speaker 4: it's kind of just like this community of people that

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Speaker 4: like to play music.

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Speaker 1: Yeah, it is, like it's it.

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Speaker 4: Can be as simple as that. Or you can flip

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Speaker 4: out and you know, meet one of your big heroes

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Speaker 4: and lose your mind. But I do that, you know,

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Speaker 4: there's there are also times where I get more nervous

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Speaker 4: to meet people who are relatively unknown, like punk rock heroes.

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Speaker 1: Yeah.

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Speaker 4: Then there was once when we played a Music Cares

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Speaker 4: thing and we were doing a song for Neil Diamond.

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Speaker 4: I didn't grow up listening to Neil Diamond. I did

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Speaker 4: it for this friend of mine who passed away. His

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Speaker 4: mom was a huge Neil Diamond fan, so I flew

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Speaker 4: her out from Virginia because I thought, oh shit, if

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Speaker 4: we do this, she'll get to meet Neil Diamond. This

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Speaker 4: will be huge after losing her son, Like, this will

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Speaker 4: be huge. But I never listened to Neil Diamond, so

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Speaker 4: when I met him, it was just like, oh yeah,

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Speaker 4: he's like this cool dude. Like I didn't freak out

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Speaker 4: at all. But then, like the first time I met

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Speaker 4: the singer of like the Jesus Lizard or The Dead Kennedy's,

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Speaker 4: I'm just like, you know, he completely lose my mind.

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Speaker 1: When I met you, I felt really like a stone,

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Speaker 1: Like I don't know what your memory of it is.

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Speaker 1: But when I came in to sing Virginia Moon, yeah,

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Speaker 1: I was like so excited to meet you, but I

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Speaker 1: don't know how to show it sometimes and it gets

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Speaker 1: inward and then I like, I'm a stone. There's something

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Speaker 1: I do that's weird like that because I grew up

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Speaker 1: air drumming to you.

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Speaker 4: Oh really, yes, oh shit.

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Speaker 1: I have this vivid memory of listening to never Mind

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Speaker 1: in my aunt and uncle's bedroom spare room and just

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Speaker 1: like air drumming the shit out of it.

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Speaker 4: Are you a drummer?

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Speaker 1: I'm I'm a drummer on the inside waiting to come out.

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Speaker 4: What are you waiting for?

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Speaker 1: No, but I would just like go nuts, and I

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Speaker 1: don't know. So I was excited to meet you.

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Speaker 4: Wow, that's so weird. But I was nervous to meet

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Speaker 4: you because you're an actual musician and there's not too

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Speaker 4: many of those around here.

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Speaker 2: Yeah.

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Speaker 4: Well, in our world, it's just a bunch of people

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Speaker 4: that like, I feel.

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Speaker 6: Like we all are though.

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Speaker 1: I mean, you know, actual musicians, We're all actual musicians.

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Speaker 4: That makes me feel so much.

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Speaker 1: You're an actual musician. I'm an actual musician.

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Speaker 4: You are an actual musician.

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Speaker 1: Sometimes I don't feel like it's doing this. I'm like,

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Speaker 1: what the fuck am I doing? How do I play

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Speaker 1: this song?

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Speaker 4: Really?

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Speaker 1: And usually when I get in the room with the

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Speaker 1: person and then we're doing it together, it's like, oh, yeah,

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Speaker 1: I do know how to do this, but I don't know.

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Speaker 1: Sometimes it's like you go in a room with someone

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Speaker 1: and you overthink the moment, and then the moment is

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Speaker 1: just an easy moment, and then if you overthink it,

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Speaker 1: it becomes difficult.

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Speaker 4: Well, there's also like, I'm sure at this point you

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Speaker 4: feel like with your voice, your voice sounds so beautiful

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Speaker 4: and so natural, that I can't imagine you have to

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Speaker 4: think much about singing, and that's kind of the way

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Speaker 4: I am with drums. Yeah, Like I don't really have

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Speaker 4: to think about what I'm going to do next. And

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Speaker 4: there's sort of this and not that I'm the best

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Speaker 4: term in the world, but it's like there's this, yeah,

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Speaker 4: you're coming out there, there's this there's this disconnect from

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Speaker 4: like or maybe it's a connection from my head to

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Speaker 4: my hands. Yeah, and my body will just do the

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Speaker 4: thing that fits with the music, you know. So whenever

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Speaker 4: I sit down and play the drums, it's like I

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Speaker 4: feel totally at home. I feel totally comfortable and just

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Speaker 4: like good, okay, well this is like it's relaxing to me,

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Speaker 4: even if it's like beating the fucking shit out of

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Speaker 4: the drums. To me, it makes me feel really really

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Speaker 4: happy because I just get to let loose and not

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Speaker 4: think about stuff.

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Speaker 1: That's the best.

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Speaker 4: It's the best, whereas everything else I do, Like in

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Speaker 4: the Food Fighters.

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Speaker 1: You've made it hard on yourself totally.

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Speaker 4: I mean, I honestly think like after Nirvana ended, I

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Speaker 4: had the opportunity to go keep playing the drums for

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Speaker 4: other people, but I kind of knew that I could

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Speaker 4: do it, and then there was this other weird thing

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Speaker 4: that I had just experimented within the studio where I

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Speaker 4: was playing guitar and I was singing and stuff. I

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Speaker 4: was unsure if I could do that, and that was

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Speaker 4: really a big part, like, Okay, I did that. I

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Speaker 4: know I can do that, so I'm gonna try doing

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Speaker 4: this other thing. And the intention really was like basically

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Speaker 4: just to keep playing music, but also to do something

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Speaker 4: that I didn't really know that I could do it,

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Speaker 4: and that was sort of the excitement of doing it.

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Speaker 1: I think the challenge is exciting, right without questions, and

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Speaker 1: then once you do it, it's like.

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Speaker 4: Yes, yeah, like if you really nail something, yeah. I

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Speaker 4: was explaining this to someone recently that we were talking

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Speaker 4: about my daughter Violet, who has this fucking beautiful voice.

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Speaker 4: She's amazing. She's got this great voice, and she's just

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Speaker 4: like intrinsically musical and can figure out instruments really quickly,

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Speaker 4: and she's got amazing pitch and this really soulful voice

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Speaker 4: and she has it. She's the real deal. And she

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Speaker 4: sings with this confidence which is kind of beyond her years.

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Speaker 4: It's almost like she's been doing it her whole life,

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Speaker 4: which she has. But when she gets out to play live,

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Speaker 4: and someone said, god, she's so confident. Does she get nervous?

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Speaker 4: I'm like, oh, absolutely, But we were talking about those

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Speaker 4: like thirty steps from the side of the stage to

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Speaker 4: the microphone, and the courage that it takes just to

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Speaker 4: go from here to there and then go do it.

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Speaker 4: That that those thirty steps, that's ninety nine percent of it,

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Speaker 4: just to like run out there and have the courage

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Speaker 4: to bury your soul to a bunch of people or

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Speaker 4: you know, yeah, what she does. She's such a sensitive, beautiful,

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Speaker 4: brilliant person. But like most arted, she has this real

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Speaker 4: vulnerability for her to like just stand out there and

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Speaker 4: do it, and then to do it the way she does.

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Speaker 1: It is like wow, yeah, it's the thing. She's got

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Speaker 1: a beautiful voice.

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Speaker 4: She got a great voice.

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Speaker 1: Okay, you want to try, you want to try statues? Yeah,

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Speaker 1: me see, does this is you on piano on the recording?

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Speaker 4: It is, Oh my god, this is so dumb.

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Speaker 1: It sounds great.

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Speaker 4: Okay, So this is a long time ago. This is

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Speaker 4: I don't know, fifteen years ago or something. Fourteen years ago.

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Speaker 4: My birthday was coming up and my dream car was

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Speaker 4: like an old Dodge hemy I think the car from

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Speaker 4: Blue Velvet. I can't remember if it's a Challenger, but

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Speaker 4: like a really badass, like seventies, like muscle car. And

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Speaker 4: I've been talking about it a lot with my wife,

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Speaker 4: kind of hinting but not obnoxiously. And my birthday was

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Speaker 4: coming up and she's like, she's like, wait, do you

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Speaker 4: see what I got your career birthday? And I'm like okay.

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Speaker 4: She goes, you need to be here on Tuesday. It's arriving,

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Speaker 4: and I'm like, she called me the fucking car. I

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Speaker 4: was so fucking psyched. And we have this long driveway

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Speaker 4: that comes up to the house and she's like, okay,

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Speaker 4: it's here, and we were standing at the front door.

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Speaker 4: I'm like, I'm like, I'm going to hear a muscle

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Speaker 4: car coming up the driveway. It's gonna be fucking amazing.

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Speaker 4: And I'm say there waiting, waiting, and all of a sudden,

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Speaker 4: I look and there's two guys pushing a fucking piano

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Speaker 4: up my driveway. I'd never played piano before, never, no ever,

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Speaker 4: and I was like, oh, thank you. And so so

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Speaker 4: eventually I started sitting down at it and just figuring

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Speaker 4: it out, and you know, it was really cool because

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Speaker 4: having done this my whole life, this is guitar's my

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Speaker 4: first instrument, and having done that, just like having this

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Speaker 4: new like template or palette and the notes are kind

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Speaker 4: of funny play and in your hands are doing these

305
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Speaker 4: weird things. It was really like I felt like a kid.

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Speaker 4: I felt like I was just starting over with this thing.

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Speaker 4: And I started writing a bunch of piano songs and yeah,

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Speaker 4: this is maybe like sixteen years ago, and this is

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Speaker 4: one of the songs. And one of the things that

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Speaker 4: I loved about about the piano was that it kind

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Speaker 4: of opened up my love of AM Gold radio like

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Speaker 4: in the seventies. That's the shit I grew up on,

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Speaker 4: like Jerry Rafferty and Andrew Gold and Phoebe Snow and

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Speaker 4: Helen Ready and Carly Simon, shit like that. That's the kind

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Speaker 4: of stuff I listened to when I was a little kid,

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Speaker 4: try around in the car with my mom. So I

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00:18:03,000 --> 00:18:07,520
Speaker 4: still have this love of kind of really gentle, melancholy,

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Speaker 4: pretty melody and harmony. And the guitar line in this

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Speaker 4: is totally Baker Street by Jerry Rafferty.

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Speaker 5: Okay, it's exactly what yes, I could see if I

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Speaker 5: really remember it.

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Speaker 4: I'm totally just trying to remember it, Okay.

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Speaker 1: I think that's cool though, because I think when I

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Speaker 1: started playing guitar, I wrote a bunch of songs that

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Speaker 1: were totally different from anything I would have ever written

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Speaker 1: on the piano, because I was limited to certain chords

327
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Speaker 1: that were just different than what I would normally play.

328
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Speaker 1: And I think that's the best.

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Speaker 4: Well also, and I'll explain it and maybe some of

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Speaker 4: the other songs that we do. I really only took

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Speaker 4: a couple of guitar lessons when I was young, and

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Speaker 4: then I just started to kind of figure it out.

333
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Speaker 4: But I kind of look at the guitar as a

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Speaker 4: drum set in a weird way. So a lot of

335
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Speaker 4: the stuff that I do is sort of percussive, and

336
00:19:27,160 --> 00:19:33,440
Speaker 4: they're all kind of syncopated drum patterns, like a song

337
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Speaker 4: like ever Long, like that dud Dan da, And so

338
00:19:38,600 --> 00:19:42,920
Speaker 4: I'll use like the lower strings as like kicks and snares,

339
00:19:43,680 --> 00:19:48,719
Speaker 4: and then I'll use the higher strings as symbols, and

340
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Speaker 4: so when a chorus comes around, I'll do more like

341
00:19:56,320 --> 00:19:59,520
Speaker 4: and let those sort of those notes hang out like

342
00:19:59,560 --> 00:20:06,280
Speaker 4: I was on a symbol but yes, it was cool

343
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Speaker 4: to figure out songs on the.

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Speaker 1: That's cool the way you think about it.

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Speaker 4: Okay, let's see wait, I.

346
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Speaker 1: Like you use all these two chords.

347
00:20:20,160 --> 00:20:20,560
Speaker 4: Are used?

348
00:20:20,560 --> 00:20:22,680
Speaker 1: What two chords?

349
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Speaker 4: That is? That?

350
00:20:27,160 --> 00:20:32,439
Speaker 1: What that is? No, I'm not going to it's funny.

351
00:20:32,480 --> 00:20:35,800
Speaker 4: Actually there was once when there was this uh we

352
00:20:35,880 --> 00:20:38,159
Speaker 4: decided to take Violet, my daughter when she's little, she

353
00:20:38,240 --> 00:20:42,720
Speaker 4: was like four or five, to to this class called

354
00:20:42,760 --> 00:20:47,720
Speaker 4: piano play and the there was just these little kids

355
00:20:47,880 --> 00:20:49,600
Speaker 4: and the first thing they do is they try to

356
00:20:49,640 --> 00:20:53,760
Speaker 4: teach you sound recognition. And you don't have a flight

357
00:20:53,920 --> 00:20:56,880
Speaker 4: or something you have to get to. I talk a lot.

358
00:20:57,320 --> 00:21:01,080
Speaker 4: I can't help it. So I have a book called

359
00:21:01,080 --> 00:21:06,280
Speaker 4: The Storyteller. It's available on day Street books. Where they

360
00:21:06,320 --> 00:21:07,879
Speaker 4: sit down. The first thing they do is they do

361
00:21:07,920 --> 00:21:10,400
Speaker 4: sound recognition, and they're like they teach them the sound

362
00:21:10,440 --> 00:21:12,320
Speaker 4: of like a saxophone and then the sound of like,

363
00:21:13,119 --> 00:21:15,560
Speaker 4: you know, a cello and things like that, just to

364
00:21:15,600 --> 00:21:19,679
Speaker 4: attune their ear to whatever. And I would take her

365
00:21:19,680 --> 00:21:21,560
Speaker 4: and we'd sit on the floor and it's really fun.

366
00:21:22,119 --> 00:21:26,119
Speaker 4: They would do this thing with puppets where there was

367
00:21:26,160 --> 00:21:28,560
Speaker 4: like there was like I think the lion and the

368
00:21:28,600 --> 00:21:30,600
Speaker 4: mouse and the lion was like the low notes and

369
00:21:30,640 --> 00:21:34,680
Speaker 4: the mouse like, I know, it's whatever. And then one

370
00:21:34,760 --> 00:21:38,679
Speaker 4: day she comes in and she puts a white board

371
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Speaker 4: down like a dry erase board, and she goes, okay,

372
00:21:43,480 --> 00:21:47,199
Speaker 4: and she drives a circle and she goes, this is

373
00:21:47,240 --> 00:21:50,160
Speaker 4: a whole note. And I was like, oh my god,

374
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Speaker 4: I'm gonna learn how to fucking read use it right now.

375
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Speaker 6: You finally was like.

376
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Speaker 1: Hysterical, All right, let's say if we can do this one, two,

377
00:22:04,040 --> 00:22:04,760
Speaker 1: three for.

378
00:22:26,680 --> 00:22:31,639
Speaker 7: You and I were too old and tortured souls repaired

379
00:22:31,880 --> 00:22:40,439
Speaker 7: by love, broken things. You're alife, just somebody's growing up,

380
00:22:41,320 --> 00:22:42,480
Speaker 7: no fear of.

381
00:22:44,280 --> 00:22:45,440
Speaker 8: Benefe.

382
00:22:47,520 --> 00:22:58,880
Speaker 4: We're just stortin airy people. You and me Time will

383
00:22:58,960 --> 00:23:02,960
Speaker 4: turn us into statue eventually.

384
00:23:08,960 --> 00:23:15,119
Speaker 7: We got by though we never needed much slive of hope,

385
00:23:16,200 --> 00:23:17,720
Speaker 7: diamond rings.

386
00:23:19,520 --> 00:23:20,520
Speaker 4: We got high.

387
00:23:20,840 --> 00:23:22,840
Speaker 8: It was heaving, it was hell.

388
00:23:23,600 --> 00:23:28,159
Speaker 7: Fly over them broken wings.

389
00:23:30,119 --> 00:23:32,400
Speaker 8: We're just startinary people.

390
00:23:34,240 --> 00:23:34,760
Speaker 9: You and me.

391
00:23:41,080 --> 00:23:46,720
Speaker 7: Tom will turn us in the statues eventually.

392
00:23:51,920 --> 00:23:54,120
Speaker 2: Just your ordinary people.

393
00:23:55,920 --> 00:23:56,359
Speaker 9: U me.

394
00:24:02,200 --> 00:24:07,520
Speaker 8: Sam will turn some of the statues the acally.

395
00:24:12,840 --> 00:24:18,959
Speaker 7: Uplowne storeever and so line humans.

396
00:24:19,160 --> 00:24:20,480
Speaker 1: So Lie.

397
00:24:23,280 --> 00:24:29,280
Speaker 7: Judas says, everything must fade away.

398
00:24:30,520 --> 00:24:30,760
Speaker 4: Time.

399
00:24:55,280 --> 00:24:57,600
Speaker 8: We're just ordinary people.

400
00:24:59,400 --> 00:24:59,840
Speaker 5: Use me.

401
00:25:05,760 --> 00:25:08,440
Speaker 8: Samuel the statues.

402
00:25:09,560 --> 00:25:28,520
Speaker 7: Eventually, it's sortinmy people, you and me, Samuel turnis in

403
00:25:28,840 --> 00:25:32,320
Speaker 7: the statues eventually.

404
00:25:35,840 --> 00:25:41,440
Speaker 4: Oh that's nice. Wow, I haven't done that. I got

405
00:25:41,520 --> 00:25:43,160
Speaker 4: choked up while I was saying.

406
00:25:42,880 --> 00:25:47,760
Speaker 1: That it's a heavy song. It's really really beautiful. That

407
00:25:47,920 --> 00:25:51,760
Speaker 1: was so pretty. Holy moly, thanks for letting me playing piano.

408
00:25:51,960 --> 00:25:52,840
Speaker 1: You should play it?

409
00:25:53,800 --> 00:25:56,480
Speaker 4: Do you fucking kidding me? There's no way I would

410
00:25:56,480 --> 00:25:58,600
Speaker 4: have been able to pull that off. I don't even

411
00:25:58,640 --> 00:25:59,119
Speaker 4: know the chords.

412
00:26:02,800 --> 00:26:05,960
Speaker 1: Well, there's a C size and then there's A that's

413
00:26:06,040 --> 00:26:09,440
Speaker 1: the best one. It's like a B flat. But it's

414
00:26:09,440 --> 00:26:11,919
Speaker 1: got all these extensions, got like a major seven and

415
00:26:11,960 --> 00:26:16,320
Speaker 1: a nine. You know. I noticed learning these. It's like

416
00:26:17,320 --> 00:26:19,920
Speaker 1: it's like numbers to say, what what note? You're playing?

417
00:26:20,200 --> 00:26:25,840
Speaker 1: Cow It's pretty because you do a lot of those

418
00:26:25,960 --> 00:26:26,480
Speaker 1: you Oh.

419
00:26:26,359 --> 00:26:28,639
Speaker 4: My god, I'm gonna learn how to read music right now.

420
00:26:29,119 --> 00:26:31,600
Speaker 1: You do a lot of like major seven chords in

421
00:26:31,720 --> 00:26:33,000
Speaker 1: these songs.

422
00:26:33,400 --> 00:26:39,840
Speaker 4: I'll say, play a major seven? Wait? What was that?

423
00:26:43,720 --> 00:26:44,080
Speaker 4: It's the A?

424
00:26:44,480 --> 00:26:46,880
Speaker 9: Yeah?

425
00:26:46,960 --> 00:26:47,360
Speaker 4: Is that it?

426
00:26:47,560 --> 00:26:49,440
Speaker 1: Yeah?

427
00:26:49,520 --> 00:26:53,520
Speaker 4: I mean it's funny because I literally don't know the names.

428
00:26:53,760 --> 00:26:56,040
Speaker 4: I know, like the Cowboy chords, but I don't know

429
00:26:56,760 --> 00:26:59,760
Speaker 4: which is kind of awesome because I don't ever know,

430
00:27:00,400 --> 00:27:03,840
Speaker 4: like if something's right or wrong. Like I don't have

431
00:27:03,880 --> 00:27:05,160
Speaker 4: any version of right or wrong.

432
00:27:05,240 --> 00:27:07,720
Speaker 1: It's like there's no there is no right or wrong.

433
00:27:08,040 --> 00:27:12,480
Speaker 4: Well yeah, but sometimes, like I would never encourage someone

434
00:27:12,520 --> 00:27:15,000
Speaker 4: to not take lessons because I think it's great to

435
00:27:15,200 --> 00:27:19,160
Speaker 4: like you know your hands and the thing where you're

436
00:27:19,200 --> 00:27:22,040
Speaker 4: going or whatever. But I do like the mystery of

437
00:27:22,359 --> 00:27:27,359
Speaker 4: really not knowing. Uh, you know, when I was writing

438
00:27:27,400 --> 00:27:30,760
Speaker 4: the I can't not play Virginia Moon, I totally forgot it.

439
00:27:30,800 --> 00:27:36,680
Speaker 1: But yeah, I know, we gotta do it. I mean,

440
00:27:36,720 --> 00:27:38,520
Speaker 1: that's it's like a jazz song.

441
00:27:40,840 --> 00:27:54,159
Speaker 4: Wa. Shit, what are those chords?

442
00:27:54,359 --> 00:27:58,280
Speaker 1: I don't know, Honestly, I had a hard time figuring

443
00:27:58,320 --> 00:28:06,200
Speaker 1: them out right, But I feel like you're going chromatic?

444
00:28:06,359 --> 00:28:07,760
Speaker 1: Is that how you wrote it? You just kind of

445
00:28:07,800 --> 00:28:12,600
Speaker 1: went chromatic and then use your ears. But that's the

446
00:28:12,600 --> 00:28:12,960
Speaker 1: way you.

447
00:28:12,920 --> 00:28:16,080
Speaker 4: Have to do it, right, Okay, Well let's move on

448
00:28:16,160 --> 00:28:23,399
Speaker 4: before we get to that, because who knows that's okay anyway, So.

449
00:28:22,119 --> 00:28:26,360
Speaker 1: So music music's read, I want to ask you.

450
00:28:28,240 --> 00:28:28,520
Speaker 4: I was.

451
00:28:28,600 --> 00:28:31,960
Speaker 1: I was at the Gordon show yesterday and I got

452
00:28:32,000 --> 00:28:36,199
Speaker 1: to meet like Billie Eilish for a second, and I

453
00:28:36,240 --> 00:28:39,720
Speaker 1: was stone cold, sober, like nothing. I'm a fan like,

454
00:28:39,800 --> 00:28:42,800
Speaker 1: I love her. I think she's amazing, and I I

455
00:28:44,920 --> 00:28:47,560
Speaker 1: just said the stupidest thing. You know, Like when you

456
00:28:47,600 --> 00:28:49,800
Speaker 1: get to meet somebody that you like and you want

457
00:28:49,800 --> 00:28:51,800
Speaker 1: to you want them to think you're cool, but you

458
00:28:51,840 --> 00:28:54,120
Speaker 1: also want them to know that you think they're cool.

459
00:28:55,200 --> 00:28:57,760
Speaker 4: And what do you think? I've been doing this whole time?

460
00:28:58,240 --> 00:29:00,520
Speaker 1: So this is my question for you. How do you

461
00:29:00,600 --> 00:29:04,000
Speaker 1: do what you do? I feel like everybody, as I've learned,

462
00:29:04,000 --> 00:29:07,200
Speaker 1: everybody is just awkward and nervous all the time. I

463
00:29:07,280 --> 00:29:09,200
Speaker 1: used to think it was just me, but it's everybody.

464
00:29:09,440 --> 00:29:12,360
Speaker 1: But you don't seem like that. Oh do you still

465
00:29:12,400 --> 00:29:14,160
Speaker 1: have that stuff inside? Because you just seem like one

466
00:29:14,200 --> 00:29:14,360
Speaker 1: of the.

467
00:29:14,400 --> 00:29:16,200
Speaker 4: Least I'm a mass you seem.

468
00:29:15,960 --> 00:29:17,960
Speaker 1: The least like that of everyone I've ever met.

469
00:29:18,200 --> 00:29:25,280
Speaker 4: Well, I think maybe I definitely get nervous when I

470
00:29:25,320 --> 00:29:28,960
Speaker 4: meet people that I really admire or people that I've

471
00:29:28,960 --> 00:29:32,240
Speaker 4: wanted to meet. But no, you know, I think that

472
00:29:32,800 --> 00:29:42,600
Speaker 4: it might be that both of my parents were very social. Yeah, okay,

473
00:29:42,760 --> 00:29:49,240
Speaker 4: so my dad working on Capitol Hill or working in politics,

474
00:29:49,240 --> 00:29:53,840
Speaker 4: it's like he dealt with people right, and he could

475
00:29:53,840 --> 00:29:58,040
Speaker 4: work a room like he could hang with the jazz

476
00:29:58,120 --> 00:30:00,360
Speaker 4: musicians and talk jazz. He was a classic the trained

477
00:30:00,360 --> 00:30:04,520
Speaker 4: flatus and a super jazz nerd Okay, he could hang

478
00:30:04,560 --> 00:30:08,880
Speaker 4: with the jazz musicians or like Alan Ginsburg and then

479
00:30:09,040 --> 00:30:12,400
Speaker 4: go like party with Bob Dole or whatever. Like he

480
00:30:12,760 --> 00:30:16,960
Speaker 4: could really exactly, so he could do that. And my

481
00:30:17,040 --> 00:30:19,560
Speaker 4: mother is a public school teacher. You know, both of

482
00:30:19,560 --> 00:30:21,760
Speaker 4: them also were like in communications. I know that sounds

483
00:30:21,760 --> 00:30:23,920
Speaker 4: so nerdy, but you know, my father was really good

484
00:30:23,920 --> 00:30:26,440
Speaker 4: at public speaking. He could write speeches, He wrote speeches,

485
00:30:27,000 --> 00:30:28,800
Speaker 4: and he was like a pr guy. And then my

486
00:30:28,880 --> 00:30:36,320
Speaker 4: mother she taught public speaking and she dealt with fucking teenagers,

487
00:30:36,600 --> 00:30:39,959
Speaker 4: you know, Like it's one of the reasons why I

488
00:30:40,000 --> 00:30:45,480
Speaker 4: think I had such a great childhood. I really did, because,

489
00:30:45,800 --> 00:30:48,440
Speaker 4: you know, being raised by a public school teacher, it's

490
00:30:48,480 --> 00:30:53,000
Speaker 4: like she understood the mind of a child in in

491
00:30:53,040 --> 00:30:58,120
Speaker 4: all of its phases and could really like sympathize or

492
00:30:58,160 --> 00:31:00,720
Speaker 4: empathize or whatever it is. Like the shit I was

493
00:31:00,760 --> 00:31:05,400
Speaker 4: going through as a teenager as like a rebellious punk rocker,

494
00:31:05,520 --> 00:31:07,560
Speaker 4: It's like she dealt with that bullshit all day long.

495
00:31:07,880 --> 00:31:09,880
Speaker 4: But I was her kids, so like, you know, there

496
00:31:09,920 --> 00:31:13,040
Speaker 4: was real love but I don't know. I mean I

497
00:31:13,040 --> 00:31:17,560
Speaker 4: always think, like imagine you imagine a backstage like you're

498
00:31:17,680 --> 00:31:23,800
Speaker 4: hosting your friends at a barbecue or something, and you know,

499
00:31:23,880 --> 00:31:25,920
Speaker 4: I like to make sure everyone's got a drink and

500
00:31:25,920 --> 00:31:30,680
Speaker 4: everyone's happy. But then also when you go out in

501
00:31:30,720 --> 00:31:34,200
Speaker 4: front of a bunch of people to play music, I

502
00:31:34,280 --> 00:31:37,920
Speaker 4: used to get I used to get really fucking nervous,

503
00:31:38,200 --> 00:31:42,600
Speaker 4: like nervous nervous. I had an anxiety attack once on

504
00:31:42,760 --> 00:31:46,000
Speaker 4: stage at a Nirvana gig, and this set off like

505
00:31:46,040 --> 00:31:48,840
Speaker 4: a good ten years of anxiety before every show. Really

506
00:31:49,640 --> 00:31:51,760
Speaker 4: where it was before the record Nevermind came out and

507
00:31:51,800 --> 00:31:54,360
Speaker 4: we were opening or no, maybe it was our own show.

508
00:31:54,640 --> 00:31:57,000
Speaker 4: I can't remember. It might have been opening for Dinosaur Junior.

509
00:31:57,040 --> 00:31:59,480
Speaker 4: But it was at the Warfield and the curtain was

510
00:31:59,520 --> 00:32:04,640
Speaker 4: closed and we were we were gonna. We were opening

511
00:32:04,840 --> 00:32:07,600
Speaker 4: the set with the song Polly, which is just Kurt

512
00:32:07,600 --> 00:32:10,520
Speaker 4: on guitar and me just sitting there singing backups and

513
00:32:10,560 --> 00:32:13,920
Speaker 4: then like hitting one symbol. So no way to like

514
00:32:14,080 --> 00:32:17,600
Speaker 4: exercise any weird nerves or anxiety.

515
00:32:17,680 --> 00:32:19,280
Speaker 1: It's like your hands are tied down a little bit.

516
00:32:19,320 --> 00:32:21,880
Speaker 4: It's terrible, and so you're like strapped into this ride.

517
00:32:21,960 --> 00:32:26,400
Speaker 4: It's not moving. And so the stage hand guy, who

518
00:32:26,520 --> 00:32:29,720
Speaker 4: was probably like wired on blow or whatever, he kept

519
00:32:29,720 --> 00:32:33,120
Speaker 4: coming over like two minutes are you ready? Two minutes away.

520
00:32:33,120 --> 00:32:35,280
Speaker 4: I'm like, no, I'm totally fine. I've never been nervous

521
00:32:35,280 --> 00:32:36,880
Speaker 4: before in my life. And then he's like.

522
00:32:36,840 --> 00:32:38,120
Speaker 8: One minute, you got one minute?

523
00:32:38,120 --> 00:32:40,760
Speaker 4: Oh my god, and I'm just like, okay, Jesus fun Christ.

524
00:32:40,920 --> 00:32:43,120
Speaker 4: And I wanted to make sure that my kick drum

525
00:32:43,200 --> 00:32:45,080
Speaker 4: was in place. I go bosh and hit it and

526
00:32:45,120 --> 00:32:47,840
Speaker 4: the PA was on. It was boom and the audience

527
00:32:47,880 --> 00:32:50,720
Speaker 4: goes wow. Right as the curtains open and the war

528
00:32:50,800 --> 00:32:54,240
Speaker 4: field it's like it's it's like a wall of people,

529
00:32:54,320 --> 00:32:57,120
Speaker 4: you know, it's really tall with a balcony. And I

530
00:32:57,160 --> 00:33:00,320
Speaker 4: was just like and I started having this, I almost

531
00:33:00,760 --> 00:33:04,160
Speaker 4: whoa God. It was terrible at every show from then on,

532
00:33:04,960 --> 00:33:10,360
Speaker 4: I was fucking terrified every show for ten food fighters.

533
00:33:10,400 --> 00:33:14,400
Speaker 1: What festivals, that's crazy. It just set it off, dude.

534
00:33:14,440 --> 00:33:16,480
Speaker 4: I couldn't get I couldn't get rid of it. It

535
00:33:16,520 --> 00:33:21,200
Speaker 4: was terrible. And then I don't remember why I changed.

536
00:33:21,720 --> 00:33:26,080
Speaker 4: But now when I walk out on stage, it's like

537
00:33:26,480 --> 00:33:32,120
Speaker 4: I see people that I've seen for like thirty years almost,

538
00:33:32,560 --> 00:33:38,080
Speaker 4: and like that the kid in the front row who

539
00:33:38,160 --> 00:33:41,000
Speaker 4: was always in the front row is now an adult

540
00:33:41,000 --> 00:33:43,520
Speaker 4: with a mustache and his kid is on his shoulders.

541
00:33:43,880 --> 00:33:46,080
Speaker 1: You remember these people in the front I.

542
00:33:46,000 --> 00:33:48,360
Speaker 4: Remember faces, like I swear, you know. But that's the thing,

543
00:33:48,400 --> 00:33:50,520
Speaker 4: because I also like engage with the audience, and I

544
00:33:50,640 --> 00:33:53,520
Speaker 4: like to say, like, hey, what's up. We're here, you know,

545
00:33:54,240 --> 00:33:57,040
Speaker 4: high let's go for the next three hours or whatever.

546
00:33:57,520 --> 00:34:00,640
Speaker 4: But to be able to like really to feel comfortable

547
00:34:00,720 --> 00:34:03,480
Speaker 4: in that sort of connection or communication where you're just

548
00:34:03,520 --> 00:34:07,400
Speaker 4: like you can really see the people in the nosebleeds. Yeah,

549
00:34:07,440 --> 00:34:10,320
Speaker 4: and I got way off track with that fucking question,

550
00:34:10,400 --> 00:34:11,400
Speaker 4: but but no.

551
00:34:11,440 --> 00:34:16,080
Speaker 1: It relates to everything. I mean, it's interesting because you know,

552
00:34:16,280 --> 00:34:21,720
Speaker 1: you seem so good at being around people. Is basically

553
00:34:21,800 --> 00:34:22,640
Speaker 1: the question I do.

554
00:34:22,719 --> 00:34:25,320
Speaker 4: But I also like getting stuck in traffic something, you.

555
00:34:25,239 --> 00:34:28,000
Speaker 1: Like getting stuck in track myself so that you can

556
00:34:28,239 --> 00:34:29,879
Speaker 1: like look at people next to you.

557
00:34:29,840 --> 00:34:34,200
Speaker 4: And I'm like here in my car. Now that is that? Yeah,

558
00:34:34,760 --> 00:34:36,359
Speaker 4: Like I just get to go, like.

559
00:34:37,880 --> 00:34:44,719
Speaker 1: Because you are you exhausted yourself so tired? No, But like, yeah,

560
00:34:44,840 --> 00:34:46,960
Speaker 1: I mean it's hard to be alone. I mean you

561
00:34:46,960 --> 00:34:51,760
Speaker 1: also have a big family. You have, yes, a big band,

562
00:34:51,920 --> 00:34:55,440
Speaker 1: and it's really rare to be alone, right, well.

563
00:34:55,320 --> 00:34:56,960
Speaker 4: This is one of the reasons. But like I'll wake

564
00:34:57,040 --> 00:34:59,600
Speaker 4: up before the sun, Like I wake up at fucking

565
00:35:00,120 --> 00:35:01,800
Speaker 4: or thirty or five in the morning. Oh wow, just

566
00:35:01,840 --> 00:35:03,000
Speaker 4: so I get a good two hours of.

567
00:35:03,000 --> 00:35:07,080
Speaker 1: Like quiet and then it's like wow.

568
00:35:06,680 --> 00:35:10,000
Speaker 4: Yeah, but no, I mean, you know, I also love

569
00:35:10,320 --> 00:35:11,440
Speaker 4: I like to meet people.

570
00:35:11,640 --> 00:35:14,480
Speaker 1: Yeah, well it is fucking.

571
00:35:14,239 --> 00:35:16,600
Speaker 4: You get to meet so many people doing this thing

572
00:35:16,680 --> 00:35:19,640
Speaker 4: where it's like I really do like meeting people and

573
00:35:19,680 --> 00:35:24,480
Speaker 4: talking with them, and it's great. You know, in Virginia,

574
00:35:25,080 --> 00:35:26,920
Speaker 4: growing up in people talk to each other in.

575
00:35:26,920 --> 00:35:28,920
Speaker 1: Virginia, That's true. It's a different thing.

576
00:35:29,200 --> 00:35:32,440
Speaker 4: You kind of like you're at like you're at the

577
00:35:32,480 --> 00:35:35,000
Speaker 4: subway sandwich place or whatever, and you wind up having

578
00:35:35,040 --> 00:35:37,279
Speaker 4: a conversation for like seven minutes. Maybe this is why

579
00:35:37,320 --> 00:35:38,120
Speaker 4: I talk too much.

580
00:35:38,719 --> 00:35:42,200
Speaker 1: I don't know, I talk a lot sometimes. Like if

581
00:35:42,200 --> 00:35:45,799
Speaker 1: somebody asked me directions in New York City, I'll go

582
00:35:45,920 --> 00:35:48,720
Speaker 1: above and beyond and they're like walking away, like okay, dude,

583
00:35:48,800 --> 00:35:51,759
Speaker 1: I'm I'm sorry I asked, you know, like no, but

584
00:35:51,800 --> 00:35:53,480
Speaker 1: you got to go left. But then there's that store,

585
00:35:53,480 --> 00:35:56,440
Speaker 1: Oh and there's a coffee shop. I'll talk to strangers

586
00:35:56,520 --> 00:35:58,400
Speaker 1: like that. But I won't, you know, I don't know

587
00:35:58,440 --> 00:36:01,720
Speaker 1: how to talk to people that I'm meeting always.

588
00:36:03,360 --> 00:36:04,400
Speaker 4: Hey, I want to play drums.

589
00:36:04,880 --> 00:36:06,600
Speaker 1: I want you to play drums so bad. It's my

590
00:36:06,640 --> 00:36:09,719
Speaker 1: favorite thing in my mind. I wanted. I was like,

591
00:36:10,120 --> 00:36:12,239
Speaker 1: I just want him to play drums on something and

592
00:36:12,280 --> 00:36:23,200
Speaker 1: maybe everything. Do you want to do this song? I'm

593
00:36:23,200 --> 00:36:25,239
Speaker 1: so stoked you wanted to do this song because this

594
00:36:25,320 --> 00:36:28,360
Speaker 1: is a good this is a good drummer song.

595
00:36:30,360 --> 00:36:57,359
Speaker 10: M you are Jesus my twin can flames doing me game.

596
00:36:58,680 --> 00:37:04,719
Speaker 10: I can't be fire, my twining flames.

597
00:37:04,840 --> 00:37:06,799
Speaker 2: Let me from the grind.

598
00:37:16,600 --> 00:37:18,040
Speaker 1: You hid the harder.

599
00:37:18,920 --> 00:37:21,320
Speaker 10: I'm the speak of my twin.

600
00:37:21,560 --> 00:37:23,760
Speaker 1: I'm in flames, moding.

601
00:37:25,640 --> 00:37:30,400
Speaker 2: I have a names. You call me by my twin.

602
00:37:30,680 --> 00:37:33,839
Speaker 1: I'm on fire, come putting me out.

603
00:37:52,600 --> 00:37:57,080
Speaker 2: Sky's my witness, the child to be stock from my

604
00:37:57,320 --> 00:38:03,960
Speaker 2: twim on fire. Don't say beg you for simple you

605
00:38:04,239 --> 00:38:08,040
Speaker 2: go my swear haven't plan.

606
00:38:08,280 --> 00:38:35,440
Speaker 1: We want to my pockets already your hearty stripped.

607
00:38:35,200 --> 00:38:39,640
Speaker 2: Back my tween in frankly nave and the.

608
00:38:50,600 --> 00:38:55,400
Speaker 10: Catsy pasketball also and swear in flame.

609
00:38:56,280 --> 00:39:03,480
Speaker 2: Im sorry, how circle use as plain as gam I

610
00:39:03,719 --> 00:39:07,320
Speaker 2: love him. I should let him be.

611
00:39:29,480 --> 00:39:35,680
Speaker 10: You are the learner, I'm the chaser, my twenty flames.

612
00:39:35,800 --> 00:39:37,480
Speaker 2: Do we meet again?

613
00:40:05,480 --> 00:40:05,719
Speaker 8: Yes?

614
00:40:16,560 --> 00:41:00,800
Speaker 1: Oh you just made my heart saying give me in bloom.

615
00:41:23,840 --> 00:41:27,120
Speaker 1: Oh my god, I just died. I just died inside

616
00:41:31,000 --> 00:41:36,319
Speaker 1: my sixth grade self just died. That's the best way

617
00:41:36,360 --> 00:41:44,719
Speaker 1: to end that song ever. That was great. Thanks for that.

618
00:41:45,320 --> 00:41:46,400
Speaker 1: Now I need a cigarette.

619
00:41:49,400 --> 00:41:50,600
Speaker 4: When did you start singing?

620
00:41:52,239 --> 00:41:55,839
Speaker 1: It's like church choir age five? Yeah, but I always sang.

621
00:41:56,040 --> 00:41:59,480
Speaker 1: I think, yeah, I think singing is just.

622
00:41:59,520 --> 00:42:00,400
Speaker 4: A natural writing.

623
00:42:00,800 --> 00:42:01,840
Speaker 6: Oh well, like when I was.

624
00:42:01,960 --> 00:42:05,880
Speaker 1: Twenty now, yeah, I wrote a song in high school.

625
00:42:06,719 --> 00:42:08,360
Speaker 1: I was in this like synth I went to a

626
00:42:08,400 --> 00:42:10,840
Speaker 1: performing arts high school. It was pretty great and we

627
00:42:10,920 --> 00:42:14,000
Speaker 1: had this like synthesis group synth ensemble.

628
00:42:14,719 --> 00:42:17,000
Speaker 4: Wow, I know nerd alert.

629
00:42:17,480 --> 00:42:22,239
Speaker 1: Actually it was incredible. It was incredible. There are these

630
00:42:22,320 --> 00:42:27,360
Speaker 1: three seniors that were my idols and it was awesome.

631
00:42:27,400 --> 00:42:30,719
Speaker 1: But the guy had, the teacher, Ken Ellingson, had us

632
00:42:30,920 --> 00:42:33,719
Speaker 1: write a song and we all like played, you know,

633
00:42:33,880 --> 00:42:36,839
Speaker 1: somebody would take the moog base and some all these

634
00:42:36,880 --> 00:42:38,959
Speaker 1: guys played drums too. They grew up in the church

635
00:42:39,120 --> 00:42:43,400
Speaker 1: playing everything. Wow, and my song, Like, I was so scared,

636
00:42:43,600 --> 00:42:46,560
Speaker 1: you know, I had never written a song before. So

637
00:42:46,719 --> 00:42:49,799
Speaker 1: I wrote this like my teacher hit the time had

638
00:42:49,880 --> 00:42:51,760
Speaker 1: just told me how to like outline chords on the piano.

639
00:42:53,640 --> 00:42:54,040
Speaker 5: It was like.

640
00:42:56,280 --> 00:43:00,400
Speaker 4: It was very like smooth, sort of right out of

641
00:43:00,400 --> 00:43:00,680
Speaker 4: the gate.

642
00:43:00,960 --> 00:43:02,719
Speaker 6: Oh no, no, I mean it was not.

643
00:43:03,800 --> 00:43:06,200
Speaker 1: I don't know. And then the teacher had us put

644
00:43:06,200 --> 00:43:09,279
Speaker 1: all these synth strings on it. He's like, yeah, let's

645
00:43:09,280 --> 00:43:11,680
Speaker 1: build it up, like the production will be like super Yanni,

646
00:43:12,239 --> 00:43:14,960
Speaker 1: and that just deflated everything for me. I was like,

647
00:43:15,440 --> 00:43:20,480
Speaker 1: I came home crying. I didn't think Yanni was cool then.

648
00:43:20,600 --> 00:43:22,120
Speaker 2: Now I kind of kind of into it.

649
00:43:22,360 --> 00:43:25,480
Speaker 1: Kna Beannest's incredible, but like at the time, that was

650
00:43:25,640 --> 00:43:28,080
Speaker 1: not what I was going for. And so I came

651
00:43:28,160 --> 00:43:31,520
Speaker 1: home crying. Mommy, he said I sounded like Yanni, and

652
00:43:31,680 --> 00:43:33,879
Speaker 1: then I clammed up after that, and I didn't write

653
00:43:34,760 --> 00:43:37,160
Speaker 1: another song until I moved to New York, and I

654
00:43:37,840 --> 00:43:39,640
Speaker 1: you know, I was playing jazz gigs and singing all

655
00:43:39,719 --> 00:43:42,840
Speaker 1: these songs that were eighty years old, and then I

656
00:43:42,880 --> 00:43:44,800
Speaker 1: went to this songwriter club and got hooked up with

657
00:43:44,800 --> 00:43:47,640
Speaker 1: all these songwriters. I picked up a guitar and I

658
00:43:47,840 --> 00:43:51,560
Speaker 1: learned four chords, and I wrote like come Away with Me.

659
00:43:52,000 --> 00:43:54,160
Speaker 4: Amazing and it's kind of a country song, you.

660
00:43:54,160 --> 00:43:57,080
Speaker 1: Know, And it was it was that simplified thing where

661
00:43:57,120 --> 00:43:58,640
Speaker 1: it's just like, Okay, now I'm inspired.

662
00:43:58,880 --> 00:44:00,719
Speaker 4: You know. That's kind of this when I was a kid.

663
00:44:01,120 --> 00:44:04,759
Speaker 4: So I took the couple of guitar lessons and then

664
00:44:06,440 --> 00:44:08,879
Speaker 4: it was like Mary had a little lambshit. And then

665
00:44:08,960 --> 00:44:13,840
Speaker 4: my mother bought me the complete Beatles anthology that just

666
00:44:13,920 --> 00:44:19,960
Speaker 4: had the chord charts right and the silvertone guitar with

667
00:44:20,040 --> 00:44:22,640
Speaker 4: the amp in the case, and I had the Beatles record.

668
00:44:22,719 --> 00:44:25,160
Speaker 4: So I would just sit around and look at the

669
00:44:25,239 --> 00:44:27,440
Speaker 4: chords and play along with the record, look at the chords,

670
00:44:28,280 --> 00:44:36,160
Speaker 4: and that's basically how I learned to play guitar, but

671
00:44:36,680 --> 00:44:46,200
Speaker 4: also the idea of composition, arrangement and harmony and you know,

672
00:44:47,280 --> 00:44:51,680
Speaker 4: melody and whatever. But you know, and then I was

673
00:44:51,760 --> 00:44:54,759
Speaker 4: listening to Rush and things like that and starting to

674
00:44:54,800 --> 00:44:56,560
Speaker 4: get interested in the drums. But I didn't have a

675
00:44:56,640 --> 00:44:59,719
Speaker 4: drum set. So I had this weird like Captain's bid.

676
00:45:00,000 --> 00:45:02,520
Speaker 4: It was like this bed that had like drawers under

677
00:45:02,560 --> 00:45:06,000
Speaker 4: it or whatever, and I would put on records my

678
00:45:06,120 --> 00:45:08,919
Speaker 4: mother would bring home. We didn't have a record player,

679
00:45:08,920 --> 00:45:12,600
Speaker 4: so my mother would bring home those public school record players. Yeah,

680
00:45:12,800 --> 00:45:14,640
Speaker 4: like you take the lid off and it like as

681
00:45:14,719 --> 00:45:17,360
Speaker 4: a tiny speaker, and I would listen to records on

682
00:45:17,480 --> 00:45:19,719
Speaker 4: that and I would set up. I had this chair

683
00:45:19,880 --> 00:45:22,000
Speaker 4: that I would use as a high hat, and then

684
00:45:22,160 --> 00:45:24,880
Speaker 4: I put a pillow between my legs as a snare,

685
00:45:24,960 --> 00:45:26,560
Speaker 4: and then my bed would be the toms and the

686
00:45:26,600 --> 00:45:29,800
Speaker 4: cymbals and stuff, and I would yeah, that's how I

687
00:45:29,880 --> 00:45:32,640
Speaker 4: learned how to play really crash, and then I would

688
00:45:32,760 --> 00:45:35,840
Speaker 4: I would do that all day long, and.

689
00:45:36,840 --> 00:45:39,120
Speaker 1: It didn't bother anybody, no, because it was only quiet,

690
00:45:39,239 --> 00:45:39,520
Speaker 1: like my.

691
00:45:39,600 --> 00:45:40,359
Speaker 4: Mom's so lucky.

692
00:45:40,880 --> 00:45:41,280
Speaker 1: Totally.

693
00:45:41,680 --> 00:45:44,040
Speaker 4: I didn't have a normal drum set. My room was

694
00:45:44,080 --> 00:45:46,200
Speaker 4: so tiny too, but I didn't. I didn't learn to

695
00:45:46,239 --> 00:45:52,680
Speaker 4: play on a drum set. So but I was, you know,

696
00:45:52,760 --> 00:45:56,120
Speaker 4: listening to rock songs and trying to figure out like

697
00:45:56,160 --> 00:45:59,240
Speaker 4: guitar leads, but I wasn't really good, and like listening

698
00:45:59,320 --> 00:46:04,400
Speaker 4: to Zeppelin, and but I wasn't any good. And then

699
00:46:04,480 --> 00:46:06,480
Speaker 4: I saw a punk rock band. The first time I

700
00:46:06,560 --> 00:46:10,480
Speaker 4: ever saw a band on stage was a punk rock

701
00:46:10,560 --> 00:46:13,840
Speaker 4: band in Chicago, and they were called Naked Ragun and

702
00:46:13,880 --> 00:46:17,440
Speaker 4: they had it was at this tiny little bar. There

703
00:46:17,480 --> 00:46:20,960
Speaker 4: were maybe forty fifty people there. But they had four

704
00:46:21,040 --> 00:46:23,080
Speaker 4: dudes in the band. There was a bass player, guitar player, singer,

705
00:46:23,080 --> 00:46:25,480
Speaker 4: and drummer, and they, like, you know, they were an

706
00:46:25,480 --> 00:46:29,160
Speaker 4: amazing band. But it was so simple and that's what

707
00:46:29,320 --> 00:46:32,000
Speaker 4: inspired me the most, where I was just like, yeah,

708
00:46:32,480 --> 00:46:33,760
Speaker 4: that song is three chords.

709
00:46:33,840 --> 00:46:35,960
Speaker 1: It doesn't have to be Oh my god, you started

710
00:46:36,360 --> 00:46:37,560
Speaker 1: playing trying to play rush.

711
00:46:38,600 --> 00:46:39,440
Speaker 5: I know, I was like.

712
00:46:41,719 --> 00:46:41,759
Speaker 9: This.

713
00:46:44,040 --> 00:46:45,080
Speaker 4: I was like, oh my god, I could do that.

714
00:46:45,200 --> 00:46:46,080
Speaker 4: We could totally do that.

715
00:46:46,320 --> 00:46:50,080
Speaker 1: Totally. That makes sense. You start simple and just do it.

716
00:46:50,960 --> 00:46:51,600
Speaker 6: That's the best.

717
00:46:51,760 --> 00:46:55,160
Speaker 4: Yeah, And I think for kids too, it's important to

718
00:46:58,719 --> 00:47:06,719
Speaker 4: to recognize the the simplicity and the relatability and that

719
00:47:07,000 --> 00:47:09,799
Speaker 4: it's attainable. You know, Like it's one of the things

720
00:47:09,840 --> 00:47:13,080
Speaker 4: when you see stuff on TV where you know, you're

721
00:47:13,080 --> 00:47:16,360
Speaker 4: seeing these seeing these singers with these like amazing voices,

722
00:47:16,520 --> 00:47:21,120
Speaker 4: these really soulful, established like voices, and then like this

723
00:47:21,280 --> 00:47:25,680
Speaker 4: huge production and you kind of forget that it's really

724
00:47:25,719 --> 00:47:28,440
Speaker 4: as simple as like your dad's old guitar that's in

725
00:47:28,520 --> 00:47:32,439
Speaker 4: the garage he hasn't touched in twenty years, Like, yeah,

726
00:47:32,719 --> 00:47:35,399
Speaker 4: pick it up and just start doing stuff and don't

727
00:47:35,480 --> 00:47:39,600
Speaker 4: be you know, don't be worried about sounding like that

728
00:47:39,920 --> 00:47:43,880
Speaker 4: or something else, just like just kind of suck, you know,

729
00:47:44,400 --> 00:47:48,960
Speaker 4: and then keep sucking and then like get better and

730
00:47:49,040 --> 00:47:50,279
Speaker 4: then have your friends come over.

731
00:47:50,440 --> 00:47:50,960
Speaker 1: Like I do.

732
00:47:51,200 --> 00:47:55,080
Speaker 4: Also think that it's important for for when you're young

733
00:47:55,400 --> 00:47:58,360
Speaker 4: to play with people that you can relate to that

734
00:47:58,520 --> 00:48:01,919
Speaker 4: your age, your little try, you find your weird friends said,

735
00:48:01,960 --> 00:48:04,000
Speaker 4: you start doing weird shit, and before you know it,

736
00:48:06,320 --> 00:48:07,520
Speaker 4: you know you have a band.

737
00:48:08,239 --> 00:48:11,399
Speaker 1: So it's like the thrillingest thing, the most thrilling thing.

738
00:48:11,640 --> 00:48:11,839
Speaker 4: Yeah.

739
00:48:12,640 --> 00:48:16,239
Speaker 1: Also, I think when kids or or even adults even

740
00:48:16,520 --> 00:48:19,279
Speaker 1: me now, like taking a pottery glass. You know, when

741
00:48:19,280 --> 00:48:21,400
Speaker 1: you do something simple and you succeed at it, it

742
00:48:21,520 --> 00:48:23,040
Speaker 1: makes you want to keep doing it. And when you

743
00:48:23,160 --> 00:48:25,439
Speaker 1: do something hard and you suck at it, you don't

744
00:48:25,440 --> 00:48:28,319
Speaker 1: want you put it down. Like me, it's me at

745
00:48:28,360 --> 00:48:31,440
Speaker 1: the wheel. Basically, I put that ship down and I

746
00:48:31,520 --> 00:48:34,880
Speaker 1: make masks instead, you know, weird creepy masks.

747
00:48:35,400 --> 00:48:39,840
Speaker 4: You make creepy masks I do. Really Yeah? Cool?

748
00:48:40,800 --> 00:48:40,960
Speaker 11: Is it?

749
00:48:44,880 --> 00:48:44,920
Speaker 4: So?

750
00:48:45,040 --> 00:48:48,719
Speaker 1: The new album? You just announced it this week and

751
00:48:48,880 --> 00:48:54,839
Speaker 1: I'm very very excited, and I loved the songs I've

752
00:48:54,920 --> 00:49:00,800
Speaker 1: heard because you sent me a couple and there really

753
00:49:01,239 --> 00:49:05,680
Speaker 1: really great. They're beautiful and I love that one that

754
00:49:05,880 --> 00:49:07,200
Speaker 1: your daughter Violet sings on.

755
00:49:07,480 --> 00:49:10,720
Speaker 4: Oh she's show me how Yeah. Wow.

756
00:49:11,480 --> 00:49:16,279
Speaker 1: She does have a super haunting voice, which is she.

757
00:49:16,480 --> 00:49:20,400
Speaker 4: Has an amazing voice. And the cool thing we've recorded

758
00:49:20,440 --> 00:49:24,120
Speaker 4: some things together. She has amazing taste of music, by

759
00:49:24,160 --> 00:49:29,600
Speaker 4: the way, like she I mean, she's she's just as

760
00:49:29,680 --> 00:49:33,800
Speaker 4: much about Joni Mitchell as she is like the Misfits

761
00:49:34,200 --> 00:49:37,359
Speaker 4: or the Garden or that's cool young punk rock shit

762
00:49:37,560 --> 00:49:43,400
Speaker 4: or like crazy Electronica or Billie Holiday. And you know,

763
00:49:43,520 --> 00:49:50,040
Speaker 4: she goes deepest stuff. So when she sings, she really

764
00:49:50,120 --> 00:49:55,920
Speaker 4: sings with this beautiful with soul, you know. But one

765
00:49:55,960 --> 00:49:58,680
Speaker 4: of her favorite punk rock bands is the band X,

766
00:49:59,080 --> 00:50:04,880
Speaker 4: which she loves some much. And years ago we recorded

767
00:50:04,920 --> 00:50:10,000
Speaker 4: an X song together, the song called Nausea, and and

768
00:50:12,080 --> 00:50:15,960
Speaker 4: we did a duet and it was really cool because

769
00:50:17,040 --> 00:50:22,760
Speaker 4: she when we sing together, we totally lock in together,

770
00:50:23,440 --> 00:50:26,839
Speaker 4: like we're so I mean, I taught her how to talk,

771
00:50:27,960 --> 00:50:35,799
Speaker 4: so it's a real thing. It was really amazing. But yeah,

772
00:50:35,960 --> 00:50:39,000
Speaker 4: that that song in particular, I mean, the new record

773
00:50:39,120 --> 00:50:43,000
Speaker 4: is really heavy. There's a lot of emotional stuff on it.

774
00:50:43,880 --> 00:50:50,239
Speaker 4: And so my mother passed away last year. I know, God,

775
00:50:50,280 --> 00:50:56,920
Speaker 4: it was hard. Sorry, But while I was with her,

776
00:50:59,120 --> 00:51:01,839
Speaker 4: towards the end, I was saying I would just sit

777
00:51:01,880 --> 00:51:03,839
Speaker 4: and play guitar for her every day, all day long,

778
00:51:05,320 --> 00:51:08,160
Speaker 4: and I came up. I came up with this melody

779
00:51:09,600 --> 00:51:16,640
Speaker 4: and it was really pretty. And I remember at one

780
00:51:16,680 --> 00:51:18,160
Speaker 4: point I'd been working on it for a while and

781
00:51:18,280 --> 00:51:20,520
Speaker 4: I said to her. I was like, hey, I've got

782
00:51:20,560 --> 00:51:23,359
Speaker 4: this thing I've been working on. What do you think

783
00:51:23,680 --> 00:51:31,759
Speaker 4: She kind of went yeah. But that's why I turned

784
00:51:31,800 --> 00:51:33,920
Speaker 4: it into the song show Me How, which is basically

785
00:51:34,040 --> 00:51:39,080
Speaker 4: about my mother and her passing and Violet. I thought

786
00:51:39,120 --> 00:51:44,880
Speaker 4: it would be very cool because in the song, you know,

787
00:51:46,000 --> 00:51:53,040
Speaker 4: I'm basically saying like, don't worry, I'll take care of everything,

788
00:51:53,920 --> 00:51:56,960
Speaker 4: and towards the end of the song, you have my

789
00:51:57,239 --> 00:52:02,120
Speaker 4: daughter singing this same thing. So it's kind of this

790
00:52:02,320 --> 00:52:04,120
Speaker 4: cycle of life trip.

791
00:52:06,440 --> 00:52:08,640
Speaker 1: It's terrible, it's beautiful.

792
00:52:08,960 --> 00:52:11,800
Speaker 4: It's really beautiful. It is the most beautiful song on

793
00:52:11,880 --> 00:52:12,600
Speaker 4: the entire record.

794
00:52:12,719 --> 00:52:16,680
Speaker 1: It's so beautiful in the way she sings the melody. Yeah, yeah,

795
00:52:17,120 --> 00:52:20,960
Speaker 1: it's really special, and I mean, yeah, it's heavy, but

796
00:52:21,160 --> 00:52:24,320
Speaker 1: that's that's life. That's the ship that everybody you know

797
00:52:24,840 --> 00:52:29,239
Speaker 1: deals with, and it's so you know, it's so raw

798
00:52:29,480 --> 00:52:34,680
Speaker 1: and and I think people people feel the same, you know.

799
00:52:35,320 --> 00:52:37,520
Speaker 4: I know, I wish i'd remembered it.

800
00:52:39,960 --> 00:52:40,080
Speaker 8: Oh.

801
00:52:40,160 --> 00:52:41,680
Speaker 4: I know one thing that's kind of cool that I

802
00:52:41,800 --> 00:52:44,839
Speaker 4: was thinking could be sort of net. I was talking

803
00:52:44,880 --> 00:52:48,040
Speaker 4: about like how I played the guitar like the drums.

804
00:52:48,680 --> 00:52:51,600
Speaker 4: So at some point I started getting really into this

805
00:52:51,719 --> 00:52:55,759
Speaker 4: sort of like fingerpicky pull off sort of thing, and

806
00:52:58,000 --> 00:53:04,279
Speaker 4: and just messing around with with patterns of just like

807
00:53:07,680 --> 00:53:10,759
Speaker 4: things that I guess sound kind of like I don't know,

808
00:53:10,840 --> 00:53:14,080
Speaker 4: blue grassy or country, I don't even know it's called.

809
00:53:14,120 --> 00:53:14,400
Speaker 5: But like.

810
00:53:19,880 --> 00:53:25,120
Speaker 4: There was once where there was once years ago where

811
00:53:25,200 --> 00:53:29,960
Speaker 4: someone from my record company called and they said, they said,

812
00:53:30,000 --> 00:53:35,319
Speaker 4: have you heard about this mine collapse in Australia place

813
00:53:35,360 --> 00:53:39,239
Speaker 4: called Beaconsfield. They're like, there's there's this mine collapse and

814
00:53:39,280 --> 00:53:42,160
Speaker 4: there were two miners I think there were three, and

815
00:53:42,280 --> 00:53:44,000
Speaker 4: maybe one didn't make it, but there were two miners

816
00:53:44,040 --> 00:53:48,080
Speaker 4: that were stuck in this mine shaft for days, and

817
00:53:48,239 --> 00:53:51,480
Speaker 4: so the rescuer was drilled down, I guess, next to

818
00:53:51,560 --> 00:53:55,880
Speaker 4: the mine shaft and contacted them. Two of them are

819
00:53:55,920 --> 00:53:59,920
Speaker 4: still alive, and they asked them if they needed an

820
00:54:00,160 --> 00:54:02,399
Speaker 4: thing before they could like get them out of there

821
00:54:02,880 --> 00:54:06,520
Speaker 4: and they said they wanted water and an iPod with

822
00:54:06,760 --> 00:54:07,840
Speaker 4: Foo Fighters music on it.

823
00:54:08,120 --> 00:54:08,719
Speaker 1: Oh my god.

824
00:54:08,920 --> 00:54:10,799
Speaker 4: And so the people for our record companies like, are

825
00:54:10,840 --> 00:54:12,480
Speaker 4: you aware of what's going on? We said no, and

826
00:54:12,600 --> 00:54:15,640
Speaker 4: so they told me, and so I sent them a

827
00:54:15,680 --> 00:54:19,200
Speaker 4: message like, hey, fellas, I hope you're doing okay. We're

828
00:54:19,200 --> 00:54:21,800
Speaker 4: all thinking about you. And when you come out like,

829
00:54:22,000 --> 00:54:25,360
Speaker 4: beer's on me, like let's go, let's do this. So

830
00:54:28,320 --> 00:54:30,920
Speaker 4: so the next time we went down to Australia, we

831
00:54:31,000 --> 00:54:33,560
Speaker 4: were actually doing a show at the Sydney Opera House.

832
00:54:34,120 --> 00:54:37,200
Speaker 4: We were doing this acoustic thing and I heard that

833
00:54:37,320 --> 00:54:39,279
Speaker 4: Brent Webb was his name, one of the miners. He

834
00:54:39,360 --> 00:54:41,239
Speaker 4: was going to come to the show. And so the

835
00:54:41,400 --> 00:54:44,680
Speaker 4: night before I thought I would write him a song

836
00:54:44,840 --> 00:54:47,120
Speaker 4: and perform this song just for him at the Sydney

837
00:54:47,160 --> 00:54:47,839
Speaker 4: Opera House thing.

838
00:54:48,000 --> 00:54:48,200
Speaker 1: Wow.

839
00:54:48,480 --> 00:54:52,160
Speaker 4: And I sat in bed and I kind of did

840
00:54:52,239 --> 00:54:54,120
Speaker 4: that thing where it was like sort of like a

841
00:54:55,320 --> 00:54:59,320
Speaker 4: drum riff thing. I called it the Ballad of the

842
00:54:59,360 --> 00:55:00,400
Speaker 4: Beacon Sealed Miners.

843
00:57:25,840 --> 00:57:28,680
Speaker 1: Oh my god, that's awesome.

844
00:57:28,840 --> 00:57:31,400
Speaker 4: It was pretty cool. And then afterwards we had beers

845
00:57:32,240 --> 00:57:35,480
Speaker 4: that must have been incredible at the hotel and he

846
00:57:35,680 --> 00:57:39,400
Speaker 4: was like, we were about to make the same record

847
00:57:39,440 --> 00:57:41,560
Speaker 4: that Virginia Moon is. Is it on that one? And

848
00:57:41,680 --> 00:57:43,680
Speaker 4: he said, he guess where you can put it on

849
00:57:43,760 --> 00:57:48,240
Speaker 4: the record, right, And I'm like, yeah, totally, totally forgot

850
00:57:48,280 --> 00:57:50,560
Speaker 4: about it, never thought of it until the last day

851
00:57:50,600 --> 00:57:52,880
Speaker 4: of recording the record. I'm like, oh fuck, I promised

852
00:57:52,880 --> 00:57:57,280
Speaker 4: that minor dude, So is.

853
00:57:57,280 --> 00:57:57,920
Speaker 1: It on the record?

854
00:57:58,560 --> 00:58:01,000
Speaker 4: Yeah? Yeah, it's not the ballad the beacons Field Manners.

855
00:58:01,240 --> 00:58:03,600
Speaker 1: I love it. And you said Razor was hard, that

856
00:58:03,680 --> 00:58:06,480
Speaker 1: looks much harder or is a weird one? Razor is hard, though,

857
00:58:06,680 --> 00:58:09,840
Speaker 1: but that looks harder to me as a layman.

858
00:58:11,560 --> 00:58:13,960
Speaker 4: It's sort of the same idea. I wrote it too.

859
00:58:14,400 --> 00:58:17,760
Speaker 4: I wrote it for a gig. Really, there's a benefit

860
00:58:17,840 --> 00:58:22,800
Speaker 4: gig here in Los Angeles and it was acoustic and

861
00:58:22,880 --> 00:58:25,240
Speaker 4: I had to go up. I'm like, oh god, am

862
00:58:25,240 --> 00:58:28,040
Speaker 4: I going to do the same shit over and over again.

863
00:58:28,800 --> 00:58:31,880
Speaker 4: I thought, you know, write something.

864
00:58:31,680 --> 00:58:36,919
Speaker 1: Cool that's always fun when it happens. Yeah. Yeah, it's

865
00:58:36,960 --> 00:58:40,400
Speaker 1: a great song because it's kind of it's kind of indiany.

866
00:58:41,800 --> 00:58:43,520
Speaker 4: Yeah, you mentioned that.

867
00:58:43,840 --> 00:58:45,480
Speaker 1: It really is, and I don't know if it was

868
00:58:45,560 --> 00:58:48,640
Speaker 1: in my head because you sent me that story about

869
00:58:48,720 --> 00:58:51,200
Speaker 1: going to the George Fest and seeing my dad and

870
00:58:51,320 --> 00:58:54,720
Speaker 1: my sister and stuff. But something about it just it's

871
00:58:54,840 --> 00:58:57,120
Speaker 1: very drony and well you've met like the Sharp four.

872
00:58:58,360 --> 00:59:04,600
Speaker 4: What it's that? There's this you know as a kid

873
00:59:04,800 --> 00:59:08,680
Speaker 4: listening to a lot of Beatles and a lot of Zeppelin,

874
00:59:09,800 --> 00:59:12,840
Speaker 4: you know, both of them really sort of did blend

875
00:59:14,160 --> 00:59:17,240
Speaker 4: Eastern influence into a lot of their music, you know, yea,

876
00:59:18,640 --> 00:59:23,760
Speaker 4: whether it's you know, Zeppelin and Jimmy Page and John

877
00:59:23,760 --> 00:59:25,760
Speaker 4: Paul Jones. You know, John Paul Jones is really like

878
00:59:27,080 --> 00:59:29,920
Speaker 4: such an unsung hero. I got to play in that

879
00:59:30,000 --> 00:59:34,000
Speaker 4: Bandam Crooked Vultures with them, and I never for one

880
00:59:34,200 --> 00:59:38,120
Speaker 4: second eased into the idea that John Paul Jones is

881
00:59:38,200 --> 00:59:43,400
Speaker 4: a normal human being. I never, not once whenever we jammed,

882
00:59:43,440 --> 00:59:47,720
Speaker 4: where we hung out. He's just such a phenomenal musician

883
00:59:48,160 --> 00:59:52,040
Speaker 4: and such a huge part of Led Zeppelin. I really

884
00:59:52,120 --> 00:59:56,760
Speaker 4: think that he's instrumental in making John Bonham sound even bigger,

885
00:59:56,960 --> 01:00:00,600
Speaker 4: which is kind of this It's hard to imagine, but

886
01:00:00,720 --> 01:00:06,880
Speaker 4: the way that John Paul Jones glues to and enhances

887
01:00:07,000 --> 01:00:11,080
Speaker 4: the groove of whoever he's playing with, Oh my god. Also,

888
01:00:11,160 --> 01:00:14,120
Speaker 4: did you ever hear that Diamanda Gallas record. Do you

889
01:00:14,200 --> 01:00:18,360
Speaker 4: know about her? Oh? My God, wicked, crazy, amazing sort

890
01:00:18,400 --> 01:00:26,760
Speaker 4: of goth legend who made a record called The Sporting

891
01:00:26,840 --> 01:00:31,360
Speaker 4: Life with John Paul Jones playing bass, Pete Thomas from

892
01:00:31,400 --> 01:00:34,080
Speaker 4: The Attractions playing drums, and her singing I have to

893
01:00:34,080 --> 01:00:36,120
Speaker 4: play it for you. You'll lose your mind. It's one

894
01:00:36,160 --> 01:00:37,680
Speaker 4: of the coolest things in the world. But it also

895
01:00:37,800 --> 01:00:42,240
Speaker 4: has sort of that sort of influence. God, this is

896
01:00:42,320 --> 01:00:42,800
Speaker 4: gonna be hard.

897
01:00:44,040 --> 01:00:44,800
Speaker 6: We don't have to do it.

898
01:00:46,200 --> 01:00:47,120
Speaker 4: I tried it this morning.

899
01:00:48,480 --> 01:00:51,920
Speaker 1: It's just a good song. Okay, figure, can I sing

900
01:00:52,000 --> 01:00:52,720
Speaker 1: some harmonies on it?

901
01:00:53,280 --> 01:00:55,840
Speaker 4: Could you go do whatever you want to do. It's

902
01:00:56,080 --> 01:01:02,880
Speaker 4: seriously been so long. This is gonna be so good.

903
01:01:02,920 --> 01:01:06,080
Speaker 4: I haven't done this in a really long time. I'm sweating.

904
01:01:06,200 --> 01:01:06,920
Speaker 4: I'm sweating.

905
01:01:07,080 --> 01:01:08,160
Speaker 1: I've been sweating all day.

906
01:01:08,280 --> 01:01:38,160
Speaker 4: What are you talking about? All right? Ray, wait, it's time.

907
01:01:42,000 --> 01:01:46,240
Speaker 4: We need to find a bed place to hide.

908
01:01:50,080 --> 01:01:50,120
Speaker 9: Me.

909
01:01:53,080 --> 01:01:53,880
Speaker 2: You're mine.

910
01:01:57,720 --> 01:02:02,160
Speaker 4: I need to know, I need need to know ton.

911
01:02:05,800 --> 01:02:33,640
Speaker 2: Sweet did Ray, Oh my sweet did RAI bay shine.

912
01:02:45,600 --> 01:02:49,320
Speaker 4: He shows, my dear.

913
01:02:53,600 --> 01:03:02,920
Speaker 2: We could spend a lot of time with here by mane.

914
01:03:04,600 --> 01:03:14,040
Speaker 4: This time, hope I get the chance to say goodbye.

915
01:03:17,280 --> 01:03:18,160
Speaker 6: Sweet.

916
01:03:20,440 --> 01:03:26,600
Speaker 2: Divine Raier.

917
01:03:28,480 --> 01:03:29,080
Speaker 5: Oh my.

918
01:03:33,320 --> 01:03:38,000
Speaker 2: Sweet Divine.

919
01:03:41,480 --> 01:03:45,600
Speaker 8: Raiser read shine.

920
01:03:49,280 --> 01:04:04,920
Speaker 2: Day after day, cold wait to.

921
01:04:11,000 --> 01:04:12,640
Speaker 8: Waiting me, wait.

922
01:04:27,920 --> 01:04:38,200
Speaker 4: Wait God, it's time. We need to find that a

923
01:04:38,560 --> 01:04:47,480
Speaker 4: place to hide. Way God, you're mind.

924
01:04:51,440 --> 01:04:55,480
Speaker 2: I need to know. I need to know to know,

925
01:04:59,480 --> 01:05:16,320
Speaker 2: Sweet Javon Raise, Sweet.

926
01:05:23,720 --> 01:05:27,280
Speaker 5: Ra ra Sh.

927
01:05:49,320 --> 01:05:55,160
Speaker 2: Wow isn't it pretty?

928
01:05:56,080 --> 01:05:59,840
Speaker 4: Wow? I haven't done that in twenty years? Really, yeah,

929
01:06:00,080 --> 01:06:02,400
Speaker 4: we did a bunch we did. It was for that,

930
01:06:03,080 --> 01:06:03,840
Speaker 4: for that record.

931
01:06:04,120 --> 01:06:04,760
Speaker 2: Actually, we.

932
01:06:06,240 --> 01:06:08,000
Speaker 4: Went on tour where we like played a bunch of

933
01:06:08,040 --> 01:06:09,920
Speaker 4: rock shows and then we did this acoustic tour thing.

934
01:06:10,160 --> 01:06:13,720
Speaker 1: Yeah, because wasn't it a double Was it a double album?

935
01:06:14,000 --> 01:06:16,360
Speaker 4: It was a double album. I remember we made a

936
01:06:16,440 --> 01:06:19,200
Speaker 4: double album and someone from the record company came to

937
01:06:19,280 --> 01:06:20,960
Speaker 4: listen to it, and the first thing they said was

938
01:06:21,800 --> 01:06:25,480
Speaker 4: I think maybe before we even hearing it, They're like, so,

939
01:06:25,680 --> 01:06:28,840
Speaker 4: why did you make a double work? Don't you love that?

940
01:06:30,640 --> 01:06:33,959
Speaker 4: I don't know. No, that was really that was really

941
01:06:34,240 --> 01:06:36,680
Speaker 4: fun to be able to do that. I honestly think

942
01:06:36,880 --> 01:06:41,880
Speaker 4: that the acoustic side of that album was better than

943
01:06:41,920 --> 01:06:42,560
Speaker 4: the rock side.

944
01:06:43,440 --> 01:06:45,800
Speaker 1: Well, it seems like you wanted maybe you wanted to

945
01:06:45,880 --> 01:06:47,720
Speaker 1: make an acoustic album, but you didn't feel like you

946
01:06:47,880 --> 01:06:51,200
Speaker 1: couldn't rock was that and maybe that's what it was.

947
01:06:51,720 --> 01:06:53,680
Speaker 1: That's the hindsight thing. Probably.

948
01:06:53,960 --> 01:06:57,960
Speaker 4: Yeah, we don't know what we're doing ever. Like it's

949
01:06:58,040 --> 01:07:03,560
Speaker 4: like never I remember on the rock record the song

950
01:07:03,640 --> 01:07:08,120
Speaker 4: best of You is on that record, and we recorded

951
01:07:08,160 --> 01:07:10,080
Speaker 4: it and we're like, you know what, that sucks not

952
01:07:10,280 --> 01:07:15,800
Speaker 4: that And we played it for John Silva, our manager, Yes,

953
01:07:17,920 --> 01:07:20,000
Speaker 4: And then a long time later he was like, we

954
01:07:20,080 --> 01:07:21,440
Speaker 4: played them a bunch of other stuff and he's like,

955
01:07:22,000 --> 01:07:23,840
Speaker 4: what about that song that says best of you one

956
01:07:23,880 --> 01:07:28,280
Speaker 4: hundred times? I was like, Yeah, what happened to that?

957
01:07:28,400 --> 01:07:30,280
Speaker 4: I Oh, it's kind of cool.

958
01:07:30,680 --> 01:07:33,000
Speaker 1: That's funny how your perceptions of things.

959
01:07:33,800 --> 01:07:34,760
Speaker 4: Don't you do the same thing.

960
01:07:35,360 --> 01:07:38,000
Speaker 1: I mean, I don't have hits in the same way.

961
01:07:37,960 --> 01:07:38,280
Speaker 9: That you do.

962
01:07:38,560 --> 01:07:40,280
Speaker 4: Yeah, But you know, when a song is a good song,

963
01:07:41,160 --> 01:07:41,960
Speaker 4: I think I do.

964
01:07:42,840 --> 01:07:45,400
Speaker 1: But then sometimes I'll do stuff that I don't think

965
01:07:45,520 --> 01:07:48,240
Speaker 1: is good, and then I feel like I get fed

966
01:07:48,320 --> 01:07:51,680
Speaker 1: by If other people end up it's one of their favorites.

967
01:07:52,000 --> 01:07:54,840
Speaker 1: I get fed by that and my brain thinks it's good. Then.

968
01:07:55,840 --> 01:07:58,200
Speaker 4: Yeah, is that a needy part of me?

969
01:07:58,400 --> 01:07:58,640
Speaker 1: Maybe?

970
01:07:59,640 --> 01:07:59,840
Speaker 8: Well?

971
01:08:01,160 --> 01:08:05,680
Speaker 4: I mean I think maybe as a performer, you want

972
01:08:05,760 --> 01:08:09,320
Speaker 4: people to appreciate what you do. Yeah, it's maybe not

973
01:08:10,200 --> 01:08:15,560
Speaker 4: first priority if you're a musician or but if you're performing,

974
01:08:16,320 --> 01:08:19,600
Speaker 4: it's nice to play songs that people enjoy hearing.

975
01:08:20,920 --> 01:08:25,400
Speaker 1: They have fun come back exactly.

976
01:08:25,800 --> 01:08:28,040
Speaker 4: Rather than just go I get it. Like, you know,

977
01:08:28,080 --> 01:08:31,280
Speaker 4: there have been times where we'll record things that are

978
01:08:32,520 --> 01:08:35,080
Speaker 4: you know, very like inward or sort of self indulgent,

979
01:08:35,280 --> 01:08:41,320
Speaker 4: and you know, things that might please us greatly but

980
01:08:41,560 --> 01:08:45,760
Speaker 4: won't necessarily translate to when we go out. Like I

981
01:08:45,920 --> 01:08:51,000
Speaker 4: really love going out and playing songs that if it's

982
01:08:51,000 --> 01:08:53,679
Speaker 4: a song they don't know, it has to be fucking amazing.

983
01:08:54,800 --> 01:08:59,719
Speaker 1: Yeah, I've learned that you can't just be Yeah, I mean, yeah,

984
01:09:00,360 --> 01:09:01,040
Speaker 1: it's more fun.

985
01:09:02,439 --> 01:09:04,120
Speaker 4: Oh you know what we were talking about the new record?

986
01:09:04,160 --> 01:09:11,439
Speaker 4: Then okay, so so I mean Rescued is so screamy. Yeah,

987
01:09:11,520 --> 01:09:14,000
Speaker 4: you don't want me fucking screaming rescue that you you can.

988
01:09:14,240 --> 01:09:15,920
Speaker 4: You can come over next door and hear us rehearse

989
01:09:16,000 --> 01:09:17,280
Speaker 4: it in the You can.

990
01:09:17,280 --> 01:09:19,760
Speaker 1: Do whatever you want. But I love Rescued and I

991
01:09:19,840 --> 01:09:21,760
Speaker 1: could hear I could hear you doing it, you know,

992
01:09:22,120 --> 01:09:26,040
Speaker 1: kind of the way you do times like these. You know,

993
01:09:26,160 --> 01:09:29,479
Speaker 1: I've heard you do it in so many different incarnations. Yeah,

994
01:09:29,560 --> 01:09:31,320
Speaker 1: And then I went back to the record version. I

995
01:09:31,360 --> 01:09:36,240
Speaker 1: was like, oh, yeah, it's like crazy, crazy different each time.

996
01:09:38,040 --> 01:09:40,920
Speaker 4: Well, you know it's crazy. It's this guitar that I've

997
01:09:41,160 --> 01:09:43,960
Speaker 4: basically written all of our music for the last thirty

998
01:09:44,040 --> 01:09:47,640
Speaker 4: years on this really yes, what is it? I don't know.

999
01:09:47,760 --> 01:09:51,160
Speaker 4: It's an old Gibson. It's a Gibson country Western model.

1000
01:09:51,200 --> 01:09:57,720
Speaker 4: I know nothing about gear, drums or guitar. But yeah,

1001
01:09:57,920 --> 01:10:03,679
Speaker 4: pretty much everything from the first record to the Learned

1002
01:10:03,760 --> 01:10:07,240
Speaker 4: Flies and the Everlongs and all of that stuff was

1003
01:10:08,080 --> 01:10:12,160
Speaker 4: this thing. And that's what happens is I'll write a

1004
01:10:12,320 --> 01:10:17,800
Speaker 4: song and I'll come up with a melody before the

1005
01:10:17,920 --> 01:10:23,519
Speaker 4: lyrics or anything, and I'll sit on the I'll sit

1006
01:10:23,600 --> 01:10:25,200
Speaker 4: on the couch and I'll be like, I'll be like

1007
01:10:25,360 --> 01:10:32,160
Speaker 4: looking at the dancer and I'll like singing it sort

1008
01:10:32,200 --> 01:10:34,560
Speaker 4: of falsetto, and they'll get in the studio be like

1009
01:10:35,720 --> 01:10:41,000
Speaker 4: and it just doesn't sound the same at all. And

1010
01:10:41,040 --> 01:10:43,560
Speaker 4: then I realized, like, oh shit, I had to scream.

1011
01:10:43,320 --> 01:10:46,000
Speaker 1: That yeah, like I don't sit around the house otherwise

1012
01:10:46,040 --> 01:10:47,439
Speaker 1: it sounds too like yeah.

1013
01:10:48,600 --> 01:10:50,960
Speaker 4: And then the first time, the first time I sing

1014
01:10:51,360 --> 01:10:54,280
Speaker 4: any of our songs is always in front of the.

1015
01:10:54,280 --> 01:10:59,000
Speaker 1: Mic to record you don't play it for them before, I'll.

1016
01:10:58,880 --> 01:11:01,439
Speaker 4: Play them sort of demo, And even in the demos,

1017
01:11:01,439 --> 01:11:08,120
Speaker 4: I'm like, I save it for the moment, and then

1018
01:11:08,240 --> 01:11:11,680
Speaker 4: in that moment, I'm like, oh fuck, God, damn, I

1019
01:11:11,760 --> 01:11:17,920
Speaker 4: have to scream on this and then to fucking sing

1020
01:11:18,040 --> 01:11:20,320
Speaker 4: that scream out every night.

1021
01:11:20,640 --> 01:11:21,160
Speaker 1: That's a lot.

1022
01:11:22,920 --> 01:11:24,800
Speaker 4: You're up for it. I'm up for it.

1023
01:11:25,760 --> 01:11:25,960
Speaker 5: Job.

1024
01:11:28,800 --> 01:11:31,920
Speaker 4: I remember. The reason why we first started doing acoustic

1025
01:11:32,280 --> 01:11:36,439
Speaker 4: versions of our songs was because we went on the

1026
01:11:36,520 --> 01:11:43,479
Speaker 4: Howard Stern Show, Oh Boy, and it was whatever, like

1027
01:11:43,640 --> 01:11:46,679
Speaker 4: seven in the morning, and he's like, hey, bring a guitar.

1028
01:11:48,479 --> 01:11:52,400
Speaker 4: They might want you to play a song. And I

1029
01:11:52,439 --> 01:11:55,000
Speaker 4: don't know if we'd ever done an acoustic song or

1030
01:11:55,000 --> 01:12:01,000
Speaker 4: an acoustic version of a song. And the night before

1031
01:12:01,040 --> 01:12:02,240
Speaker 4: I was in the hotel room and I'm just like,

1032
01:12:02,320 --> 01:12:04,000
Speaker 4: oh my god, what are we gonna? Like, what can

1033
01:12:04,040 --> 01:12:09,439
Speaker 4: we play? At the time, I think we were only

1034
01:12:09,479 --> 01:12:11,519
Speaker 4: on our second record, but that song had I mean

1035
01:12:11,560 --> 01:12:16,559
Speaker 4: that record had like My Hero and Everlong and stuff

1036
01:12:16,600 --> 01:12:19,839
Speaker 4: like that. Then I thought, wow, every Long is probably

1037
01:12:20,080 --> 01:12:23,040
Speaker 4: the easiest to sing at seven in the morning with

1038
01:12:23,080 --> 01:12:28,320
Speaker 4: an acoustic guitar. And we did it, and it kind

1039
01:12:28,360 --> 01:12:32,000
Speaker 4: of opened up this whole new dynamic in this whole

1040
01:12:32,040 --> 01:12:35,639
Speaker 4: new world. For us to try some of our songs

1041
01:12:36,520 --> 01:12:37,599
Speaker 4: on acoustic guitars.

1042
01:12:38,200 --> 01:12:39,320
Speaker 1: It felt exciting.

1043
01:12:39,720 --> 01:12:40,040
Speaker 4: What's that?

1044
01:12:40,240 --> 01:12:42,080
Speaker 1: It felt fun and like exciting.

1045
01:12:42,160 --> 01:12:45,160
Speaker 4: Yeah, it was just nice to be we Actually we

1046
01:12:45,280 --> 01:12:48,479
Speaker 4: did it on the radio on his radio show, and

1047
01:12:48,560 --> 01:12:53,000
Speaker 4: then they kept playing it and Silva was like, oh

1048
01:12:53,040 --> 01:12:55,040
Speaker 4: my god, we need to record a version of it. Ah,

1049
01:12:55,439 --> 01:13:01,559
Speaker 4: And then that wound up on the radio and since then,

1050
01:13:02,040 --> 01:13:06,280
Speaker 4: at least once or twice a year, people will come

1051
01:13:06,360 --> 01:13:09,320
Speaker 4: up to me and be like, that was our song

1052
01:13:09,360 --> 01:13:10,000
Speaker 4: at our wedding.

1053
01:13:12,280 --> 01:13:16,360
Speaker 1: Acoustic version, acoustic version. Yeah, but that's also I feel

1054
01:13:16,360 --> 01:13:19,160
Speaker 1: like when you strip a song back from whatever it

1055
01:13:19,400 --> 01:13:23,639
Speaker 1: becomes production wise or full band wise, and it still works.

1056
01:13:24,439 --> 01:13:28,240
Speaker 1: I mean, it's just a great song. So it's it's

1057
01:13:28,439 --> 01:13:32,000
Speaker 1: it's if it didn't sound good acoustic, you'd be exposed.

1058
01:13:32,080 --> 01:13:36,320
Speaker 1: But because they're great songs, they work, you know, I know,

1059
01:13:37,320 --> 01:13:37,920
Speaker 1: so lucky you.

1060
01:13:39,280 --> 01:13:40,599
Speaker 4: We're going to do everlong right now.

1061
01:13:42,960 --> 01:13:44,400
Speaker 1: I don't know as well.

1062
01:13:44,720 --> 01:13:47,840
Speaker 4: Nah, we're going to do it. Okay, what's this chord?

1063
01:13:48,320 --> 01:13:49,720
Speaker 4: You know what, let's music kick it out.

1064
01:13:49,880 --> 01:13:55,880
Speaker 1: Let's go to music school. It's a D major seven

1065
01:13:56,560 --> 01:14:02,720
Speaker 1: with a major seven okay. Then this is a B

1066
01:14:02,920 --> 01:14:06,560
Speaker 1: minor with the minor seven and a nine.

1067
01:14:06,600 --> 01:14:11,240
Speaker 4: Then then backsup to the.

1068
01:14:13,520 --> 01:14:16,920
Speaker 1: Yeah, yeah it goes okay, I get it. I mean

1069
01:14:16,960 --> 01:14:19,360
Speaker 1: I know the song too, just so used to ask

1070
01:14:19,439 --> 01:14:21,000
Speaker 1: you what the chords are. I need you to know

1071
01:14:21,080 --> 01:14:21,760
Speaker 1: that I do know this.

1072
01:14:22,479 --> 01:14:24,680
Speaker 4: This chord one time was this D.

1073
01:14:24,840 --> 01:14:28,800
Speaker 1: Major seven okay, B minor seven with a nine, B

1074
01:14:28,920 --> 01:14:39,639
Speaker 1: minor seven nine, it's G two. Omit the three. I'm sorry,

1075
01:14:39,760 --> 01:14:41,439
Speaker 1: but this is I am serious.

1076
01:14:43,320 --> 01:14:43,960
Speaker 4: Right, that's right.

1077
01:15:08,000 --> 01:15:12,920
Speaker 8: Hello, I've waited here for you.

1078
01:15:15,800 --> 01:15:28,479
Speaker 4: If along to remember the first out of the red

1079
01:15:29,320 --> 01:15:32,479
Speaker 4: out of the head, she said, do do do do

1080
01:15:32,680 --> 01:15:34,640
Speaker 4: do do do do do do do do do do

1081
01:15:34,720 --> 01:15:37,720
Speaker 4: do do do do do do do do do do

1082
01:15:37,920 --> 01:15:38,160
Speaker 4: do do.

1083
01:15:43,760 --> 01:15:45,080
Speaker 8: Come down.

1084
01:15:46,720 --> 01:15:52,640
Speaker 4: And waste away with me, Down with me.

1085
01:15:55,680 --> 01:15:56,960
Speaker 2: Slow, well.

1086
01:15:58,800 --> 01:16:04,400
Speaker 4: You wanted it could to be. It's over my head,

1087
01:16:05,320 --> 01:16:07,360
Speaker 4: out of my head because a bread freak.

1088
01:16:12,600 --> 01:16:14,640
Speaker 8: And I wonder.

1089
01:16:17,439 --> 01:16:23,960
Speaker 4: When I sing along with you, if everything could ever

1090
01:16:24,120 --> 01:16:33,000
Speaker 4: feel this real, for if anything could ever be this good? Uh,

1091
01:16:37,520 --> 01:16:42,400
Speaker 4: the only thing I'll ever ask of you, got a promise.

1092
01:16:43,680 --> 01:16:44,479
Speaker 4: I'm torturing you.

1093
01:17:01,080 --> 01:17:10,000
Speaker 8: Breath out so I can breed you well, old man,

1094
01:17:13,479 --> 01:17:14,559
Speaker 8: And now.

1095
01:17:16,479 --> 01:17:23,400
Speaker 4: I know you Bosben, out of your head, out of

1096
01:17:23,560 --> 01:17:37,360
Speaker 4: my head, I sang anytime, and I sing along with you.

1097
01:17:40,600 --> 01:17:48,839
Speaker 4: If everything good ever feel this real? Far well, anything

1098
01:17:49,000 --> 01:17:56,439
Speaker 4: good ever be this good? Up again? The only thing

1099
01:17:56,560 --> 01:18:01,639
Speaker 4: I'll ever ask of you, God, Promise not to stop

1100
01:18:01,840 --> 01:19:04,360
Speaker 4: when I say, she said, it's all right now, and

1101
01:19:04,880 --> 01:19:18,840
Speaker 4: I wonder and I sing along with you, if everything

1102
01:19:19,000 --> 01:19:27,400
Speaker 4: could ever feel this real, voy, if anything could ever

1103
01:19:27,600 --> 01:19:38,320
Speaker 4: be this good? H only thing I'll ever ask of you, God,

1104
01:19:38,400 --> 01:19:43,160
Speaker 4: A promise not to stop when I say when.

1105
01:19:45,479 --> 01:19:57,639
Speaker 1: She said, fuck yes, I feel like I'm not wearing

1106
01:19:57,640 --> 01:19:58,200
Speaker 1: any pants.

1107
01:20:01,160 --> 01:20:05,200
Speaker 4: That's a lot to ask you to play a song

1108
01:20:05,360 --> 01:20:07,960
Speaker 4: that you've never played before, and you just did it.

1109
01:20:08,439 --> 01:20:09,880
Speaker 4: I loved it me too.

1110
01:20:10,160 --> 01:20:13,599
Speaker 1: I was slightly unprepared, but I enjoyed every second.

1111
01:20:14,000 --> 01:20:14,280
Speaker 4: Great.

1112
01:20:14,760 --> 01:20:17,080
Speaker 1: That's a great one. It also does that drony thing

1113
01:20:17,120 --> 01:20:17,439
Speaker 1: that you do.

1114
01:20:17,600 --> 01:20:19,000
Speaker 6: You like you do that a lot.

1115
01:20:19,200 --> 01:20:22,720
Speaker 1: I love it. I do the Indian and me loves it.

1116
01:20:24,000 --> 01:20:24,640
Speaker 4: What is that?

1117
01:20:25,520 --> 01:20:27,400
Speaker 1: I don't know, but I like it and I write

1118
01:20:27,439 --> 01:20:28,120
Speaker 1: songs like that too.

1119
01:20:28,200 --> 01:20:28,599
Speaker 4: Sometimes.

1120
01:20:29,000 --> 01:20:32,240
Speaker 1: I just like there's something about like the pedal and

1121
01:20:32,320 --> 01:20:35,719
Speaker 1: the drone of it not changing keys, or like almost

1122
01:20:35,800 --> 01:20:37,240
Speaker 1: never going to the five. I know it went to

1123
01:20:37,280 --> 01:20:39,840
Speaker 1: the five chord a couple of times in that bridgy.

1124
01:20:39,600 --> 01:20:39,880
Speaker 4: Bit, but.

1125
01:20:41,520 --> 01:20:44,280
Speaker 1: There's something circular about it that gets sort of like

1126
01:20:44,400 --> 01:20:45,760
Speaker 1: haunting and under your skin.

1127
01:20:45,880 --> 01:20:48,479
Speaker 4: I feel like songs like that, you know, a lot

1128
01:20:48,560 --> 01:20:55,360
Speaker 4: of the droning, whether it comes from two different people. Zeppelin,

1129
01:20:56,280 --> 01:21:01,120
Speaker 4: there's this one song called in the Light off a

1130
01:21:01,160 --> 01:21:05,000
Speaker 4: Physical Graffiti. There's this one like whatever note it is

1131
01:21:05,479 --> 01:21:08,160
Speaker 4: that hangs out over the whole riff and it just

1132
01:21:08,320 --> 01:21:12,880
Speaker 4: lends to this like beautiful, sort of spacey, trippy drone thing.

1133
01:21:13,840 --> 01:21:15,920
Speaker 4: But then there's this punk rock band called Husker Doo

1134
01:21:16,400 --> 01:21:18,920
Speaker 4: who I loved so much when I was young, and

1135
01:21:19,760 --> 01:21:22,280
Speaker 4: the guitar player, singer Bob Mold, the way that he

1136
01:21:22,400 --> 01:21:25,960
Speaker 4: played guitar, he always had these like these notes that

1137
01:21:26,040 --> 01:21:29,640
Speaker 4: would ring out over the riff or chord structure, that

1138
01:21:29,880 --> 01:21:31,960
Speaker 4: just sort of sustained notes. I don't even know what

1139
01:21:32,000 --> 01:21:34,519
Speaker 4: I'm talking about, how would you call them? But it's

1140
01:21:34,560 --> 01:21:36,760
Speaker 4: always cool just to have that weird sort of drawn thing.

1141
01:21:36,840 --> 01:21:41,000
Speaker 4: But then also that whatever that is, what do you

1142
01:21:41,040 --> 01:21:43,240
Speaker 4: call that? Nour is it?

1143
01:21:43,800 --> 01:21:44,080
Speaker 2: Bob?

1144
01:21:44,800 --> 01:21:45,000
Speaker 1: Yeah?

1145
01:21:47,040 --> 01:21:49,640
Speaker 4: So I'm selling the d Yeah, you're playing.

1146
01:21:51,320 --> 01:21:59,760
Speaker 1: You and it's got the dissonance. Yeah, yeah, Yeah, I

1147
01:21:59,800 --> 01:22:00,200
Speaker 1: love that.

1148
01:22:00,560 --> 01:22:02,479
Speaker 4: I feel like I just went to fucking music school.

1149
01:22:02,560 --> 01:22:06,640
Speaker 1: This is the learner episode. I feel like when I

1150
01:22:06,680 --> 01:22:10,040
Speaker 1: came in to sing Virginia Moon, you guys thought I

1151
01:22:10,200 --> 01:22:12,360
Speaker 1: was a nerd that day too.

1152
01:22:12,720 --> 01:22:14,920
Speaker 4: I don't know. I don't know if you remember coming

1153
01:22:15,000 --> 01:22:18,160
Speaker 4: in and me showing you the song and you were like, oh,

1154
01:22:18,280 --> 01:22:20,120
Speaker 4: I kind of was hoping we were going to do

1155
01:22:20,160 --> 01:22:20,720
Speaker 4: a rock song.

1156
01:22:20,880 --> 01:22:21,479
Speaker 8: Do you remember that?

1157
01:22:21,960 --> 01:22:24,240
Speaker 1: Well? I think I said that. I did say that,

1158
01:22:25,160 --> 01:22:27,840
Speaker 1: didn't you You had already sent me the song though, right,

1159
01:22:28,200 --> 01:22:28,880
Speaker 1: didn't I already know?

1160
01:22:29,040 --> 01:22:30,840
Speaker 4: No? I feel like you fucking figured it out.

1161
01:22:31,160 --> 01:22:33,800
Speaker 1: Oh yeah, because when I got the call to do it,

1162
01:22:34,800 --> 01:22:38,920
Speaker 1: I was so excited and confused why you would call me?

1163
01:22:39,720 --> 01:22:43,840
Speaker 1: Also because you're fucking rock band, you know. And so

1164
01:22:43,960 --> 01:22:47,120
Speaker 1: I get there and it's a Boss and Nova and

1165
01:22:47,280 --> 01:22:50,560
Speaker 1: it's beautiful, and I was like, I thought I was

1166
01:22:50,640 --> 01:22:51,519
Speaker 1: going to get to rock.

1167
01:22:52,320 --> 01:22:57,200
Speaker 4: Well, whenever you want to make a rock record, I do. Actually, wait,

1168
01:22:57,280 --> 01:23:00,559
Speaker 4: didn't you have another You had a band? Didn't you were?

1169
01:23:00,600 --> 01:23:02,600
Speaker 4: You were in like a rock band thing, weren't you?

1170
01:23:03,040 --> 01:23:05,040
Speaker 1: Yeah? Oh, I had this band called El Madmo and

1171
01:23:05,120 --> 01:23:07,560
Speaker 1: we were kind of kind of it was kind of

1172
01:23:07,600 --> 01:23:08,240
Speaker 1: a rock band.

1173
01:23:08,600 --> 01:23:09,200
Speaker 4: Was it back then.

1174
01:23:09,439 --> 01:23:12,400
Speaker 1: It was back then, and it was around then actually

1175
01:23:12,520 --> 01:23:15,200
Speaker 1: right after then, and I had started playing guitar. That's

1176
01:23:15,240 --> 01:23:16,880
Speaker 1: how I was. I was learning how to play guitar

1177
01:23:17,439 --> 01:23:20,960
Speaker 1: on that That was pretty fun. But I came in

1178
01:23:21,080 --> 01:23:25,599
Speaker 1: to do Virginia Moon. Did I deflate the moment by

1179
01:23:25,640 --> 01:23:26,920
Speaker 1: saying that, No.

1180
01:23:27,000 --> 01:23:29,880
Speaker 4: You just scared me, did I more? Because as if

1181
01:23:29,920 --> 01:23:32,479
Speaker 4: I weren't nervous enough, I felt like that, I'm like,

1182
01:23:32,520 --> 01:23:34,120
Speaker 4: oh great, I'm already disappointing her.

1183
01:23:34,479 --> 01:23:37,639
Speaker 1: I'm sorry song. Yet I was so young and confused

1184
01:23:37,680 --> 01:23:41,479
Speaker 1: by everything at that time. I was like, who am I?

1185
01:23:41,760 --> 01:23:43,519
Speaker 4: God, damn, that was like twenty years that.

1186
01:23:43,600 --> 01:23:46,439
Speaker 1: Was twenty years ago. Oh shit, and I had just

1187
01:23:46,840 --> 01:23:50,120
Speaker 1: become successful and I was just like, what the fuck

1188
01:23:50,240 --> 01:23:50,799
Speaker 1: is happening?

1189
01:23:50,920 --> 01:23:51,120
Speaker 4: You know?

1190
01:23:52,080 --> 01:23:54,400
Speaker 1: And you had me come in and do this song

1191
01:23:54,880 --> 01:23:56,680
Speaker 1: and I loved it. It was beautiful. I just was

1192
01:23:56,760 --> 01:23:59,680
Speaker 1: so confused because because you're you.

1193
01:24:00,120 --> 01:24:01,559
Speaker 4: Full of fucking shit right now?

1194
01:24:01,840 --> 01:24:02,799
Speaker 2: No, it was amazing.

1195
01:24:03,680 --> 01:24:08,200
Speaker 1: And then and then I loved that song forever. And

1196
01:24:08,479 --> 01:24:09,920
Speaker 1: we've never sang it together after.

1197
01:24:09,800 --> 01:24:12,479
Speaker 4: That, No, and we never will because now I know

1198
01:24:12,520 --> 01:24:13,519
Speaker 4: how much you didn't want to do it.

1199
01:24:13,720 --> 01:24:15,800
Speaker 1: No, I did want to do it. I just didn't

1200
01:24:15,840 --> 01:24:16,439
Speaker 1: know what I was doing.

1201
01:24:17,400 --> 01:24:19,160
Speaker 6: Stop it, are we in a fight?

1202
01:24:19,920 --> 01:24:21,000
Speaker 4: It just did question.

1203
01:24:21,680 --> 01:24:23,679
Speaker 1: Why did you call me because you thought it would

1204
01:24:23,680 --> 01:24:24,080
Speaker 1: be nice?

1205
01:24:24,360 --> 01:24:25,760
Speaker 4: Well, you know, one of the things that we were

1206
01:24:25,800 --> 01:24:29,040
Speaker 4: doing on that record is we were asking people to

1207
01:24:29,120 --> 01:24:31,680
Speaker 4: come guest with us. John Paul Jones is on that

1208
01:24:31,800 --> 01:24:35,720
Speaker 4: That's right, he was, Oh god, John Ball Jones. You

1209
01:24:36,400 --> 01:24:38,120
Speaker 4: Kaki King? Do you remember Kaki King?

1210
01:24:38,280 --> 01:24:38,519
Speaker 1: Yeah?

1211
01:24:39,400 --> 01:24:42,280
Speaker 4: She played on this song Razor with me. I think

1212
01:24:42,360 --> 01:24:48,479
Speaker 4: either Razor or Beaconsfield Minors. It's actually how we got Ronny,

1213
01:24:48,560 --> 01:24:50,680
Speaker 4: our keyboard player, to join the band. He came and

1214
01:24:50,720 --> 01:24:54,000
Speaker 4: played all over it. Okay, go. I don't remember who else,

1215
01:24:54,120 --> 01:24:55,680
Speaker 4: but yeah, we were having a bunch of people come

1216
01:24:55,840 --> 01:24:59,640
Speaker 4: guest on the record, and I came up with that,

1217
01:25:00,520 --> 01:25:02,920
Speaker 4: and having heard your voice, I'm like, oh my god,

1218
01:25:02,920 --> 01:25:04,320
Speaker 4: this will be beautiful, This'll be perfect.

1219
01:25:04,400 --> 01:25:07,280
Speaker 1: I totally agree. It makes sense. Yeah, like I get

1220
01:25:07,680 --> 01:25:10,639
Speaker 1: I got why you called me after I heard the song,

1221
01:25:11,800 --> 01:25:13,840
Speaker 1: But whatever it is, I thought I was going to

1222
01:25:13,880 --> 01:25:17,560
Speaker 1: get to like air drum with you. No, I knew it.

1223
01:25:18,760 --> 01:25:21,280
Speaker 4: I know you can air drum, but can you play drums?

1224
01:25:21,520 --> 01:25:24,800
Speaker 1: I can play a backbeat, yeah, but I'm not great.

1225
01:25:25,240 --> 01:25:27,200
Speaker 1: I mean I play in this band, put some boots,

1226
01:25:27,240 --> 01:25:30,080
Speaker 1: I play some drums on a few songs. Yeah, I

1227
01:25:30,200 --> 01:25:33,280
Speaker 1: feel too much. I like get too excited, Like I

1228
01:25:33,360 --> 01:25:35,200
Speaker 1: try to do fills because I'm so excited to be

1229
01:25:35,280 --> 01:25:37,599
Speaker 1: behind the drums, and I lose everything.

1230
01:25:38,880 --> 01:25:41,559
Speaker 4: The best drum lesson I ever. I only took two

1231
01:25:41,600 --> 01:25:45,080
Speaker 4: drum lessons, one from this crazy jazz drummer in DC.

1232
01:25:45,800 --> 01:25:46,160
Speaker 5: My mom.

1233
01:25:46,280 --> 01:25:49,000
Speaker 4: His name is Lenny Robinson. He might be in New

1234
01:25:49,080 --> 01:25:52,400
Speaker 4: York now, but my mom used to take me to

1235
01:25:52,479 --> 01:25:56,160
Speaker 4: this jazz club on Sundays outside of Georgetown in DC.

1236
01:25:56,439 --> 01:26:02,240
Speaker 4: It's called One Step Down Fun and and uh they

1237
01:26:02,400 --> 01:26:05,599
Speaker 4: on Sundays, they'd had this jazz workshop where the house

1238
01:26:05,680 --> 01:26:08,360
Speaker 4: band was a dude named Lawrence wheat Lee, and then

1239
01:26:08,560 --> 01:26:14,960
Speaker 4: Lenny played drums and dude named Maurice played sacks. I

1240
01:26:15,000 --> 01:26:18,600
Speaker 4: think I can't remember anyway, but seeing him play the

1241
01:26:18,680 --> 01:26:20,760
Speaker 4: drums and seeing a jazz drummer, it was just like

1242
01:26:21,080 --> 01:26:23,560
Speaker 4: I was so used to punk rock drummers. Yeah, I

1243
01:26:23,720 --> 01:26:24,840
Speaker 4: was like, I need to learn how to do that.

1244
01:26:25,960 --> 01:26:30,400
Speaker 4: And I think I was like fifteen or sixteen. I

1245
01:26:30,479 --> 01:26:33,519
Speaker 4: went up to him, like, excuse me, mister Robinson, do

1246
01:26:33,640 --> 01:26:35,960
Speaker 4: you give lessons? He was like, yeah, sure. It was

1247
01:26:36,000 --> 01:26:38,840
Speaker 4: like thirty bucks an hour for him to come in

1248
01:26:38,920 --> 01:26:41,800
Speaker 4: and tell me, like, you're holding your sticks backwards. I

1249
01:26:41,880 --> 01:26:44,000
Speaker 4: was like what. And so then I was just on

1250
01:26:44,080 --> 01:26:46,960
Speaker 4: a path going like for thirty dollars, I had to

1251
01:26:47,080 --> 01:26:49,840
Speaker 4: mow like six lawns in order to get the money.

1252
01:26:50,680 --> 01:26:52,400
Speaker 4: But then the and then I just kind of learned

1253
01:26:52,479 --> 01:26:56,360
Speaker 4: on the pillows. But then the best lesson I ever

1254
01:26:56,520 --> 01:27:00,600
Speaker 4: got was I joined this local punk rock band in

1255
01:27:00,680 --> 01:27:03,160
Speaker 4: DC called Scream, and they were all older than me.

1256
01:27:03,840 --> 01:27:08,080
Speaker 4: I was eighteen, and they like toured and stuff. They

1257
01:27:08,120 --> 01:27:11,160
Speaker 4: toward Europe and toward America, and that was my dream

1258
01:27:12,240 --> 01:27:13,439
Speaker 4: to like get in the van with a bunch of

1259
01:27:13,520 --> 01:27:16,200
Speaker 4: dudes and play punk rock shows and so but I

1260
01:27:16,439 --> 01:27:21,040
Speaker 4: was such an incredibly busy, hyperactive, over the top drummer,

1261
01:27:21,439 --> 01:27:27,680
Speaker 4: the same, just throwing stuff in everywhere too much. And

1262
01:27:27,800 --> 01:27:30,719
Speaker 4: there was once where I went over to the bass

1263
01:27:30,760 --> 01:27:33,920
Speaker 4: player's house or he said, like once I joined the band,

1264
01:27:33,960 --> 01:27:38,720
Speaker 4: He's like, let's Jim, and he's like, we're going to

1265
01:27:38,760 --> 01:27:41,760
Speaker 4: smoke a huge joint and we're going to sit down

1266
01:27:41,760 --> 01:27:43,400
Speaker 4: and play, and we're going to play the same riff

1267
01:27:43,479 --> 01:27:45,800
Speaker 4: for half an hour. And you're not going to do

1268
01:27:45,840 --> 01:27:48,720
Speaker 4: a drummer all whoa, and I was like okay, And

1269
01:27:48,800 --> 01:27:51,519
Speaker 4: so we smoke this huge spliff and I sat down

1270
01:27:52,840 --> 01:27:55,800
Speaker 4: and his name was Skeeter and he was he was

1271
01:27:55,920 --> 01:27:59,400
Speaker 4: really like a groovy, laid back bass player. And so

1272
01:27:59,560 --> 01:28:01,000
Speaker 4: I don't even remember what we played. It was like

1273
01:28:02,280 --> 01:28:04,240
Speaker 4: probably like something like like the song that I just

1274
01:28:04,280 --> 01:28:08,400
Speaker 4: played with you. Yeah, and like thirty seconds go by

1275
01:28:08,400 --> 01:28:10,760
Speaker 4: and I'm like and he would look at me and

1276
01:28:10,840 --> 01:28:13,240
Speaker 4: he broke me like a horse. Yeah. Oh my gosh,

1277
01:28:13,280 --> 01:28:15,280
Speaker 4: I swear it worked. It is the best lesson I

1278
01:28:15,360 --> 01:28:16,439
Speaker 4: ever had in my entire life.

1279
01:28:16,479 --> 01:28:19,080
Speaker 1: That is interesting, and I just wish I had a

1280
01:28:19,160 --> 01:28:19,720
Speaker 1: video of it.

1281
01:28:20,240 --> 01:28:23,720
Speaker 4: Yeah, it was in a bedroom. Okay, there's a drum

1282
01:28:23,800 --> 01:28:25,040
Speaker 4: set in there, this grass.

1283
01:28:25,600 --> 01:28:28,400
Speaker 1: Oh my god, that's true. It's the best lesson. Yeah,

1284
01:28:28,960 --> 01:28:33,960
Speaker 1: maybe I'll do that. Well. Should we try virginumine? Oh

1285
01:28:34,160 --> 01:28:37,760
Speaker 1: too much? Yeah, let's try it, Okay, I mean if

1286
01:28:37,800 --> 01:28:38,880
Speaker 1: we can't get it's fine.

1287
01:28:40,920 --> 01:28:43,880
Speaker 4: My god. These lyrics, I'm trying to be all fucking

1288
01:28:44,360 --> 01:28:45,680
Speaker 4: what romantic, and.

1289
01:28:46,040 --> 01:28:51,120
Speaker 1: They are romantic. Honestly, this is really sweet. These lyrics

1290
01:28:51,160 --> 01:28:54,479
Speaker 1: are I don't even feel like the romantic. I almost

1291
01:28:54,479 --> 01:28:57,120
Speaker 1: feel like it's a like a prayer like a morning.

1292
01:28:57,760 --> 01:28:58,360
Speaker 6: You know what I mean?

1293
01:29:00,400 --> 01:29:08,360
Speaker 4: Constant, damn Sam, it's hard, it's hard. We haven't done

1294
01:29:08,360 --> 01:29:09,120
Speaker 4: it in twenty you know.

1295
01:29:09,880 --> 01:29:11,000
Speaker 1: Did you ever play this live?

1296
01:29:11,080 --> 01:29:13,400
Speaker 4: We need that tour never. I would never do this

1297
01:29:13,520 --> 01:29:14,599
Speaker 4: without you, Ah.

1298
01:29:15,000 --> 01:29:16,120
Speaker 1: Violet would sound pretty on this.

1299
01:29:16,240 --> 01:29:22,400
Speaker 4: Actually, yeah, we've got this. Please, we totally have it.

1300
01:29:22,640 --> 01:29:24,200
Speaker 1: We have it. It's in us.

1301
01:29:24,760 --> 01:29:29,439
Speaker 4: It's happening right two three, four.

1302
01:29:40,439 --> 01:30:05,479
Speaker 9: Constantly surrounding soft Virginion move. I wait for you to night,

1303
01:30:09,520 --> 01:30:12,680
Speaker 9: sweets and.

1304
01:30:15,160 --> 01:30:18,120
Speaker 8: Shot pray.

1305
01:30:19,960 --> 01:30:21,760
Speaker 2: The day tune.

1306
01:30:25,640 --> 01:30:36,400
Speaker 8: Fee like god, dude, Virginium move. I wait for you

1307
01:30:36,760 --> 01:30:37,799
Speaker 8: to night.

1308
01:30:40,160 --> 01:30:51,160
Speaker 2: And now she's become shadows in your larn in morning,

1309
01:30:51,560 --> 01:30:56,760
Speaker 2: will way through and tomorrow resfuse you.

1310
01:30:57,360 --> 01:30:58,439
Speaker 8: I will say.

1311
01:31:01,760 --> 01:31:24,080
Speaker 2: Nine see fastening sho we spo gld to she me

1312
01:31:25,439 --> 01:31:34,599
Speaker 2: calling you, VIRGINI, how we fore to night?

1313
01:31:37,120 --> 01:31:42,920
Speaker 4: And now what she's become shadows in your life?

1314
01:31:47,000 --> 01:31:49,240
Speaker 8: In the morning when.

1315
01:31:49,160 --> 01:31:55,120
Speaker 2: Way through and tomorrows, I will.

1316
01:31:55,120 --> 01:31:57,600
Speaker 4: Say good.

1317
01:31:59,040 --> 01:32:27,479
Speaker 1: Night she you.

1318
01:32:29,600 --> 01:32:32,280
Speaker 8: I wait for you to night.

1319
01:32:34,840 --> 01:32:40,120
Speaker 2: And now she's become shadows in your.

1320
01:32:40,320 --> 01:32:46,839
Speaker 8: Life in the morning, way.

1321
01:32:46,840 --> 01:32:51,720
Speaker 2: Way through and tomorrow rescues you.

1322
01:32:52,280 --> 01:32:53,360
Speaker 8: I will say.

1323
01:32:54,840 --> 01:33:01,760
Speaker 4: Good night, I see.

1324
01:33:33,920 --> 01:33:34,360
Speaker 2: We did it.

1325
01:33:35,160 --> 01:33:40,400
Speaker 4: Oh my god, I'm I know. I know, God, I

1326
01:33:40,400 --> 01:33:41,800
Speaker 4: haven't done it so long.

1327
01:33:42,520 --> 01:33:45,760
Speaker 1: I'm glad we did it because we had to do it.

1328
01:33:46,840 --> 01:33:47,280
Speaker 2: We did it.

1329
01:33:48,200 --> 01:33:51,120
Speaker 4: We did it, nor we did We did. Remember that

1330
01:33:51,200 --> 01:33:53,160
Speaker 4: thing you were talking about, that feeling you get when

1331
01:33:53,200 --> 01:33:54,960
Speaker 4: you do something you don't know if you can do,

1332
01:33:55,080 --> 01:33:57,879
Speaker 4: and then you do it, and then the report it's like, yeah.

1333
01:33:58,240 --> 01:34:02,439
Speaker 1: It's great, thank you, thanks for doing this with me.

1334
01:34:03,439 --> 01:34:03,800
Speaker 4: We did.

1335
01:34:04,320 --> 01:34:07,439
Speaker 1: We did several of the twenty songs we talked about doing.

1336
01:34:07,840 --> 01:34:12,320
Speaker 1: I know, No, I just want to say something you.

1337
01:34:13,920 --> 01:34:15,719
Speaker 4: Thank you, Thanks Norah.

1338
01:34:15,840 --> 01:34:17,720
Speaker 1: I love you so much and this was so fun

1339
01:34:17,800 --> 01:34:21,720
Speaker 1: for me. Thanks for doing music with me.

1340
01:34:22,200 --> 01:34:22,719
Speaker 4: You're welcome.

1341
01:34:22,880 --> 01:34:24,160
Speaker 1: Do you want to hear what I said to Billie

1342
01:34:24,200 --> 01:34:29,439
Speaker 1: Eilish What I said, I'm just I'm so happy that

1343
01:34:30,840 --> 01:34:34,320
Speaker 1: I'm so happy that you're the people love you because

1344
01:34:34,360 --> 01:34:36,680
Speaker 1: I love you. It was hysterical.

1345
01:34:37,280 --> 01:34:38,439
Speaker 4: That's a nice thing to say.

1346
01:34:38,640 --> 01:34:41,680
Speaker 1: It was super awkward, though, and I don't think it

1347
01:34:41,800 --> 01:34:44,679
Speaker 1: came out what I meant to say in the right words,

1348
01:34:45,840 --> 01:34:48,880
Speaker 1: but we get it. It was funny, and I feel

1349
01:34:48,880 --> 01:34:49,920
Speaker 1: the same about you, Dave.

1350
01:34:51,200 --> 01:34:57,679
Speaker 4: That's what I'm trying to say. Damn, Sam, that was fun.

1351
01:34:57,880 --> 01:34:59,240
Speaker 1: Hey will you do a rock song?

1352
01:34:59,280 --> 01:34:59,840
Speaker 2: With me one day.

1353
01:35:00,120 --> 01:35:12,519
Speaker 6: Yeah, okay, oh that was so fun.

1354
01:35:12,920 --> 01:35:14,120
Speaker 1: Thanks for listening everyone.

1355
01:35:14,439 --> 01:35:15,160
Speaker 2: That was great.

1356
01:35:15,520 --> 01:35:19,519
Speaker 11: I'm so impressed by his unjadedness, you know, like in

1357
01:35:19,640 --> 01:35:24,599
Speaker 11: conversation but also like musically, it's like it's like he's

1358
01:35:24,880 --> 01:35:27,000
Speaker 11: achieved so much in his career and yet it's like

1359
01:35:27,080 --> 01:35:30,879
Speaker 11: he's nervous every time and still could get as excited

1360
01:35:30,920 --> 01:35:33,320
Speaker 11: as ever afterwards, like, Wow, we did it, you know.

1361
01:35:33,960 --> 01:35:36,800
Speaker 1: I love that He's definitely got a childlike wonder with

1362
01:35:37,040 --> 01:35:39,960
Speaker 1: music in a way that I hope he never loses.

1363
01:35:40,040 --> 01:35:42,920
Speaker 1: And I hope I never lose. I don't always have it,

1364
01:35:43,080 --> 01:35:44,840
Speaker 1: but it's the best when you do.

1365
01:35:45,880 --> 01:35:47,719
Speaker 11: Yeah, please never change.

1366
01:35:48,439 --> 01:35:50,240
Speaker 1: I hope you enjoyed the episode. If you want to

1367
01:35:50,280 --> 01:35:52,840
Speaker 1: know what songs we played, the first song was Statues

1368
01:35:52,960 --> 01:35:55,800
Speaker 1: from Echoes, Silence, Patients and Grace, the two thousand and

1369
01:35:55,800 --> 01:35:59,120
Speaker 1: seven Food Fighters album. The second song we played was

1370
01:35:59,320 --> 01:36:02,000
Speaker 1: Flame Twin, which is one of mine from Pick Me

1371
01:36:02,120 --> 01:36:04,920
Speaker 1: Up off the Floor in twenty twenty. The acoustic guitar

1372
01:36:05,040 --> 01:36:07,600
Speaker 1: number was Ballad of the Beaconsfield Miners and it's on

1373
01:36:07,680 --> 01:36:10,960
Speaker 1: the album Echoes, Silence, Patience and Grace. Also, we did

1374
01:36:11,080 --> 01:36:13,200
Speaker 1: Razor from In Your Honor the two thousand and five,

1375
01:36:13,360 --> 01:36:17,160
Speaker 1: Foo Fighters Album Ever Long, from The Color in the Shape,

1376
01:36:17,600 --> 01:36:21,520
Speaker 1: nineteen ninety seven Album from the Foo Fighters, and Virginia

1377
01:36:21,640 --> 01:36:23,679
Speaker 1: Moon from In Your Honor in two thousand and five.

1378
01:36:24,360 --> 01:36:27,519
Speaker 1: Thanks again to Dave Girl for joining us and letting

1379
01:36:27,600 --> 01:36:28,479
Speaker 1: us rerun him.

1380
01:36:28,840 --> 01:36:30,000
Speaker 2: We'll be back next week.

1381
01:36:29,960 --> 01:36:33,680
Speaker 1: With Lady Ray. Today's episode was recorded at Studio six

1382
01:36:33,760 --> 01:36:37,679
Speaker 1: oh seven in Los Angeles, California. Recorded by Oliver Roman,

1383
01:36:38,200 --> 01:36:43,160
Speaker 1: assisted by Jared Polacci, studio manager Ali Christi, mixed by

1384
01:36:43,240 --> 01:36:46,960
Speaker 1: Jamie Landry, edited by Sarah Oda. Audio post production and

1385
01:36:47,080 --> 01:36:51,439
Speaker 1: mastering by Greg Tobler. Additional engineering by Pete rem artwork

1386
01:36:51,479 --> 01:36:56,320
Speaker 1: by Eliza Frye. Photography by Shervin Linez. Coordinating producer Rachel Ward,

1387
01:36:56,640 --> 01:37:00,479
Speaker 1: Executive producers Aaron wan Kaufman and Jordan run Togg and

1388
01:37:00,640 --> 01:37:05,280
Speaker 1: marketing lead Allison Kantor Graper. Produced by Norah Jones and

1389
01:37:05,360 --> 01:37:06,000
Speaker 1: Sarah Oda

1390
01:37:07,760 --> 01:37:08,000
Speaker 2: Yay.