Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / The Black Keys

Transcript

The Black Keys · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin. This is broken record, real musicians, real conversations. Here's
• 0:28
  Speaker 1: my conversation with Dan Auerbach and Patrick Carney of the
• 0:31
  Speaker 1: Black Keys. So you guys are finishing a new album.
• 0:35
  Speaker 1: It's not not quite done though.
• 0:36
  Speaker 2: It's basically it's we's to have to mix it. So
• 0:39
  Speaker 2: that's almost done. So we're going to LA in two
• 0:42
  Speaker 2: weeks too to tweak some mixes and yeah, it's gotta
• 0:46
  Speaker 2: be sent to uh often get pressed in like three weeks.
• 0:53
  Speaker 2: So we're basically done with it, just have to master it,
• 0:56
  Speaker 2: mix it.
• 0:57
  Speaker 1: Have you guys mastered anything out there or do you
• 1:00
  Speaker 1: typically come out to LA to do that?
• 1:02
  Speaker 2: I mean we've met, we have stuff mastered all over,
• 1:04
  Speaker 2: we have stuff mixed all over, but typically we don't
• 1:07
  Speaker 2: attend a mixed session. This is like what it's like
• 1:09
  Speaker 2: the first time we've ever done that, just to kind
• 1:11
  Speaker 2: of do final tweaks because it's so difficult to you know,
• 1:16
  Speaker 2: it just sucks trying to explain stuff in an email,
• 1:18
  Speaker 2: so little, tiny, nuanced stuff.
• 1:21
  Speaker 1: Is that in response to having been unhappy with any
• 1:24
  Speaker 1: mixes recently or just was it album moting mixed once
• 1:27
  Speaker 1: and it wasn't the standard?
• 1:29
  Speaker 2: Or well, I mean I think you know, uh, since
• 1:33
  Speaker 2: Brothers we've been kind of sending stuff off to get mixed.
• 1:35
  Speaker 2: That was that was a game changer for us to
• 1:38
  Speaker 2: be able to tap into someone that's like, uh, you know,
• 1:43
  Speaker 2: that's what they do for a living. Prior to that,
• 1:45
  Speaker 2: we'd mix stuff ourselves, or we would like, you know,
• 1:48
  Speaker 2: mix it with a maybe just an engineer at the studio.
• 1:51
  Speaker 2: But you know, when we sent Brothers to Chad Blake,
• 1:54
  Speaker 2: that was a real eye opener. See what it's like
• 1:57
  Speaker 2: to get something back from someone that's just you know,
• 2:00
  Speaker 2: a master at that craft. And so we've you know,
• 2:04
  Speaker 2: we've made a lot of albums with Chad. We did
• 2:06
  Speaker 2: the last record with Spike Stint and then we're working
• 2:10
  Speaker 2: with Manny Merrickuhen on this album.
• 2:13
  Speaker 1: Wow, Delta Kaream. I guess this decade from like Delta
• 2:16
  Speaker 1: Cream to now its four albums, it does seem like
• 2:22
  Speaker 1: the sounds like you started the decade almost It sounds
• 2:25
  Speaker 1: like back to like the big come up kind of sound,
• 2:28
  Speaker 1: down to doing do the Romp Again Part two and
• 2:33
  Speaker 1: have kind of slowly moved away, or not moved away,
• 2:38
  Speaker 1: but slowly drifted to a sound that's like it's a
• 2:42
  Speaker 1: more complete production sound maybe or a more full production sound.
• 2:46
  Speaker 3: Yeah, Delta Cream was really just a jam session that
• 2:49
  Speaker 3: we released. You know, we didn't really know we had
• 2:52
  Speaker 3: an album until how long was it after we recorded
• 2:56
  Speaker 3: that that we even listened to it?
• 2:58
  Speaker 4: Yeah, we did it.
• 2:59
  Speaker 2: We recorded in December of twenty nineteen, right after the
• 3:02
  Speaker 2: first leg of the Let's Rock Tour, and then the
• 3:05
  Speaker 2: pandemic happened. I don't think we really checked it out
• 3:07
  Speaker 2: to see what was there until the July or August.
• 3:10
  Speaker 3: And then we didn't fix anything. So it's just it's
• 3:13
  Speaker 3: just a it is what it is, you know, no
• 3:16
  Speaker 3: overdubs at all, no overdubs on it, just some percussion
• 3:22
  Speaker 3: and then Yeah, so when we got back to making
• 3:26
  Speaker 3: like a normal Black Keys record, he was more kind
• 3:29
  Speaker 3: of back to you know, being creative in the studio,
• 3:32
  Speaker 3: working with the studio as a tool to you know,
• 3:35
  Speaker 3: kind of get creative and stuff. And because that's you know,
• 3:38
  Speaker 3: part of the fun of it for us has always
• 3:40
  Speaker 3: been recording.
• 3:43
  Speaker 2: Yeah, basically we put we put Delta Cream out in
• 3:46
  Speaker 2: spring of twenty twenty one, and then we did some
• 3:51
  Speaker 2: promo around that. That was the first time we were
• 3:52
  Speaker 2: able to work in like you know, a year and
• 3:54
  Speaker 2: a half and then around that promo stuff, we just
• 3:58
  Speaker 2: hopped in the studio and started working on what became
• 4:00
  Speaker 2: Dropout Boogie, And when we kept when we finished that album,
• 4:06
  Speaker 2: we just kept working so kind of like the basically,
• 4:10
  Speaker 2: you know, from that spring of twenty twenty one until now,
• 4:13
  Speaker 2: we've just been in a constant state of recording. So yeah,
• 4:18
  Speaker 2: like we went from the Drop Off Boogie into making
• 4:21
  Speaker 2: what became Ohio Players, you know, which was we recorded
• 4:25
  Speaker 2: like a ton of songs for that album. We end
• 4:27
  Speaker 2: up releasing nineteen and then you know, we put that
• 4:33
  Speaker 2: out and then kind of ended up right back in
• 4:36
  Speaker 2: the studio this summer and just once again it got
• 4:39
  Speaker 2: another batch of like twenty songs and we'll put you know,
• 4:43
  Speaker 2: like eleven of them out.
• 4:46
  Speaker 4: On this album.
• 4:47
  Speaker 1: Do you guys typically record jam sessions or was that No,
• 4:51
  Speaker 1: we don't usually do that, to be honest, I mean,
• 4:54
  Speaker 1: all of our recording sessions start with us jamming, but
• 4:56
  Speaker 1: then we build on it.
• 4:57
  Speaker 3: But this thing was this happened because I was making
• 5:00
  Speaker 3: a record with Robert Finley in the studio and I
• 5:02
  Speaker 3: had Kenny Brown there and Eric Deaton, so you know,
• 5:07
  Speaker 3: that was sort of the the reason that we got
• 5:10
  Speaker 3: in the studio for that in the first place, you know,
• 5:13
  Speaker 3: because we've never recorded with a bass player ever. That
• 5:17
  Speaker 3: was the first time on Delda Cream, so you know,
• 5:21
  Speaker 3: that was even though it felt like the big come
• 5:23
  Speaker 3: up days and it was like something new at the
• 5:25
  Speaker 3: same time.
• 5:26
  Speaker 1: You know, have you guys recorded with the bass player
• 5:30
  Speaker 1: live since then or no?
• 5:33
  Speaker 2: Yeah, a couple of times. Our cover of Forgot to
• 5:37
  Speaker 2: Be Your Lover, that's right, we did that in La
• 5:41
  Speaker 2: with Tommy Branneck on bass, and we did a couple
• 5:46
  Speaker 2: other songs. I think, but I love it, you know
• 5:51
  Speaker 2: it really I under you know, now after twenty some
• 5:56
  Speaker 2: years of playing drums, I understand why. You know, it's
• 6:00
  Speaker 2: great to have a good bass player. Nice to lock
• 6:03
  Speaker 2: in with the bass player.
• 6:04
  Speaker 4: It's fun. Yeah.
• 6:05
  Speaker 3: Yeah, a lot of the songs I'm Brothers started with
• 6:07
  Speaker 3: bass and drums.
• 6:09
  Speaker 2: Yeah, that's right. So Brothers was basically cut that way
• 6:12
  Speaker 2: because we when we were making that record Black Rock
• 6:15
  Speaker 2: right before that, we're doing like, you know, the music,
• 6:18
  Speaker 2: and then we're having rappers come in, so we're making
• 6:20
  Speaker 2: beats essentially, we were you know, focusing on starting the
• 6:24
  Speaker 2: tracks with a lot of them with just bass and drums.
• 6:28
  Speaker 2: So we went into Brothers, we just kind of maintained
• 6:30
  Speaker 2: that method and.
• 6:33
  Speaker 3: Mark Neil had an amazing Rickenbacker bass. It was like
• 6:36
  Speaker 3: a rick four thousand or something. It was awesome, sounded
• 6:39
  Speaker 3: so good.
• 6:40
  Speaker 1: And so for Brothers, did you guys put guitar over
• 6:43
  Speaker 1: those basic tracks? Then? Yeah, wow, that's a that's a
• 6:51
  Speaker 1: unique way. I don't know, that's a really unique way
• 6:53
  Speaker 1: of doing it, especially considering the guitar or drum band.
• 6:56
  Speaker 4: You know.
• 6:58
  Speaker 2: Well that yeah, that album, most of it was recorded
• 7:00
  Speaker 2: at Muscle Shoals Sound and when we did that, it
• 7:03
  Speaker 2: still hadn't been renovated, so it was it was pretty
• 7:07
  Speaker 2: messed up. And Mark Neil brought like this twelve channel
• 7:11
  Speaker 2: stood suitcase mixer, so that's what we tracked through. So
• 7:14
  Speaker 2: we were only able to monitor twelve tracks at a time.
• 7:18
  Speaker 2: So like I think there was a couple songs that
• 7:20
  Speaker 2: had thirteen songs when we or thirteen tracks, and when
• 7:23
  Speaker 2: we had listened back, we just would like not listen.
• 7:25
  Speaker 4: To the tambourine, but we not.
• 7:28
  Speaker 2: We couldn't hear the whole thing together for the most
• 7:31
  Speaker 2: part until we got mixes.
• 7:33
  Speaker 1: You had to trust the tambourinees coming through right.
• 7:35
  Speaker 3: Yeah, but there was something about the way that we
• 7:38
  Speaker 3: recorded that so minimal and then gave it to Chad Blake,
• 7:42
  Speaker 3: who was able to just like maximize everything. And he
• 7:47
  Speaker 3: loved it too. He's used to getting sessions that have
• 7:51
  Speaker 3: a million tracks, and he was he loved that mixing
• 7:55
  Speaker 3: that record.
• 7:57
  Speaker 1: He loved that there was only about thirteen tracks, yeah, versus.
• 8:00
  Speaker 3: The exactly Delta Cream the same thing when he was
• 8:05
  Speaker 3: mixing that.
• 8:08
  Speaker 1: How come you guys sent that record of Chat instead
• 8:10
  Speaker 1: of doing it yourselves.
• 8:11
  Speaker 4: We're not Chad Blake. Yeah, well there's only one Chat.
• 8:15
  Speaker 3: There's only one Chad Blake. Yeah.
• 8:17
  Speaker 1: But if you guys had been doing it yourself before,
• 8:19
  Speaker 1: was it was just a experiment in a sense.
• 8:23
  Speaker 4: Well, us doing it ourselves.
• 8:25
  Speaker 3: This whole thing was an experiment.
• 8:26
  Speaker 4: Yeah.
• 8:27
  Speaker 3: Everything we did was we had no idea what we
• 8:29
  Speaker 3: were doing. Man, there's no re frame of reference. We'd
• 8:32
  Speaker 3: never seen anybody mix, you know, so we didn't know
• 8:35
  Speaker 3: what mixing.
• 8:35
  Speaker 2: What we kind of had because we've gone to like
• 8:38
  Speaker 2: shitty studios and Acronym made recordings on like an eight
• 8:42
  Speaker 2: and then we get we get the recording back and
• 8:44
  Speaker 2: it would just sound like the drums would sound like
• 8:46
  Speaker 2: someone was smacking a pillow. So that's when we started
• 8:50
  Speaker 2: just doing everything ourselves. It's like, if it's gonna sound
• 8:54
  Speaker 2: fucked up, like at least make it sound fu Yeah,
• 8:57
  Speaker 2: at least, let's let's do it ourselves. And then every
• 9:00
  Speaker 2: time when we first tried to go into studios, you know,
• 9:02
  Speaker 2: like back then around the first second record, we did
• 9:07
  Speaker 2: not We didn't know how to commune. We were so
• 9:09
  Speaker 2: used to using like a real to real eight track
• 9:12
  Speaker 2: or like a primitive digital recorder. Then we started dealing
• 9:15
  Speaker 2: with like looking at like a real compressor and stuff,
• 9:18
  Speaker 2: you know, Like I remember being mystified and why the
• 9:21
  Speaker 2: VU wasn't hitting the red on a on a compressor
• 9:24
  Speaker 2: and it was going backwards, and I was like, dude,
• 9:26
  Speaker 2: thing's broken, bro, And you know, I'm sure they thought
• 9:29
  Speaker 2: we were complete idiots. But it was frustrating because we
• 9:32
  Speaker 2: kept wanting things to sound distorted and you know, kind
• 9:36
  Speaker 2: of gritty, and it was really hard to get those
• 9:42
  Speaker 2: sounds in a real studio.
• 9:44
  Speaker 3: It's been a lifelong search for those sounds really, to
• 9:47
  Speaker 3: be honest, that's half the fun of it. Though.
• 9:49
  Speaker 1: Yeah, the sound on Ohio Players was really cool.
• 9:52
  Speaker 3: I mean there's live performances at the root of every
• 9:55
  Speaker 3: one of those songs real, you know, absolutely, yeah, songs
• 9:59
  Speaker 3: like on the game stuff like that were we're kind
• 10:02
  Speaker 3: of we're live in the studio. We tracked that one
• 10:06
  Speaker 3: with bass, bass, guitar, our, keyboards and drums live, and
• 10:12
  Speaker 3: a couple other ones from that session too, so they
• 10:14
  Speaker 3: really have a great like live raw feel. And those
• 10:19
  Speaker 3: were recorded at toe Rag World, Famous Toe Rag that
• 10:22
  Speaker 3: has closed recently, but we always wanted to record there,
• 10:25
  Speaker 3: and I think we may have been like one of
• 10:27
  Speaker 3: the very last to record there, Famous London's all analog studio.
• 10:34
  Speaker 3: The guy was really inspired by Joe Meek. Liam Watson,
• 10:38
  Speaker 3: he ran It's really cool place and Mark Neil designed
• 10:41
  Speaker 3: the room right, Yeah, Mark Neil helped him design it.
• 10:43
  Speaker 3: The guy who recorded us in Muscle Shoals.
• 10:47
  Speaker 1: Did he work with Joe Meek? Was he around like when.
• 10:49
  Speaker 2: No, Joe Meek died like he killed himself in his
• 10:55
  Speaker 2: land lady right, something like that? Yeah, some tragic story. Yeah,
• 11:02
  Speaker 2: were you guys?
• 11:03
  Speaker 1: Were you guys around for.
• 11:06
  Speaker 3: God?
• 11:06
  Speaker 1: Who's the other great?
• 11:07
  Speaker 4: Uh?
• 11:09
  Speaker 1: John Peel? Did you guys ever do like a Peel session?
• 11:11
  Speaker 4: Oh?
• 11:12
  Speaker 3: Yeah, yeah, we did a couple of them.
• 11:15
  Speaker 2: That was our first That was our first kind of
• 11:16
  Speaker 2: big break outside of the US was John Peel playing
• 11:22
  Speaker 2: the Big come Up. And then our first trip over
• 11:25
  Speaker 2: to England was like a promo trip when Thick Freakness
• 11:30
  Speaker 2: was about to come out in April of two thousand
• 11:32
  Speaker 2: and three, and uh and yeah, we did our first
• 11:35
  Speaker 2: Peel session there and then a couple of months later
• 11:40
  Speaker 2: we got asked to come.
• 11:40
  Speaker 3: To his house, his country estate.
• 11:46
  Speaker 2: Yeah, he would do it. He would do like his
• 11:48
  Speaker 2: show in the summertime from his house. We we had
• 11:51
  Speaker 2: this crazy year of two thousand and three, just you know,
• 11:53
  Speaker 2: being really broke but traveling a lot, and this one,
• 11:58
  Speaker 2: you know, we went and played some festival in Norway.
• 12:00
  Speaker 2: Then we flew to London and we got picked up,
• 12:02
  Speaker 2: drove right to his house. Remember we were just so
• 12:06
  Speaker 2: jet lagged. I took an app in his daughter's bed
• 12:10
  Speaker 2: while Dan played soccer with him in the yard and
• 12:14
  Speaker 2: went through his record collection. And then we did another
• 12:16
  Speaker 2: Peel session like literally two months after that. It was
• 12:20
  Speaker 2: a live thing again with like Steve Malcolms and the
• 12:23
  Speaker 2: jicks from in Brighton, and then you know, we did
• 12:29
  Speaker 2: a Peel set when we put out Rubber Factory. We
• 12:32
  Speaker 2: landed in London to do a tour there, like right
• 12:36
  Speaker 2: at the end of October, and uh, when we got
• 12:40
  Speaker 2: picked up from the airport, our driver had a newspaper
• 12:44
  Speaker 2: and the headline was John Peel dead at sixty four
• 12:46
  Speaker 2: And we were supposed to head to a Peel session
• 12:49
  Speaker 2: like the very next day. So we actually went to
• 12:52
  Speaker 2: the Peel session still and they were like, we don't
• 12:56
  Speaker 2: know what to do, Like I made a veil three right, Yeah, yeah,
• 13:01
  Speaker 2: they're like, you know, we don't know what's happening, but
• 13:04
  Speaker 2: we know like he's like he was trying to do
• 13:07
  Speaker 2: John Peele, trying to accomplistion of Lonnie Donegan songs. So
• 13:10
  Speaker 2: like we just spent two hours trying to learn these
• 13:11
  Speaker 2: two little Lonnie down Against songs. But yeah, it was
• 13:15
  Speaker 2: like it took all the momentum out of our out
• 13:18
  Speaker 2: of our thing, because that was like our only supporter
• 13:21
  Speaker 2: in the UK.
• 13:23
  Speaker 4: He died. He went on a trip to Peru and
• 13:27
  Speaker 4: had a heart attack.
• 13:29
  Speaker 1: What was what was it? First of all, what was
• 13:31
  Speaker 1: his record collection? Like that record collection must have been crazy.
• 13:34
  Speaker 3: He was crazy. He had different how like different outbuildings
• 13:37
  Speaker 3: like there was like a barn over here, and they
• 13:39
  Speaker 3: all had thatched roofs. Right, So there's like a thatched
• 13:42
  Speaker 3: roof barn over here. That was all his seventy eighths,
• 13:45
  Speaker 3: and then over in this thatched roof big thing was
• 13:48
  Speaker 3: like all his you know, forty fives. And we we
• 13:52
  Speaker 3: dug through his LPs and looked for some stuff. You know,
• 13:55
  Speaker 3: I wanted to hear like let's Work Together by Wilbur Harrison,
• 14:01
  Speaker 3: and so we searched for it and found the record
• 14:03
  Speaker 3: and played it and he's like, I'm like, no, that's
• 14:05
  Speaker 3: not that's the wrong version. You know, we need the
• 14:07
  Speaker 3: earlier version. So we he went back and he found it.
• 14:10
  Speaker 3: He had it.
• 14:11
  Speaker 1: Fuck, he had had all the everything.
• 14:13
  Speaker 4: I mean, he had a million albums, right, wasn't that
• 14:16
  Speaker 4: you know?
• 14:16
  Speaker 3: As soon as you sent him on attached to find something,
• 14:18
  Speaker 3: He's like giddy. It was awesome.
• 14:23
  Speaker 4: Yeah.
• 14:23
  Speaker 2: That Peel session at his house was live on BBC,
• 14:27
  Speaker 2: and uh, his whole family was there and they made
• 14:31
  Speaker 2: a stinner. It was like, you know, it was really special,
• 14:34
  Speaker 2: you know, and us like at the time, you know,
• 14:39
  Speaker 2: we you know, we weren't really kind of aware of
• 14:41
  Speaker 2: the gravity of what it was to.
• 14:43
  Speaker 4: Be hanging out with that guy. You know, he was
• 14:45
  Speaker 4: just kind of this cool DJ. And then.
• 14:49
  Speaker 2: You know, as we got older, we kind of learned
• 14:51
  Speaker 2: like what that show really meant to people and what
• 14:54
  Speaker 2: it really was, and you know, I wish that we
• 14:57
  Speaker 2: had something like that. I mean, I think the world
• 14:58
  Speaker 2: would benefit from another John Peel. I mean, I mean, look,
• 15:04
  Speaker 2: if you go back and look at his playlists and stuff,
• 15:06
  Speaker 2: it's it's incredible what he's sposing people too, especially like
• 15:10
  Speaker 2: pre internet, to be able to turn on the radio
• 15:13
  Speaker 2: and have some guy playing you the Residents and then
• 15:16
  Speaker 2: you know, like you know, a Howard tape single pretty cool.
• 15:21
  Speaker 1: And the continuity between you know, he'd done it so long.
• 15:24
  Speaker 1: Just being able to present like led Zeppelin in like
• 15:27
  Speaker 1: nineteen seventy and you know you guys in two thousand
• 15:30
  Speaker 1: and three. I mean, that's just that's crazy. You know,
• 15:33
  Speaker 1: it's nuts. And his sessions always sounded really good to
• 15:36
  Speaker 1: me too. I always love finding like an appeal session,
• 15:39
  Speaker 1: you know, because they sound always they sound pretty different
• 15:41
  Speaker 1: from the records usually, but they just sound I don't know,
• 15:46
  Speaker 1: there was a really I don't know how he who
• 15:49
  Speaker 1: if he used it, like, I don't know who engineered sessions.
• 15:52
  Speaker 1: But they were incredible.
• 15:53
  Speaker 2: You know, I did it made a veil when we
• 15:54
  Speaker 2: were doing them. I think that's really did them.
• 15:56
  Speaker 3: He has a BBC. Their studios are incredible, They're their
• 16:00
  Speaker 3: gear was always amazing. It was like that was the
• 16:02
  Speaker 3: first time we ever saw Cole's microphones. Yeah, Cole's ribbon
• 16:05
  Speaker 3: mics you know. Yeah, no, those those some BBC sessions
• 16:10
  Speaker 3: always sound.
• 16:11
  Speaker 1: Amazing because basically use a ribbon mike.
• 16:15
  Speaker 3: Always, you know. I mean after those sessions we started
• 16:18
  Speaker 3: to but yeah, they would have ribbons on everything.
• 16:20
  Speaker 4: Yeah, now that's a cool thing.
• 16:22
  Speaker 2: You show up and then basically, here's this world class studio.
• 16:25
  Speaker 2: You've got like six hours to record four songs, and
• 16:28
  Speaker 2: you can do anything you want to do. So you know,
• 16:32
  Speaker 2: if you wanted to, who knows, they would let you
• 16:35
  Speaker 2: do whatever you wanted to do. The coolest John pil
• 16:40
  Speaker 2: Antono is that he told us he was present in
• 16:44
  Speaker 2: Dallas when Lee Harvey Oswald was killed in that parking
• 16:49
  Speaker 2: garage at the police station because he was working for
• 16:52
  Speaker 2: a radio station.
• 16:56
  Speaker 4: And so he saw that in person. And I guess
• 16:58
  Speaker 4: he's in the I guess he's in the film.
• 17:01
  Speaker 1: Wait, wait, he wasn't he was actually at the police station.
• 17:05
  Speaker 2: Yeah, when Lee Harvey Oswald gets killed by Jack Ruby,
• 17:07
  Speaker 2: he's one of the guys there.
• 17:10
  Speaker 1: That's incredible. I'm gonna go I'm gonna.
• 17:13
  Speaker 4: Yeah, watch it on slow mo. See if you can
• 17:14
  Speaker 4: find him.
• 17:15
  Speaker 3: Yeah, maybe somebody can find them in the pictures.
• 17:18
  Speaker 1: Maybe he'll be in the files of releasing the JFK
• 17:20
  Speaker 1: files that are coming out. John Petle was involved. How
• 17:26
  Speaker 1: does it feel promote I mean, I guess the difference
• 17:27
  Speaker 1: between promoting a record then and now. I'm just curious.
• 17:31
  Speaker 1: You guys do do a lot of press, do you
• 17:33
  Speaker 1: guys like what how do you guys go about figuring
• 17:38
  Speaker 1: out the way in which you want to promote a
• 17:40
  Speaker 1: record or do not spend much time thinking about it?
• 17:43
  Speaker 2: Back then, I remember one of the first interviews we
• 17:44
  Speaker 2: ever did with like a European you know, first one
• 17:47
  Speaker 2: of the first interviews period. We were at south By
• 17:49
  Speaker 2: Southwest two thousand and three, and we we did a
• 17:52
  Speaker 2: couple of interviews. One of them was with enemy and
• 17:56
  Speaker 2: then we landed in England a couple of weeks later
• 17:57
  Speaker 2: for the first time to and our publicists handed us
• 18:01
  Speaker 2: to the enemy and in this interview, We talked for
• 18:05
  Speaker 2: like thirty minutes, and at the very end of the interview,
• 18:06
  Speaker 2: the journalist is like, so, do you guys take drugs?
• 18:09
  Speaker 4: You've ever taken any drugs?
• 18:11
  Speaker 2: And we're like we were like naive kids, you know,
• 18:13
  Speaker 2: and we're like, I was like, oh, I spoke opium
• 18:16
  Speaker 2: once and uh the headline of the fucking m was
• 18:19
  Speaker 2: like Opium fueled Blues Duo and I was like, holy shit,
• 18:25
  Speaker 2: this is insane. It didn't really help us sell any records, but.
• 18:32
  Speaker 4: It was cool.
• 18:32
  Speaker 1: Look kind of miss headlines like that. Miss magazines in general,
• 18:35
  Speaker 1: kind of sometimes for for for you know, headline like that.
• 18:39
  Speaker 2: You know me too, Yeah, I miss I missed being
• 18:43
  Speaker 2: able to like pick up a music magazine and I
• 18:47
  Speaker 2: have something I want to see in it.
• 18:48
  Speaker 3: You know.
• 18:49
  Speaker 4: It's like back in the day, like.
• 18:53
  Speaker 2: Just you know, Magnet or Alternative Press or Flip Side
• 18:57
  Speaker 2: or Maximum Rock and Roll. Even just at our local
• 19:01
  Speaker 2: grocery store, you could pick up this one cook magazine
• 19:03
  Speaker 2: called ray Gun, which is like as a music magazine
• 19:05
  Speaker 2: that lasted for just maybe a couple of years, but
• 19:07
  Speaker 2: it was like the graundraphic design was so crazy, like
• 19:11
  Speaker 2: you could barely read the articles because they like lay
• 19:14
  Speaker 2: the articles out. But you know, that's where I've actually
• 19:17
  Speaker 2: in the you know, you know, early magnet magazines and stuff.
• 19:20
  Speaker 2: That's where I kind of discovered a lot of what
• 19:23
  Speaker 2: I know about music. They kind of set me in
• 19:25
  Speaker 2: the right direction. Like that's when I read about Daniel Johnson,
• 19:29
  Speaker 2: you know, love his laughter and K Records and all
• 19:33
  Speaker 2: that kind of stuff.
• 19:34
  Speaker 1: I don't know for me too, though, I'd get sit
• 19:36
  Speaker 1: down a lot of like dead ends, you know, like
• 19:38
  Speaker 1: looking through a magazine and you have to try to
• 19:40
  Speaker 1: spend you know, fifty bucks on a bunch of records
• 19:43
  Speaker 1: I saw on a magazine and then you know, they
• 19:44
  Speaker 1: all sucked, and that was kind of a bust.
• 19:46
  Speaker 2: It usually sucks. Yeah, yeah, yeah, I bought a lot.
• 19:50
  Speaker 4: Of shitty records.
• 19:51
  Speaker 1: Were there local like zines in Akron or.
• 19:58
  Speaker 4: Sort of, But.
• 20:00
  Speaker 2: It seemed like a lot of that stuff was like
• 20:02
  Speaker 2: geared towards hardcore punk, which Dan and I.
• 20:05
  Speaker 1: Were never into, never never had a stage.
• 20:09
  Speaker 2: No. We get along too well with our fathers.
• 20:16
  Speaker 1: Will be back with more from the Black Keys after
• 20:19
  Speaker 1: the break. Your dads were friends too, weren't they our dads?
• 20:26
  Speaker 4: I mean we're neighbors, they're neighbors. Yeah.
• 20:28
  Speaker 2: Yeah, that's how Dan and I know each other from
• 20:33
  Speaker 2: just growing up around the corner from each other.
• 20:35
  Speaker 1: And your dad was an art teacher or procure of
• 20:38
  Speaker 1: art supplies, Yeah he was.
• 20:41
  Speaker 3: He was an antique dealer and he collected folk art
• 20:45
  Speaker 3: outsideer art. Yeah, he would, you know, he was like
• 20:51
  Speaker 3: a picker.
• 20:52
  Speaker 4: You know.
• 20:52
  Speaker 3: He would go around Ohio and Pennsylvania and West Virginia
• 20:56
  Speaker 3: and he would have his routes that he would run
• 20:59
  Speaker 3: and go to different places and buy things and then
• 21:02
  Speaker 3: he would sell at shows, antique shows he would go
• 21:05
  Speaker 3: to like Brimfield, or he would go to the Triple
• 21:09
  Speaker 3: Here Expo in Manhattan and set up a booth, and
• 21:13
  Speaker 3: you know I would go and help him and ship
• 21:14
  Speaker 3: and it was always fun. I love doing that stuff.
• 21:18
  Speaker 3: Did you learn a lot about art through him or
• 21:20
  Speaker 3: were you interested in learning? Yeah? I learned everything about
• 21:22
  Speaker 3: art through through him. Being around him and being on
• 21:26
  Speaker 3: the road, you know, you know, probably prepped me for touring,
• 21:31
  Speaker 3: you know, getting in my dad's van and driving from
• 21:35
  Speaker 3: Ohio to New York City and you know, loading and
• 21:38
  Speaker 3: unloading the van for the shows and stuffy yeah no,
• 21:43
  Speaker 3: and he you know, he would introduce me to two
• 21:45
  Speaker 3: artists and and and show me the difference between different
• 21:49
  Speaker 3: different types of art. And yeah, absolutely.
• 21:51
  Speaker 1: Has anything of his or anything you've gotten from him
• 21:54
  Speaker 1: made it to any artwork Blackie's artwork or arts.
• 21:59
  Speaker 3: Mm, I don't think so, but I mean no, I
• 22:04
  Speaker 3: mean one of the guys that he would help facilitate
• 22:09
  Speaker 3: an acron this artist named Alfred mcmore. My dad would
• 22:14
  Speaker 3: like bring him crayons and art supplies and pipe tobacco
• 22:18
  Speaker 3: and bring him stuff he needed, and he would try
• 22:22
  Speaker 3: to help him get his art out there, you know.
• 22:25
  Speaker 3: And this guy was he would leave voicemails on the
• 22:29
  Speaker 3: phone at our house. And Pat's dad did a story
• 22:34
  Speaker 3: in the local newspaper on this artist, so Pat would
• 22:37
  Speaker 3: get these voicemails too, and it became, you know, the
• 22:41
  Speaker 3: origin of the name of our band, the Black Keys
• 22:44
  Speaker 3: was this outsider artist, you know.
• 22:46
  Speaker 2: So he would call our houses like every day, multiple
• 22:50
  Speaker 2: times a day.
• 22:51
  Speaker 3: Demanding pipe tobacco and crayons.
• 22:54
  Speaker 4: And he would tell like, you you're big. If you
• 22:57
  Speaker 4: don't bring me a two liters of coke some crans,
• 23:01
  Speaker 4: you're a black Key, you're d flat.
• 23:05
  Speaker 2: And he'd make these five foot wide he put long
• 23:09
  Speaker 2: scrolls with cran and pencil, and so Dan's father had like,
• 23:16
  Speaker 2: you know.
• 23:17
  Speaker 3: Just a basement filled hundred of them.
• 23:20
  Speaker 4: Maybe because he would, you know, give him.
• 23:23
  Speaker 2: He's living in like a halfway house, you know, and
• 23:26
  Speaker 2: he had very little resources, so chuck with like give
• 23:29
  Speaker 2: him some Cran's paper stuff. Then get these scrolls and
• 23:34
  Speaker 2: sell some, give him some of the money. And but yeah,
• 23:38
  Speaker 2: they're they're pretty incredible. He would draw a lot of
• 23:40
  Speaker 2: like a lot of highway patrol people in high heels.
• 23:48
  Speaker 3: Big chandelier, earrings, chandelier because he done boots.
• 23:52
  Speaker 4: Yeah, it was so cool.
• 23:53
  Speaker 3: They were. They were like these long stream of consciousness.
• 23:55
  Speaker 3: They would be like funeral processions, you know, people in
• 23:59
  Speaker 3: open cadillacs and like all these different Jesus was playing
• 24:04
  Speaker 3: like rock and roll guitar and they're amazing.
• 24:06
  Speaker 2: Really, I mean, Alfred would wear about the three or
• 24:09
  Speaker 2: four suits at the same time. And then his daily
• 24:12
  Speaker 2: ritual was like to go to the Stewart and Calhoun
• 24:15
  Speaker 2: funeral home to any random funeral and just cry.
• 24:23
  Speaker 1: He show up to random funerals and cry.
• 24:25
  Speaker 3: This is the person that my dad brought over to
• 24:28
  Speaker 3: the house to spend time with his sons. Exposed expose
• 24:34
  Speaker 3: us to his artwork.
• 24:35
  Speaker 4: Alfred No, I mean his.
• 24:37
  Speaker 3: Artwork was so beautiful, but like impossible to display, Like
• 24:41
  Speaker 3: where where do you put a fifty foot roll of
• 24:43
  Speaker 3: art work?
• 24:45
  Speaker 1: Do you guys still have some of this?
• 24:47
  Speaker 3: Uh huh oh? Yeah, man, my dad got him to
• 24:50
  Speaker 3: do a couple of small pieces and they're okay, but
• 24:53
  Speaker 3: the roles are actually where it's at.
• 24:55
  Speaker 2: Yeah, I got one little small one. It says mcmore
• 25:00
  Speaker 2: mclusts and that's where. That's what we named our publishing
• 25:02
  Speaker 2: company after mcmore mcless.
• 25:06
  Speaker 1: Is he still Is he still around? No?
• 25:08
  Speaker 4: He died in two thousand and nine.
• 25:11
  Speaker 1: I think did he Did you guys ever play him
• 25:14
  Speaker 1: any of your music?
• 25:16
  Speaker 3: I don't believe so.
• 25:18
  Speaker 1: He knew about the band, but I don't think probably
• 25:20
  Speaker 1: no interest in Yeah, you guys might have set him
• 25:24
  Speaker 1: off a little. I don't know, I could aggravate him.
• 25:28
  Speaker 4: You know.
• 25:30
  Speaker 1: Were there other people like characters like that around town?
• 25:34
  Speaker 3: Yeah, there's a lot of like, there's a lot of
• 25:36
  Speaker 3: characters an Akron.
• 25:37
  Speaker 2: There was the purple Purple man. That guy his house
• 25:41
  Speaker 2: is purple as cars, probably acrons full of that kind
• 25:45
  Speaker 2: of stuff there. There's like it's kind of like pull man.
• 25:52
  Speaker 4: Then there was a guy we called Eep.
• 25:55
  Speaker 2: In ild Square and uh, the little neighborhood we kind
• 26:02
  Speaker 2: of grew up around. Uh, there was a really eccentric
• 26:06
  Speaker 2: shoe repair man who just retired, but he'd be in
• 26:11
  Speaker 2: there with the fumes and stuff and he dressed the
• 26:15
  Speaker 2: window up in like inflatable dolls, really really out there. Yeah,
• 26:21
  Speaker 2: there's all that's my kind of when I when I
• 26:24
  Speaker 2: think about like classic Akron, it's like, my brother was
• 26:28
  Speaker 2: really into trains, like model trains and stuff, and so
• 26:32
  Speaker 2: we would go on Saturday sometimes to this place called
• 26:34
  Speaker 2: Glenn's Train Shop and it was this building covered in
• 26:38
  Speaker 2: ivy in the middle of like the worst neighborhooded Akron
• 26:42
  Speaker 2: back in this lot. You'd walk in there and just
• 26:44
  Speaker 2: be this guy just smoking with like you know, ten
• 26:47
  Speaker 2: thousand boxes of vintage trains, just mean as hell.
• 26:51
  Speaker 4: They total Like that's what Akron that did?
• 26:56
  Speaker 1: He did he deal them?
• 26:57
  Speaker 4: Or yeah, you sell them? He was like.
• 26:59
  Speaker 2: Yeah, you're like, what gauge do you want? He's like
• 27:04
  Speaker 2: h ah, he'd like judge you by the gauge of
• 27:08
  Speaker 2: the train that you want. The real trains are, oh
• 27:10
  Speaker 2: gauge Apparently that's what you want. The real trains are what,
• 27:13
  Speaker 2: oh gauge the big ones?
• 27:15
  Speaker 1: Well, I don't know what that means.
• 27:16
  Speaker 4: I know, well, sounds about right. I bet Neil Young
• 27:19
  Speaker 4: knows I was gonna say.
• 27:20
  Speaker 1: Neil Young probably knows this guy. Oh yeah, why did
• 27:25
  Speaker 1: you call the what was the one guy called?
• 27:29
  Speaker 4: This is what he said all the time.
• 27:33
  Speaker 1: That makes sense. National's got to be filled the characters too, right.
• 27:39
  Speaker 3: Yeah, it's just filled to the brim.
• 27:43
  Speaker 2: When we first moved to town, we both moved like
• 27:46
  Speaker 2: to the same area here, and uh we were neighbors
• 27:51
  Speaker 2: with Harmony Krinn, so we hit it off with him
• 27:55
  Speaker 2: right off the bat, and through Harmony we met like,
• 27:58
  Speaker 2: you know, David Berman and and then also you know,
• 28:01
  Speaker 2: introduced to the original kind of cast of eccentrics. What
• 28:08
  Speaker 2: you no longer see any of them anymore, but most
• 28:11
  Speaker 2: of them were in Gummo or something.
• 28:13
  Speaker 1: You guys have been there over a decade now, right,
• 28:15
  Speaker 1: they're fifteen years You mentioned the cover of Forgot to
• 28:21
  Speaker 1: Be Your Lover earlier? What made you guys cover that song?
• 28:25
  Speaker 1: So I was scared to click on it, to be honest,
• 28:27
  Speaker 1: because it's such like a perfect record, the original you
• 28:30
  Speaker 1: guys version is really good too.
• 28:33
  Speaker 3: Yeah. No, it's just it was just one of our favorites,
• 28:36
  Speaker 3: you know, and we were in the studio, we were
• 28:39
  Speaker 3: hanging out. We were just inspired to do something like that,
• 28:42
  Speaker 3: and you know, we really didn't think too much about it,
• 28:45
  Speaker 3: and we really didn't even know if it was going
• 28:46
  Speaker 3: to be on the record or not, you know, but
• 28:50
  Speaker 3: it felt good when we cut it. You know, we
• 28:52
  Speaker 3: had our buddy Kelly Finnigan and Tommy Brenneckan there with us.
• 28:56
  Speaker 3: Kelly sings harmony, and it was just felt felt good. Yeah,
• 29:02
  Speaker 3: we did that. Never going to give you up on Brothers.
• 29:06
  Speaker 3: You know, I think we've done some soul songs before.
• 29:09
  Speaker 3: You know, it's those types of songs are pretty big
• 29:13
  Speaker 3: influence on us.
• 29:15
  Speaker 4: Oh yeah, it's.
• 29:16
  Speaker 1: Just such big you know, like Forgot to Be Your Lover.
• 29:20
  Speaker 4: It's just such a big record, you know.
• 29:23
  Speaker 3: Yeah, one of those perfect records.
• 29:25
  Speaker 1: From like the opening opening riff, the drums on it
• 29:28
  Speaker 1: are perfect, opening lines, perfect.
• 29:31
  Speaker 3: Yeah. Absolutely. We mostly we mostly just wanted to hear
• 29:36
  Speaker 3: Tommy play that opening list.
• 29:37
  Speaker 1: Yeah, yeah, that's it's pretty much.
• 29:43
  Speaker 3: That was the reason we cut it. No, that was Tommy.
• 29:45
  Speaker 1: How much time do you spend listening to music these days.
• 29:48
  Speaker 4: I probably listened to like an hour at least a
• 29:51
  Speaker 4: day of music.
• 29:52
  Speaker 1: What's what's moving you these days?
• 29:55
  Speaker 2: Man, I'm kind of all over the map what I'm
• 29:59
  Speaker 2: into right now. But you know, we've been doing these
• 30:01
  Speaker 2: record hangs where we playing forty five's, so that will
• 30:08
  Speaker 2: you know, that's kind of got my algorithm going trying
• 30:12
  Speaker 2: to find these kind of trying to find like songs
• 30:18
  Speaker 2: that I feel like hits but weren't hits.
• 30:22
  Speaker 4: It's kind of like the ultimate goal.
• 30:24
  Speaker 2: But I've got, you know, got I've got a little
• 30:27
  Speaker 2: I've got a six year old boy who's into music
• 30:31
  Speaker 2: and opinionated, so a lot of the stuff I'm like
• 30:35
  Speaker 2: trying to play him stuff, see what he's into.
• 30:39
  Speaker 1: What are his opinions.
• 30:41
  Speaker 4: I mean, he's got good tastes. But uh, it's funny
• 30:49
  Speaker 4: when he when he'll he'll hear something and like it,
• 30:51
  Speaker 4: and he'll he'll he'll he's like aware enough to think
• 30:55
  Speaker 4: like that he should be embarrassed by liking it.
• 30:58
  Speaker 2: If so, he will like not he'll keep it a secret,
• 31:02
  Speaker 2: like if he thinks because he'll think like I will
• 31:04
  Speaker 2: like make fun.
• 31:10
  Speaker 3: Smart kid.
• 31:11
  Speaker 2: Yeah, I know, I mean his intuition's spot on. But no,
• 31:16
  Speaker 2: you don't get made fun of for what you listen
• 31:17
  Speaker 2: to in my house till you're eleven.
• 31:19
  Speaker 1: What about you, Dan, Do you listen to a lot
• 31:21
  Speaker 1: of music or like not work related?
• 31:24
  Speaker 3: Yeah, I mean yeah, i'd say similar, you know, especially
• 31:33
  Speaker 3: digging for records you know, online. It's kind of become
• 31:37
  Speaker 3: like one of my favorite things to do is just
• 31:41
  Speaker 3: like chill out for an hour and like search for music,
• 31:44
  Speaker 3: you know, because I swear to God, every single day
• 31:47
  Speaker 3: I can find something that blows my mind if I
• 31:50
  Speaker 3: if I search hard enough.
• 31:52
  Speaker 4: True.
• 31:53
  Speaker 3: So yeah, honestly, like as soon as we started doing
• 31:58
  Speaker 3: these record hangs, I think I started listening to way
• 32:00
  Speaker 3: more music on average.
• 32:03
  Speaker 1: Same who organizes the record hangs we do.
• 32:09
  Speaker 4: We just kind of picked like.
• 32:13
  Speaker 2: Cities where it will makes sense when we're on the road,
• 32:17
  Speaker 2: or cities we think it will be fun to do.
• 32:20
  Speaker 2: So yeah, we just had to meeting the other day
• 32:21
  Speaker 2: to kind of pick out like the next couple months
• 32:24
  Speaker 2: of it, and then some of them are kind of
• 32:27
  Speaker 2: last spin it, you know.
• 32:29
  Speaker 3: Yeah, it's kind of fun just to pop in somewhere
• 32:30
  Speaker 3: and unannounced and spend some records.
• 32:32
  Speaker 1: Did you did you guys spend records like that out
• 32:35
  Speaker 1: like out and about like before that or no, a little.
• 32:38
  Speaker 3: Bit, a little bit bit. Yeah, you know, back when
• 32:42
  Speaker 3: I did the ARC stuff, I would spend records with
• 32:44
  Speaker 3: Richard Swift and Leon a few times, you know, here
• 32:49
  Speaker 3: and there, and and then I started doing it on
• 32:53
  Speaker 3: my own just a little bit, and then shortly thereafter
• 32:57
  Speaker 3: invited Pat to do it with me, and then we
• 33:00
  Speaker 3: both kind of got hooked on it. Really.
• 33:04
  Speaker 2: Yeah, it's addictive, you know, I'm with Dan on that. Like,
• 33:08
  Speaker 2: I've definitely probably spending like ten uh, I don't know,
• 33:15
  Speaker 2: at least another thirty minutes a day extra listening to
• 33:18
  Speaker 2: music because of this. I'll go down rabbit holes and
• 33:23
  Speaker 2: uh trying to find stuff. And I've learned more about
• 33:27
  Speaker 2: music in the last probably two years than I had
• 33:29
  Speaker 2: in the previous ten years really for sure, not just
• 33:34
  Speaker 2: not just like hit history of music, but just like.
• 33:39
  Speaker 4: Kind of maybe how to make.
• 33:40
  Speaker 1: It well, you know. I mean that's an interesting point,
• 33:45
  Speaker 1: because I mean to your earlier point, like finding songs
• 33:49
  Speaker 1: that sound like they could have been a hit or
• 33:50
  Speaker 1: should have been. I mean, it's it's just it's it's
• 33:53
  Speaker 1: fascinating how much a hit I mean, I guess we
• 33:56
  Speaker 1: all know because we know hits that kind of aren't
• 33:58
  Speaker 1: that that great. But it's fascinating how much it hit
• 34:00
  Speaker 1: really has nothing to do with how good a song.
• 34:02
  Speaker 1: It's necessarily you know, it's all these.
• 34:03
  Speaker 3: Oh yeah, absolutely, man. That's why we feel like we
• 34:06
  Speaker 3: can play records for like three hours and like they're
• 34:10
  Speaker 3: jams and people will be dancing for three hours straight
• 34:14
  Speaker 3: and they won't know a single fucking song, you know
• 34:16
  Speaker 3: what I mean.
• 34:17
  Speaker 4: We love that.
• 34:18
  Speaker 3: Yeah, like this song could have Like there's nothing that's
• 34:20
  Speaker 3: like more annoying than just somebody going up and just
• 34:24
  Speaker 3: playing hits off iPod, you know what I mean, off
• 34:26
  Speaker 3: a computer. But like, oh my god, it is fun
• 34:30
  Speaker 3: to be like be able to like see the crowd
• 34:34
  Speaker 3: move to a song they don't know. You know. It
• 34:37
  Speaker 3: really is satisfying.
• 34:39
  Speaker 2: I think that's the biggest thrill. It's because it's not
• 34:43
  Speaker 2: playing something obscure to be obscure. It's like it's got
• 34:46
  Speaker 2: to have this. It's like this perfect combination of like.
• 34:49
  Speaker 3: Yeah, if it doesn't work, we're turning it off.
• 34:51
  Speaker 2: Yeah, it's like it's a you know, because it's got
• 34:53
  Speaker 2: to not only does it have to like groove and
• 34:55
  Speaker 2: have the right production.
• 34:57
  Speaker 4: It's got to have like the right mix.
• 34:58
  Speaker 2: There's so many of these songs where you they like
• 35:01
  Speaker 2: they seem like they're going to be it, and then
• 35:03
  Speaker 2: you get the record and the mix is.
• 35:05
  Speaker 3: Just it's fucked up. The drums aren't there, it doesn't work.
• 35:08
  Speaker 4: Yeah, sucks. It's a lot of it.
• 35:11
  Speaker 3: It's weird. Yeah, you'll spend hours and hours and hours
• 35:13
  Speaker 3: searching for songs. You'll find like songs and you get
• 35:17
  Speaker 3: them sent to your house and like, only like ten
• 35:20
  Speaker 3: fifteen percent of them actually are as good as you thought.
• 35:23
  Speaker 3: They were pretty consistent, pretty consistently.
• 35:26
  Speaker 2: Yeah, Like the vocals are like twenty five percent too loud.
• 35:30
  Speaker 2: The drums are just like almost good, loud enough but
• 35:33
  Speaker 2: not there, and then you put it on the club
• 35:35
  Speaker 2: and it doesn't work.
• 35:38
  Speaker 1: Or like the drums are great, but then there's like
• 35:39
  Speaker 1: the high hat.
• 35:40
  Speaker 3: It's like something, it's just messing all up.
• 35:43
  Speaker 4: We can live with the as long as we can
• 35:45
  Speaker 4: live with some of it.
• 35:48
  Speaker 1: But yeah, do you find that it do you find
• 35:51
  Speaker 1: through digging though that some do you ever find yourself
• 35:53
  Speaker 1: lost in a sense of like after thirty minutes an
• 35:56
  Speaker 1: hour of listening to something you you kind of don't
• 36:00
  Speaker 1: know what's good anymore.
• 36:03
  Speaker 2: Oh yeah, that happens to me when it comes into
• 36:06
  Speaker 2: this specific thing. I've definitely I purchased a few records
• 36:10
  Speaker 2: and I'll get them like why the fuck did I
• 36:13
  Speaker 2: buy this record?
• 36:14
  Speaker 4: And I was like, really, be like what was going
• 36:16
  Speaker 4: on here?
• 36:17
  Speaker 2: And I was like, you know what it was, is
• 36:18
  Speaker 2: like I just put so many hours into looking for
• 36:21
  Speaker 2: something that I think I just wanted to buy something
• 36:23
  Speaker 2: so I could have something to show for it.
• 36:25
  Speaker 1: You can get yourself worked up about the smallest thing
• 36:28
  Speaker 1: about a record that the smallest reason why you need
• 36:31
  Speaker 1: this record, you know, is enough to buy it.
• 36:32
  Speaker 2: And then I've definitely bought a record the other day
• 36:35
  Speaker 2: because the snare drums sounded so bad in a good
• 36:38
  Speaker 2: way that I was like, maybe Dan, I should sample this.
• 36:42
  Speaker 1: What record was it?
• 36:45
  Speaker 4: Oh Man?
• 36:46
  Speaker 2: Because his last name was Washington, I forget. It's this
• 36:50
  Speaker 2: decent song, but the snare drum's real messed up. It
• 36:53
  Speaker 2: sounds like a broken four track.
• 36:56
  Speaker 4: It's cool.
• 36:57
  Speaker 1: Do the record hangs im like impact the way you
• 37:00
  Speaker 1: guys make records in the studio.
• 37:04
  Speaker 3: One thousand, Absolutely no, I mean we're spinning records and
• 37:10
  Speaker 3: and and like seeing what what gets the crowd moving
• 37:14
  Speaker 3: definitely influences us when we get in the studio and
• 37:17
  Speaker 3: what we want to try to do. Absolutely.
• 37:20
  Speaker 4: Yeah.
• 37:21
  Speaker 2: I think there's a couple of songs on the new
• 37:22
  Speaker 2: album that definitely exists because of the record.
• 37:27
  Speaker 3: Hangs mm hmm.
• 37:31
  Speaker 1: What tracks are those? I've only been over to here too.
• 37:34
  Speaker 4: But yeah, and one of the songs you're I mean,
• 37:36
  Speaker 4: both of them are. One of them was a rough mix.
• 37:40
  Speaker 1: Which one was that?
• 37:41
  Speaker 2: I mean, if they sent you no Raino Flowers that
• 37:43
  Speaker 2: was that was the title. That was the wrong mix. Yeah, yeah,
• 37:49
  Speaker 2: that's like part of the thing did sound very different
• 37:51
  Speaker 2: from the night before.
• 37:52
  Speaker 1: I heard the night before and it sounded the production wise,
• 37:56
  Speaker 1: it did sound very different.
• 37:58
  Speaker 2: Well, it's like, you know, it's the thing that's interesting
• 38:00
  Speaker 2: thing about like we started this album and the very
• 38:03
  Speaker 2: very end of July and and really got going on
• 38:09
  Speaker 2: on it like in September.
• 38:12
  Speaker 4: But when you're like.
• 38:15
  Speaker 2: Writing recording, you know that much work that in that
• 38:20
  Speaker 2: bunch of a condensed period of time, you know, it
• 38:23
  Speaker 2: takes it takes a few Like we kind of finished
• 38:26
  Speaker 2: tracking mostly in the middle of December, but then I
• 38:30
  Speaker 2: think it took us like a couple of weeks of
• 38:32
  Speaker 2: getting away from the record to get back to the
• 38:34
  Speaker 2: place where we could start mixing it, start getting it finished.
• 38:39
  Speaker 4: That's where we are now.
• 38:40
  Speaker 2: But yeah, there's like one song on it that's just
• 38:44
  Speaker 2: a kind of Cumbia influenced because dances. We're playing a
• 38:46
  Speaker 2: lot of Cumbia at the record hangs. But yeah, I
• 38:52
  Speaker 2: think that it's an interesting thing trying to figure out
• 38:55
  Speaker 2: how to put an album out in twenty twenty five
• 38:58
  Speaker 2: versus two thousand and five, because it used to be
• 39:01
  Speaker 2: like the biggest difference is it's like, yeah, of course
• 39:03
  Speaker 2: there was press and stuff that you could do.
• 39:05
  Speaker 4: There's things to do, but really it was like it
• 39:10
  Speaker 4: really felt like.
• 39:13
  Speaker 2: Back then, like your album came out then it was
• 39:15
  Speaker 2: like okay, now like now people are finally gonna get
• 39:19
  Speaker 2: to hear it, and like there was this life to
• 39:23
  Speaker 2: it like where it was like you know, and it
• 39:26
  Speaker 2: kind of feels inverted now where it's like with a
• 39:29
  Speaker 2: minute your album comes out, it's like unless you have
• 39:32
  Speaker 2: a couple of hit songs on it, it's just what's
• 39:35
  Speaker 2: coming out next week?
• 39:36
  Speaker 4: You know. Yeah.
• 39:39
  Speaker 1: The weird thing about that though, from the you know,
• 39:45
  Speaker 1: listener perspective and just thinking about music as a consumer,
• 39:48
  Speaker 1: I guess is it automatically puts all new music in
• 39:53
  Speaker 1: the same frame, in the same context as like old music,
• 40:00
  Speaker 1: like in the sense of like when a new when
• 40:05
  Speaker 1: when the Ohio Players comes out, I'm sort of guilty
• 40:08
  Speaker 1: of the same phenomen on. I listened to it, and
• 40:10
  Speaker 1: I pretty quickly move on. But then also fine, just
• 40:13
  Speaker 1: as quickly as I move on, I pretty quickly come
• 40:16
  Speaker 1: back to it. But I mean, you know, I'm usually
• 40:18
  Speaker 1: listening to old stuff because it's like you have this
• 40:19
  Speaker 1: whole everything's at your fingertips now, So I'm like listening
• 40:22
  Speaker 1: to you know, whatever Aretha records I never heard before really,
• 40:26
  Speaker 1: or you know, in the Nat King Cole and then
• 40:28
  Speaker 1: I'm listening and then it's like I'm back to listening
• 40:30
  Speaker 1: to the Ohio Players. And so in a weird way,
• 40:33
  Speaker 1: I also feel like it makes new records, it makes
• 40:39
  Speaker 1: them feel like classic records a little sooner than it
• 40:43
  Speaker 1: used to, you know, whereas before I used to just
• 40:45
  Speaker 1: burn records out after a year, and then I'm like,
• 40:49
  Speaker 1: I don't know if I ever need to hear that again.
• 40:51
  Speaker 4: You know, I heard something a couple of weeks ago.
• 40:56
  Speaker 2: I don't know if it's true, but the mere thought
• 40:59
  Speaker 2: of it gave me a slight existential crisis, which was
• 41:02
  Speaker 2: that there's more like that. There's more music released every
• 41:07
  Speaker 2: single day in twenty twenty four as there was in
• 41:09
  Speaker 2: the entirety of nineteen eighty nine. I don't know if
• 41:15
  Speaker 2: that's true, but could that be true? It feels like
• 41:19
  Speaker 2: there's some sort of It kind of feels like that,
• 41:24
  Speaker 2: you know, I've chosen to believe it also, you know,
• 41:29
  Speaker 2: I have other feelings about UAPs and things like that
• 41:31
  Speaker 2: I've chosen to believe.
• 41:34
  Speaker 1: What are those feelings. I don't know they changed day
• 41:37
  Speaker 1: to day.
• 41:39
  Speaker 4: What are they today? I haven't thought about.
• 41:42
  Speaker 2: It yet today, So I'm like, no, But you know
• 41:47
  Speaker 2: what there is there's just so much good music that's
• 41:49
  Speaker 2: been made, and it's like, you know, it's like if
• 41:56
  Speaker 2: you're a fifteen year old now and you have Spotify,
• 41:59
  Speaker 2: like I just I wish I could have experienced it,
• 42:02
  Speaker 2: you know, I wish I could have had my teenage
• 42:06
  Speaker 2: years when there was something like Spotify. The amount of
• 42:10
  Speaker 2: time Dan and I spent looking for music when we
• 42:12
  Speaker 2: were teenagers and up through our twenties, it is insane.
• 42:16
  Speaker 2: Like when Dan used to come over to my house
• 42:18
  Speaker 2: or that I lived in with some friends where we
• 42:19
  Speaker 2: would do like started the band his minivan. He'd pull
• 42:23
  Speaker 2: up with his minivan and open the side door to
• 42:24
  Speaker 2: get his amp out, and just like literally one hundred
• 42:27
  Speaker 2: CDs just.
• 42:28
  Speaker 4: Fall on the ground.
• 42:29
  Speaker 2: We'd been picking them up, crazy box sets things. Just
• 42:33
  Speaker 2: like every single dollar he was making was going into
• 42:35
  Speaker 2: buying music to try to hear it, see what was there,
• 42:39
  Speaker 2: you know, And.
• 42:41
  Speaker 1: Asn't I say, forget time the amount of money when
• 42:43
  Speaker 1: you had no money you'd spend you know.
• 42:46
  Speaker 2: Yeah, well you know I think Dan spent all his
• 42:49
  Speaker 2: money on that. But yeah, you know, like that choice
• 42:54
  Speaker 2: you have to make when you're like a fourteen year
• 42:57
  Speaker 2: old kid and you're just getting into like lead uppein
• 42:59
  Speaker 2: and you go look at the go to the record store,
• 43:02
  Speaker 2: and like, you know, you could end up hating LEDs up.
• 43:06
  Speaker 2: And if you picked the wrong record right there, if
• 43:08
  Speaker 2: you walked out with presence, you might never like leads
• 43:12
  Speaker 2: up on. But if you walked if you if you
• 43:15
  Speaker 2: got like leads up on one two three or one
• 43:18
  Speaker 2: two four, Houses.
• 43:20
  Speaker 4: Of a Holy I think then I imagine you'd end
• 43:24
  Speaker 4: upuying presents.
• 43:25
  Speaker 1: Eventually you would get there, that'd be last Yeah, did
• 43:30
  Speaker 1: you were the record? I'm trying to think, were there
• 43:32
  Speaker 1: groups like that for you or artists like that for
• 43:34
  Speaker 1: you where you just heard the wrong thing first and
• 43:36
  Speaker 1: then just had the wrong impression for far too long.
• 43:39
  Speaker 2: So I wonder if they had that record in through
• 43:41
  Speaker 2: the Outdoor. I wonder if that as some sort of
• 43:42
  Speaker 2: reference to their catalog. But yeah, I mean, like here,
• 43:47
  Speaker 2: it's just today. One of our engineers at the studio
• 43:51
  Speaker 2: asked me if I was into Space Spend three, and
• 43:55
  Speaker 2: I was like, actually, you know, I was like a
• 43:59
  Speaker 2: hip teenager. I you know, I bought a Spaceman three
• 44:02
  Speaker 2: CD when I was like fifteen, and I it was
• 44:05
  Speaker 2: way over my head. I really didn't get it. But
• 44:09
  Speaker 2: then I got into Spiritualized and I'm just now getting
• 44:15
  Speaker 2: into Spacement three a little bit. And it's been you know,
• 44:17
  Speaker 2: thirty years. But there's a lot of times I think
• 44:23
  Speaker 2: if you get the wrong album, you could maybe not
• 44:28
  Speaker 2: see the light.
• 44:28
  Speaker 4: But I think that's cool.
• 44:29
  Speaker 2: I end up respecting bands that have catalogs like that,
• 44:33
  Speaker 2: Like Pink Floyd is that band to me too. There's
• 44:35
  Speaker 2: just a lot of evolution from the first record through
• 44:39
  Speaker 2: the you know, I guess through the mid seventies all
• 44:42
  Speaker 2: the way up.
• 44:43
  Speaker 4: To the Wall.
• 44:46
  Speaker 1: Then there's groups like the Rolling Stones where it's like
• 44:50
  Speaker 1: there's a lot of output for a certain period and
• 44:53
  Speaker 1: then like a limited output. But it's it'd be, it'd
• 44:56
  Speaker 1: be the odds are against you picking a bad one.
• 45:00
  Speaker 1: I guess you know, if you're at the record store
• 45:01
  Speaker 1: and you're twelve, you never heard of the Rolling Stones,
• 45:03
  Speaker 1: a bi Rolling Stones record, there's.
• 45:05
  Speaker 2: Just good advice to pick up, yeah, if you like
• 45:07
  Speaker 2: you know, the advice is, if you're gonna buy a
• 45:10
  Speaker 2: record from a classic rock band, just avoid any album
• 45:14
  Speaker 2: where they're wearing like a pastel sport jacket, if they're
• 45:18
  Speaker 2: wearing like pastel, like muscle shirt, if they're dressed like
• 45:23
  Speaker 2: Miami vice, skip the record and you're gonna be good.
• 45:26
  Speaker 1: And there is this what is that Stones record where
• 45:28
  Speaker 1: they're like laying down and they got a like neon
• 45:31
  Speaker 1: on or sport coats.
• 45:32
  Speaker 2: I owe it to them to never listen to that
• 45:34
  Speaker 2: bad though. I don't know, the cover is just so bad.
• 45:36
  Speaker 2: They got such good it's not bad. I just have
• 45:40
  Speaker 2: a thing about digital eighties reverb, and so I just
• 45:43
  Speaker 2: I hate the whole I think maybe because my parents
• 45:45
  Speaker 2: got divorced right in mid eighties. I just I fucking
• 45:49
  Speaker 2: hate like people are like, oh, man, like you like
• 45:52
  Speaker 2: this band. It kind of sounds like Bruce Hornsby, like
• 45:54
  Speaker 2: you fucking just kill me right now because I don't want.
• 45:57
  Speaker 2: I don't want to remember what nineteen eighty six felt like.
• 46:01
  Speaker 3: That's amazing. Yeah, Digital REAVERB brings back too many painful men.
• 46:06
  Speaker 4: It fucking does, dude. I really can't hear it. It's amazing. Sorry, man,
• 46:11
  Speaker 4: no nostalgia for that.
• 46:13
  Speaker 2: I do like dire Straits a lot though, that Brothers
• 46:15
  Speaker 2: and Arms, but it's like that's.
• 46:17
  Speaker 1: A REAVERB on that or on the on there.
• 46:21
  Speaker 2: It's tasteful, but like that, you know, I can't go.
• 46:27
  Speaker 2: I can't go later in the eighties than that.
• 46:29
  Speaker 1: Do you have prejudices like that, Dan, like musical? Oh god, yeah,
• 46:33
  Speaker 1: not not.
• 46:37
  Speaker 4: Absolutely. He's not the same prejudice, that's the thing.
• 46:40
  Speaker 3: Yeah. No, I'm picky, man, I'm picky about I mean everything.
• 46:46
  Speaker 3: I mean. That's like when people say that you guys
• 46:48
  Speaker 3: are influenced by blues, It's like, yeah, but like what
• 46:51
  Speaker 3: blues are we talking about? You know what I mean?
• 46:53
  Speaker 3: Or like what hip hop are you talking about It's
• 46:55
  Speaker 3: like we start getting into specifics. I mean, we love
• 46:58
  Speaker 3: music too much to just generalize. Really at this point,
• 47:01
  Speaker 3: we spend so much time thinking about it. It's like,
• 47:04
  Speaker 3: you know, not everything's created equal. Yeah, not, you know
• 47:11
  Speaker 3: freeze person is different.
• 47:12
  Speaker 4: But yeah.
• 47:12
  Speaker 2: It's like if you tell if they get someone's like
• 47:14
  Speaker 2: I'm really in the wine, It's like, well, what does
• 47:16
  Speaker 2: that actually mean? It means they're a complete fucking snob
• 47:19
  Speaker 2: about what win to drink. It's like us about music.
• 47:22
  Speaker 2: You know, hear the same, Oh I really love food.
• 47:24
  Speaker 2: It's like, oh, do you want some ruffles? No, motherfucker? Like,
• 47:28
  Speaker 2: I'm like, good, you want. It's a good call.
• 47:32
  Speaker 1: We'll be back with the rest of the Black Keys.
• 47:34
  Speaker 1: Shortly you mentioned it, like, do you just like how
• 47:41
  Speaker 1: general the label blues can be? Like I feel like
• 47:43
  Speaker 1: when people think blues, like the reactive thought is like
• 47:48
  Speaker 1: Muddy Waters. But you know, I don't know if it's sacrilegious.
• 47:52
  Speaker 1: I'm not really I don't really like Muddy Waters. No,
• 47:56
  Speaker 1: you know, Like, but pretty quickly, I guess if you
• 47:59
  Speaker 1: if you think about the blues, it's like Muddy Waters.
• 48:02
  Speaker 1: Howland Wolf might be like the yeah, the two strains maybe,
• 48:06
  Speaker 1: And it's like, I think I'm just more on that
• 48:09
  Speaker 1: side of things, and I don't know.
• 48:11
  Speaker 2: Yeah, the first blues album I ever heard was Electric Mud,
• 48:16
  Speaker 2: So I love I love How, I love Al Wolf,
• 48:18
  Speaker 2: and I love Muddy Waters, but I like the bastardized
• 48:22
  Speaker 2: version of it all. That's right, But and I'm just
• 48:24
  Speaker 2: now kind of getting into the other shit Dan's way
• 48:29
  Speaker 2: into like Mississippi, Fred McDowell, all kinds of shit I'd
• 48:33
  Speaker 2: never heard.
• 48:33
  Speaker 4: He exposed me to all this stuff.
• 48:37
  Speaker 3: Yeah, man, I loved like the raw, early primitive kind
• 48:42
  Speaker 3: of blues like stuff from Memphis before they actually had
• 48:45
  Speaker 3: like bass, you know, where it's just kind of like
• 48:47
  Speaker 3: guitars and drums, a lot of like one man bands,
• 48:50
  Speaker 3: two man band kind of stuff. Joe Hill Lewis and
• 48:54
  Speaker 3: Doctor Ross, the Harmonica Boss, stuff like that. Those guys
• 48:58
  Speaker 3: were my favorites.
• 49:00
  Speaker 1: How did you How did you start discovering that stuff?
• 49:02
  Speaker 3: My uncle Tim was really into blues music and has
• 49:06
  Speaker 3: really great taste. He's a fucking snob too, and he
• 49:10
  Speaker 3: hit me to some really cool stuff early on. But
• 49:13
  Speaker 3: you know, right when we were starting to like get
• 49:16
  Speaker 3: serious about music, that whole fat Powesome Records record label
• 49:21
  Speaker 3: kind of came to be and started to have their moment,
• 49:23
  Speaker 3: and it was really you know, it had a major
• 49:27
  Speaker 3: effect on me, you know because for the first time
• 49:30
  Speaker 3: these you know, I loved blues music, but it was
• 49:32
  Speaker 3: all like antiquity, you know, it wasn't like current. But
• 49:37
  Speaker 3: then the Fat Possum stuff came out and it was like, oh,
• 49:41
  Speaker 3: these guys are real. You can go to the and
• 49:44
  Speaker 3: they come to like the rock club in Cleveland, and
• 49:47
  Speaker 3: I can go see them, you know what I mean.
• 49:49
  Speaker 3: So it was like it was just so such a
• 49:52
  Speaker 3: game changer, and so I started to like really get
• 49:55
  Speaker 3: influenced by that. That scene in particular, which was very
• 49:59
  Speaker 3: raw and stuff like Siddell Davis is really hard for
• 50:03
  Speaker 3: people to listen to. You know, it's very out of tune,
• 50:07
  Speaker 3: but you know it's also very beautiful.
• 50:12
  Speaker 1: Yeah, which I guess is even more so. I mean, again,
• 50:15
  Speaker 1: we were talking about the way a record's mixed, where
• 50:21
  Speaker 1: you get when you get you think the records is
• 50:23
  Speaker 1: gonna be great, you get it and it's mixed weird
• 50:25
  Speaker 1: and it sucks. But then there's records that are mixed
• 50:27
  Speaker 1: terribly and you wouldn't want them any other way.
• 50:30
  Speaker 4: Yah.
• 50:30
  Speaker 1: Almost times they try to wonder what would they sound
• 50:32
  Speaker 1: like if they had been recorded. Well, that's sort of like, fuck,
• 50:35
  Speaker 1: I don't know if I want to hear that.
• 50:36
  Speaker 4: You know.
• 50:37
  Speaker 3: It's like, yeah, a lot of blues music got messed
• 50:41
  Speaker 3: up because it got recorded too well, you know what
• 50:43
  Speaker 3: I mean. It's like I think jazz too Yeah, maybe, yeah,
• 50:47
  Speaker 3: something about like that kind of like you know, music
• 50:52
  Speaker 3: that's heavy on the improvisation. It's really nice to get
• 50:54
  Speaker 3: it in a place that's not actually a recording studio,
• 50:57
  Speaker 3: to where there's like a the room is kind of
• 51:01
  Speaker 3: alive and more less of like a science laboratory, you
• 51:05
  Speaker 3: know what I mean. And I think there's that's why
• 51:08
  Speaker 3: some of the best recordings or you know, live recordings,
• 51:11
  Speaker 3: field recordings, like my favorite Fred McDowell recordings were always
• 51:15
  Speaker 3: the ones recorded at his house, you know, stuff like that.
• 51:20
  Speaker 4: Yeah, the jazz definitely preferred.
• 51:23
  Speaker 2: Jazz recorded at a like live of the village vanguarden
• 51:27
  Speaker 2: type of ship always sounds much better.
• 51:31
  Speaker 1: Whatever magics and like those Fred McDowell records recorded at home.
• 51:35
  Speaker 1: That does that ever in your mind when you're recording
• 51:37
  Speaker 1: stuff like it would be I want something like that
• 51:41
  Speaker 1: I want to go for that, you know you're not
• 51:42
  Speaker 1: going to get it, I guess, you know.
• 51:44
  Speaker 3: I mean that's why we went to muscle Shoals, you know,
• 51:47
  Speaker 3: that's why you know, that's probably why we recorded in
• 51:52
  Speaker 3: an old tire factory instead of going to a studio.
• 51:56
  Speaker 3: You know, it's all because of that. I think we've
• 51:59
  Speaker 3: made most of our decisions based on that, you know.
• 52:03
  Speaker 3: And you know, when I'm producing records too, you know,
• 52:07
  Speaker 3: I've recorded a bunch of records in that houses when
• 52:10
  Speaker 3: it was just as easy to record in a studio,
• 52:12
  Speaker 3: when it was easier to record in the studio now,
• 52:14
  Speaker 3: just because it was like musically more appropriate.
• 52:17
  Speaker 1: You know.
• 52:18
  Speaker 2: I was way into a music from Big Pink when
• 52:21
  Speaker 2: I was like sixteen seventeen, and my dad was, you know,
• 52:27
  Speaker 2: told me like they made this, you know, record in
• 52:29
  Speaker 2: the basement of this house on the cover, and ever
• 52:32
  Speaker 2: since then, I was like, that's that's that's the coolest
• 52:37
  Speaker 2: you can do that. So yeah, I mean I got
• 52:40
  Speaker 2: a four track when I was thirteen thirteen years old,
• 52:45
  Speaker 2: started fucking around with one in my basement, making absolutely
• 52:50
  Speaker 2: terrible shit. But yeah, the first time Dan and I
• 52:54
  Speaker 2: had jammed, he came down, and at that time I
• 52:56
  Speaker 2: had this Morant's pretty nice concept four track, and I
• 53:00
  Speaker 2: don't think Dan had seen a four track yet.
• 53:02
  Speaker 4: We just kind of sat there and.
• 53:05
  Speaker 2: Started fucking around showing him that, and I would take
• 53:07
  Speaker 2: it over to his parents house to be set up,
• 53:10
  Speaker 2: like in their child bathroom, just to get different sounds.
• 53:15
  Speaker 4: Sounded like shit, sounded like dog shit, but it was
• 53:19
  Speaker 4: worth a shot.
• 53:22
  Speaker 2: We used to do shit like too. I got think freakness.
• 53:24
  Speaker 2: There's I'll forget what song it is, but damn wanted
• 53:32
  Speaker 2: like a Leslie effect or something. I just started swinging
• 53:34
  Speaker 2: the microphone in front of the amp while we recorded.
• 53:38
  Speaker 2: It actually sounded fucking cool. That's kind of shit we
• 53:42
  Speaker 2: would do, put like broken the record. Yeah, that's on
• 53:45
  Speaker 2: the record.
• 53:46
  Speaker 1: Was it like a first did you get that first take?
• 53:49
  Speaker 4: Probably?
• 53:52
  Speaker 1: I forget what song is, but it's there. That's pretty amazing.
• 53:57
  Speaker 4: Yeah.
• 53:57
  Speaker 2: Dan's uncle Tim Wants brought over this like Fender reverb tank,
• 54:01
  Speaker 2: and then that became our whole identity for like about
• 54:03
  Speaker 2: two months, just putting everything through that shit.
• 54:07
  Speaker 3: Our first effect.
• 54:08
  Speaker 1: Yeah, how does the no Rain, no Flowers? I heard
• 54:17
  Speaker 1: the wrong mix? How different does the final mix sound?
• 54:22
  Speaker 3: I mean you get the just the basic idea I think, yeah,
• 54:26
  Speaker 3: it's not that far okay, but yeah, just a little
• 54:34
  Speaker 3: bit more work to do.
• 54:36
  Speaker 1: It was pretty It's a it's a pretty different record
• 54:39
  Speaker 1: for you guys. Like the song I don't know sound icenically,
• 54:42
  Speaker 1: it just sounded so different.
• 54:44
  Speaker 3: Yeah, we've we've never really written with piano players before.
• 54:49
  Speaker 3: It was one of the first times we've ever done that.
• 54:52
  Speaker 3: So that kind of that instantly was like different for us,
• 54:58
  Speaker 3: but natural. You know, it was like we wrote it
• 55:00
  Speaker 3: together with with Rick Knowles in the studio here and
• 55:04
  Speaker 3: it was like we worked really u quickly together. So
• 55:10
  Speaker 3: it's just whatever sounds like it was. It was pretty
• 55:14
  Speaker 3: natural the way that that it unrolled.
• 55:16
  Speaker 1: You know, how did the writing go. I mean, was
• 55:19
  Speaker 1: it was it based off jamming or was it based
• 55:22
  Speaker 1: off of someone bringing something in?
• 55:25
  Speaker 2: Rick likes to start with a song title, so he
• 55:28
  Speaker 2: was asking what if we had any song titles, and
• 55:30
  Speaker 2: that was one.
• 55:31
  Speaker 4: That Dan had.
• 55:31
  Speaker 2: And you know, writing with a keyboard player like we
• 55:34
  Speaker 2: worked with. Yeah, Like I said, I guess a lot
• 55:36
  Speaker 2: of keyboard players are on this record, and to see
• 55:40
  Speaker 2: the way that they choose to voice chords versus you know,
• 55:43
  Speaker 2: guitar obviously, it's just it's all kind of a lot
• 55:45
  Speaker 2: of it's pretty. It was very fresh to us to
• 55:49
  Speaker 2: hear what you can kind of get to, you know,
• 55:52
  Speaker 2: and Rick's really good at that and it's a chord master.
• 55:57
  Speaker 2: So to sit there and watch the guy, it's like
• 55:59
  Speaker 2: master of his craft and been doing it for a
• 56:02
  Speaker 2: long time. It's like, you know, the thing is is that,
• 56:06
  Speaker 2: I mean, I've never sat in a room with a
• 56:08
  Speaker 2: guy like that before. You know, we've we've worked with
• 56:11
  Speaker 2: musicians that are writers that we're friends with, but to
• 56:14
  Speaker 2: work with like someone whose sole job is that it
• 56:19
  Speaker 2: was like, uh, you know, it's.
• 56:23
  Speaker 4: Like going to songwriting school a bit.
• 56:25
  Speaker 2: It was just to see how they how they choose
• 56:28
  Speaker 2: to work, and then then to see how they entertain,
• 56:31
  Speaker 2: you know, the way that we want to move the
• 56:35
  Speaker 2: song forward, and like, don't get that collaboration thing happening.
• 56:38
  Speaker 2: Like that's the cool thing with Rick is that we
• 56:40
  Speaker 2: we wrote these songs with Rick like four or five
• 56:44
  Speaker 2: months ago, and you know, he was in the studio
• 56:45
  Speaker 2: a couple of days ago and we're sitting there still
• 56:48
  Speaker 2: he's passionate enough about the ship that he still wants
• 56:51
  Speaker 2: to make sure that we're getting everything, you know, and
• 56:55
  Speaker 2: he has ideas and we have ideas, and so it's
• 56:57
  Speaker 2: it's a it's a cool thing to see the see
• 56:59
  Speaker 2: the process all the way through with someone that gives
• 57:01
  Speaker 2: a ship.
• 57:02
  Speaker 1: You know, you know, you want like tweaking songs still
• 57:05
  Speaker 1: a couple of days ago, right, we're still tweaking ship still.
• 57:08
  Speaker 1: Oh yeah, was my impression with that? You guys worked
• 57:12
  Speaker 1: pretty quickly, But is it like I guess, working pretty
• 57:16
  Speaker 1: quickly and then going back to something you know, like
• 57:18
  Speaker 1: that's not It.
• 57:18
  Speaker 4: Depends on what it is. You know.
• 57:19
  Speaker 2: It's like we we record. We decided to do a
• 57:22
  Speaker 2: cover of this song two days ago, and so we
• 57:26
  Speaker 2: spent like three hours. We spent two hours tracking the
• 57:31
  Speaker 2: basics and then getting a rough together, then another two
• 57:33
  Speaker 2: hours the next day, and there's four hours all in
• 57:37
  Speaker 2: on a song and it's maybe very close to donn.
• 57:40
  Speaker 4: That's one way that we can do shit.
• 57:42
  Speaker 2: And then another way is like this this method where
• 57:45
  Speaker 2: it's like, you know, get with a songwriter and with Rick,
• 57:48
  Speaker 2: maybe we'll write in two or three songs in a day,
• 57:51
  Speaker 2: and then there's like you know, then you started to
• 57:54
  Speaker 2: get into that start trying to figure out how to
• 57:57
  Speaker 2: do this, and then maybe there's multiple approaches to it.
• 58:01
  Speaker 2: But once you get to a point where you have
• 58:03
  Speaker 2: seventeen songs going, it's like if you go in for
• 58:05
  Speaker 2: a day of work, even if you only want to
• 58:08
  Speaker 2: do a little bit on like half those songs, whether
• 58:11
  Speaker 2: it's just overnumber two, you know, you're talking about five
• 58:16
  Speaker 2: hours of work to touch all the songs a little bit,
• 58:18
  Speaker 2: you know, so the record takes it can take time.
• 58:22
  Speaker 1: What song did you guys decide to cover.
• 58:27
  Speaker 3: We're gonna let it be a surprise.
• 58:29
  Speaker 4: I think, Yeah, it's a surprise.
• 58:31
  Speaker 1: Yeah, all right, all right, we.
• 58:35
  Speaker 3: Just cut it yesterday. We haven't even had time to
• 58:38
  Speaker 3: think about it yet.
• 58:39
  Speaker 2: Yeah, all right, I'll tell you what it is. We're
• 58:42
  Speaker 2: doing a compilation of songs considered the world's worst songs,
• 58:46
  Speaker 2: and we're trying to make them good. And this is
• 58:49
  Speaker 2: We Built this City. It's our cover of Jefferson Starship
• 58:52
  Speaker 2: We Built the City, written by Bernie Tappin.
• 58:56
  Speaker 4: You guys made a documentary, right, we didn't, but some
• 59:02
  Speaker 4: but there has been one made.
• 59:04
  Speaker 1: Is that coming out? Not coming out? Sounds like not
• 59:07
  Speaker 1: too exciting? No, I think I think it come out? Yeah,
• 59:12
  Speaker 1: you know, we've we've just been fucking grinding in the studio.
• 59:16
  Speaker 4: Bro.
• 59:18
  Speaker 2: Yeah, I think since between you know, we I think
• 59:20
  Speaker 2: we've you know, we've been really on this creative streak
• 59:25
  Speaker 2: right lately.
• 59:26
  Speaker 4: So we've just been focused on that, you know. And
• 59:29
  Speaker 4: now we're about to put this out and we're gonna
• 59:31
  Speaker 4: go on the road a bit this year, and uh, you.
• 59:36
  Speaker 3: Know, yeah, we're getting ready to not be able to
• 59:38
  Speaker 3: like go in the studio very often. There's lots of
• 59:41
  Speaker 3: shows coming up, so got it.
• 59:43
  Speaker 4: I'm trying to get it in while we can.
• 59:45
  Speaker 1: Yeah, that is that a fun shift to make going
• 59:49
  Speaker 1: from the studio on tour.
• 59:50
  Speaker 4: You know, I think I think tours fun. Playing the
• 59:52
  Speaker 4: shows is fun.
• 59:53
  Speaker 2: It's just about I think we you know, like if
• 59:57
  Speaker 2: you like, are drink too much tequila, like you might
• 1:00:01
  Speaker 2: never want to like taste it.
• 1:00:03
  Speaker 3: Again.
• 1:00:05
  Speaker 2: We almost got there kind of with touring before. So
• 1:00:07
  Speaker 2: it's like there's a little bit of that, you know,
• 1:00:11
  Speaker 2: a little bit of that sense memory of what it
• 1:00:15
  Speaker 2: feels like to be on the road for an entire year.
• 1:00:19
  Speaker 2: So even though we have like it's only like maybe
• 1:00:22
  Speaker 2: fifty or forty five shows, it's still like, you know,
• 1:00:26
  Speaker 2: and now that we have kids. You know, Dance had
• 1:00:28
  Speaker 2: kids for you know, seventeen years, but I've only ever
• 1:00:32
  Speaker 2: toured like twice with the kids and now, so like,
• 1:00:36
  Speaker 2: you know, it's a little bit it's hard to get away.
• 1:00:41
  Speaker 2: Well then I guess once I'm away, it's kind of good.
• 1:00:43
  Speaker 2: I get more sleep. But I think I think, I
• 1:00:47
  Speaker 2: think that we're excited about doing some shows. We're going
• 1:00:49
  Speaker 2: to open up the set list. I feel like it's
• 1:00:51
  Speaker 2: like it's it's the thing that you got to do.
• 1:00:53
  Speaker 2: It's the thing that the fans want, and so they
• 1:00:56
  Speaker 2: just make the most of it. And I think one
• 1:00:58
  Speaker 2: thing we've talked about is just like really kind of
• 1:01:00
  Speaker 2: opening up our set list.
• 1:01:03
  Speaker 4: You know.
• 1:01:03
  Speaker 2: When we kind of did this transition, like started moving
• 1:01:05
  Speaker 2: into the arenas around brother Zell Camino, it was like,
• 1:01:11
  Speaker 2: you know, getting into this whole different thing that we
• 1:01:13
  Speaker 2: never not only I'd never experienced, but Dan had only
• 1:01:17
  Speaker 2: ever been to like one arena show and I'd never
• 1:01:19
  Speaker 2: been to arena show. So it was like we were
• 1:01:21
  Speaker 2: now playing our job, was not doing something that we'd
• 1:01:24
  Speaker 2: never even experienced. Yeah, and so it was kind of
• 1:01:27
  Speaker 2: I feel like with the lights and the whole thing,
• 1:01:28
  Speaker 2: it's like I feel like we started kind of like
• 1:01:32
  Speaker 2: maybe losing sight of the catalog that we've created.
• 1:01:37
  Speaker 1: Were they fun show?
• 1:01:38
  Speaker 4: Like?
• 1:01:38
  Speaker 1: Were they fun to play arenas?
• 1:01:41
  Speaker 3: Yeah?
• 1:01:42
  Speaker 4: Absolutely, Yeah, any show, any show can be fun.
• 1:01:45
  Speaker 3: Yeah, it's all. It all depends on the audience. Play festival,
• 1:01:48
  Speaker 3: you know, it really helps when there's an open pit
• 1:01:50
  Speaker 3: in the front. You know, Yeah, when the when you're
• 1:01:53
  Speaker 3: in an arena and it's seated, or when you're in
• 1:01:56
  Speaker 3: a theater and it's seated, it's like it's hard, it's
• 1:01:59
  Speaker 3: not so much so so much fun to play rock
• 1:02:01
  Speaker 3: and roll in those kind of places.
• 1:02:03
  Speaker 2: Or we're on stage and there's like a football field
• 1:02:05
  Speaker 2: between you and the front.
• 1:02:07
  Speaker 4: Yeah, like festival, you know there's where there's like.
• 1:02:12
  Speaker 2: You know, the energy from the crowd is there is
• 1:02:15
  Speaker 2: crucial crucial that's like the most How does that get decided?
• 1:02:18
  Speaker 1: I mean, obviously a festival that's kind of out of
• 1:02:20
  Speaker 1: I mean, that's just up to somebody somewhere. But when
• 1:02:23
  Speaker 1: it's like a black Key show and you're going you
• 1:02:26
  Speaker 1: know to a different city to city, like, are you
• 1:02:28
  Speaker 1: guys allowed to dictate like how like front the first
• 1:02:32
  Speaker 1: ten rows are seated or not?
• 1:02:34
  Speaker 2: Or you know, I mean if you're playing in an
• 1:02:36
  Speaker 2: ample theater, you're kind of stuck with whatever's there. If
• 1:02:40
  Speaker 2: you're in an arena, you get a little bit of choice,
• 1:02:44
  Speaker 2: you know, to a certain degree.
• 1:02:48
  Speaker 4: But there's certain rooms where it's.
• 1:02:49
  Speaker 2: Just you know, designed to to be that way, like
• 1:02:54
  Speaker 2: the Oregon Theater in Chicago, Brickson Academy in London, the
• 1:03:01
  Speaker 2: Zenith Barrow Lands, like there's these rooms there are like
• 1:03:05
  Speaker 2: four just six thousand seeds, like the Anthem and DC.
• 1:03:10
  Speaker 2: The rooms that are like four or five six thousand
• 1:03:12
  Speaker 2: seat big rooms, big theaters with an open floor.
• 1:03:16
  Speaker 4: Those are those are those are the that's the sweet
• 1:03:19
  Speaker 4: spot for us.
• 1:03:22
  Speaker 1: Is there a world where you guys would say like
• 1:03:24
  Speaker 1: we're only ever going to play those or primarily.
• 1:03:28
  Speaker 2: Well, I don't think enough of them exists to you
• 1:03:31
  Speaker 2: just be playing the same ten cities. But those are
• 1:03:34
  Speaker 2: the most fun, you know, I think it's almost worth
• 1:03:36
  Speaker 2: it to just do a couple of nights in those
• 1:03:40
  Speaker 2: versus a you know, hitting some stuff where it's you know,
• 1:03:45
  Speaker 2: you might miss energy. But it's the same time, part
• 1:03:47
  Speaker 2: of the fun of this job is traveling. You know,
• 1:03:49
  Speaker 2: it's just about how much you do, and it's like
• 1:03:54
  Speaker 2: it could be fun like, you know, to hit up
• 1:03:59
  Speaker 2: some of these you know, off the beaten paths cities
• 1:04:02
  Speaker 2: and stuff. It's just about how long you're out there for,
• 1:04:04
  Speaker 2: you know. But I'm excited about our first Legacy tours,
• 1:04:09
  Speaker 2: like three weeks. That's it's like, that's the ideal amount.
• 1:04:12
  Speaker 2: We have to go to Europe for a month. That's
• 1:04:15
  Speaker 2: that's a little bit much. And it's like funny because
• 1:04:20
  Speaker 2: every time we go to Europe, and this has been
• 1:04:22
  Speaker 2: the case except with the exception of one or two
• 1:04:25
  Speaker 2: tours for twenty years, it's like you're not going to
• 1:04:28
  Speaker 2: make any money, but it's really important to get over
• 1:04:32
  Speaker 2: there and do this thing. I was like, well, who's
• 1:04:34
  Speaker 2: making this money? Because we're earning it, like it's coming in.
• 1:04:38
  Speaker 2: There's like millions of bucks, bro, But where.
• 1:04:42
  Speaker 4: Does it go? Dog?
• 1:04:45
  Speaker 1: Did you find that out?
• 1:04:46
  Speaker 4: Yeah? I did find it out.
• 1:04:49
  Speaker 3: We just have to do one more tour and then.
• 1:04:50
  Speaker 2: Yeah, we will tell us they're always like one more tour.
• 1:04:53
  Speaker 2: We had done this tour. This is in twenty twelve, dude,
• 1:04:57
  Speaker 2: that's the year that gave us like that's tequila taste
• 1:05:01
  Speaker 2: of tour. We were on the road all year and
• 1:05:03
  Speaker 2: we had just finished playing writing Festival right outside London,
• 1:05:09
  Speaker 2: and yeah, we were about to go home for a
• 1:05:11
  Speaker 2: month off and then we and then we had uh
• 1:05:13
  Speaker 2: to still do the West coast of the US and Australia,
• 1:05:16
  Speaker 2: so we still had like four weeks of touring left
• 1:05:19
  Speaker 2: and we just gone all year and our agent comes back.
• 1:05:21
  Speaker 2: He's like, I need you to come back in December.
• 1:05:25
  Speaker 2: Right where come back way? He's like, you got to
• 1:05:27
  Speaker 2: do more Europe December. You got to And we had
• 1:05:30
  Speaker 2: just played three nights at this place, Ali Alexandria Palace,
• 1:05:33
  Speaker 2: so we sold like thirty thousand tickets in London. Plus
• 1:05:36
  Speaker 2: we had just played the Writing Festival direct support to
• 1:05:40
  Speaker 2: food Fighters, so we'd already sold thirty thousand tickets in
• 1:05:43
  Speaker 2: the city. And he like, I need you back. You
• 1:05:45
  Speaker 2: got to really prove, you know, you got to really
• 1:05:48
  Speaker 2: like this is gonna you know, uh, it's going to
• 1:05:52
  Speaker 2: set the tone. You know, you got to go to
• 1:05:53
  Speaker 2: you gotta do like a Marquee show. So we need
• 1:05:56
  Speaker 2: you back. Two nights. We went back to London, the
• 1:06:00
  Speaker 2: two nights at the O two Arena. So in like
• 1:06:02
  Speaker 2: one year we sold like fifty five thousand tickets just
• 1:06:06
  Speaker 2: in London.
• 1:06:10
  Speaker 4: And I still don't know if we made money on
• 1:06:11
  Speaker 4: that tour.
• 1:06:12
  Speaker 2: Actually I don't think that we didn't.
• 1:06:16
  Speaker 4: You can't you audit that kind of thing. This sketchy dude, what.
• 1:06:23
  Speaker 1: In hindsight would you go back?
• 1:06:24
  Speaker 4: Like?
• 1:06:24
  Speaker 1: Is that was that the problem? Just what's that saying?
• 1:06:27
  Speaker 4: Though?
• 1:06:28
  Speaker 2: No, I think that that's the problem with the that happened,
• 1:06:31
  Speaker 2: Like it can happen. It's just like you got to
• 1:06:34
  Speaker 2: know when to say when. Like the other day, just
• 1:06:36
  Speaker 2: so today, like you know, our manager called and was like,
• 1:06:38
  Speaker 2: we got to you know, we have this tour that's
• 1:06:40
  Speaker 2: already too long to go to Europe and they're like,
• 1:06:43
  Speaker 2: we got to offer to go to to add on
• 1:06:45
  Speaker 2: to this one more show. And I'm just like, it
• 1:06:48
  Speaker 2: doesn't really matter how much it's going to pay or
• 1:06:50
  Speaker 2: what it is. It's like it can't it can't do that.
• 1:06:55
  Speaker 2: That's the time slot. That's the thing, because I always
• 1:06:58
  Speaker 2: gets you by the balls. But be like, you know,
• 1:07:00
  Speaker 2: the next tour, next time you go back, it's always happens.
• 1:07:05
  Speaker 2: But you've learned now, Well that's why if you look
• 1:07:07
  Speaker 2: like the interview with What's your Face Kate Nash, I
• 1:07:10
  Speaker 2: saw like she's did an interview about like you know,
• 1:07:12
  Speaker 2: touring what touring looks like for her. And you know,
• 1:07:16
  Speaker 2: I think people who aren't in the industry like see
• 1:07:19
  Speaker 2: that and are like, what, you know, what's she on about? Like,
• 1:07:21
  Speaker 2: but no, what she's saying is one hundred percent accurate.
• 1:07:24
  Speaker 2: You know what did she say? She says she's just
• 1:07:26
  Speaker 2: going on a month on tour of Europe. Everything's basically
• 1:07:29
  Speaker 2: sold out. She's not making money. That's that's the reality
• 1:07:32
  Speaker 2: of what this touring has become because they you know,
• 1:07:36
  Speaker 2: once all the money went away from the recording side,
• 1:07:38
  Speaker 2: then the people that like suck the life out of
• 1:07:42
  Speaker 2: suck the money out of the music industry, they have
• 1:07:44
  Speaker 2: to go into the live side because that's where all
• 1:07:46
  Speaker 2: the money is, and they saw people making it tons
• 1:07:48
  Speaker 2: of money. I mean the Taylor Swift's tour did like
• 1:07:50
  Speaker 2: what like six billion dollars. Yeah, people are going there
• 1:07:54
  Speaker 2: to get the money. The cost of like renting a
• 1:07:57
  Speaker 2: bus is like four x what it was ten years ago.
• 1:08:01
  Speaker 2: You know, you got your commissions or taxes, the the
• 1:08:06
  Speaker 2: you know what people expect to get paid to go
• 1:08:08
  Speaker 2: on tour with you so way up, you know, as
• 1:08:10
  Speaker 2: it should because inflation is crazy. So then the only
• 1:08:13
  Speaker 2: thing that hasn't gone up, but has maybe gone down
• 1:08:16
  Speaker 2: is the fees that are coming into the band.
• 1:08:19
  Speaker 4: You know, ticket.
• 1:08:19
  Speaker 2: Prices up, hotels are up, all the all the vendors
• 1:08:24
  Speaker 2: are up. Everything's way out of control.
• 1:08:26
  Speaker 4: But like.
• 1:08:28
  Speaker 2: The amount of money that hits the you know, the
• 1:08:30
  Speaker 2: actual musicians is way down.
• 1:08:33
  Speaker 4: Yeah, we're excited about this album.
• 1:08:35
  Speaker 2: But yeah, I was gonna say that trying to say
• 1:08:36
  Speaker 2: this earlier, it was just like, you know, part of
• 1:08:38
  Speaker 2: this whole thing is like figure out how to like
• 1:08:41
  Speaker 2: how to like roll record out, how to like you know,
• 1:08:44
  Speaker 2: and so for us, it's kind of like for me
• 1:08:46
  Speaker 2: at least, it's like the most exciting thing about making
• 1:08:48
  Speaker 2: music is like people kind of get to That's like
• 1:08:52
  Speaker 2: the one perk of this. It's like people get to
• 1:08:54
  Speaker 2: experience music for the first time together. And I feel like,
• 1:08:57
  Speaker 2: you know, we're giving the first peek in this record
• 1:08:59
  Speaker 2: in February, and the record doesn't come out until way
• 1:09:02
  Speaker 2: later in the year. But I think that the reason
• 1:09:04
  Speaker 2: is just so we can find a few more other
• 1:09:06
  Speaker 2: special moments to introduce these songs in a way that
• 1:09:09
  Speaker 2: thoughtful and fun for the fans.
• 1:09:11
  Speaker 4: So yeah, we got a lot of cool shit to
• 1:09:13
  Speaker 4: share this year.
• 1:09:14
  Speaker 2: I mean, I think I think the reason why we
• 1:09:15
  Speaker 2: never got into writing on the road is because we've
• 1:09:17
  Speaker 2: always been like a band that writes and makes music
• 1:09:22
  Speaker 2: centered around creating a master essentially, you know, like it's
• 1:09:27
  Speaker 2: always been about the recording since day one.
• 1:09:30
  Speaker 4: It's been like since.
• 1:09:32
  Speaker 2: Literally the first time we officially like kind of started
• 1:09:35
  Speaker 2: this band, it was like we were making we made
• 1:09:37
  Speaker 2: a recording, and then after that it was like, when
• 1:09:41
  Speaker 2: we get together to make music, it's it's it's it's
• 1:09:45
  Speaker 2: based around that. So on the road, it's like we're
• 1:09:47
  Speaker 2: gonna put a studio in your bus, like a fucking idiot, Like,
• 1:09:51
  Speaker 2: come on.
• 1:09:52
  Speaker 1: Why would that make you a fucking idiot?
• 1:09:54
  Speaker 4: It's just like sleep on your bus.
• 1:09:57
  Speaker 2: It's gonna sound like shit, there's a fucking diesel engine below.
• 1:10:00
  Speaker 4: Come on, Like, you can't.
• 1:10:03
  Speaker 2: Tell me that what you're doing is so valuable. I
• 1:10:05
  Speaker 2: have to be recording eight hour. I have to have
• 1:10:08
  Speaker 2: my studio with me on the road in the bus.
• 1:10:13
  Speaker 2: Do you know anyone that does that?
• 1:10:17
  Speaker 4: No, just I M start doing.
• 1:10:21
  Speaker 1: Don't be a fucking idiot man, just sleep man. Well,
• 1:10:27
  Speaker 1: good luck on the road, Thank you, Thanks, look forward
• 1:10:31
  Speaker 1: to hearing the record, and uh, I hope you guys
• 1:10:35
  Speaker 1: make some money.
• 1:10:36
  Speaker 3: You know.
• 1:10:37
  Speaker 4: Me too, Thanks man, Thanks dude.
• 1:10:41
  Speaker 1: Later y'all see it does Dan Arbach and Patrick Carney
• 1:10:46
  Speaker 1: of the Black Keys. Their new album, No Rain, No
• 1:10:48
  Speaker 1: Flowers is out later the spring, with the worldwide tour
• 1:10:51
  Speaker 1: starting in May. You can hear our favorite songs from Dan,
• 1:10:54
  Speaker 1: Patrick and the band on a playlist at broken Record
• 1:10:56
  Speaker 1: podcast dot com. To see the video version of this episode,
• 1:11:00
  Speaker 1: visit YouTube dot com slash Broken Record Podcast and be
• 1:11:04
  Speaker 1: sure to follow us on Instagram at the Broken Record Pod.
• 1:11:07
  Speaker 1: You can follow us on Twitter Broken Record Broken Record
• 1:11:11
  Speaker 1: is produced and edited by Leah Rose, with marketing help
• 1:11:14
  Speaker 1: from Eric Sandler and Jordan McMillan. Our engineer is Ben Tollinay.
• 1:11:18
  Speaker 1: Broken Record is a production of Pushkin Industries. If you
• 1:11:22
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• 1:11:37
  Speaker 1: And if you like this show, please remember to share, rate,
• 1:11:40
  Speaker 1: and review us on your podcast a. Our theme music's
• 1:11:43
  Speaker 1: by Kenny Beats. I'm justin Richmond,