1 00:00:15,436 --> 00:00:22,796 Speaker 1: Pushkin. Today we have Susan Tideski and Derek Trucks of 2 00:00:22,916 --> 00:00:27,076 Speaker 1: Tedeski Trucks Band live from the Greek Theater in Los Angeles. 3 00:00:27,756 --> 00:00:30,396 Speaker 1: Derek Trucks made his name as a slide guitar prodigy 4 00:00:30,516 --> 00:00:33,236 Speaker 1: with a Hall of Fame pedigree. He's a nephew of 5 00:00:33,276 --> 00:00:36,316 Speaker 1: Butch Trucks, drummer of the Allman Brothers band, which Derek 6 00:00:36,396 --> 00:00:40,036 Speaker 1: toured with extensively throughout the two thousands, all while leading 7 00:00:40,076 --> 00:00:43,676 Speaker 1: his own group, the Derek Trucks Band. Somewhere along the road, 8 00:00:43,836 --> 00:00:47,956 Speaker 1: Derek met another great guitarist with a Berkeley pedigree, Susan Tideski, 9 00:00:48,436 --> 00:00:50,756 Speaker 1: who in my view, is one of the best singers 10 00:00:50,756 --> 00:00:53,876 Speaker 1: working today. Susan was also leading her own group when 11 00:00:53,876 --> 00:00:56,596 Speaker 1: she and Derek met. Eventually the two fell in love, 12 00:00:56,836 --> 00:01:00,756 Speaker 1: got married, and merged their bands into one colossal family band. 13 00:01:00,876 --> 00:01:05,396 Speaker 1: In twenty ten. The Tedeski Trucks Band has twelve members, which, 14 00:01:05,556 --> 00:01:08,716 Speaker 1: just for perspective, is about the average number of players 15 00:01:08,716 --> 00:01:12,996 Speaker 1: in Duke Ellington's Big band. Derek and Susan are clearly 16 00:01:13,036 --> 00:01:16,116 Speaker 1: an adventurous couple and it comes through in their music. 17 00:01:16,716 --> 00:01:19,476 Speaker 1: Although the blues is the band's foundation, none of their 18 00:01:19,516 --> 00:01:23,196 Speaker 1: albums sound all that similar. This year, they managed to 19 00:01:23,236 --> 00:01:25,836 Speaker 1: achieve that same diversity of sound on their I Am 20 00:01:25,876 --> 00:01:29,276 Speaker 1: the Moon Project, a collection of twenty four songs across 21 00:01:29,356 --> 00:01:32,956 Speaker 1: four different albums. It's inspired in part by the isolation 22 00:01:33,036 --> 00:01:36,676 Speaker 1: of early pandemic life and the loss of longtime keyboardist 23 00:01:36,836 --> 00:01:40,636 Speaker 1: Kofi Burbridge. On today's episode, I speak with Susan and 24 00:01:40,716 --> 00:01:44,156 Speaker 1: Derek about the beginnings of their band and romantic relationship, 25 00:01:44,476 --> 00:01:46,916 Speaker 1: and how the I Am the Moon Project came to be. 26 00:01:47,636 --> 00:01:50,436 Speaker 1: They also play some of their new songs live from 27 00:01:50,516 --> 00:01:55,876 Speaker 1: backstage at the Greek Theater just for us. This is 28 00:01:55,956 --> 00:01:59,756 Speaker 1: broken record liner notes for the digital Age. I'm justin Richmond. 29 00:02:00,516 --> 00:02:04,116 Speaker 1: Here's my conversation with Susan Tadeski and Derek Trucks of 30 00:02:04,196 --> 00:02:08,996 Speaker 1: the Zadeski Trucks Band. Susan Diddesky, Derek Trucks, thank you 31 00:02:09,116 --> 00:02:10,956 Speaker 1: so much. We're doing it. Yeah, man, thanks for doing that. 32 00:02:10,996 --> 00:02:14,436 Speaker 1: Thanks for having us. It's incredible. Never been backstage here, 33 00:02:14,876 --> 00:02:17,316 Speaker 1: been here many times. I was wandering around and I 34 00:02:17,316 --> 00:02:18,876 Speaker 1: saw like a a sign that said and it was 35 00:02:18,876 --> 00:02:22,716 Speaker 1: like for a room. I said, TTB rehearsal room. I 36 00:02:22,756 --> 00:02:24,716 Speaker 1: was going to ask you guys about how often you 37 00:02:24,716 --> 00:02:26,516 Speaker 1: guys work songs out and rehearse on the road, And 38 00:02:26,516 --> 00:02:28,356 Speaker 1: I feel like I got to see a little bit 39 00:02:28,396 --> 00:02:31,396 Speaker 1: of it right now. We rehearse every day. Yeah, he 40 00:02:31,556 --> 00:02:35,716 Speaker 1: makes us it's a twelve piece bad. It's a lot 41 00:02:35,716 --> 00:02:38,556 Speaker 1: of moving parts. It Actually it's good because it really 42 00:02:38,556 --> 00:02:40,476 Speaker 1: just forces us to all be in the room together 43 00:02:40,556 --> 00:02:43,076 Speaker 1: and get like our minds kind of as one and 44 00:02:43,636 --> 00:02:46,196 Speaker 1: just kind of started as that as just just getting 45 00:02:46,196 --> 00:02:49,156 Speaker 1: together with twelve people. You don't want to first see 46 00:02:49,156 --> 00:02:51,316 Speaker 1: each other when you hit the stage, like we want 47 00:02:51,356 --> 00:02:53,636 Speaker 1: to spend a little time together, so we kind of 48 00:02:53,756 --> 00:02:57,876 Speaker 1: we set up like a forty minute rehearsal leading up 49 00:02:57,916 --> 00:03:00,796 Speaker 1: to the gig every night, where I mean sometimes you 50 00:03:00,796 --> 00:03:03,196 Speaker 1: play two or three songs, sometimes you play one or two, 51 00:03:03,276 --> 00:03:04,996 Speaker 1: but it's really just to get everyone in there and 52 00:03:05,436 --> 00:03:07,156 Speaker 1: kind of you might play one or two songs for 53 00:03:07,156 --> 00:03:08,716 Speaker 1: forty minutes now, I mean there's a lot of just 54 00:03:08,796 --> 00:03:11,396 Speaker 1: hanging and kind of talking about the set and we 55 00:03:11,436 --> 00:03:13,516 Speaker 1: don't always use all it depends on how many like 56 00:03:13,596 --> 00:03:15,396 Speaker 1: when we after we write our set list, how many 57 00:03:15,396 --> 00:03:17,396 Speaker 1: songs we need to go over and if we're rusty 58 00:03:17,476 --> 00:03:19,636 Speaker 1: or not, or if we have new songs to work out, 59 00:03:19,716 --> 00:03:21,716 Speaker 1: so it can be one or two songs, or can 60 00:03:21,796 --> 00:03:24,596 Speaker 1: be ten. Yeah. The first show with US West Coast run, 61 00:03:25,156 --> 00:03:26,956 Speaker 1: we wrote a set list and we're like, oh, there's 62 00:03:26,996 --> 00:03:28,876 Speaker 1: three or four we've only played one time. We should 63 00:03:28,916 --> 00:03:31,836 Speaker 1: probably run over those. So you know, you get the 64 00:03:31,876 --> 00:03:33,876 Speaker 1: whole band in a room and you play through the 65 00:03:33,876 --> 00:03:36,076 Speaker 1: tunes one time to make sure there's something you need 66 00:03:36,116 --> 00:03:38,916 Speaker 1: to work on. The time goes quick. Was that one 67 00:03:38,916 --> 00:03:40,276 Speaker 1: of the new songs or some of the new songs 68 00:03:40,276 --> 00:03:42,596 Speaker 1: that you guys had only played once or two? Yeah? Yeah, 69 00:03:42,596 --> 00:03:44,556 Speaker 1: I mean that's kind of the beauty of all these 70 00:03:44,676 --> 00:03:46,916 Speaker 1: records coming out, as there's so much new material for 71 00:03:46,996 --> 00:03:49,596 Speaker 1: us to dig into, so the shows are really fresh. 72 00:03:49,636 --> 00:03:52,196 Speaker 1: Like we're writing set list now, you kind of can't 73 00:03:52,196 --> 00:03:53,916 Speaker 1: get everything you want to play in. You have to 74 00:03:54,036 --> 00:03:56,676 Speaker 1: kind of pick and choose what goes into making a 75 00:03:56,676 --> 00:03:58,996 Speaker 1: set list for you guys. If we're on the road 76 00:03:59,036 --> 00:04:01,396 Speaker 1: playing multiple nights in a row, I know there's certain 77 00:04:01,436 --> 00:04:04,076 Speaker 1: songs that take it out of Sue or the singers, 78 00:04:04,116 --> 00:04:06,876 Speaker 1: so you put those on the third night of a 79 00:04:06,876 --> 00:04:09,876 Speaker 1: three night run, or you don't do them every or yeah, 80 00:04:09,916 --> 00:04:11,836 Speaker 1: but we I mean we keep track of what we 81 00:04:11,916 --> 00:04:14,876 Speaker 1: played in the venue or in a town the last 82 00:04:14,916 --> 00:04:16,676 Speaker 1: five ten years we were here, and you look at 83 00:04:16,756 --> 00:04:18,916 Speaker 1: it and if you repeat it a song every year, 84 00:04:18,916 --> 00:04:20,676 Speaker 1: you kind of leave it all for Yeah, we try 85 00:04:20,716 --> 00:04:22,836 Speaker 1: to mix it up and make it different every time 86 00:04:22,876 --> 00:04:24,356 Speaker 1: we play somewhere, you know, and if you're playing in 87 00:04:24,476 --> 00:04:27,076 Speaker 1: San Diego, LA, it's like a few hours away, like 88 00:04:27,116 --> 00:04:28,676 Speaker 1: this is a lot of people that will make the trip, 89 00:04:28,756 --> 00:04:30,596 Speaker 1: so you don't want to repeat the show. There's a 90 00:04:30,636 --> 00:04:32,796 Speaker 1: lot of bands that play the exact same set every night. 91 00:04:33,196 --> 00:04:35,716 Speaker 1: We are not one of those bands. I know this 92 00:04:35,876 --> 00:04:38,836 Speaker 1: from experience that you guys are not that they are not. 93 00:04:38,996 --> 00:04:40,876 Speaker 1: But we do have a lot of songs that will 94 00:04:40,916 --> 00:04:43,756 Speaker 1: put in the rotation. You know. We'll definitely have songs 95 00:04:43,756 --> 00:04:47,436 Speaker 1: that people usually request or like, like Midnight and Harlem 96 00:04:47,556 --> 00:04:50,316 Speaker 1: or Bound for Glory, Made Up Mind, you know, some 97 00:04:50,396 --> 00:04:52,396 Speaker 1: of those will just throw in the mix and then 98 00:04:52,396 --> 00:04:54,156 Speaker 1: we'll do all the new stuff. I mean, now we 99 00:04:54,196 --> 00:04:56,276 Speaker 1: have all these new songs. We have three of the 100 00:04:56,596 --> 00:04:58,796 Speaker 1: four records we just released it are out, so we 101 00:04:58,876 --> 00:05:02,716 Speaker 1: have what fifteen songs that we can play. Now. You 102 00:05:02,716 --> 00:05:04,436 Speaker 1: don't want to wear tunes out, So if you play 103 00:05:04,436 --> 00:05:07,596 Speaker 1: a tune starts seeing a little less than inspired, you 104 00:05:07,596 --> 00:05:09,636 Speaker 1: just shove it for a minute. I've been and a 105 00:05:09,676 --> 00:05:11,556 Speaker 1: lot of bands that have been around a long time, 106 00:05:11,556 --> 00:05:14,236 Speaker 1: and when you see somebody fall out of love with 107 00:05:14,276 --> 00:05:16,916 Speaker 1: an incredible song, it's kind of heartbreaking. Like, yeah, there 108 00:05:16,916 --> 00:05:18,876 Speaker 1: were certain songs Greg Aman just didn't want to do 109 00:05:18,916 --> 00:05:21,436 Speaker 1: because he did it so long, and I was like, yeah, 110 00:05:21,436 --> 00:05:23,076 Speaker 1: I don't want to get to that point. I mean, 111 00:05:23,116 --> 00:05:25,276 Speaker 1: sometimes it's the arrangement. Sometimes you have to shake it 112 00:05:25,356 --> 00:05:28,996 Speaker 1: up and rethink it. And sometimes songs start in a 113 00:05:29,036 --> 00:05:31,596 Speaker 1: place maybe it's a four minute song and then before 114 00:05:31,596 --> 00:05:33,436 Speaker 1: you know it, it's a twenty minute song and Greg's like, 115 00:05:33,516 --> 00:05:36,116 Speaker 1: that's not really what I wrote? Can we get back 116 00:05:36,156 --> 00:05:38,876 Speaker 1: to that thing? And so, you know, these things go 117 00:05:38,996 --> 00:05:41,476 Speaker 1: through a lot of lives and changes, so we try 118 00:05:41,516 --> 00:05:44,836 Speaker 1: to constantly stay on those things. And it's a creative band. 119 00:05:44,956 --> 00:05:49,116 Speaker 1: Part of having improvisational players on stage and people that 120 00:05:49,156 --> 00:05:51,596 Speaker 1: can think quick and thinking around the corners, they also 121 00:05:51,636 --> 00:05:53,956 Speaker 1: get bored easily. That's always been a challenge. I mean, 122 00:05:54,196 --> 00:05:56,756 Speaker 1: back when Kofe Burbage is in the band, probably the 123 00:05:56,796 --> 00:06:00,116 Speaker 1: greatest musician I've ever played with, you want to constantly 124 00:06:00,196 --> 00:06:03,116 Speaker 1: throw things at him. So he's it's first thought, best thought. 125 00:06:03,116 --> 00:06:06,196 Speaker 1: That's where the greatest stuff happened. So we challenge ourselves 126 00:06:06,276 --> 00:06:09,236 Speaker 1: that way too, which is saying something if he's the 127 00:06:09,276 --> 00:06:12,076 Speaker 1: best musician, because you've played with Eric Clapton and all 128 00:06:12,116 --> 00:06:16,236 Speaker 1: my brothers and Herbie Hancock and Santana, there's there's I 129 00:06:16,236 --> 00:06:20,756 Speaker 1: mean people. Yeah, I mean Kobe was different. He was 130 00:06:20,796 --> 00:06:25,956 Speaker 1: an alien. I don't know where he came from. Yeah, man, 131 00:06:26,116 --> 00:06:30,156 Speaker 1: I mean Elvin and McCoy, I mean those are all 132 00:06:30,196 --> 00:06:32,596 Speaker 1: of that was incredible. I had seen McCoy a handful 133 00:06:32,596 --> 00:06:35,156 Speaker 1: of times that the Blue Note in New York, and 134 00:06:35,156 --> 00:06:36,756 Speaker 1: and the guy that ran the Blue Note was doing 135 00:06:36,796 --> 00:06:39,956 Speaker 1: a record with McCoy called Guitars where he had different 136 00:06:39,956 --> 00:06:43,156 Speaker 1: guitar players I think Scofield and it wasn't just it 137 00:06:43,196 --> 00:06:47,756 Speaker 1: was called Guitars, but Baila Flag. It was interesting. But 138 00:06:47,916 --> 00:06:51,236 Speaker 1: uh he asked me, and I was like, of course, intimidated, 139 00:06:51,276 --> 00:06:52,876 Speaker 1: but I'd love to do it. I got to go 140 00:06:52,916 --> 00:06:55,196 Speaker 1: buy McCoy Tyner's apartment and hang with him for a 141 00:06:55,196 --> 00:06:57,156 Speaker 1: bit and we went out to lunch, and the whole 142 00:06:57,156 --> 00:07:00,196 Speaker 1: time I'm thinking, I'm thinking, I'm not gonna ask him 143 00:07:00,276 --> 00:07:03,036 Speaker 1: John Coldrank question they're just not gonna be that guy. 144 00:07:03,276 --> 00:07:06,436 Speaker 1: And we sit down at lunch having coffee and he 145 00:07:06,516 --> 00:07:12,516 Speaker 1: just starts telling Coltrane stories that I'm thinking, yes, but 146 00:07:12,556 --> 00:07:14,996 Speaker 1: it was beautiful, Like his eyes just lit up, man, 147 00:07:15,116 --> 00:07:17,276 Speaker 1: like he was twenty years younger when he was talking 148 00:07:17,316 --> 00:07:20,116 Speaker 1: about that stuff. It's just and I heard a similar 149 00:07:20,196 --> 00:07:24,316 Speaker 1: thing about the Muscle Shoals, guys like David Hood and 150 00:07:24,316 --> 00:07:26,436 Speaker 1: and Roger Hawkins and all those guys that played on 151 00:07:26,436 --> 00:07:29,636 Speaker 1: those Aretha records, Like when they talked about those sessions 152 00:07:29,756 --> 00:07:32,836 Speaker 1: in particular, like just this thing happened to it just 153 00:07:33,236 --> 00:07:34,596 Speaker 1: they got a look in their eye and it was 154 00:07:34,636 --> 00:07:36,996 Speaker 1: away with my uncle with Butch Trucks when he talked 155 00:07:36,996 --> 00:07:39,716 Speaker 1: about playing with delayne Ahmand in those two or three 156 00:07:39,796 --> 00:07:42,356 Speaker 1: years that they were a banded Like, it's just every 157 00:07:42,356 --> 00:07:44,796 Speaker 1: once in a while when you really ring the bell, 158 00:07:45,596 --> 00:07:47,996 Speaker 1: that stuff stays with you. I wonder by the like 159 00:07:47,996 --> 00:07:49,716 Speaker 1: I wonder if it's like a chicken or egg thing, 160 00:07:49,756 --> 00:07:52,476 Speaker 1: Like is it that intensity and love for each other 161 00:07:52,596 --> 00:07:55,276 Speaker 1: and music that they had that made that music so 162 00:07:55,316 --> 00:07:57,956 Speaker 1: incredible or is it the fact that they somehow made 163 00:07:57,956 --> 00:08:02,276 Speaker 1: this like celestial, divine music. I mean, I think it's 164 00:08:02,276 --> 00:08:04,476 Speaker 1: all of it. I really think it's you know, it's 165 00:08:04,476 --> 00:08:07,796 Speaker 1: the right people, right time, right place. The right chemistry 166 00:08:07,836 --> 00:08:11,516 Speaker 1: definitely will help ate the music because it frees you up, 167 00:08:11,716 --> 00:08:12,956 Speaker 1: you know what I mean, It frees you up to 168 00:08:13,036 --> 00:08:15,796 Speaker 1: just let it flow out of you. I think, especially 169 00:08:15,836 --> 00:08:17,556 Speaker 1: if you're on the same page, like those guys were 170 00:08:17,556 --> 00:08:20,036 Speaker 1: on the same wavelength. Yeah, you know they can read 171 00:08:20,076 --> 00:08:22,276 Speaker 1: each other's behind them lost at that point. There's that 172 00:08:22,356 --> 00:08:25,236 Speaker 1: Elvin Jones quote talking about that quartet and he's like, 173 00:08:25,316 --> 00:08:26,956 Speaker 1: to play the way we play together, you had to 174 00:08:26,996 --> 00:08:29,676 Speaker 1: be willing to die with a motherfucker. You're like, that's 175 00:08:29,676 --> 00:08:32,236 Speaker 1: what it sounds like, that's what it and that's how. 176 00:08:32,356 --> 00:08:35,316 Speaker 1: That's how those Almond brothers, those are that original band 177 00:08:35,356 --> 00:08:37,396 Speaker 1: and the crew they were that way, I mean Red 178 00:08:37,396 --> 00:08:39,356 Speaker 1: Dogs the ROADI he would have taken a bullet for 179 00:08:39,756 --> 00:08:43,556 Speaker 1: any one of them without thinking. And they're all I mean, 180 00:08:43,676 --> 00:08:46,516 Speaker 1: Duyne Almond and Barry Oakley are buried together in a 181 00:08:46,596 --> 00:08:49,796 Speaker 1: cemetery in Making And now Greg's there, and now my 182 00:08:49,876 --> 00:08:52,556 Speaker 1: uncle's ashes are there like the six original Yeah, the 183 00:08:52,596 --> 00:08:56,276 Speaker 1: original six members are all going to be I've never 184 00:08:56,316 --> 00:09:00,796 Speaker 1: heard of that beautiful and Chank who just passed away, 185 00:09:00,796 --> 00:09:04,636 Speaker 1: who was Gregory's best friend for many years. He used 186 00:09:04,676 --> 00:09:07,076 Speaker 1: to go and he told Derek too, like he didn't 187 00:09:07,076 --> 00:09:09,476 Speaker 1: he bring you? He picked me up there after after 188 00:09:09,516 --> 00:09:12,716 Speaker 1: greg passed away, we went by the graves and he's like, 189 00:09:12,716 --> 00:09:15,076 Speaker 1: I've been coming here for like forty years at least 190 00:09:15,116 --> 00:09:16,836 Speaker 1: once a week when I'm home, and I'll just come. 191 00:09:17,156 --> 00:09:19,156 Speaker 1: He just go roll a joint smoke and just talk 192 00:09:19,236 --> 00:09:21,196 Speaker 1: to them, like just fill them in on things I was. 193 00:09:21,636 --> 00:09:23,476 Speaker 1: I was like changing if I ever have a friend 194 00:09:23,476 --> 00:09:30,356 Speaker 1: that's one thousand, Like, how lucky well I by, you know, 195 00:09:31,956 --> 00:09:39,876 Speaker 1: having a smoke. I'm almost ten years old. Speaking of 196 00:09:39,876 --> 00:09:42,276 Speaker 1: like chemistry, Like it's kind of amazing that you guys 197 00:09:42,276 --> 00:09:47,276 Speaker 1: have a twelve piece band forty minute rehearsals aside, Like 198 00:09:47,316 --> 00:09:49,596 Speaker 1: how do you find a way to get twelve people 199 00:09:50,076 --> 00:09:53,276 Speaker 1: in a room in a room on the same page, 200 00:09:54,076 --> 00:09:58,836 Speaker 1: communicating until the back engaged, wanting to push themselves? You know, yeah, 201 00:09:58,876 --> 00:10:01,956 Speaker 1: it seems an impossible task. Sometimes we don't all fit 202 00:10:01,996 --> 00:10:03,796 Speaker 1: in a room. Sometimes, you know, you have like the 203 00:10:03,796 --> 00:10:06,276 Speaker 1: horns in the hallway and singers in the bathroom, and 204 00:10:06,356 --> 00:10:08,316 Speaker 1: you know, everyone kind of bleeding into a room because 205 00:10:08,316 --> 00:10:10,996 Speaker 1: we don't always f into backstage rooms. But for the 206 00:10:11,036 --> 00:10:13,876 Speaker 1: most part, we're kind of in like little groups. So 207 00:10:13,916 --> 00:10:15,996 Speaker 1: you'll have like the horn section together, you'll have the 208 00:10:15,996 --> 00:10:18,596 Speaker 1: three singers together, then you have Derek and I and Brandon, 209 00:10:18,956 --> 00:10:22,556 Speaker 1: and then you'll have the drummers. It feels more streamlined 210 00:10:22,596 --> 00:10:25,956 Speaker 1: because the drummers are a unit and the horns are 211 00:10:25,996 --> 00:10:28,876 Speaker 1: a unit, and the singers are a unit like so 212 00:10:28,956 --> 00:10:31,236 Speaker 1: it makes it almost feel like a six piece fan 213 00:10:32,596 --> 00:10:35,396 Speaker 1: everyone's thinking that way. Even more than that, it really 214 00:10:35,436 --> 00:10:38,156 Speaker 1: is about the chemistry, and it's about when you're on 215 00:10:38,196 --> 00:10:40,396 Speaker 1: the road for years and years you meet people along 216 00:10:40,436 --> 00:10:42,876 Speaker 1: the way and you think, someday I want to play 217 00:10:42,916 --> 00:10:44,956 Speaker 1: with that person, and you kind of keep that in 218 00:10:44,996 --> 00:10:46,596 Speaker 1: the back of your head. It's like when we started 219 00:10:46,636 --> 00:10:49,316 Speaker 1: talking about this band and we started talking about a 220 00:10:49,316 --> 00:10:52,036 Speaker 1: horn section, she was like, do you know Kebby Williams. 221 00:10:52,036 --> 00:10:53,956 Speaker 1: I was like, yeahs who I was thinking about. Kevin. 222 00:10:53,956 --> 00:10:56,796 Speaker 1: He's the guy like he's just got five for days. 223 00:10:57,276 --> 00:11:00,316 Speaker 1: He's just he's got such a unique so tone and 224 00:11:00,476 --> 00:11:02,916 Speaker 1: melody and he can play anything, any kind of style 225 00:11:02,956 --> 00:11:06,716 Speaker 1: of music, anything. But he also just the vibe, like 226 00:11:06,756 --> 00:11:09,116 Speaker 1: you said, his chemistry with everybody. Is such a good 227 00:11:09,236 --> 00:11:12,836 Speaker 1: person and he's so sweet and yeah, and that has 228 00:11:12,836 --> 00:11:13,956 Speaker 1: to be a big part of it, right, It's a 229 00:11:13,996 --> 00:11:19,036 Speaker 1: big part of big personality, that good attitude to each other. 230 00:11:19,236 --> 00:11:21,356 Speaker 1: He definitely likes to party, get out there and sit 231 00:11:21,476 --> 00:11:23,516 Speaker 1: in and you know, play with different people all the 232 00:11:23,596 --> 00:11:26,276 Speaker 1: time too, which is really nice. He has a lot 233 00:11:26,276 --> 00:11:28,676 Speaker 1: of friends and a lot of places, and we're very 234 00:11:28,716 --> 00:11:31,196 Speaker 1: lucky to have him. I mean, and it's great. Like 235 00:11:31,196 --> 00:11:33,316 Speaker 1: this band, we'll get done with the show and if 236 00:11:33,356 --> 00:11:37,556 Speaker 1: we're staying overnight, sometimes within fifteen twenty minutes of the 237 00:11:37,556 --> 00:11:40,716 Speaker 1: gig being over, somebody will call, like, I'm at this 238 00:11:40,796 --> 00:11:43,476 Speaker 1: jazz club and Ephraim and Kevy are here sitting in already. 239 00:11:44,836 --> 00:11:48,076 Speaker 1: They're incredible, man. They just like they're just always looking 240 00:11:48,116 --> 00:11:52,036 Speaker 1: for me. They they are looking. They're like they're mixing 241 00:11:52,076 --> 00:11:54,276 Speaker 1: it up you wherever we are in the world. Like 242 00:11:54,316 --> 00:11:58,396 Speaker 1: I've ran into Kevy on the street playing some guys trombone. 243 00:11:59,516 --> 00:12:02,356 Speaker 1: It's incredible he does they I mean, they beat people 244 00:12:02,396 --> 00:12:05,396 Speaker 1: everywhere and it's it's a fun band that way. Actually, 245 00:12:05,476 --> 00:12:09,716 Speaker 1: we have band members literally ranging in four decades because 246 00:12:09,756 --> 00:12:13,036 Speaker 1: we had people born in the sixties, seventies, eighties, and nineties. Wow, 247 00:12:13,156 --> 00:12:15,196 Speaker 1: in this band, so if you think of it that way, 248 00:12:15,236 --> 00:12:19,076 Speaker 1: it's kind of not only it's an American band, and 249 00:12:19,116 --> 00:12:23,956 Speaker 1: it's very diverse, you know, ethnically, religiously, all of that, 250 00:12:24,076 --> 00:12:27,036 Speaker 1: which is so beautiful, and you know, it also just 251 00:12:27,076 --> 00:12:31,676 Speaker 1: helps the audience understand, you know, this can be done, 252 00:12:31,996 --> 00:12:34,356 Speaker 1: like we can do better in this world, like look 253 00:12:34,396 --> 00:12:36,516 Speaker 1: at us, Look how much we love each other. And 254 00:12:36,516 --> 00:12:38,596 Speaker 1: then they're like, holy crap, you do, and then they 255 00:12:38,636 --> 00:12:40,356 Speaker 1: have a more open mind, and then they start to 256 00:12:40,396 --> 00:12:42,676 Speaker 1: love more people, and you know, we're just trying to 257 00:12:42,876 --> 00:12:44,716 Speaker 1: spread love. At the end of the day, we're trying 258 00:12:44,756 --> 00:12:48,396 Speaker 1: to make people get along. You know, I became aware 259 00:12:49,316 --> 00:12:52,596 Speaker 1: of you guys. Maybe I must have been sixteen, two 260 00:12:52,596 --> 00:12:56,076 Speaker 1: thousand and six, twousand and seven, twenty ten. You gotts 261 00:12:56,076 --> 00:12:58,436 Speaker 1: start to dusky trucks by that point, and you guys 262 00:12:58,476 --> 00:13:00,716 Speaker 1: were married. But it quite realize you guys have been 263 00:13:00,756 --> 00:13:02,916 Speaker 1: married so long since two thousand and one. You guys 264 00:13:02,996 --> 00:13:05,996 Speaker 1: really are like a family band. Like I imagine why 265 00:13:05,996 --> 00:13:08,516 Speaker 1: you guys ended up merging your two separate bands is 266 00:13:08,556 --> 00:13:12,796 Speaker 1: because you wanted to spend more more time together. Yeah, totally. 267 00:13:12,916 --> 00:13:15,156 Speaker 1: He was ready to do this project. And then when 268 00:13:15,156 --> 00:13:16,956 Speaker 1: he asked me, I was like, well, I better hop 269 00:13:16,956 --> 00:13:18,916 Speaker 1: on the bandwagon. I don't want to miss out, you know, 270 00:13:19,116 --> 00:13:22,156 Speaker 1: even though I was like finally getting centered and you 271 00:13:22,196 --> 00:13:24,156 Speaker 1: know what, having my solo band do good. But at 272 00:13:24,156 --> 00:13:26,676 Speaker 1: the same time, I was like, heck, yeah, the idea 273 00:13:26,716 --> 00:13:29,276 Speaker 1: of like creating art with your spouse or with any 274 00:13:29,316 --> 00:13:31,836 Speaker 1: family and you must know this from your time with 275 00:13:31,836 --> 00:13:33,756 Speaker 1: the Allman Brothers, like it feels like that can be 276 00:13:33,796 --> 00:13:36,276 Speaker 1: a fraud experience. Well, I mean we waited a long 277 00:13:36,276 --> 00:13:38,676 Speaker 1: time to jump into this. I mean we bought a 278 00:13:38,716 --> 00:13:41,756 Speaker 1: house together, we got pregnant, and then we got married. 279 00:13:42,156 --> 00:13:44,316 Speaker 1: We were together for ten years, and we were like, 280 00:13:44,676 --> 00:13:47,316 Speaker 1: I think maybe we could probably start thinking about putting 281 00:13:47,316 --> 00:13:50,236 Speaker 1: a band together. Like were like, we didn't jump into it. 282 00:13:50,356 --> 00:13:53,076 Speaker 1: You know, we thought long and hard about it, and 283 00:13:53,236 --> 00:13:54,956 Speaker 1: you know, we had been on the road. We'd even 284 00:13:55,196 --> 00:13:58,236 Speaker 1: experimented going out with her solo band and mine, and 285 00:13:58,236 --> 00:14:01,236 Speaker 1: then we put a before the Tadesky Trucks band, we 286 00:14:01,316 --> 00:14:04,516 Speaker 1: did like the Revival, which is kind of half of 287 00:14:04,516 --> 00:14:06,876 Speaker 1: her band, half of my band, and just to kind 288 00:14:06,876 --> 00:14:09,356 Speaker 1: of feel out how it would go. When you're that 289 00:14:09,436 --> 00:14:12,236 Speaker 1: passionate about what you do and your sole focus when 290 00:14:12,236 --> 00:14:13,876 Speaker 1: you're on the road, is that you have to make 291 00:14:13,916 --> 00:14:16,316 Speaker 1: sure that your thing is compatible because you know, you 292 00:14:16,396 --> 00:14:18,036 Speaker 1: both love what you do, but you don't know if 293 00:14:18,076 --> 00:14:20,436 Speaker 1: it's gonna work. And it took us a while to 294 00:14:20,516 --> 00:14:24,396 Speaker 1: really find our thing, but a good portion of it 295 00:14:24,476 --> 00:14:26,716 Speaker 1: existed right out of the gate, like our chemistry when 296 00:14:26,716 --> 00:14:28,996 Speaker 1: we played together. It's kind of one of the things 297 00:14:28,996 --> 00:14:30,876 Speaker 1: that brought us together. So I think we always knew 298 00:14:30,916 --> 00:14:33,996 Speaker 1: that we wanted to do something. It was kind of inevitable. Well, 299 00:14:34,036 --> 00:14:36,516 Speaker 1: his guitar playing in my vocals, like it was always 300 00:14:36,636 --> 00:14:39,396 Speaker 1: very easy and natural, like almost like we could finish 301 00:14:39,436 --> 00:14:42,236 Speaker 1: each other sentences, you know, on stage. That was kind 302 00:14:42,236 --> 00:14:43,796 Speaker 1: of right out of the gate. Yeah, right out of 303 00:14:43,836 --> 00:14:46,636 Speaker 1: the gate. So we definitely have that connection. But then 304 00:14:46,676 --> 00:14:48,956 Speaker 1: it was cool too because you know, he obviously comes 305 00:14:48,996 --> 00:14:51,556 Speaker 1: from more of a jazz world. Even though I went 306 00:14:51,556 --> 00:14:53,796 Speaker 1: to jazz college. He knows a lot more than I 307 00:14:53,836 --> 00:14:57,076 Speaker 1: do about jazz. It's just more in his wheelhouse where 308 00:14:57,116 --> 00:14:59,516 Speaker 1: I think with me, it was more I guess country 309 00:14:59,516 --> 00:15:03,116 Speaker 1: and gospel music. You know, folk music people like Bob Dylan, 310 00:15:03,156 --> 00:15:06,396 Speaker 1: Willie Nelson are just like that, Mahali Jackson, stuff like that. 311 00:15:06,436 --> 00:15:08,556 Speaker 1: But then he also loved Mahealia, so he's like, you 312 00:15:08,596 --> 00:15:11,356 Speaker 1: love Mahle, Yeah, I love Mehelia. You know, I'd be like, oh, 313 00:15:11,396 --> 00:15:13,316 Speaker 1: do you have this record? He's like, yeah, I love 314 00:15:13,396 --> 00:15:16,516 Speaker 1: Beeby King and Albert King and Freddie King and you know. 315 00:15:16,556 --> 00:15:18,476 Speaker 1: So we realized a lot of the things that we 316 00:15:18,516 --> 00:15:20,516 Speaker 1: had in common, but then also we turned each other 317 00:15:20,516 --> 00:15:22,276 Speaker 1: on to stuff. He turned me on to Sun Raw. 318 00:15:22,676 --> 00:15:24,716 Speaker 1: That's a good first date. Yeah, He's like, do you 319 00:15:24,756 --> 00:15:31,516 Speaker 1: know this. I'm like, no, space is the place. It was. Well, 320 00:15:31,516 --> 00:15:33,636 Speaker 1: actually we brought her on the bus. It was me 321 00:15:33,716 --> 00:15:36,956 Speaker 1: and Otel Burbridge and we would travel with Greg on 322 00:15:36,996 --> 00:15:40,116 Speaker 1: his bus. Yeah, Greg Alvin, And then we brought Susan 323 00:15:40,156 --> 00:15:43,556 Speaker 1: over for a hang and had this sun Rob film. 324 00:15:43,716 --> 00:15:45,316 Speaker 1: We watched some of that, and then we put on 325 00:15:45,396 --> 00:15:53,276 Speaker 1: like a Liberaci Christmas like this is incredible, wow it 326 00:15:53,316 --> 00:15:56,876 Speaker 1: this is the place. Yeah. Yeah, well my Favorites was 327 00:15:57,596 --> 00:16:00,516 Speaker 1: totally bizarre, like makes no sense, but it's like such 328 00:16:00,516 --> 00:16:06,556 Speaker 1: a cool one. Yeah, like history is history, mystery is 329 00:16:06,596 --> 00:16:10,156 Speaker 1: my story. I was like, yeah, I love this guy 330 00:16:11,196 --> 00:16:13,996 Speaker 1: so fantastic. I was like, wait, he's got tinfoil on 331 00:16:14,076 --> 00:16:16,356 Speaker 1: his head and he's talking of Saturn. This is great. 332 00:16:16,556 --> 00:16:18,836 Speaker 1: I'm in And he doesn't even do drugs. It doesn't 333 00:16:18,836 --> 00:16:22,876 Speaker 1: do drugs. The youth center in Oakland. Yeah, of course 334 00:16:22,916 --> 00:16:25,116 Speaker 1: had to try to turn you onto people. I think 335 00:16:25,116 --> 00:16:27,796 Speaker 1: I turned you on a Magic Sam, you know, Sam 336 00:16:27,796 --> 00:16:31,196 Speaker 1: Maguettah and h and Funny enough, Magic Sam and Sunra 337 00:16:31,316 --> 00:16:33,716 Speaker 1: were on the same label in Chicago. I would not 338 00:16:33,796 --> 00:16:35,396 Speaker 1: think that you're the one turning her onto a sun 339 00:16:35,476 --> 00:16:37,796 Speaker 1: Run and she's turning you on the Magic. You know. 340 00:16:37,916 --> 00:16:42,156 Speaker 1: Between starting playing and where we met, I ran into 341 00:16:42,356 --> 00:16:44,956 Speaker 1: Colonel Bruce Hampton at about twelve years old. And who 342 00:16:45,036 --> 00:16:48,836 Speaker 1: is he? So? Colonel is from Atlanta, Georgia. He's kind 343 00:16:48,836 --> 00:16:52,916 Speaker 1: of like a Frank Zappa character but different, more southern 344 00:16:52,916 --> 00:16:56,076 Speaker 1: and mystical and out. But he just man. A lot 345 00:16:56,116 --> 00:16:59,236 Speaker 1: of incredible music came through the Colonel. He would always say, 346 00:16:59,276 --> 00:17:01,876 Speaker 1: I'm a I'm a minor league baseball coach, just getting 347 00:17:01,876 --> 00:17:04,556 Speaker 1: people ready. But at twelve years old, I met him 348 00:17:04,556 --> 00:17:06,756 Speaker 1: and he just turned me onto the most incredible music. 349 00:17:06,796 --> 00:17:09,436 Speaker 1: I mean, he bought me my first son Ra record. 350 00:17:09,436 --> 00:17:11,596 Speaker 1: He bought me a Love Supreme when I was thirteen 351 00:17:11,676 --> 00:17:14,396 Speaker 1: or fourteen. He turned me on to Christian Murdy like 352 00:17:14,716 --> 00:17:16,356 Speaker 1: he was. He was always one of those guys that 353 00:17:16,876 --> 00:17:19,556 Speaker 1: he would find young musicians. And his thing was all 354 00:17:19,556 --> 00:17:22,516 Speaker 1: about intention and about you know, why are you doing it? 355 00:17:22,556 --> 00:17:24,116 Speaker 1: Where is it coming from? He didn't care all good. 356 00:17:24,156 --> 00:17:26,436 Speaker 1: You were like if you mean it, and you were 357 00:17:26,556 --> 00:17:29,356 Speaker 1: and you were not bs And then he was your 358 00:17:29,396 --> 00:17:31,876 Speaker 1: biggest fan on the planet. And he I mean, he 359 00:17:31,916 --> 00:17:35,516 Speaker 1: was an incredible human being, incredible life he lived. But yeah, 360 00:17:35,596 --> 00:17:38,876 Speaker 1: he took list entertainer. He played on Frank Zappa's first record, 361 00:17:38,956 --> 00:17:41,796 Speaker 1: Oh No what. Yeah, he was just a fascinating character man, 362 00:17:41,836 --> 00:17:44,996 Speaker 1: and he he changed a lot of musicians lives like 363 00:17:44,996 --> 00:17:48,596 Speaker 1: Oteel Burbridge and Jimmy Herring came through Colonel the Quare 364 00:17:48,636 --> 00:17:51,916 Speaker 1: and Rescue Unit. A lot of US guys, yeah, fish 365 00:17:53,996 --> 00:17:57,316 Speaker 1: that whole scene. They all revered Colonel Bruce. And I 366 00:17:57,476 --> 00:18:00,236 Speaker 1: knew Colonel before I knew Derek. Really, yeah, we both did. 367 00:18:00,276 --> 00:18:02,436 Speaker 1: I knew him when I was like twenty six. I 368 00:18:02,476 --> 00:18:05,276 Speaker 1: didn't meet Derek to us twenty eight, So I met 369 00:18:05,316 --> 00:18:07,156 Speaker 1: Colonel about two years before I met Derek, and he 370 00:18:07,196 --> 00:18:09,876 Speaker 1: had taken you under his wing. Yeah as well. Yeah, 371 00:18:09,916 --> 00:18:11,276 Speaker 1: he would let me sit in with him and he 372 00:18:11,356 --> 00:18:14,836 Speaker 1: was like, God, what I've never seen this is outrageous. 373 00:18:15,356 --> 00:18:19,276 Speaker 1: You're a girl doing what blues. Unbelievable. I didn't even 374 00:18:19,316 --> 00:18:21,876 Speaker 1: know that you even knew what that was or whatever. 375 00:18:21,956 --> 00:18:24,356 Speaker 1: You know, he just say slowly stuff. Yeah. He was 376 00:18:24,396 --> 00:18:26,956 Speaker 1: so sweet and so fun and he was a one 377 00:18:26,956 --> 00:18:28,956 Speaker 1: of a kind. They only made one of him and 378 00:18:28,996 --> 00:18:31,476 Speaker 1: he went out on stage with you guys, right. He 379 00:18:31,596 --> 00:18:34,636 Speaker 1: had a lot of the people that were influenced by 380 00:18:34,716 --> 00:18:37,236 Speaker 1: him on that stage with him and a sold out 381 00:18:37,236 --> 00:18:41,556 Speaker 1: show and everybody in the audience screaming his name. Bruce 382 00:18:41,676 --> 00:18:45,956 Speaker 1: seventieth birthday, seventh birthday, seventy a birthday party, and in 383 00:18:45,996 --> 00:18:47,996 Speaker 1: the middle of his favorite song, turned on Your Love 384 00:18:48,076 --> 00:18:51,596 Speaker 1: Light he ever sang on stage and the last song 385 00:18:52,636 --> 00:18:55,836 Speaker 1: pretty wild, fourth song on he made it to the encore. 386 00:18:56,156 --> 00:19:00,836 Speaker 1: Yeah to his favorite song, seventieth Birthday and yeah, yeah, 387 00:19:00,876 --> 00:19:04,276 Speaker 1: and that was that, which was what happened. He had 388 00:19:04,316 --> 00:19:07,756 Speaker 1: a massive hearted Yeah. But you know, he was such 389 00:19:07,796 --> 00:19:09,636 Speaker 1: a he was such a character or like he just 390 00:19:09,676 --> 00:19:12,636 Speaker 1: did he did outland his stuff his whole career. He 391 00:19:12,756 --> 00:19:15,796 Speaker 1: was like almost Andy Kaufman esque with some of his stuff, 392 00:19:15,836 --> 00:19:18,876 Speaker 1: Like he would just do just the most absurd stuff. 393 00:19:19,796 --> 00:19:22,516 Speaker 1: I mean. At one point early on he opened for 394 00:19:22,756 --> 00:19:25,236 Speaker 1: three Dog Night at this festival, and he had his 395 00:19:25,276 --> 00:19:28,716 Speaker 1: band play all three dog Night songs, but just but 396 00:19:28,916 --> 00:19:31,796 Speaker 1: just bent, just bent of it got so bad that 397 00:19:31,956 --> 00:19:33,916 Speaker 1: to get a police escort out of there. Like he 398 00:19:34,036 --> 00:19:36,556 Speaker 1: was he was just fearless man. He was like he 399 00:19:36,636 --> 00:19:40,116 Speaker 1: was just out of head. Yeah, So he would do 400 00:19:40,196 --> 00:19:43,356 Speaker 1: stuff like old drummer Yon Rico Scott. He played with 401 00:19:43,396 --> 00:19:45,236 Speaker 1: Colonel for a year. When I met Rico, he's playing 402 00:19:45,276 --> 00:19:47,876 Speaker 1: with Colonel. I mean he would do stuff like he 403 00:19:47,956 --> 00:19:49,916 Speaker 1: called it the dead Thorax. He'd be in the middle 404 00:19:49,996 --> 00:19:51,836 Speaker 1: of a show and he would he would give some 405 00:19:51,956 --> 00:19:54,676 Speaker 1: signal and everybody on stage would go limp from the 406 00:19:54,716 --> 00:19:58,076 Speaker 1: waist up, just drop it, just stand there for an 407 00:19:58,196 --> 00:20:01,436 Speaker 1: uncomfortable amount of time to the crowds, like what is happening. 408 00:20:01,676 --> 00:20:04,596 Speaker 1: So when this happened on stage at the Fox with Bruce, 409 00:20:04,676 --> 00:20:07,476 Speaker 1: like everyone thought it was almost like a James Brown 410 00:20:07,596 --> 00:20:10,916 Speaker 1: going down, and so no one reacted. You know, it 411 00:20:10,956 --> 00:20:13,636 Speaker 1: was you didn't know, and it felt like a Bruce 412 00:20:13,716 --> 00:20:16,596 Speaker 1: move like it was. Really his whole thing was He's like, 413 00:20:16,756 --> 00:20:19,876 Speaker 1: myth is just as important as truth, Like it's just 414 00:20:20,436 --> 00:20:22,756 Speaker 1: like it's just as important he prepared us for. Yeah, 415 00:20:22,796 --> 00:20:24,756 Speaker 1: it was almost he changed a lot of lives. He 416 00:20:25,156 --> 00:20:27,436 Speaker 1: was made a lot of musicians better. You know, he 417 00:20:27,716 --> 00:20:30,276 Speaker 1: taught you the things you needed to know any and 418 00:20:30,396 --> 00:20:32,596 Speaker 1: he broke you of bad habits. And he did an 419 00:20:32,676 --> 00:20:35,116 Speaker 1: ego being the biggest one. And actually two of our 420 00:20:35,156 --> 00:20:37,476 Speaker 1: band members were in bands with him, so Falcon our 421 00:20:37,556 --> 00:20:40,756 Speaker 1: drummer and Brandon and at different times they were both 422 00:20:40,756 --> 00:20:44,756 Speaker 1: in Colonel's band. Yeah, it's kind of a lot. So 423 00:20:44,796 --> 00:20:47,276 Speaker 1: the four of us are definitely his children. Colonel Bruce 424 00:20:47,316 --> 00:20:49,516 Speaker 1: speaking of that, it kind of ties in with the 425 00:20:49,556 --> 00:20:53,636 Speaker 1: Passaquon stuff. Passaquons a spot in middle Georgia where this 426 00:20:53,676 --> 00:20:56,916 Speaker 1: guy Eddio and Martin Saint Ome he changed his name to. 427 00:20:57,276 --> 00:21:00,196 Speaker 1: He was a little bit like the White Southern Sun, 428 00:21:00,316 --> 00:21:04,236 Speaker 1: raw but visual artist. He took this place he lived 429 00:21:04,276 --> 00:21:08,436 Speaker 1: in and just turned it into this just living art 430 00:21:08,476 --> 00:21:11,076 Speaker 1: piece and it just became acres and it got bigger 431 00:21:11,076 --> 00:21:13,916 Speaker 1: and bigger and it's still there. Diferent mediums, but it 432 00:21:13,916 --> 00:21:16,876 Speaker 1: would concrete, he would have you know, it looks like 433 00:21:16,916 --> 00:21:21,276 Speaker 1: you're draining, and you know, he would use ten and 434 00:21:21,716 --> 00:21:24,956 Speaker 1: stuff like a like all over the roof and everything. 435 00:21:24,996 --> 00:21:28,156 Speaker 1: So it really is gorgeous. It's really incredible, and it's 436 00:21:28,156 --> 00:21:30,716 Speaker 1: called Passaquon because he believed in these people that were 437 00:21:30,756 --> 00:21:33,916 Speaker 1: the Passaquonians, which were all different races that got along 438 00:21:33,956 --> 00:21:36,716 Speaker 1: and lived in harmony. And so he really believed that 439 00:21:36,756 --> 00:21:41,716 Speaker 1: there were these people from outer space. But Saint Omes 440 00:21:41,756 --> 00:21:44,596 Speaker 1: thing though, he like it was kind of a safe 441 00:21:44,596 --> 00:21:47,716 Speaker 1: haven for a lot of the hippies and freaks in 442 00:21:47,756 --> 00:21:50,836 Speaker 1: the early mid sixties. So Colonel Bruce would go and 443 00:21:50,956 --> 00:21:53,916 Speaker 1: hang with Saint Ome and met his best friend there 444 00:21:53,956 --> 00:21:55,916 Speaker 1: and like, so we have this connection to this place. 445 00:21:56,236 --> 00:21:58,556 Speaker 1: So when when Colonel passed, we finally got by there, 446 00:21:58,596 --> 00:22:01,396 Speaker 1: we realized that our farm and Georgia's maybe forty minutes 447 00:22:01,436 --> 00:22:04,396 Speaker 1: from Passaquon, and so we went and visited this place 448 00:22:04,396 --> 00:22:08,356 Speaker 1: and it's just incredible. Like if you ever area, yeah, 449 00:22:08,396 --> 00:22:10,396 Speaker 1: that's in the middle of nowhere. It doesn't make any 450 00:22:10,436 --> 00:22:12,956 Speaker 1: sense that this place exist or that they didn't run 451 00:22:12,956 --> 00:22:17,356 Speaker 1: about it. Yeah, it sounds beautiful though. Yeah, it's it's 452 00:22:17,396 --> 00:22:19,556 Speaker 1: quite something, man. I mean, that's the whole story for 453 00:22:19,596 --> 00:22:22,196 Speaker 1: another day. It's amazing. It seems like that spirit too, 454 00:22:22,236 --> 00:22:24,436 Speaker 1: Like you guys have that same thing going on, and 455 00:22:24,556 --> 00:22:26,476 Speaker 1: you guys are just instead of having Passaquon, you guys 456 00:22:26,476 --> 00:22:29,276 Speaker 1: are on the road. Yeah, those are our touchstones, you know, 457 00:22:29,476 --> 00:22:30,996 Speaker 1: and that's where we made a lot of all the 458 00:22:31,036 --> 00:22:33,716 Speaker 1: films for these four records that just came out. We 459 00:22:33,756 --> 00:22:37,116 Speaker 1: actually filmed it at Passaquon, so when people see those 460 00:22:37,156 --> 00:22:41,156 Speaker 1: and they're like, where is this place? Yeah, And we 461 00:22:41,236 --> 00:22:43,836 Speaker 1: brought a camel to tie in the Layla imagined and 462 00:22:43,916 --> 00:22:47,556 Speaker 1: Persian twelfth century poem by Nazimi. And apparently it's easy 463 00:22:47,596 --> 00:22:51,556 Speaker 1: to rent a camel in Atlanta because on the film, 464 00:22:51,716 --> 00:22:54,836 Speaker 1: because a lot of them and a lot of Nativity scenes, 465 00:22:56,396 --> 00:22:58,756 Speaker 1: you can't get them around November December, it's hard to 466 00:22:58,756 --> 00:23:03,116 Speaker 1: get a camel. Things you have to think about busy 467 00:23:03,156 --> 00:23:06,356 Speaker 1: season for camels. And that's incredible. I want to talk 468 00:23:06,396 --> 00:23:08,556 Speaker 1: about the poem you just referenced, but maybe before we 469 00:23:08,596 --> 00:23:10,796 Speaker 1: do that, you guys up for playing Here my Dear, 470 00:23:11,236 --> 00:23:17,516 Speaker 1: first record of your four discs. Absolutely we're gonna pop 471 00:23:17,596 --> 00:23:21,996 Speaker 1: on our stamps when we come back. Derek Trucks and 472 00:23:22,076 --> 00:23:25,436 Speaker 1: Susan Tadeski performed their new song here my Dear from 473 00:23:25,436 --> 00:23:32,676 Speaker 1: the record I Am the Moon, Volume one Crescent. We're 474 00:23:32,676 --> 00:23:35,876 Speaker 1: back with Derek Trucks and Susan Tideski's performance of their 475 00:23:35,916 --> 00:23:39,276 Speaker 1: song Here my Dear from backstage at the Greek Theater 476 00:23:39,756 --> 00:23:44,396 Speaker 1: n La. This is a song that Derek started. He 477 00:23:44,396 --> 00:23:51,036 Speaker 1: wrote this song and then we sat around and wrote 478 00:23:51,076 --> 00:23:53,316 Speaker 1: the lyrics together. But this is really a Derek song, 479 00:23:53,996 --> 00:23:57,356 Speaker 1: really beautiful, and it really reminded me like at the time, 480 00:23:57,396 --> 00:23:59,916 Speaker 1: you know, going through the pandemic and being in that 481 00:23:59,956 --> 00:24:02,916 Speaker 1: moment when we really started writing for this record and 482 00:24:03,396 --> 00:24:05,236 Speaker 1: we thought it might just be one record. We didn't 483 00:24:05,236 --> 00:24:06,996 Speaker 1: know at the time it was going to be four 484 00:24:07,036 --> 00:24:10,236 Speaker 1: records and part of this whole thing. But um, but 485 00:24:10,276 --> 00:24:12,796 Speaker 1: it really kind of it makes you think about like 486 00:24:12,836 --> 00:24:15,716 Speaker 1: where we were at that time, and almost everybody can 487 00:24:15,796 --> 00:24:18,716 Speaker 1: kind of remember where they were in March of twenty 488 00:24:18,796 --> 00:24:20,716 Speaker 1: twenty when all of a sudden the world shut down. 489 00:24:21,236 --> 00:24:23,596 Speaker 1: I think about this song as kind of, you know, 490 00:24:23,636 --> 00:24:26,596 Speaker 1: the beginning of the creative process really for this band, 491 00:24:26,676 --> 00:24:29,356 Speaker 1: for him and I, you know, whereas Mike was writing 492 00:24:29,356 --> 00:24:32,036 Speaker 1: songs at home and Gabe was writing songs and Falcon 493 00:24:32,156 --> 00:24:34,756 Speaker 1: and but this is the first one that I remember 494 00:24:34,796 --> 00:24:38,116 Speaker 1: that really hit me when we were doing this project. 495 00:24:38,356 --> 00:24:40,796 Speaker 1: And it's the first song on the first first song 496 00:24:40,836 --> 00:24:43,516 Speaker 1: on the first yea on Crescent. Yeah, it's kind of 497 00:24:43,516 --> 00:24:46,356 Speaker 1: a nice introduction to the story too, kind of tracks 498 00:24:46,356 --> 00:24:49,076 Speaker 1: a little bit with the with the poem. But yeah, 499 00:24:49,316 --> 00:25:10,876 Speaker 1: here mind being characters, and yeah, as we watch the 500 00:25:11,036 --> 00:25:20,036 Speaker 1: world go by, there's so much we search to find, 501 00:25:25,236 --> 00:25:34,276 Speaker 1: the lots memories go play. Knowing this so much more 502 00:25:34,836 --> 00:25:45,156 Speaker 1: to say, won't keep sauce feeling. It's feeling, that's don't 503 00:25:45,316 --> 00:25:55,956 Speaker 1: wig lose. Here my deed is your meladeed, So sorry 504 00:25:57,076 --> 00:26:10,796 Speaker 1: it tooks love. I was loved a wild days and 505 00:26:11,036 --> 00:26:36,476 Speaker 1: that's where I hurt our shove all the times I'm 506 00:26:36,596 --> 00:26:50,876 Speaker 1: made cry and the dreams be left behind. Let's make 507 00:26:50,996 --> 00:27:00,076 Speaker 1: the future aust hold, and I'll be there as we 508 00:27:00,396 --> 00:27:19,476 Speaker 1: grow old. The being a song I believe. Don't the 509 00:27:19,596 --> 00:27:27,316 Speaker 1: wee bro keeps a turning and turned in, that's the weakers. 510 00:27:28,396 --> 00:27:38,156 Speaker 1: Hear my deed as you melade I'm so sorry it 511 00:27:38,356 --> 00:27:52,556 Speaker 1: took so love. I was the louill and that's where 512 00:27:52,676 --> 00:28:02,676 Speaker 1: I heard a song. Hear my deed is you meladeed? 513 00:28:07,116 --> 00:28:17,436 Speaker 1: I'm so sorry it took so love. I was the war, 514 00:28:22,316 --> 00:28:37,276 Speaker 1: but I swear I saw here my deed huality, So 515 00:28:37,676 --> 00:28:52,596 Speaker 1: sorry took a love. I was lo the willness, but 516 00:28:53,116 --> 00:29:32,516 Speaker 1: I swad swans he had a soul. Here my deeds, 517 00:29:33,236 --> 00:29:47,876 Speaker 1: it's humlady, So sorry it tooks love. I was lost 518 00:29:48,716 --> 00:30:02,116 Speaker 1: still wills, Oh, I swear I had a soul here. 519 00:30:02,316 --> 00:30:12,996 Speaker 1: My deeds is humanity. I'm so sorry it took so low. 520 00:30:17,876 --> 00:30:28,316 Speaker 1: I was not singing wilderness. Oh well, that's well. So 521 00:30:36,156 --> 00:30:41,796 Speaker 1: I was lost, lost in the wilderness I was. We've 522 00:30:41,796 --> 00:30:45,996 Speaker 1: all been there. How do you sing like that? Oh, 523 00:30:46,236 --> 00:30:48,596 Speaker 1: it's pretty incredible. How do you sing like that? Have 524 00:30:48,716 --> 00:30:50,996 Speaker 1: you always heard a voice like that? I've been singing 525 00:30:51,036 --> 00:30:53,036 Speaker 1: a long time. My mom said, I sang in the 526 00:30:53,116 --> 00:30:55,796 Speaker 1: crib before I spoke, and then I used to speak 527 00:30:55,836 --> 00:30:58,756 Speaker 1: in Chinese to them. I told him I was from 528 00:30:58,836 --> 00:31:03,196 Speaker 1: China before I came. I was a strange kid. I 529 00:31:03,276 --> 00:31:06,036 Speaker 1: don't know. I've been singing though my whole life, and honestly, 530 00:31:06,076 --> 00:31:08,516 Speaker 1: I wasn't always good, and my brothers made horrible fun 531 00:31:08,596 --> 00:31:11,996 Speaker 1: of me, and I was just so stubborn. I said, 532 00:31:12,036 --> 00:31:14,116 Speaker 1: I'm going to prove you wrong, and then I just 533 00:31:14,276 --> 00:31:17,436 Speaker 1: kept working at it. What would you sing like? Early on? Well, 534 00:31:17,476 --> 00:31:19,756 Speaker 1: I started you in theater. I mean I've been on 535 00:31:19,836 --> 00:31:22,156 Speaker 1: stage since I was about five or six. So I 536 00:31:22,276 --> 00:31:24,196 Speaker 1: did a lot of musicals growing up. And then I 537 00:31:24,276 --> 00:31:27,556 Speaker 1: started being in like rock bands at like thirteen, fifteen, sixteen, 538 00:31:28,076 --> 00:31:31,316 Speaker 1: and then went to college at seventeen, graduate college at twenty, 539 00:31:31,836 --> 00:31:34,276 Speaker 1: and then started my own band. Really not until a 540 00:31:34,316 --> 00:31:37,356 Speaker 1: couple of years after I graduated college, and then just 541 00:31:37,556 --> 00:31:40,756 Speaker 1: lucked out right place right time. Won like a battle 542 00:31:40,796 --> 00:31:43,676 Speaker 1: the Blues bands went down in Memphis, came in second, 543 00:31:43,716 --> 00:31:46,596 Speaker 1: and the international thing and then the first place band 544 00:31:46,676 --> 00:31:48,476 Speaker 1: wasn't even like a real band. So we got like 545 00:31:48,596 --> 00:31:52,036 Speaker 1: all the you know, number one you know prizes, which 546 00:31:52,156 --> 00:31:54,836 Speaker 1: was go play at this festival and Helen Arkansas, go 547 00:31:54,956 --> 00:31:57,196 Speaker 1: play in Jacksonville at the Spring in the Blues festival 548 00:31:57,276 --> 00:32:00,116 Speaker 1: where Derek's front. Getting to play Jacksonville's a pretty sweet 549 00:32:00,156 --> 00:32:04,836 Speaker 1: prize at the time of ten thousand dollars. I'm sorry 550 00:32:04,956 --> 00:32:07,996 Speaker 1: ten grand. When you are driving in a van and 551 00:32:08,116 --> 00:32:10,396 Speaker 1: making five hundred bucks a gig, you're like, whoa, I'll 552 00:32:10,436 --> 00:32:14,396 Speaker 1: take ten grand. So I won second place at a 553 00:32:14,596 --> 00:32:17,476 Speaker 1: talent contest in Jacksonville at a country bar, eight one 554 00:32:17,556 --> 00:32:28,596 Speaker 1: hundred dollars. Take that. It wasn't good. Yeah, one like 555 00:32:28,836 --> 00:32:31,076 Speaker 1: Entertainer of the Year in ninety one, and we're presented 556 00:32:31,116 --> 00:32:36,716 Speaker 1: by Marilyn Manson. Oh, there was this magazine in Florida, 557 00:32:36,756 --> 00:32:39,276 Speaker 1: maybe it still exists. It was called Jam Magazine. And 558 00:32:39,316 --> 00:32:42,196 Speaker 1: they would do the Jammies every year, and I think 559 00:32:42,236 --> 00:32:45,236 Speaker 1: I was eleven or twelve and one Entertainer of the Year. 560 00:32:45,356 --> 00:32:48,396 Speaker 1: Somehow in the next year I had to present the award. 561 00:32:48,596 --> 00:32:51,276 Speaker 1: I think it was Marilyn Manson and the Funky Bunch 562 00:32:51,316 --> 00:32:53,796 Speaker 1: they were called at the time, and they all in 563 00:32:53,836 --> 00:32:56,596 Speaker 1: thee No, no, this is Manson's like Florida band because 564 00:32:56,636 --> 00:32:58,916 Speaker 1: he was from Yeah, he had this and they all 565 00:32:58,956 --> 00:33:02,396 Speaker 1: wore like skirts and had little lunchboxes and like it 566 00:33:02,516 --> 00:33:04,956 Speaker 1: was a whole thing he was doing. Then. I've been 567 00:33:04,996 --> 00:33:07,396 Speaker 1: looking for photos of this and I cannot find it. 568 00:33:07,756 --> 00:33:10,676 Speaker 1: It's from like ninety one or ninety one. I saw 569 00:33:10,796 --> 00:33:15,196 Speaker 1: that it was very early on. But yeah, might have 570 00:33:15,276 --> 00:33:17,556 Speaker 1: given it in ninety two to him, I think, because 571 00:33:17,636 --> 00:33:20,116 Speaker 1: ninety one is the award. I think I turned over 572 00:33:20,676 --> 00:33:28,316 Speaker 1: entertained through the year. Yeah it was. It wasn't the 573 00:33:28,396 --> 00:33:31,316 Speaker 1: most comfortable hang. Yeah, we didn't really have a lot 574 00:33:31,356 --> 00:33:36,516 Speaker 1: to say to each other. Oh yeah, I gotta find 575 00:33:36,596 --> 00:33:43,276 Speaker 1: that if anyone has those pictures or videos. Meanwhile, I 576 00:33:43,476 --> 00:33:45,236 Speaker 1: was so excited because we got to play Hell in 577 00:33:45,396 --> 00:33:47,956 Speaker 1: Arkansas and I got to hang out with Robert, you know, 578 00:33:48,636 --> 00:33:52,076 Speaker 1: Junior Robert in your Lockwood and and you know who. 579 00:33:52,156 --> 00:33:56,276 Speaker 1: Actually his mom used to date Robert Johnson, so he 580 00:33:56,316 --> 00:33:59,356 Speaker 1: would get lessons from them, but he would only hear 581 00:33:59,476 --> 00:34:01,036 Speaker 1: him in the other room, and he would learn a 582 00:34:01,076 --> 00:34:04,316 Speaker 1: couple of turnarounds and stuff from him. Wow, isn't that crazy. 583 00:34:04,516 --> 00:34:07,876 Speaker 1: You're one person removed from Robert Johnson. Yeah, it was 584 00:34:07,916 --> 00:34:10,676 Speaker 1: really trying to him. And honey Shines and honey Boy Edwards, 585 00:34:10,796 --> 00:34:13,436 Speaker 1: the one Honeyboy was still alive, that honey Boy Edwards right, 586 00:34:13,436 --> 00:34:18,676 Speaker 1: because and he just sam large. Honeyboy was incredible. Honeyboy 587 00:34:18,796 --> 00:34:21,476 Speaker 1: was great. And actually Jack Owen was there too. I 588 00:34:21,676 --> 00:34:23,956 Speaker 1: have a picture of me with my back to Jack Owen, 589 00:34:24,036 --> 00:34:25,476 Speaker 1: who I didn't know at the time, and I was 590 00:34:25,556 --> 00:34:28,956 Speaker 1: talking with Al Hubert and then we have a painting 591 00:34:28,996 --> 00:34:30,916 Speaker 1: of jack Owen in our house now. But I was like, 592 00:34:30,956 --> 00:34:33,796 Speaker 1: oh my gosh, I'm touching him and I didn't even know. 593 00:34:34,236 --> 00:34:35,996 Speaker 1: You guys came along at like such a cool time 594 00:34:36,196 --> 00:34:40,676 Speaker 1: because not only talent, but it's like, yeah, people still around. Yeah, 595 00:34:40,716 --> 00:34:43,236 Speaker 1: a little Milton and you know, like getting to play 596 00:34:43,276 --> 00:34:45,556 Speaker 1: with all your hairs, I mean leave on and er 597 00:34:48,156 --> 00:34:50,996 Speaker 1: leave on out, like oh incredible. One of the nicest 598 00:34:51,036 --> 00:34:54,716 Speaker 1: people ever. Another coronelism. He's like certain people Hubert something 599 00:34:54,996 --> 00:34:58,156 Speaker 1: Dondre and I are good friends being those are angel 600 00:34:58,236 --> 00:35:00,316 Speaker 1: race people like they just they are when they're in 601 00:35:00,356 --> 00:35:04,156 Speaker 1: the room. You feel better, Nelson than beautiful people amazing, 602 00:35:04,596 --> 00:35:07,036 Speaker 1: you know, Hubert. I feel like we were very lucky 603 00:35:07,276 --> 00:35:09,796 Speaker 1: to come along at a time because some of our 604 00:35:09,836 --> 00:35:12,156 Speaker 1: heroes were still alive. But also it was kind of 605 00:35:12,396 --> 00:35:15,836 Speaker 1: it was pre internet. It was pre I mean we 606 00:35:15,916 --> 00:35:19,356 Speaker 1: could play two three hundred days a year and some 607 00:35:19,516 --> 00:35:22,036 Speaker 1: yeah still record stores, but some shows be recorded. But 608 00:35:22,116 --> 00:35:24,316 Speaker 1: it wasn't like everything you played was on YouTube the 609 00:35:24,396 --> 00:35:27,636 Speaker 1: next day, like you could. You could experiment and exactly 610 00:35:27,756 --> 00:35:31,316 Speaker 1: you could be not great and work on it every night. 611 00:35:31,796 --> 00:35:33,716 Speaker 1: Does the idea of that that what you're doing could 612 00:35:33,876 --> 00:35:35,676 Speaker 1: end up on the internet the next day or that night. 613 00:35:35,716 --> 00:35:38,396 Speaker 1: Does that effect which you do? The way it affects 614 00:35:38,476 --> 00:35:40,836 Speaker 1: us is we when we release a record, we don't 615 00:35:40,876 --> 00:35:42,836 Speaker 1: play another the new material to the records out where 616 00:35:42,916 --> 00:35:46,716 Speaker 1: before you would just work that stuff up until and 617 00:35:46,836 --> 00:35:50,956 Speaker 1: then you really have it down who exactly yeah anymore 618 00:35:52,396 --> 00:35:53,836 Speaker 1: and puts it on YouTube. And then when a record 619 00:35:53,876 --> 00:35:56,716 Speaker 1: comes out, nothing's new, It's all material everyone knows. So 620 00:35:57,676 --> 00:35:59,996 Speaker 1: we have to be careful with that stuff, but I don't. 621 00:36:00,036 --> 00:36:02,156 Speaker 1: We don't think about it, at least I don't when 622 00:36:02,156 --> 00:36:04,316 Speaker 1: we're up, when we're playing playing. I mean, you kind 623 00:36:04,356 --> 00:36:07,276 Speaker 1: of right what it is. It's so in your face 624 00:36:07,356 --> 00:36:09,596 Speaker 1: all the time that you kind of forget that it's yeah, 625 00:36:09,636 --> 00:36:12,356 Speaker 1: so you're not so self conscious, But there are some 626 00:36:12,476 --> 00:36:15,636 Speaker 1: things you have to think about. Like the tune Soul 627 00:36:15,716 --> 00:36:17,356 Speaker 1: Sweet Song that was going to be the one single 628 00:36:17,436 --> 00:36:19,356 Speaker 1: from the four records. We had worked it up and 629 00:36:19,436 --> 00:36:21,796 Speaker 1: wanted to play it, like we really can't until it's out, 630 00:36:21,916 --> 00:36:23,476 Speaker 1: like you got to kind of hold on to it. 631 00:36:23,756 --> 00:36:25,916 Speaker 1: We didn't play any of the tunes till each record dropped. 632 00:36:25,996 --> 00:36:28,396 Speaker 1: But that's kind of fun. It gives us mid tour 633 00:36:28,596 --> 00:36:32,436 Speaker 1: something to kind of sink our teeth into. Yeah, yeah, yeah, 634 00:36:32,476 --> 00:36:34,356 Speaker 1: we need to remember all these songs that we wrote 635 00:36:34,356 --> 00:36:38,836 Speaker 1: and recorded a year ago. Don't know all of them? 636 00:36:39,836 --> 00:36:41,996 Speaker 1: We don't. We know a bunch of them. I mean 637 00:36:42,036 --> 00:36:45,676 Speaker 1: a lot of the tunes we wrote and recorded, write 638 00:36:45,756 --> 00:36:47,876 Speaker 1: when it happened and then on the spot. Yeah, I 639 00:36:47,916 --> 00:36:50,156 Speaker 1: mean some of them. One of them literally, like one 640 00:36:50,196 --> 00:36:52,596 Speaker 1: of them to Gary, you had written the music and 641 00:36:52,676 --> 00:36:55,396 Speaker 1: then I was writing the lyrics as I'm singing it 642 00:36:55,756 --> 00:36:59,156 Speaker 1: in the recording session and that's what's on the record, like, 643 00:36:59,236 --> 00:37:00,676 Speaker 1: and I was like, all right, do it again, and 644 00:37:00,796 --> 00:37:02,836 Speaker 1: I have a second verse now I'm like jotting it 645 00:37:02,916 --> 00:37:05,476 Speaker 1: out as it's coming out, and it just poured out. Yeah, 646 00:37:05,476 --> 00:37:07,116 Speaker 1: So were you just like recording a jam and then 647 00:37:07,156 --> 00:37:09,516 Speaker 1: all of a sudden it it turned into a song. Well, 648 00:37:09,556 --> 00:37:12,716 Speaker 1: he had the music, Yeah, you know, we arranged it 649 00:37:12,756 --> 00:37:15,676 Speaker 1: at twenty thirty minutes with the band kind of figuring 650 00:37:15,716 --> 00:37:17,796 Speaker 1: out where the moves are and what's what, and then 651 00:37:18,276 --> 00:37:20,116 Speaker 1: it just kind of took on a life of its own, 652 00:37:20,156 --> 00:37:23,716 Speaker 1: and Susan her vocal booths, humming melodies and singing along 653 00:37:23,756 --> 00:37:25,876 Speaker 1: and was like, oh, what's that melody? Do that? And 654 00:37:25,916 --> 00:37:28,036 Speaker 1: I'm like okay, and I'm like I think I have 655 00:37:28,156 --> 00:37:29,956 Speaker 1: something that goes with that. He's like, okay, we're gonna 656 00:37:29,956 --> 00:37:31,716 Speaker 1: play it again. And then we'd play it and then 657 00:37:31,916 --> 00:37:33,636 Speaker 1: it would just pour out and we'd record it, and 658 00:37:33,716 --> 00:37:36,276 Speaker 1: then all the Love was a lot like that, except 659 00:37:36,316 --> 00:37:38,156 Speaker 1: for the bridge that we went in and wrote when 660 00:37:38,196 --> 00:37:39,876 Speaker 1: I was when I went back in to sing it. 661 00:37:39,956 --> 00:37:41,876 Speaker 1: But the other stuff, I mean, it all happened in 662 00:37:41,916 --> 00:37:45,236 Speaker 1: the moment too. Yeah, it's gonna be twenty four songs total, 663 00:37:45,316 --> 00:37:49,116 Speaker 1: which is staggering because you guys are like on the 664 00:37:49,276 --> 00:37:53,356 Speaker 1: road all the time. Obviously, March twenty twenty when things 665 00:37:53,476 --> 00:37:57,276 Speaker 1: kind of yeah. So in March twenty twenty until May 666 00:37:57,396 --> 00:38:01,076 Speaker 1: of twenty twenty one, we didn't tour, and then May 667 00:38:01,116 --> 00:38:03,356 Speaker 1: of twenty twenty one was the first time actually Derek 668 00:38:03,436 --> 00:38:06,716 Speaker 1: and I did a duo group, like just the two 669 00:38:06,756 --> 00:38:08,636 Speaker 1: of us, which was weird. We've never gone out as 670 00:38:08,676 --> 00:38:10,996 Speaker 1: like a duet, you know kind of thing. So we 671 00:38:11,076 --> 00:38:12,876 Speaker 1: did a few of those, and then we brought Falcon 672 00:38:12,956 --> 00:38:14,956 Speaker 1: with us, so it was trio, and then we started 673 00:38:14,996 --> 00:38:16,556 Speaker 1: building it and then it was four piece. And that's 674 00:38:16,556 --> 00:38:20,116 Speaker 1: how the Fireside Session started, was because we were close 675 00:38:20,276 --> 00:38:22,476 Speaker 1: enough to some of the band because being in Florida, 676 00:38:22,796 --> 00:38:26,156 Speaker 1: and then our guys in Atlanta, and then Gabe who 677 00:38:26,236 --> 00:38:28,796 Speaker 1: was in Nashville, so Gabe could drive four hours or 678 00:38:28,876 --> 00:38:30,996 Speaker 1: five hours to Atlanta and then we could drive four 679 00:38:31,076 --> 00:38:33,876 Speaker 1: or five hours up to Georgia. We all met and 680 00:38:33,956 --> 00:38:36,996 Speaker 1: then we started writing for this project, and then we 681 00:38:37,076 --> 00:38:40,036 Speaker 1: did the Fireside Sessions, which was that band, which was 682 00:38:40,076 --> 00:38:43,476 Speaker 1: really a six piece with my road. How many people 683 00:38:43,556 --> 00:38:46,196 Speaker 1: can we cram in one tour bus with a trailers. Yeah, 684 00:38:46,276 --> 00:38:49,396 Speaker 1: so we literally did a tour with just a six 685 00:38:49,476 --> 00:38:51,916 Speaker 1: piece band and all the crew on one bus, which 686 00:38:51,996 --> 00:38:54,556 Speaker 1: was great. It was actually really cool. So we did 687 00:38:54,636 --> 00:38:57,156 Speaker 1: that for a few months until August of twenty twenty 688 00:38:57,196 --> 00:38:59,996 Speaker 1: one where we first got the whole twelve piece back 689 00:39:00,036 --> 00:39:02,716 Speaker 1: together when we played Locke and Music Festival in Arrington, 690 00:39:02,796 --> 00:39:07,516 Speaker 1: Virginia and then back on the road. Twelve piece did 691 00:39:07,556 --> 00:39:10,156 Speaker 1: that break in like that space toward life load you 692 00:39:10,236 --> 00:39:14,236 Speaker 1: guys to writing, No doubt about it. Absolutely. I mean 693 00:39:14,276 --> 00:39:17,876 Speaker 1: we've never been in a situation where you just have 694 00:39:18,036 --> 00:39:21,116 Speaker 1: time to eighteen months to think and be, you know, 695 00:39:21,276 --> 00:39:23,276 Speaker 1: sitting in a room together and work on these things. 696 00:39:23,316 --> 00:39:25,516 Speaker 1: There's there's always a deadline. There's always something in the 697 00:39:25,556 --> 00:39:27,996 Speaker 1: back of your head that you're thinking about, Like, all right, 698 00:39:28,036 --> 00:39:30,956 Speaker 1: we have five days to write work on a record. 699 00:39:31,036 --> 00:39:33,116 Speaker 1: But then we really got to start thinking about the 700 00:39:33,196 --> 00:39:35,876 Speaker 1: Beacon Theater run in those eight shows and how many 701 00:39:36,236 --> 00:39:38,756 Speaker 1: Like at some point you pivot to rehearsal or there's 702 00:39:38,796 --> 00:39:43,756 Speaker 1: always something which is great. But once tours started being canceled, 703 00:39:44,676 --> 00:39:46,356 Speaker 1: we're like, oh, we're not working until the end of 704 00:39:46,356 --> 00:39:49,436 Speaker 1: the year at best, right, Like so we're down on 705 00:39:49,476 --> 00:39:52,076 Speaker 1: the studio writing and we're up at the farm riding 706 00:39:52,116 --> 00:39:54,716 Speaker 1: with the band, and there was just this beautiful sense 707 00:39:54,796 --> 00:39:57,796 Speaker 1: of a wee can stay in this place. Like Mike 708 00:39:57,876 --> 00:40:00,316 Speaker 1: had this great idea to dig into the source material 709 00:40:00,396 --> 00:40:03,156 Speaker 1: of the Derek and the Domino's Layla record, which is 710 00:40:03,276 --> 00:40:07,996 Speaker 1: Leila imagine on this beautiful twelfth century poem by the Zombie, 711 00:40:08,396 --> 00:40:11,876 Speaker 1: which Lord Iron thought was the inspiration for Romeo and Juliet, 712 00:40:11,996 --> 00:40:16,036 Speaker 1: Like it's an incredible story, super rich lyrically, and but 713 00:40:16,196 --> 00:40:19,196 Speaker 1: Mike's idea was the Layla records incredible, but it's just 714 00:40:20,236 --> 00:40:24,916 Speaker 1: this guy that can't have this woman that he infatuated with. Ye, 715 00:40:26,516 --> 00:40:29,436 Speaker 1: that's the yeah, and that's the every song is pretty 716 00:40:29,516 --> 00:40:33,676 Speaker 1: much that feeling. And he's like, the story is just incredible, 717 00:40:33,716 --> 00:40:35,276 Speaker 1: and what if we flipped it on his head, like 718 00:40:35,316 --> 00:40:37,356 Speaker 1: what did Layla think about this? Like what was her 719 00:40:37,476 --> 00:40:40,156 Speaker 1: take on this love sick nut job? And then from 720 00:40:40,196 --> 00:40:42,356 Speaker 1: there it was what about all the other people too? Yeah, 721 00:40:43,236 --> 00:40:49,236 Speaker 1: you know, the two people in society. Yeah, So that 722 00:40:49,356 --> 00:40:51,676 Speaker 1: this was Mike's idea. So early in the lockdown he 723 00:40:51,796 --> 00:40:54,236 Speaker 1: had proposed like what if we all read this we 724 00:40:54,276 --> 00:40:56,076 Speaker 1: can't be together? What if we all read the story 725 00:40:56,116 --> 00:40:58,636 Speaker 1: and we're just thinking about that theme, and maybe some 726 00:40:58,716 --> 00:41:00,756 Speaker 1: songs come out of it. Who knows who cares. At 727 00:41:00,836 --> 00:41:04,196 Speaker 1: least it's something to do on the same thing, and 728 00:41:05,676 --> 00:41:08,756 Speaker 1: they focus something. Mike, who is the Harvard English major, 729 00:41:09,716 --> 00:41:14,156 Speaker 1: just incredibly intelligent and incredible writer. He wrote up this 730 00:41:14,356 --> 00:41:18,476 Speaker 1: beautiful synopsis with all his dark humor and uh and 731 00:41:18,596 --> 00:41:21,756 Speaker 1: send it to everybody, and that kind of kicks. Yeah, 732 00:41:22,036 --> 00:41:24,396 Speaker 1: when when he's ready, we will. As soon as he 733 00:41:24,476 --> 00:41:26,956 Speaker 1: did that, three or four weeks later, we could get tested, 734 00:41:27,036 --> 00:41:30,116 Speaker 1: and families were letting their loved ones leave and come 735 00:41:30,196 --> 00:41:31,716 Speaker 1: visit us and live with us at the house for 736 00:41:31,756 --> 00:41:33,836 Speaker 1: a few weeks, and there was just all these ideas 737 00:41:34,076 --> 00:41:36,396 Speaker 1: and not having to break and go back on the road. 738 00:41:37,076 --> 00:41:40,596 Speaker 1: Everyone in the world was stuck at home and your 739 00:41:40,676 --> 00:41:43,436 Speaker 1: circumstances were not changing, So we didn't have to get 740 00:41:43,476 --> 00:41:45,796 Speaker 1: out of that mindset. We could stay in that story 741 00:41:46,236 --> 00:41:48,476 Speaker 1: and we could stay writing and just kind of it 742 00:41:48,596 --> 00:41:50,436 Speaker 1: was kind of an amazing time. So it was a 743 00:41:50,516 --> 00:41:52,476 Speaker 1: lot of music that came out of it, and once 744 00:41:52,556 --> 00:41:55,756 Speaker 1: there was two or three songs that really were tracking 745 00:41:55,836 --> 00:41:57,636 Speaker 1: with the story. Like we didn't want it. It's not 746 00:41:57,756 --> 00:42:00,356 Speaker 1: a rock opera. You don't want it. It's not, Yeah, 747 00:42:00,436 --> 00:42:02,796 Speaker 1: it's not. It's just it was inspired by and then 748 00:42:02,836 --> 00:42:04,436 Speaker 1: it takes on a life of its own. But when 749 00:42:04,836 --> 00:42:06,436 Speaker 1: when Gabe wrote the two and I Am the Moon, 750 00:42:07,116 --> 00:42:10,036 Speaker 1: he sent down this demo he did at home, Sue 751 00:42:10,196 --> 00:42:13,036 Speaker 1: was crying and she's she's playing a lot accusa guitar, 752 00:42:13,156 --> 00:42:14,996 Speaker 1: walking around the house just singing that too, and I 753 00:42:15,076 --> 00:42:17,236 Speaker 1: was like, I think we're onto something like and it 754 00:42:17,636 --> 00:42:22,076 Speaker 1: really sounded like the poem. We'll be right back with 755 00:42:22,236 --> 00:42:25,396 Speaker 1: Susan Tideski and Derek Truck's performance of I Am the 756 00:42:25,476 --> 00:42:32,756 Speaker 1: Moon right after this break. We're back with Susan Tideski 757 00:42:32,916 --> 00:42:36,236 Speaker 1: and Derek Truck's performance of the song I Am the Moon. 758 00:42:36,796 --> 00:42:39,076 Speaker 1: As you'll hear, the song was inspired by the old 759 00:42:39,156 --> 00:42:42,796 Speaker 1: Arab poem Layla and Magic Noon, the same poem that 760 00:42:42,916 --> 00:42:46,956 Speaker 1: inspired Eric Clapton's famous song Layla can play a verse 761 00:42:47,036 --> 00:42:53,076 Speaker 1: of that see. I literally was walking around the house like, 762 00:42:53,916 --> 00:42:59,436 Speaker 1: oh you made ah you fancy I love this song 763 00:43:00,836 --> 00:43:08,596 Speaker 1: line in my dogness since you love I head all 764 00:43:09,156 --> 00:43:21,356 Speaker 1: Hello revealed to me. Now there's old thing. I won't 765 00:43:21,396 --> 00:43:23,556 Speaker 1: sing the whole song, but you get the idea. It 766 00:43:23,756 --> 00:43:25,356 Speaker 1: was so pretty, and I was like and all and 767 00:43:25,436 --> 00:43:27,916 Speaker 1: it was so descriptive of a lot of the poem, 768 00:43:28,116 --> 00:43:30,316 Speaker 1: like he actually I was like, okay, gave us an 769 00:43:30,356 --> 00:43:34,276 Speaker 1: a plus. Play the chorus once. I can't. I can't 770 00:43:34,356 --> 00:43:38,796 Speaker 1: bail on the chorus. Okay, it's too good. It's just 771 00:43:38,916 --> 00:43:46,476 Speaker 1: too good. He's back. I walked these halls like a prisoner. 772 00:43:50,036 --> 00:43:58,396 Speaker 1: They want to see me from myself. They tell me stories. 773 00:43:58,756 --> 00:44:05,836 Speaker 1: You've gone crazy. I couldn't use a little ChIL myself. 774 00:44:07,956 --> 00:44:15,476 Speaker 1: I the movie You are the Son, and look at 775 00:44:15,636 --> 00:44:22,636 Speaker 1: you flame out from a very one. You are stop. 776 00:44:24,756 --> 00:44:32,596 Speaker 1: I am stop up her spining alone. No, so Gold, 777 00:44:35,676 --> 00:44:48,436 Speaker 1: you get the idea. Thanks for that? Yeah, that so yeah. 778 00:44:48,476 --> 00:44:50,956 Speaker 1: We started talking about the poem and that definitely led 779 00:44:51,036 --> 00:44:54,996 Speaker 1: to a lot of ideas, and then after that started 780 00:44:55,036 --> 00:44:57,916 Speaker 1: to record him, and then it got so crazy busy 781 00:44:58,556 --> 00:45:01,596 Speaker 1: because we got back into it. That actually our recording 782 00:45:01,676 --> 00:45:04,796 Speaker 1: engineer who's also Derek's guitar tech and our monitor engineer, 783 00:45:04,876 --> 00:45:06,636 Speaker 1: he had to stay home the month of January to 784 00:45:06,796 --> 00:45:09,916 Speaker 1: mix all of the four records. We could get it 785 00:45:09,996 --> 00:45:13,316 Speaker 1: out on vinyl in time for this September. And this 786 00:45:13,556 --> 00:45:16,996 Speaker 1: was literally like the vinyl thing is like really hard 787 00:45:17,036 --> 00:45:23,276 Speaker 1: to get in live, yeah, acord, like hurry up and 788 00:45:23,436 --> 00:45:25,796 Speaker 1: finish so we can get you know, so we could 789 00:45:25,836 --> 00:45:28,196 Speaker 1: get it done. So it's been kind of, you know, 790 00:45:28,276 --> 00:45:31,156 Speaker 1: a whirlwind ever since. How did you guys decided to 791 00:45:31,196 --> 00:45:33,676 Speaker 1: divide the Like once you had all those songs, like 792 00:45:34,356 --> 00:45:36,196 Speaker 1: did you was you a thought maybe, well, maybe we'll 793 00:45:36,236 --> 00:45:38,276 Speaker 1: save twelve for like a record a couple of years 794 00:45:38,316 --> 00:45:40,316 Speaker 1: from now. I mean, you know, we thought about all that, 795 00:45:40,476 --> 00:45:42,756 Speaker 1: We thought about releasing it all at once. But you know, 796 00:45:42,836 --> 00:45:46,436 Speaker 1: we when we're recording, we have a listening lounge upstairs, 797 00:45:46,516 --> 00:45:49,276 Speaker 1: and we'll often go up there after a session and 798 00:45:49,356 --> 00:45:51,276 Speaker 1: just listen to everything we've done up to that point. 799 00:45:51,956 --> 00:45:53,476 Speaker 1: And at a certain point it was just too much 800 00:45:53,556 --> 00:45:55,476 Speaker 1: to take in in one sitting, you know, And then 801 00:45:55,516 --> 00:45:58,396 Speaker 1: we started noticing. I'm sure it's happened before, but I 802 00:45:58,436 --> 00:46:01,876 Speaker 1: don't know another group that's released a set of songs 803 00:46:01,996 --> 00:46:05,196 Speaker 1: this way. But as a listener, it's really nice to 804 00:46:05,276 --> 00:46:08,756 Speaker 1: be able to feel good thing because it's so much easier. 805 00:46:08,916 --> 00:46:12,716 Speaker 1: Like Derek was actually made a reference originally to like 806 00:46:13,076 --> 00:46:14,876 Speaker 1: some of the great records that you love. They're like 807 00:46:14,956 --> 00:46:17,356 Speaker 1: thirty five to forty minutes long, and they all fit 808 00:46:17,476 --> 00:46:20,476 Speaker 1: on vinyl perfectly, because that was one of the things 809 00:46:20,516 --> 00:46:22,756 Speaker 1: that you guys had discussed too, like the fidelity of 810 00:46:22,836 --> 00:46:25,876 Speaker 1: a record is best at a certain length because you 811 00:46:25,916 --> 00:46:28,836 Speaker 1: don't want to oversaturate because then you lose quality as 812 00:46:28,916 --> 00:46:32,476 Speaker 1: well as sound, which people don't always know. So basically 813 00:46:32,596 --> 00:46:34,436 Speaker 1: that was one of the ideas too. You're listening to 814 00:46:34,516 --> 00:46:36,636 Speaker 1: Access Bold as Love and I Love Supreme, and they're 815 00:46:36,636 --> 00:46:38,756 Speaker 1: like thirty two minutes, thirty four minutes. I mean, these 816 00:46:38,796 --> 00:46:41,276 Speaker 1: are these are my favorite records of all time. When 817 00:46:41,276 --> 00:46:43,276 Speaker 1: you when it sides done and you flip it, you 818 00:46:43,356 --> 00:46:45,756 Speaker 1: want to hear it again and so sad. So we yeah, 819 00:46:45,796 --> 00:46:48,836 Speaker 1: we were making playlists upstairs and when it was around 820 00:46:48,916 --> 00:46:51,436 Speaker 1: that length that just when it was done, so easy 821 00:46:51,476 --> 00:46:53,996 Speaker 1: to listen to and you can soak it in and 822 00:46:54,436 --> 00:46:57,836 Speaker 1: enjoy it and experience like you have experience I have, 823 00:46:57,916 --> 00:47:00,036 Speaker 1: Like I have a very unique experience with each one. 824 00:47:00,476 --> 00:47:02,476 Speaker 1: The third one happens to be my favorite, but yeah, 825 00:47:02,756 --> 00:47:04,996 Speaker 1: that you still are, like, you know, the third one 826 00:47:05,036 --> 00:47:06,996 Speaker 1: almost was like when I listened to it, it's like 827 00:47:07,476 --> 00:47:09,436 Speaker 1: reminds me of like Sticky Fingers or of the Night. 828 00:47:09,996 --> 00:47:14,836 Speaker 1: The songs are all that similar but the same and 829 00:47:14,916 --> 00:47:17,676 Speaker 1: there was there was a moment where looking at the 830 00:47:17,716 --> 00:47:20,436 Speaker 1: back of the Love Supreme cover, there's just something that 831 00:47:21,556 --> 00:47:23,956 Speaker 1: that just feels right. It's in four parts, like just 832 00:47:24,196 --> 00:47:26,316 Speaker 1: the just the like when you look at that record 833 00:47:26,356 --> 00:47:28,596 Speaker 1: before you hear it, you're like, this is serious basically 834 00:47:29,356 --> 00:47:31,956 Speaker 1: feels right. Yeah, And so we started thinking about like 835 00:47:32,036 --> 00:47:34,676 Speaker 1: the classic story arc. You know, you have the beginning 836 00:47:34,796 --> 00:47:36,996 Speaker 1: or the overture or the crescent, you know, and then 837 00:47:37,076 --> 00:47:40,236 Speaker 1: you have the rising action or the ascension, then you 838 00:47:40,356 --> 00:47:43,196 Speaker 1: have the conflict or the fall, and then you have 839 00:47:43,396 --> 00:47:46,556 Speaker 1: the resolution or the farewell. Like that's we started thinking 840 00:47:46,596 --> 00:47:49,236 Speaker 1: about just that bell curve in the story arc, and 841 00:47:49,636 --> 00:47:51,516 Speaker 1: that's when we came up with album titles. And then 842 00:47:51,556 --> 00:47:53,956 Speaker 1: it was a matter of finding the songs that felt 843 00:47:53,996 --> 00:47:56,556 Speaker 1: like secret that part of the movement and you know, 844 00:47:56,636 --> 00:47:58,436 Speaker 1: and there's a little bit of a through line and 845 00:47:58,516 --> 00:48:02,356 Speaker 1: the stories about the whole project, but each one has 846 00:48:02,436 --> 00:48:04,276 Speaker 1: to stand on its own. You know. Usually you get 847 00:48:04,276 --> 00:48:06,436 Speaker 1: to the third record and it just falls off. But 848 00:48:06,516 --> 00:48:10,636 Speaker 1: there's so many I think records I haven't heard the 849 00:48:10,716 --> 00:48:13,836 Speaker 1: fourth yet, so many good songs on it. It's kind 850 00:48:13,876 --> 00:48:16,596 Speaker 1: of like, wait, what, Like there's still good songs like 851 00:48:16,756 --> 00:48:20,316 Speaker 1: to come but oh yeah, it's kind of crazy pictures. 852 00:48:20,316 --> 00:48:27,516 Speaker 1: You think you got your different it's like great bow, Yeah, exactly, 853 00:48:28,036 --> 00:48:32,516 Speaker 1: get Kershaw coming up, Max Free. I don't know. My 854 00:48:32,596 --> 00:48:36,036 Speaker 1: great uncle pitch for six sixteen, seventeen years in the Major. 855 00:48:36,116 --> 00:48:40,596 Speaker 1: He's a fastball pitcher. Virgil fire Trucks. These incredible family. 856 00:48:40,956 --> 00:48:44,396 Speaker 1: There's some people Claude Trucks, my grandfather and FAM's army. 857 00:48:44,516 --> 00:48:47,436 Speaker 1: He was something. Yeah, there's some good ones. Actually you're 858 00:48:48,156 --> 00:48:51,156 Speaker 1: good ones too. But his grandfather's cousin was Virgil, and 859 00:48:51,276 --> 00:48:53,356 Speaker 1: actually he went to World War Two and when he 860 00:48:53,476 --> 00:48:56,076 Speaker 1: got back, pitched in the World Series, like two weeks 861 00:48:56,156 --> 00:48:59,836 Speaker 1: after he got back. Yeah, whoa what's his name? Virgil 862 00:48:59,916 --> 00:49:04,916 Speaker 1: Fireball Trucks led the league in strikes, two, no hitters 863 00:49:04,956 --> 00:49:07,876 Speaker 1: and nineteen and was good friends with Satchel Paige and 864 00:49:07,916 --> 00:49:10,996 Speaker 1: they would go around and Barnes storm together. Yeah, dang, 865 00:49:11,476 --> 00:49:15,436 Speaker 1: I want to join your family. As what I said, 866 00:49:18,356 --> 00:49:19,956 Speaker 1: I got to meet Virgin when he was in his 867 00:49:20,076 --> 00:49:22,636 Speaker 1: nineties and being my dad were there and he was 868 00:49:22,676 --> 00:49:25,076 Speaker 1: just telling these incredible stories. And when his wife would 869 00:49:25,116 --> 00:49:27,956 Speaker 1: leave the room, the stories would get really colorful and incredible. 870 00:49:28,196 --> 00:49:30,036 Speaker 1: And then right when she would walk in he would 871 00:49:30,036 --> 00:49:32,476 Speaker 1: just turn on a dime and I was like, he's 872 00:49:32,516 --> 00:49:37,236 Speaker 1: a master and that runs in the family. You have 873 00:49:37,316 --> 00:49:39,836 Speaker 1: to learn these things. Are you guys okay to play? Well, 874 00:49:39,916 --> 00:49:42,996 Speaker 1: we'll go out on this last song. Actually, during the pandemic, 875 00:49:43,076 --> 00:49:45,916 Speaker 1: it was also a time where you know, a lot 876 00:49:45,916 --> 00:49:48,276 Speaker 1: of kids didn't get to graduate because they didn't get 877 00:49:48,316 --> 00:49:50,556 Speaker 1: to walk and all that. Everything got shut down in March, 878 00:49:50,876 --> 00:49:53,516 Speaker 1: as you know, and our son happened to be one 879 00:49:53,516 --> 00:49:56,316 Speaker 1: of those kids class of twenty twenty, and so we 880 00:49:56,516 --> 00:49:58,756 Speaker 1: got a couple extra months at home with him before 881 00:49:58,756 --> 00:50:01,476 Speaker 1: he had to go off to college, but still living 882 00:50:01,516 --> 00:50:04,316 Speaker 1: in the bubble. Actually wrote this song because I thought 883 00:50:04,356 --> 00:50:07,396 Speaker 1: it could relate to like watching your kids grow up 884 00:50:07,436 --> 00:50:09,716 Speaker 1: and then them leaving, as well as it could be 885 00:50:09,876 --> 00:50:12,396 Speaker 1: like when Layla was taken away from mag None, so 886 00:50:12,476 --> 00:50:15,076 Speaker 1: it could have multiple meanings. This song, it's basically when 887 00:50:15,516 --> 00:50:17,556 Speaker 1: you know, one day you wake up and somebody that's 888 00:50:17,556 --> 00:50:22,116 Speaker 1: always been there isn't there anymore, and like your first Yeah, 889 00:50:22,596 --> 00:50:25,716 Speaker 1: it's like you're so excited and proud of them and 890 00:50:25,796 --> 00:50:27,876 Speaker 1: happy for them to move on, but at the same 891 00:50:27,956 --> 00:50:31,516 Speaker 1: time you're like sad. My one grandpa from Ireland always 892 00:50:31,596 --> 00:50:35,396 Speaker 1: had Irish bars and that this is a whole, fascinating, 893 00:50:35,476 --> 00:50:37,596 Speaker 1: whole other day of stories. But I wanted to have 894 00:50:37,676 --> 00:50:40,996 Speaker 1: like an Irish folk song that also tied in this theme, 895 00:50:41,196 --> 00:50:44,916 Speaker 1: so it's kind of a dedication to our son moving off. 896 00:50:45,156 --> 00:50:50,916 Speaker 1: And then also Irish folk drinking song, a drinking song 897 00:50:51,396 --> 00:50:54,756 Speaker 1: so you can deal with all of the changes to college, right, 898 00:50:58,116 --> 00:51:11,356 Speaker 1: This is called Ladi da all. They're gonna leave you 899 00:51:11,956 --> 00:51:22,956 Speaker 1: one monday. Oh we will come without a Monday, no 900 00:51:23,276 --> 00:51:29,236 Speaker 1: matter how hard you try. All you can do everside 901 00:51:30,316 --> 00:51:41,276 Speaker 1: as the beat of time marches on lody love loved 902 00:51:41,956 --> 00:51:53,876 Speaker 1: day don't matter much today, So let's breathe a glass 903 00:51:54,076 --> 00:51:59,796 Speaker 1: he is high to this bitter sweet goodbye, and we'll 904 00:51:59,916 --> 00:52:09,796 Speaker 1: see farewell in the morning. Now, I watched you while 905 00:52:10,356 --> 00:52:18,116 Speaker 1: you were sleeping, and you smile so big while you 906 00:52:18,356 --> 00:52:26,596 Speaker 1: would dreaming. You do all that youk but sometimes it's hard. 907 00:52:26,996 --> 00:52:33,236 Speaker 1: You stand by and let you stumble on your way. 908 00:52:34,956 --> 00:52:50,596 Speaker 1: Oh lordy, lord lord, ay, don't matter much today, So 909 00:52:50,796 --> 00:52:54,796 Speaker 1: let's breathe on glass. He is high, but to this 910 00:52:55,036 --> 00:53:02,556 Speaker 1: bitter sweeking bye and we'll see farewell. Human borne name 911 00:53:35,556 --> 00:53:50,916 Speaker 1: l a don't matter much A So let's breathe a glass, 912 00:53:51,356 --> 00:53:57,156 Speaker 1: is high to this biting sweet bye, it will see 913 00:53:58,036 --> 00:54:15,436 Speaker 1: f well. You're gonna not a dumb matter much to day. 914 00:54:18,316 --> 00:54:22,196 Speaker 1: So let's breathe a glass. He is high to this 915 00:54:22,436 --> 00:54:29,476 Speaker 1: bit of sweet good bye, and we'll see fairwell. Give 916 00:54:29,556 --> 00:54:35,076 Speaker 1: them bon day. So let's breathe a glass. He is 917 00:54:35,156 --> 00:54:40,476 Speaker 1: high to this bit of sweet good bye, and we'll 918 00:54:40,596 --> 00:54:51,396 Speaker 1: see fairwell in the bonday. Beautiful And you know, having 919 00:54:51,476 --> 00:54:53,596 Speaker 1: a daughter, I'm sure you watch them when they sleep 920 00:54:53,716 --> 00:54:56,036 Speaker 1: and how they smile their dreams, like you can totally 921 00:54:56,116 --> 00:54:59,596 Speaker 1: picture that, right, like, because they're so stink and cute 922 00:54:59,636 --> 00:55:02,556 Speaker 1: when they sleep, and they're like little angel babies they are, 923 00:55:02,636 --> 00:55:07,276 Speaker 1: and then they grow up. My oldest is six and 924 00:55:07,356 --> 00:55:09,676 Speaker 1: she's just got her ears pierced on Sunday. Now she's 925 00:55:09,716 --> 00:55:12,676 Speaker 1: walk she thinks she's an adult now. Our daughter turned 926 00:55:12,716 --> 00:55:14,636 Speaker 1: eighteen on this last break and she went and got 927 00:55:14,716 --> 00:55:19,036 Speaker 1: a tattooed. But it's subtle and it's beautiful and it's great. 928 00:55:19,116 --> 00:55:23,276 Speaker 1: But you're just like, well, here we go. But she's 929 00:55:23,396 --> 00:55:27,116 Speaker 1: you know, she's crushing it. Amazing kids, we're really lucky. Well, 930 00:55:27,196 --> 00:55:28,716 Speaker 1: thank you guys, thank you guys. We'll get it. We'll 931 00:55:28,756 --> 00:55:30,916 Speaker 1: get well you know, get on out well. Thank you 932 00:55:31,036 --> 00:55:36,636 Speaker 1: for having us. Thanks to Susan Tedeski and Derek Trucks 933 00:55:36,676 --> 00:55:39,356 Speaker 1: for coming on Broken Record to share stories about their 934 00:55:39,436 --> 00:55:43,036 Speaker 1: journey with Tadeski Trucks and their new project. You can 935 00:55:43,156 --> 00:55:45,196 Speaker 1: check out a playlist of all of our favorite Tedeski 936 00:55:45,276 --> 00:55:49,796 Speaker 1: Trucks songs at Broken Record podcast dot com. Be sure 937 00:55:49,796 --> 00:55:52,156 Speaker 1: to subscribe to our YouTube channel at YouTube dot com 938 00:55:52,276 --> 00:55:55,276 Speaker 1: slash Broken Record Podcast. We can find all of our 939 00:55:55,316 --> 00:55:59,036 Speaker 1: new episodes. You can follow us on Twitter at broken Record. 940 00:55:59,996 --> 00:56:02,196 Speaker 1: Broken Record is produced with help from me A Rose, 941 00:56:02,476 --> 00:56:07,756 Speaker 1: Jason Gambrell, Benliday, Eric Sandler, Jennifer Sanchez, and He's edited 942 00:56:07,956 --> 00:56:12,396 Speaker 1: by Sophie Crane. Broken Record is a production of Pushkin Industries. 943 00:56:12,676 --> 00:56:14,996 Speaker 1: If you like this show and others from Pushkin, consider 944 00:56:15,036 --> 00:56:18,516 Speaker 1: subscribing to a Pushkin Plus. Pushkin Plus is a podcast 945 00:56:18,556 --> 00:56:22,476 Speaker 1: subscription that offers bonus content an uninterrupted ad free listening 946 00:56:22,596 --> 00:56:25,596 Speaker 1: for four ninety nine a month. Look for Pushkin Plus 947 00:56:25,676 --> 00:56:28,956 Speaker 1: on Apple podcast subscriptions, and if you like the show, 948 00:56:29,156 --> 00:56:31,476 Speaker 1: please remember to share, rate, and review us on your 949 00:56:31,516 --> 00:56:35,236 Speaker 1: podcast app. Our theme musics by Kenny Beats. I'm justin Richmond.