WEBVTT 00:00:00.000 --> 00:00:02.459 Hey everybody, this is Kevin Sonny Gullich from 00:00:02.459 --> 00:00:04.839 Sonny and the Blues Grooves, and y 'all are listening 00:00:04.839 --> 00:00:08.439 to My Weekly Mixtape with Brian Colbert. And 00:00:08.439 --> 00:00:10.359 you know what? It's gonna be a whole lot of fun. 00:00:21.579 --> 00:00:24.620 Welcome to My Weekly Mixtape, a podcast that 00:00:24.620 --> 00:00:27.699 takes the classic mixtape approach to building 00:00:27.699 --> 00:00:30.640 a modern playlist. I'm your host, Brian Colburn. 00:00:30.780 --> 00:00:33.579 On tonight's special album dive edition of the 00:00:33.579 --> 00:00:36.939 show, I'm joined by Kenny Sonny Gulledge, whose 00:00:36.939 --> 00:00:40.020 debut album, Go Be Free, drops next week via 00:00:40.020 --> 00:00:43.020 Blind Pig Records. Sonny, thank you so much for 00:00:43.020 --> 00:00:45.740 joining me on my weekly mixtape. Man, thank you 00:00:45.740 --> 00:00:47.560 so much for having me, Brian. It really means 00:00:47.560 --> 00:00:50.200 a lot. Well, I'd like to start by asking you 00:00:50.200 --> 00:00:52.780 the same question I ask all my first -time guests, 00:00:52.899 --> 00:00:56.549 and that is, what does the word mixtape mean 00:00:56.549 --> 00:01:02.310 to you? Oh, man. Great question. You know, coming 00:01:02.310 --> 00:01:05.409 from a backdrop of many, many genres of music, 00:01:05.489 --> 00:01:09.390 that word is really packed, you know, like whether 00:01:09.390 --> 00:01:12.409 we're talking about that classic, hey, I made 00:01:12.409 --> 00:01:15.129 a mixtape for you when you meet somebody and 00:01:15.129 --> 00:01:17.329 you make a little playlist of songs that you 00:01:17.329 --> 00:01:20.170 want to express your feelings to and you have 00:01:20.170 --> 00:01:21.930 a little bit of everything in it, a little country, 00:01:22.030 --> 00:01:24.230 a little, you know, check yes or no mixed with. 00:01:24.670 --> 00:01:28.090 A little bit of love, Kishko. There you go. You 00:01:28.090 --> 00:01:31.969 have a whole bunch of everything. Or even if 00:01:31.969 --> 00:01:34.609 you say it from a hip -hop aspect where you have 00:01:34.609 --> 00:01:37.010 the word mixtape and that meant, hey, this is 00:01:37.010 --> 00:01:39.450 my new stuff. This is what I'm putting into the 00:01:39.450 --> 00:01:41.989 world and I want you to check it out. Back then 00:01:41.989 --> 00:01:45.930 when it was actually a tape. It was everybody's 00:01:45.930 --> 00:01:50.670 just raw demo. When I hear mixtape, I think this 00:01:50.670 --> 00:01:55.159 is your raw emotion like the demos. where you're 00:01:55.159 --> 00:01:57.260 expressing what you want to express to people. 00:01:57.640 --> 00:02:00.459 Like the meaning of, I made you a mixtape. Love 00:02:00.459 --> 00:02:03.239 it. Well, before we dive into the album, Go Be 00:02:03.239 --> 00:02:06.159 Free, I'd like to talk about how you got here. 00:02:06.379 --> 00:02:08.680 And I think a good place to start would be the 00:02:08.680 --> 00:02:12.819 fact that your family surname was originally 00:02:12.819 --> 00:02:17.960 Ledbetter, as in blues folk legend and Rock and 00:02:17.960 --> 00:02:22.020 Roll Hall of Fame inductee, Ledbelly Ledbetter. 00:02:22.469 --> 00:02:26.150 I guess it's safe to say that blues runs in the 00:02:26.150 --> 00:02:30.169 family genes. Man. So let's break it down all 00:02:30.169 --> 00:02:31.710 the way back. You know, let's get back there. 00:02:31.830 --> 00:02:35.009 Let's do it. I have a big family of musicians. 00:02:35.229 --> 00:02:39.349 I mean, really big. And most of our history as 00:02:39.349 --> 00:02:41.590 a family is passed out through the oral tradition. 00:02:42.389 --> 00:02:44.550 We tell each other, hey, you had a cousin who 00:02:44.550 --> 00:02:46.729 did this once. You had an uncle who was king. 00:02:46.949 --> 00:02:48.810 You had a, that's what most people get. We on 00:02:48.810 --> 00:02:52.080 the other hand, we're like, yeah. You had a great 00:02:52.080 --> 00:02:54.000 uncle, a great, great, great uncle. Before there 00:02:54.000 --> 00:02:56.240 was any gullage, you had a great, great uncle 00:02:56.240 --> 00:02:58.919 who was a musician. That's what I always grew 00:02:58.919 --> 00:03:00.400 up knowing. I had a great, great, great, great, 00:03:00.400 --> 00:03:02.219 great uncle who was a musician. I had a lot of 00:03:02.219 --> 00:03:04.780 music in the family. Music been our thing for 00:03:04.780 --> 00:03:07.840 generations on generations. And, you know, church 00:03:07.840 --> 00:03:10.939 and music went hand in hand for so long. So always 00:03:10.939 --> 00:03:13.500 I was like, oh, another gospel musician in the 00:03:13.500 --> 00:03:16.500 family. There's another gospel musician or a 00:03:16.500 --> 00:03:19.560 bunch of gospel musicians. Another one. And then. 00:03:20.139 --> 00:03:24.400 And about 2017, I want to say, my uncle goes, 00:03:24.759 --> 00:03:27.120 oh, I'm playing at BB King's Blues Club. And 00:03:27.120 --> 00:03:28.860 he goes, oh, see that face on the wall right 00:03:28.860 --> 00:03:30.500 there? Yeah, you know where you related to him, 00:03:30.520 --> 00:03:32.840 right? I look, and right there, it says Ledbetter. 00:03:33.340 --> 00:03:36.500 And they're like, there's no way that this just 00:03:36.500 --> 00:03:39.180 went over my head for that long. I said, yeah, 00:03:39.240 --> 00:03:41.919 Gulledge, before there was Gulledge, the last 00:03:41.919 --> 00:03:44.759 name was Ledbetter. Yeah, that's what we've done 00:03:44.759 --> 00:03:47.759 for a long time. Yeah, that's it. That's how 00:03:47.759 --> 00:03:51.840 I did it. Yeah. And then, you know, the more, 00:03:52.039 --> 00:03:54.819 and I mean, it comes from a huge tradition of 00:03:54.819 --> 00:03:57.719 music. My father's a bass player. He's actually 00:03:57.719 --> 00:04:00.879 my bass player. But my father has 11 siblings. 00:04:01.740 --> 00:04:05.280 Now, in gospel for a long time, when you said 00:04:05.280 --> 00:04:08.759 the word quartet, that meant four or more performers. 00:04:09.199 --> 00:04:12.039 So boys, six boys, six girls, boys had their 00:04:12.039 --> 00:04:14.680 own gospel quartet. The girls had their own gospel 00:04:14.680 --> 00:04:18.399 quartet. And before that, there was my grandmother. 00:04:19.019 --> 00:04:22.899 who was a recording artist. And in 1965, she 00:04:22.899 --> 00:04:25.899 recorded an album. And it was always known, yeah, 00:04:25.959 --> 00:04:27.980 she used to record. And one day we found the 00:04:27.980 --> 00:04:30.980 album. And in the liner notes, you saw Sister 00:04:30.980 --> 00:04:33.139 Alberta Gulledge. And I go, I know who that is. 00:04:33.220 --> 00:04:35.959 Right under it, Sammy Burfecht. So it was always 00:04:35.959 --> 00:04:40.279 having a run of like, hey, musicians, not just 00:04:40.279 --> 00:04:42.740 gospel, but blues musicians were always around 00:04:42.740 --> 00:04:46.089 this family. And I never understood how it went 00:04:46.089 --> 00:04:48.949 so hand in hand all the time. And then we find 00:04:48.949 --> 00:04:51.689 out, hey, you go all the way back. There's a 00:04:51.689 --> 00:04:54.149 name that you probably know named Leadbelly. 00:04:54.329 --> 00:04:57.209 And I was like, Leadbelly Leadbetter? Yeah, you 00:04:57.209 --> 00:04:59.310 know, his last name was Leadbetter. Yeah, that 00:04:59.310 --> 00:05:01.910 used to be our last name. So it's just going 00:05:01.910 --> 00:05:04.370 back and knowing that that's your tradition in 00:05:04.370 --> 00:05:06.810 your family. And it goes all the way down and 00:05:06.810 --> 00:05:09.430 all the way back. And now you're looking at me, 00:05:09.470 --> 00:05:12.149 I guess, trying to carry on that side of the 00:05:12.149 --> 00:05:14.550 tradition. Without knowing I was carrying on 00:05:14.550 --> 00:05:17.490 that side of the tradition. How did growing up 00:05:17.490 --> 00:05:20.949 with music throughout your family and in your 00:05:20.949 --> 00:05:26.389 family lineage strengthen your love of all kinds 00:05:26.389 --> 00:05:30.370 of music growing up? We weren't encouraged to 00:05:30.370 --> 00:05:33.790 just listen to just anything in my house. We 00:05:33.790 --> 00:05:35.569 were encouraged to listen to everything. There's 00:05:35.569 --> 00:05:39.069 a big difference. Yes, there is. You know, anything 00:05:39.069 --> 00:05:42.199 is saying, hey. Whatever comes on the radio is 00:05:42.199 --> 00:05:45.019 just as important as listening to something that 00:05:45.019 --> 00:05:47.379 might be detrimental to you becoming a musician. 00:05:47.939 --> 00:05:51.040 So I was growing up listening to so much gospel 00:05:51.040 --> 00:05:53.800 music and so many gospel artists. And at the 00:05:53.800 --> 00:05:55.879 same time, my dad was playing for blues musicians 00:05:55.879 --> 00:06:01.279 like Vashti Jackson, Henry Butler. I was around 00:06:01.279 --> 00:06:04.879 him as a kid. So we'd be encouraged to say, hey, 00:06:04.939 --> 00:06:07.639 check this out. Hey, check this out. And you 00:06:07.639 --> 00:06:09.399 might hear it, especially in New Orleans, you 00:06:09.399 --> 00:06:12.660 know, where New Orleans is a big melting pot 00:06:12.660 --> 00:06:15.740 of all humans. You'd hear a little bit of everything. 00:06:15.920 --> 00:06:20.860 I'd hear my dad up at 12 a .m. practicing Henry 00:06:20.860 --> 00:06:24.240 Butler's Henry's Boogie. And then I'd hear my 00:06:24.240 --> 00:06:28.379 dad up at 7 in the morning practicing some blues 00:06:28.379 --> 00:06:31.959 for Vashti Jackson. And then I'd wake up and 00:06:31.959 --> 00:06:34.579 I'd hear my brother was in the next room over. 00:06:35.120 --> 00:06:37.319 blasting at some hip hop song that he found. 00:06:37.439 --> 00:06:40.139 And he was like, yeah, this is really cool. And 00:06:40.139 --> 00:06:42.600 then I'd hear country music all growing up in 00:06:42.600 --> 00:06:46.120 South Louisiana. And I come from a small town 00:06:46.120 --> 00:06:48.300 on the outskirts of New Orleans called Luling. 00:06:48.779 --> 00:06:52.279 And in Luling, I call it the perfect center because 00:06:52.279 --> 00:06:57.720 on one side, 45 minutes to the east, you'll find 00:06:57.720 --> 00:07:00.600 New Orleans, Louisiana. And when you find New 00:07:00.600 --> 00:07:02.060 Orleans, you know what you're getting. You're 00:07:02.060 --> 00:07:03.360 getting that hip hop. You're getting that army. 00:07:03.480 --> 00:07:04.879 You're getting that gospel. You're getting that 00:07:04.879 --> 00:07:08.639 all that. But 45 minutes in the opposite direction, 00:07:08.660 --> 00:07:12.879 you find the swamp pop, as I'll call it. You 00:07:12.879 --> 00:07:15.100 get swamp pop. You get Zydeco. You get traditional 00:07:15.100 --> 00:07:19.620 Cajun music. Yes. And having that with a family 00:07:19.620 --> 00:07:21.899 full of musicians, you were always pulled in 00:07:21.899 --> 00:07:23.560 so many different directions to check out this, 00:07:23.639 --> 00:07:25.279 check out this, check out this, check out this. 00:07:25.699 --> 00:07:28.500 And even sometimes in the silence. Between all 00:07:28.500 --> 00:07:31.639 of these things, you heard new things that were 00:07:31.639 --> 00:07:34.439 just important to check out. You know, a lot 00:07:34.439 --> 00:07:37.300 of the way I even write comes from just sitting 00:07:37.300 --> 00:07:40.579 back and listening to absolutely nothing. So 00:07:40.579 --> 00:07:42.319 you were encouraged to listen to everything, 00:07:42.600 --> 00:07:46.180 not anything. Because anybody can hear anything, 00:07:46.319 --> 00:07:49.459 but not everyone can hear everything. Amazing. 00:07:49.800 --> 00:07:51.920 Now, we're going to fast forward a little bit 00:07:51.920 --> 00:07:54.800 here. You're out. You're on the road. You're 00:07:54.800 --> 00:07:56.759 doing your thing. I'm going to fast forward to 00:07:56.759 --> 00:08:00.819 2020 because you're out and about. You and the 00:08:00.819 --> 00:08:04.100 Blues Groovers have an artist residency at BB 00:08:04.100 --> 00:08:07.639 King's in New Orleans, and then the pandemic 00:08:07.639 --> 00:08:10.959 hits. Now, a lot of people went in different 00:08:10.959 --> 00:08:14.379 directions with the pandemic, but you went in 00:08:14.379 --> 00:08:18.560 the direction of American Idol season 20 of all 00:08:18.560 --> 00:08:22.250 places. As the first person who has been on my 00:08:22.250 --> 00:08:25.970 weekly mixtape that has had experience in the 00:08:25.970 --> 00:08:30.089 AI machine, and by AI, I mean American Idol, 00:08:30.350 --> 00:08:33.649 I'd love to know what that experience was like 00:08:33.649 --> 00:08:38.850 for you from the inside looking out. You learn 00:08:38.850 --> 00:08:41.649 a lot. That's the first thing I can say. You 00:08:41.649 --> 00:08:45.190 learn a whole new world of, not to be corny, 00:08:45.289 --> 00:08:50.509 but a whole new world of... musicians and a whole 00:08:50.509 --> 00:08:52.830 new world of music. And the world as you grow 00:08:52.830 --> 00:08:54.629 up being a musician from the time of your child, 00:08:54.710 --> 00:08:58.690 a lot of us. But that level of professionalism 00:08:58.690 --> 00:09:03.610 is not commonly expected or experienced. So when 00:09:03.610 --> 00:09:07.029 I got to American Idol, I looked around and saw, 00:09:07.090 --> 00:09:11.129 see in the audition, one audition I saw over 00:09:11.129 --> 00:09:15.330 a hundred other people who were just great and 00:09:15.330 --> 00:09:17.590 did what I did with the same passion that I did. 00:09:18.480 --> 00:09:24.440 Past my audition, I saw 74 other people who were 00:09:24.440 --> 00:09:27.799 doing it to the level that I was trying to do 00:09:27.799 --> 00:09:31.139 as well. People who had that drive and passion 00:09:31.139 --> 00:09:33.340 that all the other people who didn't make it 00:09:33.340 --> 00:09:37.700 didn't quite have established yet. And then you 00:09:37.700 --> 00:09:40.100 were expected things. You were expected to wake 00:09:40.100 --> 00:09:43.539 up at 6 in the morning to be downstairs in the 00:09:43.539 --> 00:09:45.700 lobby for 7 in the morning to be at the Orpheum 00:09:45.700 --> 00:09:49.250 Theater for 7 .30. You were expected to have 00:09:49.250 --> 00:09:51.850 your clothes pressed, and you might end up wearing 00:09:51.850 --> 00:09:53.929 the same outfit three days in a row because of 00:09:53.929 --> 00:09:56.470 selling. But the truth is, you were expected 00:09:56.470 --> 00:09:58.509 to have that outfit looking the same every single 00:09:58.509 --> 00:10:02.669 one of those days. And you were running on schedule. 00:10:02.809 --> 00:10:06.490 You were always go, go, go, go, go. And you needed 00:10:06.490 --> 00:10:07.889 to know what you said you were going to know. 00:10:08.509 --> 00:10:12.690 There's so many levels of professionalism that 00:10:12.690 --> 00:10:14.610 a lot of people never get to see, and they're 00:10:14.610 --> 00:10:18.279 never expected to even know. So seeing the other 00:10:18.279 --> 00:10:21.779 side of that, I always thought of myself as professional 00:10:21.779 --> 00:10:24.320 as like, you know, all those top level. I'm a 00:10:24.320 --> 00:10:26.700 high functioning professional. You know, I always 00:10:26.700 --> 00:10:30.259 thought that when I realized I was like, wow, 00:10:30.379 --> 00:10:32.919 there's a level of professionalism that I'm trying 00:10:32.919 --> 00:10:36.419 to get used to at this point. And even having 00:10:36.419 --> 00:10:40.179 the chance to sing in front of Lionel Richie, 00:10:40.179 --> 00:10:44.059 Luke Bryan and Katy Perry, that was a whole experience 00:10:44.059 --> 00:10:47.509 in itself. Sing in front of them. You got to 00:10:47.509 --> 00:10:56.190 perform with them. Man, they were just, oh my 00:10:56.190 --> 00:10:59.350 gosh. I saw Katy Perry sing without any effects 00:10:59.350 --> 00:11:03.450 for the first time ever. And I tell everyone, 00:11:03.549 --> 00:11:07.789 she is like a female Steven Tyler with how free 00:11:07.789 --> 00:11:13.220 she is in her voice. And Lionel Richie. I'm not 00:11:13.220 --> 00:11:15.139 sure how old he is, and I'm not going to even 00:11:15.139 --> 00:11:18.120 disrespect him to try to guess it. But he is 00:11:18.120 --> 00:11:22.500 an older fellow who still sings with that push 00:11:22.500 --> 00:11:25.759 that most young people are trying to reach still. 00:11:26.519 --> 00:11:29.539 And Luke Bryan, I was thoroughly surprised just 00:11:29.539 --> 00:11:32.159 how talented he is, not just in singing, but 00:11:32.159 --> 00:11:34.440 he also plays piano. He plays guitar. And, you 00:11:34.440 --> 00:11:38.039 know, you learn these things about people. And 00:11:38.039 --> 00:11:40.779 these are the things you think, hey. Why isn't 00:11:40.779 --> 00:11:43.759 this what is selling? Why isn't this what people 00:11:43.759 --> 00:11:47.000 are putting out there for others to see? And 00:11:47.000 --> 00:11:48.480 you're just like, wow, that means that there's 00:11:48.480 --> 00:11:51.080 another level of professionalism that I still 00:11:51.080 --> 00:11:54.220 don't. And funny enough, I learned about that 00:11:54.220 --> 00:11:57.759 level of professionalism while trying to work 00:11:57.759 --> 00:12:03.299 on the album Go Be Free. Well, did your experience 00:12:03.299 --> 00:12:08.159 on American Idol? lead you to the folks at Blind 00:12:08.159 --> 00:12:10.700 Pig for this album? How did that connection come 00:12:10.700 --> 00:12:15.559 together? Actually, it came from touring. Well, 00:12:15.639 --> 00:12:18.879 after American Idol, a lot happened. I accidentally 00:12:18.879 --> 00:12:22.919 got a Hammond endorsement, which was hilarious. 00:12:23.360 --> 00:12:27.039 That's a good endorsement to have. I'm a Hammond 00:12:27.039 --> 00:12:31.039 artist, and I set my Melodion on top of the piano 00:12:31.039 --> 00:12:33.740 during my audition, and in big, bold red letters, 00:12:33.759 --> 00:12:38.029 you see, Hammond Melodian HP -2. And on the Monday 00:12:38.029 --> 00:12:39.909 after my audition, they called me and said, hey, 00:12:40.029 --> 00:12:42.570 we want you to be a Hammond artist. We want you 00:12:42.570 --> 00:12:44.490 to be part of our family. And then they looked 00:12:44.490 --> 00:12:46.429 at clips of me and saw my organ player, Brandon 00:12:46.429 --> 00:12:49.309 Adams from Blues Groovers. And they go, hey, 00:12:49.429 --> 00:12:53.450 we want him too. Nice. Two in one. So, so much 00:12:53.450 --> 00:12:55.929 had happened. I got a Hammond endorsement. I 00:12:55.929 --> 00:12:59.049 released my first independent album entitled 00:12:59.049 --> 00:13:01.250 Something Old, Something New, Something Borrowed 00:13:01.250 --> 00:13:03.649 Blues, which led to my first distribution deal 00:13:03.649 --> 00:13:05.960 with Basin Street Records out of New Orleans, 00:13:06.039 --> 00:13:09.700 Louisiana. And after that, I'd gotten some pretty 00:13:09.700 --> 00:13:12.440 good reviews from that. And I ended up touring. 00:13:12.580 --> 00:13:15.120 I went to Austria. I went to Brazil. I went to 00:13:15.120 --> 00:13:18.299 Austria again. And next, you know, someone calls 00:13:18.299 --> 00:13:21.399 and says, hey, we want you to do a summer tour 00:13:21.399 --> 00:13:25.720 next year. At this point, it's 2020. I want to 00:13:25.720 --> 00:13:28.440 say 2023. And they say, hey, we want you to do 00:13:28.440 --> 00:13:32.139 a summer tour this year. OK, we'll do it. We 00:13:32.139 --> 00:13:36.240 did 13 cities in 15 days. Wow. And most of the 00:13:36.240 --> 00:13:38.360 time of the tour was spent in the van, of course, 00:13:38.379 --> 00:13:41.379 because we were driving all over. And I think 00:13:41.379 --> 00:13:45.379 we did Croatia, Slovenia, Italy, Germany, Austria, 00:13:45.620 --> 00:13:50.899 and Belgium. And they, but we were, we were like, 00:13:50.960 --> 00:13:53.559 we'd get off the stage, pack up and we'd be gone. 00:13:53.720 --> 00:13:56.679 Try to make a 13 hour drive into a seven hour 00:13:56.679 --> 00:14:00.950 drive. So one of these shows that I think. If 00:14:00.950 --> 00:14:02.950 I'm not mistaken, it was the Grosche Blues Festival 00:14:02.950 --> 00:14:07.470 in Skopje, Germany. And a man named Bernard saw 00:14:07.470 --> 00:14:13.009 our show. And he calls his friend, the Eleanor 00:14:13.009 --> 00:14:16.429 of Blind Pig, Jeff. He calls Jeff Schrader and 00:14:16.429 --> 00:14:19.149 goes, hey, there's this young guy that you got 00:14:19.149 --> 00:14:21.029 to see. There's this young guy you got to check 00:14:21.029 --> 00:14:24.169 out. And I know you're bringing Blind Pig back. 00:14:24.850 --> 00:14:28.009 Why don't you check him out? He might be a great 00:14:28.009 --> 00:14:32.149 artist. So after we did a 13 city tour, I get 00:14:32.149 --> 00:14:34.070 another phone call and I think this speaks to 00:14:34.070 --> 00:14:37.309 how random life can be. I get another phone call 00:14:37.309 --> 00:14:40.990 and they go, hey, we're revamping Blind Pig and 00:14:40.990 --> 00:14:44.570 we want you to be one of our first artists back. 00:14:45.429 --> 00:14:51.129 Now that call was such an honor because when 00:14:51.129 --> 00:14:52.730 we were first releasing Something Old, Something 00:14:52.730 --> 00:14:54.690 New, Something Borrowed Blues, we were looking 00:14:54.690 --> 00:14:58.259 for a label to partner with. Blind Pig, at the 00:14:58.259 --> 00:15:00.980 time, Blind Pig was like, hey, we're not up and 00:15:00.980 --> 00:15:03.100 running right now. And I understood, you know, 00:15:03.179 --> 00:15:05.360 that happens sometimes, especially in the economy 00:15:05.360 --> 00:15:11.139 of music. That happened. So to hear years later, 00:15:11.379 --> 00:15:15.379 hey, this is Blind Pig. My name is Jeff Schradel 00:15:15.379 --> 00:15:18.139 with Blind Pig. And we want you to be one of 00:15:18.139 --> 00:15:20.860 our first artists back. That hit me like a truck. 00:15:21.500 --> 00:15:25.139 I couldn't describe how not ready for that I 00:15:25.139 --> 00:15:29.690 was. Because I was just taken aback. So that's 00:15:29.690 --> 00:15:32.629 how I got connected with Blind Pig Records, actually. 00:15:33.190 --> 00:15:37.710 Well, Go Be Free drops August 23rd on Blind Pig 00:15:37.710 --> 00:15:40.909 Records. So let's dive into the album. And because 00:15:40.909 --> 00:15:44.710 I'm a sucker for album opening tracks, we're 00:15:44.710 --> 00:15:47.389 going to kick things off tonight with the album 00:15:47.389 --> 00:16:01.279 opener, Just Kiss Me, Baby. Shakin' bacon down 00:16:01.279 --> 00:16:09.580 the street It's good to feel you next to me Music 00:16:09.580 --> 00:16:15.220 blastin' down on the bill And later on when things 00:16:15.220 --> 00:16:20.059 get real I want you to come on over here and 00:16:20.059 --> 00:16:24.919 sue me, baby When you smile like that it drives 00:16:24.919 --> 00:16:40.200 me crazy Just kiss me, baby This song is funky, 00:16:40.399 --> 00:16:44.320 soulful, and just an all -around fun way to kick 00:16:44.320 --> 00:16:47.980 things off. The band sounds absolutely locked 00:16:47.980 --> 00:16:51.039 in. Is this the Blues Groovers playing on the 00:16:51.039 --> 00:16:54.200 album? I'm going to be honest. No, it's not. 00:16:54.360 --> 00:16:59.620 Really? And I'll explain that, actually. let's 00:16:59.620 --> 00:17:01.500 talk about just kiss me baby i love i love it 00:17:01.500 --> 00:17:05.119 love it love it so this song came to be this 00:17:05.119 --> 00:17:07.460 is the one song i think that was written completely 00:17:07.460 --> 00:17:09.500 from scratch as in here's a blank piece of paper 00:17:09.500 --> 00:17:13.339 let's come up at first it was hey kevin for this 00:17:13.339 --> 00:17:15.720 album bring in some ideas i'll bring it and let's 00:17:15.720 --> 00:17:18.119 see what we get this is the one that was a blank 00:17:18.119 --> 00:17:20.920 piece of paper in the middle of the writing and 00:17:20.920 --> 00:17:23.680 tom hambridge who co -wrote with me on this album 00:17:23.680 --> 00:17:26.599 and produced on this album as well as played 00:17:26.599 --> 00:17:30.289 drums on this album he She said simple words 00:17:30.289 --> 00:17:33.329 that every young musician, especially from New 00:17:33.329 --> 00:17:36.190 Orleans, loves to hear. Hey, Kevin, could you 00:17:36.190 --> 00:17:40.329 play something funky for me? And I go, sure. 00:17:41.069 --> 00:17:44.970 He has this whirly. He goes, here, just play 00:17:44.970 --> 00:17:50.869 it on this. And I just go, all right. And he 00:17:50.869 --> 00:17:52.710 goes, yeah, yeah. And I'm thinking like something 00:17:52.710 --> 00:17:56.890 like shaking bacon down the street. Riding, but 00:17:56.890 --> 00:18:00.380 we were riding. It's such synchrony that like 00:18:00.380 --> 00:18:02.819 everything was just bouncing off the walls. The 00:18:02.819 --> 00:18:05.119 energy was just everywhere. So it was always 00:18:05.119 --> 00:18:06.960 it was about saying, hey, let's write something 00:18:06.960 --> 00:18:09.720 that feels good. Let's talk about it. And it 00:18:09.720 --> 00:18:13.359 went shaking, breaking down the street. Good 00:18:13.359 --> 00:18:16.940 to be next to me. Music blushing down on me. 00:18:17.039 --> 00:18:20.240 It laid on when things get real. And it was just 00:18:20.240 --> 00:18:23.220 so natural that we were just like almost joking 00:18:23.220 --> 00:18:26.079 with how we were writing it. Just like, hey, 00:18:26.220 --> 00:18:29.470 what would you say? Come on over here and soothe 00:18:29.470 --> 00:18:32.210 me, baby. And when you smile like that, it drives 00:18:32.210 --> 00:18:36.470 me crazy. Just kiss me, baby. It became such, 00:18:36.650 --> 00:18:39.529 it was just like a fun time writing. So we tried 00:18:39.529 --> 00:18:41.890 to capture all the energy we had writing that 00:18:41.890 --> 00:18:45.809 song and put it into recording it. And when we 00:18:45.809 --> 00:18:48.509 got there into the session, it wasn't the Blues 00:18:48.509 --> 00:18:52.549 Groovers. The Blues Groovers are, well, it's 00:18:52.549 --> 00:18:53.970 a group of some of the baddest musicians you'll 00:18:53.970 --> 00:18:57.009 find in my opinion. But if you're recording an 00:18:57.009 --> 00:19:02.089 album in Nashville, you have access to guys who 00:19:02.089 --> 00:19:05.089 make albums, guys who do Nashville sessions, 00:19:05.289 --> 00:19:08.910 you know. So I walk in a room full of Nashville 00:19:08.910 --> 00:19:13.009 musicians. And all of these guys, they hear the 00:19:13.009 --> 00:19:15.390 track, just the sample track and go, oh, OK. 00:19:15.950 --> 00:19:19.269 And they make it come to life. Now, that's something 00:19:19.269 --> 00:19:22.490 that you can't always do with with guys who even 00:19:22.490 --> 00:19:24.930 perform as much as the Blues Groovers and I. 00:19:25.529 --> 00:19:28.029 When we perform together, every single time, 00:19:28.069 --> 00:19:30.509 it's always just right on it, right into it. 00:19:30.630 --> 00:19:33.730 But in a studio session, you want things to be 00:19:33.730 --> 00:19:37.369 as crisp, as real as you can get it. Raw, but 00:19:37.369 --> 00:19:43.690 real. And these guys, Rob Churitone, Tommy Mac, 00:19:43.990 --> 00:19:49.890 Kenny Greenberg, Kevin McKendry, and Tom Hambridge. 00:19:50.589 --> 00:19:54.630 They came in and they made this track sound. 00:19:54.730 --> 00:19:58.309 They helped it come alive. Because writing it 00:19:58.309 --> 00:20:00.670 and playing it, we can do that all day. Making 00:20:00.670 --> 00:20:02.869 it say, hey, this is a real living, breathing 00:20:02.869 --> 00:20:06.109 thing. Listen to it. That's something that, yeah, 00:20:06.349 --> 00:20:09.990 it does take more guys to do sometimes. So that 00:20:09.990 --> 00:20:12.990 was a whole nother experience that just was new 00:20:12.990 --> 00:20:17.059 to me. And what I love about. this song is it 00:20:17.059 --> 00:20:21.220 truly feels like you're sitting in a room in 00:20:21.220 --> 00:20:25.359 a circle, jamming it out and playing it and having 00:20:25.359 --> 00:20:28.059 fun live. Even during the breaks where you blow 00:20:28.059 --> 00:20:31.460 the kiss, it feels like it's being done very 00:20:31.460 --> 00:20:35.099 improv and on the fly. And it really gives that 00:20:35.099 --> 00:20:38.500 song this, Hey, this is happening as you're listening. 00:20:38.599 --> 00:20:42.579 It's a very live environment on this track. A 00:20:42.579 --> 00:20:46.659 lot of that actually was very, what is it? We 00:20:46.659 --> 00:20:49.460 recorded live. It was like, it was, most of these 00:20:49.460 --> 00:20:53.960 songs were done in, in max two tapes. Wow. And 00:20:53.960 --> 00:20:56.980 it was like, we'd be singing or I'd be singing. 00:20:57.079 --> 00:21:04.779 And then I'd do something like. And we'd look 00:21:04.779 --> 00:21:06.660 at each other and crank up and then crank right 00:21:06.660 --> 00:21:09.980 back into it. So, so yeah, that was, it was very 00:21:09.980 --> 00:21:12.500 much a, Hey, let's jam on this, but make it, 00:21:12.519 --> 00:21:16.839 make it, you know. A studio quality jam. A record 00:21:16.839 --> 00:21:19.940 jam, you know? And that it certainly is. And 00:21:19.940 --> 00:21:22.759 the next song I want to highlight on the album 00:21:22.759 --> 00:21:25.640 is the title track and lead single from the album, 00:21:25.819 --> 00:21:51.990 Go Be Free. My daddy said, go be free. I remember 00:21:51.990 --> 00:21:57.690 back in school, was no fan of the schoolhouse 00:21:57.690 --> 00:22:01.730 rules. Teacher asked me, what do I want to be? 00:22:01.890 --> 00:22:06.009 I said, well, at 3 .30, honey, I'll be free. 00:22:06.049 --> 00:22:28.019 He said, go be free. Now you talked about your 00:22:28.019 --> 00:22:32.019 grandmother's roots in gospel music. And I feel 00:22:32.019 --> 00:22:36.099 that shining through on this track. I mean, lyrically, 00:22:36.200 --> 00:22:40.299 the last verse really struck me. I heard a band 00:22:40.299 --> 00:22:44.079 marching down the street. Carrying a casket and 00:22:44.079 --> 00:22:47.799 a green pine wreath. They weren't crying, saying 00:22:47.799 --> 00:22:51.799 rest in peace. Just heard a choir singing, go 00:22:51.799 --> 00:22:54.900 be free. I'm getting the hair on my arm standing 00:22:54.900 --> 00:22:58.079 up just saying it. There's a musical concoction 00:22:58.079 --> 00:23:01.240 in this track that to me is a perfect mix of 00:23:01.240 --> 00:23:06.279 soul, gospel, and blues. And it's so delicately 00:23:06.279 --> 00:23:10.319 balanced in this song. Is that something that... 00:23:10.519 --> 00:23:13.319 you're thinking about when you're writing or 00:23:13.319 --> 00:23:16.940 is that just all of the music that you grew up 00:23:16.940 --> 00:23:21.359 with kind of coming through as who you are musically 00:23:21.359 --> 00:23:24.279 that's exactly honestly that's the best way you 00:23:24.279 --> 00:23:26.759 can put it it's all of the music that i grew 00:23:26.759 --> 00:23:32.559 up coming into this this symphony of how can 00:23:32.559 --> 00:23:36.740 i put this the symphony of reaching a point that's 00:23:36.740 --> 00:23:40.190 the best way i can say this symphony of reaching 00:23:40.190 --> 00:23:42.250 accomplishment, reaching where you want to go. 00:23:43.009 --> 00:23:45.789 Not saying that you've made it there, but saying 00:23:45.789 --> 00:23:48.730 reaching as in like, hey, I'm walking in the 00:23:48.730 --> 00:23:51.369 right direction. Because it started off with, 00:23:51.450 --> 00:23:54.250 when I first started writing it, it started off 00:23:54.250 --> 00:23:56.710 with just guitar. And I thought, I want to play 00:23:56.710 --> 00:23:59.630 something real gospel, which is where the main 00:23:59.630 --> 00:24:06.269 line that just straight, just that almost shout 00:24:06.269 --> 00:24:08.359 chorus. And when you got a shout, You want to 00:24:08.359 --> 00:24:09.880 put your hands together. You want to go like 00:24:09.880 --> 00:24:14.759 this all the time. And then it went into, now 00:24:14.759 --> 00:24:17.880 this is gospel, but the way I'll sing it, I want 00:24:17.880 --> 00:24:19.859 it to sound real bluesy. I want it to have that 00:24:19.859 --> 00:24:25.059 blues edge. So I remember back when that sound, 00:24:25.119 --> 00:24:29.859 that real pinch, but it's sticking at you. And 00:24:29.859 --> 00:24:32.839 then I had to put that rock influence that I 00:24:32.839 --> 00:24:38.589 grew up with. Don't go. And have that choir in 00:24:38.589 --> 00:24:40.970 the background at the same time. So when all 00:24:40.970 --> 00:24:43.549 those together, you end up with something that's 00:24:43.549 --> 00:24:47.970 a mixture of all the little elements that create 00:24:47.970 --> 00:24:50.309 who you are. And that's how I do go into a lot 00:24:50.309 --> 00:24:52.970 of writing. I go into it with just like, hey, 00:24:53.109 --> 00:24:55.710 who am I? Where do I come from? What am I doing? 00:24:55.809 --> 00:24:57.329 And that's actually the purpose of Go Be Free. 00:24:57.410 --> 00:24:59.849 It's to show people, hey, this is who I am. This 00:24:59.849 --> 00:25:02.460 is where I come from. So it's giving a sneak 00:25:02.460 --> 00:25:05.140 peek for a lot of people into not just who Sonny 00:25:05.140 --> 00:25:08.000 is, but also who's Kevin, you know, who's Kevin 00:25:08.000 --> 00:25:10.160 Sonny Gullich, not just who's Sonny Gullich. 00:25:11.000 --> 00:25:13.700 Well, as I'm listening to the album, I'm hearing 00:25:13.700 --> 00:25:15.640 that story because there's moments where I'm 00:25:15.640 --> 00:25:18.619 sitting there going, wow, I'm feeling some dirty 00:25:18.619 --> 00:25:20.920 swamp rock here. And then a few minutes later, 00:25:21.019 --> 00:25:23.849 I'm going. Ooh, this is getting bluesy. We're 00:25:23.849 --> 00:25:26.430 getting dirty here. And then a few minutes later, 00:25:26.509 --> 00:25:30.150 it's soulful and it's got that gospel touch and 00:25:30.150 --> 00:25:32.970 all these different genres coming together in 00:25:32.970 --> 00:25:36.710 this melting pot, if you will. But then you like 00:25:36.710 --> 00:25:39.230 to throw in a little bit of the funk things. 00:25:39.349 --> 00:26:01.279 I can't control. to this life Red, brown, black 00:26:01.279 --> 00:26:54.200 and white As someone who personally struggles 00:26:54.200 --> 00:26:57.500 on and off with anxiety, I feel like this is 00:26:57.500 --> 00:27:01.460 the kind of song that I need to hear every now 00:27:01.460 --> 00:27:04.180 and then, because the message in the lyrics, 00:27:04.220 --> 00:27:08.380 such as the world outside could be so cold, but 00:27:08.380 --> 00:27:11.299 I got music in my soul. I don't think there's 00:27:11.299 --> 00:27:13.920 a lyric on this album that I identified personally 00:27:13.920 --> 00:27:19.299 more with than that one. Lyrically, I have to 00:27:19.299 --> 00:27:22.940 say, on songs like Go Be Free and Things I Can't 00:27:22.940 --> 00:27:26.819 Control, these are very positive, uplifting, 00:27:26.819 --> 00:27:30.880 and affirming lyrics, which are usually not the 00:27:30.880 --> 00:27:34.359 three words someone would use to describe a blues 00:27:34.359 --> 00:27:38.680 album lyrically. Can you talk about the message 00:27:38.680 --> 00:27:42.099 in your lyrics overall and what you'd like listeners 00:27:42.099 --> 00:27:47.410 to maybe take away from them? Yeah. You know, 00:27:47.430 --> 00:27:50.269 I grew up listening to a lot of blues, like a 00:27:50.269 --> 00:27:53.910 lot of blues. And one of those people that I 00:27:53.910 --> 00:27:55.609 listened to, and I feel like everyone at some 00:27:55.609 --> 00:27:59.170 point listened to, was B .B. Chang. Yeah. B .B. 00:27:59.410 --> 00:28:02.789 had so many different styles when he was writing. 00:28:03.650 --> 00:28:06.049 And when you look at certain songs, you're like, 00:28:06.130 --> 00:28:10.220 man, this is real sad. This is the blues. How 00:28:10.220 --> 00:28:14.799 blue can you get? Yeah. Yeah. I bought you a 00:28:14.799 --> 00:28:16.500 three -course dinner. You said, thanks for the 00:28:16.500 --> 00:28:19.019 snack. You know, that kind of, that's what a 00:28:19.019 --> 00:28:20.880 lot of people think of when they hear blue, the 00:28:20.880 --> 00:28:23.299 word blues. They think of the emotion of blue. 00:28:23.480 --> 00:28:27.000 Blues is sad. Blues is, but then you also look 00:28:27.000 --> 00:28:30.039 at other B .B. King tracks. Like, I'm so excited. 00:28:30.799 --> 00:28:34.700 I got fire in my, you know, that, that real happy. 00:28:35.420 --> 00:28:38.240 take it home way down south there's a cool stream 00:28:38.240 --> 00:28:41.240 running in the night i can feel my heart turning 00:28:41.240 --> 00:28:43.680 feel someday i like to come back to the place 00:28:43.680 --> 00:28:47.619 i started from take it home that's happy for 00:28:47.619 --> 00:28:50.279 upflips that's inspiring and you know everyone 00:28:50.279 --> 00:28:53.339 identifies with the blues different a lot of 00:28:53.339 --> 00:28:56.200 people identify with the blues into that that 00:28:56.200 --> 00:28:59.460 you're talking about how how your car got stolen 00:28:59.460 --> 00:29:02.559 on monday and and wednesday things just didn't 00:29:02.559 --> 00:29:05.230 go right neither And that's all well and good, 00:29:05.349 --> 00:29:10.109 but the blues isn't about one feeling. The blues 00:29:10.109 --> 00:29:12.589 is about all feelings. The blues is about all 00:29:12.589 --> 00:29:15.130 you like. All the, you know, a blues song could 00:29:15.130 --> 00:29:17.109 be a love song. A blues song can be a sad song. 00:29:17.210 --> 00:29:19.470 A blues song can be a mad song. A blues song 00:29:19.470 --> 00:29:22.369 could be a happy song. But the blues is just 00:29:22.369 --> 00:29:26.369 the expression of feeling. So when I was writing 00:29:26.369 --> 00:29:30.650 what I write, it's just, let's express it. Let's 00:29:30.650 --> 00:29:33.490 put it out there. And, you know, even when you 00:29:33.490 --> 00:29:36.150 look at Just Kiss Me Baby, that's one thing. 00:29:36.210 --> 00:29:38.230 But when you look at Worried About the Young 00:29:38.230 --> 00:29:44.049 or Tattooed Wings, it's like, whoa, these are 00:29:44.049 --> 00:29:47.329 that blues that you think, oh, the blues. But 00:29:47.329 --> 00:29:52.500 it's all blues. It's all the feeling. Well, I 00:29:52.500 --> 00:29:54.539 first want to ask if you're looking at my notes, 00:29:54.539 --> 00:29:56.559 because you actually just rattled off the next 00:29:56.559 --> 00:29:58.440 two songs we're going to talk about. But I'm 00:29:58.440 --> 00:30:00.839 going to put a pin in that for a second. Because 00:30:00.839 --> 00:30:02.960 you mentioned B .B. King, I've actually told 00:30:02.960 --> 00:30:06.059 this story one other time on the show. When I 00:30:06.059 --> 00:30:09.640 started in radio back in 2000, I was talking 00:30:09.640 --> 00:30:12.200 with my boss, and I'm carrying a large stack 00:30:12.200 --> 00:30:15.140 of reel -to -reel tapes to one of the studios. 00:30:15.400 --> 00:30:18.019 And it's stacked right up to the tip of my nose, 00:30:18.160 --> 00:30:20.740 and she's telling me what she needs me to do 00:30:20.740 --> 00:30:22.880 with them, and I'm walking backwards listening 00:30:22.880 --> 00:30:25.700 to her. And next thing I hear is, whoa, whoa, 00:30:25.700 --> 00:30:29.160 whoa, and I get a hand on my shoulder. And I 00:30:29.160 --> 00:30:31.640 turn around, and B .B. King is standing there 00:30:31.640 --> 00:30:36.049 holding Lucille in his hand. And he's going to 00:30:36.049 --> 00:30:38.710 one of the other studios. And I'm like. Mr. King 00:30:38.710 --> 00:30:41.309 is literally the tapes are covering my face. 00:30:41.589 --> 00:30:44.589 So you can't see my jaw on the ground. And I'm 00:30:44.589 --> 00:30:47.170 like, Mr. King, I am so, so sorry, sir. And I 00:30:47.170 --> 00:30:50.130 turned, I said, Lucille, my sincerest apologies. 00:30:50.630 --> 00:30:53.430 And BB King looked at me and he said, you could 00:30:53.430 --> 00:30:55.990 knock me down and I'll get right back up. But 00:30:55.990 --> 00:30:58.950 Lucille doesn't know how to take a fall. And 00:30:58.950 --> 00:31:01.910 I literally said, I backed up and I said, after 00:31:01.910 --> 00:31:05.480 you, sir. And I let him walk by and. That 15 00:31:05.480 --> 00:31:08.259 seconds was my brush with the great one. So I 00:31:08.259 --> 00:31:10.599 had to talk about that when you brought up B 00:31:10.599 --> 00:31:13.279 .B. King. I'm not going to lie to you. Those 00:31:13.279 --> 00:31:18.460 15 seconds mean so much. And I think people don't 00:31:18.460 --> 00:31:21.220 get that because it's such a little peek into 00:31:21.220 --> 00:31:22.900 what you're going to do one day. It's such a 00:31:22.900 --> 00:31:25.680 those little moments matter. I was behind Eric 00:31:25.680 --> 00:31:28.759 Gales at the opening B .B. King's New Orleans. 00:31:29.359 --> 00:31:31.940 And back then I was in high school playing jazz 00:31:31.940 --> 00:31:35.309 music. And I'm standing next to Eric Gales, didn't 00:31:35.309 --> 00:31:39.089 even know. Just saw some guy wearing a nice red 00:31:39.089 --> 00:31:41.650 tracksuit, wearing some chains, wearing a goatee. 00:31:41.769 --> 00:31:43.529 And he looked all nice enough, you know. And 00:31:43.529 --> 00:31:46.529 I was like, oh, wow, just another guy. And then 00:31:46.529 --> 00:31:49.869 I get home and my dad's watching it because it 00:31:49.869 --> 00:31:52.269 went all night long. He goes, man, and they even 00:31:52.269 --> 00:31:53.750 got Eric out there. I was like, what? He's like, 00:31:53.809 --> 00:31:56.089 yeah, Eric Gales. Pulls me over. I was like, 00:31:56.170 --> 00:32:01.140 oh, I was standing behind him. You know, it's 00:32:01.140 --> 00:32:04.480 those little 15 -second moments mean so much 00:32:04.480 --> 00:32:06.559 in life. It's great to hold on to those things. 00:32:07.039 --> 00:32:09.519 Those little brushes with greatness are just 00:32:09.519 --> 00:32:11.500 peeks into what the next thing might be sometimes. 00:32:12.059 --> 00:32:13.819 Because I didn't know I was going to be playing 00:32:13.819 --> 00:32:16.079 blues. I was at the opening of BB King's Blues 00:32:16.079 --> 00:32:18.839 Club in New Orleans and standing next to Eric 00:32:18.839 --> 00:32:20.539 Gales and didn't even know I was going to play 00:32:20.539 --> 00:32:23.500 blues one day. So those matters. And here you 00:32:23.500 --> 00:32:26.900 are doing it. And I want to remind people now, 00:32:27.079 --> 00:32:30.880 listeners that don't know. Kevin or Sonny is 00:32:30.880 --> 00:32:34.779 25 years old. Am I correct? Yes, sir. Okay. So 00:32:34.779 --> 00:32:37.700 the maturity that you're hearing on these songs, 00:32:37.779 --> 00:32:42.259 both musically and lyrically, give me hope for 00:32:42.259 --> 00:32:46.119 the future of music, especially when a 25 year 00:32:46.119 --> 00:32:49.220 old is writing a song like worried about the 00:32:49.220 --> 00:33:07.680 young. Kids are starting out already deep in 00:33:07.680 --> 00:33:15.119 debt. Can't find a decent job. They take what 00:33:15.119 --> 00:33:21.720 they can get. I'm worried about the young when 00:33:21.720 --> 00:33:27.819 I see what's going on. The way this world is 00:33:27.819 --> 00:33:35.170 turning might not be alone. This track features 00:33:35.170 --> 00:33:39.589 Kristone Kingfish Ingram, who brings his amazing 00:33:39.589 --> 00:33:43.789 guitar style and tone to this track. Can you 00:33:43.789 --> 00:33:46.309 talk about how this collaboration came together 00:33:46.309 --> 00:33:49.309 and what it was like working with him? It was 00:33:49.309 --> 00:33:54.329 said while we were writing it. Four people were 00:33:54.329 --> 00:33:56.910 in the room while we were writing it. I was in 00:33:56.910 --> 00:33:59.589 the room. My father was in the room. Tom Hambridge 00:33:59.589 --> 00:34:02.910 was in the room. And Rich Fleming was in the 00:34:02.910 --> 00:34:06.630 room. And we were writing this song and it was 00:34:06.630 --> 00:34:08.969 just speaking, you know, it was speaking even 00:34:08.969 --> 00:34:12.190 from the page, it was speaking. And the question 00:34:12.190 --> 00:34:16.309 you get is, you know, with an album like this 00:34:16.309 --> 00:34:18.550 or a label like this, they're looking for features. 00:34:18.630 --> 00:34:20.309 They're trying to figure out who's going to be 00:34:20.309 --> 00:34:24.070 a feature. And the whole time thought was with 00:34:24.070 --> 00:34:27.449 a song like this, there are a few names in young 00:34:27.449 --> 00:34:29.789 blues right now that are really doing stuff. 00:34:30.369 --> 00:34:33.349 There's Ally Venable. There's Dylan Triplett. 00:34:33.809 --> 00:34:37.329 There's DK Harrell. And we can keep going because, 00:34:37.409 --> 00:34:39.230 I mean, I have lots and lots of favorites. Marcus 00:34:39.230 --> 00:34:43.090 King. Oh, that guy. We actually have an entire 00:34:43.090 --> 00:34:47.050 episode of My Weekly Mixtape dedicated to blues 00:34:47.050 --> 00:34:50.989 rock with Jax Hollow, who's another amazing player. 00:34:51.289 --> 00:34:53.690 Highly recommend checking that episode out if 00:34:53.690 --> 00:34:56.570 you're a blues fan listening. And if you're listening, 00:34:56.630 --> 00:34:58.550 I'm going to check it out. So I think everyone 00:34:58.550 --> 00:35:03.250 should. When you're thinking, okay, we're trying 00:35:03.250 --> 00:35:05.690 to see where our future is going to sit. And 00:35:05.690 --> 00:35:08.349 then you have a song about young people. Well, 00:35:08.409 --> 00:35:10.710 you think, okay, we have a great deal of young 00:35:10.710 --> 00:35:14.210 names in blues right now. And one of the biggest 00:35:14.210 --> 00:35:18.809 is Kingfish. And when you hear Kingfish's voice, 00:35:18.889 --> 00:35:22.130 when you hear Kingfish's playing, you hear all 00:35:22.130 --> 00:35:25.230 the emotion that's in it. You hear all the emphasis. 00:35:26.030 --> 00:35:29.070 And when I was playing it, I was just like, man. 00:35:29.739 --> 00:35:33.500 Know who would have a burning solo in a song 00:35:33.500 --> 00:35:36.099 like this where you're expressing your concern, 00:35:36.320 --> 00:35:38.559 you're expressing your emotion. Chris Stone, 00:35:38.699 --> 00:35:43.960 Kingfish Ingram. Now, Tom Hambridge works with 00:35:43.960 --> 00:35:46.900 Chris Stone, Kingfish Ingram, a good deal. And 00:35:46.900 --> 00:35:50.239 Rich Fleming as well. And I'm sitting there thinking, 00:35:50.400 --> 00:35:53.159 wow, they work with Kingfish. Possibly, maybe 00:35:53.159 --> 00:35:56.019 Kingfish could be on the album on Word About 00:35:56.019 --> 00:35:59.320 the Young. And that moment, it became just like 00:35:59.320 --> 00:36:01.820 the dream. This is the dream. For me, it was 00:36:01.820 --> 00:36:04.179 like, this is the dream. Good scenario. This 00:36:04.179 --> 00:36:06.380 is the great case scenario. Kingfish gets all 00:36:06.380 --> 00:36:09.300 worried about the young. And we started throwing 00:36:09.300 --> 00:36:11.840 little hints. And by little hints, I mean, we 00:36:11.840 --> 00:36:13.699 start blatantly saying, hey, you know who will 00:36:13.699 --> 00:36:17.059 be breaking off this song? But you don't want 00:36:17.059 --> 00:36:19.639 to seem very, you know, hey, put Kingfish on. 00:36:19.679 --> 00:36:22.360 No. So Kingfish would be great for this song 00:36:22.360 --> 00:36:25.559 because it's about being young and it's about 00:36:25.559 --> 00:36:30.679 voicing. the issues we see as young people. The 00:36:30.679 --> 00:36:33.300 thing that a lot of older people, and where we're 00:36:33.300 --> 00:36:35.300 from, we say grown people, don't necessarily 00:36:35.300 --> 00:36:38.739 think we think about. We have that live free 00:36:38.739 --> 00:36:41.199 thing, but hey, it's hard to have a live free 00:36:41.199 --> 00:36:43.480 thing and a worry free thing and have that immortal, 00:36:43.719 --> 00:36:47.480 the idea that we're all immortal. And it's hard 00:36:47.480 --> 00:36:49.820 to have that when you know what's going on, when 00:36:49.820 --> 00:36:52.900 you're aware of what's going. So to communicate 00:36:52.900 --> 00:36:55.780 that by myself, would be one thing. But to communicate 00:36:55.780 --> 00:36:59.739 that with someone who's just as in touch with 00:36:59.739 --> 00:37:03.139 what that means, that's where Kingfish came in. 00:37:03.519 --> 00:37:06.300 To be able to say, hey, if you don't take it 00:37:06.300 --> 00:37:08.460 from me, take it from this guy. Take it from 00:37:08.460 --> 00:37:13.119 this guy as well. For him to even come and be 00:37:13.119 --> 00:37:17.420 on my debut album like that meant so much to 00:37:17.420 --> 00:37:22.139 me. Because we couldn't link up in the studio. 00:37:22.860 --> 00:37:25.710 His schedule, was so busy. We were recording 00:37:25.710 --> 00:37:28.849 this around the same time as Fender's Strat Month 00:37:28.849 --> 00:37:32.909 series, the Strat series month. And all those 00:37:32.909 --> 00:37:34.869 festivals were also happening, jazz festivals 00:37:34.869 --> 00:37:36.929 happening. Just everything was happening all 00:37:36.929 --> 00:37:39.989 at once. Buddy Guy, his farewell tour has also 00:37:39.989 --> 00:37:43.309 been happening. So it was hard to link a schedule 00:37:43.309 --> 00:37:46.469 of, hey, we're going to be recording in Nashville 00:37:46.469 --> 00:37:49.829 at this time while Kingfish is in Chicago or 00:37:49.829 --> 00:37:52.369 Milwaukee or something like that playing somewhere 00:37:52.369 --> 00:37:55.630 else. But back in Mississippi, it was hard to 00:37:55.630 --> 00:37:57.849 like that. So what ended up happening, saying, 00:37:58.090 --> 00:38:00.869 hey, we're just going to put trust in this. We're 00:38:00.869 --> 00:38:03.909 going to trust that Crystal King Fishing Room 00:38:03.909 --> 00:38:08.329 is going to record this. And sure enough, there 00:38:08.329 --> 00:38:10.130 were times where it was getting sort of scary 00:38:10.130 --> 00:38:13.250 and like, oh, no, are we waiting too long? Are 00:38:13.250 --> 00:38:16.610 we? But then it went back to saying, hey, trust 00:38:16.610 --> 00:38:18.750 that this is going to happen. Leave it in God's 00:38:18.750 --> 00:38:22.050 hands. Just hope and pray for the best. And next 00:38:22.050 --> 00:38:24.369 thing you know, we get an email that says, yeah, 00:38:24.510 --> 00:38:26.210 Kingfish is going to record on it. He's going 00:38:26.210 --> 00:38:31.010 to do it. And we're like, yes, perfect. And one 00:38:31.010 --> 00:38:36.409 night I'm in bed and trusting still. Okay, nice, 00:38:36.489 --> 00:38:39.750 nice. And I go on Tom Hambridge's Instagram and 00:38:39.750 --> 00:38:43.909 I see sitting with Kingfish just recorded in 00:38:43.909 --> 00:38:47.309 New Orleans. Can't wait for this. And I'm going 00:38:47.309 --> 00:38:51.400 to go. My face is just, my mind's blown. My face 00:38:51.400 --> 00:38:55.960 is, like you said, jaw floor. So I'm just, whoa, 00:38:56.239 --> 00:38:59.239 this just happened. I run to my dad, I'm down. 00:39:00.139 --> 00:39:02.599 Kingfish just recorded. And he just recorded 00:39:02.599 --> 00:39:04.760 the, I think he just recorded Word About The 00:39:04.760 --> 00:39:07.880 Young. And next thing you know, we get another 00:39:07.880 --> 00:39:09.900 email that says, here's Kingfish's cut of Word 00:39:09.900 --> 00:39:44.030 About The Young. Tell me how you like it. It 00:39:44.030 --> 00:39:47.670 was amazing. And I'll say this anytime I get 00:39:47.670 --> 00:39:50.670 a chance to. Chris Stone, Kingfisher, man, thank 00:39:50.670 --> 00:39:52.650 you so much for even recording on this album. 00:39:52.750 --> 00:39:54.230 It really means a lot to me. And thank you for 00:39:54.230 --> 00:39:56.809 recording on a song that means so much to me. 00:39:56.869 --> 00:39:58.570 And I hope it means so much to everyone else. 00:39:59.050 --> 00:40:02.650 It certainly does. It's an amazing track, a great 00:40:02.650 --> 00:40:06.650 collaboration. And he killed it. He slayed the 00:40:06.650 --> 00:40:10.329 song. so to pivot from that i want to talk about 00:40:10.329 --> 00:40:13.769 a song that you personally slayed on my friend 00:40:13.769 --> 00:40:18.849 and that track is tattooed wings i thought you 00:40:18.849 --> 00:40:26.090 were an angel looks like i was wrong about that 00:40:26.090 --> 00:40:41.550 i thought you were an angel I was wrong about 00:40:41.550 --> 00:40:56.190 that And I should have seen it coming With the 00:40:56.190 --> 00:41:07.570 tattooed wings on your back We've talked a lot 00:41:07.570 --> 00:41:11.110 about your vocals and your lyrics. throughout 00:41:11.110 --> 00:41:14.269 this episode. But I want to talk about the piano 00:41:14.269 --> 00:41:17.769 for a moment because between the nuanced fills 00:41:17.769 --> 00:41:20.949 that you were playing throughout the verse as 00:41:20.949 --> 00:41:24.429 you're singing and then transitioning into the 00:41:24.429 --> 00:41:29.349 song's piano solo, I was absolutely hypnotized 00:41:29.349 --> 00:42:26.199 by this track. Play it now. Good God. Can you 00:42:26.199 --> 00:42:28.579 talk about your piano background? Because while 00:42:28.579 --> 00:42:32.639 this is a blues number, I hear hints of jazz 00:42:32.639 --> 00:42:35.900 in some of the runs and fills you're incorporating 00:42:35.900 --> 00:42:38.579 in the song. And to me, it's, again, all part 00:42:38.579 --> 00:42:42.760 of that musical stew of genres coming together 00:42:42.760 --> 00:42:47.119 in your music. Well, you got to accept your help 00:42:47.119 --> 00:42:50.940 from everyone. That's the truth. I mean, I'm 00:42:50.940 --> 00:42:55.539 from New Orleans. And I grew up around great 00:42:55.539 --> 00:42:58.420 pianists. Henry Butler, DeVille Crawford. My 00:42:58.420 --> 00:43:01.300 dad played for Dr. John. My dad's like, I grew 00:43:01.300 --> 00:43:05.340 up around great pianists. And then I went to 00:43:05.340 --> 00:43:07.840 Noken. I had the same exact teacher as John Batista. 00:43:07.860 --> 00:43:11.280 I had Michael Pallera teach me. And I had so 00:43:11.280 --> 00:43:13.519 many others, Matt Lindler and so many more. And 00:43:13.519 --> 00:43:15.579 then you get to Nashville, you think you're all 00:43:15.579 --> 00:43:17.320 ready to move forward. And then someone says, 00:43:17.500 --> 00:43:20.619 hey, check this out. That's where Kevin McKendrick 00:43:20.619 --> 00:43:23.409 comes in. with just saying hey check this out 00:43:23.409 --> 00:43:27.309 just sometimes you just gotta learn you gotta 00:43:27.309 --> 00:43:29.250 learn even more when you get there you gotta 00:43:29.250 --> 00:43:31.730 you gotta check out somebody and see exactly 00:43:31.730 --> 00:43:34.670 how great they are so that they can teach you 00:43:34.670 --> 00:43:38.150 how to do so i can't i can't even take i can't 00:43:38.150 --> 00:43:41.389 take that kind of credit for it and kevin mckendry 00:43:41.389 --> 00:43:44.349 is the is the man and really put some work behind 00:43:44.349 --> 00:43:48.809 you know i'm because my natural sound i'm a heavy 00:43:48.809 --> 00:43:51.869 -handed blues pianist from the south man And 00:43:51.869 --> 00:43:56.110 to see and learn how to be that airy and how 00:43:56.110 --> 00:43:58.809 to how to put spills like that in there. Man, 00:43:58.889 --> 00:44:01.269 that's that's where you really got to you got 00:44:01.269 --> 00:44:02.869 to give it credit. You know, that's where you 00:44:02.869 --> 00:44:05.409 got to say, man, sometimes you think you got 00:44:05.409 --> 00:44:06.989 it. You just don't got it yet. Now you got to 00:44:06.989 --> 00:44:09.070 check it out and learn so that you can get it. 00:44:09.329 --> 00:44:14.110 So, yeah, I mean, it's an accumulation. I think 00:44:14.110 --> 00:44:17.269 the word is this an accumulation of all of the 00:44:17.269 --> 00:44:21.489 pieces and then some even. Well, I also want 00:44:21.489 --> 00:44:25.389 to give a personal hat tip to Tom Hambridge's 00:44:25.389 --> 00:44:28.989 production on the album, because the mix on the 00:44:28.989 --> 00:44:32.050 album is so immersive. There's moments where 00:44:32.050 --> 00:44:36.909 I hear your. organ in my left ear and the guitarist 00:44:36.909 --> 00:44:38.969 in my right ear when you're listening on a good 00:44:38.969 --> 00:44:43.070 set of headphones the band is truly encircling 00:44:43.070 --> 00:44:46.849 you musically and i think that is a very unique 00:44:46.849 --> 00:44:50.750 production style for blues music because blues 00:44:50.750 --> 00:44:54.510 is very much kind of meant like older blues albums 00:44:54.510 --> 00:44:57.510 if you think about all the way back it was always 00:44:57.510 --> 00:45:00.210 kind of front center in your face everybody playing 00:45:00.210 --> 00:45:03.639 at once This opens up a soundscape that I think 00:45:03.639 --> 00:45:08.059 is just very encapsulating as a listen. When 00:45:08.059 --> 00:45:11.380 I, and I'll say, I'll be very clear about it. 00:45:11.440 --> 00:45:14.159 When I first heard it, that was the very thing 00:45:14.159 --> 00:45:17.059 that sort of put me in a place where I was like, 00:45:17.099 --> 00:45:20.480 man, this is a new sound to me. When it comes 00:45:20.480 --> 00:45:23.119 to blues, like you said, you're so used to, all 00:45:23.119 --> 00:45:26.840 right, here's the blues, everything. Everything's 00:45:26.840 --> 00:45:29.039 just there. And then it was Gobi Free that sort 00:45:29.039 --> 00:45:31.530 of spelled it out to me. go be free and uh hot 00:45:31.530 --> 00:45:37.489 house those songs were i knew i wrote them but 00:45:37.489 --> 00:45:40.809 at the same time i started hearing hearing the 00:45:40.809 --> 00:45:43.730 placement of my story those songs that are very 00:45:43.730 --> 00:45:46.670 descriptive and they're writing it and very then 00:45:46.670 --> 00:45:49.849 i started hearing each part of it where it's 00:45:49.849 --> 00:45:52.989 like i hear one side of the story then another 00:45:52.989 --> 00:45:55.010 side of the story and then another aspect and 00:45:55.010 --> 00:45:56.590 a little aspect here and a little aspect there 00:45:56.590 --> 00:45:59.289 and that I thought that was just amazing. And 00:45:59.289 --> 00:46:03.230 I mean, Tom Hambridge, I don't know how he thought 00:46:03.230 --> 00:46:06.170 to do it or how he just said, OK, this is how 00:46:06.170 --> 00:46:08.010 it's going to sound. But he made the album like 00:46:08.010 --> 00:46:12.289 and I keep emphasizing he made it alive. And 00:46:12.289 --> 00:46:15.090 that's the I think that's the hardest thing. 00:46:15.449 --> 00:46:17.909 A lot of people put out music to put out music 00:46:17.909 --> 00:46:20.369 and it's not alive. It's just, hey, here's something 00:46:20.369 --> 00:46:24.050 I can put on tape. But Tom Hambridge did a special, 00:46:24.190 --> 00:46:26.869 a special. And like you said, tip that. He did 00:46:26.869 --> 00:46:30.610 a special tip and say, I want this to be somewhere 00:46:30.610 --> 00:46:33.690 that you're stepping into. And that's the magic 00:46:33.690 --> 00:46:36.449 of it, if I'm going to be honest. Absolutely 00:46:36.449 --> 00:46:39.030 succeeded at that. And being you mentioned Hot 00:46:39.030 --> 00:46:41.250 House, let's take a moment to hear a sneak peek 00:46:41.250 --> 00:47:15.000 of that. By judgment day, tell the hot house 00:47:15.000 --> 00:47:20.260 that I'm on my way. Burn down, burn down, burn 00:47:20.260 --> 00:47:24.920 down, burn down to burn it. Burn down, burn down, 00:47:24.920 --> 00:47:29.500 burn down the hot house. South of New Orleans 00:47:29.500 --> 00:47:32.300 where the blues runs free. The sky's on fire, 00:47:32.380 --> 00:47:35.239 you can barely breathe. When nightfall comes, 00:47:35.400 --> 00:47:54.750 the daylight fades. The hot house. Now, from 00:47:54.750 --> 00:47:58.690 the first moment of inspiration to the finished 00:47:58.690 --> 00:48:03.190 album, Go Be Free, was there a lesson you learned 00:48:03.190 --> 00:48:07.369 making this album that you'll take with you throughout 00:48:07.369 --> 00:48:13.349 your continuing career? Yes. And it was something 00:48:13.349 --> 00:48:15.429 that I already knew and I already told a lot 00:48:15.429 --> 00:48:20.150 of people. But seeing it play out, even for me, 00:48:20.210 --> 00:48:26.860 was gigantic. There is a world of musicians between 00:48:26.860 --> 00:48:29.219 where you currently are and the place you say 00:48:29.219 --> 00:48:32.780 you want to be. That was the big, big takeaway. 00:48:34.099 --> 00:48:36.300 It's not that you're not close to going where 00:48:36.300 --> 00:48:39.440 you want to go, but there are so many more people 00:48:39.440 --> 00:48:42.780 who are going to help you and help you learn 00:48:42.780 --> 00:48:45.320 along the way. And you might not know their names, 00:48:45.460 --> 00:48:47.300 but you might have heard them a billion and one 00:48:47.300 --> 00:48:54.239 times, never even knew. Bigger names. I mean, 00:48:54.300 --> 00:48:57.260 bigger names than me. They've played for people 00:48:57.260 --> 00:49:01.519 like Hank and Anthony Hamilton and Chris Stapleton 00:49:01.519 --> 00:49:06.019 and Buddy Guy. But where you might not have thought, 00:49:06.179 --> 00:49:09.820 okay, there are these people between me and where 00:49:09.820 --> 00:49:12.460 I say I want to be. There are. And for every 00:49:12.460 --> 00:49:14.800 one of them that you meet, there's about 20 more 00:49:14.800 --> 00:49:16.559 that you don't know. You don't even know they 00:49:16.559 --> 00:49:20.139 exist. But they might be the very ones who help 00:49:20.139 --> 00:49:23.460 you create. your first album that's on a major 00:49:23.460 --> 00:49:25.900 record label. They might be the ones that get 00:49:25.900 --> 00:49:28.440 you to say, okay, I need to lock in even harder 00:49:28.440 --> 00:49:32.119 in piano. I need to train harder as a guitarist 00:49:32.119 --> 00:49:37.119 as well. And I mean, that was a humbling experience. 00:49:37.280 --> 00:49:41.579 And if you don't go into experiences with humility, 00:49:41.920 --> 00:49:46.280 that's going to be a big shocker. There was a 00:49:46.280 --> 00:49:50.710 moment in one of the songs where I thought, I 00:49:50.710 --> 00:49:54.190 was ready to tackle another solo. You know, I 00:49:54.190 --> 00:49:56.170 was like, all right, I feel good about this. 00:49:56.269 --> 00:50:01.809 Let me try this now. And I got in there and played 00:50:01.809 --> 00:50:05.389 very heavy hit and very, very New Orleans live 00:50:05.389 --> 00:50:10.010 style. Live is great. Live, that's exactly what 00:50:10.010 --> 00:50:13.469 people want to hear on a record. That can make 00:50:13.469 --> 00:50:15.090 the difference between a record sounding real 00:50:15.090 --> 00:50:20.809 and a record sounding too perfect. You know, 00:50:20.809 --> 00:50:27.170 now that's where I came back in the booth and 00:50:27.170 --> 00:50:30.389 I looked at my dad and said, that was humiliating. 00:50:30.949 --> 00:50:33.610 And I told him, I said, my dad understood what 00:50:33.610 --> 00:50:35.269 I meant, but everyone else in the room was sort 00:50:35.269 --> 00:50:37.429 of taken aback by what I said because they were 00:50:37.429 --> 00:50:39.809 like, no, that was great. I'm like, no, that 00:50:39.809 --> 00:50:42.650 was humiliating. And my dad knew it. I believe 00:50:42.650 --> 00:50:44.989 there are three words that describe the same 00:50:44.989 --> 00:50:51.619 thing. Humiliation. Embarrassment. And being 00:50:51.619 --> 00:50:56.579 humble are three that are all synonyms. But the 00:50:56.579 --> 00:51:00.400 truth is, in embarrassment, you didn't learn 00:51:00.400 --> 00:51:03.840 any lessons from what you just did. If you say, 00:51:03.840 --> 00:51:05.519 this embarrassed me, you didn't learn anything. 00:51:06.739 --> 00:51:10.579 But when you're humiliated, that's showing, hey, 00:51:10.679 --> 00:51:13.500 not that you're not good. It's showing, hey, 00:51:13.579 --> 00:51:16.920 there's still more you have to go through to 00:51:16.920 --> 00:51:19.360 be there, to be there. You're not. Just because 00:51:19.360 --> 00:51:23.300 you're in the room with five to six great artists 00:51:23.300 --> 00:51:26.480 and great engineers and everything, that doesn't 00:51:26.480 --> 00:51:29.860 mean that you're there yet. And then mix that 00:51:29.860 --> 00:51:33.519 with saying, okay, I understand that these guys 00:51:33.519 --> 00:51:35.940 are just, they've been doing it for years and 00:51:35.940 --> 00:51:37.800 years and years. They're better at this right 00:51:37.800 --> 00:51:40.539 now. One day I'll be there. Well, that's called 00:51:40.539 --> 00:51:44.539 being humble. And that's saying, okay, the lesson 00:51:44.539 --> 00:51:46.639 I learned from being humiliated, I'm holding. 00:51:47.199 --> 00:51:49.239 And I'm taking that with me everywhere I go, 00:51:49.360 --> 00:51:54.420 you know, and that's I think any time I can tell 00:51:54.420 --> 00:51:58.579 people about an experience that humbled me, you 00:51:58.579 --> 00:52:00.920 know, anytime I can do that, that's saying, hey, 00:52:01.059 --> 00:52:05.900 that's the lesson I took away. So, yep, if I 00:52:05.900 --> 00:52:08.579 can say if there's any lesson I took away, it 00:52:08.579 --> 00:52:10.599 was, hey, just because you're in the room with 00:52:10.599 --> 00:52:12.500 these greats doesn't mean that you're there. 00:52:13.219 --> 00:52:15.360 Don't stop. Don't even get close to the thing 00:52:15.360 --> 00:52:19.150 that you are. Because you have a million miles 00:52:19.150 --> 00:52:23.289 to go before you get there. And a million people 00:52:23.289 --> 00:52:26.389 to meet all the way. So yeah, that's what I learned. 00:52:27.309 --> 00:52:31.039 Absolutely profound. Go Be Free is available 00:52:31.039 --> 00:52:34.659 via Blind Pig Records, which I'll make sure is 00:52:34.659 --> 00:52:38.719 also linked up on the episode page at myweeklymixtape 00:52:38.719 --> 00:52:42.659 .com. So you could pick up a copy on CD or vinyl. 00:52:42.739 --> 00:52:45.599 You can also stream it wherever you're streaming 00:52:45.599 --> 00:52:48.460 music. Sonny, it has been an absolute pleasure 00:52:48.460 --> 00:52:51.199 talking music with you tonight. And I can't wait 00:52:51.199 --> 00:52:54.019 to catch the band next time you run through New 00:52:54.019 --> 00:52:57.650 Jersey on one of your tours. Amen. Thank you 00:52:57.650 --> 00:53:00.309 so much, Mr. Bryan. And also, thank you all the 00:53:00.309 --> 00:53:02.510 listeners for listening to My Weekly Mixtape. 00:53:02.650 --> 00:53:05.110 Yeah, you're right. And remember, you can find 00:53:05.110 --> 00:53:07.570 My Weekly Mixtape on almost all the social media 00:53:07.570 --> 00:53:11.010 haunts at My Weekly Mixtape. You can also head 00:53:11.010 --> 00:53:13.570 to MyWeeklyMixtape .com to check out the full 00:53:13.570 --> 00:53:16.849 catalog of My Weekly Mixtape episodes. And if 00:53:16.849 --> 00:53:18.329 you like what you're hearing on the show, you 00:53:18.329 --> 00:53:20.940 can help me out by either telling a friend. leaving 00:53:20.940 --> 00:53:22.780 the show a five -star review wherever you're 00:53:22.780 --> 00:53:26.159 tuning in, or becoming a Patreon mixtape or at 00:53:26.159 --> 00:53:30.199 patreon .com forward slash myweeklymixtape. There 00:53:30.199 --> 00:53:32.400 you can enjoy ad -free episodes of the show, 00:53:32.539 --> 00:53:35.320 become a future guest, chime in on future episode 00:53:35.320 --> 00:53:38.500 topics, and so much more. That's all for this 00:53:38.500 --> 00:53:40.400 week. Thanks again for listening, and until next 00:53:40.400 --> 00:53:42.139 time, enjoy the tunes.