Latest / HEAVY Music Interviews / Have Music, Will Travel With RICHIE KOTZEN

Transcript

Have Music, Will Travel With RICHIE KOTZEN · HEAVY Music Interviews

• 0:05
  Speaker 1: Mine in my bit in nine games. This is that
• 0:17
  Speaker 1: right with me? Hi?
• 0:23
  Speaker 2: This is Richie Cottson on Heavy Magazine and I'm here
• 0:26
  Speaker 2: to let you know I've got a new album coming
• 0:28
  Speaker 2: out called Nomad Beautiful.
• 0:31
  Speaker 3: Richie, thanks for joining us today.
• 0:33
  Speaker 2: Oh my pleasure.
• 0:35
  Speaker 4: So as you say, brother, you release your latest solo
• 0:37
  Speaker 4: album I'm Mad on September twenty seven.
• 0:40
  Speaker 3: Brother. That's not far away now, Brian. How you feel
• 0:42
  Speaker 3: about it?
• 0:43
  Speaker 2: I feel good. I'm very happy with it. I'm happy
• 0:47
  Speaker 2: with the with what I recorded, and I'm looking forward
• 0:51
  Speaker 2: to sharing it. And we're actually on tour right now
• 0:56
  Speaker 2: and we've been playing Cheap Shots and on the Table live,
• 1:02
  Speaker 2: so that's been fun. And yeah, I'm looking forward to
• 1:05
  Speaker 2: getting it out there. I hope people are feeling it
• 1:09
  Speaker 2: the same way I do.
• 1:10
  Speaker 4: You know, now, you're obviously a very highly creative person
• 1:15
  Speaker 4: made so when you finished an album, like, do you
• 1:17
  Speaker 4: put it to bed and move on? Or do you
• 1:19
  Speaker 4: sort of sit there and think about what you could
• 1:21
  Speaker 4: have done differently or how you could have improved?
• 1:23
  Speaker 2: Oh? I love that question. I put it to bed
• 1:28
  Speaker 2: and move on. You know, I don't, so what happens?
• 1:33
  Speaker 2: You know? I get to the point where I listen
• 1:34
  Speaker 2: to it in the in the creative process, and it
• 1:37
  Speaker 2: starts to resemble what it was that I was hearing
• 1:41
  Speaker 2: in my mind. And once the speakers are reproducing that accurately,
• 1:46
  Speaker 2: I know I'm finished and I move on. And then
• 1:49
  Speaker 2: what happens is typically I fall into a heavy depression
• 1:53
  Speaker 2: because there was a lot of you know, stuff happening
• 1:58
  Speaker 2: internally during the creative process. It's very exciting and very rewarding.
• 2:02
  Speaker 2: And then it's done and it's over, and then it's like, okay,
• 2:06
  Speaker 2: now what you know? And so you know, you got
• 2:10
  Speaker 2: to for me, I got to go off and do
• 2:11
  Speaker 2: some other things. Oftentimes I have to do something outside
• 2:15
  Speaker 2: of music, like just go, you know, somewhere on the
• 2:18
  Speaker 2: property and start raking leaves or trimming a tree or something,
• 2:22
  Speaker 2: you know, and then wait until the next fire starts
• 2:26
  Speaker 2: to get me inspired.
• 2:28
  Speaker 3: You know, can you tell us.
• 2:30
  Speaker 4: A bit more about Nightmad from a musical point of
• 2:32
  Speaker 4: view and what you have done forward with the album?
• 2:35
  Speaker 2: Sure? I mean, you know, like most of my albums,
• 2:37
  Speaker 2: it's about, you know, a song by song, you know,
• 2:40
  Speaker 2: I focus on the composition at hand, and then ultimately,
• 2:45
  Speaker 2: when I get to a point where I feel like
• 2:46
  Speaker 2: I have enough compositions that make sense to live together comfortably.
• 2:53
  Speaker 2: Then I start thinking in terms of an album, and
• 2:57
  Speaker 2: so for this one, I got to that point where
• 2:59
  Speaker 2: I thought, you know, I have the makings of an album,
• 3:05
  Speaker 2: and I started writing notes like okay, well cheap shots.
• 3:09
  Speaker 2: Became very obvious that that's how I wanted to open
• 3:11
  Speaker 2: the record, and then it became very obvious that nihilist
• 3:15
  Speaker 2: was my last statement that I wanted to make on
• 3:18
  Speaker 2: the album. So that was the closer. And somewhere in there,
• 3:23
  Speaker 2: I started thinking in terms of records that I liked
• 3:25
  Speaker 2: when I was young, and I started realizing that many
• 3:28
  Speaker 2: of them did not have an absurd amount of songs
• 3:32
  Speaker 2: on the album. Many of them had eight nine, you know,
• 3:36
  Speaker 2: And so I started looking at that and I thought, well,
• 3:39
  Speaker 2: if I was to mirror something that you know, was
• 3:44
  Speaker 2: happening in my youth with in terms of that, let's see,
• 3:47
  Speaker 2: how would I sequence this? And I started thinking like
• 3:50
  Speaker 2: side A inside B, you know, and I started putting
• 3:54
  Speaker 2: it together that way. And so I in my mind,
• 3:57
  Speaker 2: which I've never done that before, you know, I was
• 4:00
  Speaker 2: thinking in terms of like a vinyl album, you know.
• 4:03
  Speaker 2: When I made this record, and it was. It was
• 4:08
  Speaker 2: exciting for me because you know, there was such a
• 4:10
  Speaker 2: special time for me back in the day, you know,
• 4:11
  Speaker 2: going and buying a record and all that stuff. You know,
• 4:14
  Speaker 2: I appreciate the fact that, you know, a compact disc
• 4:17
  Speaker 2: still sounds much better than the vinyl with the speed
• 4:20
  Speaker 2: kind of changing and the record's a little warped and
• 4:24
  Speaker 2: there's noise from the needle and all that stuff, but
• 4:26
  Speaker 2: just the aesthetic of the you know, the physical aspect. Yeah, yeah, yeah.
• 4:34
  Speaker 4: I was fortunate enough to have a listen to the
• 4:35
  Speaker 4: album before this interview made, and it's another fantastic effort
• 4:38
  Speaker 4: from you made. I don't think you've ever made a
• 4:39
  Speaker 4: bad album, honestly, You've got something come magic. But there's
• 4:44
  Speaker 4: as well as your sort of rock influences on this
• 4:46
  Speaker 4: made you draw influence from this hard rock to seventies
• 4:49
  Speaker 4: if you soul and funk has been a jazz fews
• 4:51
  Speaker 4: and gone on touch an R and B. Like, it's
• 4:53
  Speaker 4: a pretty eclectic mixes. Was that a goal to cover
• 4:57
  Speaker 4: a lot of different.
• 4:58
  Speaker 2: Genres, no, and and so all that stuff. The only
• 5:02
  Speaker 2: time that stuff is discloseder comes up is when people
• 5:05
  Speaker 2: ask you. And it's a normal thing for someone to ask,
• 5:07
  Speaker 2: but it's like, well, where are you driving from? Inspiration from,
• 5:11
  Speaker 2: or you know this or that, And the fact is
• 5:14
  Speaker 2: that I'm not consciously thinking about any of that, you know,
• 5:18
  Speaker 2: especially at this stage of my life. But if you
• 5:21
  Speaker 2: start really going down the rabbit hole, I have to
• 5:24
  Speaker 2: think back to when I was a child, and so
• 5:26
  Speaker 2: the first concert I ever went to was Stevie Wonder.
• 5:29
  Speaker 2: Then it was George Benson, and then shortly after that
• 5:33
  Speaker 2: I got exposed to hard rock. Then it was Iron Maiden.
• 5:36
  Speaker 2: So if I start going down the rabbit hole of like, well,
• 5:39
  Speaker 2: who did you listen to when you were young, I
• 5:42
  Speaker 2: start you can start to put together like, okay, well
• 5:45
  Speaker 2: this is these are my influences. You know. I love
• 5:48
  Speaker 2: Sliding the Family Stone, I love Parliament Folkadelic, but I
• 5:52
  Speaker 2: also love Iron Maiden and Black Sabbath and ACDs. So
• 5:56
  Speaker 2: you know, that's kind of my my wheelhouse. But as
• 5:59
  Speaker 2: a a fully grown recording artist, I never sit around
• 6:05
  Speaker 2: and think, oh, let me do something like, you know,
• 6:08
  Speaker 2: something like similar to what Larry Graham would do on
• 6:11
  Speaker 2: the base. Not to say that that doesn't happen, because
• 6:14
  Speaker 2: I've listened to those records and it's in my DNA
• 6:17
  Speaker 2: and my musical you know background. But in the process
• 6:22
  Speaker 2: of writing, I would never sit and say, oh, let
• 6:25
  Speaker 2: me do something that's sort of like it would be.
• 6:28
  Speaker 2: It would be the other way around. It's like I
• 6:30
  Speaker 2: would do something and it'd be done and it'd be like,
• 6:33
  Speaker 2: oh wow. It kind of reminds me of like something
• 6:36
  Speaker 2: Curtis Mayfield would have recorded, you know what I mean.
• 6:39
  Speaker 2: But it's never like the other way around of like, right,
• 6:43
  Speaker 2: I'm going to really go for a song that sounds
• 6:45
  Speaker 2: like run to the Hills from Iron Maiden, you know.
• 6:49
  Speaker 4: Oh, it's a bit of a telly off of your albums, mate,
• 6:51
  Speaker 4: And I got to twenty and gave up count and
• 6:53
  Speaker 4: you've got that many of them.
• 6:54
  Speaker 3: But how do how do you.
• 6:55
  Speaker 4: Challenge yourself musically with each new album cycle? Like I
• 6:58
  Speaker 4: haven't done so much already, I don't I just wait.
• 7:03
  Speaker 2: I don't challenge myself. I don't like challenges and I
• 7:06
  Speaker 2: don't like obstacles. I find them very uninspiring and just
• 7:13
  Speaker 2: why bother? You know. In the same way in relationships,
• 7:16
  Speaker 2: like when I was young, it's like if there was
• 7:18
  Speaker 2: a lady I was interested in, it became an obstacle.
• 7:21
  Speaker 2: Course I would. I would just not No, No, I'm
• 7:28
  Speaker 2: not interested in challengesstacles, proving anything. It's not in my wheelhouse.
• 7:32
  Speaker 2: So with music, I wait and I wait for inspiration,
• 7:38
  Speaker 2: and you know, if something strikes me, it's like, okay,
• 7:43
  Speaker 2: this needs to be written, because if I don't write this,
• 7:45
  Speaker 2: it's gonna haunt me and drive me into madness, you know.
• 7:50
  Speaker 2: So I yeah, I just wait. I wait for it
• 7:55
  Speaker 2: to happen, and then once once the door opens, then
• 7:58
  Speaker 2: I then I walk through, you know, and it's like
• 8:01
  Speaker 2: the preparation. I know how to handle these musical ideas
• 8:07
  Speaker 2: and bring them to life.
• 8:09
  Speaker 3: A lot of those lines.
• 8:10
  Speaker 4: Do you think it becomes easier or harder to come
• 8:12
  Speaker 4: up with fresh new material the.
• 8:14
  Speaker 3: More you're right?
• 8:17
  Speaker 2: Well, I think it ties into what I said. It's
• 8:20
  Speaker 2: not something that I'm aware of. So you know, I have,
• 8:25
  Speaker 2: you know, this thing where I always say, like, I
• 8:28
  Speaker 2: don't believe in writer's block, because if if I'm not writing,
• 8:35
  Speaker 2: it just means there's nothing that's meant to be written
• 8:37
  Speaker 2: for me right now, as opposed to one morning I
• 8:41
  Speaker 2: might wake up and have a song idea, and then
• 8:44
  Speaker 2: at that point when I have the idea, I have
• 8:46
  Speaker 2: it's up to me. It's up to me to go
• 8:48
  Speaker 2: to my phone and document it now in my phone,
• 8:52
  Speaker 2: right now, I've got let's see what it is today,
• 8:56
  Speaker 2: I've got I can't see my phone, but I'm going
• 8:59
  Speaker 2: to tell you. I'm doing this reason because I'm curious.
• 9:02
  Speaker 2: I got three hundred and ninety eight memos, three hundred
• 9:06
  Speaker 2: ninety eight memos that are recordings of me mumbling or
• 9:12
  Speaker 2: singing or playing a guitar that are ideas, and at
• 9:18
  Speaker 2: some point, when I'm in the mood, I'll go look
• 9:21
  Speaker 2: at them and something might strike me as interesting, and
• 9:24
  Speaker 2: I'll start writing, and i'll work on it and I'll
• 9:26
  Speaker 2: get it to a point, and then i'll leave and
• 9:29
  Speaker 2: do something else. And that's been my process forever. You know.
• 9:35
  Speaker 4: Now you're right recorded and produced and I made yourself,
• 9:38
  Speaker 4: and you played most of the instruments as well. So
• 9:40
  Speaker 4: is that because you know the sounds you want and
• 9:43
  Speaker 4: it's easy just to do it yourself.
• 9:45
  Speaker 2: Yeah. Yeah, that's the only reason. The only reason that
• 9:48
  Speaker 2: I do with that way is because of what you
• 9:50
  Speaker 2: just said. Is because I know how to get from
• 9:53
  Speaker 2: point A to point B. And once I'm hearing back
• 9:58
  Speaker 2: my vision, I know I'm finished, But that doesn't mean
• 10:01
  Speaker 2: that I don't welcome other folks to come and, you know,
• 10:05
  Speaker 2: help me with a with a piano part or a
• 10:08
  Speaker 2: drum part or something. But in general, once I'm on
• 10:11
  Speaker 2: a roll, I kind of get in this zone of like, okay,
• 10:16
  Speaker 2: I hear this beat, let me play this beat, Okay,
• 10:18
  Speaker 2: hear this bassline. Okay, and let me go back, let
• 10:21
  Speaker 2: me add a drum fill there. And suddenly I'm doing
• 10:23
  Speaker 2: all this stuff in like this kind of round robin like,
• 10:27
  Speaker 2: or I'm doing the drums. Okay, now I'm doing a
• 10:30
  Speaker 2: vocal idea, but oh shit, I don't like that one
• 10:32
  Speaker 2: drum fill I did last week. Let me go back
• 10:34
  Speaker 2: and punch in and fix it. It's really that, you know.
• 10:37
  Speaker 2: And but ultimately, when it's all said and done, I
• 10:42
  Speaker 2: get to the point where it sounds the way I
• 10:45
  Speaker 2: want it to sound. And then and like, you know,
• 10:48
  Speaker 2: as long as you're doing and anybody can do what
• 10:50
  Speaker 2: I'm doing, by the way, you know, if you work
• 10:53
  Speaker 2: at develop the skill set. But the idea is the
• 10:57
  Speaker 2: skill set is delivering your meal concept. So you need
• 11:01
  Speaker 2: two things. You need a point of view, something to
• 11:04
  Speaker 2: say right. We'll call that your concept, and then you
• 11:07
  Speaker 2: need the skill to execute your ideas, so you need
• 11:10
  Speaker 2: to be able to pick up the guitar and actually
• 11:12
  Speaker 2: play the part, or get behind the drums and play
• 11:14
  Speaker 2: the groove, you know, So those two components together and
• 11:18
  Speaker 2: then you can, you know, get to the end game,
• 11:21
  Speaker 2: which is the speaker's reproducing your vision. And for everybody
• 11:25
  Speaker 2: it works differently, but for me, you know, I've been
• 11:27
  Speaker 2: doing it that way most of my life, and so
• 11:31
  Speaker 2: that's that's what I like. And and the other thing
• 11:34
  Speaker 2: that goes with that is that if you're doing it
• 11:37
  Speaker 2: for yourself, then it works. It'll work, it'll be a
• 11:41
  Speaker 2: success as long as you have the mindset that I'm
• 11:44
  Speaker 2: doing this for my own well being and my own pleasure.
• 11:49
  Speaker 2: And then anything that happens after that is up in
• 11:51
  Speaker 2: the air. Where it gets very twisted and complicated and
• 11:55
  Speaker 2: sometimes frustrating. And that's so pleasant is when you introduce
• 11:59
  Speaker 2: the component of exterior expectations, right, that's where you know
• 12:07
  Speaker 2: and you know the payoff in that realm can be extraordinary,
• 12:12
  Speaker 2: but the pain to get there and the fact that
• 12:15
  Speaker 2: you may be bitterly disappointed and end up holding something
• 12:19
  Speaker 2: that you really didn't want. That way and I just
• 12:23
  Speaker 2: never got into that psychology. So you know, how much of.
• 12:28
  Speaker 3: Your albums is that lived in the studio?
• 12:30
  Speaker 4: Like do you do you just write everything before you
• 12:32
  Speaker 4: go in and stick to that or do you make
• 12:34
  Speaker 4: a bit up as you go along?
• 12:36
  Speaker 2: Well a little bit of both, so you know, obviously
• 12:43
  Speaker 2: it's oh man, it's different for everything. I mean, sometimes
• 12:46
  Speaker 2: I have, you know, a chorus written with the guitar,
• 12:50
  Speaker 2: and I have a verse idea, a concept for the verse,
• 12:54
  Speaker 2: and at that point I'll just go in and start
• 12:56
  Speaker 2: recording the song because I know it's going to all
• 12:59
  Speaker 2: come together. Other times, I may just have a melody
• 13:04
  Speaker 2: and I'll just start playing music to the melody and
• 13:09
  Speaker 2: I'll start scat singing, and I'll scat sing nonsense, and
• 13:13
  Speaker 2: then I'll hear when I listen back, oh, it sounds
• 13:15
  Speaker 2: like you said, take another cheap shot right there. Write
• 13:19
  Speaker 2: that down and then I'll know and I'm like, okay, well,
• 13:23
  Speaker 2: cheap shot. I could write a song around someone like
• 13:25
  Speaker 2: insulting me taking cheap shots, you know. And so now
• 13:30
  Speaker 2: I got this track, and I start filling in the
• 13:33
  Speaker 2: blanks of like and now all of a sudden, oh,
• 13:35
  Speaker 2: I got a story, you know, Oh, I can write
• 13:39
  Speaker 2: this song about this or that, you know what I mean,
• 13:42
  Speaker 2: But so they all come a little differently. Other times,
• 13:45
  Speaker 2: I'm in my living room with an acoustic guitar and like,
• 13:47
  Speaker 2: I have a song called what Is. I always use
• 13:49
  Speaker 2: it as an example. The thing wrote itself. I mean literally,
• 13:53
  Speaker 2: I was strumming the chorus and the words just came out,
• 13:55
  Speaker 2: and I grabbed pen and paper and I started writing
• 13:57
  Speaker 2: it down, and the song wrote it else. I mean
• 14:00
  Speaker 2: I wrote it obviously, but figuratively, it wrote itself. It
• 14:04
  Speaker 2: just came out. And when that happens, that's like really cool,
• 14:09
  Speaker 2: you know, would be.
• 14:11
  Speaker 4: One are the roles that you had, as we said,
• 14:13
  Speaker 4: was that you produced the album yourself.
• 14:15
  Speaker 3: Mate, So how hot is it being critical of your
• 14:18
  Speaker 3: own work?
• 14:20
  Speaker 2: Oh, there's nobody more critical of my own work than me,
• 14:24
  Speaker 2: because I know, see, here's the beauty of it. And
• 14:28
  Speaker 2: you and again anybody can get to this point is
• 14:31
  Speaker 2: where you get to the point where you know your
• 14:33
  Speaker 2: instrument so well. And for me, my instrument is my
• 14:36
  Speaker 2: singing voice. You know, that's really the most valuable element
• 14:42
  Speaker 2: of what I have, other than the ability to write
• 14:47
  Speaker 2: a song and put words together with melodies. But you know,
• 14:52
  Speaker 2: I know when I'm connected. So you know, I've had
• 14:57
  Speaker 2: situations where like a guy would be like, I'd love
• 15:00
  Speaker 2: to produce you, you know, let me, you know, let's go
• 15:02
  Speaker 2: in and let's do this. And so now I'm in
• 15:03
  Speaker 2: a position where I'm singing and I've got someone saying, oh,
• 15:09
  Speaker 2: I like this, like this or do that, And in
• 15:11
  Speaker 2: my mind, I'm like, I don't feel connected to this emotionally.
• 15:16
  Speaker 2: They might they might think that this is good, but
• 15:19
  Speaker 2: I know that it's not great because I don't have
• 15:23
  Speaker 2: the feeling of what greatness feels like for me. And
• 15:26
  Speaker 2: so when you know your instrument very well, you know
• 15:31
  Speaker 2: when you're singing and delivering a line, and you know
• 15:35
  Speaker 2: when it's really believable because you know when you really
• 15:37
  Speaker 2: felt it, something happens internally. That's a real deep connected feeling.
• 15:43
  Speaker 2: And so many times I'll listen to something and I'll
• 15:47
  Speaker 2: be like, I don't believe that. I don't buy you.
• 15:50
  Speaker 2: When you sing that one line it is, something's not right.
• 15:55
  Speaker 2: Sing it again, you know, and until I have that
• 15:59
  Speaker 2: thing that clicks, Oh that was it? That was it?
• 16:02
  Speaker 2: Don't touch it, you know, don't. I mean, I mean
• 16:05
  Speaker 2: the old day I say, don't touch it, because you
• 16:06
  Speaker 2: know the engineers like you know, running a tape machine.
• 16:09
  Speaker 2: You know, like I've seen horrible shit happens. Don't touch
• 16:13
  Speaker 2: take it out of record, take the cooking on another track,
• 16:16
  Speaker 2: you know what I mean? You know, I mean now
• 16:17
  Speaker 2: with pro tools, it's a little different. But you know,
• 16:21
  Speaker 2: I know when I'm when I'm on and when I'm off.
• 16:24
  Speaker 2: And then sometimes something comes out and it's like, oh,
• 16:27
  Speaker 2: well that could have been a little more in tune,
• 16:30
  Speaker 2: or it could have been this committed, but said, well,
• 16:32
  Speaker 2: but the pocket of where that sat in the time
• 16:35
  Speaker 2: and the inflection was so perfect. No, no, no, no, it's
• 16:39
  Speaker 2: not going to get any better than that. Trust we
• 16:41
  Speaker 2: leave it alone, you know. And the worst the last
• 16:44
  Speaker 2: thing I'll say, and the most frustrating thing with working
• 16:46
  Speaker 2: with others is you might create something and do something,
• 16:51
  Speaker 2: and you might have a moment that is so honest
• 16:54
  Speaker 2: and true and brilliant in your psyche and the person listening,
• 17:01
  Speaker 2: and there might be three things in the track that
• 17:03
  Speaker 2: you know are a little fucked up, but you're just
• 17:05
  Speaker 2: too lazy to fix it. It never fails that this
• 17:09
  Speaker 2: person will go and point out the thing that's brilliant. Well,
• 17:12
  Speaker 2: I think maybe if you add a harm ory to that,
• 17:15
  Speaker 2: and I'm like, oh my god. The whole reason that
• 17:18
  Speaker 2: works is because it's alone. It's one single voice by itself,
• 17:23
  Speaker 2: and you want to fuck that up. Meanwhile, there's three
• 17:25
  Speaker 2: things wrong with this fucking song that you can't hear,
• 17:29
  Speaker 2: and I'm not going to bring that up because that's
• 17:31
  Speaker 2: a whole can of worms, you know what I mean?
• 17:34
  Speaker 3: So when do you put it that way?
• 17:38
  Speaker 2: No?
• 17:39
  Speaker 4: Man, he's out on September twenty seventh, mate, But I
• 17:41
  Speaker 4: can imagine you've got a bit of a hectic curing
• 17:43
  Speaker 4: schedule after that.
• 17:45
  Speaker 3: Is a strier in your plans.
• 17:46
  Speaker 2: Yet we're talking about it. Management is actually kicking the
• 17:52
  Speaker 2: tires with some promoters to see what they come back with.
• 17:54
  Speaker 2: So you know, maybe it's been twenty seventeen. Was the
• 17:58
  Speaker 2: only time I think I was there?
• 18:00
  Speaker 4: I think I was at that show in Brisbane? Shape
• 18:02
  Speaker 4: Did you play with Rusty from Electric Mary?
• 18:04
  Speaker 3: Was he your support?
• 18:05
  Speaker 2: Yeah? That sounds familiar.
• 18:07
  Speaker 3: I was at that show and it fucking blew me away. Absolutely,
• 18:10
  Speaker 3: I can't come back.
• 18:11
  Speaker 2: Right cool man.
• 18:13
  Speaker 4: Thanks, Now, before we let you go, mate, I've got
• 18:15
  Speaker 4: a new segment where I go through our band's Facebook
• 18:18
  Speaker 4: pages and I'd pick out a couple of photos and
• 18:20
  Speaker 4: just getting you to tell me the story behind them, mate.
• 18:22
  Speaker 4: So fuck, we got this one first, mane, what are
• 18:27
  Speaker 4: you wearing their?
• 18:30
  Speaker 2: Oh that's oh that's me and she who passed away. Uh,
• 18:35
  Speaker 2: well I'm wearing I bought that. Uh so on on
• 18:41
  Speaker 2: Melrose by the Fairfax High School, they have like a
• 18:44
  Speaker 2: swap meet every Sunday, which I've been going there, you know,
• 18:49
  Speaker 2: for I don't know thirty years however long. And the
• 18:53
  Speaker 2: lady had that hanging up and it's made out of
• 18:56
  Speaker 2: hemp material and that it was probably during the lockdown,
• 19:02
  Speaker 2: and I'm chilling with my doggie. I can't see my
• 19:05
  Speaker 2: face on the picture.
• 19:06
  Speaker 1: But.
• 19:11
  Speaker 4: That said something about you'd pick up the guitar and
• 19:13
  Speaker 4: the dog just comes and makes itself comfortable right where
• 19:15
  Speaker 4: you want to play.
• 19:16
  Speaker 2: That's the Doberman for you.
• 19:18
  Speaker 3: Ha ha.
• 19:19
  Speaker 4: And we go one more with you and a few
• 19:21
  Speaker 4: of the boys on a beach with jeans ony.
• 19:27
  Speaker 2: Yeah, well I can explain that that was That was
• 19:34
  Speaker 2: not a beach day. The restaurant happens to be on
• 19:36
  Speaker 2: the beach that's close to where I live, and that's
• 19:38
  Speaker 2: Paradise Cove and so you've got a restaurant there, and
• 19:45
  Speaker 2: I think it's the only one that has a section
• 19:48
  Speaker 2: where you can drink alcohol, actually unless they change that.
• 19:51
  Speaker 2: But we were recording, we were writing for what would
• 19:56
  Speaker 2: be our third album, and we took a break and
• 20:01
  Speaker 2: drove down to have lunch. And that's why we're dressed
• 20:05
  Speaker 2: like that. It wasn't necessarily a beach day.
• 20:08
  Speaker 4: I thought I was the only one who wore jeans
• 20:10
  Speaker 4: and the black shirt at the beach mate.
• 20:11
  Speaker 2: But yeah, and you look at that onto yourself, it's
• 20:17
  Speaker 2: quite silly. I agree.
• 20:20
  Speaker 4: Very good, all right, Richie, Well thanks very much for
• 20:22
  Speaker 4: your time that I've hadn't been absolutely pleasure speaking with you.
• 20:24
  Speaker 4: No man, it's out September twenty seven and it's a
• 20:28
  Speaker 4: fucking brilliant album, made as usual, So best of black
• 20:30
  Speaker 4: with it and we'll see you when you come back
• 20:31
  Speaker 4: to Australia.
• 20:33
  Speaker 2: Okay, thank you, cherious.
• 20:40
  Speaker 1: Mine in in nine games.
• 20:55
  Speaker 5: With me, I've got to such suicided coming to the
• 21:08
  Speaker 5: other it's today.
• 21:14
  Speaker 2: I can't fall see.
• 21:17
  Speaker 5: Said my fee the train to old day, say about
• 21:26
  Speaker 5: to call hold on, sorry about a change A whole
• 21:34
  Speaker 5: lot chime say about to call hold side. I'm going
• 21:40
  Speaker 5: get your work home.
• 21:45
  Speaker 1: Uh heavy in her boice.
• 21:55
  Speaker 5: A tested way.
• 22:01
  Speaker 2: With me.
• 22:02
  Speaker 5: I've got those sucid.
• 22:07
  Speaker 2: Comated by another.
• 22:12
  Speaker 5: I'm going on your mercy, I much. I had a
• 22:18
  Speaker 5: silent scream sharp okay because he not go.
• 22:29
  Speaker 6: On.
• 22:29
  Speaker 5: Sorry body dream chime because he not go I'm coming
• 22:41
  Speaker 5: at your back to give scot und.
• 22:51
  Speaker 6: Body dream words time and so dreams the time.
• 23:00
  Speaker 5: Come make your walk. I'm joining the bulgy, will see.
• 23:28
  Speaker 1: Are you so sever.
• 23:31
  Speaker 3: At the cow?
• 23:33
  Speaker 5: The no shall the bad so to stay awake.
• 23:41
  Speaker 6: Shut they not go, so.
• 23:49
  Speaker 5: Jane go home Chi they not go.
• 23:55
  Speaker 1: Course, I'm going.
• 23:58
  Speaker 5: Make your walk to bars Ma back.
• 24:07
  Speaker 6: Come your walk, charge, come your walk
• 24:33
  Speaker 2: And