1 00:00:00,440 --> 00:00:04,440 Speaker 1: Music Saved Me taking all over thanks stuff, and I 2 00:00:04,480 --> 00:00:07,720 Speaker 1: think that's the beauty of the art of music is 3 00:00:07,800 --> 00:00:12,760 Speaker 1: never overthinking. I mean I practice every day, but practice guitar, 4 00:00:12,840 --> 00:00:15,360 Speaker 1: I practice piano, practice writing. 5 00:00:15,840 --> 00:00:17,000 Speaker 2: It's what I love to do. 6 00:00:17,160 --> 00:00:20,840 Speaker 3: Welcome to another episode of Music Saved Me, the podcast 7 00:00:20,880 --> 00:00:24,239 Speaker 3: where we explore the transformative power of music through the 8 00:00:24,280 --> 00:00:28,880 Speaker 3: stories of artists, songwriters and musicians who have found hope, healing, 9 00:00:29,040 --> 00:00:32,720 Speaker 3: and inspiration in their craft. I'm your host, Lynn Hoffman, 10 00:00:32,840 --> 00:00:34,839 Speaker 3: And by the way, if you like this podcast, we 11 00:00:34,880 --> 00:00:37,560 Speaker 3: would love for you to check out our companion podcast 12 00:00:37,560 --> 00:00:41,240 Speaker 3: that I also host called Comedy Saved Me, which showcases 13 00:00:41,320 --> 00:00:46,640 Speaker 3: the healing power of laughter. Today, we are so honored 14 00:00:46,640 --> 00:00:50,839 Speaker 3: to welcome a very special guest, Aj Crochey. As a 15 00:00:50,880 --> 00:00:55,080 Speaker 3: celebrated singer, songwriter, and pianist. Aj is carved out a 16 00:00:55,200 --> 00:00:59,240 Speaker 3: unique path in the world of music, blending soulful, blues, rock, 17 00:00:59,400 --> 00:01:04,320 Speaker 3: and pop influences. The son of legendary musician Jim Crochey, 18 00:01:04,600 --> 00:01:08,040 Speaker 3: AJ has faced his own share of challenges and personal loss, 19 00:01:08,520 --> 00:01:11,240 Speaker 3: yet he has consistently turned to music as a source 20 00:01:11,319 --> 00:01:15,240 Speaker 3: of comfort and resilience, and on this episode, Aja shares 21 00:01:15,280 --> 00:01:18,880 Speaker 3: his journey from growing up surrounded by music, to overcoming 22 00:01:18,920 --> 00:01:22,920 Speaker 3: adversity and forging his own identity as an artist. We'll 23 00:01:22,920 --> 00:01:25,520 Speaker 3: talk about the songs that shaped his life, some of 24 00:01:25,520 --> 00:01:29,240 Speaker 3: the stories behind his acclaimed albums, and how music has 25 00:01:29,319 --> 00:01:32,720 Speaker 3: been both a lifeline and a source of joy throughout 26 00:01:32,760 --> 00:01:38,240 Speaker 3: his career. So settle in for an inspiring conversation about creativity, perseverance, 27 00:01:38,360 --> 00:01:41,040 Speaker 3: and the healing magic of music with the one and 28 00:01:41,080 --> 00:01:45,240 Speaker 3: only AJ Crochy right here on Music Saved Me. Aj. 29 00:01:45,680 --> 00:01:47,960 Speaker 3: Welcome to Music Save Me. It's so wonderful to have 30 00:01:48,000 --> 00:01:48,360 Speaker 3: you here. 31 00:01:48,880 --> 00:01:51,120 Speaker 2: Thank you, Lynn, I appreciate it. Now. 32 00:01:51,200 --> 00:01:53,559 Speaker 3: I want to start sort of in the early side 33 00:01:53,560 --> 00:01:55,600 Speaker 3: of things with you, because this is something that blew 34 00:01:55,680 --> 00:01:59,680 Speaker 3: me away when I first read about you. First of all, 35 00:02:00,120 --> 00:02:03,080 Speaker 3: you lost your dad when you were much much younger, 36 00:02:03,400 --> 00:02:07,720 Speaker 3: very young, and then you lost your eyesight a couple. 37 00:02:07,480 --> 00:02:09,160 Speaker 2: Of years later when I was four. 38 00:02:09,200 --> 00:02:14,320 Speaker 1: I lost my sight, lost my father at two, and 39 00:02:14,360 --> 00:02:17,200 Speaker 1: I was in the hospital for six months. During that 40 00:02:17,240 --> 00:02:22,840 Speaker 1: period of the loss of sight regained partially. I got 41 00:02:22,919 --> 00:02:26,280 Speaker 1: light in my left eye, and so there was hope. 42 00:02:26,360 --> 00:02:28,799 Speaker 1: It took about six years before I could see out 43 00:02:28,800 --> 00:02:31,360 Speaker 1: of my left eye again. So I was completely blind 44 00:02:31,400 --> 00:02:36,840 Speaker 1: and illegally blind during that time, and and music saved me, 45 00:02:37,240 --> 00:02:38,000 Speaker 1: it really did. 46 00:02:38,200 --> 00:02:40,119 Speaker 2: I mean, as a kid. 47 00:02:39,960 --> 00:02:43,600 Speaker 1: I had my father's record collection, which was so diverse 48 00:02:43,680 --> 00:02:48,280 Speaker 1: and amazing, I mean, all the good stuff. As a kid, 49 00:02:48,320 --> 00:02:51,560 Speaker 1: you know, I would find the good stuff I couldn't see, 50 00:02:51,560 --> 00:02:53,200 Speaker 1: but I would always put it on the left side, 51 00:02:53,240 --> 00:02:54,720 Speaker 1: so I'm left handed, so I'd. 52 00:02:54,520 --> 00:02:56,280 Speaker 2: Reached for one of those records. 53 00:02:56,800 --> 00:02:59,919 Speaker 1: And you know, I got turned onto Ray Charles real 54 00:03:00,200 --> 00:03:03,880 Speaker 1: early and Stevie Wonder because for obvious reasons of losing 55 00:03:03,960 --> 00:03:05,359 Speaker 1: sight and just inspiration. 56 00:03:05,560 --> 00:03:09,280 Speaker 2: And they were a foundation for me. 57 00:03:09,400 --> 00:03:11,840 Speaker 1: You know, Ray Charles played all kinds of music and 58 00:03:11,880 --> 00:03:13,880 Speaker 1: I can hear it in the other stuff that was 59 00:03:13,919 --> 00:03:16,880 Speaker 1: in the collection, from Fats Waller and Bessie Smith and 60 00:03:17,960 --> 00:03:23,120 Speaker 1: the Lady behind Me and and and there was great 61 00:03:23,200 --> 00:03:26,440 Speaker 1: blues and folk and country music, all kinds of rock 62 00:03:26,480 --> 00:03:29,480 Speaker 1: and roll and Little Richard. I mean that stuff. It 63 00:03:29,600 --> 00:03:32,200 Speaker 1: just it blew me away. And as a kid, it 64 00:03:32,280 --> 00:03:37,040 Speaker 1: was my it was my sanctuary. It was it was everything. 65 00:03:37,200 --> 00:03:39,880 Speaker 1: So you know, I started playing piano along with that 66 00:03:40,040 --> 00:03:41,480 Speaker 1: stuff before I could see. 67 00:03:41,960 --> 00:03:44,720 Speaker 3: Wow, that's incredible, but it definitely shows how you can 68 00:03:44,760 --> 00:03:49,400 Speaker 3: pull on the other senses that become extremely powerful at 69 00:03:49,440 --> 00:03:49,960 Speaker 3: that time. 70 00:03:50,760 --> 00:03:56,760 Speaker 1: Yeah, the sense I think people don't necessarily think about 71 00:03:57,320 --> 00:04:02,200 Speaker 1: is the sense of of of heart, the sense of 72 00:04:02,280 --> 00:04:10,320 Speaker 1: soul and and intention. I think when you lose a 73 00:04:10,360 --> 00:04:16,680 Speaker 1: particular sense, you are vulnerable in a in a particular way, 74 00:04:16,880 --> 00:04:21,720 Speaker 1: and and so you find a way to to sort 75 00:04:21,720 --> 00:04:30,200 Speaker 1: of compensate. And and in that way, recognizing decent people 76 00:04:30,279 --> 00:04:34,279 Speaker 1: from from indecent is really important at a young age, 77 00:04:34,320 --> 00:04:40,400 Speaker 1: you know, and and and understanding the intentions of of 78 00:04:40,480 --> 00:04:44,760 Speaker 1: the things that you're seeing or hearing or feeling is 79 00:04:44,760 --> 00:04:47,839 Speaker 1: is really important. So it's not always like, oh, I 80 00:04:47,920 --> 00:04:49,960 Speaker 1: you know, I couldn't see so I could hear better. 81 00:04:50,000 --> 00:04:52,960 Speaker 1: It wasn't you're forced to listen harder. 82 00:04:53,040 --> 00:04:53,320 Speaker 2: You're not. 83 00:04:53,520 --> 00:04:56,240 Speaker 1: It's not that you hear better, you know. It's not 84 00:04:56,279 --> 00:04:59,560 Speaker 1: that you taste more. It's it's. 85 00:05:00,880 --> 00:05:05,839 Speaker 2: It's not like Synastasia or something. It's just kind of necessity. 86 00:05:08,880 --> 00:05:11,040 Speaker 3: It's just I never evenly even thought about it that way. 87 00:05:11,080 --> 00:05:13,680 Speaker 3: But you're so right. When you're forced into it, you 88 00:05:13,760 --> 00:05:17,440 Speaker 3: have really no choice but to rely on those senses 89 00:05:18,040 --> 00:05:20,680 Speaker 3: to make it. I'm just curious, when were you aware 90 00:05:20,680 --> 00:05:25,800 Speaker 3: of your dad and his incredible accomplishments in this world. 91 00:05:26,839 --> 00:05:30,039 Speaker 2: I guess I grew up from the earliest days. 92 00:05:30,120 --> 00:05:33,440 Speaker 1: I mean my first concert was I was brought as 93 00:05:33,440 --> 00:05:35,920 Speaker 1: a baby just to hear my dad. 94 00:05:35,680 --> 00:05:39,960 Speaker 2: And Randy Newman, you know, and Randy Newman played a 95 00:05:39,960 --> 00:05:40,520 Speaker 2: big role. 96 00:05:40,640 --> 00:05:42,360 Speaker 1: You know. They were on tour together for a year, 97 00:05:44,200 --> 00:05:45,800 Speaker 1: on and off for a year. And you know, my 98 00:05:45,839 --> 00:05:50,720 Speaker 1: father's career was eighteen months. You know, his entire professional career. 99 00:05:51,440 --> 00:05:54,840 Speaker 1: All the songs you know, were written, recorded, and toured 100 00:05:54,839 --> 00:05:59,600 Speaker 1: in eighteen months. So it's three albums eighteen months and done. 101 00:06:00,240 --> 00:06:03,760 Speaker 1: So it was a relatively short period of time. 102 00:06:05,360 --> 00:06:10,560 Speaker 3: Wow. Were there artists or genres that inspired you early 103 00:06:10,600 --> 00:06:13,320 Speaker 3: on that made you feel like this was something that 104 00:06:13,360 --> 00:06:15,520 Speaker 3: you could do as your art form? 105 00:06:16,560 --> 00:06:19,359 Speaker 2: Yeah? Absolutely. As I mentioned Ray Charles was he was 106 00:06:19,400 --> 00:06:20,960 Speaker 2: my gateway drug. You know. 107 00:06:21,200 --> 00:06:25,239 Speaker 1: In in the collection there was stuff like Fat Swaller, 108 00:06:25,279 --> 00:06:28,120 Speaker 1: there was stuff like Little Richard, there was there were 109 00:06:29,040 --> 00:06:33,159 Speaker 1: there were wonderful piano players in that mix. 110 00:06:33,200 --> 00:06:36,200 Speaker 2: But I, as as I got older, really. 111 00:06:36,240 --> 00:06:40,719 Speaker 1: Went down that that rabbit hole of piano players, you know, 112 00:06:40,839 --> 00:06:43,960 Speaker 1: from the stride guys like James P. Johnson and Will 113 00:06:44,279 --> 00:06:47,600 Speaker 1: lyon to the to the boogie guys and like med 114 00:06:47,680 --> 00:06:52,279 Speaker 1: Lux Lewis and Albert Ammon's Pete Johnson, the swing guys 115 00:06:52,320 --> 00:06:55,080 Speaker 1: like Ellington and Basie and so many others. I mean, 116 00:06:55,120 --> 00:06:58,000 Speaker 1: I could name the jazz piano players for probably forty 117 00:06:58,000 --> 00:06:58,640 Speaker 1: five minutes or. 118 00:06:58,600 --> 00:07:01,120 Speaker 2: An hour, and it all played a role. 119 00:07:01,200 --> 00:07:05,680 Speaker 1: But then also whether it was rock and roll and 120 00:07:05,800 --> 00:07:10,760 Speaker 1: listening to the way that the English bands UH interpreted 121 00:07:10,840 --> 00:07:14,840 Speaker 1: blues and someone like Ian McCloughan and how how he 122 00:07:15,000 --> 00:07:18,160 Speaker 1: played with the small faces and the Faces and Dylan 123 00:07:18,240 --> 00:07:22,800 Speaker 1: and the Stones and stored all those guys that were 124 00:07:23,520 --> 00:07:28,680 Speaker 1: that were Steve Wynwood, that were really interpreting an American 125 00:07:28,760 --> 00:07:33,440 Speaker 1: tradition and and I you know, as a kid, I 126 00:07:33,600 --> 00:07:35,360 Speaker 1: liked a lot of that, but it was in my 127 00:07:35,440 --> 00:07:38,400 Speaker 1: teens I started to recognize what they did that was different, 128 00:07:39,560 --> 00:07:43,600 Speaker 1: kind of simplified what the American players were doing. 129 00:07:44,040 --> 00:07:48,800 Speaker 2: It was just part of like gaining knowledge and learning. 130 00:07:49,160 --> 00:07:51,680 Speaker 1: And so it was you know, when I first when 131 00:07:51,720 --> 00:07:54,960 Speaker 1: I first met Leon Russell before we started writing together, 132 00:07:56,520 --> 00:07:59,320 Speaker 1: it was one of those things where we just spoke 133 00:07:59,560 --> 00:08:02,680 Speaker 1: about pana players for an hour, you know, because then 134 00:08:02,680 --> 00:08:03,320 Speaker 1: we had. 135 00:08:03,120 --> 00:08:05,920 Speaker 2: The same apparently we grew up with the same record collection. 136 00:08:06,360 --> 00:08:09,400 Speaker 3: Peek out with something like I love that, Yeah. 137 00:08:09,120 --> 00:08:12,320 Speaker 1: And of course I loved his music and is playing 138 00:08:12,360 --> 00:08:17,000 Speaker 1: and songwriting, but it was it was really our deeper 139 00:08:17,040 --> 00:08:20,400 Speaker 1: connection to being piano players, you know. And the New 140 00:08:20,480 --> 00:08:23,280 Speaker 1: Orleans stuff played a huge role Alan Tussont. From the 141 00:08:23,320 --> 00:08:26,240 Speaker 1: time I was about thirteen as a kid, my mom 142 00:08:26,280 --> 00:08:30,680 Speaker 1: would sing some of these songs Leap Dorsey working in 143 00:08:30,720 --> 00:08:34,240 Speaker 1: a coal mine, thinks that Alan Toussant had written. I 144 00:08:34,320 --> 00:08:39,520 Speaker 1: knew the songs, heard him on the radio, all of 145 00:08:39,559 --> 00:08:42,240 Speaker 1: the great artists that he worked with, but it didn't 146 00:08:42,280 --> 00:08:44,960 Speaker 1: click until I was about thirteen and I went to 147 00:08:44,960 --> 00:08:49,680 Speaker 1: see Jim Jarmusch movie and I think it was like 148 00:08:49,760 --> 00:08:54,679 Speaker 1: Stranger Than Paradise or something, and there was a version 149 00:08:54,679 --> 00:09:00,080 Speaker 1: of Irma Thomas singing its Raining and which is an 150 00:09:00,080 --> 00:09:03,560 Speaker 1: all and two song production song. He's playing and singing 151 00:09:03,559 --> 00:09:08,120 Speaker 1: on it, and I just had to know everything about 152 00:09:08,520 --> 00:09:11,400 Speaker 1: the music, where it came from, who it wasn't just 153 00:09:11,920 --> 00:09:14,880 Speaker 1: it wasn't because it was complicated, like the complicated stuff. 154 00:09:14,920 --> 00:09:18,280 Speaker 1: I was already diving into the jazz and the blues 155 00:09:18,320 --> 00:09:22,520 Speaker 1: and the stride and all of that, but gospel and 156 00:09:22,559 --> 00:09:26,839 Speaker 1: soul music, but it was something that was in its simplicity, 157 00:09:27,480 --> 00:09:31,920 Speaker 1: could communicate such depth that I had to understand how 158 00:09:31,960 --> 00:09:33,200 Speaker 1: it was done. 159 00:09:33,400 --> 00:09:37,880 Speaker 3: Wow, I mean, that's fascinating that you would even pick 160 00:09:37,960 --> 00:09:41,439 Speaker 3: up on that. Was there anything in there that told 161 00:09:41,480 --> 00:09:44,720 Speaker 3: you that this is healing me? Or when you realize 162 00:09:44,760 --> 00:09:49,480 Speaker 3: that music could be healing for not only the musicians 163 00:09:49,559 --> 00:09:51,040 Speaker 3: but the people listening to it. 164 00:09:53,240 --> 00:09:56,199 Speaker 1: I knew that from the earliest point in my life, 165 00:09:56,200 --> 00:09:59,640 Speaker 1: you know, as a kid that lost his sight, being 166 00:09:59,679 --> 00:10:02,320 Speaker 1: able to to sit down and play a piece of 167 00:10:02,440 --> 00:10:06,480 Speaker 1: music was it was more than just healing. 168 00:10:06,600 --> 00:10:07,479 Speaker 2: It was empowering. 169 00:10:07,800 --> 00:10:12,720 Speaker 1: It was it was incredibly powerful. I knew that it 170 00:10:12,800 --> 00:10:19,000 Speaker 1: was my refuge, and at a certain point I recognized 171 00:10:19,040 --> 00:10:24,040 Speaker 1: that I was able to sort of communicate that to, 172 00:10:25,200 --> 00:10:26,520 Speaker 1: you know, to a small audience. 173 00:10:26,600 --> 00:10:30,480 Speaker 2: You know, I played my first gig at twelve for money, 174 00:10:31,000 --> 00:10:34,240 Speaker 2: and for you, it was for a it. 175 00:10:34,120 --> 00:10:39,480 Speaker 1: Was for a bought mitzvah and I Love the Silverman, 176 00:10:39,640 --> 00:10:43,880 Speaker 1: Bob Mitzvah and and it was twenty bucks and I played. 177 00:10:44,240 --> 00:10:48,880 Speaker 1: I played Ray Charles and Chuck Berry and Memphis Slim 178 00:10:49,600 --> 00:10:54,840 Speaker 1: and I'm sure a few other, you know, oddball things 179 00:10:54,880 --> 00:10:56,880 Speaker 1: for a twelve year old to be playing, but it 180 00:10:57,120 --> 00:11:00,480 Speaker 1: was it was what I was listening to is what 181 00:11:00,520 --> 00:11:03,320 Speaker 1: I would do and so you know, at that point 182 00:11:03,400 --> 00:11:06,040 Speaker 1: I realized I got twenty bucks. Wow, if I keep 183 00:11:06,040 --> 00:11:08,840 Speaker 1: practicing and really work hard at this, I might be 184 00:11:08,840 --> 00:11:10,000 Speaker 1: able to do this for a living. 185 00:11:10,160 --> 00:11:14,360 Speaker 3: You know, amazing. How do you channel these personal experiences, 186 00:11:14,440 --> 00:11:18,360 Speaker 3: both you know, the joy and the pain into your songwriting. 187 00:11:18,920 --> 00:11:21,880 Speaker 2: I'm curious, Well, it's all there. 188 00:11:22,200 --> 00:11:25,880 Speaker 1: I mean, it's all here. It's in us all the time. 189 00:11:26,200 --> 00:11:28,000 Speaker 1: It's not about I don't think it needs to be 190 00:11:28,080 --> 00:11:32,360 Speaker 1: channeled as much as it just you need to be 191 00:11:36,200 --> 00:11:39,520 Speaker 1: I think there's a part of it where you need 192 00:11:39,559 --> 00:11:42,200 Speaker 1: to let go. I think letting go is more of 193 00:11:42,760 --> 00:11:47,840 Speaker 1: it's losing a sense of control as opposed to trying 194 00:11:47,880 --> 00:11:55,240 Speaker 1: to control the environment. By letting go of the idea 195 00:11:55,360 --> 00:11:58,600 Speaker 1: that what you might write or say or play is 196 00:11:58,640 --> 00:12:02,000 Speaker 1: not good, or there's a stake, or you're you know 197 00:12:02,600 --> 00:12:06,720 Speaker 1: some or or it's been done before, or I've heard 198 00:12:06,760 --> 00:12:09,240 Speaker 1: that line or I've heard that passage, or the melody 199 00:12:09,280 --> 00:12:11,559 Speaker 1: of that is similar to this, or the chord structure 200 00:12:11,760 --> 00:12:15,240 Speaker 1: is similar. Forget it. It's an exercise. No one needs 201 00:12:15,240 --> 00:12:20,199 Speaker 1: to hear it. This is about being completely free and 202 00:12:21,000 --> 00:12:25,800 Speaker 1: being able to, in that way access the beauty of 203 00:12:25,840 --> 00:12:27,000 Speaker 1: what's around you. 204 00:12:27,040 --> 00:12:27,600 Speaker 2: All the time? 205 00:12:27,679 --> 00:12:30,839 Speaker 1: What's in you all the time? It's it's really it's 206 00:12:30,880 --> 00:12:33,920 Speaker 1: trying to channel things. I think that makes it harder 207 00:12:33,960 --> 00:12:34,600 Speaker 1: to get there. 208 00:12:35,480 --> 00:12:37,960 Speaker 3: Yes, And you know, it's interesting that you would say that. 209 00:12:38,720 --> 00:12:43,440 Speaker 3: For my next question, that really makes me curious finding 210 00:12:43,480 --> 00:12:48,400 Speaker 3: your own voice. Now you've already faced such adversity from 211 00:12:48,400 --> 00:12:51,360 Speaker 3: such a young age. You've already figured out at a 212 00:12:51,400 --> 00:12:53,800 Speaker 3: young age how to use music to heal not only 213 00:12:53,840 --> 00:12:59,600 Speaker 3: yourself but others and to be strong. And you know, 214 00:13:00,120 --> 00:13:03,680 Speaker 3: Liss almost in a way, how did it ever occur 215 00:13:03,760 --> 00:13:05,800 Speaker 3: to you that you had to sort of identify yourself 216 00:13:05,840 --> 00:13:08,240 Speaker 3: as your own artists because of the fame that your 217 00:13:08,320 --> 00:13:09,920 Speaker 3: dad had. I mean, I would think that that would 218 00:13:09,960 --> 00:13:12,200 Speaker 3: be another roadblock that you would have to overcome. 219 00:13:12,600 --> 00:13:14,040 Speaker 2: Absolutely, it was. 220 00:13:14,960 --> 00:13:19,040 Speaker 1: It was the It was probably the biggest roadblock. And 221 00:13:19,040 --> 00:13:21,760 Speaker 1: and I don't know if it was only external. 222 00:13:21,800 --> 00:13:23,559 Speaker 2: I think it was internal as well. 223 00:13:23,920 --> 00:13:24,120 Speaker 3: Right. 224 00:13:24,840 --> 00:13:27,360 Speaker 2: I think that the fact that in. 225 00:13:27,280 --> 00:13:30,839 Speaker 1: My up until my thirties, I didn't play guitar, so 226 00:13:31,000 --> 00:13:34,720 Speaker 1: piano was first of all, was my was my instrument. 227 00:13:35,120 --> 00:13:38,880 Speaker 2: And and it was. 228 00:13:40,440 --> 00:13:43,320 Speaker 1: So by that by being playing a different instrument, I 229 00:13:43,480 --> 00:13:46,560 Speaker 1: was already a little bit separate. By the fact that 230 00:13:47,040 --> 00:13:54,800 Speaker 1: I was playing more complicated music, and it albeit you know, 231 00:13:54,920 --> 00:13:59,440 Speaker 1: maybe from my grandparents generation, some of it was from 232 00:13:59,480 --> 00:14:03,440 Speaker 1: my parents generation. There were, you know a few groups 233 00:14:03,640 --> 00:14:07,600 Speaker 1: of my generation that I was I was really really 234 00:14:08,080 --> 00:14:08,640 Speaker 1: liked a lot. 235 00:14:08,760 --> 00:14:10,080 Speaker 2: But it was. 236 00:14:11,640 --> 00:14:14,920 Speaker 1: I was looking for a timelessness. It wasn't about when 237 00:14:14,960 --> 00:14:17,720 Speaker 1: the music was from or whatever. I was looking for 238 00:14:17,840 --> 00:14:23,440 Speaker 1: finding a way to create something that could have been written, 239 00:14:24,040 --> 00:14:25,920 Speaker 1: you know, one hundred and fifty years ago, or it 240 00:14:25,960 --> 00:14:29,680 Speaker 1: could have been written yesterday, and not knowing when that 241 00:14:29,960 --> 00:14:33,960 Speaker 1: is gives you this flexibility. I think as an as 242 00:14:34,000 --> 00:14:37,680 Speaker 1: an artist, each component of what I do as a 243 00:14:37,720 --> 00:14:42,160 Speaker 1: performer in communicating with an audience, that's one skill set 244 00:14:42,320 --> 00:14:47,240 Speaker 1: that took development. As a singer, that was another skill 245 00:14:47,280 --> 00:14:52,720 Speaker 1: that took that took developing and understanding and work. As 246 00:14:52,760 --> 00:14:56,120 Speaker 1: a piano player, that was enough. That was its own thing. 247 00:14:56,280 --> 00:14:58,880 Speaker 1: Being being a piano player was its own thing, separate 248 00:14:58,920 --> 00:15:02,680 Speaker 1: from playing any other inst or other keyboard instruments or anything. 249 00:15:03,200 --> 00:15:08,720 Speaker 1: And then as a songwriter, and you know, I think 250 00:15:09,560 --> 00:15:13,840 Speaker 1: some people might think that it all comes together and 251 00:15:14,400 --> 00:15:18,640 Speaker 1: is developed simultaneously, and there's a part of it if 252 00:15:18,680 --> 00:15:25,800 Speaker 1: you're working on each facet that is simultaneous because by 253 00:15:25,960 --> 00:15:30,000 Speaker 1: becoming a better musician, you're giving yourself a better platform 254 00:15:30,080 --> 00:15:33,000 Speaker 1: to write a better song, to create. 255 00:15:32,680 --> 00:15:33,520 Speaker 2: A better melody. 256 00:15:34,080 --> 00:15:39,920 Speaker 1: And by living life, the longer you live, the better 257 00:15:40,120 --> 00:15:43,440 Speaker 1: understanding of the world around you you might have. But 258 00:15:43,520 --> 00:15:46,360 Speaker 1: it all developed differently from me. You know, I think 259 00:15:46,400 --> 00:15:51,640 Speaker 1: I was a stronger piano player when I was, you know, 260 00:15:51,800 --> 00:15:55,480 Speaker 1: in my late teens than I was a singer. I 261 00:15:55,520 --> 00:15:58,480 Speaker 1: think the songwriting sort of came up in between the two. 262 00:15:59,320 --> 00:16:02,960 Speaker 1: And you know, I had bad habits as a singer 263 00:16:03,000 --> 00:16:04,280 Speaker 1: because I really came up. 264 00:16:04,160 --> 00:16:08,640 Speaker 2: In jazz clubs and blues clubs where there was. 265 00:16:08,600 --> 00:16:12,800 Speaker 1: No amplification, so I was shouting over the piano and 266 00:16:13,320 --> 00:16:17,360 Speaker 1: shouting over an instrument that large, you know, you tend to, 267 00:16:17,640 --> 00:16:19,520 Speaker 1: you know, grasp me real fast. 268 00:16:19,720 --> 00:16:20,680 Speaker 2: And I was. 269 00:16:22,240 --> 00:16:24,640 Speaker 1: I had bad habits, you know, for the first ten 270 00:16:24,720 --> 00:16:28,840 Speaker 1: years of touring. You know, it was creating issues. And 271 00:16:29,520 --> 00:16:31,480 Speaker 1: you know, you learn along the way, You learn to 272 00:16:31,640 --> 00:16:35,480 Speaker 1: be better at what you do and improve and continue 273 00:16:35,480 --> 00:16:35,920 Speaker 1: to learn. 274 00:16:36,480 --> 00:16:39,040 Speaker 3: That is so true, and hindsight is so twenty twenty, 275 00:16:39,080 --> 00:16:43,080 Speaker 3: isn't it. And when people say terms like that to you, 276 00:16:43,520 --> 00:16:46,040 Speaker 3: they may not mean anything at the time, but then 277 00:16:46,400 --> 00:16:48,920 Speaker 3: you look back and you go, oh, that's that's why 278 00:16:48,960 --> 00:16:52,480 Speaker 3: someone told me that, or that's that means. It means 279 00:16:52,480 --> 00:16:54,520 Speaker 3: so much more. And you did blend a lot of 280 00:16:54,600 --> 00:16:57,280 Speaker 3: really cool stuff, I mean blues, rock and pop and 281 00:16:57,400 --> 00:17:01,200 Speaker 3: jazz and all of that is it's so unique. 282 00:17:01,760 --> 00:17:04,240 Speaker 4: We'll be right back with more of the Music Save 283 00:17:04,359 --> 00:17:12,960 Speaker 4: Me Podcast. Welcome back to the Music Saved Me Podcast. 284 00:17:13,800 --> 00:17:16,040 Speaker 3: Can you walk as well? I think you just did 285 00:17:16,080 --> 00:17:18,280 Speaker 3: a little bit of your creative process when when you're 286 00:17:18,320 --> 00:17:20,560 Speaker 3: making like when you're writing a new song or putting 287 00:17:20,560 --> 00:17:23,639 Speaker 3: together a new album, is there anything that you do 288 00:17:23,880 --> 00:17:26,160 Speaker 3: specifically to get in that headframe or. 289 00:17:27,119 --> 00:17:31,080 Speaker 2: You know, each record is it's kind of unique. 290 00:17:31,160 --> 00:17:33,720 Speaker 1: And I've found in being able to look back with 291 00:17:34,320 --> 00:17:39,240 Speaker 1: twenty twenty Vision the only time I've had that. 292 00:17:39,840 --> 00:17:42,720 Speaker 3: No pun intended, Oh my gosh it looking back. 293 00:17:43,080 --> 00:17:47,280 Speaker 1: I think I think I've seen albums sort of work 294 00:17:47,320 --> 00:17:52,639 Speaker 1: in threes. The first one is kind of just getting 295 00:17:52,720 --> 00:17:58,080 Speaker 1: into finding this sound and space and storytelling style that 296 00:17:58,440 --> 00:18:02,800 Speaker 1: is work. It's like a palette, and I felt like 297 00:18:02,840 --> 00:18:06,040 Speaker 1: it's kind of functioned that way throughout throughout my career. 298 00:18:06,560 --> 00:18:10,720 Speaker 1: You know, on my eleventh just released the eleventh album, 299 00:18:10,880 --> 00:18:15,040 Speaker 1: and it sort of works in threes, in that you 300 00:18:15,119 --> 00:18:18,520 Speaker 1: have a palette of colors you're working with, and they 301 00:18:19,200 --> 00:18:22,919 Speaker 1: are used, and you find new ways to use those 302 00:18:23,880 --> 00:18:28,520 Speaker 1: to create new music and songs. And you might work 303 00:18:28,640 --> 00:18:31,600 Speaker 1: in that period with five or six or seven different 304 00:18:31,720 --> 00:18:37,719 Speaker 1: chord changes that are unique to themselves, tempos, time signatures, 305 00:18:37,800 --> 00:18:41,280 Speaker 1: all of these things that are relevant to that period 306 00:18:41,320 --> 00:18:44,480 Speaker 1: of time. And then and then by the end of 307 00:18:44,520 --> 00:18:49,960 Speaker 1: that third album, I find that I'm already ready to 308 00:18:50,040 --> 00:18:54,400 Speaker 1: do something new, and I've used those colors, and I'll 309 00:18:54,440 --> 00:18:56,959 Speaker 1: continue to be able to use that because I perform 310 00:18:57,080 --> 00:19:00,240 Speaker 1: live all the time, which means that the music from 311 00:19:00,240 --> 00:19:04,879 Speaker 1: those albums is still present. It's I don't need to 312 00:19:04,920 --> 00:19:09,080 Speaker 1: put it away. It's in fact, because I'm not putting 313 00:19:09,080 --> 00:19:13,920 Speaker 1: it away, I'm able to move to something else, find 314 00:19:13,960 --> 00:19:17,320 Speaker 1: new inspirations, you know, different styles of music, different genres 315 00:19:17,320 --> 00:19:21,399 Speaker 1: of music, whether it's Latin music or whether it's you know, 316 00:19:21,520 --> 00:19:25,919 Speaker 1: West African influences or or Indian scales or whatever it 317 00:19:26,040 --> 00:19:31,840 Speaker 1: might be, Western European classical music. There's no limitations to it. 318 00:19:31,920 --> 00:19:35,280 Speaker 1: But they it's for me. It sort of comes in threes. 319 00:19:36,119 --> 00:19:39,560 Speaker 3: Interesting, You're like a musical athlete. 320 00:19:40,880 --> 00:19:46,200 Speaker 1: I don't know, you know, it takes. This is a calling, 321 00:19:46,400 --> 00:19:50,520 Speaker 1: you know, this is this is I've I've worn a 322 00:19:50,520 --> 00:19:53,679 Speaker 1: lot of hats in the in the business of music 323 00:19:53,800 --> 00:19:59,120 Speaker 1: because it's a necessity, certainly as an artist. I think, 324 00:20:01,119 --> 00:20:03,480 Speaker 1: you know, my first couple albums were on a major 325 00:20:03,560 --> 00:20:06,000 Speaker 1: label and then I was on indies, and I figured 326 00:20:06,160 --> 00:20:10,680 Speaker 1: once I was on indies, I really had to learn 327 00:20:10,800 --> 00:20:14,239 Speaker 1: every facet of the business because the bottom line is, 328 00:20:14,320 --> 00:20:17,680 Speaker 1: you know, the artist is paying for everything, yep, and 329 00:20:17,800 --> 00:20:19,520 Speaker 1: so you want to make sure you know where the 330 00:20:19,560 --> 00:20:22,680 Speaker 1: money's going. You want to make sure that you're responsible 331 00:20:22,720 --> 00:20:25,760 Speaker 1: with it because this is your livelihood. And as time 332 00:20:25,880 --> 00:20:29,920 Speaker 1: changed and there were a lot of different changes in 333 00:20:30,000 --> 00:20:32,359 Speaker 1: the in the business itself, I had to be aware 334 00:20:32,359 --> 00:20:36,640 Speaker 1: of it and had to be involved. Yeah, more than 335 00:20:36,680 --> 00:20:40,520 Speaker 1: just adapt, I had to be involved, and I had 336 00:20:40,520 --> 00:20:44,399 Speaker 1: to be more than just involved, but engaged. 337 00:20:45,320 --> 00:20:48,360 Speaker 3: Now that you know, somebody very smart, and I wish 338 00:20:48,400 --> 00:20:50,359 Speaker 3: I could remember who it was in my life growing 339 00:20:50,440 --> 00:20:53,760 Speaker 3: up when I was younger, told me, whatever it is 340 00:20:53,800 --> 00:20:56,000 Speaker 3: you want to do in life, the job that it is, 341 00:20:56,080 --> 00:20:58,280 Speaker 3: make sure that when you get there, you also get 342 00:20:58,320 --> 00:21:01,200 Speaker 3: to know how everyone else does their job right, because 343 00:21:01,200 --> 00:21:03,160 Speaker 3: it will make your life much easier. And also you'll 344 00:21:03,160 --> 00:21:05,879 Speaker 3: have a better understanding so that I've never actually heard 345 00:21:06,359 --> 00:21:11,840 Speaker 3: anyone say that before, especially being an artist, So that's 346 00:21:11,880 --> 00:21:14,080 Speaker 3: pretty cool. I mean that must also mean you've got 347 00:21:14,160 --> 00:21:16,400 Speaker 3: both sides of the brain firing at the same time, 348 00:21:16,440 --> 00:21:19,280 Speaker 3: which can also be a detriment to some of us. 349 00:21:20,000 --> 00:21:21,160 Speaker 3: You never get anything done. 350 00:21:21,359 --> 00:21:25,080 Speaker 1: I can all overthink stuff, and I think that's the 351 00:21:25,119 --> 00:21:29,000 Speaker 1: beauty of the art of music, is never overthinking. I 352 00:21:29,000 --> 00:21:33,679 Speaker 1: mean I practice every day. I practice guitar, I practice piano, 353 00:21:34,440 --> 00:21:37,720 Speaker 1: practice writing. It's what I love to do. And I 354 00:21:37,840 --> 00:21:41,560 Speaker 1: need to be able to live life in between the 355 00:21:41,600 --> 00:21:45,520 Speaker 1: recording and the touring and the writing and the practice, 356 00:21:45,720 --> 00:21:49,160 Speaker 1: because that's where all of the stories come from. 357 00:21:49,320 --> 00:21:51,480 Speaker 3: It's where you would draw your inspiration, right And. 358 00:21:51,440 --> 00:21:54,800 Speaker 1: The bottom line is that is that whether it's instrumental 359 00:21:55,000 --> 00:21:58,160 Speaker 1: or there's lyrics to a song, you're telling a story. 360 00:21:59,119 --> 00:22:03,400 Speaker 1: I think it's really important to be able to tell 361 00:22:03,440 --> 00:22:07,159 Speaker 1: a universal story in a very clear way. Obviously it's universal, 362 00:22:07,680 --> 00:22:10,240 Speaker 1: so you want anyone that's listening to be able to 363 00:22:10,280 --> 00:22:13,800 Speaker 1: get it. Maybe not be their style, or may may 364 00:22:13,840 --> 00:22:17,560 Speaker 1: not may not be what some people listen to, but 365 00:22:18,240 --> 00:22:21,359 Speaker 1: they're going to appreciate that it's it's a complete and 366 00:22:21,440 --> 00:22:24,679 Speaker 1: well crafted story. And that's and that's the goal, you know, 367 00:22:25,240 --> 00:22:31,280 Speaker 1: is writing a timeless, universal story and having a beginning, 368 00:22:31,320 --> 00:22:33,560 Speaker 1: a middle, and an end. And the frame that you 369 00:22:33,600 --> 00:22:37,080 Speaker 1: put around it, which is the production, can can vary. 370 00:22:37,160 --> 00:22:37,359 Speaker 2: You know. 371 00:22:37,400 --> 00:22:40,680 Speaker 1: It can be as simple as metaphorically as a magnet 372 00:22:40,680 --> 00:22:44,119 Speaker 1: that goes on a fridge or a beautiful or ornate 373 00:22:44,480 --> 00:22:48,520 Speaker 1: you know, rococo frame that that has a lot to 374 00:22:49,280 --> 00:22:51,480 Speaker 1: say and contribute to the art inside of it. 375 00:22:51,680 --> 00:22:53,359 Speaker 3: And I love that you brought that up, though, And 376 00:22:53,400 --> 00:22:54,960 Speaker 3: I love that you brought up the fact that you 377 00:22:55,119 --> 00:22:57,119 Speaker 3: have to live a certain way in order to create 378 00:22:57,200 --> 00:23:01,439 Speaker 3: these masterpieces. And in order to do that, you have 379 00:23:01,520 --> 00:23:05,359 Speaker 3: to know, like oxygen mask on you first. You know, 380 00:23:05,440 --> 00:23:08,720 Speaker 3: if you can't live that lifestyle that you want to 381 00:23:08,760 --> 00:23:12,880 Speaker 3: live to be inspired to write these songs, then where 382 00:23:12,880 --> 00:23:13,840 Speaker 3: are you? 383 00:23:13,840 --> 00:23:15,320 Speaker 2: You know, So it's. 384 00:23:15,119 --> 00:23:17,440 Speaker 3: Almost like you need to know what to do when 385 00:23:17,480 --> 00:23:18,359 Speaker 3: you are successful. 386 00:23:19,200 --> 00:23:22,960 Speaker 1: I don't know that I ever think about the success factor, 387 00:23:23,240 --> 00:23:26,000 Speaker 1: because I feel that being able to do what I 388 00:23:26,040 --> 00:23:28,600 Speaker 1: love is a success and I don't ever think of 389 00:23:29,000 --> 00:23:30,640 Speaker 1: anything as being a masterpiece. 390 00:23:30,640 --> 00:23:31,720 Speaker 2: It's an exercise. 391 00:23:32,119 --> 00:23:34,719 Speaker 3: I call it that thought, because I think anyone who 392 00:23:34,760 --> 00:23:39,000 Speaker 3: can do what you do. Well, that's just my personal. 393 00:23:38,920 --> 00:23:43,760 Speaker 2: Well, that's very that's very kind. But I think I 394 00:23:43,840 --> 00:23:45,119 Speaker 2: think of it as an exercise. 395 00:23:45,160 --> 00:23:48,760 Speaker 1: Some of them, you know, just like just like inn 396 00:23:48,760 --> 00:23:51,880 Speaker 1: at tude, you know of showpins. 397 00:23:51,920 --> 00:23:56,000 Speaker 2: These were these were practice scales. 398 00:23:56,119 --> 00:23:59,359 Speaker 1: They were working with every key, they were working with 399 00:24:00,560 --> 00:24:04,560 Speaker 1: all of these different facets that were designed to teach 400 00:24:05,000 --> 00:24:09,800 Speaker 1: his students, and in the process, some of them, you know, became, 401 00:24:09,960 --> 00:24:13,960 Speaker 1: I guess from the outside world, you know, masterpieces or 402 00:24:14,560 --> 00:24:19,800 Speaker 1: or at least a masterpiece of how to exercise and practice. 403 00:24:21,600 --> 00:24:24,640 Speaker 1: And I think that's that's sort of the thing. I've 404 00:24:24,720 --> 00:24:28,400 Speaker 1: never known anyone that finished a song and when oh, 405 00:24:28,840 --> 00:24:32,520 Speaker 1: that's that is a master I. 406 00:24:32,480 --> 00:24:34,359 Speaker 2: Don't think i'd hang out with him if I didn't. 407 00:24:35,320 --> 00:24:38,560 Speaker 1: I think you just you finished something and you're like, okay, 408 00:24:38,760 --> 00:24:39,720 Speaker 1: I think we did good. 409 00:24:40,280 --> 00:24:43,840 Speaker 2: If you're co writing or I accomplished what I wanted. 410 00:24:43,880 --> 00:24:47,400 Speaker 1: And sometimes you know, you're like, I said it all 411 00:24:47,720 --> 00:24:51,879 Speaker 1: in in, you know, in three verses in a chorus. 412 00:24:51,960 --> 00:24:52,960 Speaker 2: I don't need a bridge. 413 00:24:53,040 --> 00:24:58,280 Speaker 1: I don't if you can't say things succinctly and communicate 414 00:24:58,280 --> 00:25:01,520 Speaker 1: an idea in two and a half to three minutes, 415 00:25:02,040 --> 00:25:06,760 Speaker 1: which is kind of the mass maximum in span of 416 00:25:07,480 --> 00:25:10,680 Speaker 1: most people. Then you know you need to look at 417 00:25:10,680 --> 00:25:12,400 Speaker 1: it and see what you can do. And I think 418 00:25:12,400 --> 00:25:16,760 Speaker 1: that's another facet of songwriting. You know, I've written with 419 00:25:16,880 --> 00:25:19,920 Speaker 1: the idea of the same story. I have an idea 420 00:25:19,960 --> 00:25:23,439 Speaker 1: of a story, I have an idea of how I 421 00:25:23,520 --> 00:25:25,560 Speaker 1: want to tell it, and it might take five or 422 00:25:25,600 --> 00:25:30,359 Speaker 1: six attempts before I finally get the one. And this 423 00:25:30,600 --> 00:25:33,359 Speaker 1: music could change, the melodies could change, it could be 424 00:25:33,359 --> 00:25:37,480 Speaker 1: a completely different style, but the story finds a home. 425 00:25:38,000 --> 00:25:40,960 Speaker 3: Wow, that right there, You hit the nail right on 426 00:25:41,000 --> 00:25:44,480 Speaker 3: the head. The story is really if you don't start 427 00:25:44,480 --> 00:25:46,400 Speaker 3: with a good story, then what do you have? 428 00:25:47,240 --> 00:25:49,760 Speaker 1: Right, Yeah, just like a movie or you know, it's 429 00:25:49,800 --> 00:25:54,879 Speaker 1: the subject of a painting or sculpture, if, if, if, 430 00:25:55,280 --> 00:25:59,840 Speaker 1: if the subject is uninteresting, then it's unlikely to move 431 00:25:59,840 --> 00:26:00,480 Speaker 1: in you want. 432 00:26:01,320 --> 00:26:03,800 Speaker 3: So how do you How do you hope music impacts 433 00:26:03,840 --> 00:26:08,440 Speaker 3: listeners who may be struggling or facing their own struggles 434 00:26:08,800 --> 00:26:09,480 Speaker 3: at this time. 435 00:26:10,400 --> 00:26:12,720 Speaker 2: I always joke that I want to bring crying back. 436 00:26:14,640 --> 00:26:17,560 Speaker 3: It's so good though sometimes you need to, you know 437 00:26:17,680 --> 00:26:18,120 Speaker 3: you do. 438 00:26:18,400 --> 00:26:22,120 Speaker 1: And but there's I'm joking when I say that. 439 00:26:22,200 --> 00:26:23,320 Speaker 2: Wait, that actually. 440 00:26:22,960 --> 00:26:26,359 Speaker 3: Works though, I'm bringing sexy back. You can put cry 441 00:26:26,359 --> 00:26:28,160 Speaker 3: and it's got the same syllables in there. 442 00:26:30,000 --> 00:26:32,240 Speaker 2: I think if it yeah abbreviated, but I think it. 443 00:26:33,280 --> 00:26:38,040 Speaker 1: But I think it's honestly, it's one of those things 444 00:26:38,160 --> 00:26:45,760 Speaker 1: where when you are sincere in what you're doing, and 445 00:26:45,760 --> 00:26:50,680 Speaker 1: and all of the work that you've put into being 446 00:26:51,080 --> 00:26:56,000 Speaker 1: the artist that you are is present, and you are 447 00:26:56,240 --> 00:27:00,720 Speaker 1: playing to the best of your ability and performing to 448 00:27:00,800 --> 00:27:04,600 Speaker 1: the best of your ability. I think it's I think 449 00:27:04,640 --> 00:27:08,920 Speaker 1: it moves people. And it doesn't need to be always, 450 00:27:09,000 --> 00:27:13,719 Speaker 1: doesn't need to be necessarily particularly great. It needs to 451 00:27:13,720 --> 00:27:17,439 Speaker 1: be pure, it needs to be sincere, it needs to 452 00:27:17,480 --> 00:27:21,320 Speaker 1: be organic. I had a conversation I had dinner many 453 00:27:21,359 --> 00:27:21,879 Speaker 1: years ago. 454 00:27:22,240 --> 00:27:23,600 Speaker 2: I was on the same label. 455 00:27:23,359 --> 00:27:28,679 Speaker 1: As a well known musician named Tut Steelman. He was 456 00:27:28,760 --> 00:27:33,760 Speaker 1: an harmonica player, great jazz harmonica player, great guitar player, 457 00:27:33,800 --> 00:27:38,560 Speaker 1: and his harmonica playing was really iconic. We were sitting 458 00:27:38,640 --> 00:27:41,280 Speaker 1: and having dinner and he said, you know, when someone 459 00:27:41,359 --> 00:27:43,800 Speaker 1: plays to the best of their ability, everyone has a 460 00:27:43,880 --> 00:27:48,520 Speaker 1: different level of ability. You know, you have someone like 461 00:27:48,640 --> 00:27:53,960 Speaker 1: John Coltrane or Charlie Parker who have this natural ability. 462 00:27:54,240 --> 00:27:58,480 Speaker 2: You know that is so amazing. 463 00:27:58,560 --> 00:28:03,679 Speaker 1: Stevie wonder but if they aren't pushing themselves to play 464 00:28:03,880 --> 00:28:06,760 Speaker 1: at their at the highest level that they're capable of. 465 00:28:07,200 --> 00:28:08,360 Speaker 2: It doesn't connect. 466 00:28:08,600 --> 00:28:12,960 Speaker 1: Whereas someone that doesn't have half that ability plays with 467 00:28:13,280 --> 00:28:17,280 Speaker 1: all of their heart and gives it everything they've got. 468 00:28:17,720 --> 00:28:20,600 Speaker 2: That's going to be the thing that you connect with. 469 00:28:21,040 --> 00:28:23,720 Speaker 1: And even if it's terrible, you're going to be you're 470 00:28:23,880 --> 00:28:25,680 Speaker 1: not going to be able to look away because they're 471 00:28:25,680 --> 00:28:28,400 Speaker 1: putting everything they have into it, which is I think 472 00:28:28,480 --> 00:28:30,080 Speaker 1: the whole purpose of TikTok. 473 00:28:31,200 --> 00:28:32,919 Speaker 3: Oh my gosh, you aren't kidding. 474 00:28:34,359 --> 00:28:38,840 Speaker 1: It's like, you know, being able to see people do 475 00:28:39,080 --> 00:28:41,800 Speaker 1: the best they can at a. 476 00:28:43,320 --> 00:28:47,480 Speaker 2: You know, improbable level. It's authentic piece. 477 00:28:47,880 --> 00:28:51,600 Speaker 1: It's authentic, Yeah, definitely. It's you know, when you see 478 00:28:51,640 --> 00:28:54,320 Speaker 1: someone learn something for the first time and they're so 479 00:28:54,440 --> 00:28:57,120 Speaker 1: excited about it, or when you write a song and 480 00:28:57,200 --> 00:28:58,960 Speaker 1: I know a lot of people feel this way. You 481 00:28:59,120 --> 00:29:02,120 Speaker 1: write a song, don't quite know all of it, but 482 00:29:02,240 --> 00:29:04,400 Speaker 1: you're just so excited about it. 483 00:29:05,080 --> 00:29:08,720 Speaker 2: Sometimes that first recording. 484 00:29:08,240 --> 00:29:11,080 Speaker 1: Of it is the best you know, and sometimes that 485 00:29:11,160 --> 00:29:14,360 Speaker 1: first understanding of what it is as a demo really 486 00:29:14,400 --> 00:29:17,240 Speaker 1: captures what the song is. That's why I don't like 487 00:29:17,760 --> 00:29:21,160 Speaker 1: recording demos. I want to just go in if I 488 00:29:21,200 --> 00:29:24,800 Speaker 1: think the song is good, or perform it live and 489 00:29:24,840 --> 00:29:28,000 Speaker 1: see if the audience thinks it's any good and if 490 00:29:28,040 --> 00:29:31,960 Speaker 1: they connect with it, then I'll know, Okay, this is 491 00:29:32,000 --> 00:29:33,360 Speaker 1: one that could be on the record. 492 00:29:33,560 --> 00:29:36,200 Speaker 2: Does it fit the other songs? As the other question? 493 00:29:37,360 --> 00:29:40,760 Speaker 2: Just enough? But yeah, I mean I think it's a living, 494 00:29:42,080 --> 00:29:44,560 Speaker 2: breathing art and being able to. 495 00:29:45,960 --> 00:29:48,800 Speaker 1: Practice it every day and be able to perform it 496 00:29:48,840 --> 00:29:51,200 Speaker 1: in front of people as a gift, it sure is. 497 00:29:51,320 --> 00:29:53,520 Speaker 3: And it's also great advice what you just said for 498 00:29:53,560 --> 00:29:57,320 Speaker 3: anyone looking to do what you're doing for a career 499 00:29:57,640 --> 00:29:59,520 Speaker 3: and or who may be going through a tough time, 500 00:30:00,600 --> 00:30:03,320 Speaker 3: which it seems that there seems to be a lot 501 00:30:03,520 --> 00:30:08,200 Speaker 3: of that going on these days, people absolutely searching for things. 502 00:30:09,440 --> 00:30:15,280 Speaker 1: I don't know if if you know, sad songs can 503 00:30:15,360 --> 00:30:19,560 Speaker 1: sometimes resonate when you're when you're when you're down, when 504 00:30:19,600 --> 00:30:22,479 Speaker 1: you're when you're sad yourself, and you listen to a 505 00:30:22,520 --> 00:30:27,960 Speaker 1: sad song, I find oftentimes that's the most powerful because 506 00:30:28,280 --> 00:30:31,200 Speaker 1: you can connect to it in a way that if 507 00:30:31,240 --> 00:30:36,320 Speaker 1: you just put on some up tempo piece of ear candy, 508 00:30:36,600 --> 00:30:41,080 Speaker 1: it's not going to necessarily pull you out. Hey, you know, Yeah, 509 00:30:41,280 --> 00:30:45,200 Speaker 1: whereas whereas hearing something that's a little bit darker, you 510 00:30:45,280 --> 00:30:48,720 Speaker 1: have all of a sudden you're inspired by this beauty, 511 00:30:49,000 --> 00:30:49,200 Speaker 1: you know. 512 00:30:49,520 --> 00:30:52,920 Speaker 3: Oh yeah, I mean I can think about being dumped 513 00:30:52,960 --> 00:30:56,160 Speaker 3: by a guy in high school and turning on a 514 00:30:56,240 --> 00:31:00,680 Speaker 3: station back home called Magic and listening to, you know, 515 00:31:01,200 --> 00:31:04,280 Speaker 3: a ballad from Chicago and then crying my eyes out 516 00:31:04,320 --> 00:31:06,320 Speaker 3: and then feeling so much better. 517 00:31:06,400 --> 00:31:07,680 Speaker 2: Exactly it's cathartic. 518 00:31:07,840 --> 00:31:10,880 Speaker 3: Yes, it really does help, so bring crying back. I 519 00:31:10,920 --> 00:31:13,840 Speaker 3: love that. Can I ask you before I let you 520 00:31:13,880 --> 00:31:18,040 Speaker 3: go a couple of quick hits with you? What is 521 00:31:18,400 --> 00:31:20,760 Speaker 3: one song that you wish you had written? 522 00:31:22,200 --> 00:31:25,680 Speaker 1: Well, you know, why would I wish I had written it? 523 00:31:25,800 --> 00:31:29,640 Speaker 1: You know, like you know We Will Rock You has 524 00:31:29,720 --> 00:31:34,360 Speaker 1: played at every stadium and every everywhere in the world. 525 00:31:34,480 --> 00:31:36,520 Speaker 2: I don't know that there's a song that I wish 526 00:31:36,600 --> 00:31:37,719 Speaker 2: I would have written. 527 00:31:39,160 --> 00:31:41,640 Speaker 1: There's so many out there, and there's so many that 528 00:31:41,760 --> 00:31:44,680 Speaker 1: have yet to be written that there's not like a 529 00:31:44,800 --> 00:31:48,760 Speaker 1: reason to want to capitalize on someone else's art. 530 00:31:49,200 --> 00:31:51,560 Speaker 3: I love your answer all right now. If you could 531 00:31:51,600 --> 00:31:56,160 Speaker 3: collaborate with an artist living or from the past, who 532 00:31:56,200 --> 00:31:56,760 Speaker 3: would it be? 533 00:31:57,760 --> 00:31:58,719 Speaker 2: McCartney? Probably? 534 00:32:00,840 --> 00:32:05,000 Speaker 1: I just think he has you know, he has the 535 00:32:05,080 --> 00:32:10,880 Speaker 1: ability to be a chameleon, you know. Stylistically, he draws 536 00:32:10,880 --> 00:32:15,080 Speaker 1: from so many different places, from from old jazz and 537 00:32:15,400 --> 00:32:19,240 Speaker 1: blues to rock and roll and everything. I just you know, 538 00:32:19,280 --> 00:32:23,640 Speaker 1: he's a complete artist, and I think that's that's inspiring. 539 00:32:23,640 --> 00:32:25,880 Speaker 1: But I could I could name, you know, two hundred 540 00:32:25,920 --> 00:32:29,080 Speaker 1: artists that I would love to play with and collaborate with, 541 00:32:29,240 --> 00:32:29,560 Speaker 1: you know. 542 00:32:30,520 --> 00:32:33,920 Speaker 3: Aj Croachey. It's been such a pleasure having you. I 543 00:32:34,000 --> 00:32:35,880 Speaker 3: know that you're pressed for time otherwise because I have 544 00:32:35,920 --> 00:32:38,120 Speaker 3: a million other questions for you. But maybe he'll come 545 00:32:38,160 --> 00:32:39,840 Speaker 3: back and visit us again. 546 00:32:40,080 --> 00:32:40,880 Speaker 2: You just let me know. 547 00:32:40,960 --> 00:32:43,080 Speaker 3: Lynn, thank you so much for coming on Music Save 548 00:32:43,200 --> 00:32:47,840 Speaker 3: Me and sharing your story, and it's been so I 549 00:32:48,080 --> 00:32:50,680 Speaker 3: I love learning things from people, and I definitely learned 550 00:32:50,680 --> 00:32:52,400 Speaker 3: things from you today, So thank you for that. 551 00:32:53,040 --> 00:32:54,440 Speaker 2: We likewise, thank you so much