1 00:00:08,200 --> 00:00:13,560 Speaker 1: Pushkin. Hey, y'all, it's justin Richmond here. I just want 2 00:00:13,560 --> 00:00:15,640 Speaker 1: to let everyone know that this episode of Broken Record 3 00:00:15,680 --> 00:00:18,840 Speaker 1: is recorded and produced long before the coronavirus outbreak. It's 4 00:00:18,880 --> 00:00:21,320 Speaker 1: with Bob Weir from The Grateful Dead, and since we 5 00:00:21,320 --> 00:00:24,400 Speaker 1: record of this episode, his Wolf Bros. Tour has been postponed. 6 00:00:24,800 --> 00:00:27,120 Speaker 1: Hopefully it doesn't also wind up effecting the summer's Dead 7 00:00:27,160 --> 00:00:29,479 Speaker 1: and Company dates. We'll have to wait and see, but 8 00:00:29,600 --> 00:00:31,520 Speaker 1: we do plan to keep putting out episodes of the 9 00:00:31,520 --> 00:00:33,560 Speaker 1: podcast that will hopefully be a bit of a reprieve 10 00:00:33,600 --> 00:00:37,160 Speaker 1: for everyone who's either continuing to work or practicing social distancing. 11 00:00:37,720 --> 00:00:40,360 Speaker 1: We hope everyone out there stays safe and stays healthy, 12 00:00:40,640 --> 00:00:43,080 Speaker 1: and we hope you enjoy Rick's conversation with The Grateful 13 00:00:43,120 --> 00:00:47,640 Speaker 1: Dead's Bob Weir. Out of all the original members of 14 00:00:47,680 --> 00:00:50,159 Speaker 1: The Grateful Dead, Bob Weir has had the longest and 15 00:00:50,240 --> 00:00:54,120 Speaker 1: most productive trip of all the Dead. Formed in the 16 00:00:54,120 --> 00:00:57,320 Speaker 1: Bay Area in the mid sixties, touring relentlessly until Jerry 17 00:00:57,320 --> 00:00:59,640 Speaker 1: garcia Is death in ninety five, they were able to 18 00:00:59,680 --> 00:01:02,000 Speaker 1: keep the audience on their toes throughout their thirty year 19 00:01:02,040 --> 00:01:05,640 Speaker 1: career with experimental improvised live sets that stretched on for 20 00:01:05,880 --> 00:01:08,720 Speaker 1: hours at a time. Every show was designed to be 21 00:01:08,800 --> 00:01:12,679 Speaker 1: a once in a lifetime experience. As we're hearing Bob's 22 00:01:12,680 --> 00:01:15,760 Speaker 1: conversation with Rick Rubin, the band was never focused on 23 00:01:15,800 --> 00:01:19,479 Speaker 1: making studio albums or writing perfect songs. It was always 24 00:01:19,480 --> 00:01:22,319 Speaker 1: about playing live and seeing where the music would take them. 25 00:01:22,720 --> 00:01:25,320 Speaker 1: It's an objective that has served them well. There's a 26 00:01:25,400 --> 00:01:28,319 Speaker 1: rabid selection of Deadheads who trade recordings of live shows 27 00:01:28,360 --> 00:01:31,800 Speaker 1: to this day, a tradition the band started fostering decades ago. 28 00:01:32,240 --> 00:01:34,880 Speaker 1: As a result, Bob credits the band with creating viral 29 00:01:34,920 --> 00:01:38,480 Speaker 1: marketing long before the Internet. In addition to the Grateful Dead, 30 00:01:38,560 --> 00:01:40,759 Speaker 1: Bob is also toured with a number of offshoot bands, 31 00:01:40,800 --> 00:01:43,920 Speaker 1: including Dead and Company with John Mayer and his latest project, 32 00:01:44,080 --> 00:01:46,920 Speaker 1: Wolf Brows with Don Was who were on tour Now. 33 00:01:47,760 --> 00:01:50,320 Speaker 1: If there's anyone keeping the Dead alive, it's Bob Weir, 34 00:01:50,560 --> 00:01:53,160 Speaker 1: and after all these years, he's still just playing in 35 00:01:53,200 --> 00:01:56,120 Speaker 1: the band. Bob starts off by Italian Rick about a 36 00:01:56,160 --> 00:01:58,520 Speaker 1: recent dream whereas oldfer and Jerry visits him with this 37 00:01:58,600 --> 00:02:02,960 Speaker 1: song that materializes into a giant, playful sheep dog. It's 38 00:02:03,000 --> 00:02:09,359 Speaker 1: super trippy, but what else would you expect? This is 39 00:02:09,440 --> 00:02:12,160 Speaker 1: broken record line of notes for the digital Age. I'm 40 00:02:12,200 --> 00:02:20,079 Speaker 1: justin Mitchman. Here's Bob. We are in conversation with Rick 41 00:02:20,160 --> 00:02:23,440 Speaker 1: Rubin from Shangola. Do you write songs all the time? 42 00:02:23,520 --> 00:02:29,079 Speaker 1: What's your process? Like, there's stuff going on, stuff going 43 00:02:29,120 --> 00:02:35,520 Speaker 1: on in my head all the time, and right now 44 00:02:35,560 --> 00:02:37,960 Speaker 1: I'm kind of writing all the time, you know. Yeah, 45 00:02:37,960 --> 00:02:41,600 Speaker 1: it's nice. You know it comes out very very slowly, 46 00:02:42,080 --> 00:02:47,040 Speaker 1: slower than a slug in a trance. But but you know, 47 00:02:47,440 --> 00:02:49,880 Speaker 1: I keep at it. Yeah. In the past, he worked 48 00:02:49,919 --> 00:02:53,000 Speaker 1: a lot with a lyricist, and I understand he passed away. 49 00:02:53,639 --> 00:02:57,160 Speaker 1: Is that how do you fill that gap or how 50 00:02:57,160 --> 00:02:59,960 Speaker 1: do you imagine it working going forward? Well, I've always 51 00:03:00,040 --> 00:03:02,359 Speaker 1: you know, I was working with John Barlow, the lyricistist, 52 00:03:02,680 --> 00:03:04,600 Speaker 1: but I always wrote like half of the lyrics, or 53 00:03:04,760 --> 00:03:09,560 Speaker 1: usually wrote half alerts and would your half come first 54 00:03:09,600 --> 00:03:13,320 Speaker 1: and he would finish them. Generally speaking, Yeah, generally speaking, 55 00:03:13,360 --> 00:03:15,880 Speaker 1: I would come up with whatever it was that married 56 00:03:15,919 --> 00:03:19,720 Speaker 1: that lyric to that music understood and uh, and you 57 00:03:19,760 --> 00:03:25,400 Speaker 1: would have already the framework melodically of yeah, the phrasing yeah, 58 00:03:25,639 --> 00:03:30,280 Speaker 1: or you know, some big notion of that. Yes, would 59 00:03:30,320 --> 00:03:35,040 Speaker 1: would how often would a song change from the initial 60 00:03:35,280 --> 00:03:38,960 Speaker 1: spirit when writing it. Sometimes not at all, and sometimes 61 00:03:39,960 --> 00:03:46,080 Speaker 1: you get way different. You know, A song is I'm 62 00:03:46,120 --> 00:03:48,880 Speaker 1: gonna I'm gonna die right in here. A song is 63 00:03:48,920 --> 00:03:53,600 Speaker 1: a life form. It's a you know, an alien life form. 64 00:03:54,440 --> 00:03:59,360 Speaker 1: It's organic. Um. I actually I had a dream, um 65 00:04:00,840 --> 00:04:03,360 Speaker 1: a few weeks back, my old pal Jerry came to 66 00:04:03,440 --> 00:04:07,960 Speaker 1: me in the dream and introduced to me a song, 67 00:04:08,560 --> 00:04:10,880 Speaker 1: you know, and the song came in and it was 68 00:04:11,120 --> 00:04:13,120 Speaker 1: like it was kind of it looked kind of like 69 00:04:13,160 --> 00:04:18,440 Speaker 1: a great, big room sized etherial sheep dog, you know, 70 00:04:18,480 --> 00:04:20,719 Speaker 1: it was big and friendly and you know, came up 71 00:04:20,760 --> 00:04:22,640 Speaker 1: and sniffed me and I batted a little bit, and 72 00:04:22,680 --> 00:04:25,800 Speaker 1: it came back at me, and it was it was 73 00:04:25,880 --> 00:04:29,680 Speaker 1: interactive and and and then we you know, then we 74 00:04:29,720 --> 00:04:33,800 Speaker 1: started playing and singing the song, and then we we 75 00:04:33,800 --> 00:04:37,920 Speaker 1: were in it. We were in the song part of it. 76 00:04:37,920 --> 00:04:42,960 Speaker 1: We were part of that functioning organism. Yes, And then 77 00:04:43,000 --> 00:04:46,040 Speaker 1: the dream sort of trailed off into whatever, into wherever 78 00:04:46,480 --> 00:04:53,040 Speaker 1: dreams go. But um, that just confirmed my notion that 79 00:04:53,040 --> 00:04:56,120 Speaker 1: I've held for the longest time that there a song 80 00:04:56,160 --> 00:04:58,200 Speaker 1: as a live form, and it comes and visits us, 81 00:04:58,560 --> 00:05:02,480 Speaker 1: and it comes through certain people for whatever its reasons. 82 00:05:02,480 --> 00:05:06,760 Speaker 1: Are yes and or whatever its attractions are and yes 83 00:05:06,839 --> 00:05:08,920 Speaker 1: and uh. And when it's time for it to come, 84 00:05:09,000 --> 00:05:10,680 Speaker 1: it's going to come, when it comes through you or 85 00:05:10,680 --> 00:05:13,159 Speaker 1: through someone else, it's coming. Yeah, it's coming to this 86 00:05:13,240 --> 00:05:15,520 Speaker 1: world and it's coming to a sniff around and visit 87 00:05:15,720 --> 00:05:20,320 Speaker 1: and uh and and hang. Yes. And you know those 88 00:05:20,480 --> 00:05:23,479 Speaker 1: those characters and those songs, you know, they come and 89 00:05:23,480 --> 00:05:26,960 Speaker 1: they tell their stories and they're they're you know, they 90 00:05:27,080 --> 00:05:31,920 Speaker 1: just want to be heard. It's beautiful. It's beautiful. When 91 00:05:31,920 --> 00:05:35,640 Speaker 1: you woke up, did you remember the song? Uh? Not 92 00:05:36,000 --> 00:05:39,880 Speaker 1: very well. It was a jazz ballad. Um, we were singing. 93 00:05:40,240 --> 00:05:42,400 Speaker 1: We were doing a duet on it. When you don't 94 00:05:42,440 --> 00:05:47,880 Speaker 1: hear many of those, but but in this particular case, 95 00:05:48,960 --> 00:05:53,240 Speaker 1: you know, jazz ballad. Yeah. Do songs often come to 96 00:05:53,279 --> 00:05:57,040 Speaker 1: you in dreams? A lot of them? Yeah, that's great. Yeah, 97 00:05:57,040 --> 00:05:59,719 Speaker 1: you know the good ones. Yeah, it's what a gift. 98 00:06:00,279 --> 00:06:02,560 Speaker 1: I Sometimes I'll have a song come into dream, but 99 00:06:03,200 --> 00:06:05,400 Speaker 1: it's hard for me to keep them, you know, it's 100 00:06:05,440 --> 00:06:07,520 Speaker 1: hard for them to hang around, right. Yeah, you gotta 101 00:06:07,560 --> 00:06:09,560 Speaker 1: get right on it. Yeah. And what I what I've 102 00:06:09,600 --> 00:06:11,520 Speaker 1: found is I've sort of made a deal with my 103 00:06:11,680 --> 00:06:15,200 Speaker 1: a little deal with with my muse. Yes, where you know, 104 00:06:15,320 --> 00:06:17,760 Speaker 1: no matter what time it day, no matter what I'm 105 00:06:17,800 --> 00:06:20,920 Speaker 1: getting up, I'm I'm gonna I'm gonna, you know, I'm 106 00:06:20,960 --> 00:06:24,920 Speaker 1: gonna pick up my guitar. I'm gonna, I'm gonna, uh 107 00:06:25,120 --> 00:06:28,839 Speaker 1: get enough of it down so that you know, otherwise 108 00:06:28,839 --> 00:06:31,640 Speaker 1: I'm afraidile's taught visiting. Yeah. And with the way you 109 00:06:31,640 --> 00:06:34,000 Speaker 1: would get it down be to record something or might 110 00:06:34,040 --> 00:06:37,960 Speaker 1: it meet generally phone makes it really easy these days. Yeah, 111 00:06:38,040 --> 00:06:40,200 Speaker 1: so you'll sing it into the phone, yeah, or sing 112 00:06:40,240 --> 00:06:44,880 Speaker 1: and play it into the phone. How did um, how 113 00:06:44,880 --> 00:06:49,760 Speaker 1: would set lists work in the band? Well, that's interesting. 114 00:06:50,760 --> 00:06:52,680 Speaker 1: The way the Dead the Grateful Dead used to do 115 00:06:52,680 --> 00:06:56,880 Speaker 1: it is uh, Um, Jerry and I, you know, I'd 116 00:06:56,920 --> 00:06:59,119 Speaker 1: be his journ to start or my turn to start, 117 00:06:59,720 --> 00:07:04,000 Speaker 1: and and take turns back and forth. Yeah, we'd take place. Yeah, 118 00:07:04,040 --> 00:07:08,159 Speaker 1: and then well you know, and we'd figure out the 119 00:07:08,160 --> 00:07:09,840 Speaker 1: first couple of tunes that we were going to do, 120 00:07:10,000 --> 00:07:15,040 Speaker 1: maybe first three, and then we'd generally come up with 121 00:07:15,320 --> 00:07:16,840 Speaker 1: what we were going to wrap the set up with, 122 00:07:17,400 --> 00:07:22,760 Speaker 1: uh says right here on paper. And then and then 123 00:07:22,840 --> 00:07:25,280 Speaker 1: while Jerry was singing, I had all the time on 124 00:07:25,320 --> 00:07:28,160 Speaker 1: earth to to figure out what I wanted to do next, 125 00:07:28,200 --> 00:07:32,520 Speaker 1: And often as not, I'd try to coax that tune 126 00:07:32,560 --> 00:07:34,840 Speaker 1: out of the one we were playing when when it 127 00:07:34,880 --> 00:07:39,400 Speaker 1: was done, to route that one up, And then he'd 128 00:07:39,440 --> 00:07:41,760 Speaker 1: be doing the same thing when I was singing. And 129 00:07:41,840 --> 00:07:44,120 Speaker 1: would they always come or did you did you have 130 00:07:44,160 --> 00:07:46,160 Speaker 1: a list of things to draw from or you just 131 00:07:46,200 --> 00:07:49,720 Speaker 1: always have him in that toward the end, you know, 132 00:07:50,680 --> 00:07:52,520 Speaker 1: toward the end, it was handy to have a list 133 00:07:52,600 --> 00:07:55,800 Speaker 1: because there were so many. Yeah, the repertoire got pretty 134 00:07:55,840 --> 00:07:59,520 Speaker 1: expansive and uh, and we tried to stay up on 135 00:07:59,560 --> 00:08:02,360 Speaker 1: all the two we brought around, so you know, we 136 00:08:02,480 --> 00:08:06,040 Speaker 1: have you know, the way we did things. We you know, 137 00:08:06,160 --> 00:08:08,560 Speaker 1: we never we got around to a tune maybe once 138 00:08:08,600 --> 00:08:11,760 Speaker 1: a week. Yes, How would cover songs work their way 139 00:08:11,760 --> 00:08:17,200 Speaker 1: into the set? Uh? Sometimes they just came up, you know, 140 00:08:18,240 --> 00:08:20,840 Speaker 1: and a signature, a look or something like that would 141 00:08:21,160 --> 00:08:27,240 Speaker 1: oh we're playing that, Okay, here goes nothing. I noted 142 00:08:27,280 --> 00:08:29,160 Speaker 1: that there are some covers that would work their way 143 00:08:29,160 --> 00:08:31,720 Speaker 1: into this, work their way around often, you know, for 144 00:08:31,760 --> 00:08:35,120 Speaker 1: a long period of time. Are there any that that 145 00:08:35,280 --> 00:08:39,560 Speaker 1: just didn't work? Oh? Plenty, plenty of them. We try 146 00:08:39,600 --> 00:08:45,040 Speaker 1: on one who I think we tried Pigpin tried to 147 00:08:45,080 --> 00:08:48,520 Speaker 1: sing and this is a man's world. Yeah. I think 148 00:08:48,559 --> 00:08:50,680 Speaker 1: we actually did that twice, just to make sure that 149 00:08:51,280 --> 00:08:54,840 Speaker 1: it was that bad, because in theory that sounds like 150 00:08:54,840 --> 00:08:57,679 Speaker 1: that could have been good. Yeah. Yeah, you know, we 151 00:08:57,760 --> 00:09:00,840 Speaker 1: have no control over those. Can't never tell. You never tell. 152 00:09:01,679 --> 00:09:04,240 Speaker 1: How different were the members of the band, would you 153 00:09:04,280 --> 00:09:10,760 Speaker 1: say from each other? Like music wise, taste wise, Well, 154 00:09:10,760 --> 00:09:15,040 Speaker 1: we had pig Pen who was very, very funky. He 155 00:09:15,240 --> 00:09:18,600 Speaker 1: was all about blues and not much hells. And then 156 00:09:18,600 --> 00:09:23,280 Speaker 1: we had Phil who was into classically. He was classically 157 00:09:23,280 --> 00:09:28,439 Speaker 1: trained and uh and and sort of sort of moonlighted 158 00:09:29,080 --> 00:09:37,480 Speaker 1: in the jazz world. Mickey was a martial drummer. He uh, 159 00:09:37,720 --> 00:09:43,079 Speaker 1: he played martial music. He was a national champion rudimentary 160 00:09:43,120 --> 00:09:46,040 Speaker 1: snarre drummer. So he played one of those big field 161 00:09:46,080 --> 00:09:54,040 Speaker 1: drums and uh. While emerging Billy's I finally figured out 162 00:09:54,840 --> 00:09:58,600 Speaker 1: who Billy's a major influence was and he never he 163 00:09:58,880 --> 00:10:01,720 Speaker 1: I pointed it out to him. He allowed, as I 164 00:10:01,840 --> 00:10:07,120 Speaker 1: was spot on, was there was a certain era of 165 00:10:07,240 --> 00:10:12,040 Speaker 1: Ray Charles that that drummer. Yeah, and Billy Billy captured 166 00:10:12,080 --> 00:10:16,280 Speaker 1: that lilt. And I don't think he I don't think 167 00:10:16,320 --> 00:10:18,160 Speaker 1: he even knew he did it. I don't think he 168 00:10:18,760 --> 00:10:23,000 Speaker 1: was thinking consciously doing or consciously attempting to do that. 169 00:10:23,080 --> 00:10:26,680 Speaker 1: It just happened, yes, And then Jerry was Jerry was 170 00:10:26,840 --> 00:10:29,199 Speaker 1: all over the place. He loved, he loved, but his 171 00:10:29,400 --> 00:10:32,880 Speaker 1: I think his deepest love was probably a string band music, 172 00:10:32,880 --> 00:10:38,480 Speaker 1: country music, acoustic based like like Appalachian would you say 173 00:10:38,600 --> 00:10:42,880 Speaker 1: or not necessarily? I think Appalachian music, though he was 174 00:10:42,920 --> 00:10:48,720 Speaker 1: a huge fan of George Jones, Hank Williams, um, Jerry 175 00:10:48,800 --> 00:10:51,600 Speaker 1: Lee Lewis for that matter. And what would you say? 176 00:10:51,679 --> 00:10:56,960 Speaker 1: You're where were your how would you describe your foundational taste? 177 00:10:58,640 --> 00:11:02,400 Speaker 1: A little bit of all of it up. I grew 178 00:11:02,480 --> 00:11:05,440 Speaker 1: up with the rock and roll radio station on most 179 00:11:05,480 --> 00:11:07,559 Speaker 1: of the term. But if there wasn't any there were 180 00:11:07,559 --> 00:11:10,560 Speaker 1: two rock and roll stations, and if if I didn't 181 00:11:10,559 --> 00:11:13,360 Speaker 1: like what was on either of them, I'd I'd go 182 00:11:13,480 --> 00:11:22,720 Speaker 1: fishing and christ you know, back in back in the sixties, Um, 183 00:11:22,720 --> 00:11:25,120 Speaker 1: if you went to a classical station, they played they 184 00:11:25,440 --> 00:11:28,600 Speaker 1: played modern classical music. They don't anymore. They all played 185 00:11:28,600 --> 00:11:33,040 Speaker 1: baroque music these days pretty much. I guess that's what 186 00:11:33,080 --> 00:11:36,599 Speaker 1: they figure the audiences want to hear, and so I 187 00:11:37,800 --> 00:11:42,560 Speaker 1: don't much tune into those stations anymore. But and then 188 00:11:42,920 --> 00:11:45,000 Speaker 1: and then there were the jazz stations or the or 189 00:11:45,040 --> 00:11:49,000 Speaker 1: the country stations, and so I, you know, I I 190 00:11:49,120 --> 00:11:53,400 Speaker 1: shopped around it all. You know. It was the coolest 191 00:11:53,440 --> 00:11:57,040 Speaker 1: stuff my brother turned me onto. It was was on 192 00:11:57,080 --> 00:12:01,440 Speaker 1: Sundays and sometimes on a given evening, you get the uh, 193 00:12:02,160 --> 00:12:07,080 Speaker 1: the black preachers, and they they got cranked. I think 194 00:12:07,160 --> 00:12:11,480 Speaker 1: they really got cranked up. And uh, you know, I 195 00:12:12,040 --> 00:12:16,880 Speaker 1: I found that that that's music to me absolutely And uh, 196 00:12:16,920 --> 00:12:18,640 Speaker 1: you know, they'd find a theme and they'd work it 197 00:12:18,840 --> 00:12:22,520 Speaker 1: and uh and and they have another theme and they'd 198 00:12:22,559 --> 00:12:27,040 Speaker 1: worked out and they'd work them together, and uh, you know, 199 00:12:28,040 --> 00:12:31,120 Speaker 1: so I fell in love with that stut too beautiful. 200 00:12:32,440 --> 00:12:36,120 Speaker 1: And then the full boom happened, which are used to 201 00:12:36,120 --> 00:12:43,319 Speaker 1: call but the big folks here, and uh and a 202 00:12:43,400 --> 00:12:47,840 Speaker 1: guitar was portable and uh you could you could use 203 00:12:47,880 --> 00:12:52,360 Speaker 1: it to accompany yourself singing, and you could you could 204 00:12:52,360 --> 00:12:55,079 Speaker 1: just tell story after story after story with your with 205 00:12:55,120 --> 00:13:00,480 Speaker 1: your voice, with your hands. And I found my home. 206 00:13:01,080 --> 00:13:03,760 Speaker 1: How how would you say your relationship to music has 207 00:13:03,840 --> 00:13:08,000 Speaker 1: changed over the course of your life. He's gotten deeper, 208 00:13:09,040 --> 00:13:11,880 Speaker 1: you know, I wish I say that I say that 209 00:13:12,120 --> 00:13:16,440 Speaker 1: pretty easily. Though. Let me think about that, because you know, 210 00:13:16,679 --> 00:13:19,000 Speaker 1: I wasn't all that deep when I was a kid. Yeah, 211 00:13:19,320 --> 00:13:21,560 Speaker 1: or I don't think of myself as having been all 212 00:13:21,600 --> 00:13:24,360 Speaker 1: that deep when I was a kid. But at the 213 00:13:24,400 --> 00:13:27,440 Speaker 1: same time, when I was a kid, well, what mattered 214 00:13:27,440 --> 00:13:31,680 Speaker 1: to me mattered a lot, and so I guess I 215 00:13:31,720 --> 00:13:33,640 Speaker 1: was kind of deep. And so I won't I can't 216 00:13:33,640 --> 00:13:37,360 Speaker 1: say that the music the music has always been. I'll 217 00:13:37,400 --> 00:13:41,520 Speaker 1: just say that the music has always been where I live, Yes, 218 00:13:41,720 --> 00:13:44,120 Speaker 1: and you know the rest of the rest of this world, 219 00:13:44,160 --> 00:13:48,439 Speaker 1: I'm just visiting, yes, completely interested. Do you remember the 220 00:13:49,120 --> 00:13:52,559 Speaker 1: thing that made you want to start playing? I think 221 00:13:52,600 --> 00:13:55,280 Speaker 1: it might have been seeing Elbows on TV where I 222 00:13:55,400 --> 00:14:00,200 Speaker 1: was seven or eight or nine, something like that. You know, 223 00:14:00,240 --> 00:14:04,280 Speaker 1: and look at that guy. He's Wow, he's into it, 224 00:14:04,679 --> 00:14:09,360 Speaker 1: he's having fun and he's doing well. Yes, he's making 225 00:14:09,440 --> 00:14:12,679 Speaker 1: real music, and I can relate to that, and uh, 226 00:14:13,400 --> 00:14:17,240 Speaker 1: I gotta do that. Yeah, imagine seeing that as a 227 00:14:17,320 --> 00:14:22,000 Speaker 1: kid for the first time. It was so outside of 228 00:14:22,080 --> 00:14:25,600 Speaker 1: anything else going on in culture. It must have just 229 00:14:25,680 --> 00:14:29,160 Speaker 1: been like a real revelation. Yeah, it was, well, it 230 00:14:29,240 --> 00:14:32,680 Speaker 1: was you know, I couldn't I couldn't feature anything else. 231 00:14:32,960 --> 00:14:37,720 Speaker 1: You know, I was seven years old maybe eight, um, 232 00:14:37,800 --> 00:14:41,560 Speaker 1: you know, so there's as strong as strong desire to 233 00:14:41,600 --> 00:14:44,600 Speaker 1: be a cowboy at that at that age. But I 234 00:14:44,680 --> 00:14:48,320 Speaker 1: figured I could at least work two together. Yeah, kind of, 235 00:14:48,400 --> 00:14:53,920 Speaker 1: you kind of did. When the when the band started, 236 00:14:55,360 --> 00:14:57,360 Speaker 1: I think of the early days of the band that's 237 00:14:57,400 --> 00:15:00,640 Speaker 1: primarily electric, which was which was sort of what was 238 00:15:00,680 --> 00:15:03,960 Speaker 1: going on at the time. Is that? Is that not accurate? Actually? 239 00:15:04,000 --> 00:15:06,880 Speaker 1: You know, the band that turned into The Grateful Dead 240 00:15:06,960 --> 00:15:09,480 Speaker 1: was Mother mccree's Uptown Jug Champions. And we were a 241 00:15:09,560 --> 00:15:12,360 Speaker 1: jug man. We were a damn good one. Wow. Um 242 00:15:12,480 --> 00:15:15,480 Speaker 1: we you know, a pig then made us authentic, yes, 243 00:15:15,800 --> 00:15:19,240 Speaker 1: you know, because he was nothing but authentic. Yes, he 244 00:15:19,400 --> 00:15:22,680 Speaker 1: was just born a couple of decades too late and 245 00:15:22,760 --> 00:15:25,000 Speaker 1: in a white body, but the rest of it was 246 00:15:25,320 --> 00:15:31,960 Speaker 1: authentic and uh and and Jerry was an apt student 247 00:15:32,000 --> 00:15:36,360 Speaker 1: of the of of whatever musical vein he was he 248 00:15:36,480 --> 00:15:41,280 Speaker 1: was diving into. And I applied myself. And so the 249 00:15:41,280 --> 00:15:43,400 Speaker 1: three of us were the core of that of that 250 00:15:43,480 --> 00:15:48,480 Speaker 1: drug band. And we had a sort of a uh 251 00:15:48,520 --> 00:15:50,960 Speaker 1: we had folks come and go in the rest of 252 00:15:50,960 --> 00:15:54,760 Speaker 1: the band. And then that band turned into uh, turned 253 00:15:54,800 --> 00:15:58,320 Speaker 1: into the Grateful Dead after about a year. But we 254 00:15:58,480 --> 00:16:01,040 Speaker 1: that first year we were playing. You know, what we 255 00:16:01,640 --> 00:16:04,640 Speaker 1: excelled at was the old jug band music. And I 256 00:16:04,680 --> 00:16:07,520 Speaker 1: don't know if you play stuff on play music on, 257 00:16:08,400 --> 00:16:12,000 Speaker 1: but we could play, Yes, should I pull something up now? 258 00:16:12,040 --> 00:16:16,960 Speaker 1: We could listen and talk? Sure? How about new Minglewood blues. 259 00:16:18,200 --> 00:16:21,720 Speaker 1: Well there's a hundred Grateful Dead versions. See if there's it, 260 00:16:22,880 --> 00:16:28,480 Speaker 1: there's Noah Lewis jug band. Yeah, that's it, that's it. Magnificent, 261 00:16:28,560 --> 00:16:32,200 Speaker 1: that's glorious, that's perfect. It's interesting that jug band music. 262 00:16:32,280 --> 00:16:36,880 Speaker 1: Those those musicians were, they were the guys. The river 263 00:16:36,920 --> 00:16:40,560 Speaker 1: boats had the minstrel musicians. They were the minstrel musicians. 264 00:16:40,920 --> 00:16:44,440 Speaker 1: And they do that stuff on the deck of a 265 00:16:44,480 --> 00:16:48,920 Speaker 1: boat for tips and stuff like that, and I guess 266 00:16:48,920 --> 00:16:52,080 Speaker 1: it's basically busting and uh. And then when they come 267 00:16:52,120 --> 00:16:55,680 Speaker 1: to a town, they'd hop off the boat and everything 268 00:16:55,760 --> 00:16:58,480 Speaker 1: was portable. They just they just go hit a street 269 00:16:58,480 --> 00:17:00,640 Speaker 1: corner and h and play in the dark count and 270 00:17:00,680 --> 00:17:05,159 Speaker 1: they'd be like a washboard and a jug washboard a 271 00:17:05,240 --> 00:17:08,800 Speaker 1: tin jug because a tin jug, yeah, people think of 272 00:17:10,119 --> 00:17:13,840 Speaker 1: the porcelain jugs, but those those only make one note. 273 00:17:13,880 --> 00:17:17,480 Speaker 1: A tin jug. It sounds like a tuba. I see, 274 00:17:17,760 --> 00:17:20,440 Speaker 1: and I see, I know. I think I just learned 275 00:17:20,480 --> 00:17:23,359 Speaker 1: something hearing that that that I never made the connection before. 276 00:17:23,440 --> 00:17:28,000 Speaker 1: But in old country music kind of umpah baselines, right, yeah, 277 00:17:28,040 --> 00:17:30,199 Speaker 1: maybe that's maybe it came from the nature of the 278 00:17:30,320 --> 00:17:33,280 Speaker 1: jug because you can only kind of you can only 279 00:17:33,280 --> 00:17:35,320 Speaker 1: get you know, the rhythm of it, Yeah, to be 280 00:17:35,440 --> 00:17:39,040 Speaker 1: kind of umpah. Yeah, yeah, that's true. There's not a 281 00:17:39,080 --> 00:17:42,840 Speaker 1: lot of not a lot of percussion on and you 282 00:17:42,880 --> 00:17:45,960 Speaker 1: don't have so many choices of notes. Even you could 283 00:17:45,960 --> 00:17:49,520 Speaker 1: get more than one note. It probably wasn't a wide range. No, 284 00:17:50,640 --> 00:17:54,320 Speaker 1: you kind of you were you know, you had to yeah, narrow, 285 00:17:54,560 --> 00:17:57,040 Speaker 1: narrow range. Yeah, how would you change if you were 286 00:17:57,040 --> 00:18:01,520 Speaker 1: playing a jug? How would you change nutes? I see, 287 00:18:01,560 --> 00:18:03,919 Speaker 1: just the sound the sound you made as well? What 288 00:18:04,119 --> 00:18:06,119 Speaker 1: changed it? I played the jug. I also played the 289 00:18:06,160 --> 00:18:13,199 Speaker 1: washtubool occasional guitar. Yeah, yeah, and that out amazing. And 290 00:18:13,240 --> 00:18:15,520 Speaker 1: then how did it? How did that band morph into 291 00:18:15,600 --> 00:18:21,080 Speaker 1: the Dead? Um? So, after about six months of playing 292 00:18:21,040 --> 00:18:26,280 Speaker 1: in that band, um Jerry wanted to take a sabbatical 293 00:18:26,880 --> 00:18:32,359 Speaker 1: that summer, and so he left. He had to find 294 00:18:32,400 --> 00:18:37,040 Speaker 1: somebody to take his beginning in intermediate intermediate students. So 295 00:18:38,400 --> 00:18:41,159 Speaker 1: he got me to do it. And uh and so 296 00:18:41,200 --> 00:18:45,000 Speaker 1: I had a job at the at the at the 297 00:18:45,080 --> 00:18:48,840 Speaker 1: music store, doing the Morgan music and um. And then 298 00:18:48,880 --> 00:18:51,600 Speaker 1: when he came back, I kept a bunch of those 299 00:18:51,640 --> 00:18:55,960 Speaker 1: students and he just concentrated on his advanced students and uh. 300 00:18:57,000 --> 00:18:59,880 Speaker 1: And so we were both working there and pig Pen 301 00:19:00,040 --> 00:19:02,320 Speaker 1: would come in and uh, Pigin would sweep the floor 302 00:19:02,440 --> 00:19:04,960 Speaker 1: is uh. We were all working at the at the 303 00:19:05,080 --> 00:19:07,320 Speaker 1: music store by you know, by the end of the summer. 304 00:19:08,280 --> 00:19:11,000 Speaker 1: And uh and the son of the owner of the 305 00:19:11,080 --> 00:19:13,639 Speaker 1: music store wanted to be in a rock and roll band. 306 00:19:14,000 --> 00:19:18,639 Speaker 1: So so uh when made a little deal with him, 307 00:19:18,680 --> 00:19:24,320 Speaker 1: you can play the bass, um, and we'll uh, well, 308 00:19:25,160 --> 00:19:28,760 Speaker 1: we'll go be a rock and roll band. And that 309 00:19:28,840 --> 00:19:33,760 Speaker 1: lasted for four or five months. And then the guy 310 00:19:34,080 --> 00:19:38,159 Speaker 1: he really wasn't going to be He wasn't cut out 311 00:19:38,200 --> 00:19:41,040 Speaker 1: for it. And uh, Jerry knew this guy Phil from 312 00:19:42,160 --> 00:19:44,120 Speaker 1: I don't know where, from from a party I think 313 00:19:44,160 --> 00:19:48,359 Speaker 1: they met at and uh and you figured the guy's 314 00:19:48,400 --> 00:19:50,800 Speaker 1: a trumpet player. But the bass, if you're going to 315 00:19:50,840 --> 00:19:53,080 Speaker 1: pick up an instrument, the one you're gonna be quick 316 00:19:53,119 --> 00:19:55,800 Speaker 1: as to pick up is going to be base and 317 00:19:55,880 --> 00:20:02,359 Speaker 1: so um, he just sort of conscripted him. Yeah and 318 00:20:02,480 --> 00:20:07,959 Speaker 1: uh and uh went to work. Yeah, he's an unusually 319 00:20:08,080 --> 00:20:10,600 Speaker 1: great bass player. I wonder if it's because he started 320 00:20:10,600 --> 00:20:16,160 Speaker 1: as a trumpet player. Well, he you know, he um, 321 00:20:16,440 --> 00:20:24,119 Speaker 1: when he's playing, he's visualizing the he can read music 322 00:20:24,920 --> 00:20:29,040 Speaker 1: and he's visualizing the music that we're all playing, and 323 00:20:29,080 --> 00:20:32,959 Speaker 1: you know, in notes and staffs and stuff like that, 324 00:20:33,119 --> 00:20:38,200 Speaker 1: and in color. You know, when I'm when I'm playing, 325 00:20:38,200 --> 00:20:41,640 Speaker 1: I also visualize the music. Um, but it's more an 326 00:20:41,640 --> 00:20:44,320 Speaker 1: ethereal kind of deal. I just see lions and and 327 00:20:44,640 --> 00:20:50,080 Speaker 1: uh and colors and stuff like that. Pre um pre acid. 328 00:20:50,400 --> 00:20:54,200 Speaker 1: Did you see music that way? Yeah? I wasn't aware 329 00:20:54,240 --> 00:20:58,680 Speaker 1: of it. Yes, but you know, you know, I think 330 00:20:58,720 --> 00:21:02,879 Speaker 1: maybe the first time I took ASID, you know, I realized, okay, 331 00:21:02,880 --> 00:21:07,280 Speaker 1: well you're hallucinating. But you always do that, yeah, yeah, 332 00:21:07,280 --> 00:21:12,040 Speaker 1: I just oh yeah, okay, well that's what hallucinating hallucination is. Yeah, 333 00:21:12,080 --> 00:21:15,040 Speaker 1: but I've been doing that for since I can remember. Yes, 334 00:21:16,320 --> 00:21:20,560 Speaker 1: it just it just allowed you to recognize it was 335 00:21:20,600 --> 00:21:24,600 Speaker 1: already happening. Yeah, we'll be right back. After this quick break. 336 00:21:28,840 --> 00:21:32,160 Speaker 1: We're back with Rick Rubin's conversation with Bob Weir. When 337 00:21:32,240 --> 00:21:34,280 Speaker 1: you think of the Dead, do you think of the 338 00:21:34,359 --> 00:21:36,840 Speaker 1: music over the years in phases or do you think 339 00:21:36,880 --> 00:21:41,040 Speaker 1: of it as one thing? Well? Both, How would you 340 00:21:41,119 --> 00:21:44,280 Speaker 1: define the phases as you were experiencing it? Well, there 341 00:21:44,359 --> 00:21:49,600 Speaker 1: was there was pret acid test, and then on Jerry's 342 00:21:49,640 --> 00:21:54,959 Speaker 1: birthday in August first of nineteen sixty five, we all 343 00:21:55,000 --> 00:21:57,920 Speaker 1: took it ausid except Pig Benny to read you never did, 344 00:21:59,640 --> 00:22:02,320 Speaker 1: and right right about them, we fell into the acid 345 00:22:02,359 --> 00:22:05,960 Speaker 1: test and things got way different real fast. And so 346 00:22:06,080 --> 00:22:12,640 Speaker 1: there was that phase. And that phase lasted through our 347 00:22:12,680 --> 00:22:18,399 Speaker 1: first record, which was I guess sixty seven. Yeah, And 348 00:22:18,800 --> 00:22:21,760 Speaker 1: so that was a couple of years there, sixty five 349 00:22:21,800 --> 00:22:26,639 Speaker 1: to sixty seven, and we were well, actually that phase 350 00:22:26,840 --> 00:22:32,960 Speaker 1: lasted a little longer, lasted through the late sixties where 351 00:22:32,960 --> 00:22:42,560 Speaker 1: we were pretty pretty committed to experimentation that that was 352 00:22:43,480 --> 00:22:51,119 Speaker 1: probably our focus. Then after that in the early seventies, 353 00:22:51,119 --> 00:22:54,040 Speaker 1: and I guess it was right around the time that 354 00:22:54,160 --> 00:22:58,200 Speaker 1: Crosby Stills in nash moved into northern California to Marine 355 00:22:58,200 --> 00:23:01,359 Speaker 1: County and we started, you know, it just sort of 356 00:23:01,440 --> 00:23:04,920 Speaker 1: rubbed off that those guys, those guys were song oriented. 357 00:23:05,000 --> 00:23:07,439 Speaker 1: They thought you know, they weren't about planned they were 358 00:23:07,480 --> 00:23:11,560 Speaker 1: about songs and the overall sound of it and uh 359 00:23:11,680 --> 00:23:17,199 Speaker 1: and how it fell together. And um, particularly Jerry and 360 00:23:17,240 --> 00:23:22,439 Speaker 1: I became enamored of that approach. So like Uncle John's 361 00:23:22,480 --> 00:23:24,919 Speaker 1: band might have been around that time, Yeah, yeah, speak 362 00:23:24,960 --> 00:23:28,639 Speaker 1: to that. Yeah and uh, and we started thinking in 363 00:23:28,720 --> 00:23:31,080 Speaker 1: terms of songs. And I'm not sure that everybody in 364 00:23:31,080 --> 00:23:34,440 Speaker 1: the band even to this day thinks of the material 365 00:23:34,480 --> 00:23:38,159 Speaker 1: in terms of songs. You know, a song, you know 366 00:23:38,760 --> 00:23:43,960 Speaker 1: all hailed the song and in capital in gold gold 367 00:23:44,080 --> 00:23:48,439 Speaker 1: capital letters. Um, I'm not sure everybody is on that 368 00:23:48,520 --> 00:23:50,480 Speaker 1: same page. And you know some of the guys are still, 369 00:23:50,520 --> 00:23:52,680 Speaker 1: oh yeah, what's what's a song? A song as a 370 00:23:52,720 --> 00:23:54,880 Speaker 1: set of Corey change isn't a melody that you play? 371 00:23:55,200 --> 00:24:00,919 Speaker 1: You play through and uh and I'm I I started 372 00:24:01,000 --> 00:24:07,640 Speaker 1: leaving that behind the song plays me around that time. Um, 373 00:24:08,359 --> 00:24:12,280 Speaker 1: it's really interesting. The idea that not everybody in the 374 00:24:12,320 --> 00:24:15,320 Speaker 1: band might be on the same page could lead to 375 00:24:15,520 --> 00:24:20,159 Speaker 1: very interesting results. Well, yeah, that's that's that's you know, 376 00:24:20,200 --> 00:24:24,480 Speaker 1: it keeps sayings interesting. Absolutely, you get different perspectives. Absolutely. 377 00:24:25,240 --> 00:24:27,159 Speaker 1: I don't know even had to asked this question. Was 378 00:24:27,200 --> 00:24:31,199 Speaker 1: the band democratic, Like was it a democratic process. There was, 379 00:24:31,520 --> 00:24:35,560 Speaker 1: so everybody had to say pure and simple and was 380 00:24:35,600 --> 00:24:40,360 Speaker 1: it majority rules or would you know there was would 381 00:24:40,359 --> 00:24:42,320 Speaker 1: there ever be a case where everybody likes something and 382 00:24:42,440 --> 00:24:44,480 Speaker 1: one person really didn't like it and you would decide 383 00:24:44,480 --> 00:24:46,440 Speaker 1: not to do it because they didn't like it. Every 384 00:24:46,520 --> 00:24:48,399 Speaker 1: now and again, there was one gun I won't go 385 00:24:48,440 --> 00:24:51,239 Speaker 1: into names. One one guy who was histed on on 386 00:24:51,800 --> 00:24:54,159 Speaker 1: veto privilege. Yes, and I think that's a privilege. I 387 00:24:54,160 --> 00:24:58,560 Speaker 1: don't think that's right. Yeah, um, but nonetheless we granted 388 00:24:58,560 --> 00:25:02,199 Speaker 1: it to him. Yes. Um, I'm not sure that that 389 00:25:02,240 --> 00:25:05,199 Speaker 1: was the best way to have gone about that. Yes, 390 00:25:05,800 --> 00:25:11,680 Speaker 1: But aside from that, everything was democratic. The best idea 391 00:25:11,840 --> 00:25:17,280 Speaker 1: usually went out. Jerry was real. I won't say forceful. 392 00:25:17,320 --> 00:25:19,920 Speaker 1: It wasn't forceful at all, but he had a way 393 00:25:19,960 --> 00:25:23,840 Speaker 1: of getting his ideas across so that people understood them. 394 00:25:23,840 --> 00:25:27,600 Speaker 1: And uh, and I I like to think that I 395 00:25:27,680 --> 00:25:30,760 Speaker 1: was also pretty good at that, you know, presenting a 396 00:25:30,840 --> 00:25:35,040 Speaker 1: vision very quickly and uh and uh and succinctly and 397 00:25:35,200 --> 00:25:37,800 Speaker 1: uh you know, you know, in a way that was 398 00:25:37,840 --> 00:25:42,280 Speaker 1: palatable for the guys to pick it up. Yes. How 399 00:25:42,320 --> 00:25:45,720 Speaker 1: did the audience taping start where the audience would tape 400 00:25:45,720 --> 00:25:53,080 Speaker 1: the shows. Well, I started sample because Japanese started miniaturizing 401 00:25:54,920 --> 00:26:00,520 Speaker 1: quality recording uh units. You know, I guess you were 402 00:26:00,560 --> 00:26:03,639 Speaker 1: started with it. But but then you know, Sony and 403 00:26:03,680 --> 00:26:08,840 Speaker 1: Panasonic and all those guys were making and um NACAMICI 404 00:26:08,920 --> 00:26:13,639 Speaker 1: we're making really high quality recording units, and people just 405 00:26:13,680 --> 00:26:17,479 Speaker 1: started bringing them to the h to h the gigs 406 00:26:17,480 --> 00:26:22,639 Speaker 1: and recording the gigs. You know. At first, you know, 407 00:26:22,720 --> 00:26:26,119 Speaker 1: they they'd have their you know, their microphone trees, you know, 408 00:26:26,200 --> 00:26:30,560 Speaker 1: and they were, uh, they were causing a little bit 409 00:26:30,600 --> 00:26:32,560 Speaker 1: of friction out in the audience because people didn't want 410 00:26:32,560 --> 00:26:35,840 Speaker 1: to have to look peer around. Those things block people's views. 411 00:26:35,960 --> 00:26:38,840 Speaker 1: So we we had to hurt them together into one place. 412 00:26:39,200 --> 00:26:42,080 Speaker 1: And at that point our record company at the time, 413 00:26:42,160 --> 00:26:45,160 Speaker 1: Wash was hammering us. You know, you got to shut 414 00:26:45,160 --> 00:26:47,920 Speaker 1: this down. These guys are these they're recording your music 415 00:26:47,960 --> 00:26:51,080 Speaker 1: and then they're not going to buy your records. And 416 00:26:52,560 --> 00:26:55,159 Speaker 1: this came up. I remember one time in a you know, 417 00:26:55,320 --> 00:26:57,760 Speaker 1: we had a board meeting. You know, we have to 418 00:26:57,800 --> 00:27:03,240 Speaker 1: get together and in and decide all kinds of stuff, 419 00:27:03,960 --> 00:27:06,320 Speaker 1: and one of the one of the issues was the 420 00:27:06,359 --> 00:27:10,919 Speaker 1: record company Wash was insisting that we do something about 421 00:27:10,920 --> 00:27:14,720 Speaker 1: this this taping phenomenon, and we kicked it around and 422 00:27:14,800 --> 00:27:18,560 Speaker 1: decided we're, hey, we're not cops. Uh. And we wouldn't 423 00:27:18,560 --> 00:27:21,240 Speaker 1: feel good about that because we know they wouldn't feel 424 00:27:21,320 --> 00:27:24,440 Speaker 1: the audience wouldn't feel good about being shut down like that. 425 00:27:24,760 --> 00:27:27,240 Speaker 1: So let's let's get them at least all in one 426 00:27:27,359 --> 00:27:31,920 Speaker 1: place and so that they don't obstruct the view of 427 00:27:32,000 --> 00:27:36,200 Speaker 1: the folks who weren't recording, and and just leave well 428 00:27:36,280 --> 00:27:41,480 Speaker 1: enough alone. The was the record company was displeased about this, 429 00:27:41,560 --> 00:27:46,439 Speaker 1: but it turned out real well because you know, they 430 00:27:47,040 --> 00:27:50,280 Speaker 1: they made their tapes, they'd make one or two generations 431 00:27:50,320 --> 00:27:53,400 Speaker 1: of duplicates and uh and pass them around all hand 432 00:27:53,440 --> 00:27:56,400 Speaker 1: to hand, direct eye contact and that kind of thing. 433 00:27:57,080 --> 00:28:01,359 Speaker 1: And uh. And we're credited with inventing viral marketing, yes, 434 00:28:01,960 --> 00:28:06,080 Speaker 1: and uh, we're backed into it. Yes. And the fact that, 435 00:28:06,119 --> 00:28:11,040 Speaker 1: if you think about it, it also most places to 436 00:28:11,080 --> 00:28:14,080 Speaker 1: the strength of the band, the fact that it's so 437 00:28:14,200 --> 00:28:19,920 Speaker 1: different from night Tonight that a recording that's made once 438 00:28:19,960 --> 00:28:22,760 Speaker 1: every two years in a recording studio is only going 439 00:28:22,800 --> 00:28:25,320 Speaker 1: to be that one day in the recording studio, whereas 440 00:28:25,480 --> 00:28:27,440 Speaker 1: if it's different every day, And if you're a fan, 441 00:28:27,920 --> 00:28:30,040 Speaker 1: I want to hear all that right, you can you 442 00:28:30,080 --> 00:28:34,040 Speaker 1: can indulge all the sophist where you can summons to 443 00:28:35,520 --> 00:28:38,960 Speaker 1: debate this dark star as opposed to this dark star. 444 00:28:41,480 --> 00:28:45,800 Speaker 1: It's fascinating. It's also fascinating how the reality of the 445 00:28:45,840 --> 00:28:50,840 Speaker 1: moods of the people playing it could so impact how 446 00:28:50,920 --> 00:28:55,239 Speaker 1: the song, how the song is interpreted. Yeah, and um, 447 00:28:55,480 --> 00:28:58,480 Speaker 1: and the audience gets that experience too, you know, really 448 00:28:58,520 --> 00:29:04,200 Speaker 1: does change the car to changes wildly. Yeah, it feels 449 00:29:04,240 --> 00:29:10,920 Speaker 1: like the the your contemporary bands slowly morphed into the 450 00:29:11,000 --> 00:29:20,720 Speaker 1: ones that that continued into more traditional structured three minute songs, 451 00:29:21,600 --> 00:29:26,280 Speaker 1: and their record sounded like what they made a record, 452 00:29:26,320 --> 00:29:31,080 Speaker 1: and then they performed that record live and whereas your band, 453 00:29:31,080 --> 00:29:35,400 Speaker 1: for whatever reason, never really did that. It feels like 454 00:29:35,400 --> 00:29:38,360 Speaker 1: it was always free and always open. It's just due 455 00:29:38,360 --> 00:29:42,040 Speaker 1: to the personalities, you think. Yeah, it was our approach. Um, 456 00:29:42,880 --> 00:29:49,000 Speaker 1: you know, if we were to if we if we 457 00:29:49,000 --> 00:29:53,880 Speaker 1: were to try to do stuff, you know, out of road, 458 00:29:55,280 --> 00:29:57,440 Speaker 1: just the way it was the way it was on 459 00:29:57,520 --> 00:30:02,760 Speaker 1: the record tonight again for the four hundredth time. You know, 460 00:30:02,800 --> 00:30:04,760 Speaker 1: I'd be up in a bill tower with a sniper's 461 00:30:04,880 --> 00:30:09,480 Speaker 1: rival no time at all. Yeah, Um, I just I 462 00:30:09,560 --> 00:30:11,840 Speaker 1: can't do that. I'm not gonna out for that. Um. 463 00:30:12,840 --> 00:30:17,719 Speaker 1: And some folks too, some folks are more technicians. Um. 464 00:30:17,760 --> 00:30:20,600 Speaker 1: But and that's where they get, you know, they you know, 465 00:30:20,640 --> 00:30:25,640 Speaker 1: and they can bring a bunch of expert technique to 466 00:30:25,640 --> 00:30:28,400 Speaker 1: to a song and this song will live just fun 467 00:30:28,960 --> 00:30:34,480 Speaker 1: that way. But but that's not how we did it. Yeah, 468 00:30:34,560 --> 00:30:36,440 Speaker 1: I guess that would be like the difference between classical 469 00:30:36,520 --> 00:30:40,600 Speaker 1: and jazz, Like classical was more about playing the part 470 00:30:40,640 --> 00:30:43,400 Speaker 1: as well as you could, and jazz was about, well, 471 00:30:43,440 --> 00:30:45,239 Speaker 1: we have this theme that we're starting with and we're 472 00:30:45,280 --> 00:30:47,280 Speaker 1: going to see where it goes and can go somewhere 473 00:30:47,280 --> 00:30:52,920 Speaker 1: else every night, Yeah we we Ours was the jazzmo yeah, 474 00:30:52,920 --> 00:30:57,200 Speaker 1: which is again maybe when you started, people were doing that, 475 00:30:57,320 --> 00:30:59,760 Speaker 1: but that seemed to be a lost start, like like 476 00:30:59,800 --> 00:31:02,520 Speaker 1: it if other than your band, there's not a lot 477 00:31:02,560 --> 00:31:06,360 Speaker 1: of bands that continue doing that. Yeah. Yeah, I think 478 00:31:06,400 --> 00:31:12,040 Speaker 1: you have to be pretty gifted in that particular approach 479 00:31:13,000 --> 00:31:16,920 Speaker 1: to pull it off. Not everybody was. They'd have their moments, 480 00:31:18,040 --> 00:31:20,760 Speaker 1: but the safe thing to do was to uh, to 481 00:31:20,880 --> 00:31:25,280 Speaker 1: practice and the only thing we practice was our approach. Yes, 482 00:31:27,000 --> 00:31:30,640 Speaker 1: whereas other people practice the song, Yes, we can't do that, 483 00:31:31,120 --> 00:31:35,400 Speaker 1: Yes we would like give it away. It has to 484 00:31:35,400 --> 00:31:40,320 Speaker 1: happen in the moment. Yeah, amazing, it's an amazing stories. 485 00:31:40,640 --> 00:31:48,360 Speaker 1: There's um it's so the trip is so unlike anything else. 486 00:31:48,600 --> 00:31:51,040 Speaker 1: It's it's interesting to talk about it because it's just 487 00:31:51,120 --> 00:31:54,960 Speaker 1: such a unique it's such a unique thing from the outside. 488 00:31:55,120 --> 00:31:57,400 Speaker 1: I started as very much of a song person in 489 00:31:57,440 --> 00:31:59,160 Speaker 1: my life, so it took me a long time to 490 00:31:59,200 --> 00:32:03,560 Speaker 1: get into the band because it seemed more about playing 491 00:32:03,600 --> 00:32:08,200 Speaker 1: than it seemed about songs. Until until later, until I 492 00:32:08,280 --> 00:32:11,640 Speaker 1: understood more. Yeah, like I say, some of the guys 493 00:32:11,640 --> 00:32:13,680 Speaker 1: in the band, and some of the louder ones in 494 00:32:13,720 --> 00:32:16,720 Speaker 1: the band were about the playing and not about the song. Yes, 495 00:32:17,000 --> 00:32:18,640 Speaker 1: that was How did it work out that you had 496 00:32:18,640 --> 00:32:24,880 Speaker 1: two drummers? Long complicated story. I'm not sure anybody understands. 497 00:32:26,000 --> 00:32:28,680 Speaker 1: Somebody went and heard I wasn't there that evening, but 498 00:32:28,800 --> 00:32:31,440 Speaker 1: somebody went and heard Mickey playing at the Straight Theater 499 00:32:31,520 --> 00:32:37,080 Speaker 1: on Haye Street. I think that's how it happened. Billy 500 00:32:37,640 --> 00:32:40,760 Speaker 1: and they dragged Billy and Billy gott met him and 501 00:32:41,320 --> 00:32:44,600 Speaker 1: they got to talking and let's try kicking kicking around 502 00:32:44,680 --> 00:32:48,840 Speaker 1: with two drummers. Were there any other bands that had 503 00:32:48,880 --> 00:32:54,360 Speaker 1: two drummers at that time. No, and I think well, 504 00:32:54,680 --> 00:32:56,800 Speaker 1: at that point also we were listening to a bunch 505 00:32:56,840 --> 00:33:02,560 Speaker 1: of Indian classical music, North Indian classical music, and and 506 00:33:02,760 --> 00:33:05,720 Speaker 1: that's classical music, but it's h there's you know, there's 507 00:33:05,720 --> 00:33:08,160 Speaker 1: a lot of improv that goes on in yes, and 508 00:33:09,520 --> 00:33:12,560 Speaker 1: the rhythms are really complicated, and the rhythms are complicated, 509 00:33:12,560 --> 00:33:15,840 Speaker 1: and so we you know, the rhythms were so complicated 510 00:33:15,880 --> 00:33:20,440 Speaker 1: that it sort of expanded our awareness of what you 511 00:33:20,440 --> 00:33:22,960 Speaker 1: can do with a rhythm. You know, how you can 512 00:33:22,960 --> 00:33:26,640 Speaker 1: adjust this part, adjust that part, and then put an 513 00:33:26,720 --> 00:33:32,120 Speaker 1: underlay it under this part. And it looked it just 514 00:33:32,160 --> 00:33:36,160 Speaker 1: seemed to us that there was room for another drummer 515 00:33:36,560 --> 00:33:41,000 Speaker 1: to go into some of those places. I'm not sure 516 00:33:41,000 --> 00:33:44,080 Speaker 1: I was ever really all all together sold on on 517 00:33:44,200 --> 00:33:47,560 Speaker 1: the two drummers two drummers business, because it started to 518 00:33:47,600 --> 00:33:49,600 Speaker 1: take it more in the direction of playing and less 519 00:33:49,640 --> 00:33:52,920 Speaker 1: in the direction of songs. Yes from me, Yes, um, 520 00:33:53,640 --> 00:33:57,280 Speaker 1: it definitely complicates things. Yeah, yeah, I remember in the 521 00:33:57,280 --> 00:34:02,680 Speaker 1: there's the the Wrightful Dead movie, right, yeah, that and 522 00:34:02,720 --> 00:34:06,200 Speaker 1: there's only one drummer in that. Yeah, and that seemed 523 00:34:06,200 --> 00:34:10,239 Speaker 1: really good, you know, that was we were hot that 524 00:34:10,320 --> 00:34:14,360 Speaker 1: was a good phase. Yeah, was it an interesting experience 525 00:34:14,400 --> 00:34:17,640 Speaker 1: when like the touch of gray thing happened and all 526 00:34:17,680 --> 00:34:20,920 Speaker 1: of a sudden you're have music on the radio and 527 00:34:21,000 --> 00:34:26,920 Speaker 1: on MTV, and yeah that, you know, the predictable thing 528 00:34:27,000 --> 00:34:31,239 Speaker 1: happened too. It took one of us out. Uh, you know, 529 00:34:31,239 --> 00:34:33,720 Speaker 1: it took Brent out, you know, too much too soon. 530 00:34:33,840 --> 00:34:41,680 Speaker 1: It's invariably doesn't work out. Yeah. Now we so so 531 00:34:41,840 --> 00:34:47,200 Speaker 1: gradually and so slowly became famous that um, we were 532 00:34:47,239 --> 00:34:53,480 Speaker 1: able to you know, remain yourselves, Yeah, remain ourselves, but 533 00:34:53,480 --> 00:34:57,520 Speaker 1: were too much too soon. Phenomenon hit hit Brent because 534 00:34:57,560 --> 00:35:01,200 Speaker 1: he hadn't he hadn't been through all that developmental face 535 00:35:03,360 --> 00:35:07,760 Speaker 1: and it took him out. Wow, you'd been a banded 536 00:35:07,960 --> 00:35:12,280 Speaker 1: twenty years at that point, more thirty thirty. It's it's 537 00:35:12,320 --> 00:35:17,120 Speaker 1: really must have been a wild Yeah, just just so unusual. 538 00:35:17,719 --> 00:35:19,759 Speaker 1: And I can't even say good or bad, just like 539 00:35:20,800 --> 00:35:24,680 Speaker 1: what a new mention, It's like what a new direction, 540 00:35:25,880 --> 00:35:31,359 Speaker 1: unplanned seemed like. But songs were good, well, the song 541 00:35:31,360 --> 00:35:33,400 Speaker 1: as We're good And also we'd had them on stage 542 00:35:33,440 --> 00:35:36,800 Speaker 1: for a while, so they'd they'd matured, they'd grown faces, 543 00:35:37,080 --> 00:35:39,919 Speaker 1: I see, and they matured before you recorded them. Yeah, 544 00:35:40,080 --> 00:35:42,960 Speaker 1: oh that we've been playing some of those songs for like, 545 00:35:44,320 --> 00:35:49,000 Speaker 1: you know, five or six years. It was getting long 546 00:35:49,080 --> 00:35:52,120 Speaker 1: about time to make a record. Yeah, we'll be right 547 00:35:52,120 --> 00:35:58,680 Speaker 1: back with more from Bob Weir. After the break, we're 548 00:35:58,719 --> 00:36:01,120 Speaker 1: back with Bob Weir. I think the thing that first 549 00:36:01,160 --> 00:36:04,480 Speaker 1: pulled me, the thing that first made made me understand 550 00:36:04,480 --> 00:36:07,600 Speaker 1: the band more interestingly, was more that that second folk phase. 551 00:36:07,680 --> 00:36:10,960 Speaker 1: And I think it was the reckoning. When I heard that, 552 00:36:11,000 --> 00:36:14,120 Speaker 1: it's like, oh, I I see my way in and 553 00:36:14,200 --> 00:36:16,600 Speaker 1: through that. It allowed me to expand through the whole 554 00:36:16,760 --> 00:36:21,319 Speaker 1: the whole world of the music. Well. Interestingly, while on 555 00:36:21,360 --> 00:36:24,880 Speaker 1: the subject of the song as opposed to the playing 556 00:36:25,760 --> 00:36:31,160 Speaker 1: um in Debtco, now the drummers are getting are going 557 00:36:31,239 --> 00:36:34,080 Speaker 1: to get teleprompters so that right in front of them, 558 00:36:34,320 --> 00:36:36,640 Speaker 1: right under their noses, they're going to be the lyrics 559 00:36:36,640 --> 00:36:40,680 Speaker 1: of all the songs, because you know, your average your 560 00:36:40,719 --> 00:36:44,520 Speaker 1: average seventeen year old in our audience probably knows more 561 00:36:44,600 --> 00:36:49,439 Speaker 1: lyrics than world our songs than Yes, I think that's 562 00:36:49,480 --> 00:36:55,359 Speaker 1: going to change our focus, could change, could change it dramatically. Yes, 563 00:36:56,239 --> 00:36:59,960 Speaker 1: is John Mayer always in that band or sometimes well, 564 00:37:00,000 --> 00:37:02,879 Speaker 1: when that band's playing, he's gonna. That's interesting. How did 565 00:37:02,920 --> 00:37:04,960 Speaker 1: that work out? He's a great guitar player. He's an 566 00:37:04,960 --> 00:37:11,319 Speaker 1: interesting combination. He went through his dead phase about I 567 00:37:11,360 --> 00:37:15,279 Speaker 1: guess he hit that about five years ago. But he's 568 00:37:15,360 --> 00:37:18,040 Speaker 1: John Mayer, so he can do something about that. Yes, 569 00:37:18,480 --> 00:37:22,000 Speaker 1: and uh and uh I remember talking to him about it. 570 00:37:22,000 --> 00:37:25,759 Speaker 1: We he was we we both kind of got into 571 00:37:25,800 --> 00:37:28,879 Speaker 1: our dead phase at a similar time and we were 572 00:37:28,960 --> 00:37:34,640 Speaker 1: sharing notes and so uh and a friend of a 573 00:37:34,719 --> 00:37:38,920 Speaker 1: mutual friend of ours, Don was We got together in 574 00:37:39,000 --> 00:37:45,840 Speaker 1: Don's office. Uh and uh John was downstairs working in 575 00:37:45,880 --> 00:37:50,359 Speaker 1: the studio there and uh, I was visiting Donna. He said, listen, 576 00:37:50,400 --> 00:37:52,560 Speaker 1: I'm going to go down and get to John John 577 00:37:52,600 --> 00:37:56,640 Speaker 1: Mayer and uh he was real interested in what I 578 00:37:56,800 --> 00:38:00,359 Speaker 1: what I was up to at that point. And uh, 579 00:38:00,520 --> 00:38:03,239 Speaker 1: he had a TV show, the Late Late Show, I 580 00:38:03,280 --> 00:38:06,680 Speaker 1: think it was a late night TV show that he 581 00:38:06,760 --> 00:38:10,200 Speaker 1: was guest hosting, and he invited me to, uh to 582 00:38:10,280 --> 00:38:13,839 Speaker 1: come and play on that and so I figured that 583 00:38:13,920 --> 00:38:18,320 Speaker 1: was uh, you know, Keltner was on drums, So I figured, okay, 584 00:38:18,320 --> 00:38:22,839 Speaker 1: I'm not I'm not gonna miss that opportunity. We uh, 585 00:38:23,280 --> 00:38:25,799 Speaker 1: you know, we got there for the sound check and 586 00:38:26,280 --> 00:38:32,040 Speaker 1: plugged in and they gave us two songs slots, and 587 00:38:32,160 --> 00:38:35,520 Speaker 1: we plugged in and we started started playing. In a 588 00:38:35,520 --> 00:38:37,799 Speaker 1: couple hours later, they said, okay, you guys are done 589 00:38:37,800 --> 00:38:42,560 Speaker 1: with sound check. We're unplugging you now because because we 590 00:38:42,760 --> 00:38:46,160 Speaker 1: just we started playing, we didn't stop. Yes, And so 591 00:38:46,200 --> 00:38:49,719 Speaker 1: I figured, okay, well let's do something about this. Yes, 592 00:38:50,040 --> 00:38:53,480 Speaker 1: and uh and he he was thinking the same thing. 593 00:38:53,600 --> 00:38:57,239 Speaker 1: That's great. Yeah, so cool, what a cool combination, and 594 00:38:57,360 --> 00:39:02,280 Speaker 1: so great that the band it found a way to 595 00:39:02,320 --> 00:39:06,600 Speaker 1: carry on. Yeah, well, the music music, you know, there's 596 00:39:06,640 --> 00:39:10,000 Speaker 1: life there there. Yes, you know, there's absolutely, yeah. Absolutely. 597 00:39:11,520 --> 00:39:16,719 Speaker 1: Do you think there's a reason them and I can't 598 00:39:16,760 --> 00:39:21,239 Speaker 1: think of another example of a band who have had 599 00:39:21,400 --> 00:39:24,759 Speaker 1: so much impact, so much success, so much importance, so 600 00:39:24,840 --> 00:39:28,279 Speaker 1: much love, yet never really connected as well on the 601 00:39:28,320 --> 00:39:31,440 Speaker 1: record side as on the live side, is it. Do 602 00:39:31,480 --> 00:39:34,319 Speaker 1: you think there's a reason for that. I've pondered this 603 00:39:34,800 --> 00:39:37,520 Speaker 1: and was it ever a frustration or was it not 604 00:39:37,600 --> 00:39:42,480 Speaker 1: an issue? Well? I like I like recording is um, 605 00:39:42,560 --> 00:39:45,520 Speaker 1: but the recordings that we're kind of famous for, our 606 00:39:45,600 --> 00:39:49,239 Speaker 1: live recordings, Yes, and those are you know, like the 607 00:39:49,280 --> 00:39:53,360 Speaker 1: difference between a painting and a photograph. Yes, the photograph 608 00:39:53,480 --> 00:39:56,560 Speaker 1: captures captures the moment, and if it's really, if it's 609 00:39:56,560 --> 00:39:59,160 Speaker 1: really a spectacular moment, then you've got you got something 610 00:39:59,200 --> 00:40:02,439 Speaker 1: you can hang on your all a painting, it's something 611 00:40:02,520 --> 00:40:06,280 Speaker 1: you you go into, layer by a layer and and 612 00:40:06,480 --> 00:40:12,480 Speaker 1: tell the story. And I've always enjoyed, always enjoyed, you know, 613 00:40:12,600 --> 00:40:16,120 Speaker 1: studio recording. But some of the other guys didn't, you know, 614 00:40:17,520 --> 00:40:21,759 Speaker 1: they you know, they get frustrated, you know, while going 615 00:40:21,800 --> 00:40:25,120 Speaker 1: over this again, trying to get it perfect. It almost 616 00:40:25,200 --> 00:40:28,160 Speaker 1: to me, it almost feels like a missed opportunity because 617 00:40:28,280 --> 00:40:30,879 Speaker 1: I think there could have been there could have been 618 00:40:30,960 --> 00:40:35,080 Speaker 1: really great records. But maybe maybe in the same way 619 00:40:35,120 --> 00:40:42,240 Speaker 1: that the other bands gotten more strict in their performances 620 00:40:42,280 --> 00:40:47,200 Speaker 1: to imitate the record the recordings, maybe your bands records 621 00:40:47,200 --> 00:40:51,040 Speaker 1: could have been more like you were live, like jazz albums. Well, 622 00:40:51,040 --> 00:40:53,279 Speaker 1: that's that's what I'm thinking. I really want to get 623 00:40:53,320 --> 00:40:58,840 Speaker 1: into the studio with jedko Um and that it feels 624 00:40:58,880 --> 00:41:02,320 Speaker 1: like playing that's placed to the strength of what you do. Yeah, 625 00:41:02,360 --> 00:41:04,960 Speaker 1: and just get relaxed and in the studio and get 626 00:41:05,000 --> 00:41:08,280 Speaker 1: into a studio groove and and and then just crank 627 00:41:08,360 --> 00:41:10,520 Speaker 1: some stuff out. Yeah, I bet it's not going to 628 00:41:10,600 --> 00:41:13,040 Speaker 1: be good. Yeah, I would think so. I mean, you know, 629 00:41:13,080 --> 00:41:16,000 Speaker 1: pretty much virtually any night that we play there's we're 630 00:41:16,040 --> 00:41:20,680 Speaker 1: gonna we're gonna have some moments we've never had before. Yes, 631 00:41:21,040 --> 00:41:25,600 Speaker 1: and uh and I've got a stack of a stack 632 00:41:25,640 --> 00:41:29,200 Speaker 1: of those moments that I'm about to wade into and 633 00:41:29,280 --> 00:41:30,960 Speaker 1: see if i can make some songs out of them. 634 00:41:31,520 --> 00:41:35,640 Speaker 1: And uh, and you know, it could it could be. 635 00:41:36,160 --> 00:41:39,080 Speaker 1: It could come to pass that we end up making 636 00:41:39,080 --> 00:41:44,520 Speaker 1: our first record at our sound checks in uh on 637 00:41:44,560 --> 00:41:51,160 Speaker 1: this on a summer tour. That would that'd be fantastic. Yeah, 638 00:41:51,320 --> 00:41:54,480 Speaker 1: I mean, we've got all the facility there. Ye, what's 639 00:41:54,520 --> 00:41:57,360 Speaker 1: this summer's tour looking like? Looking like? Is it a 640 00:41:57,440 --> 00:42:00,759 Speaker 1: US tour? Yeah? Great, we're starting to talk about going 641 00:42:00,840 --> 00:42:04,560 Speaker 1: to Europe. Has Dead co played Europe yet? No? Not yet. 642 00:42:04,800 --> 00:42:08,200 Speaker 1: That's going to be good. Yeah. How many times did 643 00:42:08,200 --> 00:42:13,960 Speaker 1: the Dead go to Europe for tours? Only? Like three 644 00:42:14,040 --> 00:42:18,600 Speaker 1: or four? Maybe five? Which in the in the length 645 00:42:18,640 --> 00:42:20,279 Speaker 1: of time that you were doing what you were doing, 646 00:42:20,480 --> 00:42:25,799 Speaker 1: that's barely scratching the surface. It was such an enormous undertaking. 647 00:42:25,840 --> 00:42:33,000 Speaker 1: And and and there was also the drug issue. The guys, 648 00:42:33,000 --> 00:42:37,040 Speaker 1: some of the guys didn't want to go without bringing Mama. Yeah, 649 00:42:37,160 --> 00:42:44,040 Speaker 1: and uh, and that was that presented its challenges. Were 650 00:42:44,040 --> 00:42:47,040 Speaker 1: there other bands in the scene at the time that 651 00:42:47,120 --> 00:42:50,520 Speaker 1: you lacked as as the band was happening in the 652 00:42:50,560 --> 00:42:53,760 Speaker 1: early days? Yeah, what what was the music that spoke 653 00:42:53,920 --> 00:42:57,279 Speaker 1: into we were big at I was big into the band. Yeah, 654 00:42:57,320 --> 00:43:01,040 Speaker 1: the guys who built this place. Yes. Um. Then we'd 655 00:43:01,080 --> 00:43:03,600 Speaker 1: go through phases. I mean we had our Saturday night 656 00:43:03,680 --> 00:43:10,400 Speaker 1: fever phase. Marley was always a big popular but reggae 657 00:43:10,400 --> 00:43:15,600 Speaker 1: in general. Um, and we had our country phase kind 658 00:43:15,680 --> 00:43:20,880 Speaker 1: of early on. You know. Then I discover a composer, 659 00:43:20,920 --> 00:43:24,279 Speaker 1: for instance, that would influence my writing. You know, Bartalk 660 00:43:24,360 --> 00:43:26,800 Speaker 1: got got under my got into my head for a 661 00:43:26,840 --> 00:43:31,200 Speaker 1: little while. How many solo albums have you made? It depends, 662 00:43:31,520 --> 00:43:34,800 Speaker 1: first off, if you consider Bobby in the Midnights of 663 00:43:34,880 --> 00:43:39,399 Speaker 1: solo album. I never thought about that. Yeah, but if 664 00:43:39,480 --> 00:43:47,120 Speaker 1: that's the case, then I went to three, four, five, yeah, 665 00:43:48,040 --> 00:43:52,759 Speaker 1: eight or ten. Yeah, it's a lot. I can't wait 666 00:43:52,760 --> 00:43:56,960 Speaker 1: for this next one. The little trio Wolf Roses Is 667 00:43:57,120 --> 00:43:59,879 Speaker 1: it's a lot of fun. Tell me about it. Well, 668 00:44:00,000 --> 00:44:03,440 Speaker 1: it's just me and and my drummer from Rhett on 669 00:44:03,760 --> 00:44:06,960 Speaker 1: jay Lynn and Don was one of the things I 670 00:44:06,960 --> 00:44:10,320 Speaker 1: wanted to talk about is U You were talking about writing, 671 00:44:10,320 --> 00:44:14,120 Speaker 1: and I'm pretty much writing all the time. I've got this, 672 00:44:15,080 --> 00:44:17,759 Speaker 1: I can maybe play a little bit of it, I 673 00:44:17,800 --> 00:44:22,680 Speaker 1: can't real ball and I'm so that's a tune I'm 674 00:44:22,680 --> 00:44:27,320 Speaker 1: working on for an opera I'm writing, Beautiful. What struck 675 00:44:27,360 --> 00:44:31,000 Speaker 1: me when you played that is it's not uncommon when 676 00:44:31,040 --> 00:44:33,680 Speaker 1: someone is playing a song on the piano to play 677 00:44:34,400 --> 00:44:36,600 Speaker 1: the rhythm part with their left hand and the top 678 00:44:36,680 --> 00:44:40,320 Speaker 1: line or the melody with their right hand. But rarely 679 00:44:40,480 --> 00:44:45,319 Speaker 1: would rarely would a guitar player who sings play what 680 00:44:45,480 --> 00:44:49,280 Speaker 1: you just played, because you played both the rhythm guitar 681 00:44:49,360 --> 00:44:52,480 Speaker 1: part and so more like you played it more like 682 00:44:52,520 --> 00:44:56,640 Speaker 1: a piano where you're playing the melody along with the 683 00:44:57,120 --> 00:45:02,919 Speaker 1: and most songwriters I know who would play that song 684 00:45:03,000 --> 00:45:05,239 Speaker 1: would just be playing the chords and would be even 685 00:45:05,320 --> 00:45:08,359 Speaker 1: humming the melody if they didn't have the words, humming 686 00:45:08,400 --> 00:45:10,640 Speaker 1: the mild. But it's very interesting that you chose to 687 00:45:10,640 --> 00:45:13,560 Speaker 1: do it that way because it it First of all, 688 00:45:13,600 --> 00:45:17,319 Speaker 1: it's really satisfying to listen to and I just don't 689 00:45:17,360 --> 00:45:21,319 Speaker 1: hear people play that way, right Beautiful. Um working with 690 00:45:21,360 --> 00:45:28,680 Speaker 1: some folks in Nashville on this and kind of kind 691 00:45:28,680 --> 00:45:31,000 Speaker 1: of cracked up about this. It's uh, it's gonna be 692 00:45:31,040 --> 00:45:35,360 Speaker 1: a big project. I've been recording some of the music 693 00:45:35,520 --> 00:45:40,120 Speaker 1: in Nashville and uh had got a producer about the 694 00:45:40,200 --> 00:45:43,160 Speaker 1: name of Dave Cobb, who's really good, good guy like 695 00:45:43,280 --> 00:45:47,080 Speaker 1: him a lot, wonderful guard. Yes and U and we're 696 00:45:47,120 --> 00:45:49,960 Speaker 1: working on this, and he's of course very interested in 697 00:45:50,000 --> 00:45:53,360 Speaker 1: me getting this, uh, getting the lyrics, getting lyrics to 698 00:45:53,760 --> 00:45:57,520 Speaker 1: all the U all the music that we've written. And 699 00:45:58,719 --> 00:46:02,239 Speaker 1: I was we had some wonderful sessions there. He gambled 700 00:46:02,640 --> 00:46:07,200 Speaker 1: a little crew in the studio that that we we 701 00:46:07,440 --> 00:46:13,320 Speaker 1: just just popped out a bunch of great tunes. He 702 00:46:13,440 --> 00:46:15,920 Speaker 1: had no notion I was going to be writing an 703 00:46:15,920 --> 00:46:22,600 Speaker 1: opera until reasonably. Yeah. Amazing. How it works, amazing and 704 00:46:22,719 --> 00:46:25,359 Speaker 1: so much fun. Doesn't matter how long you've been doing it. 705 00:46:25,440 --> 00:46:33,320 Speaker 1: The the discovery process remains like this epiphany moment where 706 00:46:34,400 --> 00:46:37,000 Speaker 1: that sense of almost I can't believe it's happening, right, Yeah, 707 00:46:37,000 --> 00:46:39,440 Speaker 1: you know, doesn't get old. I know, you know it 708 00:46:39,440 --> 00:46:42,160 Speaker 1: when it's there. Yeah, And it's such a great feeling. 709 00:46:42,440 --> 00:46:44,360 Speaker 1: It's such a I don't know, I feel it in 710 00:46:44,360 --> 00:46:47,040 Speaker 1: my whole body. When it happen, it's exciting. The spine 711 00:46:47,080 --> 00:46:52,640 Speaker 1: becomes electric, absolutely become weightless. Absolutely. Yeah, same can happen 712 00:46:52,719 --> 00:46:55,440 Speaker 1: with the performance. Like even a song he played one 713 00:46:55,480 --> 00:46:59,160 Speaker 1: hundred times one night, he just hap, well that's where 714 00:46:59,200 --> 00:47:02,520 Speaker 1: I'm at. I was meaning in the writing process. But 715 00:47:02,680 --> 00:47:05,879 Speaker 1: say it's it's the same. Yeah, it's the same thing. 716 00:47:05,880 --> 00:47:11,960 Speaker 1: When those when when the ordinary elevates to the extraordinary, 717 00:47:12,080 --> 00:47:16,160 Speaker 1: it's unbelievable and so beautiful. The music just pass you 718 00:47:16,200 --> 00:47:18,000 Speaker 1: on the head and says, Okay, now's your time, and 719 00:47:18,040 --> 00:47:20,719 Speaker 1: how's your little movement here? So great, I'm going to 720 00:47:20,800 --> 00:47:24,440 Speaker 1: show you a little something cool man. Well, thank you 721 00:47:24,480 --> 00:47:27,520 Speaker 1: for talking. Well, I'm not pleasure, pleasure, thank you for 722 00:47:27,560 --> 00:47:33,120 Speaker 1: playing all right. Thanks to Bob Weird for opening up 723 00:47:33,160 --> 00:47:35,920 Speaker 1: about his creative process and sharing everything he's working on 724 00:47:35,960 --> 00:47:38,239 Speaker 1: with Rick. You can check out Bob Weird dot com 725 00:47:38,239 --> 00:47:40,920 Speaker 1: to stay update on everything he's working on. We put 726 00:47:40,920 --> 00:47:42,960 Speaker 1: together a playlist of our favorite Bob were songs. You 727 00:47:43,000 --> 00:47:46,160 Speaker 1: can find it by visiting broken record podcast dot com. 728 00:47:46,280 --> 00:47:48,320 Speaker 1: Broken Record is produced with the help from Jason Gambrel, 729 00:47:48,480 --> 00:47:51,239 Speaker 1: me LaBelle, and Leah Rose for Pushkin Industries, our the 730 00:47:51,360 --> 00:47:54,240 Speaker 1: Music Boat, Kenny beats. I'm justin Richmond. Thanks for listening.