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Speaker 1: Pushkin. It's been nearly four years since Drive By Truckers

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Speaker 1: released They're Pissed Off, politically charged album American band. That

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Speaker 1: record was their rebel yell, full of songs that reflected

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Speaker 1: life and injustice during the Trump era, and judging from

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Speaker 1: their latest release, The Unraveling, it's clear the Drive By

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Speaker 1: Truckers have moved from anger into a state of grief.

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Speaker 1: The Unraveling is the Drive By Trucker's twelfth album. The

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Speaker 1: band's two lead vocalists, Mike Cooley and Patterson Hood, both

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Speaker 1: grew up in rural Alabama. Patterson's dad, David Hood, was

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Speaker 1: the basis for The Swampers, one of the most famous

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Speaker 1: studio house bands of all time, who are officially known

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Speaker 1: as the Muscle Shoals rhythm section the backed artist I

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Speaker 1: could read the Franklin, the Rolling Stones, Bob Dylan, and

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Speaker 1: Paul Simon, but Patterson explains to Bruce Headlam in this

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Speaker 1: interview why he never talked about his dad's until he

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Speaker 1: was in his thirties. Patterson and Mike also played songs

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Speaker 1: from the new album, most of which are protest songs

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Speaker 1: inspired by the current political climate and conversations they've had

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Speaker 1: to have with their kids about it, and as you'll hear,

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Speaker 1: they've had to rethink their live set lists after fans

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Speaker 1: started waiving the Confederate flags at a festival they were

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Speaker 1: playing alongside one of their favorite rappers. This is broken

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Speaker 1: record liner notes for the digital age. I'm justin Richmond.

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Speaker 1: Here's Mike Cooley and Patterson Hood in conversation with Bruce

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Speaker 1: had them. We're here with Mike Cooley and Patterson Hood,

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Speaker 1: who for more than twenty years have been the leaders

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Speaker 1: and songwriters for Drive by Truckers. Songwriters doesn't seem to

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Speaker 1: quite capture it almost You guys have been so prolific,

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Speaker 1: and you write with such strong themes, it's easy. You're

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Speaker 1: almost to think of you as novelists with guitars. I

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Speaker 1: think because you've done so much work. Uh tell me

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Speaker 1: where this song came from. The song came from a

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Speaker 1: stopover on an off ramp off ninety outside of Gilette, Wyoming.

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Speaker 1: And uh, I don't I don't write a lot on

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Speaker 1: the run. I don't write a lot of songs on

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Speaker 1: the road because it tends to be hard with on

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Speaker 1: a bus with you know, eleven people and and all

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Speaker 1: the loud noises and music playing and stuff. But um,

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Speaker 1: but we uh were on our way from Sioux Falls,

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Speaker 1: South Dakota to Missoula and uh taking the required the

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Speaker 1: legally required bus stop where the driver hopefully sleeps for

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Speaker 1: a few hours. And those pretty good laws. We've seen

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Speaker 1: the other side. We've seen the other side. Well, yeah,

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Speaker 1: we've seen naught abiding by them. Yeah. We we had

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Speaker 1: a driver one time go for Minneapolis to Seattle non stop.

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Speaker 1: I don't I don't even know if he pete. I

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Speaker 1: mean he just went and uh and it was a

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Speaker 1: little terrifying, but uh, but so were. We were stopped

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Speaker 1: at a holiday in express Us on an off ramp.

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Speaker 1: I mean it could just as easily have been somewhere

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Speaker 1: in Alabama or Arizona other than how cold it was.

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Speaker 1: And uh, because it was wintertime. It was January, and

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Speaker 1: it was it was nice and cold, and we were hungry,

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Speaker 1: and we were walking to uh going to walk to

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Speaker 1: this like Mexican restaurant a couple of blocks away. There

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Speaker 1: was the only thing on that off ramp that wasn't

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Speaker 1: a chain and uh there was like three stars on yelp,

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Speaker 1: you know, sold and uh and we met in the

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Speaker 1: lobby and we were walking when I walked out of

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Speaker 1: the door with like patches of snow and ice. You know,

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Speaker 1: in the parking lot, our buses parked under this giant

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Speaker 1: billboard that said the Oasis Tanning Salon. And I don't

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Speaker 1: know how that became a song, but by the time

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Speaker 1: we got to the restaurant, I wrote the first verse

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Speaker 1: on a napkin, and after I ate, I went back

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Speaker 1: to the hotel room, in our motel room and wrote

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Speaker 1: the rest of the song that afternoon, And that kind

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Speaker 1: of opened the floodgates for the songs that I wrote

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Speaker 1: on this album, because I, up to that point, was

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Speaker 1: having a real hard time wrapping my head around how

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Speaker 1: I wanted to approach writing about this crazy time that

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Speaker 1: we're all trying to live through right now. You know,

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Speaker 1: your last album, American Band was also written about an

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Speaker 1: earlier part of the crazier time, back in the good

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Speaker 1: old days when we thought it Yeah, and you know,

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Speaker 1: parts of that album seem to be written more in

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Speaker 1: sorrow than an anger. Um, you seem to have become

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Speaker 1: a little easier with your anger in this one. It's

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Speaker 1: a tough, tough album. It's it's funny because I because

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Speaker 1: I almost almost if taken the opposite thought on I

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Speaker 1: love hearing that, hearing it. I love here how different

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Speaker 1: people gauge it and react to it, you know, because

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Speaker 1: because from my point of view, I thought of the

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Speaker 1: last record is more the angry one, and this is

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Speaker 1: more just the sad one. It's just like, now, now,

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Speaker 1: what what do we do now? You know? And uh,

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Speaker 1: so so much of the so many of the songs

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Speaker 1: I wrote on this record were directly inspired by conversations

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Speaker 1: with my kids and uh, trying to raise your family,

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Speaker 1: and you know, in all of this and uh and

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Speaker 1: and you know, the questions they had about different things,

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Speaker 1: you know, talking to you know, my kids about the

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Speaker 1: lockdown drill they had in school, you know, and and

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Speaker 1: uh and my son had all these questions about, you know,

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Speaker 1: if if someone was going to take him away from

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Speaker 1: his mommy and I and put him in a cage

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Speaker 1: and a holding. I mean, he was literally he was

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Speaker 1: worried about that, you know. And and you know, first

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Speaker 1: I comforted him and told him that that wasn't going

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Speaker 1: to happen, which led to the real uncomfortable, unpleasant conversation

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Speaker 1: about why you know, and and you know the fact

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Speaker 1: that you know they aren't taking little white kids away

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Speaker 1: from their parents and doing that, and uh and and

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Speaker 1: the look on his face as you could see him

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Speaker 1: trying to wrap his head around that concept, and uh,

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Speaker 1: it was just heartbreaking to me, you know, and that

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Speaker 1: that directly led to you know, at least one if

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Speaker 1: not more, of the songs on the record, and some

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Speaker 1: of the songs and what you just played is not

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Speaker 1: an example of that, but a lot of the songs

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Speaker 1: take the form of really protest songs. Yeah, in a

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Speaker 1: very old fashioned way, which is something of the departure

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Speaker 1: for you guys. Yeah, I guess you know, we've always

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Speaker 1: I've always thought of our band as political, and and

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Speaker 1: my songs is is political. But you know, so often

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Speaker 1: it was like done in the form of telling a story,

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Speaker 1: often a story said in a different time and place,

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Speaker 1: you know, almost like the Chinatown, you know, the way

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Speaker 1: the movie Chinatown used the thirties noir you know, format

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Speaker 1: to to tell to talk about, you know, what was

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Speaker 1: going on at that time in the seventies, you know.

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Speaker 1: And uh so, uh so I always kind of took

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Speaker 1: that approach, you know. I mean I considered Southern rock

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Speaker 1: opera to be a very very political record, you know,

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Speaker 1: with all of the George Wallace stuff and all that

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Speaker 1: and uh, but but starting with American Band, we've been

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Speaker 1: we made a kind of very conscious decision that that

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Speaker 1: record in this last one are set right now, and

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Speaker 1: there isn't there isn't some story to you know, necessarily,

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Speaker 1: you know, he's the he's the he's you into it. Um,

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Speaker 1: we are going to get back to politics, but I

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Speaker 1: do want to ask you just a bit about the

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Speaker 1: making of the album itself. Uh, you went to Memphis

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Speaker 1: for this, yes, so tell me a little bit about that.

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Speaker 1: We went to Sam Phillips Recording Service, uh studio that went. Um,

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Speaker 1: you know, of course Sam. Sam's actually from our hometown.

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Speaker 1: He grew up. He grew up two farms over from

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Speaker 1: my grandmother. They're the same age, and they went to

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Speaker 1: elementary school together even and uh, you know, of course

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Speaker 1: he moved to Memphis and you know, basically discovered rock

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Speaker 1: and roll and and Sun Studios and Elvis and Carl

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Speaker 1: Perkins and all of that. And and around nineteen sixty

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Speaker 1: or so when he sold Sun Records and the Sun Studios,

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Speaker 1: he took his money and he built like his dream studio.

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Speaker 1: And so that's the place where we recorded our record.

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Speaker 1: It's like a time capsule from like nineteen sixty two basically, uh,

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Speaker 1: with with some early seventies updates here or there, and

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Speaker 1: uh some amazing old tube gear and just and those

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Speaker 1: echo chambers. He designed and built three different echo chambers

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Speaker 1: of different sizes into the actual building. And so we're

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Speaker 1: like running our stuff through though echo chambers and really

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Speaker 1: digging the way it sounded and kind of being inspired

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Speaker 1: by did it changed to the sound of this album

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Speaker 1: from other albums? I think it did. I think I

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Speaker 1: think a combination of that and just you know, how

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Speaker 1: the band's evolved too, because uh, you know, because uh,

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Speaker 1: we've been you know, we we've we haven't had any

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Speaker 1: kind of a personnel lineup change or anything for about

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Speaker 1: eight years now. And uh, and so this this incarnation

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Speaker 1: of the band is just really really jailed in a

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Speaker 1: way that I don't think we were ever able to

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Speaker 1: quite achieve before because in our more tumultuous earlier days. Uh.

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Speaker 1: And I heard there was a celebrity setting there. There was, Yeah, yep.

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Speaker 1: Um Peter Grownick, who wrote the Sam Phillips book, came

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Speaker 1: and visited us, and uh, and he had Mick Jagger

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Speaker 1: with him. Yeah, okay, but did you talk to Mick

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Speaker 1: Jagger there or yeah, a little bit for for a second,

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Speaker 1: you know. And uh, um, we knew that Peter was

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Speaker 1: coming and uh and of course I'd read I'd read

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Speaker 1: as Sam Phillips book. I've read probably all his books

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Speaker 1: and uh, and so i knew he was coming, and

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Speaker 1: I was looking forward to meeting him. And we're seeing him.

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Speaker 1: I've met him before, seeing him again. But uh, and

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Speaker 1: then when Mike Jagger stuck his head in, it was, uh,

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Speaker 1: it was it was a bit of a trip, all bad.

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Speaker 1: You know. The song you just played describes, uh, sort

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Speaker 1: of how homogeneous sort of the American landscape has become.

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Speaker 1: You guys grew up in a in a very particular

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Speaker 1: part of Alabama. Now, when you say Alabama to most Northerners,

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Speaker 1: they have a certain idea and it's probably Birmingham or

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Speaker 1: Mobile or football or oil or whatever it is. My cousin, Ben,

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Speaker 1: cousin Benny, was that in Alabama? Yeah? Okay, Um, they're

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Speaker 1: not thinking Emmy Lou Harris or you know, any of

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Speaker 1: the people who are actually from there. What was what

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Speaker 1: was that part of Alabama? Let growing up. I mean

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Speaker 1: when we were growing up, it was it was kind

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Speaker 1: of isolated in a way because there's no major highway

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Speaker 1: through our town. There's a pretty major waterway through there

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Speaker 1: as far as the Tennessee River, so there's a lot

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Speaker 1: of barges that floated through. But you know, the closest

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Speaker 1: airport of any size, you know, was at least two

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Speaker 1: hours away, and the interstate was an hour away. And

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Speaker 1: and uh, we're kind of right between three cities. It's

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Speaker 1: about two to three hours away. Birmingham and Nashville and

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Speaker 1: Memphis were kind of right in the middle of of

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Speaker 1: the you know, of that triangle. But yeah, the Shoals area,

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Speaker 1: it's four cities all that border each other. But I

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Speaker 1: would describe the four of them collectively as a small

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Speaker 1: town with a lot more people in it than you

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Speaker 1: usually see in a small town. But it's still very

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Speaker 1: much a big small town, right. Yeah. And it also

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Speaker 1: I mean to the rest of the world because of

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Speaker 1: Muscle Shoals where your fatherhood played for years and years

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Speaker 1: and some of the greatest soul records ever. Right Mick

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Speaker 1: Jagger came to his studio too. Yeah, but uh, yeah,

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Speaker 1: the you know, they the Stones recorded brown sugar and

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Speaker 1: wild horses and you got to move there. And uh

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Speaker 1: but um, and at that time, I mean it was

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Speaker 1: a dry county. You know, it was when I when

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Speaker 1: we were growing up, it was still a dry county.

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Speaker 1: Was almost in high school before we had illegal alcohol

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Speaker 1: was right there. Yeah yeah, so uh wow, so it

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Speaker 1: was time. Yeah, they saw you coming. Yeah, they needed

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Speaker 1: to raising taxes. Always say the best thing for you know,

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Speaker 1: for a hard drinking teenagers to live in a dry

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Speaker 1: county because the bootleggers don't care how old you are,

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Speaker 1: you know, and if you don't and you know, if

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Speaker 1: you don't have legal liquor, then you're just gonna have

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Speaker 1: illegal liquor. I mean it's no, it's not like you're

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Speaker 1: gonna keep anyone from doing what they want to do.

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Speaker 1: There's a certain image, you know, musically, at least of

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Speaker 1: kind of racial harmony. Um, people associate with muscle shoals, right. Um,

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Speaker 1: this is a place that great soul records were made by,

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Speaker 1: you know, by racial bands. And well I guess the

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Speaker 1: band itself was mainly white, but yeah, they were artists

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Speaker 1: mainly white, at least at least Dad's group. Some of

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Speaker 1: the some of the later groups, it got a little

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Speaker 1: more integrated. But uh, but yeah, I mean, yeah, you know,

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Speaker 1: my in the heart of the George Wallace era, my

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Speaker 1: dad was making his living backing up Aretha Franklin and

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Speaker 1: Wilson Pickett and Bobby Womack, Atta James and you know,

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Speaker 1: all these amazing records that came out of there. And uh,

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Speaker 1: and yet you know, at times, especially in the earlier days,

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Speaker 1: you know, I don't think some of the you know,

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Speaker 1: some of the African American artists that were recording there

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Speaker 1: were particularly comfortable going out and having dinner. You know,

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Speaker 1: when some of the restaurants there, I think it got

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Speaker 1: I mean, it wasn't nearly as bad there as like

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Speaker 1: what you see from like burning Ham and and you know,

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Speaker 1: we didn't have Bull Connor and you know, they weren't

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Speaker 1: necessarily seeking police dogs on people, but it still was

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Speaker 1: a closed minded, you know, bibble Belt religious. I used

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Speaker 1: to have to pass by there was a radio station

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Speaker 1: pretty much from where I lived to get to anywhere. Um,

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Speaker 1: it was a black owned AM radio station. So the

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Speaker 1: w ZZ A the soul of the shows, and it

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Speaker 1: very often it wasn't uncommon at all to pass by

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Speaker 1: there and see that it had been vandalized again. Um,

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Speaker 1: some kind of racist epitap spray painted on the door,

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Speaker 1: you know. So yeah, you had both you right, you

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Speaker 1: had you had a little of both worlds. Yeah. And

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Speaker 1: is it is it changed in a way that we'd

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Speaker 1: recognize from the song you just played? Is it become

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Speaker 1: more commodified in big box? I mean it's it's it's

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Speaker 1: kind of gotten cool in a way because they've you know,

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Speaker 1: when we were growing up, like the whole music thing

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Speaker 1: that was happening, there was a secret. I mean, it

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Speaker 1: was almost like a secret society. I mean I learned

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Speaker 1: really early on that I didn't go to school and

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Speaker 1: talk about what my dad did. It was not something

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Speaker 1: I was going to talk about at school because if

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Speaker 1: if he were my dad, that was literally all I

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Speaker 1: would talk about it. Even today. I mean it's like

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Speaker 1: I was like thirty before all of a sudden, I realized, Okay,

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Speaker 1: I think it's okay for me to talk about my

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Speaker 1: dad now. But but it was kind of like a

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Speaker 1: it was almost like they were in a secret society

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Speaker 1: because they were I mean, they were afraid if they

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Speaker 1: got too much attention, someone would try to stop them

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Speaker 1: from doing what they were doing, you know, but they

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Speaker 1: knew if they just kind of stayed under the radar

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Speaker 1: and you know, and and and donated money to the

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Speaker 1: Little League teams and and you know, did did did

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Speaker 1: the you know, the the nice community stuff that you

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Speaker 1: know that they could do. They would generally get left

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Speaker 1: alone to kind of do what they were doing. And

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Speaker 1: if there if there's a Little League team sponsored by

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Speaker 1: the Swampers, I want that really At one point there

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Speaker 1: definitely was we should explain Swampers. Who's the name for

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Speaker 1: the what's also called the Muscle Shoal A lot of

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Speaker 1: the realm to attract a lot of the artists there too,

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Speaker 1: especially the ones who are on the more famous at

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Speaker 1: the end of the spectrum at the time, because I

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Speaker 1: mean Elton John could probably walk down the street there

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Speaker 1: right now and not get recognized. And yeah, I mean

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Speaker 1: you know, I mean, you know the rolling Stone State

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Speaker 1: at the Holiday Inn right there, you know, right across

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Speaker 1: the river from Muscle Shoals in Florence, and uh, the

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Speaker 1: first time they've been able to walk around in public

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Speaker 1: in years at that. Boy, Yeah, you know, Linda Linda Ronstat,

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Speaker 1: legend has it Linda Ronstat was the was the first

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Speaker 1: girl to go sit at the counter at the pool

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Speaker 1: room in order. There's a pool room in Florence that

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Speaker 1: had like good chili burgers and stuff like that. And

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Speaker 1: it was it was, you know, kind of an unwritten

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Speaker 1: law that it was men only. This would have been

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Speaker 1: like seventy one maybe when she recorded there and uh,

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Speaker 1: and she wanted to go to the pool room and

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Speaker 1: shoot pool and uh sit at the counter and did

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Speaker 1: because Linda Ronstad did what she wanted, you know, and

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Speaker 1: she wasn't a big store yet, but she was already

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Speaker 1: she was already Linda Ronstad wear her cut off wearing

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Speaker 1: her cut off shorts, no less, you know, at the

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Speaker 1: pool room and uh, and you know they served her

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Speaker 1: and that was, you know, pretty pretty nice way to

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Speaker 1: have change occur. But uh but yeah, I mean now,

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Speaker 1: you know, it's in some ways unrecognizable to me because

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Speaker 1: it's it's it's a kind of a cool town. Now

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Speaker 1: they've embraced their musical heritage, and you know, we've got

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Speaker 1: a you know, we've got hipsters and a boutique hotel

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Speaker 1: and you know, a fancy barber shop, a barber shop

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Speaker 1: with guys and handlebar mustaches and their jeans rolled up,

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Speaker 1: you know, Okay, it's it's it's kind of crazy. So

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Speaker 1: they've just turned into Brooklyn. Yeah, yeah, that's Brooklyn. Kind

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Speaker 1: of is a big box store. Now you just find

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Speaker 1: it all over the country. We'll be back with more

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Speaker 1: of Bruce's interview with Mike William Patterson Hood if the

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Speaker 1: drive by Truckers. After a quick break, we're back with

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Speaker 1: Mike William Patterson Hood performing Grievance Merchants from their latest album,

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Speaker 1: The Unraveling Thank You. That was grievous Merchants. Yeah, can

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Speaker 1: you tell me about the writing of that song. I

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Speaker 1: started thinking about everything that went into it. And after

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Speaker 1: that the Parkland, Florida shooting that mobilized those kids so much.

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Speaker 1: I was pretty moved by what they were up to,

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Speaker 1: you know, but the predictable reaction they got, being accused

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Speaker 1: of being less than sincere. They were called crisis actors.

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Speaker 1: They were discredited, insulted and made fun of. And I

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Speaker 1: don't know if that particular shooter or not was one.

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Speaker 1: I think you may have been. But there was a pattern,

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Speaker 1: um of all these young men that were committing these acts,

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Speaker 1: you know, um every twenever it was over and you'd

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Speaker 1: get a look at their uh, at their laptops, their phones,

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Speaker 1: what they'd been looking at, what they've been posting, liking

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Speaker 1: on social media. It was kind of a who's who

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Speaker 1: are the usual suspects? Um, maybe not the same names,

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Speaker 1: but definitely the same message. Um. And that was that

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Speaker 1: was what it all boiled down to me. Was this

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Speaker 1: this cottage industry whose product was grievance and victimhood. Um

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Speaker 1: too mostly young white guys now maybe sometimes not so young.

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Speaker 1: And at that time, you know that the that Alex

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Speaker 1: Jones guys probably the most household name of all of them. Um.

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Speaker 1: I never went far enough down that rabbit hole to

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Speaker 1: even know who most of the rest of the names

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Speaker 1: are because I just don't want, you know, I don't

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Speaker 1: want that stuff to start popping up on my phone

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Speaker 1: when I'm in public. Um uh. But yeah, it was

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Speaker 1: that they all seem to uh have some kind of

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Speaker 1: problem with women. They had ex girl friends x wise

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Speaker 1: with restraining orders, that they had been arrested for stalking.

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Speaker 1: They couldn't get the kind of attention from women they

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Speaker 1: thought they deserved. Um that they were honestly that they were.

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Speaker 1: Their whiteness was losing its value was the message that

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Speaker 1: was constantly being pumped at them. And it's not your fault.

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Speaker 1: They're kind, you know, sending them that message that you know,

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Speaker 1: it's not because you're socially awkward, or because you inevitably

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Speaker 1: open your mouth and say the wrong thing, or because

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Speaker 1: you're you know, it's got to be this, it's got

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Speaker 1: to be this thing or that thing, this is m

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Speaker 1: or that ism that's turning these people against you. And uh,

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Speaker 1: and you know you go far enough down it and uh,

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Speaker 1: you're you know, you've you've completely self radicalized, which a

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Speaker 1: lot of these guys have, and you know, you I

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Speaker 1: I just don't want to you know, I can't draw

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Speaker 1: a line to people on the internet or the TV

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Speaker 1: or the radio saying something and somebody doing something. Of

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Speaker 1: course not. But I'm not going to let them off

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Speaker 1: the hook either. Um. Some of them are true believers

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Speaker 1: in what they're peddling, and they're pure evil, and some

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Speaker 1: are just con jobs who are in it for the attention,

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Speaker 1: the money and the ratings, and they're more than pure evil.

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Speaker 1: Is there there's a wonderful line in that song conspiracy

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Speaker 1: to dilute their blood. Yeah, Yeah, that's that's that's a Yeah,

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Speaker 1: it's a great line. But it connects to that idea

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Speaker 1: of lost hand manhood emasculation, which is very much needing

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Speaker 1: to see um, non white men as sexual predators. Um.

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Speaker 1: And and how it's in some grand conspiracy to get

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Speaker 1: white women to have fewer white babies. Yeah, I mean

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Speaker 1: they really do. That's really out there. That's literally what

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Speaker 1: these people are feeding up. Do you think that connects

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Speaker 1: to a bigger sense in the South of being looked

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Speaker 1: down upon, um by the elites, and and you know

382
00:22:09,040 --> 00:22:11,520
Speaker 1: that's always been part of it. I mean yeah, definitely

383
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Speaker 1: anti eliteism, anti intellectualism. UM. Growing up around you know,

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Speaker 1: working class southern white men, there was all at men

385
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Speaker 1: or who were more educated or more successful. Um, there

386
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Speaker 1: was always that sense that he thinks he's better than

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Speaker 1: I am. And maybe some of them did, but he

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Speaker 1: got above his raisin. Yeah, yeah, maybe maybe some of

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Speaker 1: them did. I'm sure some of them, you know, or

390
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Speaker 1: they look at academics and uh they don't they think

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Speaker 1: they're so smart. Well they kind of are, um, but

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Speaker 1: you know, whether they are or not, it's not why

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Speaker 1: that person thinks that. They're going to think that no

394
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Speaker 1: matter what. And it's just there's definitely a blue collar

395
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Speaker 1: chip on the shoulder. Well it's all, you know, fear

396
00:22:59,240 --> 00:23:02,399
Speaker 1: of the other is such a you know, which has

397
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Speaker 1: been a prevalent thing that our band has written about

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Speaker 1: for years and years. It's been that's been kind of

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Speaker 1: an ongoing theme, you know. And and and our records

400
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Speaker 1: kind of from that day one. But uh and and

401
00:23:17,440 --> 00:23:21,040
Speaker 1: it's like there's always somebody to blame, some other that's

402
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Speaker 1: that's taking what's rightfully mine or whatever, you know, And

403
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Speaker 1: you know, and I mean, you know, our current president,

404
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Speaker 1: I mean that's what that's how he got elected was

405
00:23:31,800 --> 00:23:34,680
Speaker 1: capitalizing on that over and over and over and over.

406
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Speaker 1: They're coming across the border to get your jobs and

407
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Speaker 1: you know, probably take your women to you know, as

408
00:23:40,720 --> 00:23:42,959
Speaker 1: that whole. Now they've now they've morphed into these magic

409
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Speaker 1: immigrants that can take your job and still not work. Yeah,

410
00:23:49,520 --> 00:23:52,840
Speaker 1: never thought of it that way. Yeah. It's interesting because

411
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Speaker 1: you're from the South. You've written quite a few songs where,

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Speaker 1: for example, George Wallace appears you guys grew up. I mean,

413
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Speaker 1: Wallace was still probably governor at something you probably remember

414
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Speaker 1: misc into the eighties. Yeah, yeah, I mean he got

415
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Speaker 1: elected his fourth term my freshman year in college. Okay, yeah,

416
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Speaker 1: that's interesting. I mean you and I don't remember the song,

417
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Speaker 1: but I think you had a line something to the

418
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Speaker 1: effect that, um, there's racism everywhere, but George Wallace gave

419
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Speaker 1: it a Southern accent. I'm not remembering the phrase exactly

420
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Speaker 1: from then, if you're going to have a racist in

421
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Speaker 1: a movie, you're going to give him a Southern accent

422
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Speaker 1: flat out. It's just it's like, uh, that's one of

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Speaker 1: the ways that you established the character of of of

424
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Speaker 1: being a racist as you give him that accent. You know,

425
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Speaker 1: there's a James Bond movie, you know, Live and Let Die,

426
00:24:41,440 --> 00:24:45,399
Speaker 1: you know the the you know, they they made sure

427
00:24:45,480 --> 00:24:49,240
Speaker 1: to set set a Louisiana so that the so that

428
00:24:49,280 --> 00:24:52,200
Speaker 1: the cop could be a redneck cop. You know, they

429
00:24:52,240 --> 00:24:54,640
Speaker 1: said it so. But as the flip side of that

430
00:24:55,280 --> 00:24:57,639
Speaker 1: that if somebody has a Southern accent, people then assume

431
00:24:57,680 --> 00:25:02,959
Speaker 1: he's a racist. I mean some do, I'm sure, you know,

432
00:25:03,640 --> 00:25:06,840
Speaker 1: and uh, I mean I'm you know, I'm sure that

433
00:25:07,600 --> 00:25:11,760
Speaker 1: I'm sure there's been people who've never listened to our

434
00:25:11,880 --> 00:25:15,760
Speaker 1: music that would just assume we're something that we probably aren't.

435
00:25:16,080 --> 00:25:19,520
Speaker 1: You know, whether it's racist or just you know, whatever

436
00:25:19,720 --> 00:25:22,560
Speaker 1: whatever you want to whatever presumptions you want to make

437
00:25:22,600 --> 00:25:26,959
Speaker 1: about Southerners in the South, you know, And and you know,

438
00:25:27,000 --> 00:25:28,680
Speaker 1: it's like I tell people a lot. You know, It's

439
00:25:28,720 --> 00:25:33,240
Speaker 1: like Trump won Alabama by sixty percent, which is horrific,

440
00:25:34,000 --> 00:25:37,640
Speaker 1: but that's still forty percent that voted against him. That's

441
00:25:37,640 --> 00:25:40,760
Speaker 1: still you know, over a million people who feel as

442
00:25:40,840 --> 00:25:45,560
Speaker 1: strongly opposed to this as as I do, you know,

443
00:25:45,840 --> 00:25:49,440
Speaker 1: or as you know, as someone in a different state does.

444
00:25:49,560 --> 00:25:52,760
Speaker 1: It's just it's just a matter of how the demographics

445
00:25:52,800 --> 00:25:57,000
Speaker 1: of the population, how it how it all settles. But

446
00:25:57,240 --> 00:26:02,000
Speaker 1: given how polarized the times are now, uh, there is

447
00:26:02,640 --> 00:26:07,720
Speaker 1: probably not the same audience for a sophisticated, nuanced take

448
00:26:08,040 --> 00:26:12,520
Speaker 1: on certain kinds of characters. And I'm wondering. Another example

449
00:26:12,600 --> 00:26:15,160
Speaker 1: is you had a song, I think it was Southern

450
00:26:15,200 --> 00:26:18,760
Speaker 1: thing where and you wrote about this in the Times,

451
00:26:19,000 --> 00:26:22,760
Speaker 1: which is that people were bringing out Confederate flags. Yeah,

452
00:26:22,760 --> 00:26:26,920
Speaker 1: and it made you uncomfortable. It was hard, it was horrified. Yeah,

453
00:26:26,960 --> 00:26:30,840
Speaker 1: So you stopped playing the song largely, Yeah, and sell

454
00:26:30,880 --> 00:26:34,600
Speaker 1: them will occasionally play it, and even then it's it's

455
00:26:34,600 --> 00:26:38,639
Speaker 1: only in an environment where I feel comfortable with no

456
00:26:38,760 --> 00:26:43,120
Speaker 1: one that the people I'm playing it for, no, they

457
00:26:43,160 --> 00:26:45,160
Speaker 1: get it. They get where I'm coming from with it,

458
00:26:45,320 --> 00:26:48,600
Speaker 1: you know. And uh, that songs very very rarely played.

459
00:26:48,800 --> 00:26:52,000
Speaker 1: Are there other songs that have that are now in

460
00:26:52,040 --> 00:26:55,159
Speaker 1: that category in the last few years because of changing politics?

461
00:26:55,240 --> 00:26:58,800
Speaker 1: Things that you may have felt your intentions were right,

462
00:26:58,960 --> 00:27:01,119
Speaker 1: but it just is not going to be heard in

463
00:27:01,119 --> 00:27:05,919
Speaker 1: the same way. Probably. I can't think of any examples offhand,

464
00:27:06,080 --> 00:27:11,119
Speaker 1: but but but probably, I mean, you know, and the

465
00:27:11,160 --> 00:27:13,719
Speaker 1: case of that song, you know, I mean, I'm not

466
00:27:13,800 --> 00:27:15,639
Speaker 1: sure I did it. I'm not sure I did my

467
00:27:15,760 --> 00:27:19,480
Speaker 1: job adequately in writing that song. I mean, it's got

468
00:27:19,480 --> 00:27:22,640
Speaker 1: a you know, it's got a really cool guitar lick,

469
00:27:23,280 --> 00:27:28,240
Speaker 1: and it was always a crowd pleaser, you know, because

470
00:27:28,520 --> 00:27:33,320
Speaker 1: it's a good rock song as far as musically on

471
00:27:33,359 --> 00:27:36,600
Speaker 1: all of that, maybe, but the point I was trying

472
00:27:36,640 --> 00:27:38,800
Speaker 1: to make in writing it, I'm not sure if I

473
00:27:39,080 --> 00:27:41,960
Speaker 1: adequately made it. The mere fact that it was so

474
00:27:42,040 --> 00:27:46,359
Speaker 1: misunderstood always kind of made me question the actual writing

475
00:27:46,400 --> 00:27:49,320
Speaker 1: of the song itself. You know. The point I was

476
00:27:49,320 --> 00:27:53,879
Speaker 1: trying to make, maybe clumsily, was that if you ask

477
00:27:54,320 --> 00:27:58,600
Speaker 1: ten Southern people what you know, people always refer to

478
00:27:58,680 --> 00:28:01,080
Speaker 1: this like the Southern thing. If you ask ten different

479
00:28:01,119 --> 00:28:04,240
Speaker 1: Southerners what that is, you get ten very different answers,

480
00:28:04,680 --> 00:28:07,520
Speaker 1: often that conflict with each other. Sometimes from the same person,

481
00:28:07,560 --> 00:28:10,080
Speaker 1: you'll get different answers that conflict with each other. And

482
00:28:10,520 --> 00:28:12,840
Speaker 1: what time of the day you ask them. Yeah, And

483
00:28:12,880 --> 00:28:15,280
Speaker 1: so that song has a lot of has a lot

484
00:28:15,280 --> 00:28:20,800
Speaker 1: of statements that people state as fact themselves personally in

485
00:28:20,880 --> 00:28:25,600
Speaker 1: describing being a Southerner that and over the course of

486
00:28:25,640 --> 00:28:28,880
Speaker 1: the song, there's all these other contradictory statements to that,

487
00:28:29,080 --> 00:28:33,800
Speaker 1: And I think, uh, I think I really maybe underestimated

488
00:28:34,359 --> 00:28:39,120
Speaker 1: the how easily that could get misconstrued as as the

489
00:28:39,160 --> 00:28:42,080
Speaker 1: song actually making those statements. You know, I didn't. I

490
00:28:42,120 --> 00:28:43,920
Speaker 1: didn't view it that way when I wrote it, and

491
00:28:43,960 --> 00:28:47,360
Speaker 1: when I realized that kind of the hard way. You know,

492
00:28:47,720 --> 00:28:50,480
Speaker 1: it was specifically a show we were playing at this festival,

493
00:28:50,480 --> 00:28:54,560
Speaker 1: this outdoor festival in Georgia in Atlanta, and uh, We're

494
00:28:54,600 --> 00:28:57,280
Speaker 1: actually on the same bill with Big Boy from from

495
00:28:57,360 --> 00:29:01,280
Speaker 1: Outcasts too. I'm a huge Outcast fan and uh and um,

496
00:29:01,400 --> 00:29:04,520
Speaker 1: and there were people waving that record was still pretty

497
00:29:04,560 --> 00:29:07,640
Speaker 1: new then. There were people you know, with with rebel

498
00:29:07,680 --> 00:29:10,440
Speaker 1: flags and uh, that like pull him out when that

499
00:29:10,480 --> 00:29:12,960
Speaker 1: song comes on, and I was, I was mortified, and

500
00:29:13,000 --> 00:29:15,720
Speaker 1: it's like, wow, people think that's what I'm saying and

501
00:29:15,800 --> 00:29:18,920
Speaker 1: that's not you know. So so it's made me question

502
00:29:19,040 --> 00:29:21,760
Speaker 1: the actual writing of the song. Oh interesting, but you

503
00:29:21,800 --> 00:29:25,240
Speaker 1: are part of the song is in it's in a character, sure,

504
00:29:25,480 --> 00:29:27,760
Speaker 1: and you guys, you guys write a lot of a

505
00:29:27,800 --> 00:29:30,440
Speaker 1: lot about kind of desperate characters, like characters serve in

506
00:29:30,480 --> 00:29:33,560
Speaker 1: the edge, and people tend to not get that really right.

507
00:29:33,640 --> 00:29:37,200
Speaker 1: Wouldn't want anybody, does it, you know? Yeah, you know, well,

508
00:29:37,320 --> 00:29:39,440
Speaker 1: speaking of Randy Newman, sail Away is not a song

509
00:29:39,480 --> 00:29:42,920
Speaker 1: I think he'd be really comfortable about paying right now.

510
00:29:43,000 --> 00:29:45,840
Speaker 1: It's an it's an amazing song, yeah, or or you know,

511
00:29:46,240 --> 00:29:49,680
Speaker 1: or Rednecks, which is also an amazing song, you know,

512
00:29:49,800 --> 00:29:52,560
Speaker 1: and uh, but it's also you know, a song that

513
00:29:53,080 --> 00:29:56,640
Speaker 1: you know it it's polarizing even to people who do

514
00:29:56,720 --> 00:29:59,240
Speaker 1: get it, you know. And I mean when we were

515
00:29:59,280 --> 00:30:02,600
Speaker 1: writing what the record that came to Southern Knock Opera,

516
00:30:03,040 --> 00:30:05,760
Speaker 1: we were We've spent a lot of time listening to

517
00:30:05,880 --> 00:30:08,080
Speaker 1: the Good Old Boys album by Randy Newman. To me,

518
00:30:08,200 --> 00:30:10,840
Speaker 1: that was that was always the original Southern Nock opera,

519
00:30:10,920 --> 00:30:15,440
Speaker 1: you know, And uh, it's just you know, I've always

520
00:30:15,480 --> 00:30:18,760
Speaker 1: loved him doing that, his writing of how he can

521
00:30:18,800 --> 00:30:21,200
Speaker 1: write from a point of view of a character who

522
00:30:21,280 --> 00:30:25,680
Speaker 1: might be at times a pretty dislikable character. And uh,

523
00:30:26,520 --> 00:30:28,920
Speaker 1: I think that's a valid I think that's a valid

524
00:30:29,000 --> 00:30:33,960
Speaker 1: art form. But it is something, particularly in these times,

525
00:30:34,200 --> 00:30:37,720
Speaker 1: it's it's it's a risk and uh and sort of

526
00:30:38,480 --> 00:30:42,280
Speaker 1: you know, I'm, I'm, I'm I'm still grappling with all

527
00:30:42,280 --> 00:30:45,160
Speaker 1: of that. Is it is that a particular burden of

528
00:30:45,280 --> 00:30:50,240
Speaker 1: Southern writers. I remember um Flannery O'Connor at one point

529
00:30:50,280 --> 00:30:55,120
Speaker 1: talked about Uh. She was always asked why Southern writers

530
00:30:55,120 --> 00:30:59,959
Speaker 1: always write about freaks, and her answer, and I'm again

531
00:31:00,000 --> 00:31:01,720
Speaker 1: hair phrasing, was something the fact that, well, there are

532
00:31:01,760 --> 00:31:06,600
Speaker 1: freaks everywhere, we're just better at recognizing them. And you

533
00:31:06,600 --> 00:31:08,520
Speaker 1: guys write about people, you know, who are very some

534
00:31:08,840 --> 00:31:14,760
Speaker 1: edgy characters. Do you feel an extra duty to somehow

535
00:31:14,800 --> 00:31:19,120
Speaker 1: make them sympathetic to not necessarily? I think I don't know.

536
00:31:20,040 --> 00:31:22,640
Speaker 1: What I don't ever want to be is condescending to them,

537
00:31:22,720 --> 00:31:24,920
Speaker 1: even if I disagree with them, I don't want to

538
00:31:24,920 --> 00:31:27,200
Speaker 1: be condescending to them. I don't want to be. I

539
00:31:27,320 --> 00:31:32,360
Speaker 1: want to at least try to write about it fairly

540
00:31:32,920 --> 00:31:35,720
Speaker 1: and then let the listener make up their own mind

541
00:31:35,760 --> 00:31:40,200
Speaker 1: as to where they land about that, which right now,

542
00:31:40,240 --> 00:31:44,880
Speaker 1: in this damn current climate in itself, that is even

543
00:31:44,920 --> 00:31:47,600
Speaker 1: the risk, you know, And maybe it always was. Maybe

544
00:31:47,640 --> 00:31:50,680
Speaker 1: I always naive to it, you know, because that certainly

545
00:31:50,720 --> 00:31:55,120
Speaker 1: could be possible too. But I want to be. I

546
00:31:55,200 --> 00:31:56,640
Speaker 1: want to I want to be true to what I'm

547
00:31:56,640 --> 00:32:00,680
Speaker 1: writing about, though, whether whether whether I personally agree or not.

548
00:32:00,880 --> 00:32:04,440
Speaker 1: I mean, you know, I had a had a very

549
00:32:04,600 --> 00:32:07,800
Speaker 1: different upbringing than most of the people I know from

550
00:32:07,840 --> 00:32:11,160
Speaker 1: where I'm from, you know. But but I don't necessarily,

551
00:32:11,600 --> 00:32:14,440
Speaker 1: you know, need to impose that on all the characters

552
00:32:14,440 --> 00:32:17,000
Speaker 1: are right about. When we come back, we'll pick back

553
00:32:17,080 --> 00:32:20,160
Speaker 1: up with Bruce's discussion with Patterson Hood and Mike Cooley,

554
00:32:20,320 --> 00:32:22,160
Speaker 1: And if you want to hear more about Randy Newman's

555
00:32:22,200 --> 00:32:25,400
Speaker 1: Good Old Boys album, check out episode four, Season four

556
00:32:25,520 --> 00:32:30,200
Speaker 1: of Malcolm Gladwell's other podcast, Revisionist History. More. After this,

557
00:32:34,920 --> 00:32:38,000
Speaker 1: we're back with Mike Cooley and Patterson Hood. Before playing

558
00:32:38,040 --> 00:32:41,040
Speaker 1: The Trucker's new song Thoughts and Prayers, Patterson talks about

559
00:32:41,040 --> 00:32:44,560
Speaker 1: what inspired him to write this song. This one's not

560
00:32:44,720 --> 00:32:46,959
Speaker 1: really in a character I don't guess, but it's uh,

561
00:32:47,440 --> 00:32:52,000
Speaker 1: I mean again, it was inspired by, you know, the

562
00:32:52,040 --> 00:32:54,920
Speaker 1: stuff going on, you know, the shootings and and and

563
00:32:54,960 --> 00:32:58,360
Speaker 1: all of that, you know, and again talking to my

564
00:32:58,440 --> 00:33:02,120
Speaker 1: kids about it and everything. But hum, the song is

565
00:33:02,160 --> 00:33:08,600
Speaker 1: called Thoughts and Prayers. Thank you. You told you explained

566
00:33:08,640 --> 00:33:10,760
Speaker 1: a little bit where the song came from. But I

567
00:33:10,800 --> 00:33:13,080
Speaker 1: need to ask you where one particular part of that

568
00:33:13,120 --> 00:33:17,360
Speaker 1: song came from. Which is the just beautiful image of

569
00:33:17,400 --> 00:33:23,320
Speaker 1: the flat earth earthest I guess right, realizing he's the

570
00:33:23,360 --> 00:33:26,800
Speaker 1: earth is around just before he hits the ground. Remember

571
00:33:26,800 --> 00:33:29,680
Speaker 1: where did that come? Years ago? When uh, like some

572
00:33:29,800 --> 00:33:33,520
Speaker 1: guy like went way up? It was like some kind

573
00:33:33,560 --> 00:33:37,760
Speaker 1: of a flatter thing a guy like like launched himself

574
00:33:37,920 --> 00:33:41,200
Speaker 1: and really didn't know it was like it was. It

575
00:33:41,240 --> 00:33:43,360
Speaker 1: was in the news right around the time that I

576
00:33:43,360 --> 00:33:47,520
Speaker 1: wrote the song. And and just at that perfect moment

577
00:33:48,400 --> 00:33:50,480
Speaker 1: when I came to that part of the it was

578
00:33:50,520 --> 00:33:53,680
Speaker 1: time to like write a bridge for the song, it

579
00:33:53,720 --> 00:33:58,000
Speaker 1: popped in my head. Then Uh, it just kind of, um,

580
00:33:58,240 --> 00:34:02,719
Speaker 1: you know, I got lucky, You get very lucky. That's uh,

581
00:34:03,200 --> 00:34:06,280
Speaker 1: that must be the Nassa influencing Yeah, northern Alabama. Yeah,

582
00:34:06,320 --> 00:34:09,399
Speaker 1: putting people on the moon, but it weirdly, which you've

583
00:34:09,440 --> 00:34:13,920
Speaker 1: also written about, it makes it a strangely optimistic song.

584
00:34:14,040 --> 00:34:16,799
Speaker 1: As angry as that song may sound to people, you know,

585
00:34:16,880 --> 00:34:19,280
Speaker 1: after that, I'm not sure if it's a course or reverse.

586
00:34:19,360 --> 00:34:23,319
Speaker 1: You actually talk about people finding a solution to all this?

587
00:34:23,440 --> 00:34:29,160
Speaker 1: Are you? Are you actually optimistic at this point. I'm

588
00:34:29,200 --> 00:34:32,200
Speaker 1: trying on that particular issue, or on any particular issue.

589
00:34:32,880 --> 00:34:36,520
Speaker 1: I'm trying. It's a work in progress. I'm trying, you know.

590
00:34:36,840 --> 00:34:40,719
Speaker 1: I do. I do get a lot of optimism from

591
00:34:41,040 --> 00:34:44,040
Speaker 1: the young people i'm around and uh, because I'm I'm

592
00:34:44,080 --> 00:34:46,360
Speaker 1: getting old and uh, but I'm around a lot of

593
00:34:46,400 --> 00:34:49,120
Speaker 1: young people, probably a lot more than people my age

594
00:34:49,200 --> 00:34:53,120
Speaker 1: normally are, because because I've I've got still have small kids,

595
00:34:53,239 --> 00:34:56,160
Speaker 1: I'm around a lot of their friends. You know. Our

596
00:34:56,200 --> 00:34:58,840
Speaker 1: house is kind of that house that a lot of

597
00:34:58,880 --> 00:35:04,160
Speaker 1: the it's friends feel happy congregating at. And uh, and

598
00:35:04,560 --> 00:35:06,960
Speaker 1: our bands on the road we meet people all over

599
00:35:07,000 --> 00:35:09,879
Speaker 1: the country, but we also our crew as all these

600
00:35:10,080 --> 00:35:15,000
Speaker 1: you know, guys in their twenties who are amazing, you know,

601
00:35:15,200 --> 00:35:18,560
Speaker 1: and uh and um, and I get so I get

602
00:35:18,640 --> 00:35:20,880
Speaker 1: I get a lot of optimism out of out of

603
00:35:20,880 --> 00:35:24,960
Speaker 1: that and uh, or what optimism I can hang on to?

604
00:35:25,239 --> 00:35:29,880
Speaker 1: I guess, uh, you know, I I'm I've always thought

605
00:35:29,880 --> 00:35:33,560
Speaker 1: of myself as a as an optimistic person, even if

606
00:35:33,600 --> 00:35:37,200
Speaker 1: I was kind of cynical and and maybe sometimes pragmatic

607
00:35:37,239 --> 00:35:40,799
Speaker 1: about it. I've I've always, I've always, I've always felt

608
00:35:40,840 --> 00:35:43,319
Speaker 1: like I had an undercurrent of that, and that was

609
00:35:43,520 --> 00:35:46,200
Speaker 1: that's been a that's been a real issue the last

610
00:35:46,280 --> 00:35:49,760
Speaker 1: few years because it's taken a real hard beaten after,

611
00:35:50,400 --> 00:35:54,200
Speaker 1: you know, with everything that's been going on, and hanging

612
00:35:54,200 --> 00:35:57,319
Speaker 1: onto that it's been Sometimes I feel like I'm hanging

613
00:35:57,360 --> 00:35:59,919
Speaker 1: onto it for dear life, like like a life raft

614
00:36:00,040 --> 00:36:04,200
Speaker 1: Steven and uh and um, but I'm I'm still hanging

615
00:36:04,239 --> 00:36:07,880
Speaker 1: onto it. Is it important to you that your music

616
00:36:07,920 --> 00:36:11,600
Speaker 1: and your shows reflect that. I would like it too,

617
00:36:11,800 --> 00:36:13,400
Speaker 1: But I don't want again, I don't want to be

618
00:36:13,440 --> 00:36:16,520
Speaker 1: dishonest about it, you know. And so I mean, you know,

619
00:36:16,600 --> 00:36:20,560
Speaker 1: it's definitely an underlying theme I think, and in this

620
00:36:20,640 --> 00:36:26,800
Speaker 1: record is the trying to hang on to that, and uh,

621
00:36:27,120 --> 00:36:30,000
Speaker 1: because uh, you know, I think that I think the

622
00:36:30,040 --> 00:36:33,120
Speaker 1: act of going to a rock show is a cathartic,

623
00:36:33,920 --> 00:36:37,440
Speaker 1: can be a really cathartic, uplifting, wonderful thing. You know.

624
00:36:37,600 --> 00:36:41,760
Speaker 1: I think, you know, I think I get from going

625
00:36:41,800 --> 00:36:46,239
Speaker 1: to rock shows probably what some people would get would

626
00:36:46,280 --> 00:36:48,560
Speaker 1: get from going to church or whatever. You know, It's

627
00:36:48,600 --> 00:36:51,439
Speaker 1: always been sort of that that thing for me, like that,

628
00:36:51,640 --> 00:36:54,239
Speaker 1: and and I would love for it to be have

629
00:36:54,400 --> 00:36:57,480
Speaker 1: that experience for the people who come to see us play,

630
00:36:57,719 --> 00:37:00,120
Speaker 1: and uh, you know, I want it to be on

631
00:37:00,480 --> 00:37:06,200
Speaker 1: and and there'd be some some bit of uplift to it.

632
00:37:06,680 --> 00:37:10,319
Speaker 1: But you know, at the same time, I'm you know,

633
00:37:11,200 --> 00:37:13,200
Speaker 1: these are tough times, which makes us need it more

634
00:37:13,239 --> 00:37:16,120
Speaker 1: than ever in a lot of ways. Thank you so much.

635
00:37:16,160 --> 00:37:18,560
Speaker 1: This songs are just beautiful. It was just it was

636
00:37:18,640 --> 00:37:21,640
Speaker 1: lovely hearing them just with two guitars. Please don't say

637
00:37:21,680 --> 00:37:24,600
Speaker 1: that to the rest of the band. It was great.

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Speaker 1: Thank you very much. Thanks to Mike Coolliam Patterson Hood

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00:37:29,760 --> 00:37:32,160
Speaker 1: from the Drive By Truckers for talking to Bruce and

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00:37:32,200 --> 00:37:35,000
Speaker 1: for playing songs from the new album been Rattling. The

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00:37:35,000 --> 00:37:36,799
Speaker 1: album's out now, so be sure to check it out

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00:37:36,800 --> 00:37:39,279
Speaker 1: along with the rest of their catalog, and if your

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00:37:39,360 --> 00:37:41,880
Speaker 1: need for a Drive by Trucker's primer, check out our

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00:37:41,920 --> 00:37:44,160
Speaker 1: favorite songs and a playlist we made on Broken Record

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00:37:44,200 --> 00:37:49,920
Speaker 1: podcast dot Com. Broken Record is produced help from Jason Gambrel, Melabelle,

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00:37:50,120 --> 00:37:54,400
Speaker 1: Leah Rose, Matt Leboza, and Martin Gonzalez for Pushkin Industries.

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00:37:55,040 --> 00:37:58,160
Speaker 1: Our theme musics by Kenny Beats. I'm justin Richmond. Thanks

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Speaker 1: for listening. Four