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March 27, 2024 30 mins

We caught up with Alejandro Escovedo ahead of the release of Echo Dancing – his latest album in a legendary, genre-expansive career. Escovedo candidly discusses how painful personal experiences inform his songwriting, how he first picked up the guitar, why he prefers to play acoustic, and what makes Austin, Texas a great town for songwriters.

Support the show:

Additional Resources:

  • Pre-order Echo Dancing on Bandcamp (or check your local record store or preferred music streaming platforms on March 29.)
  • Visit Alejandro Escovedo's website.
  • Watch our 2016 Acoustic Guitar Sessions video with Escovedo.
  • Read "Six-String Sagas" where 13 artists, including Alejandro Escovedo, share their guitar stories.

The Acoustic Guitar Podcast theme music is composed by Adam Perlmutter and performed for this episode by Jeffrey Pepper Rodgers.

This episode is hosted by Nick Grizzle and Jeffrey Pepper Rodgers, produced by Tanya Gonzalez, and directed and edited by Joey Lusterman. Executive producers are Lyzy Lusterman and Stephanie Campos Dal Broi.

The Acoustic Guitar Podcast is produced by the team at Acoustic Guitar magazine, including:

  • Publisher: Lyzy Lusterman
  • Editorial Director: Adam Perlmutter
  • Managing Editor: Kevin Owens
  • Creative Director: Joey Lusterman
  • Digital Content Director: Stephanie Campos Dal Broi
  • Digital Content Manager: Nick Grizzle
  • Marketing Services Manager: Tanya Gonzalez

Special thanks to our listeners who support the show on Patreon.

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Transcript

Episode Transcript

Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Alejandro Escovedo (00:00):
I go back to some of these songs that I
wrote through some very, verydifficult times, you know, and
they're hard to sing in public,but I feel like they're
necessary to sing because theydo connect with people and it's
good for me from time to time todo it too.
Thank you, welcome to theAcoustic Guitar Podcast.

Nick Grizzle (00:58):
I'm your host, nick Grizzle, and for this
episode, my co-host, jeffreyPepper Rogers, and I catch up
with legendary songwriterAlejandro Escovedo, once
heralded in the pages ofAcoustic Guitar magazine as the
quote crown prince of the AustinTexas scene.
Escovedo has lived a musicallife that cannot be easily
categorized, not one to beconstrained by genre or

(01:21):
motivated entirely by commercialsuccess.
Be constrained by genre ormotivated entirely by commercial
success.
Escovedo writes songs informedby his personal experiences of
pain, longing, sickness,recovery and loss.
Throughout his long and windingcareer, he's been a punk, a
pioneer of alt-country and amember of the Austin City Limits
Hall of Fame, and has playedalong musicians like John Prine,

(01:41):
john Cale and Bruce Springsteen.
Our conversation starts at thebeginning.
What made Alejandro Escovedofirst pick up the guitar?

Alejandro Escovedo (01:50):
Well, like everybody, I think you know
Elvis Presley.
Elvis Presley and the way thatthe girls were screaming for him
, and you know the Beatles, ofcourse, really kind of nailed it
.
You know, and there was alwaysthis great photo in a record
called High Tides, green Grassby the Rolling Stones that had

(02:14):
Keith Richards sitting on astool in the studio playing a
hummingbird, a Gibsonhummingbird, and he's wearing
these round blue sunglasses andI just thought it was the
greatest image and I thoughtthat guitar was the most
beautiful guitar.
So I always wanted aHummingbird.
Eventually I got a 69Hummingbird here in Austin.

(02:35):
So I didn't really know anyonein my family.
I come from a family ofdrummers right, they're all
percussionists and stuff.
My dad played a little guitar,but very minimally, so the
guitar came from rock and roll,you know.

Jeffrey Pepper Rodgers (02:54):
How were you able to first get one in
your hands and get started?

Alejandro Escovedo (02:58):
Well, it's funny because, you know, I did
hang out with musicians, but Iwas not one myself.
So I was always around recordsand music and clubs and going to
see bands.
So a lot of my friends were inbands so you know, they would
like let me show me a chord ortwo.
And I hung with those threechords throughout my life, the

(03:19):
you know E-D-A kind of you knowthing.
So that was always my favorite.
But yeah, you know, once I gota guitar, just I kind of messed
around with it but I didn'tactually really devote myself to
the guitar until much later Iwas in a band called the Nuns,

(03:41):
right, we were out of SanFrancisco, this is like punk
rock, this is like 1975, right.
And so, uh, we didn't know howto play, but because we were
making a movie about the worstband in the world, we thought we
would be the musicians in themovie, you know, because we

(04:02):
thought we looked really cool,right.
So we became, we became, westarted to make this movie about
the worst band in the world andimmediately abandoned the movie
and became a band and luckilypunk rock was happening and punk
rock kind of embraced us, youknow.
So that was when I finally gotin a band.
We played real gigs and, youknow, struggled and blah, blah,

(04:25):
blah, and then from the nuns Imoved to New York City and
played with Judy Nylon there andthen I played with Rank and
File there and then we came backto Austin, austin, texas in
1980.
And it was there that I thenthat I really started to kind of

(04:47):
get a lot more serious aboutsongwriting and guitars.
You know, playing guitars itwas one of you know I never
really thought of myself as aguitar player because I started
so late that I use the guitarmore just as a tool for writing
songs.
You know, over the years, Imean, the guitar has meant so

(05:08):
much to me.
I've written all my songs onguitar.
So they always say that guitarssound great when they have a
lot of songs in them.
I have this 56 J45 that I'vewritten the majority of my songs
on and that guitar is probablyone of the greatest guitars ever
built.
56 J45 that I've written themajority of my songs on, you
know, and that guitar isprobably one of the greatest

(05:30):
guitars ever built.
In my opinion, everyone thatplays it loves it, you know.

Nick Grizzle (05:34):
Even the ones that are recorded with electric.
You write on the acoustic.

Alejandro Escovedo (05:38):
Yeah, exactly yeah, I write pretty
much everything on acousticguitar.
You know, when I'm at homethat's what I'm playing most of
the time.
Lately I finally set up mystuff so that I have an amp rig
set up at all times.
You know to play, but it'salways acoustic guitar.
You know, I love the sound ofit and it allows me a lot of

(06:00):
freedom.
This is actually a 51 J45 body.
You can't really see insidehere, but it's all burnt up and
very dark in there.
Old wood.
My friend, tony Nobles, whobuilds my guitar, but he had
this body and then he found a 51neck and put it back together

(06:23):
again and so this is the one Itake on the road all the time.

Nick Grizzle (06:28):
So it's a little bit of a Frankenstein thing
going on there.

Alejandro Escovedo (06:31):
It is a bit of Frankenstein, but you know it
just really sounds great.
And when I play acoustically,what we've been doing lately is

(07:12):
that we'll have a set, anelectric set, right and then in
the middle of it we'll walk outinto the audience unplugged and
just play a few songs out therefor people and they seem to
really like it.
So and I you know it's funnybecause with the acoustic guitar
it allows me to get closer tothe audience, which I really

(07:34):
enjoy.
I like being in the midst ofthem.
You know I don't like theseparation that much.
So this, when I do playacoustic, that's what I like the
most about it.
You know, it allows me to justget closer to the people.
They really have to listen tooat that point, which is awesome.
So I have to say that this isone of my faves.

(07:54):
I also have a really niceCollings guitar that I got when
I made this record called theBoxing Mirror.
It was around 2005,.
I think I got it and John Calewas producing that record and
when I took it out of the boxfor the first time I wanted him

(08:17):
to be the first one to play thatguitar.
So he played it, so he's thefirst one to have played that
guitar.
But that guitar is amazingbecause it's the Collings,
that's based kind of on a Gibsondesign as opposed to the Martin
designs that they usually use.
So that guitar really soundedlike a piano almost.

(08:40):
It was really loud and justbeautiful resonance that it had.
It's a much louder guitar.
It was really loud and justbeautiful resonance that it had.
It's a much louder guitar butalso a little more difficult to
play than this one.
You have to really be committedto that one.
This one I can kind of, youknow, get a little.

(09:01):
I'm not, I get a little sloppysometimes, so but yeah, so
acoustic guitars have alwaysbeen part of the same.

Jeffrey Pepper Rodgers (09:07):
Do you find that you're, the way that
you play is completely differentthan on an electric guitar
versus an acoustic guitar, or doyou just kind of translate a
lot of the same sort of riffsand things that you do on both?
I?

Alejandro Escovedo (09:23):
think that that they're completely
different.
I mean, I can get the sameeffect with an acoustic guitar
that I could on electric guitar,like when we toured
acoustically.
At first we had two acousticguitars David Polkingham At
first it was Joe Eddie Hines,this great acoustic guitar

(09:43):
player.
He was more like a KeithRichards, you know, kind of
stonesy sounding Ronnie Woodstyle acoustic guitar player,
but it was really.
It fit perfectly.
And then we had cello andviolin, you know.
But we were doing a lot of thesame songs that we were doing in
the electric set at that time.
So you know they were playedaggressively.

(10:04):
You know it wasn't tryingaggressively.
You know it wasn't trying.
You know it wasn't cat stevenslike, it was really kind of more
aggressive.
You know, maybe in the way thatjohn fahey played, you know,
like kind of more, it just had alittle more bite to it, you
know.
And we did all the same songs.
I mean we used to do this greatversion of I want to be your
dog by the stooges with acousticguitars and strings, but it was

(10:29):
just as wild as any electricversion it doesn't sound like
your songs have to be.

Nick Grizzle (10:36):
I wrote this on acoustic.
It always has to be played onacoustic.
I wrote this on electric, or Inormally play it on electric.
It always has to be on electric.
You like to change it up?
You change up the arrangementsfairly often.

Alejandro Escovedo (10:46):
Yeah, as much as possible.
I mean, I think that's.
You know my new record is agreat example of totally tossing
everything that we recorded inthe first place out the window
and trying to find new ways toexpress older songs.
You know, because the newrecord is it's a record called

(11:08):
echo dancing and it's a it'spretty much a retrospective of
songs I've written in the past.
You know there's 14 songs, butthey they kind of.
You know there's a truebeliever song, there's a buick m
McCain song.
I even recorded a Nuns songthat'll be on a Covers record
that we're doing later.

(11:28):
So you know I went through theyears and picked out songs and
totally redid Now that record.
This record is not as guitarheavy as my other records have
been.
It's a different type of record.

Jeffrey Pepper Rodgers (11:44):
Curious about, in revisiting those songs
, whether obviously you'vereally remade the arrangements
of them, the instrumentation andall that thing, the feel of
them.
But did you find that yourelate to the songs in a
different way now than maybe youdid when you wrote them, or

(12:06):
that they mean somethingdifferent to you now?

Alejandro Escovedo (12:09):
you know it works both ways.
It kind of sends you back tothat place you were when you
wrote the song, but from acompletely different perspective
in that, you know, I'm 73 yearsold.
You know I may have been 20something years younger than
that when I wrote the tune orwhatever you know.
So in some cases even old, youknow many more years.

(12:34):
So, yeah, it's a completelydifferent experience.
I feel like from thisperspective, where I'm at now,
at this point, I can sing thesongs better than I did when I
first wrote them, because I feellike now I've watched them kind
of grow, evolve, I've watchedthem get put on the shelf and

(12:58):
dusted off and brought back outagain.
So I have a differentrelationship with the songs than
I did when I first wrote them.
You know, because a lot of timesyou write songs as a result, as
a reaction to something.
You know Some sort of tragicevent, significant event that's
happened in your life sparks asong.

(13:19):
Right, you know, let's saysomething as simple as a breakup
.
You know you break up withsomeone and you know the
tendency is to go write thissong.
You know, maybe a mean song,maybe a pissed off song, a hurt
song, whatever you know, but Ihave always found that you know

(13:42):
they don't mean the same thing.
It's like songs sometimes cometo me and they're almost
prophetic in a way.
They'll be about something I'vebeen thinking about a lot and
I'll write this song and I don'treally understand it, but it
feels good and it reads.
But it feels good and it readswell and it sings well and it

(14:04):
plays well, and then somethingmight happen within a year or
two later, whatever thatsuddenly brings that song into
complete focus.
That has happened to me andthat's very interesting to me,
that somehow I think we findourselves in the right place at

(14:25):
the right time, with enoughopenness and vulnerability to
kind of uh, uh, consume thisfeeling, this, this expression,
with words and emotion.
You know that becomes a song.
It's, it's a fascinatingmystery to me.

(14:46):
I don't know how it happens orwhy it happens, but I I feel so
fortunate that it did happen tome.
It's helped me through a lot,in other words, Do you write?
you know, in those moments youwrite pieces of songs

(15:24):
no-transcript from going back tothe most primitive, stupid,
silly song I've ever written,you know, and maybe I just
learned not to go there anymore,whatever that may be.
But, um, you know, there'salways stuff to be learned from

(15:44):
the songs, in my opinion.
I know, for me.
I go back to some of thesesongs that I wrote through some
very, very difficult times andthey're hard to sing in public,
but I feel like they'renecessary to sing because they
do connect with people and it'sgood for me from time to time to

(16:07):
do it too.
I don't know you know it's likeTownes Van Zandt used to say
that he was just kind of thevessel for the blues.
You know that the blues wouldflow through him and you know
you've heard Leonard Cohen saysongwriting is a blessing and a
curse.
You know that the blues wouldflow through him and, uh, you
know you've heard leonard cohensay songwriting is a blessing
and a curse.
You know um it.

(16:28):
It has been an incredible assetand and friend at times and
it's also been one of my darkestkind of rooms to venture into
is the writing is kind of roomsto venture into is the writing.
Not to get too heavy on thisstuff, but it's just songwriting

(16:50):
, they're just songs.
Yeah, you know you have to learnto kind of become comfortable
with expressing those kind ofthings too, because you know
it's a very self-conscious kindof thing to be out there naked,

(17:12):
basically singing about thethings that have hurt you the
most or, you know, have beenrevelations for you or joyous
times or whatever, but you'resharing them with.
Uh, you have to remember, likeat first when I was singing
these songs about, like my albumgravity was all about the
suicide of my wife and I wentout to promote this record in

(17:38):
bars and venues where peopleprobably some of them at the
time they weren't there to hearme necessarily or listen to me
At my woes.
They were there to party andget laid or whatever.
And so here's this guy in thecorner singing these sad old man

(18:00):
songs all the time.
It was kind of hard sometimesto get through that and
sometimes even as a songwriter Ifelt like I was maybe violating
some sort of precious code insinging those songs to people
who were different.

Nick Grizzle (18:21):
Yeah, that's interesting.
How did that feel like, uh,you're violating that code maybe
that experience wasn't for meto share with everybody you know
, and maybe I was beingdisrespectful to the memory of
that person, maybe.

Alejandro Escovedo (18:38):
But I didn't do it with those intentions.
You know, I never did.
I never wrote those songs forcommercial success.
You don't write those songs forcommercial success.
I wrote them because I kind ofhad to right, you know, there
was no other way out.
So that's why I wrote them, youknow, and that's why I stand

(18:59):
behind them.
Still, they were necessary doyou?

Jeffrey Pepper Rodgers (19:04):
Do you ever write songs that then you
feel like, nah, I'm keeping this, this is for me, I'm keeping
this for myself and not one thatI'm gonna put out into the
world.
Or do you feel like whateveryou write is part of what you're
gonna share with people?

Alejandro Escovedo (19:24):
you know there's a lot that I write that
I do keep to myself, justbecause at this point I think
it's better for my health, mymental health too.
Uh, you know, the fact thatI've written it down and I can
go back and read it and uh, isimportant enough for me.
You know, it doesn't have to befor everyone, but it does give

(19:47):
me some satisfaction.

Jeffrey Pepper Rodgers (19:50):
Well, there's therapeutic value in
just getting it outside ofyourself, right?

Alejandro Escovedo (19:55):
Completely yeah.
Just writing it down on paperand seeing it there is good
enough sometimes.

Nick Grizzle (20:03):
I read that you really didn't start writing
songs until you got got toaustin.
Is that, is that accurate?
Is that true?

Alejandro Escovedo (20:11):
yeah, I was in bands but I never really
wrote a song.

Nick Grizzle (20:17):
Yeah what was it?
What was it that sparked, uh,the songwriting for you?
Was it being in the new area,or with just the time in your
life, or a combination of things.

Alejandro Escovedo (20:26):
Talents van zandt was here, joe Ely was here
, butch Hancock was here, jimmyDale Gilmore was here, rich
Minus was here, blaze Foley washere, lucinda was here, pat
Mears was here, angela Strait Imean, it was just full of
songwriters.
Everywhere you walked you'd runinto a songwriter, you know,

(20:53):
and so songs became the thing Inrock and roll.
It was kind of this morevisceral kind of just the
explosion of sound and light andthe communal thing about being
at a rock concert, and the wordsmeant a lot to us in the 60s,
no doubt.
But suddenly I was really inthis kind of microcosm of
songwriters, you know, and sothat, along with the fact that I

(21:17):
had left rank and file wherethe brothers Kinman were the
songwriters, I now had to startwriting songs if I was going to
be in this next band, the TrueBelievers, with my brother
Javier, and my brother brought alot of songs, he was a
songwriter.
So I had to really kind of justjump on the horse, you know.

(21:40):
And once I started writing,though, they came in a wave,
like a tidal wave.
I just had all these songs, andI was really like it was this
wonderful time where I played atthe Alamo Hotel, which was a
listening club here in Austin inthe early days.

(22:01):
Emma Jo's was another one whereyou go see all these great
songwriters.
The Cactus Cafe and theouthouse was another one where
you go see all these greatsongwriters.
The Cactus Cafe and theOuthouse was another one.
But anyway, there were allthese great places that I could
go watch and be a student toguys like Townes and Joe Ely.
You know who I really took to,and so that's what I was.

(22:25):
I was a student, merely astudent, and I followed those
guys around town.
I was a stalker of sorts, youknow, joe, when I left the
Believers and went on a solo run, a solo career, joe took me on
a tour of Texas where we justplayed around Texas, like all

(22:48):
these clubs all over Texas, andI got to sit first and watch him
perform solo and that had adynamic influence on me.
You know, just watching thoseguys and listening to them,
talking to them, and you knowthe other great part of it was
that they were very approachable.

(23:08):
So you know, the other greatpart of it was that they were
very approachable so you couldsit in a guitar circle with
those guys and they were justalways very encouraging.
So when I left Rank and File,honestly nobody had really
expected anything of me.

(23:28):
I was just a rhythm guitarplayer in a band, and then, when
that band broke up, I had towrite songs.
But once I started writingsongs, it's obvious that that's
kind of what I was meant to be,anyway, you know, because then
the songs just started pouringout and the albums started
pouring out.
I don't know how many albums Ihave now, but quite a few albums

(23:51):
.

Jeffrey Pepper Rodgers (23:53):
Do you feel like the musical direction
of your writing was then alsoinfluenced a lot by all these
people you're talking about?
I mean, there is a kind of ayou know some sort of style

(24:13):
about you know many of the Texassongwriters.
I mean people almost think ofit Texas songwriters as being
like a genre unto itself, sortof like a country and folk and
the storytelling, and so did allof that influence you a lot in
terms of what you wind upwriting yourself you know it.

Alejandro Escovedo (24:32):
What it really did was, first of all,
coming back to texas was a bigdeal for me, you know.
We left texas, my family 57,and moved to orange county,
california, you know.
So that was a culture shock,right.
So then, coming back, havingtraveled from la hollywood to

(24:53):
san francisco, to new york cityand then back to austin, was a
big deal.
So when I I got here, I mustadmit that, uh, there was a
sense of pride suddenly startingto build within me about tex,
texas, and where I was from andwhat this land was like and the
history of this land and thegreat artists that had been born

(25:18):
of this land.
Right, and so being aroundthose type of songwriters
enabled me to see a kind ofindependence that was even
stronger than like what punkrock was supposed to be.
You know, do you know what I'msaying?
It's like, you know, it's whatthe clash saw in joe ely.

(25:40):
You know that these people whohad not only written these
amazing songs but had livedthese incredible lives, you know
, out in ranches, out in westtexas or east texas, the
panhandle, south texas, you know, and all this music that came
from this big, big state wasincredible, whether it was the

(26:05):
blues from east texas or theconjunto ranchero music from
South Texas, san Antonio, whereI was born, you know Doug Song
and Rocky Erickson, the big boysand all these great bands that
were here at the time.
I suddenly started to see thatthere was a real independence in

(26:26):
Texas that I didn't see inother places and kind of allowed
these guys to be even moreeccentric than I think that a
lot of people were in otherplaces, and so through that it
gave me a lot of confidence, andthe community here in Austin
also was very supportive, and soyou had these cool little

(26:51):
places to play.
Nobody really wanted to leavetown because the beer was cheap,
mexican food was good, bartonSprings was here, the girls were
pretty and there were places toplay, you know.
So there was always backyardparties and stuff like that.

Nick Grizzle (27:07):
Man, you make me want to get a time machine.

Alejandro Escovedo (27:11):
Yeah exactly , and so it was that kind of
place, and it had a tremendousinfluence on me, more so than
any of the places prior that Ihad lived, and I'd been to a lot
of places prior to that.

Jeffrey Pepper Rodgers (27:27):
So you kept using the word independence
about artists.
So do you mean in terms of justfollowing their own style, not
trying to fit into anyparticular category or chase, a
particular kind of career ormarketplace?
Is that kind of what you mean?

Alejandro Escovedo (27:45):
Well, austin was not ambition-fueled.
You know you had LA, you hadNashville, you had New York.
Those were all industrystrongholds, right, but Austin
didn't really care.
You know.
You know Townes could be, youknow, sometimes not able to play
his guitar and you know Blazewas really a mercurial kind of

(28:07):
character.
All those guys guitar and youknow Blaze was really mercurial
kind of character.
All those guys were just, youknow, and then like even guys
like Mickey Newberry, let's say,you know, who had big hits and
stuff but went to Nashville topromote Texas songwriters, you
know, because they weredifferent, you know, guy Clark
and all those guys, talentsespecially too.

(28:30):
Um, the independence wassomething that was just kind of
bred into the blood of of thesepeople here and I loved it.
You know it was just a greatplace to be because punk rock
here was very different than anyother city in america.
You know it was very different,very different in Texas than it
was in other places and therewere some great punk rock bands

(28:53):
here.
The Dicks and the Big Boys wereas good as anybody.
So it was a great place and Istill love it.
Austin is not the same.
I said that in a song.
Austin's changed, but show mewhat has it.
But it's still at the core,that place that I remember.

Nick Grizzle (29:15):
That's the end of part one.
Tune into part two to learnabout the guitars and gear.
Alejandro tours with hismemories of touring with John
Prine and how music can get usthrough hard times.
The Acoustic Guitar Podcast isbrought to you by the team at
Acoustic Guitar Magazine.
I'm your host, nick Grizzle,joined for this episode by
co-host Jeffrey Pepper Rogers.
The Acoustic Guitar Podcast isdirected and edited by Joey

(29:38):
Lusterman.
Tanya Gonzalez is our producer.
Executive producers are LyzyLusterman and Stephanie Campos
Dal Broi.
Our theme song was composed byAdam Perlmutter and performed
for this episode by JeffreyPepper Rogers.
If you enjoy this podcast andwant to support us, visit our
Patreon page at patreoncom slashacoustic guitar plus or find
the link in the show notes forthis episode.
As a supporter, you'll haveaccess to exclusive bonus

(30:00):
episodes, along with otherspecial perks and if you're
already a patron, as always, wethank you so much for your
support.
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I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!

Crime Junkie

Crime Junkie

Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.

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