WEBVTT 00:00:47.289 --> 00:00:50.469 Welcome to over -educated and under -employed. 00:00:50.689 --> 00:00:54.729 Today I am here with my interview with Sloan 00:00:54.729 --> 00:00:58.369 Simpson from the Sloan Brothers is a project 00:00:58.369 --> 00:01:01.609 that you'll learn all about in the interview. 00:01:02.270 --> 00:01:04.590 I'm not even gonna tell you why it's called Sloan 00:01:04.590 --> 00:01:07.129 Brothers, but I will tell you Sloan Simpson is 00:01:07.129 --> 00:01:10.310 the only Sloan. We didn't really know each other 00:01:10.310 --> 00:01:12.329 very well when I recorded this interview. But 00:01:12.329 --> 00:01:14.569 in the last few weeks since then, we've become 00:01:14.569 --> 00:01:16.709 pretty good friends. We talk a lot about different 00:01:16.709 --> 00:01:20.750 stuff. He's been super productive, writing new 00:01:20.750 --> 00:01:24.590 songs, working on a whole new full length. When 00:01:24.590 --> 00:01:29.329 I recorded this just a few weeks ago, the Sloan 00:01:29.329 --> 00:01:34.329 Brothers versus Jay Gonzalez split EP, Seven 00:01:34.329 --> 00:01:36.930 Inch had just come out. So we talked quite a 00:01:36.930 --> 00:01:39.909 bit about that process. He's already onto the 00:01:39.909 --> 00:01:42.459 next thing. He talks about that too. It's been 00:01:42.459 --> 00:01:46.079 an ongoing project that and I got to say, check 00:01:46.079 --> 00:01:48.959 out that split EP. It's fantastic. It's a lot 00:01:48.959 --> 00:01:52.980 of fun. I went to the release party and Jay played 00:01:52.980 --> 00:01:55.959 one of Sloan's songs off the EP because Sloan 00:01:55.959 --> 00:02:00.079 never plays live. And we talk about why. So anyway, 00:02:00.680 --> 00:02:02.519 without further ado, here's my interview with 00:02:02.519 --> 00:02:06.420 Sloan Simpson of the Sloan brothers. Sloan brothers 00:02:06.420 --> 00:02:09.659 never perform live. So you can't catch them anywhere 00:02:09.659 --> 00:02:12.379 near you. But you definitely can check out their 00:02:12.379 --> 00:02:17.979 music on Spotify and keep your eye out for new 00:02:17.979 --> 00:02:21.419 stuff coming every day. Here's my interview with 00:02:21.419 --> 00:02:24.180 Sloan Simpson. Let's do this. I think the sound 00:02:24.180 --> 00:02:26.500 levels should be good, but I'll keep an eye on 00:02:26.500 --> 00:02:28.939 it the first couple of minutes. Yeah, we should 00:02:28.939 --> 00:02:31.939 be okay. I think go and say something. Sloan 00:02:31.939 --> 00:02:34.280 Simpson checking levels. All right. Perfect. 00:02:34.439 --> 00:02:37.240 I'm here with Sloan Simpson. I don't even really 00:02:37.240 --> 00:02:38.939 know where to begin, except I'd be where I begin 00:02:38.939 --> 00:02:42.349 with everybody else. What was your favorite song 00:02:42.349 --> 00:02:45.069 that you the first favorite song your first song 00:02:45.069 --> 00:02:48.370 that you ever loved? Your and maybe it's not 00:02:48.370 --> 00:02:50.009 the first one you did but what's the first one 00:02:50.009 --> 00:02:52.389 you remember? The one that pops into my head 00:02:52.389 --> 00:02:56.469 right now as as far as Playing over and over 00:02:56.469 --> 00:02:58.509 when I was a kid. It's probably gonna be Jim 00:02:58.509 --> 00:03:01.550 Jets. I love rock and roll Awesome. Ask me on 00:03:01.550 --> 00:03:02.870 a different day. I probably have a different 00:03:02.870 --> 00:03:07.449 answer. Yeah, but I guess Think back to like 00:03:07.449 --> 00:03:12.060 your earliest memories of music Was there like 00:03:12.060 --> 00:03:15.259 a first song, like a first song that you remember? 00:03:16.039 --> 00:03:18.639 Maybe not playing over and over, but just like 00:03:18.639 --> 00:03:21.120 having an attachment to it. Probably not really 00:03:21.120 --> 00:03:23.479 before then. So that was, I would have been about 00:03:23.479 --> 00:03:25.419 seven when that record came out. That sounds 00:03:25.419 --> 00:03:27.699 about right. That's probably about as far back 00:03:27.699 --> 00:03:32.460 as... I think it's around the age that most people 00:03:32.460 --> 00:03:35.639 have said that they jump on something. My parents 00:03:35.639 --> 00:03:37.919 weren't big music listeners around the house. 00:03:38.139 --> 00:03:40.560 So it didn't start until my sister was old enough 00:03:40.560 --> 00:03:43.280 to buy a couple of 45s and me hear her playing. 00:03:43.719 --> 00:03:47.199 Man, older siblings are responsible for so many 00:03:47.199 --> 00:03:51.419 people. Just getting record collections and being 00:03:51.419 --> 00:03:53.419 turned on to all kinds of stuff that they never 00:03:53.419 --> 00:03:56.199 would have heard. Were your parents into any 00:03:56.199 --> 00:03:57.919 kind of music or just not into the kind of music 00:03:57.919 --> 00:04:01.960 you were into? The latter. My mom played the 00:04:01.960 --> 00:04:04.819 organ and piano in church. So very musical family, 00:04:05.080 --> 00:04:09.360 just different kind of styling. Between church 00:04:09.360 --> 00:04:11.620 and rehearsals for that I guess that was all 00:04:11.620 --> 00:04:14.099 she needed music was so at home They they either 00:04:14.099 --> 00:04:16.579 read the newspaper or play TV or whatever. I 00:04:16.579 --> 00:04:18.500 got you They weren't playing records in the radio. 00:04:18.779 --> 00:04:23.779 I see. Okay, so Now there's I think for every 00:04:23.779 --> 00:04:25.920 musician like a point where it goes Oh, I like 00:04:25.920 --> 00:04:29.279 this song or I like these songs too. I love music 00:04:29.279 --> 00:04:32.779 Do you remember what kind of made that happen 00:04:32.779 --> 00:04:35.620 for you? Probably a lot of people have a different 00:04:35.620 --> 00:04:39.350 view of this but to me The early 80s, top 40 00:04:39.350 --> 00:04:42.810 radio thing, at least in retrospect, seems incredibly 00:04:42.810 --> 00:04:46.870 diverse. And it was... I might not like this 00:04:46.870 --> 00:04:49.449 song, but the next one or the one after is going 00:04:49.449 --> 00:04:51.769 to be something I like. There was so much different 00:04:51.769 --> 00:04:53.730 stuff going on. Again, I know a lot of people 00:04:53.730 --> 00:04:57.389 hate the era and feel like it was cheesy, but 00:04:57.389 --> 00:05:00.290 there were just so many things and it was... 00:05:00.290 --> 00:05:02.790 This was really before I started buying very 00:05:02.790 --> 00:05:05.920 much music. It's not... Wouldn't have been album 00:05:05.920 --> 00:05:08.439 oriented stuff for me. It was just one -offs 00:05:08.439 --> 00:05:11.339 by a single for an artist Yeah, that's the way 00:05:11.339 --> 00:05:13.379 you put that's really interesting to me because 00:05:13.379 --> 00:05:15.639 even if you're somebody that didn't like all 00:05:15.639 --> 00:05:17.220 of that music or something like that I think 00:05:17.220 --> 00:05:19.579 the point that you made that if you didn't like 00:05:19.579 --> 00:05:21.759 this song you might like the next one or the 00:05:21.759 --> 00:05:24.519 next one Yeah, that's the reason I listen to 00:05:24.519 --> 00:05:26.920 the only radio station I listen to now is because 00:05:26.920 --> 00:05:29.680 of that diversity that switching up and yeah 00:05:29.680 --> 00:05:32.779 a lot of times I'm not gonna plan but I'm probably 00:05:32.779 --> 00:05:34.920 gonna be fine with the next thing. Yeah I think 00:05:34.920 --> 00:05:38.519 that's a really succinct way to understand what 00:05:38.519 --> 00:05:42.199 was appealing. Yeah. And at this time, top 40 00:05:42.199 --> 00:05:46.060 as a format, it was really just what hit the 00:05:46.060 --> 00:05:50.500 top 40 versus later on, it became about the corporation 00:05:50.500 --> 00:05:54.500 pushing down lists of songs that fit a format 00:05:54.500 --> 00:05:57.800 they were defining. So that top 40 could include 00:05:57.800 --> 00:06:01.319 synth pop, little bits of post -punk, a little 00:06:01.319 --> 00:06:04.100 bit of country. It seems like it was not nearly 00:06:04.100 --> 00:06:07.740 as rigidly defined as radio became later. And 00:06:07.740 --> 00:06:10.500 I think the labels obviously had a lot to do 00:06:10.500 --> 00:06:13.040 with that. Radio, corporate radio taking over 00:06:13.040 --> 00:06:14.839 a lot of these stations had a lot to do that. 00:06:15.100 --> 00:06:16.800 And I don't want to get too far ahead of myself 00:06:16.800 --> 00:06:19.959 here, but would you say that is like part of 00:06:19.959 --> 00:06:23.160 the frustration that you felt when you stopped 00:06:23.160 --> 00:06:26.540 playing music live, for instance? Not for me, 00:06:26.779 --> 00:06:29.959 but I had already checked out a radio and MTV 00:06:29.959 --> 00:06:32.480 by that point. Okay. When I became frustrated 00:06:32.480 --> 00:06:36.040 as a musician would have been early to mid nineties. 00:06:36.040 --> 00:06:39.540 And it was because I was listening to jam band 00:06:39.540 --> 00:06:43.420 stuff at that point. And I wanted to flow like 00:06:43.420 --> 00:06:46.899 Jerry Garcia and Trey from Fish and, but was 00:06:46.899 --> 00:06:49.399 not willing to put it in the practice in an effort 00:06:49.399 --> 00:06:52.600 to pull that off. Let's take a step back then, 00:06:52.699 --> 00:06:55.860 but like before that, like what kind of led you 00:06:55.860 --> 00:06:59.060 from being a music fan to being a musician? So 00:06:59.060 --> 00:07:01.819 you fell in love with music. with the eighties, 00:07:01.959 --> 00:07:06.980 early, diverse, top 40, what, you remember what 00:07:06.980 --> 00:07:08.959 made you pick up your first instrument? Like 00:07:08.959 --> 00:07:11.439 on your own accord, not because the school made 00:07:11.439 --> 00:07:13.540 you or something like that. Probably when I started 00:07:13.540 --> 00:07:15.959 getting into metal, I got a guitar at 15 and 00:07:15.959 --> 00:07:17.939 I would have probably been into metal for a couple 00:07:17.939 --> 00:07:20.459 of years at that point. Had a buddy who started 00:07:20.459 --> 00:07:23.100 drums at the same time I started guitar. So that 00:07:23.100 --> 00:07:27.180 as that kind of thing normally goes. And after 00:07:27.180 --> 00:07:30.189 a couple of years of playing On my own, I got 00:07:30.189 --> 00:07:33.689 involved in jazz band in high school, which I 00:07:33.689 --> 00:07:35.750 enjoyed a lot and started listening to jazz because 00:07:35.750 --> 00:07:39.170 of that. Cool. And ended up actually released 00:07:39.170 --> 00:07:41.050 my senior year of high school, maybe a little 00:07:41.050 --> 00:07:43.910 bit of my junior year. I played in the local 00:07:43.910 --> 00:07:45.990 college's jazz band while I was still in high 00:07:45.990 --> 00:07:48.610 school, just because they were shorter musicians. 00:07:49.149 --> 00:07:51.329 And so I would actually skip a little bit of 00:07:51.329 --> 00:07:54.350 school on a couple of days at high school at 00:07:54.350 --> 00:07:56.189 the end of the day. And I come back from lunch 00:07:56.189 --> 00:07:59.360 and go off. to the college jazz band rehearsal. 00:07:59.939 --> 00:08:03.839 That's awesome. So I'm going to now so we can 00:08:03.839 --> 00:08:07.300 everybody's childhood is has these moments, right? 00:08:07.680 --> 00:08:09.720 Now I want to talk about what you do now and 00:08:09.720 --> 00:08:14.720 then talk about what led to that. So you do basically 00:08:14.720 --> 00:08:17.240 bedroom recordings with a bunch of different 00:08:17.240 --> 00:08:20.660 typically Athens based musicians. Yep. And you 00:08:20.660 --> 00:08:22.519 never perform live anymore. You haven't performed 00:08:22.519 --> 00:08:25.240 live in 30 years. Is that right? Something like 00:08:25.240 --> 00:08:28.139 that. Yeah. I was playing in the college jazz 00:08:28.139 --> 00:08:32.840 band when I was a passenger in a wreck, broke 00:08:32.840 --> 00:08:36.840 a collarbone, and so was not able to play for 00:08:36.840 --> 00:08:39.679 however long I was in a brace. And like I said, 00:08:39.700 --> 00:08:42.620 I'd been frustrated with it anyway. And that, 00:08:42.639 --> 00:08:45.799 that sort of broke the habit. By the time I physically 00:08:45.799 --> 00:08:48.679 could play guitar again, I just didn't. Yeah. 00:08:48.919 --> 00:08:53.279 I had said I was into jam bands a lot then by 00:08:53.279 --> 00:08:56.019 the end of the nineties. inherited some taping 00:08:56.019 --> 00:09:00.519 gear and started taping live shows from 1999 00:09:00.519 --> 00:09:05.220 on. And then the way I got back into music and 00:09:05.220 --> 00:09:08.600 into recording my own music was when COVID hit 00:09:08.600 --> 00:09:11.639 and the venue shut down, there was no, I couldn't 00:09:11.639 --> 00:09:15.399 go record live shows. And I watched what I could 00:09:15.399 --> 00:09:20.399 on Netflix and was just bored to tears and started 00:09:20.399 --> 00:09:24.200 messing around and actually was working on I 00:09:24.200 --> 00:09:26.080 played around with a mix of a friends and I thought 00:09:26.080 --> 00:09:28.179 this could use a little bit of a drone synth 00:09:28.179 --> 00:09:33.340 on this. And so I downloaded a pre -synth and 00:09:33.340 --> 00:09:35.899 messed around with my actual laptop keyboard. 00:09:36.940 --> 00:09:39.080 And I was like, this is really fun. And before 00:09:39.080 --> 00:09:43.080 very long, I had bought a MIDI controller and 00:09:43.080 --> 00:09:45.899 took mess with synths. And I realized that since 00:09:45.899 --> 00:09:48.879 I had no technical facility for playing keyboard, 00:09:49.320 --> 00:09:52.159 that allowed me to hear music in my head. And 00:09:52.159 --> 00:09:56.529 then figure it out on the keyboard whereas having 00:09:56.529 --> 00:09:58.809 practiced guitar and learned scales and all that 00:09:58.809 --> 00:10:02.570 stuff in the past I had developed a muscle memory 00:10:02.570 --> 00:10:04.730 for guitar and one of the things that would frustrate 00:10:04.730 --> 00:10:08.649 me on guitar is if I pick up a guitar the hand 00:10:08.649 --> 00:10:11.809 and arm muscles take over and play things that 00:10:11.809 --> 00:10:14.950 I've been playing since I was a teenager without 00:10:14.950 --> 00:10:18.789 the direct input of my conscious brain I don't 00:10:18.789 --> 00:10:22.049 enjoy what comes out of the guitar so that sort 00:10:22.049 --> 00:10:25.350 of broke that, that mold to start messing around 00:10:25.350 --> 00:10:27.909 with sense because I, you didn't have anything 00:10:27.909 --> 00:10:30.090 until I had an idea. Yeah. And you didn't have 00:10:30.090 --> 00:10:33.830 any rules to break. You were really truly free 00:10:33.830 --> 00:10:38.649 to just kind of experiment. So what do you view 00:10:38.649 --> 00:10:41.350 your role as when you do these recordings or 00:10:41.350 --> 00:10:44.570 even before that, like in general, in the music 00:10:44.570 --> 00:10:48.450 scene, I look at you as almost in a way outside 00:10:48.450 --> 00:10:50.470 of your home recordings, like a documentarian 00:10:50.470 --> 00:10:56.360 of sorts. I was for sure. Since it became possible 00:10:56.360 --> 00:10:58.860 to record live shows again, I have not anymore. 00:10:59.240 --> 00:11:02.179 I did a couple, I recorded Jay and Dollas a couple 00:11:02.179 --> 00:11:04.320 of times during that gray area where it was mostly 00:11:04.320 --> 00:11:07.500 outside outdoor shows and the clubs had not opened 00:11:07.500 --> 00:11:12.639 back up yet. But it took a lot, not even aside 00:11:12.639 --> 00:11:15.019 from recording, just the fact of going out many 00:11:15.019 --> 00:11:18.639 nights a week. Once I broke that habit and learned 00:11:18.639 --> 00:11:22.610 to be comfortable, at home by myself, I really 00:11:22.610 --> 00:11:26.149 leaned into that. That was not... recording shows 00:11:26.149 --> 00:11:28.409 means getting there before everybody else and 00:11:28.409 --> 00:11:31.850 leaving after everybody else. And there's a lot 00:11:31.850 --> 00:11:35.289 of physicality involved and hauling stuff out, 00:11:35.350 --> 00:11:38.110 keeping it safe throughout the show. And you 00:11:38.110 --> 00:11:41.830 have to really want to do it. Yes. And so I just, 00:11:42.169 --> 00:11:45.450 I just wasn't as motivated to record live stuff 00:11:45.450 --> 00:11:48.529 anymore. And the more I got into recording my 00:11:48.529 --> 00:11:52.740 own stuff, that was... My new hobby. So what 00:11:52.740 --> 00:11:55.600 kind of kicked it off? Who was the first person 00:11:55.600 --> 00:12:00.019 to be like, all right, let's do it. You wasn't 00:12:00.019 --> 00:12:03.600 this thing that you added sent to, or was it. 00:12:03.879 --> 00:12:06.179 Yeah. You know, that even, I don't even think 00:12:06.179 --> 00:12:10.159 that ever got completed. That was just. Yeah, 00:12:10.559 --> 00:12:14.600 cool. And I ended up writing a couple songs and 00:12:14.600 --> 00:12:17.519 I meant to go back and re listen to those. I'd 00:12:17.519 --> 00:12:20.909 say that the first one was. I guess synth poppy, 00:12:20.970 --> 00:12:23.590 but maybe in that new romantic sort of way. And 00:12:23.590 --> 00:12:26.789 I had no idea that was what I was going to do. 00:12:26.809 --> 00:12:30.230 I just came up with a couple of lyrics and then 00:12:30.230 --> 00:12:31.809 some music sprang from that and I was like, Oh, 00:12:31.809 --> 00:12:35.129 I guess this is making synthy poppy kind of thing. 00:12:35.549 --> 00:12:40.289 But it then took me, my first LP was me trying 00:12:40.289 --> 00:12:43.169 out different styles and seeing what I liked 00:12:43.169 --> 00:12:46.230 the most. And working out with a variety of artists. 00:12:46.549 --> 00:12:50.590 Yes. So I want to go back to Something Jay said 00:12:50.590 --> 00:12:55.110 at the EP release party and I'll have told everybody 00:12:55.110 --> 00:12:57.570 of all about that by now before before this interview 00:12:57.570 --> 00:13:01.750 starts but he said that you have the same love 00:13:01.750 --> 00:13:05.990 of pop hooks that he does and I would just wonder 00:13:05.990 --> 00:13:09.009 if you could elaborate on that and what that 00:13:09.009 --> 00:13:11.529 where that came from and like how you think that 00:13:11.529 --> 00:13:14.649 affects your songwriting and Because I would 00:13:14.649 --> 00:13:17.210 agree. I think I hear it in your song that you're 00:13:17.450 --> 00:13:19.909 It's almost like the hook seems to be the anchor. 00:13:20.610 --> 00:13:23.750 Absolutely. And I didn't know. I didn't know 00:13:23.750 --> 00:13:26.149 that the hooks were my favorite thing. There 00:13:26.149 --> 00:13:29.450 was one song on my first LP called Songs Like 00:13:29.450 --> 00:13:33.490 This that turned into a real hooky power pop 00:13:33.490 --> 00:13:37.289 kind of thing. And when the album was done and 00:13:37.289 --> 00:13:39.769 released and I had a little more distance from 00:13:39.769 --> 00:13:42.289 it, I listened back and I was like, this is really 00:13:42.289 --> 00:13:45.990 the blueprint for what I want to do going forward. 00:13:46.490 --> 00:13:49.450 When I was working on that record, I would have 00:13:49.450 --> 00:13:52.110 that song go about my daily business and have 00:13:52.110 --> 00:13:54.730 that song playing in my brain constantly. And 00:13:54.730 --> 00:13:56.809 it would annoy me that I couldn't get it out 00:13:56.809 --> 00:13:59.710 of my head. But then I was, I realized that was 00:13:59.710 --> 00:14:02.690 what we were talking earlier about the eighties 00:14:02.690 --> 00:14:05.769 top 40 stuff. Even some of the songs I thought 00:14:05.769 --> 00:14:08.529 I disliked because they were so maddeningly catchy. 00:14:08.889 --> 00:14:11.950 That's a strength. Yeah. I think the worst thing 00:14:11.950 --> 00:14:15.110 a song can be is forgettable. Yes. Absolutely. 00:14:15.230 --> 00:14:17.269 Even if you hate it, if you remember it, it's 00:14:17.269 --> 00:14:19.269 still better than a song you forget. And I started 00:14:19.269 --> 00:14:21.190 thinking, I've always hated that. And I started 00:14:21.190 --> 00:14:23.429 listening to it again. And I'm thinking about 00:14:23.429 --> 00:14:26.169 it and like, no, I don't hate it. It's just manually 00:14:26.169 --> 00:14:29.970 effective. And now that I've tried my hand at 00:14:29.970 --> 00:14:32.450 riding my own. Wow. That's something that I want 00:14:32.450 --> 00:14:35.009 to aspire to. If I can get it stuck in my head, 00:14:35.029 --> 00:14:36.769 that means maybe I can get it stuck in somebody 00:14:36.769 --> 00:14:39.330 else's head. Yeah. It's just a little devious, 00:14:39.690 --> 00:14:42.669 but. No, that's, I think that's the goal though. 00:14:42.769 --> 00:14:45.639 Right? Yes. That's always. Toxic is a banger. 00:14:46.919 --> 00:14:50.059 I hated that song when it came out, but you have 00:14:50.059 --> 00:14:53.820 some kind of time and perspective, and you get 00:14:53.820 --> 00:14:56.759 to where you're not... I think a lot of the problem 00:14:56.759 --> 00:14:59.279 with some of these songs, too, when they came 00:14:59.279 --> 00:15:00.820 out, they're shoved down your throat. They're 00:15:00.820 --> 00:15:03.779 played all the time. You never can escape them. 00:15:04.139 --> 00:15:06.539 And once it becomes a choice to listen to them, 00:15:06.820 --> 00:15:08.960 it's almost like the books you're forced to read 00:15:08.960 --> 00:15:12.360 in school. 1984 probably sucked when your teacher 00:15:12.360 --> 00:15:14.759 made you read it. Right. But then you read it 00:15:14.759 --> 00:15:18.259 on your own and you're like, Oh, exactly. What 00:15:18.259 --> 00:15:22.019 were you listening to during COVID? What were 00:15:22.019 --> 00:15:24.200 you, what was, what were you surrounding yourself? 00:15:24.340 --> 00:15:26.179 It sounds like you have music interests all over 00:15:26.179 --> 00:15:28.779 the place. And I do too. I listened to literally 00:15:28.779 --> 00:15:31.840 everything, even a little dubstep occasionally. 00:15:32.539 --> 00:15:34.399 What were you listening to? Like when you were 00:15:34.399 --> 00:15:36.759 recording at first LP or when you were thinking 00:15:36.759 --> 00:15:39.419 about starting to record in the first place? 00:15:40.039 --> 00:15:43.210 I don't know if this was necessary, but. contracted 00:15:43.210 --> 00:15:45.730 in my listening and still do when I'm working 00:15:45.730 --> 00:15:50.149 on something. I'm a little afraid of hearing 00:15:50.149 --> 00:15:52.210 something that I wasn't thinking about before 00:15:52.210 --> 00:15:54.929 and letting it influence what I'm doing, which 00:15:54.929 --> 00:15:56.950 is not what I'm looking for. I feel like, at 00:15:56.950 --> 00:15:59.850 least in my brain, the formula for Sloan Brothers 00:15:59.850 --> 00:16:04.730 is set. So I mostly would listen to comfort food 00:16:04.730 --> 00:16:07.490 music, stuff that I had listened to. Since high 00:16:07.490 --> 00:16:10.990 school. Not new stuff, not even stuff that you 00:16:10.990 --> 00:16:12.929 didn't even necessarily have to listen to. You 00:16:12.929 --> 00:16:14.970 could play it in your head. Exactly. Rolling 00:16:14.970 --> 00:16:17.509 stones, tons of rolling stones, tons of Pink 00:16:17.509 --> 00:16:22.190 Floyd. The only somewhat nonstandard answer would 00:16:22.190 --> 00:16:25.629 be the cure. Cause that they're Cynthia and Poppy 00:16:25.629 --> 00:16:27.669 in places, but it's a totally different kind 00:16:27.669 --> 00:16:29.529 of Cynthia and Poppy. So there wasn't any danger 00:16:29.529 --> 00:16:32.629 of that influencing what I was doing. I didn't 00:16:32.629 --> 00:16:37.009 think. I'm really interested in. this idea of, 00:16:37.669 --> 00:16:40.529 because you're just drawing a line, right? Because 00:16:40.529 --> 00:16:43.690 at a certain point, everything that you've ever 00:16:43.690 --> 00:16:47.029 listened to is influencing what you're recording. 00:16:47.429 --> 00:16:50.049 But when you go into the process, you're drawing 00:16:50.049 --> 00:16:53.769 a line and you're like, I'm no longer putting 00:16:53.769 --> 00:16:58.169 in new things. And that specifically, if I was 00:16:58.169 --> 00:17:01.090 working on a different project that I might not 00:17:01.090 --> 00:17:04.650 feel the same way, but I feel like The Sloan 00:17:04.650 --> 00:17:08.750 Brothers sound I have in my head is sort of a 00:17:08.750 --> 00:17:11.970 throwback to something not really specific. Stay 00:17:11.970 --> 00:17:15.769 with me. This is a retroactive concept I applied, 00:17:16.190 --> 00:17:19.289 but I realized that I think what I'm thinking 00:17:19.289 --> 00:17:24.630 about with this is if in the 70s synthesizers 00:17:24.630 --> 00:17:29.170 had not faded away from mainstream rock and specialized 00:17:29.170 --> 00:17:33.759 into R &B and synth pop and all that, If you 00:17:33.759 --> 00:17:38.400 still had crunchy guitars and many mug synthesizers 00:17:38.400 --> 00:17:40.839 at the same time, what would that sound like? 00:17:41.019 --> 00:17:44.140 So it's like, interesting, interesting. It's 00:17:44.140 --> 00:17:47.640 like a revisionist history. I love that. I think 00:17:47.640 --> 00:17:50.420 that's really, I think it's really cool when 00:17:50.420 --> 00:17:54.220 a music project has, even if it's not super strict, 00:17:54.920 --> 00:17:58.799 but like a focus or a goal, or at least a set 00:17:58.799 --> 00:18:01.490 of parameters. I was talking with Cole and I'm 00:18:01.490 --> 00:18:04.450 not sure whether this will air before his or 00:18:04.450 --> 00:18:06.470 since they're basically recorded at the same 00:18:06.470 --> 00:18:10.750 time, but constraint can be a really important 00:18:10.750 --> 00:18:13.990 thing for creativity. Absolutely. And I think 00:18:13.990 --> 00:18:17.509 of it, this idea I've come up with for what this 00:18:17.509 --> 00:18:20.210 project is about service as training wheels for 00:18:20.210 --> 00:18:23.809 me, gives me some guidelines within which to 00:18:23.809 --> 00:18:26.410 ride, which makes it easier because before that 00:18:26.410 --> 00:18:30.349 I'm opening up a blank text file. anything. Right. 00:18:30.430 --> 00:18:32.029 I had no idea what else I was about to write. 00:18:32.589 --> 00:18:36.630 Now I know that not only am I looking for hooky, 00:18:36.710 --> 00:18:39.349 poppy stuff, but that, at least in my mind, that 00:18:39.349 --> 00:18:41.809 naturally lends itself to love songs or love 00:18:41.809 --> 00:18:46.450 adjacent songs. And for the LP that I've got 00:18:46.450 --> 00:18:49.569 finished and releasing later this year, it's 00:18:49.569 --> 00:18:52.890 called Love and Other Diagnoses. And it's all 00:18:52.890 --> 00:18:56.490 either straight up love songs or unrequited love 00:18:56.490 --> 00:19:00.549 songs or I screwed up love songs, but I figured 00:19:00.549 --> 00:19:02.869 the songs are good. You just screwed up the love. 00:19:02.869 --> 00:19:05.529 I just want to do that. Love, love. Maybe we 00:19:05.529 --> 00:19:09.809 can patch this up love. But yeah, I, I'm going 00:19:09.809 --> 00:19:11.650 to lean into that for the foreseeable future. 00:19:11.730 --> 00:19:14.250 If I can, I'm going to write as many love songs 00:19:14.250 --> 00:19:17.170 as I can and just keep doing it until I run out 00:19:17.170 --> 00:19:20.990 of different angles to approach from. Let's talk 00:19:20.990 --> 00:19:22.849 about your songwriting process a little bit. 00:19:23.150 --> 00:19:26.309 So there's a lot of different kind of, there's 00:19:26.309 --> 00:19:29.069 a lot of different ways people write songs. But 00:19:29.069 --> 00:19:31.529 honestly, I think it boils down to two different 00:19:31.529 --> 00:19:33.690 ways. There's, and then the variations within 00:19:33.690 --> 00:19:36.569 those two. There's people that sit down and write 00:19:36.569 --> 00:19:39.569 a song because it's, and some songwriters do 00:19:39.569 --> 00:19:42.670 both, but I feel like they know which when you 00:19:42.670 --> 00:19:45.910 ask them about a specific song. But some writers, 00:19:45.910 --> 00:19:48.490 it's like they have an antenna up and they just 00:19:48.490 --> 00:19:51.210 grab the song and they're just the vessel in 00:19:51.210 --> 00:19:53.710 which the song comes from. And some people sit 00:19:53.710 --> 00:19:57.680 down or some songwriters sometimes Sit down. 00:19:57.940 --> 00:20:00.059 I'm gonna write a song about X. I'm gonna write 00:20:00.059 --> 00:20:03.099 love songs What does that look like for you? 00:20:03.119 --> 00:20:06.000 Because I think there's variations of those two 00:20:06.000 --> 00:20:08.019 methods But I think it really does boil down 00:20:08.019 --> 00:20:11.180 to one of those two things It's a weird blend 00:20:11.180 --> 00:20:15.460 for me in that I think on the day I'm actually 00:20:15.460 --> 00:20:18.940 writing a song It feels like I'm putting in intentional 00:20:18.940 --> 00:20:21.819 effort. I have a concept of where I want to go 00:20:21.819 --> 00:20:25.279 what I'm thinking about specific lines thinking 00:20:25.279 --> 00:20:27.799 about rhyme scheme and that sort of stuff. Typically 00:20:27.799 --> 00:20:31.160 the day or a day or two after I finish it, the 00:20:31.160 --> 00:20:34.900 memory of that process is very quickly obscured. 00:20:35.160 --> 00:20:37.319 At that point it begins to feel like I just pulled 00:20:37.319 --> 00:20:40.380 it down from the ether. Interesting. And I'll 00:20:40.380 --> 00:20:42.700 hear certain lines or certain words or if it 00:20:42.700 --> 00:20:46.319 gets, once I'm to the instruments, certain licks 00:20:46.319 --> 00:20:48.480 or rips that I'll be like, don't remember that, 00:20:48.779 --> 00:20:51.519 don't remember writing that. Well, I guess it 00:20:51.519 --> 00:20:52.940 sounds like something I would have come up and 00:20:52.940 --> 00:20:56.660 clearly come up with clearly I did but yeah It's 00:20:56.660 --> 00:20:59.660 a neat and interesting feeling that at first 00:20:59.660 --> 00:21:03.940 it feels like I did this all all on my own and 00:21:03.940 --> 00:21:08.180 then as time passes I feel maybe I've just received 00:21:08.180 --> 00:21:12.059 this or some mix in between there. It's really 00:21:12.059 --> 00:21:14.440 interesting because I think when I think about 00:21:14.440 --> 00:21:18.279 the way I write jokes, I think it's similarly 00:21:18.279 --> 00:21:21.000 a blend But it almost happens in the opposite 00:21:21.000 --> 00:21:24.059 direction. So it's like the joke will almost 00:21:24.059 --> 00:21:26.980 happen to me or come up naturally. And then I 00:21:26.980 --> 00:21:30.099 have to sit down and write and refine and figure 00:21:30.099 --> 00:21:32.940 out how to get it, get through that place on 00:21:32.940 --> 00:21:36.140 stage because jokes happen in the world and funny 00:21:36.140 --> 00:21:39.039 things happen, but being able to construct that 00:21:39.039 --> 00:21:42.839 into something that makes sense in a five minute 00:21:42.839 --> 00:21:45.720 story or whatever. That's where I feel like that's 00:21:45.720 --> 00:21:48.569 where the meticulousness and the But the joke 00:21:48.569 --> 00:21:52.589 and the initial spark to me is what? That's when 00:21:52.589 --> 00:21:55.150 my antenna is up. So I think it's, that's really 00:21:55.150 --> 00:21:58.069 interesting that, and like I said, I think there's 00:21:58.069 --> 00:22:00.670 a bunch of different variations, but it really 00:22:00.670 --> 00:22:03.750 does come down to those like kind of two categories, 00:22:03.849 --> 00:22:07.150 even in the same song sometimes. Do you think 00:22:07.150 --> 00:22:11.710 that you will ever play any of these songs live 00:22:11.710 --> 00:22:16.799 ever? I don't really enjoy, excuse me. To my 00:22:16.799 --> 00:22:19.640 recollection, I don't think I ever particularly 00:22:19.640 --> 00:22:24.000 enjoyed playing live. My hands are a little shaky. 00:22:24.059 --> 00:22:26.920 I've always been a little shaky. At home, I can 00:22:26.920 --> 00:22:30.920 always redo that solo or whatever you don't get 00:22:30.920 --> 00:22:35.220 do over live. And it's become so particular about 00:22:35.220 --> 00:22:37.519 exactly what I want to hear out of the song. 00:22:37.980 --> 00:22:39.940 I don't want to give myself a chance to screw 00:22:39.940 --> 00:22:43.960 it up. But there's so many... I used to joke 00:22:43.960 --> 00:22:46.079 that I was gonna... write down a list of all 00:22:46.079 --> 00:22:48.440 the reasons that I wasn't going to play because 00:22:48.440 --> 00:22:51.000 there are so many of them. I've got a little 00:22:51.000 --> 00:22:54.019 arthritis. Little things that they add up. It 00:22:54.019 --> 00:22:56.980 just doesn't sound like you enjoy it or even 00:22:56.980 --> 00:22:58.680 like it's, you don't feel like you're missing 00:22:58.680 --> 00:23:02.460 out on it. No, even if there's things that are 00:23:02.460 --> 00:23:04.240 preventing you from doing it, it's also like 00:23:04.240 --> 00:23:09.200 you're like, I don't care. I like for physical 00:23:09.200 --> 00:23:11.339 records to exist of the stuff that I made because 00:23:11.339 --> 00:23:14.380 I grew up in an era when everything was physical. 00:23:14.509 --> 00:23:18.369 And, but to make those physical records, you 00:23:18.369 --> 00:23:20.309 got to be able to get rid of them. And to get 00:23:20.309 --> 00:23:22.549 rid of them, people say you got to play shows. 00:23:23.049 --> 00:23:25.869 I've gone to so many shows of my friends where 00:23:25.869 --> 00:23:28.109 they made records and they played those shows 00:23:28.109 --> 00:23:30.490 and they're not selling them at the merch table 00:23:30.490 --> 00:23:34.650 either. So it would be a gargantuan effort for 00:23:34.650 --> 00:23:37.430 results that aren't guaranteed. Another big part 00:23:37.430 --> 00:23:40.710 of it is that with it being a recording project, 00:23:40.930 --> 00:23:43.940 I'm free to use musicians. whose schedule wouldn't 00:23:43.940 --> 00:23:46.440 allow them to play live. I think about Patterson 00:23:46.440 --> 00:23:50.059 Hood's latest record that's got Waxahachie and 00:23:50.059 --> 00:23:52.039 Lydia Loveless and he was able to take Lydia 00:23:52.039 --> 00:23:54.460 on the road with him for I think a little less 00:23:54.460 --> 00:23:57.779 than a month but that's the only time probably 00:23:57.779 --> 00:24:00.539 that those songs will be sung with her and who 00:24:00.539 --> 00:24:02.740 knows if Waxahachie and then we'll ever be able 00:24:02.740 --> 00:24:06.339 to perform those songs, that song together. So 00:24:06.339 --> 00:24:10.680 I think that's really... Mike, I'm gonna go back 00:24:10.680 --> 00:24:13.750 to what you said There's so many bands, I think, 00:24:13.950 --> 00:24:16.970 view their only source of income from merch. 00:24:17.490 --> 00:24:20.589 And it's not that you're, but they have to travel 00:24:20.589 --> 00:24:23.529 to sell it. Like Mike Cooley one time, I remember 00:24:23.529 --> 00:24:25.549 him saying, we got it all figured out. We're 00:24:25.549 --> 00:24:28.490 traveling t -shirt salesmen. But you don't even 00:24:28.490 --> 00:24:31.549 figure it out without having to travel. Or you've 00:24:31.549 --> 00:24:35.609 at least the CP that just got released. How many 00:24:35.609 --> 00:24:38.549 do you have left? None. Exactly. We've got our 00:24:38.549 --> 00:24:42.410 personal artist copies. You're at least selling 00:24:42.410 --> 00:24:46.029 what you think you can sell. How does that, how 00:24:46.029 --> 00:24:47.670 does that make you feel about the people that, 00:24:48.069 --> 00:24:49.710 that really, and I don't necessarily mean the 00:24:49.710 --> 00:24:51.690 people, but the method that you have to travel 00:24:51.690 --> 00:24:55.490 to sell this stuff. It's certainly at a certain 00:24:55.490 --> 00:24:57.509 point, it's definitely going to be a limiting 00:24:57.509 --> 00:25:01.329 factor. This, we're talking about, we did an 00:25:01.329 --> 00:25:05.710 addition of 75. If I wanted to do a thousand 00:25:05.710 --> 00:25:09.250 records, there's that's no, in no way viable 00:25:09.250 --> 00:25:13.220 without touring. or some sort of fluke where 00:25:13.220 --> 00:25:16.819 TikTok or people talking about it, which of course 00:25:16.819 --> 00:25:19.259 going viral or whatever. Yeah. Which you can't 00:25:19.259 --> 00:25:22.099 count on. No, of course not. So it is a limiting 00:25:22.099 --> 00:25:26.619 thing, but my goal is probably smaller than that. 00:25:26.660 --> 00:25:29.599 At least for now, the goal in my head is that 00:25:29.599 --> 00:25:33.420 I would like for some of the people buying the 00:25:33.420 --> 00:25:35.819 records to be people who don't personally know 00:25:35.819 --> 00:25:38.630 that. Right. No, I'm not just kidding. I love 00:25:38.630 --> 00:25:41.930 that my friends support the project. Sure. The 00:25:41.930 --> 00:25:45.329 next step is people who don't have to support 00:25:45.329 --> 00:25:48.670 me. Yeah. It's nobody's career is made off the 00:25:48.670 --> 00:25:51.589 backs of just their friends support. And the 00:25:51.589 --> 00:25:53.150 way I've always thought about it is like, they're 00:25:53.150 --> 00:25:55.910 the people that are going to talk to the people 00:25:55.910 --> 00:25:58.450 the first time they come to your show. So they're 00:25:58.450 --> 00:26:01.549 not lonely, but then the next time your friends 00:26:01.549 --> 00:26:04.130 don't even shouldn't need to be there. All these 00:26:04.130 --> 00:26:07.599 new people should have brought friends. So Guess 00:26:07.599 --> 00:26:11.180 my next question would be then like how do you? 00:26:11.480 --> 00:26:14.259 View the when you're picking artists to work 00:26:14.259 --> 00:26:16.799 with do you think about the marketability at 00:26:16.799 --> 00:26:18.539 all? Or is it you literally just people you want 00:26:18.539 --> 00:26:20.839 to work with? It's just people I want to work 00:26:20.839 --> 00:26:25.319 with and it's the flux so that first album I 00:26:25.319 --> 00:26:28.259 got a friend or two to help and then it snowballed 00:26:28.259 --> 00:26:31.420 and I thought the more people I'm adding The 00:26:31.420 --> 00:26:33.619 more reason to add even more and I ended up with 00:26:33.619 --> 00:26:37.549 I think 35 people helping me on that album Wow. 00:26:38.289 --> 00:26:42.150 The new LP is, in a reaction to that, is a set 00:26:42.150 --> 00:26:45.650 lineup for, I've got a standard band for every 00:26:45.650 --> 00:26:49.250 song. There's some guest vocalists, but the instrumentalists 00:26:49.250 --> 00:26:51.509 are the same for the whole record. Okay. I was 00:26:51.509 --> 00:26:55.930 like, I want a little more coherence, a little 00:26:55.930 --> 00:26:58.769 bit of a band sound. And it's, you said that 00:26:58.769 --> 00:27:00.829 the first one you were experimenting with a different 00:27:00.829 --> 00:27:02.650 sound with each kind of artist that you were 00:27:02.650 --> 00:27:05.450 working with. Yeah. And so it sounds like maybe 00:27:05.450 --> 00:27:08.160 you drilled down a little bit of what you want 00:27:08.160 --> 00:27:11.019 things to sound like. Yes, for sure. Can you 00:27:11.019 --> 00:27:13.460 talk just a little bit about how that, the process 00:27:13.460 --> 00:27:16.279 of that first record, how getting one to another 00:27:16.279 --> 00:27:21.819 and also just how long it took the scale of logistics? 00:27:22.140 --> 00:27:24.059 I feel like when you get 35 people involved with 00:27:24.059 --> 00:27:26.940 a record, there's, it's helpful, but it can also 00:27:26.940 --> 00:27:31.180 create new problems. It was fairly painless because 00:27:31.500 --> 00:27:35.000 Part of the criteria was, so this was, let's 00:27:35.000 --> 00:27:38.299 see when I started, I think I started in the 00:27:38.299 --> 00:27:41.619 fall of 2020. So COVID was still very much a 00:27:41.619 --> 00:27:46.460 thing. And part of the choice of musician was 00:27:46.460 --> 00:27:48.779 driven by who could record themselves remotely. 00:27:49.259 --> 00:27:51.599 Not entirely, but most of the people on there 00:27:51.599 --> 00:27:53.920 were able to record and just email me their track. 00:27:54.099 --> 00:27:56.599 I had some sort of recording equipment at home, 00:27:56.799 --> 00:27:59.059 some sort of wherewithal to be able to make sure 00:27:59.059 --> 00:28:03.440 it didn't sound... Like garbage. There were people 00:28:03.440 --> 00:28:05.779 that I wanted to have on the record and they 00:28:05.779 --> 00:28:07.759 just didn't have a way to record themselves. 00:28:08.619 --> 00:28:10.779 As far as I recall this was before there were 00:28:10.779 --> 00:28:14.920 any vaccines. I record everything my own stuff 00:28:14.920 --> 00:28:17.460 in my apartment. I did have a couple folks come 00:28:17.460 --> 00:28:22.440 over and record guitar from my front porch. Very 00:28:22.440 --> 00:28:26.119 long cable. Nice. And I had a couple singers 00:28:26.119 --> 00:28:28.750 come over and record with me. They would be in 00:28:28.750 --> 00:28:30.789 the apartment and I would go outside with the 00:28:30.789 --> 00:28:35.009 iPad and control the laptop from there. So you 00:28:35.009 --> 00:28:37.750 do all the engineering, all the production on 00:28:37.750 --> 00:28:41.089 these records as well? Yes. And it's funny that 00:28:41.089 --> 00:28:43.210 I left this out earlier. A big part of that, 00:28:43.250 --> 00:28:45.329 when I first started experimenting with the sense 00:28:45.329 --> 00:28:47.069 and with the writing, those first double songs, 00:28:47.710 --> 00:28:51.529 this was, I've always enjoyed mixing multi -track 00:28:51.529 --> 00:28:54.009 recording. I don't have deep experience with 00:28:54.009 --> 00:28:56.720 it because Most of the time when I recorded live 00:28:56.720 --> 00:29:00.240 shows, it was just a stereo pair of mics. No, 00:29:00.240 --> 00:29:03.140 no mixing involved. But part of why I started 00:29:03.140 --> 00:29:05.720 writing songs is so I would have stuff to mix, 00:29:06.000 --> 00:29:08.500 to practice. And there's been times when I was 00:29:08.500 --> 00:29:10.480 frustrated with the mix of a particular song 00:29:10.480 --> 00:29:13.079 and I thought, I have so many friends that I 00:29:13.079 --> 00:29:15.440 could get to do a better job of this than me, 00:29:15.680 --> 00:29:18.339 but I couldn't let it go because it's, I get 00:29:18.339 --> 00:29:22.700 better. Yeah. Yeah. And I think that's when You 00:29:22.700 --> 00:29:25.000 get frustrated as an artist is not when you're 00:29:25.000 --> 00:29:27.299 not as good as other people. It's when you stop 00:29:27.299 --> 00:29:31.039 making progress. Yeah. Not that there's not a 00:29:31.039 --> 00:29:33.619 competitive nature in all of it too, but, and 00:29:33.619 --> 00:29:36.019 I actually talked to Cole quite a bit about that 00:29:36.019 --> 00:29:39.700 of his competitive nature and how that kind of 00:29:39.700 --> 00:29:42.839 translated into starting a wrestling league, 00:29:43.039 --> 00:29:45.740 but would you call yourself competitive really 00:29:45.740 --> 00:29:48.460 at all? You don't, it doesn't seem like it. Not 00:29:48.460 --> 00:29:52.059 really at all. Are you into Do you watch anything 00:29:52.059 --> 00:29:54.759 competitive? Are you a fan of any sports or anything 00:29:54.759 --> 00:29:58.839 like that? No sports. I'm all music. I watch 00:29:58.839 --> 00:30:01.819 movies, but if there's something making sound, 00:30:02.140 --> 00:30:05.059 it's almost always a record. Yeah. Yeah. I watch 00:30:05.059 --> 00:30:07.460 a lot of like music documentaries and stuff like 00:30:07.460 --> 00:30:11.079 that too. Or I'll put on like a live concert 00:30:11.079 --> 00:30:14.059 as instead of an album and just have it on in 00:30:14.059 --> 00:30:16.819 the background while I'm doing stuff. But when 00:30:16.819 --> 00:30:20.410 you have Somebody especially when you're there 00:30:20.410 --> 00:30:23.589 when somebody covers your song. I'm sure that 00:30:23.589 --> 00:30:26.170 yeah, I can tell that you like that Yes, you're 00:30:26.170 --> 00:30:32.430 sure but do you get critical at all? No We J 00:30:32.430 --> 00:30:35.609 &I texted last minute about some of the lyrics 00:30:35.609 --> 00:30:39.430 and in retrospect instead of just telling them 00:30:39.430 --> 00:30:41.670 what those specific lines where I thought I probably 00:30:41.670 --> 00:30:44.289 should have just sent him the whole lyric for 00:30:44.289 --> 00:30:47.390 the whole song somewhere different, but it's 00:30:47.390 --> 00:30:50.319 also But that's cool because that's whether it 00:30:50.319 --> 00:30:54.140 was a misheard lyric or he'd like the way he 00:30:54.140 --> 00:30:56.819 did it better. It's an interpretation. And we've 00:30:56.819 --> 00:31:00.079 all had plenty of songs or we misheard the lyric 00:31:00.079 --> 00:31:03.640 for years. Exactly. I'm still finding stuff that 00:31:03.640 --> 00:31:05.940 I've listened to my whole life. That's what that 00:31:05.940 --> 00:31:09.059 said. Anything recent come to mind? I have really 00:31:09.059 --> 00:31:12.019 bad memory recall and stuff like that. Man, I 00:31:12.019 --> 00:31:15.170 I've got a few with. even honestly, even when 00:31:15.170 --> 00:31:18.130 drive by trucker songs and they print their lyrics 00:31:18.130 --> 00:31:21.069 and everything. And I still didn't get it right 00:31:21.069 --> 00:31:25.230 away. What happens to me a lot is I live in an 00:31:25.230 --> 00:31:27.789 apartment and the way TV and movies are mixed 00:31:27.789 --> 00:31:30.470 now, you have to have the subtitles on. Yeah. 00:31:30.650 --> 00:31:33.609 So I will, there'll be a song that I know used 00:31:33.609 --> 00:31:37.509 in a movie. And then the lyrics are, cause I 00:31:37.509 --> 00:31:39.309 don't always look at the liner notes when I'm 00:31:39.309 --> 00:31:45.289 listening to a record. I had no idea those were 00:31:45.289 --> 00:31:47.410 the words to that song. I think it's interesting 00:31:47.410 --> 00:31:49.450 that you trust those subtitles more than your 00:31:49.450 --> 00:31:52.630 memory. I'll back it up. No, that really is what 00:31:52.630 --> 00:31:56.490 they're saying. This is weird to say, but I've 00:31:56.490 --> 00:32:00.049 always been a lyric second person. Interesting. 00:32:00.190 --> 00:32:03.150 For most things, not for every genre. Yeah. Yeah. 00:32:03.390 --> 00:32:07.029 But yeah, the, what the guitars and scents and 00:32:07.029 --> 00:32:09.289 everything else we're doing was always my first. 00:32:09.579 --> 00:32:12.559 the first thing that draws me. Gotcha. Quickly 00:32:12.559 --> 00:32:15.019 followed by the lyrics, but are you a singer? 00:32:15.819 --> 00:32:21.240 No, I do sing, but I never sang before I made 00:32:21.240 --> 00:32:25.279 my first record. And at that point, I guess I 00:32:25.279 --> 00:32:27.700 could have gotten someone else to sing my songs, 00:32:27.720 --> 00:32:31.220 but I didn't. The more personal some song is, 00:32:31.339 --> 00:32:33.660 the more weird I would feel asking someone else 00:32:33.660 --> 00:32:38.140 to sing it. And the reason I asked was I've found 00:32:38.859 --> 00:32:41.599 Bassists listen to the bass part. Drummers listen 00:32:41.599 --> 00:32:44.740 to the drumming. At first, at least. And even 00:32:44.740 --> 00:32:47.700 if you're singing all your songs, whether you 00:32:47.700 --> 00:32:51.000 consider yourself a singer or not, I think is 00:32:51.000 --> 00:32:54.140 part of why you might be a lyric second person. 00:32:54.480 --> 00:32:56.700 Cause I feel like if you were like, yeah, I'm 00:32:56.700 --> 00:32:59.480 a singer. It would be weird to me that you don't 00:32:59.480 --> 00:33:02.819 pay attention to lyrics first. Not only have 00:33:02.819 --> 00:33:06.119 I never considered myself a singer, but I consider 00:33:06.119 --> 00:33:09.119 what I'm doing now. this music to be very vocal 00:33:09.119 --> 00:33:12.559 centric. So that was a surprise to me. In fact, 00:33:12.680 --> 00:33:16.240 the new album has a lot of stacked backing vocals. 00:33:17.519 --> 00:33:20.920 My voice is low and I have a fairly limited range. 00:33:21.420 --> 00:33:24.079 So I would do what I can in those areas as far 00:33:24.079 --> 00:33:27.319 as stacking my own voice. And then I got Jason 00:33:27.319 --> 00:33:31.559 Neesmith from Holland Reenactment Society. He's 00:33:31.559 --> 00:33:35.180 got a great high voice. So where I needed that 00:33:35.180 --> 00:33:37.220 on about half the album, I got him to record 00:33:37.220 --> 00:33:40.019 backing vocals for that. So, yeah, I actually 00:33:40.019 --> 00:33:41.700 heard a couple of their songs last night while 00:33:41.700 --> 00:33:44.119 I was waiting for my Uber after Hayride, but 00:33:44.119 --> 00:33:46.640 I had to call it a night, but yeah, it sounded 00:33:46.640 --> 00:33:51.160 great. So yeah, he's a, he works at Chase park 00:33:51.160 --> 00:33:54.859 transduction and we just booked a day and I took 00:33:54.859 --> 00:33:58.460 like half the record and I meant the computer. 00:33:58.990 --> 00:34:00.930 He would set everything up and then run in the 00:34:00.930 --> 00:34:03.529 other room saying he'd come back and set up the 00:34:03.529 --> 00:34:06.349 next one and I would hit stop and start. So how 00:34:06.349 --> 00:34:10.309 much of a song is done before you call in the 00:34:10.309 --> 00:34:12.570 guest? Or did he start working with you from 00:34:12.570 --> 00:34:15.389 the very beginning of the track or is it, okay, 00:34:15.389 --> 00:34:17.650 I've got this song and now I just come way down 00:34:17.650 --> 00:34:22.230 these parts for me. I will typically record a 00:34:22.230 --> 00:34:25.050 demo version of the entire song with like scratch 00:34:25.050 --> 00:34:27.650 vocals and things like that. Except the high 00:34:27.650 --> 00:34:30.380 vocals. I don't do it because I can't. I like 00:34:30.380 --> 00:34:34.980 to play guitar solos myself. It's fun. But over 00:34:34.980 --> 00:34:37.739 a certain, if a certain tempo, over a certain 00:34:37.739 --> 00:34:40.139 tempo or if a certain intensity level is needed, 00:34:40.619 --> 00:34:45.980 I got friends who can do better. So I, when it 00:34:45.980 --> 00:34:47.760 gets to the point where I know that like Kevin 00:34:47.760 --> 00:34:50.260 Sweeney might be the guitar player, I don't bother 00:34:50.260 --> 00:34:56.059 tracking a demo solo. Gotcha. But like for the 00:34:56.059 --> 00:35:00.070 second LP, I did rhythm guitar, bass, and programmed 00:35:00.070 --> 00:35:03.670 drums for everything. And then the guys that 00:35:03.670 --> 00:35:06.630 I used for those parts just replaced it. Gotcha. 00:35:06.869 --> 00:35:09.449 But so it sounds like you almost have a similar 00:35:09.449 --> 00:35:11.730 approach with if somebody's coming in to record 00:35:11.730 --> 00:35:14.349 a solo, you don't want to put anything in their 00:35:14.349 --> 00:35:18.170 head. Typically, no. There is one where I did 00:35:18.170 --> 00:35:21.730 have I thought I was going to be the lead guitarist 00:35:21.730 --> 00:35:24.590 in a song. Did a solo that wasn't awful, but 00:35:24.590 --> 00:35:29.550 wasn't what I needed. But Jay, Gonzalez took 00:35:29.550 --> 00:35:32.650 some ideas from my solo and built on it. So that 00:35:32.650 --> 00:35:35.889 one was a hybrid where he actually, I guess we 00:35:35.889 --> 00:35:39.789 co -composed. Cool. Let's go back a little bit 00:35:39.789 --> 00:35:42.849 to when you did a lot of recording of shows, 00:35:42.889 --> 00:35:46.050 because I feel like we jumped over that, but 00:35:46.050 --> 00:35:49.170 you spent years and years doing it. What are 00:35:49.170 --> 00:35:53.039 some of the shows that That you remember the 00:35:53.039 --> 00:35:55.800 best that you record that maybe the recordings 00:35:55.800 --> 00:36:00.099 maybe might have gotten spread around is anything 00:36:00.099 --> 00:36:01.960 like that. You can think of off the top of your 00:36:01.960 --> 00:36:05.639 head. I have the weirdest recall. If you asked 00:36:05.639 --> 00:36:08.239 me about a specific show, I can tell you what 00:36:08.239 --> 00:36:10.360 nine of the week was on. It was on who I went 00:36:10.360 --> 00:36:14.719 with the interesting, what happened, but with 00:36:14.719 --> 00:36:18.280 the open ended, the recall is weird because there 00:36:18.280 --> 00:36:20.780 was so many of them. Yeah, they blend together. 00:36:21.739 --> 00:36:26.300 the fall of 99 until the spring of 22. Half that 00:36:26.300 --> 00:36:29.099 time I lived in Atlanta, then I moved to Athens. 00:36:29.739 --> 00:36:32.639 Were you doing specific bands or really just 00:36:32.639 --> 00:36:34.460 anything that came to town that you were interested 00:36:34.460 --> 00:36:37.820 in? Were you traveling or mostly staying local? 00:36:38.019 --> 00:36:41.119 Mostly staying local. What happened is I was 00:36:41.119 --> 00:36:43.079 recording jam bands when I first got started. 00:36:43.800 --> 00:36:46.199 I lived in Atlanta, so most of them come through 00:36:46.199 --> 00:36:49.880 there. I was never somebody that needed to catch. 00:36:50.090 --> 00:36:53.469 a bunch of dates on the same tour. So I was more 00:36:53.469 --> 00:36:56.349 into the variety of the various acts that would 00:36:56.349 --> 00:37:00.809 come to town until I, two things happened at 00:37:00.809 --> 00:37:03.449 once. It feels like I just woke up one day and 00:37:03.449 --> 00:37:07.050 didn't enjoy jam bands anymore. I think it was 00:37:07.050 --> 00:37:08.769 probably a little more radical than that, but 00:37:08.769 --> 00:37:11.369 it felt like it was just suddenly I just don't 00:37:11.369 --> 00:37:13.869 care. Yeah. I feel like a lot of people had that 00:37:13.869 --> 00:37:15.630 feeling. And then some of those bands like evolved 00:37:15.630 --> 00:37:18.750 with that feeling and some didn't. Yeah. And 00:37:18.750 --> 00:37:21.380 at the same time, Right at the same time that 00:37:21.380 --> 00:37:23.840 was happening. I saw drive -by truckers for the 00:37:23.840 --> 00:37:27.880 first time and that got me hyped on I've been 00:37:27.880 --> 00:37:29.559 just a little bit of a lull where I was like, 00:37:29.559 --> 00:37:31.099 I don't feel like going out recording anything 00:37:31.099 --> 00:37:35.539 then I got into this new to me band and I started 00:37:35.539 --> 00:37:38.599 Not only recording them when they played Atlanta, 00:37:38.659 --> 00:37:42.699 but driving to Athens a lot that it really spread 00:37:42.699 --> 00:37:46.179 out from there because I would Record the bands 00:37:46.179 --> 00:37:50.429 that open for the truckers in Athens who were 00:37:50.429 --> 00:37:53.510 typically, it's typically their friends. They 00:37:53.510 --> 00:37:55.909 picked them up. Yeah. Or these bands that they 00:37:55.909 --> 00:37:58.869 really wanted to lift up. Yeah. Yeah. So it's, 00:37:59.130 --> 00:38:02.449 it wasn't just random. And just so like people 00:38:02.449 --> 00:38:05.170 understand at home, like some of the openers 00:38:05.170 --> 00:38:08.510 that they brought to town and then the Alabama 00:38:08.510 --> 00:38:11.610 Shakes were an opening band at one of these weekends. 00:38:12.429 --> 00:38:14.550 St. Paul and the Broken Bones was an opening 00:38:14.550 --> 00:38:17.530 band at one of these. And then Like Alabama Shakes, 00:38:17.530 --> 00:38:20.730 for instance, I went to Birmingham and saw Patterson 00:38:20.730 --> 00:38:23.829 open for them. Six months later, they brought 00:38:23.829 --> 00:38:26.750 a lot of bands that have then gone on and been 00:38:26.750 --> 00:38:29.650 more commercially successful than them at certain 00:38:29.650 --> 00:38:32.889 points. And they're almost like a muse in that 00:38:32.889 --> 00:38:36.710 way. Now, I think the other thing that I think 00:38:36.710 --> 00:38:38.809 is really important about that time period from, 00:38:39.030 --> 00:38:43.289 especially from 99 to 2005. And I do think the 00:38:43.289 --> 00:38:46.670 truckers. got put on that jam band circuit for 00:38:46.670 --> 00:38:48.309 a little while and so I think a lot of people 00:38:48.309 --> 00:38:51.250 that were in the jam bands got to see them because 00:38:51.250 --> 00:38:53.809 they were playing like festivals and things like 00:38:53.809 --> 00:38:56.110 that quite a bit especially after the Dirty South 00:38:56.110 --> 00:38:59.070 came out I felt like they got put on those circuits 00:38:59.070 --> 00:39:04.070 but in 1999 the only bands that would let you 00:39:04.070 --> 00:39:09.630 record their live shows were jam bands by 2007 00:39:09.630 --> 00:39:12.860 nobody gave a shit Can you talk about, like, 00:39:12.860 --> 00:39:15.699 how that dynamic affected what you were recording? 00:39:16.380 --> 00:39:20.659 Yeah, there used to be a couple online lists 00:39:20.659 --> 00:39:23.699 where you could go check to see who allowed recording. 00:39:23.820 --> 00:39:26.059 And like you said, it was heavily skewed towards 00:39:26.059 --> 00:39:28.659 Jam Band. I don't think I actually realized that. 00:39:28.739 --> 00:39:30.460 So that's really, there was actually like published 00:39:30.460 --> 00:39:32.460 lists online you could find. Yeah. Unofficial. 00:39:33.099 --> 00:39:35.099 Was on there didn't mean that there might not 00:39:35.099 --> 00:39:38.179 be an issue on a specific night. The venue, back 00:39:38.179 --> 00:39:40.909 then the venue sometimes would... have a real 00:39:40.909 --> 00:39:44.170 issue with it. But when I started recording the 00:39:44.170 --> 00:39:46.630 truckers a lot, I would, since the opener would 00:39:46.630 --> 00:39:49.409 be their friend, I would record them too. Typically 00:39:49.409 --> 00:39:53.190 they wanted copies of it because a lot of bands 00:39:53.190 --> 00:39:55.030 don't get a chance to hear how they sounded. 00:39:55.769 --> 00:39:59.769 Yeah. And it became a matter of just asking. 00:40:00.489 --> 00:40:02.590 There's so many bands that were not jam bands 00:40:02.590 --> 00:40:06.789 that I would either reach out to ahead of time 00:40:06.789 --> 00:40:11.230 or show up at the club. and say, hey, I'm recording 00:40:11.230 --> 00:40:13.869 the headline. It's cool to record you guys too. 00:40:14.389 --> 00:40:17.389 And a lot more yeses than nos. I want to jump 00:40:17.389 --> 00:40:19.510 back to the Sloan brothers for a minute because 00:40:19.510 --> 00:40:21.909 you've been really modest and I'd like you to 00:40:21.909 --> 00:40:23.909 just drop some names of people that you've worked 00:40:23.909 --> 00:40:27.550 with and what projects that our listeners might 00:40:27.550 --> 00:40:30.550 know them from as well. Because I think worked 00:40:30.550 --> 00:40:34.130 with a really long list of notable, especially 00:40:34.710 --> 00:40:37.289 And I haven't seen specifically, but this is 00:40:37.289 --> 00:40:39.570 like one of the richest scenes in the world. 00:40:39.570 --> 00:40:41.889 Yeah. Musically. You're really working from a 00:40:41.889 --> 00:40:45.550 treasure trove here. And it was brag a little 00:40:45.550 --> 00:40:50.929 bit of the, I think it's the 35 musicians on 00:40:50.929 --> 00:40:55.369 my first record. They were all people whose shows 00:40:55.369 --> 00:40:58.469 that I hadn't recorded. Interesting. So we led 00:40:58.469 --> 00:41:01.690 directly from one project to the other. Yeah. 00:41:01.690 --> 00:41:04.739 I mean, they are. Different degrees of friendship. 00:41:04.820 --> 00:41:06.840 They all at least knew who I was when I hit them 00:41:06.840 --> 00:41:09.019 up and that's the thing That's the other thing. 00:41:09.019 --> 00:41:12.699 I think that's so cool about Athens and the musicians 00:41:12.699 --> 00:41:16.300 that come from here They're usually very accessible 00:41:16.300 --> 00:41:20.340 to their fans. Yes Maybe to a fault. Maybe they 00:41:20.340 --> 00:41:24.019 might regret it sometimes But it's we're really 00:41:24.019 --> 00:41:26.219 lucky to just be able to literally just walk 00:41:26.219 --> 00:41:28.900 up and ask these people sometimes questions like 00:41:28.900 --> 00:41:33.710 that There's no choice but to hang out with the 00:41:33.710 --> 00:41:36.909 fans. Yeah. There's venues where I'm from that, 00:41:36.909 --> 00:41:39.829 that very similar kind of thing. Like you're 00:41:39.829 --> 00:41:41.570 sitting at the bar with the band until they go 00:41:41.570 --> 00:41:46.369 on stage. What was, so drop some names. Who are 00:41:46.369 --> 00:41:49.250 these people that you recorded that then recorded 00:41:49.250 --> 00:41:52.730 with you? The key to this was at least for my 00:41:52.730 --> 00:41:56.429 first album, Robert Schneider from the apples 00:41:56.429 --> 00:41:59.969 and stereo and the element six collective lived 00:41:59.969 --> 00:42:03.380 in Athens. for a couple of years and we got to 00:42:03.380 --> 00:42:06.199 know each other socially. And he was the first 00:42:06.199 --> 00:42:08.679 person I asked, Hey, I've been, I started writing 00:42:08.679 --> 00:42:10.219 a couple of songs and I've got one that I think 00:42:10.219 --> 00:42:12.760 would sound good for you to sing back in vocals. 00:42:13.039 --> 00:42:15.380 Would you be into that? And he was like, of course, 00:42:15.659 --> 00:42:17.559 I don't remember the exact order, but I want 00:42:17.559 --> 00:42:20.340 to say the next, whoever the next person was 00:42:20.340 --> 00:42:22.360 that I asked, I said, Hey, I'm working on this 00:42:22.360 --> 00:42:24.800 song and I've already got Robert Schneider and 00:42:24.800 --> 00:42:27.619 then the next person that I've got Robert Schneider 00:42:27.619 --> 00:42:30.500 and Patterson hood on this. Yeah. So it just 00:42:30.500 --> 00:42:33.980 built. Snowballs a little bit. Yeah, by the end 00:42:33.980 --> 00:42:35.840 of it. I actually had a couple people ask me 00:42:35.840 --> 00:42:39.519 Hey, were you gonna reach out that? That had 00:42:39.519 --> 00:42:42.539 to feel good. Yeah, it was very cool because 00:42:42.539 --> 00:42:45.760 it was a totally new role for me I had I was 00:42:45.760 --> 00:42:47.739 as shocked as anyone that I could write a song 00:42:47.739 --> 00:42:50.119 I've heard other artists say I've been writing 00:42:50.119 --> 00:42:52.579 songs since I was a little kid before I ever 00:42:52.579 --> 00:42:55.059 Really became music the thought never occurred 00:42:55.059 --> 00:42:58.260 to me. Yeah, and now I want to wrap things up 00:42:58.260 --> 00:43:01.539 here shortly, but the What just occurred to me 00:43:01.539 --> 00:43:03.559 is like you brought in all these musicians that 00:43:03.559 --> 00:43:06.559 you were fans of you've been going to their shows 00:43:06.559 --> 00:43:09.659 recording their shows What was it like to sit 00:43:09.659 --> 00:43:12.000 behind the recording console with some of the 00:43:12.000 --> 00:43:14.900 people that you really admired musically? Mostly 00:43:14.900 --> 00:43:19.280 it was remote. So I didn't so you got the hide 00:43:19.280 --> 00:43:24.360 your Nicole part of that is it made me a little 00:43:24.360 --> 00:43:28.780 hands -off as a producer because somebody would 00:43:28.780 --> 00:43:31.119 do something And the email me the track they 00:43:31.119 --> 00:43:34.679 did. If I wanted them to make a change, it's 00:43:34.679 --> 00:43:36.400 a pain. They'd have to set everything up again 00:43:36.400 --> 00:43:39.900 and do a second round. So it's not as it's a 00:43:39.900 --> 00:43:41.860 different dynamic than when you're sitting in 00:43:41.860 --> 00:43:44.840 there in the control room saying, could you try 00:43:44.840 --> 00:43:48.840 it again, but do X or Y. It sounds almost in 00:43:48.840 --> 00:43:52.559 a way you're allowing the musicians to just be 00:43:52.559 --> 00:43:54.800 musicians and you're just documenting it. Yep. 00:43:54.920 --> 00:43:57.119 And you're still doing the same thing you were 00:43:57.119 --> 00:44:00.800 doing with the live shows, but. And I think different 00:44:00.800 --> 00:44:02.480 producers have different roles. I think like 00:44:02.480 --> 00:44:06.059 Rick Rubin would argue that's not what he's trying 00:44:06.059 --> 00:44:08.719 to do at all. He's really trying to shape the 00:44:08.719 --> 00:44:11.360 sound of whoever he's working with. Whereas I 00:44:11.360 --> 00:44:13.280 remember his name, he just passed away. He was 00:44:13.280 --> 00:44:17.900 the engineer that he did Pixies. Oh, Al Beanie? 00:44:18.199 --> 00:44:21.639 Yeah, Steve Al Beanie. His philosophy was literally 00:44:21.639 --> 00:44:23.559 just, I want to be a fly on the wall with a microphone. 00:44:24.079 --> 00:44:26.239 And it sounds like you're closer to that. My 00:44:26.239 --> 00:44:29.239 thing was just... the surprise of seeing what 00:44:29.239 --> 00:44:32.219 I get back. And I used to tell people when I 00:44:32.219 --> 00:44:34.159 was recording live shows that it was like fishing. 00:44:34.739 --> 00:44:37.760 You go out there and you do your best to prepare 00:44:37.760 --> 00:44:39.719 to do what you're going to do, but you don't 00:44:39.719 --> 00:44:41.639 know what you're going to go home with. Yeah. 00:44:42.219 --> 00:44:44.199 Through no fault of your own. The fish may not 00:44:44.199 --> 00:44:46.400 have been biting, may not have been a great show, 00:44:46.519 --> 00:44:48.360 may have been, there may have been people in 00:44:48.360 --> 00:44:53.380 a boat next to you. Although I've heard the fish 00:44:53.380 --> 00:44:55.539 don't actually care if you're talking or not. 00:44:56.039 --> 00:44:58.980 Grandpa just wanted. It's been a pleasure. Anything 00:44:58.980 --> 00:45:01.800 else you want to, let's talk a little bit about 00:45:01.800 --> 00:45:04.400 the LP you've got coming out this year and anything 00:45:04.400 --> 00:45:07.519 else you want to talk about, promote real quick 00:45:07.519 --> 00:45:10.119 here before we wrap things up. Yeah, just I've 00:45:10.119 --> 00:45:14.639 got the second LP, 11 other diagnoses. We are 00:45:14.639 --> 00:45:17.639 about to send it off for manufacturing. So I 00:45:17.639 --> 00:45:21.860 think we're fall slash winter 2025 for that. 00:45:22.139 --> 00:45:23.860 It's going to be on science project records who 00:45:23.860 --> 00:45:26.300 put out my first one. She's run by a good friend 00:45:26.300 --> 00:45:30.460 of mine. excited about that. I plan to keep plugging 00:45:30.460 --> 00:45:33.059 away. I wrote a new song last night. Awesome. 00:45:33.440 --> 00:45:36.719 There's always a delay from when I finished them 00:45:36.719 --> 00:45:39.320 before they can become public. So I just keep 00:45:39.320 --> 00:45:42.340 moving and do some more. Yeah. Actually you mentioned 00:45:42.340 --> 00:45:46.440 the way that this EP was pressed and it was fascinating 00:45:46.440 --> 00:45:48.579 to me. Can you just talk about that process and 00:45:48.579 --> 00:45:50.900 that plant though in the way they press records? 00:45:51.059 --> 00:45:55.179 It's a lathe cut, which means that traditionally 00:45:55.179 --> 00:45:58.480 when records are manufactured they cut a lacquer 00:45:58.480 --> 00:46:01.480 from which a metal stamper is made and that can 00:46:01.480 --> 00:46:03.599 usually last about a thousand copies something 00:46:03.599 --> 00:46:07.719 like that yeah and that's those are the bulk 00:46:07.719 --> 00:46:10.980 of the expense pressing it because you're making 00:46:10.980 --> 00:46:13.719 fabricating something out of metal that sort 00:46:13.719 --> 00:46:18.860 of drives the economics of it and it means that 00:46:18.860 --> 00:46:23.150 under a hundred records or so you get too much 00:46:23.150 --> 00:46:25.789 money in the front end for it to be viable to 00:46:25.789 --> 00:46:28.730 press a small quantity. Right. So with lathe 00:46:28.730 --> 00:46:33.150 cut records, they actually cut directly onto 00:46:33.150 --> 00:46:37.269 each record one at a time from the source. So 00:46:37.269 --> 00:46:41.210 we got 75 copies of this EP made and that means 00:46:41.210 --> 00:46:45.869 it was played in real time 75 times during manufacturing. 00:46:46.150 --> 00:46:49.309 And the advantage is you're not paying for the 00:46:49.309 --> 00:46:52.880 metal parts or the lacquer and you could do They 00:46:52.880 --> 00:46:55.719 offer an addition of one copy if you want, which 00:46:55.719 --> 00:46:57.559 I always thought was really cool. You could, 00:46:58.340 --> 00:47:01.139 yeah, yeah. Significant others birthday is coming 00:47:01.139 --> 00:47:03.360 up. You could write them a song and record just 00:47:03.360 --> 00:47:06.079 one copy. I feel like everybody needs backup 00:47:06.079 --> 00:47:09.820 though. You're going to play that one. They make 00:47:09.820 --> 00:47:13.619 it, it's all priced so that the more you get, 00:47:13.619 --> 00:47:16.900 the better. The first one is always the most 00:47:16.900 --> 00:47:19.619 expensive. Exactly. Yeah, for sure. I've really 00:47:19.619 --> 00:47:23.099 enjoyed talking to you. I look forward to this 00:47:23.099 --> 00:47:26.760 new LP. It sounds like a really cool concept 00:47:26.760 --> 00:47:30.340 to just center everything around. It reminds 00:47:30.340 --> 00:47:33.159 me of magnetic fields, 69 love songs or something 00:47:33.159 --> 00:47:35.000 like that. So I'm really looking forward to hearing 00:47:35.000 --> 00:47:38.440 it. Let me throw one more thing in. Yeah. And 00:47:38.440 --> 00:47:40.980 you may want to cut this or move it around, but 00:47:40.980 --> 00:47:45.019 the choice of the band on this new record was 00:47:45.019 --> 00:47:49.679 heavily influenced by my favorite Athens power 00:47:49.679 --> 00:47:51.760 pop institution, which was the possibilities. 00:47:52.599 --> 00:47:55.900 Okay. And three of the guys who make up the core 00:47:55.900 --> 00:47:57.480 Sloan Brothers band on the new album were in 00:47:57.480 --> 00:48:01.280 the possibilities. That's Kevin Lane on rhythm 00:48:01.280 --> 00:48:04.659 guitar, Matt Lane, who was the first drive -by 00:48:04.659 --> 00:48:06.599 trucker's drummer plays drums and Jay Gonzalez. 00:48:07.199 --> 00:48:09.519 All three of those guys were in the possibilities. 00:48:09.519 --> 00:48:12.920 And when I realized that I was writing hooky 00:48:12.920 --> 00:48:14.820 poppy love songs, I was like, well, those are 00:48:14.820 --> 00:48:17.480 of all this pool of friends. Those are the guys 00:48:17.480 --> 00:48:21.099 that I. And I strongly recommend to anybody in 00:48:21.099 --> 00:48:23.719 the world to listen to the Possibility to Weigh 00:48:23.719 --> 00:48:25.539 Out album. Weigh Out by the Possibility? Yeah, 00:48:25.780 --> 00:48:28.699 the masterpiece. I'm adding it to my list as 00:48:28.699 --> 00:48:32.219 we speak. I have one last question that I feel 00:48:32.219 --> 00:48:34.780 like I would kick myself if I didn't ask you 00:48:34.780 --> 00:48:37.019 and I'm gonna get emails if I don't ask you. 00:48:37.420 --> 00:48:40.880 It's just you. Why the Sloan Brothers? I felt 00:48:40.880 --> 00:48:45.079 if I just listed it, this is my bias, I felt 00:48:45.079 --> 00:48:49.619 if it just said Sloan Simpson, Then it's looks 00:48:49.619 --> 00:48:52.099 like it's a solo acoustic performer. That makes 00:48:52.099 --> 00:48:54.519 a lot of sense I wanted it to sound like a and 00:48:54.519 --> 00:48:56.880 you're playing they're all your brothers. Exactly 00:48:56.880 --> 00:49:01.000 Thanks a lot, man. There's been pleasure. Make 00:49:01.000 --> 00:49:04.179 sure you check out the Sloan Brothers I'll give 00:49:04.179 --> 00:49:06.980 you a list of all of their in the links in the 00:49:06.980 --> 00:49:09.320 comments here. Thanks a lot Thanks for having 00:49:09.320 --> 00:49:11.019 me. Alright, that was my interview with Sloan 00:49:11.019 --> 00:49:14.920 Simpson from Sloan Brothers. I Really love their 00:49:14.920 --> 00:49:18.250 music It's got a bunch of really great musicians 00:49:18.250 --> 00:49:22.349 on it, including kind of bunch of amazing musicians 00:49:22.349 --> 00:49:25.070 on it, including Jay Gonzalez, who I'm going 00:49:25.070 --> 00:49:28.969 to talk to next week, Patterson Hood, Brian J. 00:49:29.070 --> 00:49:33.289 Howard from Cracker, Hardy Morris, John Neff, 00:49:33.670 --> 00:49:36.610 Robert Schneider, Matthew Williams. Just the 00:49:36.610 --> 00:49:39.449 list goes on and on. I really, you got to check 00:49:39.449 --> 00:49:44.480 it out. SimSims System Update is available. for 00:49:44.480 --> 00:49:47.900 streaming, as is the split EP, Jay Gonzalez versus 00:49:47.900 --> 00:49:52.460 Sloan Brothers. One side starts with a Jay track, 00:49:52.559 --> 00:49:55.539 ends with a Sloan Brothers track. The next side 00:49:55.539 --> 00:49:57.519 starts with a Sloan Brothers track, ends with 00:49:57.519 --> 00:50:00.480 a Jay track. Check it out. I'm gonna go chew 00:50:00.480 --> 00:50:02.780 some of that bubble gum that came with my record. 00:50:03.440 --> 00:50:05.559 Next week, we got Jay Gonzalez from the drive 00:50:05.559 --> 00:50:08.780 -by truckers. Don't miss that interview. He's 00:50:08.780 --> 00:50:12.619 one of the nicest guys in the world. one of the 00:50:12.619 --> 00:50:16.559 sweetest men I've ever known and I Really appreciated 00:50:16.559 --> 00:50:19.360 his conversation. He also he was really just 00:50:19.360 --> 00:50:25.280 generous with what he was willing to share This 00:50:25.280 --> 00:50:28.460 is an over -educated and under employed take 00:50:28.460 --> 00:50:28.840 care