April 22, 2025 • 32 mins
Owen Ashworth returns to the podcast to discuss his latest Advance Base album "Horrible Occurrences" and the beautifully human stories woven throughout its tracks. Rather than rehashing his origin story (covered in our previous episode), we dive deep into his current creative approach and the emotional weight of performing these vulnerable new songs.
The conversation takes us into Owen's refreshingly authentic touring life—traveling solo in his Subaru Forester, staying with old friends or in characterful motels, and creating space to experience the towns he visits. "I really love traveling... gas stations and motels and diners and seeing the sites," he shares, describing a touring routine built around personal comfort rather than business optimization. This DIY ethic extends to his performances, where he typically sells his own merchandise and makes himself available to connect with listeners.
What emerges is a fascinating portrait of songwriting as a long-term pursuit of meaning. Owen reveals that some songs on "Horrible Occurrences" began as fragments written 15 years ago, only finding completion when new life perspectives illuminated their purpose. The fictional town of Richmond serves as a unifying setting—a deliberate creative choice that allowed him to build "a community where all these stories were fitting in with each other" despite spanning different times and experiences.
Perhaps most compelling is Owen's candid discussion about the vulnerability required to perform these songs. "These shows have felt very heavy," he admits, describing how the minimalist arrangements leave him emotionally spent. Yet he finds a meditative quality in performance, where the music itself carries both him and listeners through difficult emotional territory.
As one of indie music's most thoughtful storytellers, Owen continues to find beauty in everyday human experiences—even the painful ones. Check out "Horrible Occurrences" for its developed stories and beautiful reflections, and catch Advance Base live if you can for a uniquely intimate musical experience.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 2 (00:17):
Growing up in Richmond you were anarchic and
shy.
You were anarchic and shy,tried to steal some tampons that
you were too scared to buy, saychase, the organ manager Said
(00:39):
in his faithful draw that washow you got your picture on the
wall.
Speaker 3 (00:49):
Welcome everyone to another episode of the podcast.
I love having returning guests,artists, and today, the first
recording that I had withAdvanced Bass.
I have Owen Ashworth here ofAdvanced Space and we had such a
great chat about how it allstarted, so we're not going to
(01:11):
talk about his origin story.
You can go back and listen tothat first, where we talk all
about where it started and Owenrecording on answering machines
and like just great stories thathe told.
We're really going to focus inon what's he's doing nowadays
and his latest record he justput out at the end of 2024,
called horrible occurrences justamazing, solid songwriting, um,
(01:34):
done with advanced bassistflair.
Um, and I was just mentioningto owen, as we we hopped on here
, how this record is a beautifulrecord book, I would say, just
because the storytelling is justso um, deep and reflective and
(01:54):
it's experiences that all humans, I think, can relate to.
Um.
So, owen, thanks so much forputting this record out.
Number one and number two,thanks for coming back and
chatting about it oh, mypleasure.
Speaker 4 (02:05):
Really appreciate it.
Speaker 3 (02:05):
Thank you for having me yeah, and and you guests uh,
not guests, you audience outthere, um, um, owen's first band
was casio tone for thepainfully alone, which again was
, you know, just a solidcreation outlet for owen and
evolved into advanced bass andhe's put out a ton of record
singles and we're going to focusin on those, but particularly
(02:28):
this newest release and histouring.
And because I think Owen, basedon some of the things I've been
reading, that the touring youkind of went back to basics in
the sense that you hit the landon wheels and touring from place
to place in a van or somevehicle, um, and it's very low
(02:49):
fi touring, you went back to, Ithink very under the radar.
Speaker 4 (02:53):
uh, uh, I travel in a subaru forester either on my
own or, you know, sometimes I'mtraveling with another solo
musician, but yeah it's, Ireally love traveling.
I really love just gas stationsand motels and diners and
seeing the sites and, uh, I tryto build in time for for, uh,
(03:17):
just really getting to enjoy thetowns.
Yeah, you know the just thelandscapes I'm visiting, so it,
so, it's I, the way I tour it's.
It's taken years to kind offigure out the things that I
find most just totally enjoyablefrom traveling.
So I really travel with likecomfort and you know my own
(03:40):
peculiar interests in mind.
But yeah, it's not very wellset up as a business venture but
just, you know, mostly for myown pleasure, very DIY operation
, amazing.
Speaker 3 (03:55):
And Owen, what's a day in the life on tour with
Advanced Space?
Like what does a day feel andlook like?
Like what's your?
How does it lay out?
What's the timeline of that?
Okay, does a day feel?
And?
Speaker 4 (04:05):
look like like what's your?
How does it lay out?
What's the timeline of that?
Okay, uh, yeah, well, I, I, I,if I have friends in the town
that I'm comfortable stayingwith, I probably it's split,
probably pretty close to 50 50between staying with old friends
who, uh, um, at this point inmy life I'm not, I'm not part,
I'm not going out and gettingwild after shows.
(04:26):
I'm going back to a goodfriend's house and we're
probably having a little herbaltea and talking about our pets
or our children or just catchingup.
So it's a chance to see oldfriends.
I've got friends across NorthAmerica who, from years of
touring I have these reallyspecial relations with people I
only see a couple times a year.
(04:47):
But touring is very social forme.
So if I'm not staying with agood friend, I'm usually staying
in, um, uh, uh, uh, mid pricehotel.
I try to find um independent orjust kind of like off the beaten
path, kind of weird Like I love.
I really love old Americana, sojust kind of like really old
(05:11):
fashioned hotels and motelsreally appeal to me and that's
part of the sightseeing, part ofthe experience.
So I'm usually up by 8 AM andit's usually a good hour of
getting on the wifi and keepingup with a good hour of getting
on the Wi-Fi and keeping up withlabel business.
I run a Rendell Records and thejob doesn't stop when I'm
traveling so I usually have someadmin to do in the morning or
(05:36):
just check in with the stuff Ineed to do for tour.
I usually travel with oatmealand coffee in the car, so I have
a simple breakfast for myself,or maybe I'll get eggs at a
local diner and then try to takea walk, um, check in, call home
, talk to my wife and kids, um,um, depending on how long the
(06:00):
drive is, I could be spendingmost of the day in the car.
I try not to drive any more thansix hours in a day, if I can
manage it.
So in the car I'm listening to,sometimes an audiobook or or
some music, or just enjoying thesilence, um and uh, yeah, I
mean usually arriving in thetown where I need to play by,
(06:22):
you know, mid or late afternoon,and if there's time to, just to
check out something in the town, I love going to bookstores or,
uh, um, record stores or, uh,just getting the flavor for the
place where I'm visiting, um,and then you know it's sound
check and the evening is justhanging out.
(06:42):
The venue, venue, typically,but I like the rhythm of it.
I sometimes can feel a littledisappointing if the drive is
too short, because I kind of endup with extra time that I don't
really know what to do with.
Speaker 1 (06:53):
Yeah.
Speaker 3 (06:56):
It sounds like a nice routine, though I love it.
Speaker 4 (06:59):
Yeah, yeah, yeah.
There's a real momentum to itwhere I just I feel like you
know, the road is rising up tomeet me and you arrive in a town
and people I was talking to myfriend, david Bazan, who's
another touring musician, butyou know, it's a real privilege
to arrive in a place andeveryone is anticipating your
arrival, everyone's excited tosee you and it's kind of like
(07:21):
having a birthday party everynight in some ways, I mean it is
real work, but I think that youhave to remember that it's not
normal to just arrive at a barand people are paying money and
thrilled that you're there.
Speaker 3 (07:35):
Right, right.
Well, I know, when I came tosee you in Montreal, that you,
you know you hang out with thecrowd.
You're there.
I mean, I ran into you, wespoke for a little bit, like
you're a part of the wholeevening.
You know, it's not like you'resitting in the back behind the
stage.
You're there, you're present,which I I found was really
special to be able to have thatconnection with you I appreciate
(07:57):
that.
Speaker 4 (07:57):
Yeah, I mean, I'm usually selling my own
merchandise.
You know, as I'm touring on myown, I'm doing everything myself
um but yeah, I mean, I reallyappreciated, as a young person,
going to see musicians and I Ijust seeing artists as real
people and being able to justfor them to be available to ask
(08:17):
a question to and um, I thinkthat's a really valuable thing.
I like to to know the peoplewho are showing up for shows.
That's a really important, justto remind that there are actual
people like receiving this musicI'm putting out.
It's really gratifying, andjust to know how the music is
affecting people.
Yeah, those are specialrelationships.
Speaker 3 (08:41):
Yeah, absolutely Absolutely.
And do you still kind of getlike before you head on stage,
like what are your feelings,like how do you kind of get your
mindset ready to go throughyour set?
Is there things that you do tokind of psych yourself up or or
relax yourself?
Speaker 4 (08:59):
or sometimes I need to take a little walk or, uh,
just drink some tea if my voiceis feeling rough, but usually
it's just I need a couple ofminutes to myself just to get in
the right frame of mind.
Mm, hmm, uh.
But one thing I really likeabout touring and you know,
(09:20):
basically getting into theritual of of having a set and
doing this live performance ishow kind of uh, automatic it can
kind of become and it becomes.
It's very kind of likemeditative ritual where there's
this, you know, an hour everynight where it's the most at
ease, I feel all day it's justbeing in the music.
(09:41):
It's a really specialexperience to be able to play
these songs for an audience.
It's my goal with making musicthese days, which is not how it
was when I was younger, but I'mactively trying to lower my
heart rate and just try to findthis like calm and just try to
(10:03):
be as steady and deliberateabout every, every lyric I'm,
I'm singing or you know all thepiano playing I'm doing so.
It's very like very meditativeprocess for me.
So it's I find it when I, whenit goes right, it's very like
calming and kind of centeringamazing, amazing.
Speaker 3 (10:21):
So the the latest record came out, uh, just at the
end of 2024, like december,some early december it came out.
Yeah, um, horrible occurrences.
Now, where is richmond?
Now I know that the setting ofa lot of this record is is this
a fictional town or like piecesfrom all the places you visited
(10:44):
kind of meld together?
Can you kind of paint thatpicture for us all in a little
bit about the setting of thisrecord?
Speaker 4 (10:51):
Yeah, I mean there are a lot of memories in this
record and it's kind of anamalgam of a lot of different
places.
It's kind of an amalgam of alot of different places, but I
think a lot about the locationof the songs I'm writing and you
know, I think part of it comesout of traveling and touring as
much as I do and kind ofimagining the lives of people in
(11:11):
various cities I visit and youknow, reflecting on my own
histories in these places, I'velived in a number of different
cities, uh, through the years,um, but richmond is just one of
those town names there are.
Almost every state in the ushas a richmond.
I know there are some in canadatoo you said and I just chose it
(11:34):
because the first song I wroteon the record of the year lived
in Richmond.
It was about a different city,and so I didn't necessarily want
to put this song on the actualplace because it's a story.
It happened so long ago thatI'm a little foggy on some of
(11:56):
the details ago that I'm alittle foggy on some of the
details.
I really wanted to make aneffort to kind of separate it
from any kind of true account tojust more of you know.
It's a song and at its core I'mtrying to tell a story with it,
more so than trying to be trueto the actual details.
So, I think a very generic nameof a town that has the same
(12:16):
cadence as the actual place Iwas writing about.
And Richmond just kind ofbecame the stand-in and like the
location for all these storiesand I tried to just kind of
build a community where all ofthese stories were fitting in
with each other, even though,you know, some are very
fictionalized, some are aboutcompletely different people from
you know decades apart.
But I basically tried to buildthis little community between
(12:39):
these songs and I like the ideaof kind of just building out a
history of a specific placeright, right, and how did you
assemble this record like?
Speaker 3 (12:49):
are these songs that, like it was um I mean, the last
record that came out was in2018 um, animal companion.
Were these songs that wererecorded after that?
Or were these some songs orolder songs that you kind of had
in your database and pulledback out?
Or are these all relatively newsongs that you came up with?
Speaker 4 (13:11):
There are some songs on this record that I started
writing, you know, 15 years ago.
You had the initial seed Rightand that's not uncommon.
The way I write I I just have alot of kind of unfinished ideas
floating around and sometimesit just takes a new life
experience or a new perspectiveto suddenly kind of figure out
(13:33):
what what I was getting at orlike.
There's a lot of kind of likesubliminal, kind of subconscious
element to my writing where I'mtrying to just figure out what
the songs are about for a bigpart of the process.
But yeah, there's a song calledhow you got your picture on the
wall on the record that Iremember starting that song in
(13:53):
like the late 90s.
I had the initial idea for asong about someone getting
caught shoplifting, but thelarger context of the story
didn't really click with meuntil revisiting.
Actually, to tell you the truth, I had shoplifted from a
Walgreens in San Francisco inthe late 90s and never felt very
(14:16):
good about it, but it kind ofgot stuck in my head and years
and years later I ended uprevisiting that same Walgreens
and being back in that space.
I remembered the song that Ihad started writing and years
later, having a differentperspective, I knew what I
wanted to do with the song.
So all of the songs it's along-winded way of saying that
(14:40):
it's a lot of these songs are along time coming, but I they,
they weren't ready until I kindof put them in context with each
other.
Speaker 3 (14:48):
Um, right but, yeah, they all are.
Like every song is kind of itsown individual little story with
like beautiful detail and likethe simplicity of life almost is
put on display.
Now, obviously there's there'salways those dark undertones
that tend to to surface.
(15:08):
But I've I've been reallyfinding some hope in a lot of
the lyrics that you know I meanit's everyday kind of stories
that have affected you.
But I'm I'm finding my accesspoints all over the place where
it's like these are human songs.
You know, these are songs thatthat I've experienced before and
you've experienced, and you'vejust had this great way of you
(15:30):
know placing them together.
You found the flow of thesesongs and I guess sometimes it
takes a while for thosecharacters in the setting to
like percolate forward.
I mean it could take years,right?
Speaker 4 (15:59):
characters.
A lot of these arerecollections people have had
from years before.
So I think survival and evenjust the idea of even the worst
moment of someone's life isthere's a point you can look
back and remember that like yougot through it or, you know,
maybe you learned something fromthe experience.
So, yeah, there's a lot of likethere are some dark stories on
this record, but I I thinkultimately it's just about like
these are the memories andexperiences that add up to
(16:20):
someone's life.
Speaker 1 (16:21):
Right.
Speaker 4 (16:22):
And you know you keep going.
Yeah, totally.
Speaker 3 (16:26):
And when you're touring with this record, are
you playing most of the songsoff of it or do you mix them all
up?
Still, like you find the flowof your set list?
Speaker 4 (16:36):
To be honest, like the first handful of shows I was
playing after the record cameout it's mostly the new record
and I found it just a little tooheavy to just keep performing
the record.
Like a lot of these songs alltogether, I mean it's these are
heavy songs and they're alsothey're they're very kind of
minimally arranged.
I'm just playing like piano andsinging them.
(16:57):
So they feel very vulnerableand, um, they're just very lyric
, heavy and I was finding itreally kind of emotionally
exhausting too, especially whenthese songs were still, like,
really fresh and I hadn't formedthem much.
Um, I've been mixing up the setand just bringing in more songs
(17:18):
from like earlier in thecatalog and just trying to find
a different context for some ofthe songs, just like pairing
them up against older songs,which is always fun.
I think that's part of the funof putting together a set is
just finding connections betweennew songs and old songs and
kind of building a new contextfor them.
Yeah, these shows have feltvery heavy.
(17:40):
Yeah, I've been more emotionallyspent at the end of the show,
especially at the end of thetour, than in past years.
Speaker 3 (17:55):
I can feel that too.
I read through all the lyrics,um, as I was listening to the
record because I wanted to seethem, um, and there are.
I mean there's, there's,there's sadness in there and
tragedy, and I guess the silverlining I was poking at a bit is
that when you can offload someof this, um life experiences
(18:18):
that this connects to, yeah, andyou can kind of like get it out
of your brain a little bit orreflect on a little bit more to
make sense of it in some way,like I find that your songs open
those doors up, um, to feeling,you know, like it's okay.
You know we need to deal withthese emotions and, and when you
had said something, too, thatwas really fascinating, that, um
(18:41):
, they're because of thevulnerability of the songs.
I always find it fascinatingthat artists can put their most
vulnerable thoughts and feelingson a page and then sing them
out to a crowd of people thatyou, you don't know, like, how
do you go about?
How do you manage that?
Like it just seems like itwould be so hard.
You know, like I write a lot ofstuff down in journals and, you
(19:04):
know, oftentimes it's stuffthat you need to get out Right.
It's pain and it's, you know, Idon't.
People don't tend to writeabout, you know, rainbows and
sunshine all that often.
How do you, how do you dealwith that?
How do you manage thevulnerability of the songs that
you deliver?
Speaker 4 (19:22):
that's.
That's something I've been kindof wrestling with.
To be honest, yeah, these songsin particular have felt oh,
it's, it's, it's.
It feels like more emotionallabor to get up and sing these
songs in front of people andjust to and even to finish a
song and and to know the weightof the like people receiving
(19:44):
them.
Um, to have talked to people atshows and know what the songs
have meant to them has has beenreally uh, uh encouraging.
And to know, you know, thesongs are being received Well,
it means a lot, um.
But yeah, I mean, I there,especially when a song is really
new, it can feel just reallyvulnerable, kind of tough to get
(20:06):
through, and I'm often justkind of relying on the structure
of the music itself to kind ofcarry the message.
(20:27):
I think a lot of these songsjust to tell these stories would
be a lot more difficult thanyou know.
I'm kind of getting lost in themusic a little bit.
That's kind of carrying throughand I think it's kind of the
spoonful of sugar that's goingalong with, you know, the
tougher elements of the of thestories.
Um, but yeah, I know, I thinkthat meditative quality of music
where I just kind of feel likeit becomes a little automatic
and I'm kind of being carriedthrough like the songs.
I feel like I'm on like a logflume or something like.
Once the songs get started, I'mjust kind of on the ride along
(20:49):
with everyone else and I kind ofjust kind of go to this other
place and just let the songcarry me where it's going to
carry me.
Um, interesting, but it's tough, yeah, I feel.
I feel like after a therapysession or something, totally
it's mentally exhausted?
Speaker 3 (21:08):
Yeah, totally.
I see that.
I see that, and how has it beengoing?
Are all the artists that you'retouring with, are they from
Arendelle Records as well?
Are those the artists on yourlabel, or are you touring with
other artists as well, because Iknow the tour you're going on
on you?
Speaker 4 (21:28):
have a few different artists that are joining you for
the ride.
Almost all the canadian showsare with eliza and the emmy, who
are wonderful uh singer andsongwriter and cellist from uh
toronto, who I've just been afan of for as long as I've known
of Eliza's music and we playedactually we played Little Kid's
record release show in Torontolast year together and I just.
(21:53):
Eliza's an amazing performer.
Speaker 2 (21:57):
I was like we need to do more shows together.
Speaker 4 (21:58):
I just feel like it's a really good match and we get
along very well.
So yeah, eliza is on a labelcalled Tin Angel.
I haven't released Eliza'srecords.
But, there are some like LisaEliza and Kristen Dalen, who I'm
playing my American East Coastdates with after Eliza.
(22:21):
Yeah, they've both releasedrecords with the rindle I mean a
lot of what a rindle is thislabel I run?
It's this community of artiststhat I that I've mostly met on
the road.
Like lisa lies playing in mainefor the first time.
Uh, chris and dalen I met inphiladelphia where she's a
singer, songwriter.
(22:41):
So I've kind of really builtthe label around this community
of other, you know, touringmusicians.
Speaker 3 (22:49):
Yeah.
Speaker 4 (22:50):
No, they're great.
Speaker 3 (22:51):
It's a great roster you have.
I mean there is really, reallygreat.
I mean I love little kid and Ithink that you have this
Canadian connection that youknow with Nick also and Kenny,
like so many great Canadianartists that you've been able to
, you know, welcome into thelabel and showcase, which is so
(23:18):
great.
Is it hard to do both?
You know, being asinger-songwriter and also
running a label.
You kind of mentioned it a bitwhen you talked about your
routine in the morning and stuff.
Is it hard to manage both?
Or is the roster set right nowwhere you have the maximum
amount of artists that you canphysically deal with?
Speaker 4 (23:39):
Well, I mean it's, it's really, it's, it's my job.
So there are, and along withany job there, you know there's.
There is some drudgery to itbut, I find it incredibly
rewarding to you know, behelping artists.
I love release their records.
Um, and you know ebbs and flows.
I've released 80 somethingrecords at this point since 2011
(24:03):
and some of those artists havebeen, you know, are still going
strong.
Lisa liza, I've released likefive records for yeah, yeah some
artists are just like it'll bea one-off.
Or some of these artists havemoved on to bigger labels which
is wonderful to see uh and someartists you know.
They put out one record andthat was.
That was all they.
(24:24):
That was it.
That was kind of their fulloutput, so um yeah, it's a
fluctuation finding new artiststo work with, and but I kind of
have to move at my own pace.
I can't really take on morethan you know.
A half dozen or so albums ayear right um with all the
touring I do.
But you know, when I'm home fromtour I'm kind of in full label
(24:47):
mode and so scheduling my yearjust to make sure that I'm home
to meet the fedex truck when therecord jackets show up that's a
consideration I have to make.
When I'm, you know, planning,you know like I'm gonna be in
pittsburgh, I can't put up, Ican't put out the record on that
day.
Yeah, it's all.
I'm still trying to figure outthe balance, but uh, it's all
(25:09):
very rewarding very cool, verycool.
Speaker 3 (25:12):
So, oh, and as we kind of bring this to a close
again, thanks for this secondtime coming on.
I mean, we could just talk forhours and hours, um, but I do
want to respect your time.
What, what's 2025 looking likefor you?
The label tours, can youwhatever you can share?
Speaker 4 (25:30):
uh, for the listeners , we'd love to know what's
what's on coming down the pipewell, this uh canadian tour and
then east coast tour in uh inmay is kind of going to be the
last long one for me for a while.
I'm going to be doing justprobably shorter, more kind of
like brief regional trips hereand there for the rest of the
year and kind of just movingmore heavily into label mode.
(25:53):
I'm getting ready to release analbum for a really great
Chicago band called moon type.
That's coming end of May andGreg Jamie is a rental artist
I've worked with in the past.
There's new albums on the way,there's another Lisa Liza
release on the way.
I have about a dozen differentartists that I you know.
(26:15):
We're trying to figure out theschedule for the rest of this
year and then moving into thenext year, so just just filling
out the calendar is is is thethe next big step after this
tour but yeah, rindle's gonna be.
There's gonna be more rindlestuff happening into 2026 and
probably a little less touring.
I've been hitting it a littleharder just with the new record,
(26:37):
yeah, the last six months, justmaking sure I'm, you know.
Speaker 3 (26:41):
It's out there.
Speaker 4 (26:42):
It's getting out there to the people.
Speaker 3 (26:44):
Totally and the songwriting continues on Like
Advanced.
Bass is still observing,reflecting on songs and pulling
out database sounds from 15years ago.
That might spark something new.
Like that's ongoing, as always.
Speaker 4 (27:00):
Yeah, yeah, something new like that's ongoing, as
always.
Yeah, yeah, just yeah, justright now, still kind of feeling
out what the kind of the themesfor the next record will be.
I've got a few odds and endshere, but uh, it's, it's this.
It's still a very amorphousstate for the next, uh, next
release, but okay awesome,awesome.
Speaker 3 (27:20):
Well, that's great to hear, and I hope that this last
tour is all that you want it tobe and that you also get some
rest a little bit after this.
Um, recharge your batteries abit, but you're a busy man, um,
doing some amazing stuff outthere.
Uh, please go and if you cancheck out an in advance space
(27:41):
show.
Go and see it, they're alwaysspecial and get this record,
guys.
Horrible Occurrences the titlesounds daunting, but it's.
I love this record I love thisrecord, I think it's like I've
been waiting for this record tocome out from you and I
mentioned before that I gotlistening to it a bit later.
(28:03):
I've only been listening to itfor a month, but it's been on
steady replay.
The stories are just sodeveloped and beautiful and the
music and, but it's heavy.
Like Owen was saying, don't putthis on at a dance party, but
reflective moments.
Speaker 4 (28:22):
That's right.
That's right.
Don't put this on at a danceparty, but reflective moments
Absolutely Good music for a walk.
Speaker 3 (28:26):
That's right.
That's right.
It'll set the pace, a good pace, for you.
Well, owen, thank you again andI look forward to seeing your
show in Montreal, and I'd loveto have you back on any time.
Just reach out and any artistsfrom Orindal that want to come
on and talk about their music.
Speaker 4 (28:45):
I'm more than happy to support what you do.
Yeah, I love what you're doing.
I really appreciate you havingme back.
Speaker 3 (28:49):
Cool, cool.
Well, you have yourself a goodone.
Thanks so much.
Speaker 4 (28:52):
Take care.
Speaker 2 (29:22):
The year I lived in Richmond there was a killer on
the loose.
Four women slain in myneighborhood.
It was all over the news.
Four women slain in myneighborhood.
It was all over the news.
(29:47):
Well, Deborah Lee Hill moved toRichmond Around about the same
time as me.
She was a peculiar one, strongand sound-tied.
I'd see her at the baroccasionally.
The summer was hot that year inRichmond.
(30:27):
Deborah didn't have an AC.
She slept with her second storyBad June winter, just to catch
a little breeze.
She woke one night to anintruder climbing in her window
(30:52):
from a tree.
The debris up and ran for akitchen knife.
The devil up in the rain For akitchen knife Stabbed him in his
chest repeatedly.
Ooh, ooh, ooh Ooh.
(31:21):
The coroner came to take thebody.
Deborah packed up all herthings.
She left in her pickup trucksoon as morning came.
She'd sing it all.
She cared to sing.
The rest of the year I lived inRichmond.
(31:47):
They talked about the murderson TV.
Any child could tell you howthat killer died Under the knife
of depravation.
Speaker 1 (32:06):
Ooh, Ooh Ooh Ooh ooh ooh ooh ooh ooh ooh ooh ooh ooh
ooh ooh ooh ooh ooh ooh ooh oohooh ooh ooh ooh ooh ooh ooh ooh
ooh ooh ooh ooh ooh ooh ooh oohooh ooh ooh ooh ooh ooh ooh ooh
(32:26):
ooh ooh ooh ooh ooh ooh ooh oohooh ooh ooh ooh ooh ooh ooh ooh
ooh ooh ooh ooh ooh ooh you.
Growing up in Richmond you were anarchic and
shy.
You were anarchic and shy,tried to steal some tampons that
you were too scared to buy, saychase, the organ manager Said
(00:39):
in his faithful draw that washow you got your picture on the
wall.
Speaker 3 (00:49):
Welcome everyone to another episode of the podcast.
I love having returning guests,artists, and today, the first
recording that I had withAdvanced Bass.
I have Owen Ashworth here ofAdvanced Space and we had such a
great chat about how it allstarted, so we're not going to
(01:11):
talk about his origin story.
You can go back and listen tothat first, where we talk all
about where it started and Owenrecording on answering machines
and like just great stories thathe told.
We're really going to focus inon what's he's doing nowadays
and his latest record he justput out at the end of 2024,
called horrible occurrences justamazing, solid songwriting, um,
(01:34):
done with advanced bassistflair.
Um, and I was just mentioningto owen, as we we hopped on here
, how this record is a beautifulrecord book, I would say, just
because the storytelling is justso um, deep and reflective and
(01:54):
it's experiences that all humans, I think, can relate to.
Um.
So, owen, thanks so much forputting this record out.
Number one and number two,thanks for coming back and
chatting about it oh, mypleasure.
Speaker 4 (02:05):
Really appreciate it.
Speaker 3 (02:05):
Thank you for having me yeah, and and you guests uh,
not guests, you audience outthere, um, um, owen's first band
was casio tone for thepainfully alone, which again was
, you know, just a solidcreation outlet for owen and
evolved into advanced bass andhe's put out a ton of record
singles and we're going to focusin on those, but particularly
(02:28):
this newest release and histouring.
And because I think Owen, basedon some of the things I've been
reading, that the touring youkind of went back to basics in
the sense that you hit the landon wheels and touring from place
to place in a van or somevehicle, um, and it's very low
(02:49):
fi touring, you went back to, Ithink very under the radar.
Speaker 4 (02:53):
uh, uh, I travel in a subaru forester either on my
own or, you know, sometimes I'mtraveling with another solo
musician, but yeah it's, Ireally love traveling.
I really love just gas stationsand motels and diners and
seeing the sites and, uh, I tryto build in time for for, uh,
(03:17):
just really getting to enjoy thetowns.
Yeah, you know the just thelandscapes I'm visiting, so it,
so, it's I, the way I tour it's.
It's taken years to kind offigure out the things that I
find most just totally enjoyablefrom traveling.
So I really travel with likecomfort and you know my own
(03:40):
peculiar interests in mind.
But yeah, it's not very wellset up as a business venture but
just, you know, mostly for myown pleasure, very DIY operation
, amazing.
Speaker 3 (03:55):
And Owen, what's a day in the life on tour with
Advanced Space?
Like what does a day feel andlook like?
Like what's your?
How does it lay out?
What's the timeline of that?
Okay, does a day feel?
And?
Speaker 4 (04:05):
look like like what's your?
How does it lay out?
What's the timeline of that?
Okay, uh, yeah, well, I, I, I,if I have friends in the town
that I'm comfortable stayingwith, I probably it's split,
probably pretty close to 50 50between staying with old friends
who, uh, um, at this point inmy life I'm not, I'm not part,
I'm not going out and gettingwild after shows.
(04:26):
I'm going back to a goodfriend's house and we're
probably having a little herbaltea and talking about our pets
or our children or just catchingup.
So it's a chance to see oldfriends.
I've got friends across NorthAmerica who, from years of
touring I have these reallyspecial relations with people I
only see a couple times a year.
(04:47):
But touring is very social forme.
So if I'm not staying with agood friend, I'm usually staying
in, um, uh, uh, uh, mid pricehotel.
I try to find um independent orjust kind of like off the beaten
path, kind of weird Like I love.
I really love old Americana, sojust kind of like really old
(05:11):
fashioned hotels and motelsreally appeal to me and that's
part of the sightseeing, part ofthe experience.
So I'm usually up by 8 AM andit's usually a good hour of
getting on the wifi and keepingup with a good hour of getting
on the Wi-Fi and keeping up withlabel business.
I run a Rendell Records and thejob doesn't stop when I'm
traveling so I usually have someadmin to do in the morning or
(05:36):
just check in with the stuff Ineed to do for tour.
I usually travel with oatmealand coffee in the car, so I have
a simple breakfast for myself,or maybe I'll get eggs at a
local diner and then try to takea walk, um, check in, call home
, talk to my wife and kids, um,um, depending on how long the
(06:00):
drive is, I could be spendingmost of the day in the car.
I try not to drive any more thansix hours in a day, if I can
manage it.
So in the car I'm listening to,sometimes an audiobook or or
some music, or just enjoying thesilence, um and uh, yeah, I
mean usually arriving in thetown where I need to play by,
(06:22):
you know, mid or late afternoon,and if there's time to, just to
check out something in the town, I love going to bookstores or,
uh, um, record stores or, uh,just getting the flavor for the
place where I'm visiting, um,and then you know it's sound
check and the evening is justhanging out.
(06:42):
The venue, venue, typically,but I like the rhythm of it.
I sometimes can feel a littledisappointing if the drive is
too short, because I kind of endup with extra time that I don't
really know what to do with.
Speaker 1 (06:53):
Yeah.
Speaker 3 (06:56):
It sounds like a nice routine, though I love it.
Speaker 4 (06:59):
Yeah, yeah, yeah.
There's a real momentum to itwhere I just I feel like you
know, the road is rising up tomeet me and you arrive in a town
and people I was talking to myfriend, david Bazan, who's
another touring musician, butyou know, it's a real privilege
to arrive in a place andeveryone is anticipating your
arrival, everyone's excited tosee you and it's kind of like
(07:21):
having a birthday party everynight in some ways, I mean it is
real work, but I think that youhave to remember that it's not
normal to just arrive at a barand people are paying money and
thrilled that you're there.
Speaker 3 (07:35):
Right, right.
Well, I know, when I came tosee you in Montreal, that you,
you know you hang out with thecrowd.
You're there.
I mean, I ran into you, wespoke for a little bit, like
you're a part of the wholeevening.
You know, it's not like you'resitting in the back behind the
stage.
You're there, you're present,which I I found was really
special to be able to have thatconnection with you I appreciate
(07:57):
that.
Speaker 4 (07:57):
Yeah, I mean, I'm usually selling my own
merchandise.
You know, as I'm touring on myown, I'm doing everything myself
um but yeah, I mean, I reallyappreciated, as a young person,
going to see musicians and I Ijust seeing artists as real
people and being able to justfor them to be available to ask
(08:17):
a question to and um, I thinkthat's a really valuable thing.
I like to to know the peoplewho are showing up for shows.
That's a really important, justto remind that there are actual
people like receiving this musicI'm putting out.
It's really gratifying, andjust to know how the music is
affecting people.
Yeah, those are specialrelationships.
Speaker 3 (08:41):
Yeah, absolutely Absolutely.
And do you still kind of getlike before you head on stage,
like what are your feelings,like how do you kind of get your
mindset ready to go throughyour set?
Is there things that you do tokind of psych yourself up or or
relax yourself?
Speaker 4 (08:59):
or sometimes I need to take a little walk or, uh,
just drink some tea if my voiceis feeling rough, but usually
it's just I need a couple ofminutes to myself just to get in
the right frame of mind.
Mm, hmm, uh.
But one thing I really likeabout touring and you know,
(09:20):
basically getting into theritual of of having a set and
doing this live performance ishow kind of uh, automatic it can
kind of become and it becomes.
It's very kind of likemeditative ritual where there's
this, you know, an hour everynight where it's the most at
ease, I feel all day it's justbeing in the music.
(09:41):
It's a really specialexperience to be able to play
these songs for an audience.
It's my goal with making musicthese days, which is not how it
was when I was younger, but I'mactively trying to lower my
heart rate and just try to findthis like calm and just try to
(10:03):
be as steady and deliberateabout every, every lyric I'm,
I'm singing or you know all thepiano playing I'm doing so.
It's very like very meditativeprocess for me.
So it's I find it when I, whenit goes right, it's very like
calming and kind of centeringamazing, amazing.
Speaker 3 (10:21):
So the the latest record came out, uh, just at the
end of 2024, like december,some early december it came out.
Yeah, um, horrible occurrences.
Now, where is richmond?
Now I know that the setting ofa lot of this record is is this
a fictional town or like piecesfrom all the places you visited
(10:44):
kind of meld together?
Can you kind of paint thatpicture for us all in a little
bit about the setting of thisrecord?
Speaker 4 (10:51):
Yeah, I mean there are a lot of memories in this
record and it's kind of anamalgam of a lot of different
places.
It's kind of an amalgam of alot of different places, but I
think a lot about the locationof the songs I'm writing and you
know, I think part of it comesout of traveling and touring as
much as I do and kind ofimagining the lives of people in
(11:11):
various cities I visit and youknow, reflecting on my own
histories in these places, I'velived in a number of different
cities, uh, through the years,um, but richmond is just one of
those town names there are.
Almost every state in the ushas a richmond.
I know there are some in canadatoo you said and I just chose it
(11:34):
because the first song I wroteon the record of the year lived
in Richmond.
It was about a different city,and so I didn't necessarily want
to put this song on the actualplace because it's a story.
It happened so long ago thatI'm a little foggy on some of
(11:56):
the details ago that I'm alittle foggy on some of the
details.
I really wanted to make aneffort to kind of separate it
from any kind of true account tojust more of you know.
It's a song and at its core I'mtrying to tell a story with it,
more so than trying to be trueto the actual details.
So, I think a very generic nameof a town that has the same
(12:16):
cadence as the actual place Iwas writing about.
And Richmond just kind ofbecame the stand-in and like the
location for all these storiesand I tried to just kind of
build a community where all ofthese stories were fitting in
with each other, even though,you know, some are very
fictionalized, some are aboutcompletely different people from
you know decades apart.
But I basically tried to buildthis little community between
(12:39):
these songs and I like the ideaof kind of just building out a
history of a specific placeright, right, and how did you
assemble this record like?
Speaker 3 (12:49):
are these songs that, like it was um I mean, the last
record that came out was in2018 um, animal companion.
Were these songs that wererecorded after that?
Or were these some songs orolder songs that you kind of had
in your database and pulledback out?
Or are these all relatively newsongs that you came up with?
Speaker 4 (13:11):
There are some songs on this record that I started
writing, you know, 15 years ago.
You had the initial seed Rightand that's not uncommon.
The way I write I I just have alot of kind of unfinished ideas
floating around and sometimesit just takes a new life
experience or a new perspectiveto suddenly kind of figure out
(13:33):
what what I was getting at orlike.
There's a lot of kind of likesubliminal, kind of subconscious
element to my writing where I'mtrying to just figure out what
the songs are about for a bigpart of the process.
But yeah, there's a song calledhow you got your picture on the
wall on the record that Iremember starting that song in
(13:53):
like the late 90s.
I had the initial idea for asong about someone getting
caught shoplifting, but thelarger context of the story
didn't really click with meuntil revisiting.
Actually, to tell you the truth, I had shoplifted from a
Walgreens in San Francisco inthe late 90s and never felt very
(14:16):
good about it, but it kind ofgot stuck in my head and years
and years later I ended uprevisiting that same Walgreens
and being back in that space.
I remembered the song that Ihad started writing and years
later, having a differentperspective, I knew what I
wanted to do with the song.
So all of the songs it's along-winded way of saying that
(14:40):
it's a lot of these songs are along time coming, but I they,
they weren't ready until I kindof put them in context with each
other.
Speaker 3 (14:48):
Um, right but, yeah, they all are.
Like every song is kind of itsown individual little story with
like beautiful detail and likethe simplicity of life almost is
put on display.
Now, obviously there's there'salways those dark undertones
that tend to to surface.
(15:08):
But I've I've been reallyfinding some hope in a lot of
the lyrics that you know I meanit's everyday kind of stories
that have affected you.
But I'm I'm finding my accesspoints all over the place where
it's like these are human songs.
You know, these are songs thatthat I've experienced before and
you've experienced, and you'vejust had this great way of you
(15:30):
know placing them together.
You found the flow of thesesongs and I guess sometimes it
takes a while for thosecharacters in the setting to
like percolate forward.
I mean it could take years,right?
Speaker 4 (15:59):
characters.
A lot of these arerecollections people have had
from years before.
So I think survival and evenjust the idea of even the worst
moment of someone's life isthere's a point you can look
back and remember that like yougot through it or, you know,
maybe you learned something fromthe experience.
So, yeah, there's a lot of likethere are some dark stories on
this record, but I I thinkultimately it's just about like
these are the memories andexperiences that add up to
(16:20):
someone's life.
Speaker 1 (16:21):
Right.
Speaker 4 (16:22):
And you know you keep going.
Yeah, totally.
Speaker 3 (16:26):
And when you're touring with this record, are
you playing most of the songsoff of it or do you mix them all
up?
Still, like you find the flowof your set list?
Speaker 4 (16:36):
To be honest, like the first handful of shows I was
playing after the record cameout it's mostly the new record
and I found it just a little tooheavy to just keep performing
the record.
Like a lot of these songs alltogether, I mean it's these are
heavy songs and they're alsothey're they're very kind of
minimally arranged.
I'm just playing like piano andsinging them.
(16:57):
So they feel very vulnerableand, um, they're just very lyric
, heavy and I was finding itreally kind of emotionally
exhausting too, especially whenthese songs were still, like,
really fresh and I hadn't formedthem much.
Um, I've been mixing up the setand just bringing in more songs
(17:18):
from like earlier in thecatalog and just trying to find
a different context for some ofthe songs, just like pairing
them up against older songs,which is always fun.
I think that's part of the funof putting together a set is
just finding connections betweennew songs and old songs and
kind of building a new contextfor them.
Yeah, these shows have feltvery heavy.
(17:40):
Yeah, I've been more emotionallyspent at the end of the show,
especially at the end of thetour, than in past years.
Speaker 3 (17:55):
I can feel that too.
I read through all the lyrics,um, as I was listening to the
record because I wanted to seethem, um, and there are.
I mean there's, there's,there's sadness in there and
tragedy, and I guess the silverlining I was poking at a bit is
that when you can offload someof this, um life experiences
(18:18):
that this connects to, yeah, andyou can kind of like get it out
of your brain a little bit orreflect on a little bit more to
make sense of it in some way,like I find that your songs open
those doors up, um, to feeling,you know, like it's okay.
You know we need to deal withthese emotions and, and when you
had said something, too, thatwas really fascinating, that, um
(18:41):
, they're because of thevulnerability of the songs.
I always find it fascinatingthat artists can put their most
vulnerable thoughts and feelingson a page and then sing them
out to a crowd of people thatyou, you don't know, like, how
do you go about?
How do you manage that?
Like it just seems like itwould be so hard.
You know, like I write a lot ofstuff down in journals and, you
(19:04):
know, oftentimes it's stuffthat you need to get out Right.
It's pain and it's, you know, Idon't.
People don't tend to writeabout, you know, rainbows and
sunshine all that often.
How do you, how do you dealwith that?
How do you manage thevulnerability of the songs that
you deliver?
Speaker 4 (19:22):
that's.
That's something I've been kindof wrestling with.
To be honest, yeah, these songsin particular have felt oh,
it's, it's, it's.
It feels like more emotionallabor to get up and sing these
songs in front of people andjust to and even to finish a
song and and to know the weightof the like people receiving
(19:44):
them.
Um, to have talked to people atshows and know what the songs
have meant to them has has beenreally uh, uh encouraging.
And to know, you know, thesongs are being received Well,
it means a lot, um.
But yeah, I mean, I there,especially when a song is really
new, it can feel just reallyvulnerable, kind of tough to get
(20:06):
through, and I'm often justkind of relying on the structure
of the music itself to kind ofcarry the message.
(20:27):
I think a lot of these songsjust to tell these stories would
be a lot more difficult thanyou know.
I'm kind of getting lost in themusic a little bit.
That's kind of carrying throughand I think it's kind of the
spoonful of sugar that's goingalong with, you know, the
tougher elements of the of thestories.
Um, but yeah, I know, I thinkthat meditative quality of music
where I just kind of feel likeit becomes a little automatic
and I'm kind of being carriedthrough like the songs.
I feel like I'm on like a logflume or something like.
Once the songs get started, I'mjust kind of on the ride along
(20:49):
with everyone else and I kind ofjust kind of go to this other
place and just let the songcarry me where it's going to
carry me.
Um, interesting, but it's tough, yeah, I feel.
I feel like after a therapysession or something, totally
it's mentally exhausted?
Speaker 3 (21:08):
Yeah, totally.
I see that.
I see that, and how has it beengoing?
Are all the artists that you'retouring with, are they from
Arendelle Records as well?
Are those the artists on yourlabel, or are you touring with
other artists as well, because Iknow the tour you're going on
on you?
Speaker 4 (21:28):
have a few different artists that are joining you for
the ride.
Almost all the canadian showsare with eliza and the emmy, who
are wonderful uh singer andsongwriter and cellist from uh
toronto, who I've just been afan of for as long as I've known
of Eliza's music and we playedactually we played Little Kid's
record release show in Torontolast year together and I just.
(21:53):
Eliza's an amazing performer.
Speaker 2 (21:57):
I was like we need to do more shows together.
Speaker 4 (21:58):
I just feel like it's a really good match and we get
along very well.
So yeah, eliza is on a labelcalled Tin Angel.
I haven't released Eliza'srecords.
But, there are some like LisaEliza and Kristen Dalen, who I'm
playing my American East Coastdates with after Eliza.
(22:21):
Yeah, they've both releasedrecords with the rindle I mean a
lot of what a rindle is thislabel I run?
It's this community of artiststhat I that I've mostly met on
the road.
Like lisa lies playing in mainefor the first time.
Uh, chris and dalen I met inphiladelphia where she's a
singer, songwriter.
(22:41):
So I've kind of really builtthe label around this community
of other, you know, touringmusicians.
Speaker 3 (22:49):
Yeah.
Speaker 4 (22:50):
No, they're great.
Speaker 3 (22:51):
It's a great roster you have.
I mean there is really, reallygreat.
I mean I love little kid and Ithink that you have this
Canadian connection that youknow with Nick also and Kenny,
like so many great Canadianartists that you've been able to
, you know, welcome into thelabel and showcase, which is so
(23:18):
great.
Is it hard to do both?
You know, being asinger-songwriter and also
running a label.
You kind of mentioned it a bitwhen you talked about your
routine in the morning and stuff.
Is it hard to manage both?
Or is the roster set right nowwhere you have the maximum
amount of artists that you canphysically deal with?
Speaker 4 (23:39):
Well, I mean it's, it's really, it's, it's my job.
So there are, and along withany job there, you know there's.
There is some drudgery to itbut, I find it incredibly
rewarding to you know, behelping artists.
I love release their records.
Um, and you know ebbs and flows.
I've released 80 somethingrecords at this point since 2011
(24:03):
and some of those artists havebeen, you know, are still going
strong.
Lisa liza, I've released likefive records for yeah, yeah some
artists are just like it'll bea one-off.
Or some of these artists havemoved on to bigger labels which
is wonderful to see uh and someartists you know.
They put out one record andthat was.
That was all they.
(24:24):
That was it.
That was kind of their fulloutput, so um yeah, it's a
fluctuation finding new artiststo work with, and but I kind of
have to move at my own pace.
I can't really take on morethan you know.
A half dozen or so albums ayear right um with all the
touring I do.
But you know, when I'm home fromtour I'm kind of in full label
(24:47):
mode and so scheduling my yearjust to make sure that I'm home
to meet the fedex truck when therecord jackets show up that's a
consideration I have to make.
When I'm, you know, planning,you know like I'm gonna be in
pittsburgh, I can't put up, Ican't put out the record on that
day.
Yeah, it's all.
I'm still trying to figure outthe balance, but uh, it's all
(25:09):
very rewarding very cool, verycool.
Speaker 3 (25:12):
So, oh, and as we kind of bring this to a close
again, thanks for this secondtime coming on.
I mean, we could just talk forhours and hours, um, but I do
want to respect your time.
What, what's 2025 looking likefor you?
The label tours, can youwhatever you can share?
Speaker 4 (25:30):
uh, for the listeners , we'd love to know what's
what's on coming down the pipewell, this uh canadian tour and
then east coast tour in uh inmay is kind of going to be the
last long one for me for a while.
I'm going to be doing justprobably shorter, more kind of
like brief regional trips hereand there for the rest of the
year and kind of just movingmore heavily into label mode.
(25:53):
I'm getting ready to release analbum for a really great
Chicago band called moon type.
That's coming end of May andGreg Jamie is a rental artist
I've worked with in the past.
There's new albums on the way,there's another Lisa Liza
release on the way.
I have about a dozen differentartists that I you know.
(26:15):
We're trying to figure out theschedule for the rest of this
year and then moving into thenext year, so just just filling
out the calendar is is is thethe next big step after this
tour but yeah, rindle's gonna be.
There's gonna be more rindlestuff happening into 2026 and
probably a little less touring.
I've been hitting it a littleharder just with the new record,
(26:37):
yeah, the last six months, justmaking sure I'm, you know.
Speaker 3 (26:41):
It's out there.
Speaker 4 (26:42):
It's getting out there to the people.
Speaker 3 (26:44):
Totally and the songwriting continues on Like
Advanced.
Bass is still observing,reflecting on songs and pulling
out database sounds from 15years ago.
That might spark something new.
Like that's ongoing, as always.
Speaker 4 (27:00):
Yeah, yeah, something new like that's ongoing, as
always.
Yeah, yeah, just yeah, justright now, still kind of feeling
out what the kind of the themesfor the next record will be.
I've got a few odds and endshere, but uh, it's, it's this.
It's still a very amorphousstate for the next, uh, next
release, but okay awesome,awesome.
Speaker 3 (27:20):
Well, that's great to hear, and I hope that this last
tour is all that you want it tobe and that you also get some
rest a little bit after this.
Um, recharge your batteries abit, but you're a busy man, um,
doing some amazing stuff outthere.
Uh, please go and if you cancheck out an in advance space
(27:41):
show.
Go and see it, they're alwaysspecial and get this record,
guys.
Horrible Occurrences the titlesounds daunting, but it's.
I love this record I love thisrecord, I think it's like I've
been waiting for this record tocome out from you and I
mentioned before that I gotlistening to it a bit later.
(28:03):
I've only been listening to itfor a month, but it's been on
steady replay.
The stories are just sodeveloped and beautiful and the
music and, but it's heavy.
Like Owen was saying, don't putthis on at a dance party, but
reflective moments.
Speaker 4 (28:22):
That's right.
That's right.
Don't put this on at a danceparty, but reflective moments
Absolutely Good music for a walk.
Speaker 3 (28:26):
That's right.
That's right.
It'll set the pace, a good pace, for you.
Well, owen, thank you again andI look forward to seeing your
show in Montreal, and I'd loveto have you back on any time.
Just reach out and any artistsfrom Orindal that want to come
on and talk about their music.
Speaker 4 (28:45):
I'm more than happy to support what you do.
Yeah, I love what you're doing.
I really appreciate you havingme back.
Speaker 3 (28:49):
Cool, cool.
Well, you have yourself a goodone.
Thanks so much.
Speaker 4 (28:52):
Take care.
Speaker 2 (29:22):
The year I lived in Richmond there was a killer on
the loose.
Four women slain in myneighborhood.
It was all over the news.
Four women slain in myneighborhood.
It was all over the news.
(29:47):
Well, Deborah Lee Hill moved toRichmond Around about the same
time as me.
She was a peculiar one, strongand sound-tied.
I'd see her at the baroccasionally.
The summer was hot that year inRichmond.
(30:27):
Deborah didn't have an AC.
She slept with her second storyBad June winter, just to catch
a little breeze.
She woke one night to anintruder climbing in her window
(30:52):
from a tree.
The debris up and ran for akitchen knife.
The devil up in the rain For akitchen knife Stabbed him in his
chest repeatedly.
Ooh, ooh, ooh Ooh.
(31:21):
The coroner came to take thebody.
Deborah packed up all herthings.
She left in her pickup trucksoon as morning came.
She'd sing it all.
She cared to sing.
The rest of the year I lived inRichmond.
(31:47):
They talked about the murderson TV.
Any child could tell you howthat killer died Under the knife
of depravation.
Speaker 1 (32:06):
Ooh, Ooh Ooh Ooh ooh ooh ooh ooh ooh ooh ooh ooh ooh
ooh ooh ooh ooh ooh ooh ooh oohooh ooh ooh ooh ooh ooh ooh ooh
ooh ooh ooh ooh ooh ooh ooh oohooh ooh ooh ooh ooh ooh ooh ooh
(32:26):
ooh ooh ooh ooh ooh ooh ooh oohooh ooh ooh ooh ooh ooh ooh ooh
ooh ooh ooh ooh ooh ooh you.
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