1 00:00:00,240 --> 00:00:03,920 Speaker 1: This episode is also available as video on YouTube. You 2 00:00:03,960 --> 00:00:06,520 Speaker 1: can visit Nora Jones channel and be sure to subscribe 3 00:00:06,559 --> 00:00:09,680 Speaker 1: while you're there. Hey, I'm Nora Jones and today I'm 4 00:00:09,680 --> 00:00:12,360 Speaker 1: playing along with Blake Mills and Pino Palladino. 5 00:00:12,880 --> 00:00:14,040 Speaker 2: I'm just playing. 6 00:00:19,280 --> 00:00:26,279 Speaker 1: I'm just playing lone Weezy. Hey, I'm Nora and this 7 00:00:26,400 --> 00:00:29,480 Speaker 1: is Sarah Oda. Hi, welcome to the show. Oh. Today, 8 00:00:29,520 --> 00:00:31,240 Speaker 1: we have a really fun show for you. We have 9 00:00:31,320 --> 00:00:33,280 Speaker 1: Blake Mills and Pino Palladino. 10 00:00:33,479 --> 00:00:38,159 Speaker 3: Yes, the two deeply admired musicians who are known for 11 00:00:38,280 --> 00:00:44,960 Speaker 3: shaping a whole range of records. Blake is a singer, songwriter, guitarist, producer. 12 00:00:45,000 --> 00:00:48,160 Speaker 3: He's known for his inventive playing and all his studio work, 13 00:00:49,040 --> 00:00:54,400 Speaker 3: and Pino is a legendary bassist whose sound is makes 14 00:00:54,440 --> 00:00:56,640 Speaker 3: him one of the most sought after bass players in 15 00:00:56,680 --> 00:00:57,680 Speaker 3: the world. 16 00:00:57,880 --> 00:01:01,280 Speaker 1: Yeah, they've both played on so many class records and 17 00:01:01,880 --> 00:01:04,480 Speaker 1: it was a thrill to play with them. It was 18 00:01:04,520 --> 00:01:07,760 Speaker 1: also super hard. This was the hardest music I think 19 00:01:07,800 --> 00:01:11,640 Speaker 1: I've been thrown. I feel like you had some homework. Yeah, 20 00:01:11,680 --> 00:01:13,840 Speaker 1: but it was so fun. I love these songs. They're 21 00:01:13,840 --> 00:01:16,319 Speaker 1: beautiful and we caught them when they were on tour 22 00:01:17,080 --> 00:01:20,720 Speaker 1: playing songs from their new album That Wasn't a Dream, 23 00:01:21,560 --> 00:01:24,600 Speaker 1: And we played some songs from this album. It was 24 00:01:24,680 --> 00:01:25,800 Speaker 1: really fun. 25 00:01:26,000 --> 00:01:28,720 Speaker 3: Yeah, and you talk a little bit about each of 26 00:01:28,800 --> 00:01:32,640 Speaker 3: their musical backgrounds and their creative processes and also how 27 00:01:32,680 --> 00:01:35,400 Speaker 3: they kind of came together, which is really cool. 28 00:01:36,040 --> 00:01:38,320 Speaker 1: They also brought the most gear of anyone because they 29 00:01:38,319 --> 00:01:40,240 Speaker 1: were on tour and they had all their gear and 30 00:01:40,319 --> 00:01:45,199 Speaker 1: they all they both have, especially Blake, he has interesting 31 00:01:45,520 --> 00:01:49,720 Speaker 1: sounds and specific gear that he uses and weird guitars. 32 00:01:49,720 --> 00:01:53,880 Speaker 1: It's a real good guitar. That's his episode. It's magic, superpowerful. Yeah, 33 00:01:54,000 --> 00:01:55,240 Speaker 1: he's got some cool stuff. 34 00:01:55,400 --> 00:01:58,200 Speaker 3: Yeah, and it's fun to have the rare trio in 35 00:01:58,680 --> 00:01:59,960 Speaker 3: this room in our studio. 36 00:02:00,160 --> 00:02:03,960 Speaker 1: So it was really fun. Please enjoy the episode with Blake, 37 00:02:04,000 --> 00:04:19,880 Speaker 1: Mills and Pani Paladino. 38 00:03:19,520 --> 00:05:06,000 Speaker 4: Going doing. 39 00:04:22,320 --> 00:04:54,920 Speaker 5: At the mo A becusing. 40 00:05:16,839 --> 00:05:21,760 Speaker 1: Well that is very yummy. Really, it's really pretty too, 41 00:05:22,000 --> 00:05:22,440 Speaker 1: so good. 42 00:05:22,800 --> 00:05:24,640 Speaker 6: It's so good to play music. 43 00:05:25,080 --> 00:05:25,919 Speaker 1: It does, doesn't it. 44 00:05:28,320 --> 00:05:28,360 Speaker 7: Is? 45 00:05:28,720 --> 00:05:32,880 Speaker 1: Yeah, that's why I do this, That's why I play music. Yeah, 46 00:05:34,000 --> 00:05:34,880 Speaker 1: what are you playing? 47 00:05:35,760 --> 00:05:36,200 Speaker 5: What is? This? 48 00:05:36,560 --> 00:05:37,760 Speaker 1: Contraption is a. 49 00:05:37,800 --> 00:05:44,480 Speaker 6: Guitar built by a luthier named Rolf Spueller. He was 50 00:05:44,560 --> 00:05:48,520 Speaker 6: no longer with us, but he he was an instrument maker, 51 00:05:48,839 --> 00:05:53,680 Speaker 6: and as I understand it, his goal with this was 52 00:05:53,760 --> 00:05:59,599 Speaker 6: to try to make like the best sounding acoustic plugged 53 00:05:59,640 --> 00:06:00,920 Speaker 6: in acut stick guitar. 54 00:06:01,200 --> 00:06:02,039 Speaker 1: Oh wow, like. 55 00:06:04,800 --> 00:06:07,000 Speaker 6: Uh, something that you could use on a stage and 56 00:06:07,200 --> 00:06:10,760 Speaker 6: and like turn up and it still sounds believable. I 57 00:06:10,800 --> 00:06:13,920 Speaker 6: mean the way that I'm using it with this music, 58 00:06:14,120 --> 00:06:16,440 Speaker 6: you're not really hearing much of the guitar itself. It's 59 00:06:16,480 --> 00:06:19,440 Speaker 6: sort of like the you know, the modeling things. But 60 00:06:20,320 --> 00:06:22,680 Speaker 6: but yeah, as a just plugging it straight into a 61 00:06:23,440 --> 00:06:25,400 Speaker 6: d I, it's a really remarkable really. 62 00:06:25,880 --> 00:06:28,680 Speaker 1: Yeah, so it has an acoustic sound totally. Is there 63 00:06:28,720 --> 00:06:30,120 Speaker 1: a way to show us or do you have to 64 00:06:30,200 --> 00:06:30,839 Speaker 1: unplug stuff? 65 00:06:31,000 --> 00:06:31,040 Speaker 5: No? 66 00:06:31,160 --> 00:06:33,720 Speaker 6: I mean there is a curious there is a way. 67 00:06:33,839 --> 00:06:36,240 Speaker 8: There's not much sound comes from the body though. 68 00:06:36,839 --> 00:06:39,200 Speaker 1: There's a little chamber in there, which is why it sounds. 69 00:06:39,600 --> 00:06:42,599 Speaker 9: But the way that the way that. 70 00:06:42,680 --> 00:06:46,560 Speaker 6: It's bill is definitely let's see what do I have here? 71 00:06:46,839 --> 00:06:51,159 Speaker 8: So it's such a beautiful, it's so pretty, so great 72 00:06:51,240 --> 00:06:51,520 Speaker 8: to play. 73 00:06:52,000 --> 00:07:00,640 Speaker 6: So it's like, so you have like a pizo that 74 00:07:00,720 --> 00:07:04,280 Speaker 6: you can blend with a microphone, So there's definitely a 75 00:07:04,360 --> 00:07:04,880 Speaker 6: mic and so. 76 00:07:06,400 --> 00:07:09,200 Speaker 1: So you can kind of do anything with it pretty much. Yeah, 77 00:07:10,640 --> 00:07:13,239 Speaker 1: are you allergic to d I acoustic sounds? 78 00:07:14,160 --> 00:07:17,920 Speaker 6: No not, It's not as hard for me because I 79 00:07:17,960 --> 00:07:19,200 Speaker 6: don't play with a pick. 80 00:07:20,360 --> 00:07:21,360 Speaker 1: Yeah, that makes it worse. 81 00:07:21,480 --> 00:07:22,040 Speaker 7: So, like the. 82 00:07:22,400 --> 00:07:28,040 Speaker 6: Pizo pickup is something I find really useful. But I 83 00:07:28,280 --> 00:07:31,200 Speaker 6: I think I know what you're talking about, and yeah, 84 00:07:31,400 --> 00:07:33,360 Speaker 6: you know, when I'm alongside it, it's pretty hard. 85 00:07:33,440 --> 00:07:35,280 Speaker 1: Yeah, that kind of it's hard to hear. 86 00:07:36,160 --> 00:07:39,920 Speaker 6: Yeah, it's it's like you're inside of the bad dream 87 00:07:40,040 --> 00:07:41,480 Speaker 6: of what a guitar sounds like. 88 00:07:41,840 --> 00:07:44,320 Speaker 1: Yeah, yeah, it's hard to get a good a good one, 89 00:07:45,240 --> 00:07:47,560 Speaker 1: you know. So that's a good. 90 00:07:50,680 --> 00:07:53,240 Speaker 6: You know, they're they're rare, you know. So it's it's 91 00:07:53,520 --> 00:07:56,800 Speaker 6: it's not a good, good solution for for very many people, 92 00:07:56,960 --> 00:07:59,560 Speaker 6: but yeah, it's it's a special instrument. I bought this 93 00:07:59,680 --> 00:08:02,880 Speaker 6: from our are one of our cohorts, Sam Gondel, who's 94 00:08:03,440 --> 00:08:07,200 Speaker 6: a saxophone player but is very on the up and 95 00:08:07,320 --> 00:08:10,120 Speaker 6: up when it comes to cool equipment. And I think, 96 00:08:10,360 --> 00:08:12,320 Speaker 6: you know the fact that we're showing up with like 97 00:08:12,760 --> 00:08:18,840 Speaker 6: boss chip tens and hexaphonic pickups, that's definitely his impact 98 00:08:19,000 --> 00:08:23,360 Speaker 6: on yeah, on us. Yeah, sometimes you get like gear 99 00:08:23,480 --> 00:08:25,440 Speaker 6: envy right when when we're playing with Sam and he 100 00:08:25,600 --> 00:08:29,120 Speaker 6: rolls on under the plane, he's got his entire setup 101 00:08:29,240 --> 00:08:35,520 Speaker 6: is just like this little like you know, Japanese's just 102 00:08:35,600 --> 00:08:38,920 Speaker 6: one of those. It's like it's got his entire setup 103 00:08:39,000 --> 00:08:41,480 Speaker 6: is in a trapper keeper, you know, and we're we're 104 00:08:41,559 --> 00:08:44,360 Speaker 6: cruising around with like guitar lockers and just thinking, you know, 105 00:08:44,559 --> 00:08:47,719 Speaker 6: next time it's going to be no gear. So so 106 00:08:47,880 --> 00:08:50,840 Speaker 6: this is actually kind of a downsizing for for us. 107 00:08:51,120 --> 00:08:51,280 Speaker 10: You know. 108 00:08:51,480 --> 00:08:55,120 Speaker 6: Yeah, we're rolling into this with with with sort of 109 00:08:55,200 --> 00:08:57,920 Speaker 6: a fussy setup. But for us it's great not traveling 110 00:08:57,960 --> 00:08:59,679 Speaker 6: with like pedal boards and things like that. 111 00:09:00,400 --> 00:09:01,640 Speaker 1: So it's still still less. 112 00:09:02,440 --> 00:09:04,200 Speaker 6: Yeah, less for me, more for. 113 00:09:04,240 --> 00:09:05,760 Speaker 8: You, Yeah, actually a little more for me. 114 00:09:05,880 --> 00:09:06,480 Speaker 1: Yeah yeah. 115 00:09:06,880 --> 00:09:10,040 Speaker 8: I normally just sticked one instrument if I can too, 116 00:09:10,160 --> 00:09:11,160 Speaker 8: but usually just bass. 117 00:09:11,240 --> 00:09:12,400 Speaker 1: So yeah, but you're playing guitar. 118 00:09:12,520 --> 00:09:14,360 Speaker 8: I'm playing a bit of guitar too, so yeah, it's 119 00:09:14,400 --> 00:09:17,360 Speaker 8: definitely a little bit different. But that's so fun for you, right, 120 00:09:17,520 --> 00:09:19,760 Speaker 8: I think I start Yeah, absolutely, I love it, and 121 00:09:19,800 --> 00:09:24,120 Speaker 8: I think I've started to make guitar faces too. I 122 00:09:24,160 --> 00:09:26,480 Speaker 8: don't know how to explain that, Isn't it weird? 123 00:09:27,720 --> 00:09:30,760 Speaker 6: Are you telling a story like you're talking with the 124 00:09:31,160 --> 00:09:31,599 Speaker 6: I don't know. 125 00:09:31,679 --> 00:09:33,800 Speaker 8: I'm just nowthing less in control of my face when 126 00:09:33,840 --> 00:09:34,480 Speaker 8: I'm playing guitar. 127 00:09:34,679 --> 00:09:40,400 Speaker 6: Yeah, yeah, I suppose it's it's convenient that you wear 128 00:09:40,480 --> 00:09:44,640 Speaker 6: hats so often. Yeah, I had some glasses. I'm catching up, 129 00:09:45,800 --> 00:09:46,559 Speaker 6: always catching you. 130 00:09:46,960 --> 00:09:47,880 Speaker 1: How's your guitar face? 131 00:09:49,559 --> 00:09:53,760 Speaker 6: I look petrified. I think that's my style. It's just 132 00:09:53,920 --> 00:09:58,439 Speaker 6: like a deer in a headlights is what I'm going for. 133 00:09:59,000 --> 00:09:59,880 Speaker 1: It's hard to control that. 134 00:10:01,480 --> 00:10:05,679 Speaker 6: Yeah, I just let it. You know, the face makes me. 135 00:10:07,320 --> 00:10:10,320 Speaker 6: I don't make the face, that's how Yeah, well it's 136 00:10:10,360 --> 00:10:16,320 Speaker 6: pretty deep. Yeah, the face. If the the face mas 137 00:10:16,640 --> 00:10:23,760 Speaker 6: face makes you, first, shame on you, that's right. I think. 138 00:10:23,960 --> 00:10:27,760 Speaker 6: I think part of part of what gets me out 139 00:10:27,800 --> 00:10:31,080 Speaker 6: of hot water as a guitarist is that I sit 140 00:10:31,320 --> 00:10:34,559 Speaker 6: so often when I play. I think it neutralizes a 141 00:10:34,600 --> 00:10:37,480 Speaker 6: lot of weird energy that makes makes you do bad 142 00:10:37,559 --> 00:10:42,320 Speaker 6: things as a guitarist. Why do you say, Well, partly 143 00:10:42,360 --> 00:10:47,160 Speaker 6: for that reason, part but partly because I don't know. 144 00:10:47,200 --> 00:10:51,160 Speaker 6: I find that the the ergonomics of it are are 145 00:10:51,280 --> 00:10:55,880 Speaker 6: a lot easier when you you've got the ability to 146 00:10:56,000 --> 00:10:58,120 Speaker 6: balance it and move it, and you know you can 147 00:10:58,440 --> 00:11:01,559 Speaker 6: sometimes depending on the tune, like this. The stretch is 148 00:11:02,240 --> 00:11:05,959 Speaker 6: kind of unusual. And when I do that with a strap, 149 00:11:06,840 --> 00:11:09,800 Speaker 6: it's just it's inevitably sitting in this way that I've 150 00:11:09,840 --> 00:11:12,319 Speaker 6: got to do something that's more painful. 151 00:11:12,640 --> 00:11:14,719 Speaker 1: It almost feels like you're unanchored. 152 00:11:15,480 --> 00:11:18,520 Speaker 6: Yeah, yeah, totally. And unless the strap is. 153 00:11:18,600 --> 00:11:21,000 Speaker 1: Like you know, up here, then you'd be one of 154 00:11:21,040 --> 00:11:23,959 Speaker 1: those really high guitar I'm like that. I play really 155 00:11:24,040 --> 00:11:28,920 Speaker 1: high guitar, yeah, where it's just like in my art basically, 156 00:11:29,240 --> 00:11:31,520 Speaker 1: and I'm in a band where we switch guitars because 157 00:11:31,600 --> 00:11:34,280 Speaker 1: we're too lazy to bring a ton of gear. We 158 00:11:34,440 --> 00:11:38,080 Speaker 1: just share the guitar and they always have to make it. Yeah, 159 00:11:38,200 --> 00:11:40,800 Speaker 1: but I also sit very high at the piano. 160 00:11:41,480 --> 00:11:47,280 Speaker 6: So yeah, did you develop that out of like habit 161 00:11:47,440 --> 00:11:49,960 Speaker 6: was it like you know, time you sat where you learned? 162 00:11:50,120 --> 00:11:52,240 Speaker 1: It was on a I think I'm just short and 163 00:11:52,400 --> 00:11:54,840 Speaker 1: I have a high waist, so I'm just I don't 164 00:11:54,880 --> 00:11:57,360 Speaker 1: have a lot of body. And I remember I used 165 00:11:57,360 --> 00:11:59,000 Speaker 1: to do gigs in New York and I'd always ask 166 00:11:59,040 --> 00:12:01,160 Speaker 1: for the phone book to sit on it. Then they 167 00:12:01,200 --> 00:12:03,800 Speaker 1: start making phone books. But it's okay, I got a 168 00:12:03,840 --> 00:12:06,600 Speaker 1: piano tech at that's that's great. But yeah, I sit 169 00:12:06,760 --> 00:12:07,440 Speaker 1: weirdly high. 170 00:12:07,960 --> 00:12:11,679 Speaker 6: So we were talking the other night about organists who 171 00:12:11,760 --> 00:12:16,960 Speaker 6: play the pedals. Oh yeah, and not only how incredible 172 00:12:17,080 --> 00:12:20,400 Speaker 6: that is to watch somebody do and here's somebody do, 173 00:12:20,559 --> 00:12:25,000 Speaker 6: but also thinking about the ergonomics of that, where like 174 00:12:25,160 --> 00:12:29,120 Speaker 6: you're constantly doing like leg lifts sitting down and you 175 00:12:29,280 --> 00:12:32,080 Speaker 6: no longer have presumably, I mean I don't know how 176 00:12:32,120 --> 00:12:33,839 Speaker 6: to do it, but from what I can tell, like 177 00:12:33,920 --> 00:12:38,640 Speaker 6: you don't have that stability, you know, you know, you're 178 00:12:38,960 --> 00:12:41,560 Speaker 6: you're tapping your foot against the floor and. 179 00:12:41,559 --> 00:12:44,959 Speaker 1: You're not wearing shoes. They're usually in socks. Yeah right, 180 00:12:45,920 --> 00:12:49,040 Speaker 1: and oh yeah that would be weird. 181 00:12:49,160 --> 00:12:51,800 Speaker 6: Yeah, you might have the body type for it, though, 182 00:12:51,840 --> 00:12:54,480 Speaker 6: like you've got you've got the legs, You've already got legs. Yeah, 183 00:12:54,520 --> 00:12:57,119 Speaker 6: the posture, you know, situated. 184 00:12:57,280 --> 00:12:58,439 Speaker 1: I don't know if I have it in me. 185 00:12:58,600 --> 00:12:59,959 Speaker 6: We got to get you a set of pedals down. 186 00:13:00,280 --> 00:13:01,400 Speaker 1: We have a set of pedals. 187 00:13:01,520 --> 00:13:02,240 Speaker 6: Let's fire my up. 188 00:13:02,360 --> 00:13:03,640 Speaker 7: Yeah, no, we have them all. 189 00:13:03,760 --> 00:13:04,520 Speaker 6: Let's get you up there. 190 00:13:04,600 --> 00:13:06,800 Speaker 1: Yeah. My husband's a really good organ player. He can't 191 00:13:06,880 --> 00:13:10,000 Speaker 1: like go fast on the pedals, but he's Yeah, it's. 192 00:13:10,160 --> 00:13:15,600 Speaker 6: It's like watching somebody, you know, walk on a hammock 193 00:13:15,720 --> 00:13:16,079 Speaker 6: or something. 194 00:13:16,400 --> 00:13:19,360 Speaker 1: Yeah, it's sort of getting lost, right, It's not really 195 00:13:19,480 --> 00:13:22,079 Speaker 1: very common, just insane. Well, he was telling me that 196 00:13:22,160 --> 00:13:25,719 Speaker 1: a lot of people, like, didn't Jimmy Smith do his 197 00:13:25,840 --> 00:13:27,520 Speaker 1: left hand? He didn't do pedals? 198 00:13:27,679 --> 00:13:30,680 Speaker 8: Yeah, I think maybe sometimes it's a combination too. 199 00:13:30,760 --> 00:13:34,280 Speaker 1: Yeah, combination. Yeah, it depends on how fast it is. 200 00:13:34,360 --> 00:13:36,199 Speaker 6: I guess cheating in there. 201 00:13:36,320 --> 00:13:37,560 Speaker 8: Yeah, but what a great sound. 202 00:13:38,080 --> 00:13:38,600 Speaker 1: Who cares? 203 00:13:39,040 --> 00:13:39,720 Speaker 2: He was amazing. 204 00:13:40,320 --> 00:13:41,760 Speaker 8: Yeah, I try and make that sound. 205 00:13:42,120 --> 00:13:42,280 Speaker 5: I know. 206 00:13:43,400 --> 00:13:47,080 Speaker 1: Organ is so cool. Yeah. How long have you guys 207 00:13:47,160 --> 00:13:47,679 Speaker 1: known each other? 208 00:13:48,840 --> 00:13:49,120 Speaker 8: Since? 209 00:13:50,280 --> 00:13:51,480 Speaker 6: About ten years or something? 210 00:13:51,679 --> 00:13:52,160 Speaker 1: Oh, that's it? 211 00:13:52,920 --> 00:13:55,360 Speaker 8: Yeah, twenty sixteen, I think, okay, maybe fifteen. 212 00:13:55,600 --> 00:13:56,280 Speaker 1: How did you meet? 213 00:13:57,040 --> 00:14:01,199 Speaker 8: Well, we met because Blake was producing an album and 214 00:14:01,679 --> 00:14:03,840 Speaker 8: invited me and Chris Dave to be the room section. 215 00:14:04,400 --> 00:14:06,760 Speaker 1: Wow, that's a good idea. 216 00:14:07,760 --> 00:14:10,439 Speaker 6: Yeah, I was really reached too far for that. 217 00:14:11,120 --> 00:14:11,880 Speaker 1: What album was that? 218 00:14:12,320 --> 00:14:17,360 Speaker 6: It was John Legends Darkness and Light. That's beautiful and yeah, 219 00:14:17,559 --> 00:14:20,000 Speaker 6: one of the ideas was to just have a live 220 00:14:20,120 --> 00:14:24,680 Speaker 6: rhythm section, uh for all the songs. And that was 221 00:14:24,800 --> 00:14:27,640 Speaker 6: the first project I was a part of that that 222 00:14:28,000 --> 00:14:29,680 Speaker 6: I had a chance to work with these guys on it. 223 00:14:30,040 --> 00:14:30,680 Speaker 1: That's so great. 224 00:14:30,840 --> 00:14:36,960 Speaker 6: And during that record Pino mentioned that he'd been working 225 00:14:37,040 --> 00:14:40,320 Speaker 6: on some of his own material, and we had a 226 00:14:40,800 --> 00:14:45,040 Speaker 6: promotional show I think here in New York in Brooklyn, 227 00:14:46,360 --> 00:14:51,120 Speaker 6: and after the show, Pino took me to a studio 228 00:14:51,320 --> 00:14:54,040 Speaker 6: and played me one of the songs that he had 229 00:14:54,080 --> 00:14:58,280 Speaker 6: been working on and it was phenomenal and it was 230 00:14:59,640 --> 00:15:01,680 Speaker 6: I play. I had a few things on it, And 231 00:15:02,920 --> 00:15:07,800 Speaker 6: then for about six months was just texting him NonStop, like, 232 00:15:07,920 --> 00:15:09,760 Speaker 6: you know, when kind of hear that again and yeah, 233 00:15:09,880 --> 00:15:14,160 Speaker 6: you know, how did that turn out? And and and 234 00:15:14,480 --> 00:15:17,760 Speaker 6: and at one point you were in la We opened 235 00:15:17,840 --> 00:15:22,240 Speaker 6: up the song again and we started to explore, you know, 236 00:15:22,320 --> 00:15:25,560 Speaker 6: other places that it could go and arrangement ideas, and 237 00:15:26,440 --> 00:15:31,240 Speaker 6: and after doing that with a few more compositions of Pinos, 238 00:15:31,320 --> 00:15:33,760 Speaker 6: we we realized that we were working on something that 239 00:15:33,840 --> 00:15:34,960 Speaker 6: felt like an album. 240 00:15:35,360 --> 00:15:38,040 Speaker 8: Yeah, and also something that was to me felt like 241 00:15:38,080 --> 00:15:40,920 Speaker 8: a collaboration, because at first didn't kind of stop off 242 00:15:41,000 --> 00:15:43,680 Speaker 8: that way, but it was, it was It became obvious 243 00:15:43,680 --> 00:15:46,000 Speaker 8: pretty quickly, Yeah this should. 244 00:15:45,720 --> 00:15:50,840 Speaker 1: Be that's great. Yeah, and is this your third album together? 245 00:15:51,080 --> 00:15:51,360 Speaker 6: Second? 246 00:15:51,440 --> 00:15:57,800 Speaker 1: Second, second, okay, wow, And it's so different. It's so 247 00:15:57,920 --> 00:16:04,560 Speaker 1: different from anything I feel like, and it's so sonically 248 00:16:05,040 --> 00:16:09,760 Speaker 1: rich and and weird and beautiful and I don't know, 249 00:16:09,920 --> 00:16:11,680 Speaker 1: it just must be so fun because you both play 250 00:16:11,760 --> 00:16:16,280 Speaker 1: with like so many people to just have this weird, 251 00:16:16,360 --> 00:16:18,400 Speaker 1: special thing that you're doing together. 252 00:16:18,800 --> 00:16:20,040 Speaker 8: Yeah, that's great. 253 00:16:20,160 --> 00:16:23,640 Speaker 6: Yeah, I think we I think we were kind of 254 00:16:23,680 --> 00:16:31,120 Speaker 6: tickled by the the unusual choices in music, you know, 255 00:16:31,320 --> 00:16:33,240 Speaker 6: not just our own, but you know, just in general 256 00:16:33,240 --> 00:16:37,000 Speaker 6: as listeners. That's yeah, that's what we gravitate towards some balance, 257 00:16:37,280 --> 00:16:42,440 Speaker 6: you know, presence of that alongside things that are you know, 258 00:16:42,520 --> 00:16:48,280 Speaker 6: maybe more traditionally rewarding. And that's a cool that's a 259 00:16:48,360 --> 00:16:52,960 Speaker 6: cool line to to try to follow you through different projects. 260 00:16:53,000 --> 00:16:55,800 Speaker 6: I think that that's relevant to no matter what kind 261 00:16:55,800 --> 00:16:58,400 Speaker 6: of music it is. That's a that's a relevant recipe 262 00:16:58,480 --> 00:17:00,280 Speaker 6: I think for Yeah. Six, so. 263 00:17:01,800 --> 00:17:02,680 Speaker 1: Just do what moves you. 264 00:17:03,200 --> 00:17:04,160 Speaker 6: Yeah, that's. 265 00:17:06,280 --> 00:17:10,520 Speaker 1: Weirdness if it's if it's out of the norm and 266 00:17:10,680 --> 00:17:12,560 Speaker 1: it moves you, then follow it. 267 00:17:12,920 --> 00:17:13,120 Speaker 8: Yeah. 268 00:17:13,840 --> 00:17:16,680 Speaker 6: Yeah, it's beautiful. You were thinking about how many things 269 00:17:17,400 --> 00:17:19,800 Speaker 6: were out of the norm before they became the norm. 270 00:17:19,960 --> 00:17:25,560 Speaker 6: That's true too, Like, yeah, you know, accessible music in 271 00:17:26,400 --> 00:17:29,920 Speaker 6: so many cases wasn't at one point when it came out. 272 00:17:30,040 --> 00:17:30,520 Speaker 1: That's true. 273 00:17:30,680 --> 00:17:34,640 Speaker 6: It was unusual and only through its sort of popularity, 274 00:17:34,800 --> 00:17:43,520 Speaker 6: or like hearing non musicians sing h Gary Rafferty right 275 00:17:43,760 --> 00:17:48,040 Speaker 6: down the line. Yeah, seeing all those modulations at karaoke. Yeah, 276 00:17:48,200 --> 00:17:50,440 Speaker 6: but they know them, they know them, And how many 277 00:17:50,520 --> 00:17:52,960 Speaker 6: modulations happen in red a Chili Pepper's hits. 278 00:17:53,080 --> 00:17:54,560 Speaker 1: That's right. I never thought about that. 279 00:17:54,960 --> 00:18:00,000 Speaker 6: It's yes, totally strange music, very strange on paper, Investigator. 280 00:18:00,119 --> 00:18:01,040 Speaker 1: It's always why I liked it. 281 00:18:01,720 --> 00:18:02,280 Speaker 8: Yeah, you know. 282 00:18:02,760 --> 00:18:05,920 Speaker 6: I mean, so with this program, you're doing a lot 283 00:18:06,119 --> 00:18:08,600 Speaker 6: of unfamiliar music. 284 00:18:09,160 --> 00:18:12,320 Speaker 1: Yeah, I mean part of the fun part is doing 285 00:18:12,760 --> 00:18:17,280 Speaker 1: things that are out of my own wheelhouse. And sometimes 286 00:18:17,320 --> 00:18:19,600 Speaker 1: people come in with songs that I can learn very quickly. 287 00:18:19,720 --> 00:18:23,520 Speaker 1: And then today, for instance, I was like cramming and 288 00:18:23,720 --> 00:18:27,240 Speaker 1: also nervous, but also I know you're safe people, and 289 00:18:27,280 --> 00:18:29,200 Speaker 1: it's going to be okay. Once we're in the room. 290 00:18:29,240 --> 00:18:32,240 Speaker 1: It always feels like we're making music and it's not 291 00:18:32,440 --> 00:18:36,080 Speaker 1: a big deal. But I was like, what is that core? 292 00:18:36,720 --> 00:18:36,879 Speaker 11: You know? 293 00:18:37,640 --> 00:18:41,000 Speaker 1: But so it's it's really good for me though, you know, 294 00:18:41,160 --> 00:18:44,960 Speaker 1: I think learning other material always informs something down the 295 00:18:45,080 --> 00:18:48,240 Speaker 1: line that you're going to spit out right, So totally 296 00:18:48,920 --> 00:18:52,200 Speaker 1: opens to Yeah, it's not why I decided to do this, 297 00:18:52,640 --> 00:18:55,399 Speaker 1: but it's been the upside. It's been one of the 298 00:18:55,480 --> 00:18:58,440 Speaker 1: many upsides to it. Yeah, just having to kind of 299 00:18:58,800 --> 00:19:02,159 Speaker 1: sharpen my tools a little, which is good for me 300 00:19:02,200 --> 00:19:08,960 Speaker 1: at this point. Yeah, move it or lose it. Yeah, 301 00:19:09,240 --> 00:19:11,680 Speaker 1: it's like a nice way to play music without traveling, 302 00:19:12,760 --> 00:19:12,960 Speaker 1: you know. 303 00:19:13,400 --> 00:19:15,560 Speaker 6: Yeah, that's that's important. 304 00:19:15,280 --> 00:19:17,399 Speaker 1: Even though I love to travel. It's like nice to 305 00:19:17,440 --> 00:19:18,160 Speaker 1: cut back a little. 306 00:19:18,920 --> 00:19:22,159 Speaker 6: Yeah. Yeah, so we're with you. 307 00:19:22,280 --> 00:19:24,600 Speaker 1: Thanks for coming, and you have a show tonight, so 308 00:19:24,680 --> 00:19:25,840 Speaker 1: I don't want to we have a show. 309 00:19:26,000 --> 00:19:29,920 Speaker 6: We have a show tomorrow. We have a show tomorrow. Okay, Yeah, cool, 310 00:19:30,359 --> 00:19:31,080 Speaker 6: we're happy to be here. 311 00:19:31,160 --> 00:19:32,880 Speaker 1: Oh good, you're not like going straight to soundcheck. 312 00:19:33,440 --> 00:19:35,640 Speaker 8: Great, you can't get rid of this quickly. 313 00:19:36,080 --> 00:19:36,560 Speaker 1: That's great. 314 00:19:37,600 --> 00:19:40,600 Speaker 6: You don't have to play the next one at double speed. 315 00:19:40,880 --> 00:19:41,600 Speaker 8: Right after all? 316 00:19:42,960 --> 00:19:44,320 Speaker 1: Good, because I don't think I could play it. 317 00:19:46,320 --> 00:19:46,600 Speaker 8: I did. 318 00:19:47,640 --> 00:19:50,879 Speaker 1: I did something with Brandy Younger last week and the 319 00:19:50,960 --> 00:19:53,440 Speaker 1: Harp Heart Heart Player, and she had a couple of 320 00:19:53,480 --> 00:19:56,280 Speaker 1: tunes that I was like, wait a second, and then 321 00:19:56,320 --> 00:19:58,600 Speaker 1: she she's like, I had charts I could have sent you, 322 00:19:58,760 --> 00:20:00,960 Speaker 1: And I was like, I didn't even think to ask that. 323 00:20:01,920 --> 00:20:03,639 Speaker 1: But it's probably better for me to learn it on 324 00:20:03,760 --> 00:20:05,000 Speaker 1: my own, you know what I mean. 325 00:20:05,440 --> 00:20:09,000 Speaker 6: I didn't know what your background was and if having 326 00:20:09,040 --> 00:20:12,240 Speaker 6: a chart would would be helpful or Yeah, I don't read. 327 00:20:12,640 --> 00:20:16,240 Speaker 6: You don't know really, No, I mean I can. It's 328 00:20:16,280 --> 00:20:18,280 Speaker 6: sort of like reading a book upside down or something like. 329 00:20:18,359 --> 00:20:21,320 Speaker 6: I can kind of, I'll meet you there, but I don't. 330 00:20:22,480 --> 00:20:24,720 Speaker 6: I certainly can't sight read. I can read a chord chart, 331 00:20:25,440 --> 00:20:27,400 Speaker 6: but a lot of our music doesn't have chords. 332 00:20:27,960 --> 00:20:30,960 Speaker 1: Well that's why. Yeah, that's why I was it's funny. 333 00:20:31,000 --> 00:20:34,440 Speaker 1: You sent me this YouTube of the next song we're 334 00:20:34,440 --> 00:20:37,360 Speaker 1: going to play YEA and the guy had written a chart, 335 00:20:37,880 --> 00:20:40,680 Speaker 1: which is great. But I don't know if you watched it. 336 00:20:41,720 --> 00:20:44,359 Speaker 1: He just was close up on each measure as the 337 00:20:44,520 --> 00:20:48,560 Speaker 1: song went on, and I was so frustrated. Yeah, I 338 00:20:48,600 --> 00:20:51,119 Speaker 1: couldn't take a picture of me. But thank god he 339 00:20:51,160 --> 00:20:53,879 Speaker 1: did it. Anyway, I'm thankful for it. But it was 340 00:20:53,920 --> 00:20:54,480 Speaker 1: pretty funny. 341 00:20:54,760 --> 00:20:56,560 Speaker 6: He's a friend. Yeah I should have. I should have 342 00:20:56,600 --> 00:20:58,360 Speaker 6: seen it if there was like a pdf. 343 00:20:58,520 --> 00:21:02,399 Speaker 1: No, it's it was funny. I was like, that makes sense. Otherwise, 344 00:21:02,440 --> 00:21:05,159 Speaker 1: nobody's gonna watch the whole video. They're just gonna take 345 00:21:05,200 --> 00:21:07,840 Speaker 1: a screenshot. I get it, but it was funny. 346 00:21:09,400 --> 00:21:13,680 Speaker 6: I texted with him this morning and he lives in 347 00:21:13,720 --> 00:21:18,920 Speaker 6: Germany and he's playing that song. That's so cool I 348 00:21:19,000 --> 00:21:21,760 Speaker 6: think right now, like as a solo piano piece. Oh 349 00:21:21,840 --> 00:21:24,120 Speaker 6: that's beautiful. Well, I love this song. 350 00:21:24,359 --> 00:21:25,320 Speaker 1: Let's let's dive in. 351 00:21:40,800 --> 00:21:44,199 Speaker 9: Wow Linsen muscou. 352 00:21:47,359 --> 00:21:48,280 Speaker 5: A fun. 353 00:21:51,240 --> 00:21:58,520 Speaker 2: And every day is great. Clowns just float on. 354 00:22:01,440 --> 00:22:01,800 Speaker 5: M hm. 355 00:22:11,880 --> 00:22:22,200 Speaker 12: I look for your face. You are not a fool ah, 356 00:22:27,320 --> 00:22:29,879 Speaker 12: can't see what you do? 357 00:22:32,320 --> 00:22:35,040 Speaker 5: What is wrong with me? 358 00:22:48,240 --> 00:23:09,600 Speaker 2: Look into my tell me what you see, tell me 359 00:23:10,400 --> 00:23:10,800 Speaker 2: to be? 360 00:23:13,720 --> 00:23:15,879 Speaker 9: Was frong with me? 361 00:23:24,400 --> 00:23:25,840 Speaker 13: What a strong with the. 362 00:24:12,400 --> 00:24:30,080 Speaker 5: Studiunier games, school, still. 363 00:24:38,119 --> 00:24:52,199 Speaker 13: School, compos. 364 00:26:35,880 --> 00:27:09,560 Speaker 1: Well, we've all been doing this long enough to know 365 00:27:10,480 --> 00:27:13,680 Speaker 1: when you feel really good about something and also the 366 00:27:13,800 --> 00:27:16,160 Speaker 1: specific things you want to catch along the way. 367 00:27:17,000 --> 00:27:17,160 Speaker 6: Right. 368 00:27:18,960 --> 00:27:22,399 Speaker 1: Something that helped me recently was thinking about it like 369 00:27:22,480 --> 00:27:25,360 Speaker 1: an abstract painting, as long as the shape is there 370 00:27:25,440 --> 00:27:27,840 Speaker 1: and you can hear what's going on. Phil, No, it's 371 00:27:27,840 --> 00:27:31,320 Speaker 1: a song. It's like this thing I've been doing to 372 00:27:31,400 --> 00:27:34,399 Speaker 1: stop myself from overdoing it. It's funny. 373 00:27:34,600 --> 00:27:35,480 Speaker 6: That makes a lot of sense. 374 00:27:35,720 --> 00:27:35,880 Speaker 1: YEA. 375 00:27:36,640 --> 00:27:40,800 Speaker 8: The essence of the song, it's the essence of ingredients 376 00:27:40,880 --> 00:27:42,600 Speaker 8: that you want to put the emotion. 377 00:27:43,119 --> 00:27:46,800 Speaker 1: Yeah, I work with Leon Michaels. Do you know him. 378 00:27:47,480 --> 00:27:49,679 Speaker 1: He's a producer. He also has a band called El 379 00:27:49,760 --> 00:27:55,119 Speaker 1: Michael's Affair. But he we work a lot digitally, but 380 00:27:55,240 --> 00:27:57,440 Speaker 1: he always erasist stuff. I'm like, wait, I had it 381 00:27:57,560 --> 00:28:00,159 Speaker 1: like seven seven vocals ago. He's like, well that's on. 382 00:28:00,560 --> 00:28:03,800 Speaker 1: I'm like wait a second. But it's almost like he 383 00:28:03,920 --> 00:28:06,360 Speaker 1: pretends that he's on tape and he'll so it keeps 384 00:28:06,440 --> 00:28:09,080 Speaker 1: him from having too much stuff. That's pretty great. 385 00:28:09,600 --> 00:28:11,560 Speaker 6: That is great. Yeah, I think it does, you know, 386 00:28:11,800 --> 00:28:15,399 Speaker 6: especially if if it becomes part of the conversation and 387 00:28:15,480 --> 00:28:17,800 Speaker 6: part of the process too. Are you sure you want 388 00:28:17,840 --> 00:28:19,800 Speaker 6: to do another one, because yeah, it means we're going 389 00:28:19,840 --> 00:28:21,200 Speaker 6: to lose you want to listen? 390 00:28:21,400 --> 00:28:24,400 Speaker 1: Yeah, no, he doesn't do that. That's a cool part 391 00:28:24,440 --> 00:28:28,200 Speaker 1: to take for then it's just you listen more exactly. 392 00:28:28,000 --> 00:28:30,480 Speaker 6: Listen back more like with digitally, you just kind of 393 00:28:30,920 --> 00:28:34,800 Speaker 6: you wait to do all that later exactly. Yeah. I 394 00:28:35,440 --> 00:28:41,520 Speaker 6: questioned too, whether we as the the party responsible for 395 00:28:41,800 --> 00:28:46,560 Speaker 6: the making of the the thing, if we are always 396 00:28:46,680 --> 00:28:53,880 Speaker 6: the best arbiters of what is important to capture, you know, 397 00:28:54,120 --> 00:29:00,440 Speaker 6: like what's important to achieve because our perspectives are considering 398 00:29:00,520 --> 00:29:05,760 Speaker 6: so many things about the music that in many cases 399 00:29:05,760 --> 00:29:08,560 Speaker 6: aren't going to be part of the listener's experience or 400 00:29:08,760 --> 00:29:11,080 Speaker 6: or or yes, their connotation. 401 00:29:11,520 --> 00:29:15,320 Speaker 1: But I think we're the creators, So I think it's 402 00:29:15,640 --> 00:29:18,000 Speaker 1: I think we can do what we want. We can 403 00:29:18,040 --> 00:29:20,920 Speaker 1: do We can absolutely do anything the important stuff that 404 00:29:21,040 --> 00:29:24,240 Speaker 1: we think is important. Yeah, you know, I think so, 405 00:29:24,600 --> 00:29:25,440 Speaker 1: But I know what you mean. 406 00:29:25,720 --> 00:29:27,880 Speaker 6: Like, for example, you know, how have you ever been 407 00:29:27,920 --> 00:29:32,680 Speaker 6: in that situation where you're you're working on a mix 408 00:29:32,840 --> 00:29:36,640 Speaker 6: of a vocal blend and that part of your intention 409 00:29:37,000 --> 00:29:39,600 Speaker 6: is I want to make sure that the melody, the 410 00:29:39,680 --> 00:29:43,040 Speaker 6: thing I wrote and think of as the melody you know, 411 00:29:43,200 --> 00:29:48,640 Speaker 6: hierarchically is placed and that the subservient harmonies are understood 412 00:29:48,880 --> 00:29:52,520 Speaker 6: as such. And so you you know, you you finesse 413 00:29:52,640 --> 00:29:56,320 Speaker 6: this blend of this thing right, and at the end 414 00:29:56,360 --> 00:29:59,520 Speaker 6: of the day, what people are going to hear and 415 00:29:59,640 --> 00:30:03,240 Speaker 6: latch onto. It's like, what's what is the melody of 416 00:30:03,680 --> 00:30:06,280 Speaker 6: Sweet Judy Blue Eyes? Who's seeing the melody on those 417 00:30:06,320 --> 00:30:08,400 Speaker 6: Cross Pistols and Nash records? Like a lot of times, 418 00:30:08,760 --> 00:30:11,840 Speaker 6: Graham Nash's part is the thing that pops back into 419 00:30:11,880 --> 00:30:14,960 Speaker 6: your head. You know, It's sort of like the stratosphere yeah, 420 00:30:14,960 --> 00:30:19,560 Speaker 6: the high so so in trying to control the experience 421 00:30:19,600 --> 00:30:21,720 Speaker 6: somebody's going to have and listening to it, even if 422 00:30:21,760 --> 00:30:23,400 Speaker 6: you have all the money and time in the world 423 00:30:23,480 --> 00:30:27,080 Speaker 6: to get it perfect, you don't have that control ultimately, 424 00:30:27,320 --> 00:30:31,680 Speaker 6: Like it's it's its own thing, and that's the that's 425 00:30:31,680 --> 00:30:36,400 Speaker 6: sort of that's my version of letting go in the studio, 426 00:30:36,520 --> 00:30:39,040 Speaker 6: Like when you're describing with the painting, it's just reminding 427 00:30:39,120 --> 00:30:44,320 Speaker 6: myself that, like it's I'm going to hear this differently 428 00:30:44,440 --> 00:30:46,080 Speaker 6: in two years as well. 429 00:30:46,360 --> 00:30:48,840 Speaker 1: The time the time thing is really key. I think 430 00:30:49,160 --> 00:30:52,200 Speaker 1: taking space and then coming back to listen to something 431 00:30:53,400 --> 00:30:56,440 Speaker 1: and then realizing, oh, that's so cool. I can't remember 432 00:30:56,560 --> 00:31:00,080 Speaker 1: what happened with that. Yeah, you know, like wait, so 433 00:31:00,120 --> 00:31:00,720 Speaker 1: it sounds. 434 00:31:00,560 --> 00:31:01,000 Speaker 8: Fresh to you. 435 00:31:01,280 --> 00:31:02,040 Speaker 1: Yeah, exactly. 436 00:31:02,760 --> 00:31:06,560 Speaker 8: But I mean, don't you both think that playing and 437 00:31:06,720 --> 00:31:09,720 Speaker 8: listening while you're playing is very different to going in 438 00:31:09,840 --> 00:31:14,400 Speaker 8: and listening to what you've just performed completely. It's if 439 00:31:14,440 --> 00:31:16,680 Speaker 8: we could do both perfectly, then it would be easy, 440 00:31:16,960 --> 00:31:17,120 Speaker 8: I know. 441 00:31:17,520 --> 00:31:21,840 Speaker 1: And because you're so different, you're focused on getting it right. Also, 442 00:31:24,160 --> 00:31:26,040 Speaker 1: I mean the best is when you can forget about 443 00:31:26,080 --> 00:31:28,480 Speaker 1: what you're doing and just be in it, of course, 444 00:31:28,640 --> 00:31:31,360 Speaker 1: but when you're recording, usually you're learning a song or 445 00:31:31,440 --> 00:31:33,440 Speaker 1: you're trying to get the right part, and you're kind 446 00:31:33,480 --> 00:31:35,360 Speaker 1: of thinking a little well, there's. 447 00:31:35,200 --> 00:31:37,320 Speaker 8: A responsibility exactly for the music. 448 00:31:37,480 --> 00:31:40,680 Speaker 6: Yeah, totally. These things also have a point of view too. 449 00:31:41,520 --> 00:31:43,800 Speaker 6: You do your performance, but then you're going back and 450 00:31:43,880 --> 00:31:47,920 Speaker 6: you're listening to it, you know, a translation of it, yeah, 451 00:31:48,600 --> 00:31:53,080 Speaker 6: in the recording. Yeah, so yeah, it has to. I 452 00:31:53,160 --> 00:31:55,320 Speaker 6: think the painting analogy or some sort of a two 453 00:31:55,320 --> 00:31:59,480 Speaker 6: dimensional framework is a really good one for recorded music 454 00:31:59,560 --> 00:32:02,000 Speaker 6: because it it doesn't end up coming back at you 455 00:32:02,160 --> 00:32:05,280 Speaker 6: out of like you know, two speakers. 456 00:32:04,920 --> 00:32:07,640 Speaker 1: Or as one kind of weird. 457 00:32:09,240 --> 00:32:11,440 Speaker 6: Yeah, it's like a version of reality. 458 00:32:11,560 --> 00:32:12,320 Speaker 1: It's not reality. 459 00:32:12,400 --> 00:32:15,920 Speaker 6: It's not exactly you know, it's not what's happening in 460 00:32:16,040 --> 00:32:18,480 Speaker 6: the room. No matter how good the recording is. It's 461 00:32:18,560 --> 00:32:21,480 Speaker 6: just a different medium. Yeah, but it's it's fun. It's 462 00:32:21,680 --> 00:32:24,160 Speaker 6: it's cool when you can you know, when you're standing 463 00:32:24,200 --> 00:32:26,120 Speaker 6: in front of a painting that looks life like or 464 00:32:27,080 --> 00:32:32,080 Speaker 6: even you know, something more than life like. 465 00:32:32,360 --> 00:32:37,000 Speaker 1: Yeah, you want not lifelike. I don't as a as 466 00:32:37,080 --> 00:32:41,920 Speaker 1: a as an art viewer, I like a painting that's 467 00:32:42,000 --> 00:32:45,880 Speaker 1: sort of alluding to something. But of course music is different. 468 00:32:45,920 --> 00:32:50,120 Speaker 1: But yeah, anyway, it's interesting. I don't know, you've played 469 00:32:50,160 --> 00:32:52,960 Speaker 1: on so many records, both of you. I mean, you 470 00:32:53,120 --> 00:32:56,360 Speaker 1: must have gone through so many different types of processes 471 00:32:56,400 --> 00:33:00,760 Speaker 1: with people. Or do you feel like you're usually drawn 472 00:33:00,840 --> 00:33:07,800 Speaker 1: to similar like same like goes with like or do 473 00:33:07,840 --> 00:33:09,800 Speaker 1: you feel like you've just been you've seen a lot 474 00:33:09,920 --> 00:33:12,160 Speaker 1: of really different ways of working. 475 00:33:12,400 --> 00:33:15,000 Speaker 6: Yeah, I feel like that's for sure. 476 00:33:15,160 --> 00:33:15,800 Speaker 8: Yeah, for sure. 477 00:33:15,960 --> 00:33:16,160 Speaker 5: Yeah. 478 00:33:16,600 --> 00:33:19,080 Speaker 6: I think you just have to adapt exactly. 479 00:33:19,560 --> 00:33:22,000 Speaker 1: And it's not that one's better or that one gets 480 00:33:22,040 --> 00:33:23,680 Speaker 1: a better result necessarily. 481 00:33:25,520 --> 00:33:28,840 Speaker 8: It's really just finding a way of putting what you 482 00:33:29,160 --> 00:33:32,920 Speaker 8: have into the music onto the music so that so 483 00:33:33,000 --> 00:33:35,720 Speaker 8: that you know it's it's right, it feels good. Yeah, 484 00:33:36,600 --> 00:33:37,920 Speaker 8: so many different ways of getting that. 485 00:33:38,160 --> 00:33:38,360 Speaker 3: I know. 486 00:33:39,120 --> 00:33:40,760 Speaker 8: Yeah, I don't know the secret. 487 00:33:40,960 --> 00:33:45,600 Speaker 1: I know, Well that's the that's the the elusive magic dust. 488 00:33:45,760 --> 00:33:45,880 Speaker 5: Right. 489 00:33:46,560 --> 00:33:47,360 Speaker 1: Yeah, it's like. 490 00:33:49,000 --> 00:33:52,960 Speaker 6: I think I've had I've been in situations where I've thought, like, it's, 491 00:33:54,160 --> 00:33:57,280 Speaker 6: you know, are we making this harder for ourselves than 492 00:33:57,320 --> 00:33:57,720 Speaker 6: we need to? 493 00:33:58,040 --> 00:33:58,240 Speaker 1: Yeah? 494 00:33:58,840 --> 00:34:01,560 Speaker 6: And in many case as I think we probably are. Like, 495 00:34:01,680 --> 00:34:07,200 Speaker 6: it doesn't have to be as difficult as it sometimes feels, 496 00:34:07,280 --> 00:34:10,960 Speaker 6: but it also doesn't have to not be work hard work, 497 00:34:11,239 --> 00:34:13,080 Speaker 6: Like you know this idea that you go in and 498 00:34:14,200 --> 00:34:16,360 Speaker 6: you know when you're making a record, the most important 499 00:34:16,480 --> 00:34:18,399 Speaker 6: thing is that we just all go in and have fun. 500 00:34:18,719 --> 00:34:21,319 Speaker 6: Is like that is the most important. 501 00:34:21,000 --> 00:34:21,680 Speaker 14: Thing some people. 502 00:34:22,239 --> 00:34:23,640 Speaker 8: Yeah, you have to go past that. 503 00:34:24,080 --> 00:34:26,960 Speaker 6: Yes, it's not what it's all about. It's like, at 504 00:34:27,000 --> 00:34:30,840 Speaker 6: the end of the day, I think you still have 505 00:34:31,000 --> 00:34:33,399 Speaker 6: a responsibility to yourself to try to make the best 506 00:34:34,160 --> 00:34:37,960 Speaker 6: record you can make and that that should take a 507 00:34:38,000 --> 00:34:39,880 Speaker 6: little bit of heavy lifting at times. 508 00:34:40,040 --> 00:34:44,879 Speaker 1: It definitely it means you have to do another one 509 00:34:45,000 --> 00:34:45,640 Speaker 1: all the time. 510 00:34:47,239 --> 00:34:50,320 Speaker 6: Yeah, they kind of they set up, They set themselves 511 00:34:50,440 --> 00:34:53,120 Speaker 6: up a little bit, don't they. Like once you once 512 00:34:53,160 --> 00:34:56,520 Speaker 6: you finish, you finished the album, then you kind of 513 00:34:56,560 --> 00:34:57,759 Speaker 6: go like, all right, I don't ever want to do 514 00:34:57,840 --> 00:35:01,000 Speaker 6: any of that again next time, you know, naxt time. 515 00:35:01,000 --> 00:35:03,759 Speaker 6: We're going to Barbados, Right, We're just going to do 516 00:35:03,800 --> 00:35:04,440 Speaker 6: it one day. 517 00:35:04,719 --> 00:35:08,200 Speaker 1: Yeah, Well, you've done those before and they can be fun. 518 00:35:08,719 --> 00:35:09,560 Speaker 6: It just depends. 519 00:35:11,600 --> 00:35:16,319 Speaker 1: You grew up in Wales. Yeah, yeah, And when did 520 00:35:16,360 --> 00:35:18,600 Speaker 1: you come to the States or did you start touring first? 521 00:35:19,480 --> 00:35:23,000 Speaker 8: Yeah, first toured in the States with Jules Holland actually 522 00:35:23,160 --> 00:35:25,160 Speaker 8: really yeah, Okay, it's in the band with Jewels. 523 00:35:25,239 --> 00:35:25,839 Speaker 1: That's so cool. 524 00:35:25,920 --> 00:35:29,840 Speaker 8: It was like nineteen eighty one, I think, and toured 525 00:35:29,880 --> 00:35:32,080 Speaker 8: over here with Paul Young in the eighties too, and 526 00:35:32,760 --> 00:35:36,840 Speaker 8: then started doing studio work and gradually ended up spending 527 00:35:36,840 --> 00:35:40,080 Speaker 8: a lot of time in America, and eventually in twenty sixteen, 528 00:35:40,160 --> 00:35:41,760 Speaker 8: I moved out here permanently. 529 00:35:42,120 --> 00:35:47,960 Speaker 1: In twenty sixteen only okay, yeah, wow, you're like, all right, 530 00:35:48,040 --> 00:35:51,759 Speaker 1: I'll finally take the punch. Yeah, twenty sixteen. Funny year 531 00:35:51,800 --> 00:35:52,239 Speaker 1: to move here. 532 00:35:53,680 --> 00:35:57,120 Speaker 8: Yeah, if I think about it, that's cool. 533 00:35:58,600 --> 00:36:00,360 Speaker 1: Do you remember the first record you played on? 534 00:36:03,000 --> 00:36:03,239 Speaker 5: Wow? 535 00:36:04,200 --> 00:36:06,719 Speaker 8: I mean I remember the first sessions. Yeah, but I 536 00:36:06,800 --> 00:36:07,920 Speaker 8: don't know what records they. 537 00:36:07,880 --> 00:36:10,919 Speaker 1: Were now, But you did a lot of session work yeah, 538 00:36:11,080 --> 00:36:11,440 Speaker 1: early on. 539 00:36:11,719 --> 00:36:15,480 Speaker 8: Yeah, I mean we did an album with Jewels, and 540 00:36:15,600 --> 00:36:19,000 Speaker 8: then I went on to play for Gary Newman. They 541 00:36:19,040 --> 00:36:22,640 Speaker 8: were some of the first sessions sort of where people 542 00:36:22,800 --> 00:36:27,920 Speaker 8: heard me playing on records, and it's sort of it 543 00:36:28,040 --> 00:36:29,680 Speaker 8: was a sound that, at the times sort of fretless 544 00:36:29,800 --> 00:36:33,800 Speaker 8: sound on that electronic music. Yeah, was catching people's ears, 545 00:36:33,840 --> 00:36:37,040 Speaker 8: I think, and so that led to where I am today. 546 00:36:37,120 --> 00:36:40,040 Speaker 1: Really wow, Yeah, I was going to ask how that happened. 547 00:36:40,320 --> 00:36:42,000 Speaker 8: Yeah, it's long, it's really long. 548 00:36:42,640 --> 00:36:45,080 Speaker 1: It's so unique though, you know, it's so you. 549 00:36:45,760 --> 00:36:47,520 Speaker 8: Yeah, yeah, I appreciate that. 550 00:36:47,680 --> 00:36:51,560 Speaker 1: Yeah, it's beautiful. Can you tell me about the space. 551 00:36:53,120 --> 00:36:57,239 Speaker 8: Yeah, this is it's made by Rob Allen. It's like 552 00:36:57,280 --> 00:37:00,120 Speaker 8: a hollow body. It's got a pizo pickup on it 553 00:37:00,840 --> 00:37:06,800 Speaker 8: or is it piazzo pickup, I don't know. Yeah, and 554 00:37:06,840 --> 00:37:09,040 Speaker 8: it's got a it's tuned like a Bassic except it's 555 00:37:09,080 --> 00:37:12,359 Speaker 8: got a high Sea on it. So for that piece, 556 00:37:12,440 --> 00:37:14,799 Speaker 8: we just played it just It just means I can 557 00:37:14,880 --> 00:37:17,440 Speaker 8: get the notes. I won't higher up easier, We're not 558 00:37:17,560 --> 00:37:22,360 Speaker 8: stretching all over the place. Yeah. And we put this 559 00:37:22,840 --> 00:37:25,680 Speaker 8: mute on it, which is made by nord Strand, and 560 00:37:25,800 --> 00:37:29,040 Speaker 8: it just sort of mutes the strings a little bit. Yeah. 561 00:37:29,280 --> 00:37:30,240 Speaker 1: Yeah, it's the best. 562 00:37:30,560 --> 00:37:33,520 Speaker 8: Yeah, and I'm really just trying to get that pizzicato 563 00:37:33,600 --> 00:37:35,319 Speaker 8: sound out of it for that piece. 564 00:37:35,520 --> 00:37:39,840 Speaker 1: Yeah, it's beautiful. And what is this blake? 565 00:37:40,520 --> 00:37:40,719 Speaker 2: Yeah? 566 00:37:40,960 --> 00:37:43,480 Speaker 1: This is crazy? What are you playing here? It's like 567 00:37:43,520 --> 00:37:44,520 Speaker 1: a fretless guitar. 568 00:37:44,760 --> 00:37:51,040 Speaker 6: Yeah, it's a fretless, fretless baritone guitar with a Susiniac 569 00:37:51,400 --> 00:37:55,480 Speaker 6: pickup in it. So that's just like a if anybody 570 00:37:55,520 --> 00:37:58,400 Speaker 6: that knows what an Ebo is it's just that for 571 00:37:58,600 --> 00:37:59,640 Speaker 6: all the strings all the time. 572 00:38:00,160 --> 00:38:00,319 Speaker 5: Cool? 573 00:38:00,719 --> 00:38:03,880 Speaker 1: Okay, I actually know what EBO is. Surprised at myself. 574 00:38:04,040 --> 00:38:07,520 Speaker 6: Yeah, okay, Yeah. Ebo has been around for I think 575 00:38:07,600 --> 00:38:10,680 Speaker 6: since there's the seventies. There might be some that came out, 576 00:38:10,800 --> 00:38:11,920 Speaker 6: some version of the Ebo. 577 00:38:11,800 --> 00:38:13,720 Speaker 1: And tronic slide. 578 00:38:14,560 --> 00:38:17,880 Speaker 6: Maybe it's it's more like for the picking hand, so 579 00:38:18,200 --> 00:38:19,360 Speaker 6: you hold it against the string. 580 00:38:19,560 --> 00:38:21,239 Speaker 1: Oh, I think I thought it was for the other 581 00:38:21,360 --> 00:38:21,799 Speaker 1: and it. 582 00:38:21,920 --> 00:38:25,680 Speaker 6: Activates the string. It's a lot like having a bow, 583 00:38:26,520 --> 00:38:29,440 Speaker 6: you know, for a guitarist, at least ebo. 584 00:38:30,080 --> 00:38:30,279 Speaker 1: Yeah. 585 00:38:32,000 --> 00:38:36,160 Speaker 6: Yeah, So with the sustainiac, you know, it's just kind 586 00:38:36,160 --> 00:38:39,800 Speaker 6: of it's that concept basically, but applied across all the strings, 587 00:38:40,800 --> 00:38:45,560 Speaker 6: and so you can get a lot of interesting sort 588 00:38:45,600 --> 00:38:49,239 Speaker 6: of swelling into a note type sounds with it. And 589 00:38:52,280 --> 00:38:56,360 Speaker 6: I've had it for five or six years or so, 590 00:38:56,640 --> 00:38:59,719 Speaker 6: and I've used it for so many different things. Really 591 00:39:00,000 --> 00:39:01,000 Speaker 6: it's had different sounds. 592 00:39:01,320 --> 00:39:03,560 Speaker 1: Well that's what's so interesting about it, because when I 593 00:39:03,640 --> 00:39:07,520 Speaker 1: was listening to your record, the sounds are just so different. 594 00:39:07,640 --> 00:39:08,920 Speaker 1: I mean, it doesn't even sound. 595 00:39:08,800 --> 00:39:09,280 Speaker 6: Like a guitar. 596 00:39:09,480 --> 00:39:12,759 Speaker 1: It sounds like I don't know what it sounds like, 597 00:39:13,640 --> 00:39:16,160 Speaker 1: but it sounds earthy, it doesn't sound electronic. 598 00:39:16,760 --> 00:39:19,239 Speaker 6: Yeah, yeah, I mean there's some of that in there, 599 00:39:19,320 --> 00:39:25,239 Speaker 6: but it's it's interesting having now once the record is 600 00:39:25,360 --> 00:39:31,840 Speaker 6: out and getting feedback on what something sound like to 601 00:39:31,880 --> 00:39:33,440 Speaker 6: other people. Yeah, a lot of the things that that 602 00:39:33,560 --> 00:39:36,239 Speaker 6: sound like woodwinds are on guitar, and the things that 603 00:39:36,440 --> 00:39:39,600 Speaker 6: Sam are saxophone player is doing on the record, that's 604 00:39:40,120 --> 00:39:43,000 Speaker 6: he's playing a wind controller and he's doing you know, 605 00:39:43,160 --> 00:39:48,560 Speaker 6: harp and synthesizers. And it's just like everybody's sort of 606 00:39:48,760 --> 00:39:52,600 Speaker 6: modular in there their roles, you know, and how they 607 00:39:52,680 --> 00:39:58,920 Speaker 6: play their instruments, and we we probably all share a 608 00:39:59,000 --> 00:40:03,040 Speaker 6: little of the sensibility of being frustrated with the limitations 609 00:40:03,080 --> 00:40:06,879 Speaker 6: of what we play can do instrument wise. 610 00:40:08,160 --> 00:40:08,680 Speaker 8: I know, like. 611 00:40:11,440 --> 00:40:11,799 Speaker 14: I I. 612 00:40:13,800 --> 00:40:16,239 Speaker 6: Covet certain voicings that you know, you can play on 613 00:40:16,400 --> 00:40:19,719 Speaker 6: that that you just can't get without some you know, 614 00:40:21,040 --> 00:40:22,320 Speaker 6: without going into carpal. 615 00:40:22,080 --> 00:40:24,960 Speaker 1: Tunnel territory or alternate tuning exactly. 616 00:40:25,360 --> 00:40:25,560 Speaker 7: Yeah. 617 00:40:25,800 --> 00:40:29,919 Speaker 6: So so there's just always things that once you become 618 00:40:29,960 --> 00:40:32,759 Speaker 6: familiar with your instrument, you recognize that it can't do 619 00:40:32,920 --> 00:40:36,920 Speaker 6: easily and you you sort of catalog that and some 620 00:40:37,080 --> 00:40:40,600 Speaker 6: of those I think we've been on a missions as 621 00:40:41,160 --> 00:40:45,680 Speaker 6: musicians to try to coax a little bit out of 622 00:40:45,760 --> 00:40:49,040 Speaker 6: our instruments, because that's a lot easier than actually learning 623 00:40:49,040 --> 00:40:49,840 Speaker 6: how to play a piano. 624 00:40:50,680 --> 00:40:50,879 Speaker 2: Yeah. 625 00:40:51,040 --> 00:40:54,800 Speaker 1: No, and it's also fun because you're changing it in 626 00:40:54,920 --> 00:40:58,000 Speaker 1: a way that is different from, you know, a typical 627 00:40:58,080 --> 00:40:59,279 Speaker 1: guitar sound or yeah. 628 00:40:59,480 --> 00:41:01,920 Speaker 6: Yeah, do you ever do prepared piano stuff? 629 00:41:02,239 --> 00:41:04,440 Speaker 1: I like putting tape on it? Yeah, I like that. 630 00:41:04,600 --> 00:41:05,719 Speaker 1: I've done that a little bit. 631 00:41:05,920 --> 00:41:06,799 Speaker 6: Yeah, fun. 632 00:41:06,920 --> 00:41:09,480 Speaker 1: I haven't done it live. It would be fun live, yeah, 633 00:41:09,600 --> 00:41:12,520 Speaker 1: but you know, I'm like, wait a second, get the 634 00:41:12,560 --> 00:41:17,760 Speaker 1: tape out. I'm sure. I'm sure you can get a contraption. 635 00:41:18,000 --> 00:41:19,759 Speaker 1: I'm just kind of lazy in that way. 636 00:41:20,040 --> 00:41:23,200 Speaker 6: But just take like you know, your kid's old toy band, Yeah, 637 00:41:23,280 --> 00:41:24,440 Speaker 6: and just dump it in there. 638 00:41:24,600 --> 00:41:26,600 Speaker 1: Just have a beater, yeah, I'm sure that. 639 00:41:26,800 --> 00:41:28,120 Speaker 6: Yeah, the house piano will love that. 640 00:41:28,320 --> 00:41:30,680 Speaker 1: I should do that to that piano there, that little 641 00:41:30,840 --> 00:41:33,680 Speaker 1: tom thumb. That would sound good that way. 642 00:41:34,560 --> 00:41:34,759 Speaker 7: Yeah. 643 00:41:35,760 --> 00:41:39,040 Speaker 1: Actually, my favorite piano in my house up there has 644 00:41:39,120 --> 00:41:42,120 Speaker 1: a mute. Yeah, but it's built in. It's just that 645 00:41:42,280 --> 00:41:44,080 Speaker 1: kind of and we just love the mute. 646 00:41:44,200 --> 00:41:46,920 Speaker 6: Yeah, it's the prettiest, quite a sound. It's fun to 647 00:41:47,000 --> 00:41:48,400 Speaker 6: sing against. 648 00:41:48,120 --> 00:41:52,200 Speaker 1: That easier, way easier. Yeah, it's nice and nice house piano. 649 00:41:52,760 --> 00:41:55,880 Speaker 1: Do you ever play Indian music because of the fretless nature, 650 00:41:56,000 --> 00:41:59,759 Speaker 1: I'm just we were talking about yeah, all. 651 00:41:59,680 --> 00:42:05,840 Speaker 6: Them, Yeah, yeah, I mean I would say there are 652 00:42:05,920 --> 00:42:10,800 Speaker 6: times where I'm hearing Indian music and I'm trying to 653 00:42:11,000 --> 00:42:14,360 Speaker 6: sort of like, you know, visit that that place a 654 00:42:14,400 --> 00:42:18,040 Speaker 6: little bit. I was doing that a lot more, I 655 00:42:18,080 --> 00:42:24,080 Speaker 6: think when I was playing slide yeah, and on fretless 656 00:42:26,719 --> 00:42:30,719 Speaker 6: on this instrument, it feels like the sound I'm hearing 657 00:42:30,760 --> 00:42:32,759 Speaker 6: in my head right now is a little bit more 658 00:42:33,080 --> 00:42:34,560 Speaker 6: like a woodwind player. 659 00:42:34,680 --> 00:42:35,480 Speaker 1: That's what it sounds like. 660 00:42:36,280 --> 00:42:39,720 Speaker 6: Something about the vibrato on on this, like the pressure 661 00:42:39,800 --> 00:42:43,960 Speaker 6: sensitivity to it gives this like like wind. 662 00:42:44,320 --> 00:42:45,840 Speaker 1: There's there's a lot of air in it. 663 00:42:46,520 --> 00:42:46,880 Speaker 9: I love it. 664 00:42:46,960 --> 00:42:47,600 Speaker 1: It's beautiful. 665 00:42:47,800 --> 00:42:51,560 Speaker 6: Thanks, It's so fun to play. It's really been. It's 666 00:42:51,640 --> 00:42:54,759 Speaker 6: just been a treat. How much of our set is 667 00:42:54,840 --> 00:42:58,400 Speaker 6: on this guitar each night. It's really it's growing. 668 00:42:59,000 --> 00:43:05,880 Speaker 1: It's great toys playing with You're playing with awesome toys. 669 00:43:07,360 --> 00:43:07,560 Speaker 8: Yeah. 670 00:43:07,600 --> 00:43:10,680 Speaker 6: When are you going to put the the little pitch 671 00:43:10,719 --> 00:43:14,120 Speaker 6: wheel on this? Oh my gosh, this old gal so 672 00:43:14,200 --> 00:43:14,400 Speaker 6: you have. 673 00:43:14,480 --> 00:43:16,799 Speaker 1: A little that'd be fun you know, in high school, 674 00:43:16,800 --> 00:43:19,120 Speaker 1: I went to Performing Arts High School in Dallas, and 675 00:43:19,440 --> 00:43:25,040 Speaker 1: I had a synthesis class. So we played synthesizers in class. 676 00:43:25,080 --> 00:43:28,000 Speaker 1: And all the guys in my class were incredible, really 677 00:43:28,320 --> 00:43:30,360 Speaker 1: amazing musicians, and they all knew how to do the 678 00:43:30,440 --> 00:43:33,759 Speaker 1: pitch bend, and I remember they were teaching me how 679 00:43:33,800 --> 00:43:35,960 Speaker 1: to do it and I could not. I think he 680 00:43:36,080 --> 00:43:38,400 Speaker 1: took the part away from me actually because I couldn't 681 00:43:38,440 --> 00:43:38,839 Speaker 1: do it right. 682 00:43:39,520 --> 00:43:42,600 Speaker 6: Pitch bend on a synthesizer, yeah, like. 683 00:43:42,600 --> 00:43:44,800 Speaker 1: A d X seven, you know, like we and some 684 00:43:44,920 --> 00:43:48,800 Speaker 1: of the guys were playing a mug mog minimg. Do 685 00:43:48,880 --> 00:43:52,680 Speaker 1: you say mug or mug? I think it's it's it is, okay. 686 00:43:52,520 --> 00:43:58,000 Speaker 6: Now I know that one. That one we've we've proven, okay, Yeah, 687 00:43:58,040 --> 00:44:03,799 Speaker 6: that that's a that's a that's like yeah, it's sort 688 00:44:03,840 --> 00:44:07,319 Speaker 6: of the keyboardist way of signing guitar ish. 689 00:44:07,480 --> 00:44:07,719 Speaker 7: Yeah. 690 00:44:08,239 --> 00:44:10,200 Speaker 1: Yeah, it's like our our toy. 691 00:44:10,400 --> 00:44:10,600 Speaker 8: Yeah. 692 00:44:11,640 --> 00:44:14,960 Speaker 1: Yeah. I'm not very good at I'm not very patient 693 00:44:15,040 --> 00:44:17,359 Speaker 1: with gear and trying to fiddle with sounds. But if 694 00:44:17,360 --> 00:44:20,800 Speaker 1: it's there and I can play it, you can't not. 695 00:44:21,120 --> 00:44:24,239 Speaker 1: It's so fun. Can't Yeah, I mean I can't. I 696 00:44:24,320 --> 00:44:28,680 Speaker 1: can't stop yeah, it's pretty fun. Yeah, maybe someday I'll 697 00:44:28,800 --> 00:44:29,200 Speaker 1: tour with. 698 00:44:30,040 --> 00:44:33,960 Speaker 6: I think, like we're exploring this stuff and having so 699 00:44:34,040 --> 00:44:36,200 Speaker 6: much fun with it, and I can also see us, 700 00:44:36,560 --> 00:44:40,960 Speaker 6: you know, a year from now, just like let's leave 701 00:44:41,040 --> 00:44:44,279 Speaker 6: that ship at home. Oh yeah, straight in. You know, 702 00:44:44,800 --> 00:44:46,280 Speaker 6: it does records. 703 00:44:46,840 --> 00:44:49,600 Speaker 1: When one sets the other up, the pendulum swings and 704 00:44:50,600 --> 00:44:54,040 Speaker 1: when you're tired of it, well, it doesn't matter because 705 00:44:54,080 --> 00:44:55,160 Speaker 1: you can play either way. 706 00:44:55,160 --> 00:45:01,400 Speaker 6: Right hopefully Yeah some nights. Yeah, yeah, like to think. 707 00:45:01,239 --> 00:45:03,080 Speaker 1: So, yeah, I definitely think. 708 00:45:03,160 --> 00:45:03,200 Speaker 13: So. 709 00:45:03,719 --> 00:45:06,360 Speaker 1: You've been doing sessions since you were a kid, right. 710 00:45:06,840 --> 00:45:09,719 Speaker 6: Yeah, I've been doing sessions since I was well, I guess, 711 00:45:09,760 --> 00:45:10,960 Speaker 6: and yeah, my late teens. 712 00:45:11,280 --> 00:45:13,520 Speaker 1: That's wild sessions in LA. 713 00:45:13,920 --> 00:45:16,600 Speaker 6: That's so cool. I think part of that is having 714 00:45:16,640 --> 00:45:19,680 Speaker 6: grown up in Los Angeles, Yeah, you know, being where 715 00:45:19,719 --> 00:45:22,719 Speaker 6: a lot of recording sessions are happening and got thrown 716 00:45:22,760 --> 00:45:26,759 Speaker 6: into it pretty early on. Yeah, but I love, I 717 00:45:26,880 --> 00:45:31,960 Speaker 6: still love the the framework of working on such a 718 00:45:32,080 --> 00:45:36,920 Speaker 6: variety of music over the course of a year. It's 719 00:45:37,080 --> 00:45:40,640 Speaker 6: really different from being a recording artist, where you have 720 00:45:40,719 --> 00:45:44,399 Speaker 6: a record cycle, you know, and you've got an album 721 00:45:44,440 --> 00:45:46,839 Speaker 6: that you're supporting, and you can be playing a group 722 00:45:46,920 --> 00:45:49,960 Speaker 6: of songs for a year or two as a session 723 00:45:50,040 --> 00:45:55,400 Speaker 6: player or producer. To be working for anywhere from a 724 00:45:55,480 --> 00:46:01,000 Speaker 6: day to a few months on such a body work 725 00:46:01,080 --> 00:46:04,560 Speaker 6: and then the slate is cleared and you go somewhere 726 00:46:04,600 --> 00:46:09,320 Speaker 6: else entirely. That was really good for me, you know, 727 00:46:09,520 --> 00:46:13,239 Speaker 6: that kind of variety. I still enjoyed that aspect of 728 00:46:13,960 --> 00:46:15,240 Speaker 6: spending most of my time in the studio. 729 00:46:15,440 --> 00:46:17,239 Speaker 1: Yeah, I mean it's a special place to be. You 730 00:46:17,280 --> 00:46:19,879 Speaker 1: guys have the sweet spots where you get to dip 731 00:46:19,960 --> 00:46:25,399 Speaker 1: in and then do your own thing, and absolutely, you knowlege, 732 00:46:25,760 --> 00:46:29,520 Speaker 1: it's pretty cool. It's an honor to have here. Oh, 733 00:46:31,000 --> 00:46:34,040 Speaker 1: thank you so much. Yeah, I love you guys. We 734 00:46:34,160 --> 00:46:37,640 Speaker 1: got to play together on that record my forever Ago. Yeah, god, 735 00:46:38,239 --> 00:46:40,680 Speaker 1: that was like two thousand Little Broken Hearts. It was 736 00:46:40,719 --> 00:46:42,439 Speaker 1: like twenty ten maybe, yeah. 737 00:46:42,840 --> 00:46:46,000 Speaker 6: And I want to say and remind you what studio 738 00:46:46,120 --> 00:46:46,759 Speaker 6: we were working with. 739 00:46:46,880 --> 00:46:50,400 Speaker 1: I can't remember what it was called. I've never been 740 00:46:50,440 --> 00:46:55,320 Speaker 1: there again. It was like a big warehouse. Yeah, it 741 00:46:55,440 --> 00:46:59,279 Speaker 1: didn't feel like a like a proper studio. Yeah, I 742 00:46:59,360 --> 00:47:00,799 Speaker 1: could check, I could check the credit. 743 00:47:00,960 --> 00:47:03,560 Speaker 6: It was long, Yeah, it was a long, long time ago, 744 00:47:04,360 --> 00:47:06,160 Speaker 6: felt like a former life. 745 00:47:06,320 --> 00:47:10,080 Speaker 1: Well it's fifteen years ago. I guess, I guess it was. 746 00:47:10,320 --> 00:47:13,640 Speaker 6: Some things that happened fifteen years ago don't feel as 747 00:47:13,719 --> 00:47:14,640 Speaker 6: long ago as others. 748 00:47:14,840 --> 00:47:18,160 Speaker 1: I know, I know what you mean. Yeah, but yeah 749 00:47:18,200 --> 00:47:21,239 Speaker 1: that was it was like two days, but three days. 750 00:47:21,280 --> 00:47:22,960 Speaker 6: It was fun. Yeah, it's a cool record. 751 00:47:23,600 --> 00:47:26,560 Speaker 1: Now we got to make a record together, Pino, let's 752 00:47:26,600 --> 00:47:30,560 Speaker 1: do it playing around. So I like to usually end 753 00:47:30,640 --> 00:47:33,319 Speaker 1: these episodes with a like a cover or just something 754 00:47:33,440 --> 00:47:35,799 Speaker 1: kind of a wild card. And I love it when 755 00:47:35,920 --> 00:47:39,800 Speaker 1: someone else suggests something that I've never heard of, And 756 00:47:40,000 --> 00:47:45,120 Speaker 1: you have suggested this incredible song that I'm really excited about. 757 00:47:45,520 --> 00:47:47,279 Speaker 6: I'm so glad. I'm excited too. 758 00:47:48,680 --> 00:47:48,799 Speaker 8: Well. 759 00:47:48,840 --> 00:47:53,239 Speaker 6: I threw it out there because John Martin is someone 760 00:47:53,280 --> 00:47:58,400 Speaker 6: who's been coming up recently as we've been doing some 761 00:47:58,560 --> 00:48:03,320 Speaker 6: press for our record. Heard uh the question of like, 762 00:48:03,440 --> 00:48:06,239 Speaker 6: you know, what are your what are you listening to 763 00:48:06,440 --> 00:48:08,719 Speaker 6: right now? And so that comes up a lot, and 764 00:48:09,600 --> 00:48:12,320 Speaker 6: and one of the one of our sort of I 765 00:48:12,320 --> 00:48:15,920 Speaker 6: think our common influences or artists that we love is 766 00:48:16,840 --> 00:48:19,720 Speaker 6: uh with the records by this guy John Martin. 767 00:48:19,920 --> 00:48:23,120 Speaker 1: I I this is my first time hearing him. Yeah 768 00:48:23,200 --> 00:48:30,200 Speaker 1: he's or maybe it's not, but I you know, I 769 00:48:30,280 --> 00:48:30,560 Speaker 1: don't know. 770 00:48:31,160 --> 00:48:32,040 Speaker 6: May you so called. 771 00:48:32,719 --> 00:48:33,520 Speaker 1: Maybe I've heard that one. 772 00:48:33,640 --> 00:48:34,799 Speaker 6: Yeah, that was kind of his hit. 773 00:48:37,280 --> 00:48:40,040 Speaker 1: Yeah, well I love this when you said it's just 774 00:48:40,280 --> 00:48:43,279 Speaker 1: such a good song, you know, when you put something 775 00:48:43,320 --> 00:48:48,080 Speaker 1: on and it's just like the lyrics and everything, it's all. 776 00:48:47,960 --> 00:48:52,720 Speaker 6: The right spot. Yeah, it's so we've never played this before. 777 00:48:53,800 --> 00:48:54,360 Speaker 6: It's going to be. 778 00:48:56,000 --> 00:48:57,399 Speaker 8: Huge. Friend, I didn't know that song. 779 00:48:58,000 --> 00:49:01,640 Speaker 6: Yeah, it's from Yeah, a little bit of a later record. 780 00:49:01,719 --> 00:49:04,880 Speaker 6: It's not it's not in the prime of of the 781 00:49:05,120 --> 00:49:10,160 Speaker 6: stuff that he's known for, but it's this really, it's 782 00:49:10,200 --> 00:49:14,520 Speaker 6: a it's a great record, and he made it. I 783 00:49:14,600 --> 00:49:17,160 Speaker 6: think I came up. I came to know it because 784 00:49:17,200 --> 00:49:22,200 Speaker 6: Phil Brown, the engineer was was the engineer on this album. 785 00:49:22,920 --> 00:49:27,040 Speaker 6: Phil had done the final two Talk Talk records and 786 00:49:27,080 --> 00:49:29,400 Speaker 6: the Mark Hollis record. Those were really big for me 787 00:49:29,480 --> 00:49:34,600 Speaker 6: around the pandemic, you know that time and and and 788 00:49:34,719 --> 00:49:36,680 Speaker 6: I thought they were just so beautifully recorded that I 789 00:49:37,280 --> 00:49:41,000 Speaker 6: I picked up Phil's book and and learned about a 790 00:49:41,040 --> 00:49:42,520 Speaker 6: bunch of stuff that he did. In one of them 791 00:49:42,680 --> 00:49:46,040 Speaker 6: was this John Martin record. That's how I came I 792 00:49:46,120 --> 00:49:49,160 Speaker 6: think that's kind of how I came into John Martin 793 00:49:49,360 --> 00:49:52,600 Speaker 6: really appreciating his albums. Then went back from there. 794 00:50:32,560 --> 00:50:37,520 Speaker 9: Some of us live like Princess, and some of us 795 00:50:37,680 --> 00:50:46,360 Speaker 9: sleeve like we. Most of us live just like me. 796 00:50:47,840 --> 00:50:50,239 Speaker 9: We don't know what a means. 797 00:50:53,880 --> 00:50:59,760 Speaker 15: To take our place in the world, to make up peace, 798 00:51:00,120 --> 00:51:04,760 Speaker 15: the word, to make up. 799 00:51:05,120 --> 00:51:17,040 Speaker 14: Way, one word, to have us saying one word. If 800 00:51:17,120 --> 00:51:22,520 Speaker 14: you ain't got to to say that, I'd care talk 801 00:51:22,719 --> 00:51:22,960 Speaker 14: to you. 802 00:51:27,840 --> 00:51:28,880 Speaker 7: No use card. 803 00:51:29,320 --> 00:51:31,960 Speaker 2: There's been no card I say. 804 00:51:32,120 --> 00:51:37,080 Speaker 9: It's just the way the wind blows, just. 805 00:51:37,760 --> 00:51:44,759 Speaker 11: The name of the game, the way the world, the 806 00:51:44,920 --> 00:51:54,919 Speaker 11: way the world. It's just the way word, just the way, 807 00:51:55,080 --> 00:51:55,520 Speaker 11: the word. 808 00:52:01,719 --> 00:52:11,800 Speaker 10: So coling lonly coling, lonely, coing loly. It's so cold 809 00:52:12,280 --> 00:52:28,400 Speaker 10: and lonely world, colding loly, colding loly. 810 00:52:31,680 --> 00:53:55,520 Speaker 16: It's just a cold, holy world where world believe you 811 00:53:55,840 --> 00:53:56,000 Speaker 16: or not. 812 00:53:57,840 --> 00:53:58,839 Speaker 5: One word. 813 00:54:00,080 --> 00:54:00,480 Speaker 7: You do not. 814 00:54:02,000 --> 00:54:02,960 Speaker 5: Work world. 815 00:54:14,560 --> 00:54:19,480 Speaker 9: Some of us live like Princess, and some of us 816 00:54:20,280 --> 00:54:21,560 Speaker 9: live like Queen. 817 00:54:25,200 --> 00:54:29,880 Speaker 2: Most of us just live like me, and we don't 818 00:54:30,120 --> 00:54:32,480 Speaker 2: know what it means. 819 00:54:34,440 --> 00:54:41,480 Speaker 15: To make our place in the world, take our place 820 00:54:41,640 --> 00:54:52,800 Speaker 15: in one word, make our line, make our way in 821 00:54:53,080 --> 00:54:53,760 Speaker 15: one world. 822 00:55:13,640 --> 00:56:13,680 Speaker 7: After that was fun. It's a fun song. 823 00:56:15,120 --> 00:56:16,040 Speaker 6: Like the sour tuning. 824 00:56:16,920 --> 00:56:19,680 Speaker 1: This is really fun. It is thank you for coming, 825 00:56:20,480 --> 00:56:23,800 Speaker 1: Thank you for Blake and Pino. I am honored to 826 00:56:23,920 --> 00:56:27,200 Speaker 1: have you here. More please, thank you more please. 827 00:56:29,040 --> 00:56:31,040 Speaker 6: I wanted to have you here in your house as well. 828 00:56:34,080 --> 00:56:36,480 Speaker 1: Thank you for bringing all your stuff. You're cool. 829 00:56:37,320 --> 00:56:38,320 Speaker 6: We just happened to have it. 830 00:56:38,719 --> 00:56:39,880 Speaker 1: Yeah, lucky me. 831 00:56:40,360 --> 00:56:40,560 Speaker 7: Yeah. 832 00:56:41,760 --> 00:56:45,200 Speaker 6: Yeah, we can't wait to listen back to some of this. 833 00:56:45,400 --> 00:56:47,200 Speaker 1: Yeah, it's going to be cool and do more. 834 00:56:47,400 --> 00:56:49,600 Speaker 8: Yeah, we'll come back with one string instrument. 835 00:56:50,360 --> 00:56:52,759 Speaker 1: That's fine, whatever you want. I won't make music out 836 00:56:52,760 --> 00:56:53,160 Speaker 1: of anything. 837 00:56:53,520 --> 00:56:55,479 Speaker 6: The three of us will sit at a long piano bench. 838 00:56:56,040 --> 00:56:56,520 Speaker 6: One piano. 839 00:56:56,960 --> 00:56:57,120 Speaker 15: One. 840 00:56:57,400 --> 00:57:02,399 Speaker 6: Yay, we did one. Thank you, Thank you, pure, Thanks 841 00:57:02,440 --> 00:57:02,840 Speaker 6: you guys. 842 00:57:04,080 --> 00:57:04,600 Speaker 1: Oh yay. 843 00:57:04,760 --> 00:57:05,319 Speaker 6: That was fun. 844 00:57:06,000 --> 00:57:09,440 Speaker 1: That was amazing. Yeah, they're so awesome. They make it 845 00:57:09,520 --> 00:57:12,040 Speaker 1: seem so easy. Well, and I was so nervous about 846 00:57:12,080 --> 00:57:13,960 Speaker 1: this one because the music was so hard and they're 847 00:57:14,000 --> 00:57:17,000 Speaker 1: such heavy weights, you know, but they did. They're just 848 00:57:17,120 --> 00:57:20,240 Speaker 1: easy to hang with and sweet, so easy. Yeah, yeah, yeah, 849 00:57:20,280 --> 00:57:23,880 Speaker 1: it was great. I loved this episode. I love doing these. 850 00:57:24,640 --> 00:57:26,480 Speaker 1: This is a fun show to do. I just have 851 00:57:26,560 --> 00:57:28,640 Speaker 1: to say that. Yeah. Yeah, I get to meet and 852 00:57:28,720 --> 00:57:31,480 Speaker 1: hang I mean I've met both of them before, I've 853 00:57:31,560 --> 00:57:36,160 Speaker 1: worked with Blake before. Yeah, but to just see people 854 00:57:36,400 --> 00:57:39,160 Speaker 1: and yeah, do this, it's I Think they have fun too. 855 00:57:39,480 --> 00:57:42,120 Speaker 1: I think they do. If you want to know what 856 00:57:42,200 --> 00:57:44,840 Speaker 1: songs we played on this episode, the first song was 857 00:57:44,960 --> 00:57:49,320 Speaker 1: called Contour and it was from the album That Wasn't 858 00:57:49,320 --> 00:57:51,800 Speaker 1: a Dream written by Blake Mills and Pani Paladin and 859 00:57:51,960 --> 00:57:55,200 Speaker 1: Chris Weisman. That album was released in twenty twenty five. 860 00:57:55,400 --> 00:57:58,840 Speaker 1: The second song was called What Is Wrong with You 861 00:58:00,040 --> 00:58:04,240 Speaker 1: Album and written by Blake and Pino. And the third 862 00:58:04,560 --> 00:58:07,360 Speaker 1: song we did was a John Martin song from his 863 00:58:07,560 --> 00:58:10,800 Speaker 1: album One World, which was released in nineteen seventy seven, 864 00:58:11,000 --> 00:58:13,160 Speaker 1: and the song was called One World That was a 865 00:58:13,200 --> 00:58:16,200 Speaker 1: fun one to learn. Special thanks to Blake Mills and 866 00:58:16,240 --> 00:58:18,560 Speaker 1: Pino Palladino for joining us today, and we'll be back 867 00:58:18,640 --> 00:58:23,080 Speaker 1: next week with Mike Campbell. Norah Jones as Playing Along 868 00:58:23,200 --> 00:58:26,160 Speaker 1: is a production of iHeart Podcasts. Visit Nora Jones channel 869 00:58:26,240 --> 00:58:28,640 Speaker 1: and be sure to subscribe while you're there. I'm your host, 870 00:58:28,720 --> 00:58:32,680 Speaker 1: Norah Jones. This episode was recorded by Matt Marinelli, mixed 871 00:58:32,720 --> 00:58:36,480 Speaker 1: by Jamie Landry, Audio post production and mastering by Greg Tobler, 872 00:58:37,000 --> 00:58:41,200 Speaker 1: artwork by Eliza Fry, Photography by Sherevin Lenez. Produced by 873 00:58:41,240 --> 00:58:44,840 Speaker 1: Nora Jones and Sarah Oda executive producers Aaron Wan Kaufman 874 00:58:44,920 --> 00:58:49,120 Speaker 1: and Jordan runtalg marketing lead Alison Kantra Graber. Thanks for 875 00:58:49,240 --> 00:58:49,760 Speaker 1: joining US.