Margaret Glaspy

Margaret Glaspy is a stellar singer-songwriter whose distinct approach has drawn in listeners far and wide. With her evocative lyrics, magnetic guitar playing, and unshakable vocals, Margaret’s performances are always inspiring and this episode is no exception! Listen in as Norah and Margaret rock out on her new singles, standouts from her catalogue, a powerful Lucinda Williams cover, and chat about the evolution from competitive fiddler to her bold new album, Echo The Diamond. Recorded 6/16/23

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Episode Transcript

Speaker 1 (00:00):
Hey, I'm Norah Jones and today I'm playing along with
Margaret Glassby. I'm just playing louy, I'm just playing lone
with you. Hey. Hello, I'm Nora, and welcome to the show.

(00:24):
The show, Sarah Odah, go you go.

Speaker 2 (00:29):
I'm Sarah Oda and with me as always is Norah Jones.

Speaker 3 (00:34):
Yay, we did it.

Speaker 2 (00:36):
How are you?

Speaker 1 (00:37):
I'm good?

Speaker 2 (00:37):
How are you I'm good? Today we have the incredible singer,
songwriter and bad beat guitar player.

Speaker 1 (00:47):
Margaret Glassy Did you just beep yourself.

Speaker 2 (00:51):
From saying self censor a descriptive bad?

Speaker 1 (00:57):
Margaret Glassby is an incredible singer, songwriter, guitar player based
in New York City. And I got to see her
a few months back and she played solo. And I've
known her a long time, but I've never seen her
play and she just I just was blown away at
how powerful she is solo, especially.

Speaker 2 (01:18):
She just released her latest album, Echo the Diamond, which
she co produced with her partner Julian Luge, And she
has a bunch of tour dads coming up. Check her out.
You don't want to miss her. She's an incredible performer.

Speaker 1 (01:28):
We had so much fun playing together She's a gem.
Please enjoy Margrete Glassy.

Speaker 4 (01:46):
Oh Once I had it all?

Speaker 1 (01:50):
Or did it all?

Speaker 5 (01:51):
Have me? When you're driven in your which you don't
know the difference between.

Speaker 4 (02:04):
What you want and what you need.

Speaker 5 (02:12):
When nothing is enough, it gets tough just to smile.
When every crack is a canyon, every inch feels like
a mile.

Speaker 6 (02:36):
Get back to the place you start from.

Speaker 5 (02:45):
Get back chip to get back to its.

Speaker 7 (03:03):
Once I thought I was the only or I was
so lonely.

Speaker 5 (03:15):
When you're only thinking of yourself, you're missing out on
everybody else.

Speaker 8 (03:27):
Get back to the place you started from.

Speaker 4 (03:36):
Get back, shut up.

Speaker 8 (03:39):
To get back to us good.

Speaker 4 (03:48):
In the middle of the night, I was on my.

Speaker 9 (03:59):
To borry that my house was not at home to
surprise sticks and stones.

Speaker 10 (04:10):
Oh and you told me to You told me to
get back, Oh.

Speaker 4 (04:31):
To the place started first.

Speaker 1 (05:08):
I love this song. That's so liberating to just bang
awound the piano of you.

Speaker 3 (05:14):
You rock, Thank you so much. Oh my god, I
love your git Thank you.

Speaker 1 (05:20):
What is that?

Speaker 3 (05:21):
What do you have? It's a It's a Dano caster,
so it's like a it's like a kind of a
boutique builder that makes like Fender instruments.

Speaker 1 (05:29):
Essentially.

Speaker 3 (05:30):
Yeah, so it looks old, but it's not so old.

Speaker 1 (05:33):
Oh it's old.

Speaker 11 (05:34):
Yeah.

Speaker 3 (05:34):
I think this is like I stole it from my husband. Actually,
I think this is like maybe I don't know, seven
or eight years old. Okay, thing like that.

Speaker 1 (05:43):
Okay, you just beat it up.

Speaker 3 (05:45):
They beat he beat it up. Yeah, the build, the
builder beat it up. I didn't have to do that.
But yeah, totally, I think that's free age.

Speaker 1 (05:52):
That's great, Yeah, totally. Yeah. What was your first electric
guitar sound?

Speaker 3 (06:00):
My first electric guitar was a Harmony stratotone Jupiter that
I remember my mom helped me buy.

Speaker 1 (06:07):
Really, how old were you?

Speaker 12 (06:08):
Yeah?

Speaker 3 (06:09):
I was probably How old was I? I was probably
like twenty two. I'm thirty four now, so it's probably like, yeah,
about twelve years ago something like that. And before that,
I just played acoustic guitar. I was just like kind
of like on a I don't know, I guess a
little folk here.

Speaker 11 (06:26):
Yeah.

Speaker 3 (06:26):
My first instrument was the fiddle.

Speaker 1 (06:28):
How were you for that?

Speaker 3 (06:29):
I was a I think I started when I was
in the third grade.

Speaker 1 (06:33):
Okay, so you say fiddle in that violin? Yeah, pretty key. Yeah,
I was like a fiddler. I was not a violinist,
so you didn't do classical at all.

Speaker 3 (06:40):
Nothing. No, I went straight to like the folky stuff.
So I was I was a Texas style fiddle player.
So I played it was like a very particular strain
of fiddle music. So it was mostly competition based, so
you would go to these competitions. It was actually a
very sweet thing to grow up in because you would
go to these competitions and there would be these other sweet,

(07:02):
you know, nerdy young kids and you. Of course it
was like a competition, but really everyone was going there
because they were all loved fiddle.

Speaker 13 (07:10):
You know.

Speaker 3 (07:11):
It was competitive kind of, but mostly it was just
like a really interesting hang. So I did that as
I was growing up, and I started in the third grade,
so it was probably like eight or nine, and then
I did it till I was like sixteen or seventeen,
and then I started to just sing and play guitar
around probably fifteen or so. Oh wow, yeah, totally.

Speaker 1 (07:30):
That's funny that it wasn't classical but it was competition based.

Speaker 3 (07:33):
Yeah, I was like there was it was kind of
its own discipline.

Speaker 1 (07:36):
It's like its own thing.

Speaker 3 (07:37):
Yeah, it was very particular, but I feel like that
was kind of my music school in a way because
I was only I went to Berkeley for like a blush,
like I was there very very briefly.

Speaker 1 (07:47):
Oh in Boston.

Speaker 3 (07:47):
Yeah, in Boston, but or guitar.

Speaker 8 (07:51):
I was.

Speaker 3 (07:51):
I was like a vocal performance major. But I was
there for I was there for a semester. I mean
I was like barely there.

Speaker 1 (07:56):
Yeah, wow, yeah what did I'm like, what was that like?
But you you left very quick?

Speaker 3 (08:02):
It was very quick, but I was there. I stayed
in Boston for like three years, so I was like
I was in the the vibe of Berkeley. I felt
like I went to music school, but I only paid
for a semester of music school.

Speaker 1 (08:16):
But you got all the good stuff.

Speaker 3 (08:17):
But I got all the good stuff. I got the
community out of it. Yeah, I mean I met my partner,
you know, I met Julian there, which was so special,
and you know, a big that's like my friend group
and everything was there, which was great. So I think
I got the pluses out of music school without you know,
the I didn't have, I think, like the the money

(08:38):
nor the maybe like attention, like I just couldn't sit
still that long. Yeah, so it was it suited me
to like work a job, write songs and just do
my own thing until I figured it out. Essentially, that
was like my path.

Speaker 1 (08:52):
That's cool.

Speaker 3 (08:53):
Yeah, it was cool.

Speaker 1 (08:54):
And you were doing acoustic e strummy songwriting or not
strummy necessarily, I was.

Speaker 3 (08:59):
Strummy, You're not, Okay? It was pretty strummy. Okay, Yeah,
it was like it was I think it has. It
was funny. I was thinking about like the you know,
earlier songs I wrote the other day, and it still
had quite a bit of the DNA I think I
still have today. But it was just you know, younger
and of a certain style. Yeah, for sure.

Speaker 1 (09:21):
When you were so when you were at Berkeley as
a vocal major before that, were you just singing your
songs at home or were you already gigging like before
you went to college. Why not choose guitar or right?

Speaker 3 (09:35):
That is interesting. I didn't. I didn't actually think that
was an option. For some reason. I thought that like that.
It was really weird actually coming into Berkeley because I
was coming from such a small town. I lived in
a really tiny town northern California, super north, almost to
the Oregon border. Like I was born in Sacramento and
then raised two hours north of Sacramento Inland, so you know,

(09:56):
like orchards and cattle and that kind of thing. It
wasn't really maybe like California, and I think a lot
of people imagine you could have been in like Middle
America probably in terms of just it was really agriculture centric.
And then I feel like coming from that environment and

(10:18):
what I had in my mind as music school, I
thought that I was singing like jazz standards and stuff
when I was young, and I felt like that's my
inn to Berkeley, and so when I went from my
auditions to Berkeley, I sang like find Me to the
Moon or something like. It was like in my head,
I was like, we're just going to do the jazz thing,
and that'll be my way of doing it. And it

(10:38):
was kind of like not really what I did, but
that's what you want. But I thought that that was
like that was my in, but it was what I
was fascinated with at a young age. Like I did
kind of get in there, and I did sing a
lot of standards when I was young, and my family
listened to a lot of jazz growing up, so that
was actually pretty native to me. But it also wasn't
like what I had to bring to the table. Probably,
But so I remember I had like a bad track

(11:01):
of like piano, like MIDI piano.

Speaker 1 (11:04):
It's like Jamie Aber saw something and it was.

Speaker 3 (11:07):
Like a like a fly Me to the Moon track
or some some you know, like similar standard, very standard standard.
And then I sang that just you know, white knuckled
my way through. And then I like barely got into
music school and then you know, I just kind of
found my way. It was a lot of just finding
my own way. I didn't really feel like I had

(11:28):
much of a roadmap in a way, but but I did.
So that's an important part.

Speaker 1 (11:32):
You've made your own map. Yeah, you had to make
your own map's a little bit. That's what everybody has
to do.

Speaker 3 (11:38):
Yeah, totally, that's true. There's some truth to that.

Speaker 1 (11:41):
Was it like a did you have to be in
a jazz vocal choir?

Speaker 3 (11:45):
I didn't have to be in a jazz vocal choir.
I think I was considered like a pop vocalist or something.

Speaker 1 (11:50):
Oh yeah, because that's the difference. I went to North Texas,
which is right. It's a it's a big jazz school,
classical department, but there's no pop aspect, So it has
this whole pop music sort of department that I'm I'm like,
how do you teach that?

Speaker 3 (12:05):
Yeah?

Speaker 1 (12:05):
What is that about?

Speaker 3 (12:07):
Yeah? I remember it was really interesting. I think that Berkeley.
You know, there's so many different sides to music education. Yea,
like as we both know, there's like it's like good
and bad and all the things. But I think the
cool thing about Berkeley is that there was like a
lot of open endedness. It didn't like whatever you were
looking for you could probably find it.

Speaker 1 (12:26):
They didn't want to have to put you in a box.

Speaker 3 (12:28):
Yeah, And it wasn't like a conservatory in that sense,
like any c was right down the street, and there
was a lot more maybe classical things happening at New Conservatory.
But then there was also like the CI program where
everyone was doing kind of you know arts, a lot
more artsy kind of music. And then at Berkeley it
was like I think that like people from the outside,

(12:48):
especially from anc were kind of looking at Berkeley, or
at least that's how it felt of like it was
just like all the yeah, all the people that wanted
to be pop stars were going to Berkeley. Yeah, but
really it wasn't like that. It was just like a
bunch of creative people trying to find.

Speaker 1 (13:01):
Their way, yeah, trying to figure it out.

Speaker 3 (13:03):
Yeah, but you could go to Berkeley and there would
be like a pop ensemble. For any given artist that
you liked, there would be an ensemble created for that artists.
So it was class or is it like separate like
you could get credit for it. Yeah, like it was
a class, like you could go and be a part
of like the you know, maybe there was like a
Lauren Hill ensemble or something like that. There was like there.

(13:24):
It was cool in that way where people could just
go learn the whole repertoire of one artist play in
that style, and so you were kind of, yeah, your
cri like the curriculum could be very different for sure
going to Berkeley. But yeah, it was a it was
a really unique experience being there, and I feel like

(13:45):
as a I guess, as like a singer I was,
I remember, I mean I was only there for a semester,
so if you really think about it was like three
or four months, so it's not very actually. So I
would be in with like a vocal teacher who I
really didn't know very well, and I would show up
and I would kind of despise it. I really didn't

(14:05):
like going to vocal lessons.

Speaker 1 (14:08):
That I feel like vocal lessons are one of the
trickier things too, Yeah, because because it's the human voice
is so unique. Yeah, and it's really hard to teach
the good parts about it, the unique parts about it,
right right, right, Yeah.

Speaker 3 (14:25):
I think I think at the time it's funny because
now I think I would probably enjoy it more because
I think it's kind of fascinating and cool. But at
the time, it was like, what are we doing? This
is so boring and I don't get it. It was
so like the last thing that was on my mind,
like I can already sing, what else is this? Well, also,
it was just like, you know, we were singing. They

(14:46):
would do like classical exercises the whole time, and it
would be like, you know, I can't even remember maybe
it was Arias or something. You'd just be kind of
going through these workbooks and singing intervals and things like that,
and I just I actually knew that I had things
to learn, but I didn't think that those were the things.
So I would leave. I remember leaving crying and all
you know, it's just like young.

Speaker 1 (15:06):
Oh well, you don't want that young, hard college stuff.

Speaker 11 (15:09):
You know.

Speaker 1 (15:10):
It's just like what crying through my headed You're crying
through the like the mess hall, running through past the
salad bar.

Speaker 3 (15:19):
Yeah, like tears on my cafeteria tray. Yeah, it was really, really,
really bad. Totally those were the days. Yeah, exactly. Yeah,
I'm glad that those were the days for sure. O.

Speaker 1 (15:30):
Fun, Yeah, you want to do another song, Yeah, let's do
another song. So that last song was from your new album, right, Yeah,
totally love it. It's so great, Thank you so much. Uh,
it will be out by the time this is out,
but it's not out.

Speaker 3 (15:47):
Yet, right, it's not out yet. Yeah, it's coming out,
and I'm really excited about it. It's COVID happened. I
released a record doing that, and I couldn't actually tour
that record, which is kind of rough. Yeah, So I'm excited.
I'm excited to like have a record out and do
all the stuff.

Speaker 1 (16:06):
It's exciting. When I was playing along to that last
song to learn it, I was just all I wanted
to do was air drum. Actually he was playing drums
on the recording.

Speaker 3 (16:15):
That's Dave King is playing drums. Oh yeah, fun, he's
so incredible.

Speaker 1 (16:20):
It's such a great live sounding.

Speaker 3 (16:23):
Thank you so much. Yeah, Dave King and Chris Morrissey play.

Speaker 1 (16:26):
Oh I know, Chris, Yes you do, Yes you do.

Speaker 3 (16:29):
They're the band for that whole record. And it was
probably like one of the easiest records I've ever made
in terms of it just it felt like wind kind
of like blew through the studio and then it just happened,
which is really cool. So it was special and those
musicians were perfect for it. And yeah, it felt like
just like one of those ones you know that was

(16:50):
easy and interesting and like.

Speaker 1 (16:52):
Well the songs are great.

Speaker 3 (16:54):
Thank you.

Speaker 1 (16:54):
When the songs are great, they kind of play makes
it easier.

Speaker 3 (16:57):
Thank you so much.

Speaker 1 (16:58):
I appreciate hope.

Speaker 3 (16:59):
Right, yeah, totally, Yeah, that is the hope.

Speaker 1 (17:02):
Well, I was wondering if we could do a song
from is this from your last album? To somebody?

Speaker 3 (17:07):
That's for my first record? So that's from this.

Speaker 1 (17:09):
From your first record?

Speaker 3 (17:10):
Yeah, I mean my first full length record. I had
Lily P's before then, but yeah, this is from a record,
my record, Emotions and Math.

Speaker 1 (17:17):
I love this record too, Thank you so much. I
love that song Emotions and Math also, thank you. But
so when did that record come out.

Speaker 3 (17:25):
That was was it twenty sixteen? Okay, yeah, that was
your first record, Yeah, my first full length record.

Speaker 1 (17:31):
I feel like that might be around the time I
met you over at Jesse's.

Speaker 3 (17:34):
Oh, probably, yeah, it might have been. Yeah, it was
probably around that time. I feel like maybe it was
like a Christmas or something like that, or one of
the hangs, one.

Speaker 1 (17:42):
Of the hangs. I kind of missed a lot of them.
That was when my kids were really little, so I
kind of dropped out a little bit right iated a
couple of the Christmas ones. Yep, do you tune down
for this?

Speaker 3 (17:54):
I do?

Speaker 1 (17:54):
Oh fun? Yeah, I heard that low D.

Speaker 3 (17:56):
I was like, yeah down, m.

Speaker 12 (18:19):
M hmmm.

Speaker 4 (18:27):
I'm a little rock on a big mountain.

Speaker 11 (18:33):
Nobody's called my name, nobody's par me mind.

Speaker 4 (18:40):
I'm a little drop from a big fountain. Oh widland
And that's fine.

Speaker 8 (18:50):
Fine.

Speaker 3 (18:55):
And my sister.

Speaker 11 (18:56):
She's gonna I try and with her heart ablaze and.

Speaker 14 (19:04):
A fighting soul.

Speaker 1 (19:07):
Not me.

Speaker 4 (19:10):
I'll be in any life.

Speaker 11 (19:14):
Give a gust to wind and I'm gone, gone because.

Speaker 4 (19:20):
I don't wanna be somebody. Anybody know, I'm good.

Speaker 11 (19:28):
No once hours loved, and I wouldn't dare take a compliment.

Speaker 14 (19:42):
Or give a kiss.

Speaker 4 (19:45):
Just thinking of being a pair hand me suffering made
me split. Oh, because I.

Speaker 11 (19:57):
Don't wanna be somebody to anybody.

Speaker 15 (20:02):
Know I'm good.

Speaker 16 (20:05):
No, I keep my head down and both eyes wise,
I don't look up beside to side, and I stay

(20:32):
where kept so they can see.

Speaker 4 (20:35):
Oh, there's nothing wrong with me.

Speaker 13 (20:39):
It's just that I don't wanna be somebody to anybody,
you know. No, No, no, I don't wanna be.

Speaker 6 (20:50):
Somebody to anybody.

Speaker 15 (20:54):
Know.

Speaker 11 (20:56):
No, I don't wanna be somebody to anybody.

Speaker 7 (21:05):
I'm good at noor.

Speaker 1 (21:14):
So what made you start playing electric guitar?

Speaker 3 (21:19):
I think I just wanted to rock. Yeah, that was
what made me start wanting to do it. I think
I just well, actually, there was a weird There was
kind of a weird detail that I felt living in
New York. Very quickly, I think you can. Moved to
New York when I was twenty one, Okay, and very
quickly I realized that like I loved playing the acoustic guitar,

(21:41):
but playing the acoustic guitar without a DII, oh yeah,
it was a nightmare, especially in all these like little
tiny clubs in.

Speaker 1 (21:49):
New York and playing it with a di I sounded
like terrible poo poo.

Speaker 3 (21:52):
Yeah yeah, yeah, so and I was just like I can't,
I can't like go down that room.

Speaker 1 (21:57):
Yeah that makes a lot of sense.

Speaker 3 (21:59):
But nowadays I feel like you can pull it off
and it you know, things have improved, but you know,
like whatever, thirteen years ago, it was just like you couldn't.
It was just sounded terrible. So I I was just like,
either it's going to be acoustic miked, or it's going
to be electric through like an app and that's I

(22:21):
don't have no in between, And so I went electric
and that that felt like so much easier to do
in clubs. And I think there was also a part
of me that was kind of like people will.

Speaker 1 (22:32):
Like it more because it's going to rock just because
it's like.

Speaker 3 (22:36):
Electric guitar, Like I like it more, you know, like
I just I want to hear that. So I think
it was like like the salesman in me was like,
that's the better way to go.

Speaker 1 (22:48):
You just did it. But didn't it change everything? Like
change writing and change?

Speaker 3 (22:53):
Yeah?

Speaker 8 (22:54):
Yeah.

Speaker 3 (22:54):
Probably. It's funny though, because I think I've always written
on acoustic and then performed on electric. Do you still
for the most part. Yeah, I kind of rarely write
on electric guitar.

Speaker 1 (23:02):
But when you're writing on acoustic, aren't you still kind
of embodying like how it's going to sound on electric
guitar line? Yeah, totally.

Speaker 3 (23:08):
For me, it's almost like you're covering your own songs,
is how it feels for me. So I write it
on acoustic, and then when I start to think about
making the record, then I start to interpret them with
electric guitar. So there's kind of, I would say, almost
two phases of feeling like and actually I think it
kind of in my own experience, the degree of separation

(23:31):
from the original kind of demos is nice because I
kind of approach it as though someone else wrote it
in a way like I don't feel precious because I'm
not writing it in the original state.

Speaker 1 (23:41):
And you're not married to a demo that's so special. Yeah,
totally doing it totally different.

Speaker 3 (23:45):
I know it's going to change anyway, So it's kind
of like a fun process.

Speaker 1 (23:49):
That is fun. So that last song, for instance, like,
did you write that cool guitar line? I did acoustic still, though.

Speaker 3 (23:56):
This one was more of like a parallel move, like
it was just like pretty much stayed the same because
I usually play that solo. I usually don't play with
the band or anything, which is why it's so fun
to play with you. It's so fun to play with
those lines and stuff with you when I get them
to hear, yeah, to hear like you know, like musicality
on that song, especially yours is really cool. So I'm

(24:16):
used to playing it just completely solo all the time,
so it always kind of worked the same with you know,
electric acoustic, but then playing with the band, it's like
I kind of feel like a bass player half the
time and an electric guitar player. Ah yeah, because I
think I kind of, or at least Julian says that
all the time. My husband says that all the time,
Like you kind of play guitar like a bass player.

Speaker 1 (24:37):
You do have a lot of.

Speaker 3 (24:38):
It's like a lot of movement on the Yeah, totally.
So I think that there's also something about the electric
guitar that I love about that where you can kind
of get a lot out of one string because there's
so much sustain and I like that.

Speaker 1 (24:52):
I like it too, and I feel like it's what
makes your guitar playing unique. It's Oh, thank you it's
it's just cool the way you voice things, in the
way you rely on that low end.

Speaker 3 (25:04):
Thank you. I think I think of the guitar as
like three strings and not six.

Speaker 1 (25:07):
I think that's cool, thank you. I wonder if that
goes back to playing fiddle when you only had four strings.

Speaker 3 (25:12):
I think it kind of does. Because I was actually
thinking about this the other day too, that fiddle players are.
I mean, I was rarely thinking about chords. I was
only thinking about the melody all the time. So I
think there was an aspect of it that I carried
over from the fiddle, just thinking like I'm always just
playing melody and never really playing chords. Of course I'm

(25:33):
playing chords all the time, but I think I think
of guitar that way and trying to find melodies rather
than trying to like strum the whole time, because interesting well,
and because it also was just what I was kind
of trained to do as a younger person. I wasn't
really trained to like strum when I was little. I
was trained to like, you know.

Speaker 1 (25:56):
My favorite fiddle I used to I bought it.

Speaker 3 (25:59):
I really like fiddle. Yeah, do that one more time.

Speaker 1 (26:04):
That's my fiddle impression, My favorite. I tried to play violin.
I really wanted to play fiddle, like ten years ago,
and I had one somebody had given me, and I
was trying, and my dream was just to play the
fiddle part on Comes a Time, do you know what
I tude? And then I just always saw this like
totally somebody just dancing like fiddle dancing too.

Speaker 3 (26:26):
Fiddle dancing totally. That's amazing.

Speaker 1 (26:28):
Yeah, it's like my dream. Yeah, the happy fiddle, I like.

Speaker 3 (26:31):
It was a fiddle player. Yeah, I need to.

Speaker 1 (26:33):
Pick it up again because I was enjoying it.

Speaker 3 (26:35):
Yeah, totally, that's amazing. We can jam.

Speaker 1 (26:37):
Let's do it.

Speaker 3 (26:38):
Get mine out of the closet.

Speaker 1 (26:40):
Mine's in the closet. Do you never ever touch it anymore?

Speaker 3 (26:44):
I don't actually touch it anymore. There was like a
like a pretty sharp divide when I stopped playing it.
I remember there was one no more competition, Yeah, yeah,
yeah I think there was one. There was actually a
point I think psychologically where I was like, oh wait,
this isn't for me, very personal. It wasn't for anybody else,
but for me, I knew this isn't going anywhere like it.

(27:06):
I don't actually see like where it's going to lead
to and I remember there was one point. I remember
my mom is like reminded me of this a couple
of times that I wanted to put my fiddle on
the fireplace.

Speaker 1 (27:15):
Oh no, that would have been the saddest.

Speaker 3 (27:18):
It would have been so sad. Yeah, But there was
like a definitely like a like a breakup at some
point where it was just like, this isn't happening anymore.
I actually continued to do it after I wanted to
put in the fireplace, but there was it kind of
gradually turned into this like I don't think this is
the right thing. And then in my early probably when
I was like eighteen or nineteen, was when I like

(27:39):
never touched it again for sure.

Speaker 1 (27:41):
Yeah.

Speaker 3 (27:41):
Yeah, did you have any early instruments that were like
before piano that you were playing or was it always piano.

Speaker 1 (27:47):
Not before piano, but I started piano seven, But I
definitely had a saxophone band phase and junior high incredible.
But I have not touched it since ninth grade at all.
In fact, I think I still have the saxophone with
like the gross read like still attached to the mouthpiece.

Speaker 3 (28:07):
Probably the same saliva growing mold.

Speaker 1 (28:09):
It's like it's like the last of Us Zombies.

Speaker 3 (28:12):
Incredible.

Speaker 14 (28:12):
Yeah.

Speaker 1 (28:13):
Yeah, but yeah, I haven't had a desire to touch it.
But I think mostly because of the gross mouthpiece situation.
That's really the reason I haven't.

Speaker 3 (28:21):
Touched it, right, right, It's like.

Speaker 1 (28:22):
If I could just take it out of case and
play it without dealing with that, you might do it.

Speaker 3 (28:26):
I might. But there's like like a funny like hygiene.

Speaker 1 (28:30):
Yes, there's a hygiene aspect. My son said he wanted
to start playing the saxophone, and I was like, oh,
I actually have a Nope, never mind, we might have
to get in.

Speaker 3 (28:39):
You just tell your son to rip off the mouthpiece,
just don't look at it. Just don't know.

Speaker 1 (28:44):
I have to figure that out.

Speaker 3 (28:46):
Yeah, I hear you.

Speaker 1 (28:47):
It's sad when you're you have an instrument that hasn't
been that you don't touch. It's actually kind of sad.
Somebody could use it.

Speaker 3 (28:54):
Yeah, we feel like we mat guitars. I think between
my husband and I we have like a lot.

Speaker 1 (28:58):
We have a lot of oh you must you must
haven't done. Yeah, but you probably touched those.

Speaker 3 (29:03):
We actually touched quite a bit of them. But then
there are kind of like an amount that just kind
of does sit in the backseat that don't really get
a lot of love. But I feel like, honestly, we
do keep quite a few in rotation because they all
do kind of have their own things, yeah, places in
the world. But sometimes it get starts to be a
little bit like, hmm, that's a lot of guitars.

Speaker 1 (29:23):
Yeah, do we need to clean house?

Speaker 8 (29:25):
Yeah?

Speaker 3 (29:25):
Yeah, yeah, a little bit like maybe we need to
go through this and figure out what to do.

Speaker 1 (29:29):
Your partner is Julian Julian Lange.

Speaker 3 (29:32):
Yes, totally Julian Lage. My my husband, amazing guitar player
and my wonderful partner.

Speaker 1 (29:38):
Yeah. How long have you guys known each other since college?
You met? Did you meet like your freshman year? I'm yeah,
I mean when you were there for probably or later.

Speaker 3 (29:47):
I met Julian. I came to Berkeley right when I
turn eighteen, and I probably met Julian when I was
like nineteen and a half or something like that. Yeah. Yeah,
totally so special, I know, and we were best buds
for like six years or so before we started dating.

Speaker 1 (30:04):
Oh, even more special.

Speaker 3 (30:06):
Yeah, and then we and then we started dating, and
we dated for like six years and then we got married.
A couple years ago.

Speaker 1 (30:11):
So you guys moved to New York as friends, Yeah, separately, Yes,
at the same time.

Speaker 3 (30:16):
I moved to New York and then he moved a
month later.

Speaker 1 (30:19):
Oh he was following.

Speaker 3 (30:21):
He jokes that he was, Yeah, that's really sweet, very sweet.

Speaker 1 (30:24):
So you were already gether together probably when I met
you guys.

Speaker 3 (30:27):
I think probably or maybe had maybe was like just
about to start dating or something. There was like a
phase in New York where it was like this very
special time. Actually, if it was around twenty sixteen, then yes,
we were dating. It was probably very early days for sure.

Speaker 1 (30:42):
Did you guys play together from the beginning ever?

Speaker 3 (30:45):
Or we had? We Actually that was kind of our
introduction to one another. We had a lot of mutual friends,
and I think we kind of met at kind of
friends is like house parties.

Speaker 1 (30:55):
Yeah, so college super college fun.

Speaker 3 (30:58):
And kind of like not honestly, it wasn't like the
college you think it would be like and like like
raging house parties. It was like a music. House party
was like music, like sweet nerdy music house parties and
people just hanging out and playing music, which was so sweet.
And we had actually the thing that we had in
common because Julian was was raised around a lot of
folk music when he was young A, yeah, totally, and

(31:20):
so and David Grisman at a young age kind of
you know, kept him under his wing and oh, I
didn't know that introduced him to like the kind of
folk music scene in California a little bit more when
he was very very young. And so we had a
lot of mutual friends in the folk world because I
came up through the fiddle scene. And it's funny because
he and I share that, but then don't have you know,

(31:42):
like we aren't in that world anymore. But it was
like our common ground. Yeah, so we would go to
you know, our friends house parties and stuff where like
fiddle music would be happening, and then like this kind
of jazz fiddle music would be happening, this kind of
like fusiony you know world. And then he and I
played a gig together. We set up a gig ourselves

(32:02):
actually at an assisted living center. He and I went, yeah,
this is horrible in Boston. In Boston, we went and
played for the elderly in Boston. I remember Julian wrote
up like a very formal email, like we'd like to
play for your center and it's really all of our accolades.

(32:23):
Can we please do this? And we did and we
played I sang Standards with Julian and he backed me
up and that was like our our first uh you know,
it was like it felt like at first we were like,
this will be like a low pressure gig that we
can try out, you know, playing together, and it was
actually like a really.

Speaker 1 (32:40):
Hard, really a tough crowd, like.

Speaker 3 (32:45):
They didn't want any banter, like it was like they
just they just were kind of over it, you know
what I mean. They were kind of like, you know,
like life is short, like get on.

Speaker 1 (32:53):
With but you were playing music from their era.

Speaker 3 (32:57):
It was true. And also that wasn't ironic to them too,
which was like kind of funny because I feel like
we're like these young people playing standards and feel like
we're so cool because we know all this like old
cool music, and they were just like yeah, I mean
that was like what I grew up with. It's not
like special, yeah.

Speaker 1 (33:12):
Like I know that song, Like why.

Speaker 3 (33:15):
Are you playing all this old music? So it was
funny because I remember us leaving there and being like, wow,
it was kind of kind of hard. Actually you just
did it once we did that once and then we
started to play. I would have my own gigs and
I would hire Julian to play with me all the time.
He would have some gigs. We would just play duo
as a duo together sometimes and then and then progressively

(33:39):
we really started to do like our own things. But
that was our reason for hanging out was playing music.
And once we started dating, we totally didn't play music. Yeah,
if we're asked, yeah, yeah, totally. We don't even do
it any we now we're we actually kind of consciously
try to do it because we do have a project
that were wed love to make a record together, because
we've actually written a lot of music together. We have
to actively try, yeah, totally, because we have like our

(34:01):
lives together now and we you know, if with our downtime,
we don't really want to like make music, We want
to just like chill and watch Netflix or whatever.

Speaker 1 (34:08):
So funny, you know, yeah, it's such a funny dynamic
it is when you're with someone.

Speaker 3 (34:15):
Yeah, yeah, yeah, I know it is. It's funny to like,
I think we cherish that. I mean, to get to
play music together is like wild. Now we're like, WHOA
isn't this crazy that we both do.

Speaker 1 (34:25):
That, that we found somebody who kind of.

Speaker 3 (34:28):
Weird that you like and you kind of anticipate musical
things that I like, and you know, like you're a
musician I love to play with and you're my husband.
It's it is kind of bizarre. But I think the
thing that we cherish the most nowadays is just being
in the same room, you know, and.

Speaker 1 (34:44):
Like because you both travel so much.

Speaker 3 (34:45):
Yeah, totally, and just like kind of like the you know,
having like a house and doing our things is special and.

Speaker 1 (34:52):
Cool being like a regular couple.

Speaker 3 (34:54):
Yeah, totally. I think it's the stuff that is probably
more like normal to a lot of other people. For us,
it's kind like fun, like really fun.

Speaker 1 (35:02):
Yeah that's sweet. You're in the sweet spot. You're in
the sweet spot. Yeah, that's great.

Speaker 3 (35:08):
We're in the sweet spot for sure.

Speaker 1 (35:10):
That's awesome. I feel very lucky. So you want to
try another song from your new.

Speaker 3 (35:14):
Album, Yeah, let's do it. Let's do it.

Speaker 1 (35:18):
This one rocks thank you pretty hard. I'm like, I
wish I could play drums. I want to play drums
on it.

Speaker 3 (35:25):
That you can play drums, but you just don't.

Speaker 1 (35:28):
I can't play good enough.

Speaker 3 (35:29):
I think you probably can't.

Speaker 1 (35:31):
I mean, I could play backbeat, but I can't play
like all those sweet fills, all.

Speaker 3 (35:36):
The sweet juicy Dave King.

Speaker 1 (35:39):
I know.

Speaker 3 (35:42):
I'm so excited to play this one with you.

Speaker 1 (35:50):
Do you want the lyrics? Very good?

Speaker 2 (35:51):
No?

Speaker 1 (35:51):
No, I got okay, I've.

Speaker 3 (35:54):
Rolled around this, sir. Those are the lyrics. I think
it's kind of amazing that you can write songs and
have no clue how they go.

Speaker 11 (36:06):
Are you?

Speaker 3 (36:06):
Are you a lyric forgetter?

Speaker 1 (36:08):
I'm a total lyric forget her, really so hard interesting. Yeah,
I've I forget a lot of lyrics, and then I
feel lazy that I do. But I mean, I think
it's fine. I don't forget that many. You know, It's
not like I feel like people need their money back
when they come to see there or anything. But I'll
forget a lyric every once in a while, or but

(36:30):
I'll either repeat a lyric to cover or I will
The best is when you actually make up gibberish to cover,
and I feel like that's actually fun for people.

Speaker 3 (36:41):
Yeah.

Speaker 1 (36:42):
Yeah, I'm talking about like one or two lines, like,
not a whole song.

Speaker 3 (36:46):
Obviously, I've like made up words definitely, like on the spot,
like build it like made it rhyme.

Speaker 1 (36:53):
Yeah yeah, or like just thought of a different word
because it rhymes. It doesn't really make sense.

Speaker 3 (37:00):
I've made it run. It's actually kind of amazing that.
I mean, if you think about it with like, I
don't know, do poets like memorize their all their poems
and readings.

Speaker 1 (37:09):
I guess if you're like a performance poet, I feel
like they have it in front of them. When you
get old and like these big rock stars, you know,
they go out and they have these huge catalogs. They
all have little.

Speaker 3 (37:21):
Problems totally prompters and like books full the arts.

Speaker 1 (37:25):
Is that because they can't remember because they have so
many songs, or because you're getting older and you can't remember.

Speaker 3 (37:30):
A little bit of both. I mean sometimes like these
bands have like records and records.

Speaker 1 (37:34):
It's a lot of songs.

Speaker 3 (37:35):
That's a lot to it's member.

Speaker 1 (37:36):
Yeah, especially if they're changing the set list.

Speaker 3 (37:38):
Yeah, so that's my excuse. I'm just such a season.

Speaker 1 (37:43):
You're so seasoned.

Speaker 3 (37:44):
I'm so seasoned.

Speaker 1 (37:46):
I am. I was in this Brazilian band in college
where I learned all these like jobeam tunes and Portuguese.
I learned the drummer's girlfriend was Brazilian and she taught
them all to me phonetically, and so I had them
all written downticle and for like a good four gigs.
We did maybe four gigs by the way, this wasn't
a long term ban and I did pretty good, you know.

(38:09):
But then I would throw them into my little solo
piano restaurant gig sets sometimes and I would do it
in English, and then I'd take a solo and then
I'd do it in Portuguese. And over time the words
started to elude me, and I just I literally started
just sort of making up gibberish a few times, and
then after a few times of doing that, I was like, Okay,

(38:30):
that's just not cool, and so I had to just
think of the English. Well, how many people in this
restaurant in Dallas speak Portuguese? First of all, I know
the words of this Joe Beam song.

Speaker 3 (38:45):
Was part of it. Yeah, yeah, yeah, that's really funny.

Speaker 1 (38:48):
Really, there were definitely some gibberish thrown in there, which
is not cool. It was funny, Yeah, that is really funny.

Speaker 3 (38:56):
Well, I think I might know the lyrics to the song.

Speaker 1 (38:58):
Now we got some good bantern.

Speaker 8 (39:25):
I've rolled around this surs a few times over, but
never have I ever seen something so absurd?

Speaker 7 (39:38):
Are you a paradise burd Because.

Speaker 11 (39:42):
While it shines bride in both your eyes, that can't
be natural?

Speaker 16 (39:51):
Yeah in the golfares up in your head.

Speaker 6 (39:58):
That camp been natural? Oh am, I seeing clearly? Can
those marigold is hammy fade to back?

Speaker 8 (40:15):
I don't know how to act.

Speaker 3 (40:20):
To stack natural.

Speaker 5 (40:32):
I've been witnessed to forgiveness in the worst of weather,
but never have I ever seen.

Speaker 7 (40:42):
Someone so free. Oh You're such a mystery to me.

Speaker 5 (40:47):
You even sparkle in the dark or I can't unseen it.

Speaker 4 (40:53):
It is some kind of butterfly birth.

Speaker 7 (40:58):
Are you from miss Earth?

Speaker 11 (41:04):
Because while it shines bright in both your eyes, that
keeping natural.

Speaker 4 (41:15):
In the gold flares up in your head?

Speaker 6 (41:21):
That keeping natural? Oh am, I seeing clearly? Can those
marigod is hammy.

Speaker 4 (41:37):
Fades black? I don't know how to add.

Speaker 3 (41:42):
Just sacking natural?

Speaker 14 (41:46):
Do you see me?

Speaker 4 (41:48):
Maybe? I don't know.

Speaker 11 (41:49):
They think I'm crazy, probably so light. I don't know
what to say or dude, and I.

Speaker 4 (41:57):
Know that we just man.

Speaker 11 (42:00):
But I'm willing willing to bed that I'm falling a
lonely because while it shines bread in both your eyes.
That can't be natural.

Speaker 4 (42:22):
In the gold flares up in your head.

Speaker 6 (42:28):
That can't be natural. Oh am, I seeing clearly? Can
those miracles hammy.

Speaker 4 (42:43):
Fads and black? I don't know how ad.

Speaker 3 (42:49):
Just say natural?

Speaker 4 (43:25):
Yay.

Speaker 3 (43:26):
That was fun.

Speaker 1 (43:27):
That was great. That was fun. It's funny you know
how you do the bendis on the guitar there, I
was like, I want to double that so bad, but
I don't have any bendies on the piano.

Speaker 3 (43:37):
It's really funny to me because I rarely play with
piano and I'm so conscious of like my stringiness right
now where I'm like, well, it's like not a bad thing,
but I feel like it's I remember, like there's so
much intonation, like fluctuation, so much like kind of gray
area on my end that I remember playing with piano

(44:01):
that like, oh right, we're kind of living in slightly
different worlds in terms of having the ability to to know.

Speaker 1 (44:08):
I kind of ghosted it in a way that I
thought it was bad.

Speaker 3 (44:10):
I heard, I heard what you did, and I thought
it was really really cool. Actually, it made me want
to be more exacting.

Speaker 1 (44:14):
With my no, no, no, you bendy It up. It's
the best part.

Speaker 3 (44:18):
Bend it up.

Speaker 1 (44:19):
Baby love the Bendy's. I just did this with my
my half sister, Anushka Shenkar and she plays the guitar.
Oh yeah, we had a big talk about Bendy's Bendy's. Yeah,
she's got a lot of Bendy's right. That was also
like kind of tricky, but it kind of works.

Speaker 11 (44:34):
Yeah.

Speaker 3 (44:35):
Yeah, yeah, so cool.

Speaker 1 (44:36):
Yeah, it was fun. I love Bendy's. That's why I
love playing guitar, because I bend I do the Bendy's
on the guitar.

Speaker 3 (44:42):
Yeah, totally, totally. I'm trying to think if I've seen
you play guitar before.

Speaker 1 (44:48):
Maybe I don't know, with you Sasha and Cat, Yeah.

Speaker 3 (44:50):
Maybe like there was maybe a gig that I went
to with Jesse at one of those gigs that was
made really really great, super cool.

Speaker 8 (44:59):
Yeah.

Speaker 1 (44:59):
I I mean, I'm like, I'm like, I want to
be you on the guitar pretty much. I'm definitely not
good like you are, but I have that I feel
like I want to play guitar like you. Basically, You're
the kind of guitar player that I try I strive
to be with all the Bendy's and the cool Chord.
I can't play bar chords.

Speaker 3 (45:18):
That makes me feel so I basically makes me feel
it makes me feel really cool.

Speaker 1 (45:22):
Laura, I'm I'm like trying to be good, but I
still haven't learned how to play a barchord.

Speaker 3 (45:28):
I don't think you need them. You don't need them.

Speaker 1 (45:30):
I basically just don't play songs where I need them.

Speaker 3 (45:32):
Yeah, yeah, yeah. I feel like it's actually really interesting,
especially to talk to Julian about like learning guitar and
the different ways in but the fact, like the idea
that you need certain things that you don't need other things,
Like there's kind of a little bit of like a
hierarchy I think sometimes with the guitar, with all instruments,
like you're supposed to learn certain things and get certain

(45:53):
things under your hands. But I feel like Julian, who
is you know, very good at the guitar in a
very like soulful way and a very technical way all
at the same time, will be the first to say that,
like there isn't a hierarchy, And it always feels so
refreshing to me to hear that sometimes because it's like

(46:14):
you just actually, I feel like everyone has a story
and how they play, and it's kind of important that
you kind of go with the things that you actually
feel inspired to do and leave the rest away.

Speaker 1 (46:24):
I agree completely. I think that's a nice thing for
a young person to hear. Yeah, I feel like people
get so hung up on the stuff that they're supposed
to know that they don't.

Speaker 3 (46:33):
And you just, yeah, you don't actually use it. And
it's like, I think that's a lot of music school too,
Like a lot of stuff kind of starts to bubble
up of like you're supposed to know so much.

Speaker 1 (46:42):
And it's like, really, oh, you're just supposed to be
excited about what you do know.

Speaker 3 (46:46):
Yeah, exactly, exactly. And I think that's actually even a
more direct line to like, I mean, a doctor goes
to school to be a doctor. Obviously different, that's very different,
but they a lot of well, I don't know, you know,
what's the its of a doctor. They have to know
everything and they probably do only use like a certain
parts of it, given what kind of practice they have.

(47:06):
But I think for a musician it's like what do
you actually are you going to graduate college? Are you
going to become a musician? Yeah, And I feel like
to become a musician and to actually connect with people.
It's like such a different pursuit than to just know stuff.

Speaker 1 (47:23):
Definitely, to connect with the stuff, to connect with the stuff.

Speaker 3 (47:27):
Yeah, and then with yourself.

Speaker 1 (47:28):
If you connect with yourself with what you're doing, then the.

Speaker 3 (47:31):
People will connect exactly, exactly.

Speaker 8 (47:33):
Yeah.

Speaker 3 (47:33):
I feel like that's a weird thing with college and
even just music education on any level.

Speaker 1 (47:38):
Any education, ye where it's the goal with the endgame.

Speaker 3 (47:42):
It's the endgame.

Speaker 1 (47:43):
I know. I think that's why I dropped out of
music schools because I didn't I didn't need a degree
because I didn't really want to.

Speaker 3 (47:49):
Be a teacher, right, and that's what you would need
a degree for as a musician. Yeah.

Speaker 1 (47:53):
Plus I filed my classical jury.

Speaker 3 (47:54):
But there's that, there's details details.

Speaker 8 (47:59):
Yeah.

Speaker 1 (48:02):
Do you do a lot of covers?

Speaker 3 (48:06):
Not really actually, Yeah, like here and.

Speaker 8 (48:08):
There, I do.

Speaker 3 (48:09):
I used to do a B York cover and I
did Looten to Williams cover for a Long Time Cool
which tune brutes of my labor? Do you know that song?

Speaker 9 (48:19):
Yeah?

Speaker 3 (48:19):
That would be really pretty to play together too.

Speaker 1 (48:21):
You probably get that guitar all good? I know, first
of my labor, very well really totally that.

Speaker 3 (48:27):
Maybe that's like more like falling off a lot?

Speaker 1 (48:29):
Will you put print the lyrics to that? Sarah Fruits
of My Labor. I think I usually cover male singers
because it's easier to make it my own.

Speaker 3 (48:39):
Oh yeah, that's interesting.

Speaker 1 (48:40):
I mean Lucinda's got such a crazy different voice.

Speaker 3 (48:43):
Yeah yeah, it's like you can't even try.

Speaker 11 (48:45):
Yeah.

Speaker 1 (48:46):
Yeah, But I think that's why I usually do that
is interesting songwriters, because I'm trying to make it my own.

Speaker 3 (48:55):
You know, no, I hear you, I really hear you.
I was thinking about that recently with like people musicians
that I look up to, and I was finding that
a lot of them were men, and I was finding
that to be really interesting, Like how uh, well, it
makes a lot of sense because just like the numbers.

Speaker 1 (49:13):
The numbers makes sense.

Speaker 3 (49:14):
The numbers make sense. And of course, actually so like
somebody who's asking me, like, what are the you know,
the bands or something, and I was thinking about, I
feel like I'm going through a phase right now. I'm
really I've always played electric guitar and maybe kind of
like a with a more rock and roll sensibility, but
then to actually kind of start to listen to that

(49:36):
music more, Yeah, started to become a little different, and
I was realizing that Eddie Vedder kept popping up for
me nice where I was starting to be like, oh man,
Pearl Jam, Like I actually really look up to Pearl
Jam in a lot of ways, but it felt like
left fields a little bit of Like I loved how
much power Pearl Jam has and and also the kind

(49:58):
of intensity of just singing that one can deliver. It
felt like something I'd never really kind of considered before
and being kind of like a just like a powerful
it's just like so much power behind it. And then
on the other end of the spectrum, I feel like
my idols are like Aretha Franklin, Like that's like the

(50:20):
best singer I could ever think of in my own preference.

Speaker 1 (50:23):
Yeah, and one of my favorite piano players too, Yes,
Like I didn't even realize that that was her on
most of those and that was such a huge influence
on my piano player. Yeah, yeah, I could imagine.

Speaker 3 (50:36):
Yeah, yeah, yeah, no, she's really really, really heavy.

Speaker 1 (50:40):
I have noticed lately, you know now, with playlists and
stuff and you know, putting music on, and I feel
like when I was young, I listened to almost all
female singers, and now when I put music on, it's
more male. And I have no idea why.

Speaker 3 (50:58):
It's interesting. I have no idea why. Yeah, yeah, it's weird.

Speaker 1 (51:02):
It's not like conscious. I just happened to notice it
one day. Yeah, yeah, it was so funny, right, Like,
what is that is the algorithm? Do you feel like
the algorithm is giving you more male singers? No, I
don't think that's what it is, right, But that's not Also,
that's not necessarily true. I'm recently, I've been listening to
a lot of more women who are more modern, even

(51:26):
like I was listening to this Cleo Soul record over
and over again all winter, and it's not even the algorithm,
it's just the last it was like you go through phases.
I guess. Yeah, I don't know.

Speaker 3 (51:36):
What do you listen to? Like any like mega pop music?
Like just just like super super Top forty.

Speaker 1 (51:44):
I started to a couple of years ago because I
was driving around with my kids a lot during the pandemic,
so we would listen to the radio, like the super
pop radio, which I had not done since I was
probably twelve years old.

Speaker 3 (51:59):
Yeah, yeah, and I.

Speaker 1 (52:00):
Got so into it that I feel like I've been
writing songs lately that are inspired by like Dua Lipa
right right.

Speaker 3 (52:07):
Right totally and Ed Sheeran. Yeah, yeah, totally.

Speaker 1 (52:11):
That's Justin Bieber. Yeah, I got I think also because
when kids were into it. Also, I think pop music
is just so good sometimes you just can't deny it.

Speaker 3 (52:19):
Yeah, it's like it's popular for a reason.

Speaker 1 (52:21):
It's popular.

Speaker 3 (52:23):
It feels good.

Speaker 1 (52:23):
Some of these people are insanely amazing, and I'm like, God,
I didn't even realize it. I've just been like popping
along not listen to the pop music stages until now, Like, what's.

Speaker 3 (52:34):
Wrong with me? You know that's really interesting? Yeah?

Speaker 1 (52:37):
Do you?

Speaker 3 (52:38):
I do totally always though, I think I've kind of
always dug it, which I think I don't know, I
don't I think I don't really see any lines between
any of it. I just like I find myself listening
to like Justin Bieber, back to back with Bob Dylan,
back to back with b York, back to back, like
it's just like all kind of music to me, But

(52:59):
there is like a certain type of muscle to the
kind of top forty zone that.

Speaker 1 (53:03):
Is just kind of it's just like, what is that
very different very different.

Speaker 3 (53:08):
The thing that I think I don't prefer sometimes about
maybe more that that lane is the element of risk,
feels like it's not quite there where I feel like
I've what I maybe feel really dedicated to is kind
of creating music that has like it could fall apart
at any moment. I'm with you on that. Yeah, totally favorite. Yeah,

(53:30):
And I like listening to music like that. And then
sometimes I think it's really fun to listen to music
it's like, Nope, it's not gonna fall apart. It's built
very with a good foundation. It's very always stand up, yeah,
and it's gonna it's build that way. But I think
listening to you know, like early Rolling Stones or like
Bob Dylan or Aretha or all these recordings that feel
like it is actually people pushing air in a room together,

(53:53):
it's not like, yeah.

Speaker 1 (53:54):
It feels very live. Yeah, yeah, you can feel the room.

Speaker 3 (53:57):
Yeah, I'm excited about that, the most excited.

Speaker 1 (54:00):
There's mistakes sometimes, yeah, and it's kind of fine yeah yeah, yeah, yeah, No,
it's like preferred, I think, Yeah, that's what I love
about music is the aliveness of it. So I mean,
even if there's a pop song that has a killer
vocal and you can feel the emotion from it. I'm
fine with it.

Speaker 11 (54:16):
Yeah.

Speaker 1 (54:16):
Yeah, it's when it doesn't feel alive at all, right, right,
and that can be any music, let's be honest.

Speaker 3 (54:22):
Yeah, there's a tailor tip.

Speaker 1 (54:23):
It's not only pop music.

Speaker 3 (54:24):
There's actually a Taylor sip Swift song that's.

Speaker 4 (54:28):
No no no, no no no.

Speaker 3 (54:30):
I can't remember. I think it's out of style maybe,
but there's a there's a note. I'll probably get whatever
slammed for this, but there is a note that she
sings a little bit out of tune, and I every time,
I'm like, I can't wait.

Speaker 1 (54:42):
That's your favorite part. I mean that's human.

Speaker 4 (54:45):
Yeah yeah.

Speaker 3 (54:45):
And also it's also feels like revelatory to have that
moment beyond a record like that, and I'm like, wow,
it's so cool that they kind of left.

Speaker 1 (54:52):
That they left it. Yeah, they're not trying to perfect.

Speaker 3 (54:55):
And it's not like a crazy mistake. It's like, I
think it's actually probably it's probably intentional on her her part,
where she was probably like that's rat and it sounds great,
so let's do it. But I I think I look
forward to I think Joe Henry said that actually I
was hanging with him recently and he said that, like
people like the tightrope walk. Yeah, they want to see
somebody like do like walk across the tight rope. It's

(55:17):
really entertaining it. And when it's not that, you're kind
of like, I don't I know what's gonna happen in
the end. It's true, you're gonna slam dunk it like yeah, yeah,
And that's.

Speaker 1 (55:26):
What's so special about live music and why. Yeah, I
think it's important that will never hopefully go away. I
think AI can I can mess.

Speaker 3 (55:37):
With that live, not the live part, I don't think,
But who knows.

Speaker 1 (55:41):
They can do like auto tune live now, which right
crazy they've been able to do that a long time.

Speaker 3 (55:46):
Yeah, I don't know, But I think the tightrope thing
is important. I think that's the cool The coolest bit
about music is the fact that things can change before
your very eyes.

Speaker 1 (55:56):
That's my favorite part.

Speaker 3 (55:57):
Yeah, for sure.

Speaker 1 (55:59):
When you tour, do you usually do trio? Do you
have a bigger band?

Speaker 11 (56:03):
Ever?

Speaker 1 (56:03):
Trio has always been the way and it's always the best, right.

Speaker 3 (56:07):
I really like trio.

Speaker 1 (56:08):
I feel like with the way you play guitar, it's
all I want to see is you trio?

Speaker 3 (56:13):
It would be so thank you so much. I think
it's it's really fun because you do have to, like
everybody has to bring it in order to make trio work,
and if you don't, it gets really lopsided or like
the table doesn't stand up, you know.

Speaker 1 (56:27):
But also if you add another element, there's something about
the typrope that I feel like goes away.

Speaker 3 (56:32):
Right it because it's a little less more Yeah, yeah, totally, yeah, yeah,
people start to have parts kind of a little bit more.
But in the trio it's like you really I don't
know things, if any it's a really sensitive setup. I
feel like where if you send somebody's going somewhere with something,
you kind of pull back or you lean in in
a certain way because if really, if you don't get

(56:53):
it right, it really can not feel right. Yeah, when
it's right, it's really really rad. It's really really cool.
What's your setup?

Speaker 8 (57:01):
Are you?

Speaker 1 (57:01):
Is it right now?

Speaker 12 (57:04):
Yeah?

Speaker 14 (57:04):
Right now?

Speaker 1 (57:04):
I have quartet because I have this guitar player Dan
i Need, who who plays a lot of pedal steel.

Speaker 3 (57:10):
Oh cool.

Speaker 1 (57:10):
So because I actually didn't want to, I've been doing
the trio too in the last few years and I've
I've I feel like I've enjoyed it more than anything
ever because it's all of a sudden, the most open
thing I've ever done. Yeah, and I play way more
piano than I used to. It's cool and just even
playing guitar songs on piano or switching to it's just
it's that thing you were just saying, and I love it.

(57:32):
But I feel like, because Dan plays a lot, he's
also a very sensitive guitar player, so he doesn't try
to you know, he tries to fit in where he can.
It's actually kind of it was kind of hard at
first for him to fit in because I.

Speaker 3 (57:43):
Was playing so much, so I had an interesting thing.

Speaker 1 (57:45):
Yeah, I did have to dial it back a little,
but I still feel like it retains the dynamic of
the trio because because he does a lot of pedal steel,
so he's not like trying to find a guitar part
necessarily on every tune. He can just kind of float
in on that pedal steel. It's really beautiful. That's rat Yeah,
and it helps elevate it. But I love I love

(58:06):
making them all sing.

Speaker 11 (58:07):
Yeah.

Speaker 1 (58:09):
I love harmony so much, and that kind of fills
it out enough for me.

Speaker 3 (58:12):
Yeah, totally. Yeah, I gotta see I can't wait to
see like you live soon. Yeah, well doing, I'm seeing
it right now here. So you want to do this
Lucinda Williams song, Let's do it. Yeah, I'm so excited. Yeah,
Fruits of My Labor. I love this song.

Speaker 1 (58:27):
I love this album so much.

Speaker 3 (58:29):
Yeah, incredible record. World without Tears, World without Tears.

Speaker 1 (58:34):
Yes, yes, World without Tears.

Speaker 3 (58:36):
It's very very good. She's a genius.

Speaker 1 (58:38):
She certainly is, Yes, she is.

Speaker 3 (58:42):
I've never sung this. I'm so excited. That's rad.

Speaker 1 (58:47):
I'm like, this is actually kind of hard to say.

Speaker 8 (58:49):
Oh crap, babies, see hown living velvet curtains on the

(59:15):
windows too, keep the riding on forgiving life from shining too.

Speaker 14 (59:26):
Baby.

Speaker 7 (59:26):
I remember all the things we did when we slept together.

Speaker 8 (59:31):
In the blue behind your eyelids, Baby, sweet babies.

Speaker 17 (59:40):
Trace yourself through the glue until I found these purple flowers.

Speaker 15 (59:48):
I was smelled. I was soon smelling you for hours.

Speaker 17 (59:56):
Lavender lordess blossoms too, water the.

Speaker 15 (01:00:01):
Dirt flowers, last few baby, sweet baby, m hm.

Speaker 7 (01:00:32):
H tangerines, amp simmons and sugar cane.

Speaker 3 (01:00:50):
Grapes and honeydo.

Speaker 8 (01:00:51):
Marlond enough foot for a cave. Lemon trees they were
make a sound.

Speaker 4 (01:01:02):
Sil branch has been.

Speaker 14 (01:01:03):
And fruit falls to the ground.

Speaker 15 (01:01:06):
Baby, sweet baby.

Speaker 14 (01:01:13):
Come to my world, na and.

Speaker 12 (01:01:16):
Witness the way things have changed, because I find only
did it, Baby, I.

Speaker 15 (01:01:25):
Got out of the grade.

Speaker 17 (01:01:29):
Guiding my mercury and drove out waste, went into the
middle of my luck. The test, Baby, sweet baby, iv

(01:02:17):
y to enjoy all the fruits of.

Speaker 14 (01:02:21):
The labor, having coined for you.

Speaker 15 (01:02:27):
Boy, But jes this.

Speaker 17 (01:02:30):
Mesake, baby, sweet babies, all the same.

Speaker 14 (01:02:37):
Take the Gloria day with the.

Speaker 12 (01:02:40):
Fame, Baby, sweet baby, having child to enjoy all the
fruits of.

Speaker 14 (01:02:54):
The labor, having coined for.

Speaker 15 (01:02:59):
You, Jesus merceving.

Speaker 17 (01:03:05):
Baby, sweet baby the same, Take the gloriny day, Oh.

Speaker 15 (01:03:13):
The same, Babe, sweet babe.

Speaker 14 (01:03:34):
That was fun.

Speaker 3 (01:03:35):
That was super fun. It's so fun to play tunes
like that with you. Oh gosh, oh our music please, yes, yes, yes,
thanks for doing this totally. It was so fun.

Speaker 1 (01:03:45):
You're the best.

Speaker 3 (01:03:46):
Thank you so much.

Speaker 1 (01:03:47):
Can't wait to see you again. Can't wait to see
you again. It's like a first date. I hope we
can to see each other again. I'll call you okay, blest.

Speaker 3 (01:03:56):
Thank you so much, Nore, I appreciate it. Yeah, thanks
for doing Yeah it was rad.

Speaker 1 (01:04:00):
Yay ah, thanks for listening to our show with Margaret Glassbie.
We had a lot of fun that was great. I
love this.

Speaker 2 (01:04:16):
This one was like, what this podcast is all about?
Just getting in a room jamming out on songs for
the first time. But it's about it's what it's about about.

Speaker 1 (01:04:25):
Is that what it's about?

Speaker 2 (01:04:28):
And like just hearing, like just the sound of the
electric guitar in like this stripped down way.

Speaker 15 (01:04:33):
Is so cool.

Speaker 1 (01:04:34):
Yeah, she was like, should I play acoustic since it's
stripped out? No, please play your electric.

Speaker 2 (01:04:39):
I mean you can do so much with so little.

Speaker 1 (01:04:42):
Yeah, music is fun. Music is the best.

Speaker 2 (01:04:45):
Her songs are killer, her voice is insane. I love
her energy. She rules.

Speaker 1 (01:04:55):
If you'd like to know what we played in this episode,
we did Get Back from the twenty twenty three album
Echo the Diamond that just came out Somebody to Anybody, from.

Speaker 15 (01:05:05):
Her twenty sixteen album Emotions of Math.

Speaker 1 (01:05:07):
We did Act Natural, also from Echo the Diamond, and
we did Friends of My Labor, one of my favorite
Lucinda Williams songs from her two thousand and three album
World Without Tears also one of my favorite albums.

Speaker 14 (01:05:21):
Thanks for listening, don't forget to like and subscribe, boy Boy.

Speaker 1 (01:05:31):
This episode was recorded and mixed by Jamie Landry, edited
by Sarah Oda, Additional engineering by Greg Tobler and Pete Bram,
artwork by Eliza Fry, Photography by Shervin Lennox, Produced by
This