June 3, 2025 • 38 mins
When does a musical project truly end? Scott Garred of Super XX Man thought he had written the final chapter when he crafted an obituary for his 30-year-old band. Yet somehow, what began as a nostalgic blog post excavating old flyers and cassettes transformed into an unexpected resurrection.
The creative spark reignited when longtime collaborator Allie Wesley reached out after seeing Scott's posts. "It'd be so fun to do something together again," she wrote, not knowing those words would breathe new life into a project Scott had considered complete. That simple connection opened the floodgates to what Scott describes as "the community that was Super XX Man." Soon, songs that had been sitting in limbo found their way to Portland producer Adam Seltzer, forming the foundation of "Rusted Hues" - the first Super XX Man album in a decade.
Throughout our conversation, Scott shares fascinating insights into his creative process, describing how he immerses himself in music daily as both a music therapist and a perpetual student of the craft. "I play music every day," he explains, detailing how creativity generates more creativity once he begins recording. We journey back to his formative musical moments, from the friend who taught him two simple guitar chords that "changed my musical life right then and there" to his first experiences with home recording on a four-track that made songwriting feel accessible.
Most movingly, Scott reflects on what performing means after three decades of making music. "I don't think it's bravery," he says about sharing deeply personal songs. "It's a privilege to be able to go play a show and stand in front of one person, two people, a thousand people." Whether playing in a church basement in Wisconsin or to hundreds in Japan, the feeling remains the same: "When I'm really singing, and it's resonating in my own heart - there's nothing like it." Join us for this intimate look at musical resurrection, creative persistence, and finding renewed purpose in artistic community.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Super XX Man (00:07):
I do declare that the world, it's just not fair.
And I saw the world with itsbroken wing, and now I sing, and
(00:31):
now I sing.
colleyc (00:40):
Here we are another episode of ifitbeyourwill with
Podcast.
What a treat I have for youpeople today Super XX Man,
previous Silver Scooter.
I mean, I've been a longtimefan of Scott, so I was just
thrilled and we've put all thistogether within a day or so
because I was excited and I hopethat, scott, you'll be excited
(01:01):
too at the end.
Yeah, so great to have you here.
I'm glad we you together fasttoo, because I think that when
there's excitement about aproject, you may as well just do
everything you can to.
You know, make lightning strike.
There we go.
So, scott, you've got this newrecord that came out in May
(01:22):
Rusted Hues and we were justtalking before we hopped on here
about it and just the thebeauty of it and how it came
together.
We're going to share all thatwith you guys.
So don't worry, but, scott, my,my, my jive usually is to start
to rewind in time a little bitnow, just to to let everybody,
all the listeners out there.
This record marks 30 years thatScott's been creating music, and
(01:47):
beautiful music, I will add ontop of that.
So he has a huge catalog andthere's a lot of stuff that's in
shelves and drawers that comesout now and then, which is a
real pleasure for fans like meto get these little nuggets, me
(02:07):
to get these little nuggets.
Um, but what we're going tolook at is how this record came
to be, because, scott, you hadmentioned that you had written
an obituary for super doublex-man.
Um, how, what was thetransition of resurrecting this
project that you've been doingfor so long?
Um, like, what was the?
What was the reason behind?
(02:28):
Kind of, all right, I'm, I'mkind of reached my goals with
what I want to do with this.
I'm going to put it to bed.
And then what changed in you toto want to resurrect it back up
?
Scott Garrand (02:42):
um, it's a great question.
I I'm always writing andcreating music and recording and
I was getting close to feelinglike I might have an album here,
but I'm honestly not sure if Ieven like the songs and to just
kind of keep reminding peoplethat my music projects exist,
(03:05):
I'll get onto a blog project orsomething, and so I was.
I have kind of a time capsulebomb waiting to go off in the
garage of just old flyers andt-shirts and stickers and
cassette tapes and I was juststarting to go through them and
posting on my blog about them.
(03:26):
And I got an email back fromAllie Wesley, who has been a
longtime participant in Super XXman, and she just said oh God,
you're just taking me down thisrabbit hole of nostalgia and I
just love it.
It'd be so fun to do somethingtogether again.
Like well, I have all thesesongs and honestly I'm kind of
(03:47):
stuck with them.
Allie, I don't know.
I don't know if they're goodenough to finish.
I don't know what to do withthem.
If you want to collaborate,let's do it.
And she and I set out on kindof an ambitious project to maybe
rewrite some stuff, create somestuff from scratch.
She's a super busy and supercreative person, so it seemed
(04:10):
like as as quick as we weregetting the project off the
ground.
It was like, whoa, maybe, maybethis is too much to take on,
but but what that did was thatsort of cracked open the idea of
the community.
That was Super Double X-Man.
(04:30):
Because I said, well, ali, whatwould we even call it?
I wrote an obituary, just callit Super Double X-Man, you can
do whatever you want.
And I'm like, ok, let's do it.
And then I just had some funwith resurrecting Super XX man.
I wrote a blog post aroundHalloween and leaned heavily on
(04:53):
chat GPT to write me a reallystupid Hardy Boys mystery type
Scooby-Doo, grave robbery post.
Scooby-doo, brave Robbery Post.
And then I shared all the songswith Adam Seltzer, who is a
(05:16):
Portland music producer and agreat songwriter, great
individual, whom I've known forthe last 20 years or so, ever
since I moved to Portland in2002, but we were never like uh,
close or best of friends oranything.
We were just, we just knew ofeach other and respected each
(05:37):
other.
And so to to hand them off tohim first.
First I thought, well, Iprobably won't be able to afford
it and it's hard for me tojustify putting money into a
project.
But, um, the more adam and Italked, the more I thought, well
, I think this is doable, Ithink we should do it.
And so, handing a bunch ofsongs to ally, a bunch of songs
(06:01):
to adam, we were able to gothrough about 19 tunes and and
say, let's, let's focus on theseand call it an album.
And it just came together andthe community and, and then I
thought kind of rambling here,but in 30 years there's been a
lot of people who have playedwith the group Totally.
Um, and super double X man is agroup, it's a community, it's,
(06:25):
it's a project.
It started out as just me, but,um, but it's always been
whoever's been close in mycircle of friends, uh, ever
since the beginning, and it wasjust great to reach out to.
Uh, I was a little disappointedbecause some people that I
(06:45):
reached out to just they werehard to get in touch with or
didn't write back or whatever.
But I was like, okay, I want totry to get as many people who
have contributed all the hotguitar licks and keyboard stuff
to play on this album somehow.
And so, um, we put thefinishing touches on it at adam
(07:07):
seltzer's studio in portland andI got adam mack, who was the
last drummer that played withsuper double x man, uh ally to
sing and play flute.
Tony moreno, who was in thelive the last portland-based
live band of super XXX man, andhe's also played on a couple
albums, just all to cometogether in Adam's studio and we
(07:32):
put the finishing touches on 12songs, including re-recording.
Rusted Hues Beautiful song,beautiful song.
It just all came together.
colleyc (07:44):
Kind of a reunion of sorts.
Hey, scott, like, yeah, um, didthat evolve?
Like, was that um?
Like the more that you startedto think about, okay, I'm gonna
go ahead with this project.
Like, hey, why don't I?
Or was that at the forefrontwhen you were thinking about 30
years of super double x-men thatyou wanted to have that kind of
because it's?
(08:04):
It's curious too, because mostof the double x, uh, super
double x-men records are volumes.
Right, you have volume one allthe way up to what is it volume?
Scott Garrand (08:13):
I think I stopped at volume, I don't know 15 or
16 yeah, sort of heavy metal isthat was that's volume 12, and
then there were a couple afterthat.
Okay, okay.
colleyc (08:24):
But those were kind of later on, right Like earlier on.
I should say.
Like how long has it been sincea super double X man release
that you put out before restedHughes?
Scott Garrand (08:37):
It's been, at least it's been exactly 10 years
, wow.
So so 30 years of music with 10years of, you know, dormancy, I
guess Right, and in those 10years were you still productive?
colleyc (08:54):
Like does music have to be a part of your daily
existence?
Like do you find yourselfneeding it At certain times in
your life?
Experiences happen, days rollby, that there's a need still
inside you to write songs.
Scott Garrand (09:13):
Yes, if people listening could look at my face
as I was listening to you answerthat question.
I just wanted to say yes,really fast.
I play music every day.
Really fast.
I play music every day.
I work as a music therapist soI engage with others through
music every day.
(09:33):
Separate from writing songs, Istudy jazz piano.
During COVID I experimentedwith building drum sets out of
suitcases.
I'm constantly tinkering withmusic in some way.
I don't stress about writingsongs.
(09:59):
I'm not someone who getswriter's block who gets writer's
block.
I just accept that.
Oh, I'm not really creating orwriting music right now, but I'm
.
But I'm playing music andpursuing it, and the recording
process is such a long, drawnout thing sometimes that like,
(10:19):
oh, I'll sit down for an hourand just listen to this song to
see if I can make it sound good.
That might be the day's musicpursuit.
Or I'm really learning this.
I want to learn this DukeEllington tune on the piano and
see if I can get my you knowbrain and heart to go through my
fingers and make the piano dosomething.
colleyc (10:43):
And Scott, what's your process for writing songs?
Like, when do you feel like youhave you're on to something
that you might, you know, see onan album or in a record, like,
what's that?
What's your process like?
And then how do you come toeither saying this I, I'm on to
something, or yeah, I'll showthat one um for a later date.
(11:05):
Like, how do you go about?
Like you said that you do itlike quite regularly, is this
something?
I mean, if you're focusing juston songwriting, how do you, how
does that process go about foryou?
Scott Garrand (11:18):
I've got snippets of lyrics, um, that I might
write down in notebooks, um,I've got probably hours of voice
notes on my phone of somethingthat once upon a time I thought
was a good idea.
If I'm sitting at a trafficlight and I've been like the
(11:38):
news wasn't engaging orsomething I might be singing an
idea, I'll just say I kind oflike this melody.
I'll just make a voice notereally quick and come back to it
, but then once, once making analbum starts happening, or once
setting up a microphone in mystudio at home, creativity tends
(12:00):
to steamroll into morecreativity.
So I might I might be excitedabout three songs, but those
three songs might make me sitdown and write a song in one day
.
That turns out to be betterthan the three songs I was
working on, and when I saybetter, it just like make me
(12:23):
feel better, like, oh, this songresonates to me in a way that I
thought, working hard on thesethree other songs, I thought
those three other songs wereresonating with me, but now
those three songs led to thisone song.
That's like really resonatingwith me.
And it's just you know, know,music just creates more music
(12:50):
yeah, yeah, I love that, I lovethat but it's taken.
You know, having a family and acareer and um, I've had to
really carve out time in my life.
I'm sitting in a room right nowthat I share with one of my
kids when they're living with mywife and I, and this house
(13:11):
belongs to my wife and she waslike just 100 percent full on
just set it up as a music studioand so it's it's almost a total
square room room, so it doesn'tsound great, but it's a space
that I have and I've workedreally hard to make it what it
(13:33):
is and I'm just, I'm lucky.
I'm very thankful that that Ihave, um the space and there's
not always time to do it.
colleyc (13:44):
So throughout the years , I've always just kept my um
recording environment as simpleas I can, so it's always like
ready to go Right Um and Scott,if we were to kind of rewind in
time a little bit to your earlydays of starting to become a
(14:05):
musician, to coming into thatwhat I mean.
I know a lot about SilverScooter because I was obsessed.
But how did you, how did thattransition happen from, um, you
know, being a person in theworld to identifying that music
was something that had to be apart of what you did.
What, what were some of thoseearly moments or those turning
(14:27):
points in your early life thatopened this door of 30 years of
writing songs?
Scott Garrand (14:35):
Yeah, I mean, I've played music since I was 11
.
So 41 years and counting.
And counting so 41 years andcounting and counting, and, and
when I was younger, um, I knew Iwanted to play music.
I didn't know to what extent Iwas also, you know, like, like
(14:59):
we all are when we're young,we're so impressionable and I
thought that I needed to be likea brooding.
I've always been a melancholyperson, but, you know, I thought
that I needed to be like don'ttalk to people, just consume
magazines and listen to music.
That's so far left of the dial,that, um, you know.
(15:24):
But but what I realized when,before silver scooter, before
super double X man, I learnedhow, um, I mean the moment that
I realized that I wanted to makemusic was.
I went over to a friend's housewho played drums and another
(15:46):
friend of mine who played bassand he was working on a jazz
chart that he had to do forcommunity college, and I played
guitar in the jazz band and, andI played through the chart with
him and that went really fast.
He just wanted to see if itworked as an exercise.
(16:06):
And then I was seriouslythinking about selling my guitar
to buy another camera lens orsomething, because I was really
into photography, and he taughtme how to play D and g on my
electric guitar and then solo onthe g string with the d string
(16:26):
ringing out and it was like whatwe could like.
That it felt amazing.
Uh, probably changed.
Probably changed my musical liferight then and there right and
we would get together everycouple weeks and just play those
(16:47):
same three chords.
And then when I got to collegeand I met some of the guys that
I eventually started SilverScooter with Tom Hudson and Sean
Camp another friend of mine,jeff Albertson we sort of just
started bands.
(17:08):
My buddy, jeff, bought a fourtrack in 93 or 94.
And that was just a huge momentwhere, like, oh, I can do, I
can write a song myself, I canwrite the verse, the chorus, the
guitar solo.
So it's like the world ofmaking music isn't so
(17:31):
unreachable anymore.
Right.
And then groups like Porta,static and Sebato and um later I
would learn, even BruceSpringsteen made a record on a
four track in his house, um oneof my favorites amazing record
(17:52):
like so foundational to like umI am amazed that you're, you're,
you're mentioning that.
So it's like it's like well, Iwant to do this too, and I was
empowered by that.
colleyc (18:02):
It was great yeah totally, and what was actually
the first song you ever wrotethat eventually made it onto a
release of some kind?
Do you remember those earlysongs that you started to write?
Scott Garrand (18:17):
Yeah, I don't remember what it was called.
It wasn't on the first SuperDouble X-Man cassette, although
some of the songs that I firststarted recording on a
four-track became part of thatfirst cassette in 1995.
I remember the chordprogression but I don't remember
the name of the song.
But it was the first thing Irecorded on a four track and by
(18:41):
the time it became a band song Iwas in a little trio that we
jokingly called Krogan.
We wanted to call it the BillyCorgan Four as kind of making
fun of the Smashing Pumpkins,but somehow it got, I don't know
, changed to Krogan, which isgoofy.
(19:02):
But somewhere in my garagethere's a cassette.
colleyc (19:07):
Right and like what did it feel?
Like, like, how do you?
How do you, how does it makeyou feel when you know you're
onto something with a song?
Like you know to shelve it orkeep it, like, is it just that
it feels good for you?
Um, like yeah, what are thosefeelings that you could put
words to that, when you know,like yeah, like this is, this is
(19:30):
gonna work?
Scott Garrand (19:32):
yeah, I think the only way to really describe it
is you're going down this pathof creating something.
Um, the lyrics that match upwith the melody that comes up,
like, like, evokes something,resonates with something maybe
that I've observed in the worldor observed in myself, and, of
(19:55):
course, on the songs were very,very like, always emotionally
driven, but like, more likepersonal and selfish kind of
Sure, you know, because I'm like19 or 20.
Sure, yeah, it happens, forsure, yeah, but it just feels
(20:18):
good, and so the process ofmaking the music happen becomes
the most important thing in thatmoment, I think, and so it's
(20:39):
easy to not think about anythingelse except creating that song.
colleyc (20:42):
That's, that's when I know okay, well, this is a good
song to finish, right, yeah, socool, so cool and like I
interview, like many artists andrecently I've interviewed a
couple of just beginning artists, you know, just starting their
careers, young, similar to whatyou're just describing yourself,
(21:04):
as you know.
I mean they tend to be veryinternalized about themselves
and working through stuff, youknow, and they often say I do
songwriting so I can get it outof me.
You know, I got to get thesefeelings out.
You know I got to get thesefeelings out.
What kind of advice do you givethose starting musicians, kind
(21:25):
of like having that experienceof the years that you've been
doing this and kind of takinginto account we're in 2025 right
now.
Things have changed so much inthe music industry over these 30
years.
What are some of those wordsthat you could offer to these
starting up musicians that youknow have a four track or I
guess it's garage band?
now and you know, or, like I, Iwant to do this um.
(21:48):
What insight could you sharewith us?
Scott Garrand (21:51):
well, I think, like making anything these days,
satisfy yourself through theprocess of making music or art,
make it feel good to you, trynot to do any harm with it to
others and just make yourselffeel good, like if you heard a
(22:17):
young songwriter say say, I justgot to get it out of me.
Yeah, get it out of you rightand keep yourself healthy.
Um and I like that and don'tdon't forget why you're doing it
in that moment.
colleyc (22:33):
You know, yeah, yeah and, as you, you know, evolve
and like this record that you'vejust put out, like, are you
going to go through the sameprocess that you go through
every record you know like onceit's kind of done.
So I have this, you know,artifact that I've created.
Has your process for putting itout in the world and shows or
(22:58):
podcasts, interviews, likewhatever it might be?
Has that evolved over time foryou?
Scott Garrand (23:04):
yeah, because because every, every album is a
learning experience and I'm aslow learner, which is maybe why
I have so many albums, likethere's a lot to learn.
So I got more albums to make.
So every album, I mean the gamehas changed.
I mean, when I first started,you know, we were putting up
(23:27):
flyers on telephone poles andgetting the word out to get
people to come out.
There wasn't Instagram, evenwhen Silver Scooter was touring.
We didn't have social media, wehad telephone poles.
We had telephone poles.
colleyc (23:40):
We had telephone poles and newspapers and yeah, we're
like why?
Scott Garrand (23:43):
why is nobody coming to our show?
Oh well, modest mouse was herelast night playing in the same
club, so everybody like came outfor that.
Like, oh, okay, so that's okay.
We learned that we want a tourwhen bands like modest mouse and
death cap for cutie aren't alsoplaying the night before.
Um, you know, every opportunityto learn something is amazing.
(24:06):
And now with this album, I'mkind of like well, I don't have
a record label.
I'm glad I don't have a recordlabel, because I answer only to
myself.
Yep, um, I'm not evencrowdfunding anymore, asking
people to pay for things inadvance.
I'm just like well, nowadaysyou can make 100 LPs.
I work, I have a good job, Ican front the money for that and
(24:34):
I want to just do enough to getthe word out that maybe I get
that investment back.
Other than that, I don't havehuge expectations for it.
This is great.
I'm doing a podcast with youright now.
This is cool.
This is the coolest thinghappening in my life today.
colleyc (24:53):
Me too.
I just I'm loving your storiesand all of these.
I just I'm loving your storiesand all of these.
Before we hopped on here too, Iwas kind of nerding out a bit
on or fanning out on yourproduction and stuff and it's
(25:14):
just been really enjoyable tokind of see the history behind
these songs that have becomeiconic in my life.
Like I told you before, thatJapanese live record that you
would put out where you playedcounting rocks and the the
bangers, the super double xbangers, and just that simple
record that you put outinfluenced me so much in in my
(25:35):
life, in in what I wanted to do,because it touched me so so
much.
And I guess my question to youis you said that you were kind
of, you know, you didn't liketalking and you were kind of
like, you know, in in your space.
How do you go from that tostanding in front of thousands
of people?
(25:57):
or I've never stood in front ofthousands of people or whoever
many doesn't matter, but to totalk about something, to sing
these songs because they are sopersonal and we were talking
about.
Hold on to me a song at the endof this record.
That's come, that's that's out.
Uh, as of may.
Um, how do you, how do you getthat bravery to to open your
(26:21):
heart up to the world and letthem interpret something that
was very close to you andpersonal, um, and kind of have
to let it go a bit?
Scott Garrand (26:31):
well.
I mean, it's a privilege to beable to go play a show and stand
in front of one person, twopeople, a thousand people.
I don't think it's bravery, Ithink it's just I want to.
(26:54):
I want to satisfy this urge todo it.
I there's.
There's nothing like singingand getting the sense that your
voice is out there, like fillingup a room and like when I'm
(27:18):
really singing, and I feel likeI'm like singing, singing well,
and it's resonating in my ownheart.
It's like there's nothing likeit.
So, um, I don't even play showsthat much anymore, but I feel
like what few shows I have linedup for the summer.
(27:38):
I feel like it's a world tour.
I'm really looking forward toit playing.
I heard about your world tour,playing in hannleton, playing in
moscow, idaho, and playing inmy own backyard, and might go
out to lexington, kentucky, um,later on this year.
But it's singing in front ofpeople, it's, it's a total
(28:00):
privilege, it's and it's andit's um, it doesn't matter how
many people there are.
I I'll share a really quickstory.
Silver Scooter was on theirfirst tour.
We were playing in Racine,wisconsin, in the basement of a
Lutheran church and there were,I think, seven people, and a few
(28:20):
of them might have had theirparents with them, and I
remember turning around andtalking to Tom who was sitting
at the drums, and I was tuningmy guitar and I think, honestly,
because it was our first tourand one of our first shows of
the tour, we were just kind oflike, wow, basement of this
(28:42):
Lutheran church and RacineWisconsin, and there's really
nobody here.
And then we're halfway throughthe set and this kid raises his
hand and asks a question Can,can you play cup and string?
And it's like, yeah, and it'slike, from that moment on, I
(29:05):
didn't care if I was playing forthe toilet in the back room, or
seven kids in Racine Wisconsinor 500 people in Japan, it's a
privilege, it right, that'samazing.
It's a privilege, it's great.
It feels.
It feels amazing.
colleyc (29:23):
Yeah, yeah.
And and did it always feel thatway, even at the start, like
even those first shows?
Like?
Did it always like?
Did that feeling always exist?
Every show that you youperformed, you just felt like it
was a privilege to be able tofill the room with your voice,
as you say.
Scott Garrand (29:40):
I think it's only like getting older that I would
look back and call it aprivilege.
When I was doing it earlier, Ididn't recognize it as a
privilege, but the feeling wasthere.
Um, but the feeling was there.
I maybe didn't know what thefeeling was, how to label that,
(30:03):
yet Right, yeah, yeah, it takessome time.
colleyc (30:06):
So, as we come to a wrap here, scott, thanks so much
for this.
I mean, I I talking with you, Iknow why you're a songwriter
because you're such a goodstoryteller and you, you, you
can lace a few sentencestogether that are very powerful
and make sense um, thanks, um,what do you look forward to?
(30:28):
So you're going to do a worldtour.
You have, the record is out.
These songs were assembledthroughout a chunk of time, do
they go way back?
And then some are more modern.
Like, could you kind of age therecord of the songs, the 12
songs that you have on here?
Scott Garrand (30:45):
Well, the songs are all new and that they're not
released.
Most of them were written inthe last two years, with the
exception of three songs on thealbum were from my.
I call it my carnation albumbecause I recorded it while
house sitting for my cousin incarnation, washington.
And two of those songs are onthe album as as I recorded them
(31:08):
10 years ago in my cousin'splace, and one of them is redone
because I've just always lovedthe song and it's just kind of
grown and expanded.
And funny, allie and I recordedit as a duet on the album and
it was like months later, afterthe album was finished.
I'm like that song's missing averse.
(31:31):
How did that happen?
And I'm like, well, okay,whatever, I guess I guess the
song got edited and I didn'teven realize it.
The songs in the live shows thissummer and of course we're
jokingly calling it a world tour, although if you're out there
(31:54):
and you want to hear some superdouble X-Men music, reach out,
I'll find a way to come to yourliving room and do it Cool.
The songs will all be up to 20,25 years old.
So I think we broke the setinto two halves.
(32:14):
Maybe eight or nine songs ineach set, two halves, maybe
eight or nine songs in each setand one set is heavily um
populated by the new album.
So 10 years of music rightthere.
And then the other set is kindof like, uh, classics I'm
holding up my fingers in quotesum classic that go back to at
(32:40):
least volume four Totally.
colleyc (32:43):
Yeah, I mean, I think that some of these songs will
outlive us and they'll belistened to by our grandkids.
You know, like I really thinkthat they have such this timely,
they'll always feel relevant,you know, because what you talk
about is human stuff and humanstend to not change.
(33:03):
Technology changes and ourhouse might change and the
weather changes, but humans feelbasic feelings and I think that
you have this art of tappinginto those and putting words to
them that describe thesefeelings and and through
storytelling or direct, you know, simile and illusion metaphor.
(33:23):
But I really it's been such aprivilege to talk with you,
scott, today.
Scott Garrand (33:30):
Hey, the privilege is mutual.
I really appreciate everythingthat you just said and I don't
want to say too much after thatbecause that was a.
That was a nice compliment.
Appreciate it.
colleyc (33:40):
Well, I appreciate you and thanks for putting this
record out um people go check itout.
Catch scott on his world tourum at a spot near you and get
this record, people.
um, you'll listen to it once andyou'll start it right over
again, and then you'll listen toit once, and you'll start it
right over again, and thenyou'll listen to it again and
again.
So it's it's well worth thelisten.
(34:00):
Um, all the best.
I hope one day our paths crossagain.
Um, if ever you want to comeand just continue in this
conversation, I think we couldjust talk for hours and hours.
It's just been a real treat.
Scott Garrand (34:12):
So, thank you, yeah, yeah, this is stuff I can
talk about music and how itmakes us feel.
colleyc (34:21):
Tell them living in the dirt.
Have a good day and thank Godthat you resurrected Super XX
man.
No more obituaries for maybe alittle bit more time and a
couple more records.
Super XX Man (34:55):
That sounds good.
Thank you very much.
What's wrong?
Why are you doing that to me?
Why you doing that to me?
What's wrong with me?
What's right?
(35:16):
How am I supposed to be?
How the hell am I supposed tobe?
What's right?
I wanna go home, where I wannabe.
I wanna see what's right.
(35:37):
What's right, what's right Withme Hold on.
Hold on to me.
Hold on to me so I can see Allthe parts of me.
(36:04):
You need to see To be believed.
Hold on, hold on.
Speaker 4 (36:12):
Hold on to me.
Ooh, I wanna see to me, ooh, Iwanna see, ooh.
Super XX Man (36:26):
I wanna be.
Ooh, I wanna see, wanna see.
Hold on to me, hold on to me,hold on to me, hold on to me,
(36:48):
hold on to me, hold on to me,hold on to me.
Hold on to me Inside.
Hold on to me Inside.
Protect me from the walls Ibuilt.
Accept me for the things Iwilled, for, the things I need
(37:16):
to be inside this world For meto see, for me to feel, for me
to be.
Accept me for the things I will, for me, the things I need See
the world I need.
Accept me for the things I needto be inside this world for me
(37:41):
to see, for me to feel for me tobe, for me to be, for me to be,
for me to be, for me to be.
I do declare that the world, it's just not fair.
And I saw the world with itsbroken wing, and now I sing, and
(00:31):
now I sing.
colleyc (00:40):
Here we are another episode of ifitbeyourwill with
Podcast.
What a treat I have for youpeople today Super XX Man,
previous Silver Scooter.
I mean, I've been a longtimefan of Scott, so I was just
thrilled and we've put all thistogether within a day or so
because I was excited and I hopethat, scott, you'll be excited
(01:01):
too at the end.
Yeah, so great to have you here.
I'm glad we you together fasttoo, because I think that when
there's excitement about aproject, you may as well just do
everything you can to.
You know, make lightning strike.
There we go.
So, scott, you've got this newrecord that came out in May
(01:22):
Rusted Hues and we were justtalking before we hopped on here
about it and just the thebeauty of it and how it came
together.
We're going to share all thatwith you guys.
So don't worry, but, scott, my,my, my jive usually is to start
to rewind in time a little bitnow, just to to let everybody,
all the listeners out there.
This record marks 30 years thatScott's been creating music, and
(01:47):
beautiful music, I will add ontop of that.
So he has a huge catalog andthere's a lot of stuff that's in
shelves and drawers that comesout now and then, which is a
real pleasure for fans like meto get these little nuggets, me
(02:07):
to get these little nuggets.
Um, but what we're going tolook at is how this record came
to be, because, scott, you hadmentioned that you had written
an obituary for super doublex-man.
Um, how, what was thetransition of resurrecting this
project that you've been doingfor so long?
Um, like, what was the?
What was the reason behind?
(02:28):
Kind of, all right, I'm, I'mkind of reached my goals with
what I want to do with this.
I'm going to put it to bed.
And then what changed in you toto want to resurrect it back up
?
Scott Garrand (02:42):
um, it's a great question.
I I'm always writing andcreating music and recording and
I was getting close to feelinglike I might have an album here,
but I'm honestly not sure if Ieven like the songs and to just
kind of keep reminding peoplethat my music projects exist,
(03:05):
I'll get onto a blog project orsomething, and so I was.
I have kind of a time capsulebomb waiting to go off in the
garage of just old flyers andt-shirts and stickers and
cassette tapes and I was juststarting to go through them and
posting on my blog about them.
(03:26):
And I got an email back fromAllie Wesley, who has been a
longtime participant in Super XXman, and she just said oh God,
you're just taking me down thisrabbit hole of nostalgia and I
just love it.
It'd be so fun to do somethingtogether again.
Like well, I have all thesesongs and honestly I'm kind of
(03:47):
stuck with them.
Allie, I don't know.
I don't know if they're goodenough to finish.
I don't know what to do withthem.
If you want to collaborate,let's do it.
And she and I set out on kindof an ambitious project to maybe
rewrite some stuff, create somestuff from scratch.
She's a super busy and supercreative person, so it seemed
(04:10):
like as as quick as we weregetting the project off the
ground.
It was like, whoa, maybe, maybethis is too much to take on,
but but what that did was thatsort of cracked open the idea of
the community.
That was Super Double X-Man.
(04:30):
Because I said, well, ali, whatwould we even call it?
I wrote an obituary, just callit Super Double X-Man, you can
do whatever you want.
And I'm like, ok, let's do it.
And then I just had some funwith resurrecting Super XX man.
I wrote a blog post aroundHalloween and leaned heavily on
(04:53):
chat GPT to write me a reallystupid Hardy Boys mystery type
Scooby-Doo, grave robbery post.
Scooby-doo, brave Robbery Post.
And then I shared all the songswith Adam Seltzer, who is a
(05:16):
Portland music producer and agreat songwriter, great
individual, whom I've known forthe last 20 years or so, ever
since I moved to Portland in2002, but we were never like uh,
close or best of friends oranything.
We were just, we just knew ofeach other and respected each
(05:37):
other.
And so to to hand them off tohim first.
First I thought, well, Iprobably won't be able to afford
it and it's hard for me tojustify putting money into a
project.
But, um, the more adam and Italked, the more I thought, well
, I think this is doable, Ithink we should do it.
And so, handing a bunch ofsongs to ally, a bunch of songs
(06:01):
to adam, we were able to gothrough about 19 tunes and and
say, let's, let's focus on theseand call it an album.
And it just came together andthe community and, and then I
thought kind of rambling here,but in 30 years there's been a
lot of people who have playedwith the group Totally.
Um, and super double X man is agroup, it's a community, it's,
(06:25):
it's a project.
It started out as just me, but,um, but it's always been
whoever's been close in mycircle of friends, uh, ever
since the beginning, and it wasjust great to reach out to.
Uh, I was a little disappointedbecause some people that I
(06:45):
reached out to just they werehard to get in touch with or
didn't write back or whatever.
But I was like, okay, I want totry to get as many people who
have contributed all the hotguitar licks and keyboard stuff
to play on this album somehow.
And so, um, we put thefinishing touches on it at adam
(07:07):
seltzer's studio in portland andI got adam mack, who was the
last drummer that played withsuper double x man, uh ally to
sing and play flute.
Tony moreno, who was in thelive the last portland-based
live band of super XXX man, andhe's also played on a couple
albums, just all to cometogether in Adam's studio and we
(07:32):
put the finishing touches on 12songs, including re-recording.
Rusted Hues Beautiful song,beautiful song.
It just all came together.
colleyc (07:44):
Kind of a reunion of sorts.
Hey, scott, like, yeah, um, didthat evolve?
Like, was that um?
Like the more that you startedto think about, okay, I'm gonna
go ahead with this project.
Like, hey, why don't I?
Or was that at the forefrontwhen you were thinking about 30
years of super double x-men thatyou wanted to have that kind of
because it's?
(08:04):
It's curious too, because mostof the double x, uh, super
double x-men records are volumes.
Right, you have volume one allthe way up to what is it volume?
Scott Garrand (08:13):
I think I stopped at volume, I don't know 15 or
16 yeah, sort of heavy metal isthat was that's volume 12, and
then there were a couple afterthat.
Okay, okay.
colleyc (08:24):
But those were kind of later on, right Like earlier on.
I should say.
Like how long has it been sincea super double X man release
that you put out before restedHughes?
Scott Garrand (08:37):
It's been, at least it's been exactly 10 years
, wow.
So so 30 years of music with 10years of, you know, dormancy, I
guess Right, and in those 10years were you still productive?
colleyc (08:54):
Like does music have to be a part of your daily
existence?
Like do you find yourselfneeding it At certain times in
your life?
Experiences happen, days rollby, that there's a need still
inside you to write songs.
Scott Garrand (09:13):
Yes, if people listening could look at my face
as I was listening to you answerthat question.
I just wanted to say yes,really fast.
I play music every day.
Really fast.
I play music every day.
I work as a music therapist soI engage with others through
music every day.
(09:33):
Separate from writing songs, Istudy jazz piano.
During COVID I experimentedwith building drum sets out of
suitcases.
I'm constantly tinkering withmusic in some way.
I don't stress about writingsongs.
(09:59):
I'm not someone who getswriter's block who gets writer's
block.
I just accept that.
Oh, I'm not really creating orwriting music right now, but I'm
.
But I'm playing music andpursuing it, and the recording
process is such a long, drawnout thing sometimes that like,
(10:19):
oh, I'll sit down for an hourand just listen to this song to
see if I can make it sound good.
That might be the day's musicpursuit.
Or I'm really learning this.
I want to learn this DukeEllington tune on the piano and
see if I can get my you knowbrain and heart to go through my
fingers and make the piano dosomething.
colleyc (10:43):
And Scott, what's your process for writing songs?
Like, when do you feel like youhave you're on to something
that you might, you know, see onan album or in a record, like,
what's that?
What's your process like?
And then how do you come toeither saying this I, I'm on to
something, or yeah, I'll showthat one um for a later date.
(11:05):
Like, how do you go about?
Like you said that you do itlike quite regularly, is this
something?
I mean, if you're focusing juston songwriting, how do you, how
does that process go about foryou?
Scott Garrand (11:18):
I've got snippets of lyrics, um, that I might
write down in notebooks, um,I've got probably hours of voice
notes on my phone of somethingthat once upon a time I thought
was a good idea.
If I'm sitting at a trafficlight and I've been like the
(11:38):
news wasn't engaging orsomething I might be singing an
idea, I'll just say I kind oflike this melody.
I'll just make a voice notereally quick and come back to it
, but then once, once making analbum starts happening, or once
setting up a microphone in mystudio at home, creativity tends
(12:00):
to steamroll into morecreativity.
So I might I might be excitedabout three songs, but those
three songs might make me sitdown and write a song in one day
.
That turns out to be betterthan the three songs I was
working on, and when I saybetter, it just like make me
(12:23):
feel better, like, oh, this songresonates to me in a way that I
thought, working hard on thesethree other songs, I thought
those three other songs wereresonating with me, but now
those three songs led to thisone song.
That's like really resonatingwith me.
And it's just you know, know,music just creates more music
(12:50):
yeah, yeah, I love that, I lovethat but it's taken.
You know, having a family and acareer and um, I've had to
really carve out time in my life.
I'm sitting in a room right nowthat I share with one of my
kids when they're living with mywife and I, and this house
(13:11):
belongs to my wife and she waslike just 100 percent full on
just set it up as a music studioand so it's it's almost a total
square room room, so it doesn'tsound great, but it's a space
that I have and I've workedreally hard to make it what it
(13:33):
is and I'm just, I'm lucky.
I'm very thankful that that Ihave, um the space and there's
not always time to do it.
colleyc (13:44):
So throughout the years , I've always just kept my um
recording environment as simpleas I can, so it's always like
ready to go Right Um and Scott,if we were to kind of rewind in
time a little bit to your earlydays of starting to become a
(14:05):
musician, to coming into thatwhat I mean.
I know a lot about SilverScooter because I was obsessed.
But how did you, how did thattransition happen from, um, you
know, being a person in theworld to identifying that music
was something that had to be apart of what you did.
What, what were some of thoseearly moments or those turning
(14:27):
points in your early life thatopened this door of 30 years of
writing songs?
Scott Garrand (14:35):
Yeah, I mean, I've played music since I was 11
.
So 41 years and counting.
And counting so 41 years andcounting and counting, and, and
when I was younger, um, I knew Iwanted to play music.
I didn't know to what extent Iwas also, you know, like, like
(14:59):
we all are when we're young,we're so impressionable and I
thought that I needed to be likea brooding.
I've always been a melancholyperson, but, you know, I thought
that I needed to be like don'ttalk to people, just consume
magazines and listen to music.
That's so far left of the dial,that, um, you know.
(15:24):
But but what I realized when,before silver scooter, before
super double X man, I learnedhow, um, I mean the moment that
I realized that I wanted to makemusic was.
I went over to a friend's housewho played drums and another
(15:46):
friend of mine who played bassand he was working on a jazz
chart that he had to do forcommunity college, and I played
guitar in the jazz band and, andI played through the chart with
him and that went really fast.
He just wanted to see if itworked as an exercise.
(16:06):
And then I was seriouslythinking about selling my guitar
to buy another camera lens orsomething, because I was really
into photography, and he taughtme how to play D and g on my
electric guitar and then solo onthe g string with the d string
(16:26):
ringing out and it was like whatwe could like.
That it felt amazing.
Uh, probably changed.
Probably changed my musical liferight then and there right and
we would get together everycouple weeks and just play those
(16:47):
same three chords.
And then when I got to collegeand I met some of the guys that
I eventually started SilverScooter with Tom Hudson and Sean
Camp another friend of mine,jeff Albertson we sort of just
started bands.
(17:08):
My buddy, jeff, bought a fourtrack in 93 or 94.
And that was just a huge momentwhere, like, oh, I can do, I
can write a song myself, I canwrite the verse, the chorus, the
guitar solo.
So it's like the world ofmaking music isn't so
(17:31):
unreachable anymore.
Right.
And then groups like Porta,static and Sebato and um later I
would learn, even BruceSpringsteen made a record on a
four track in his house, um oneof my favorites amazing record
(17:52):
like so foundational to like umI am amazed that you're, you're,
you're mentioning that.
So it's like it's like well, Iwant to do this too, and I was
empowered by that.
colleyc (18:02):
It was great yeah totally, and what was actually
the first song you ever wrotethat eventually made it onto a
release of some kind?
Do you remember those earlysongs that you started to write?
Scott Garrand (18:17):
Yeah, I don't remember what it was called.
It wasn't on the first SuperDouble X-Man cassette, although
some of the songs that I firststarted recording on a
four-track became part of thatfirst cassette in 1995.
I remember the chordprogression but I don't remember
the name of the song.
But it was the first thing Irecorded on a four track and by
(18:41):
the time it became a band song Iwas in a little trio that we
jokingly called Krogan.
We wanted to call it the BillyCorgan Four as kind of making
fun of the Smashing Pumpkins,but somehow it got, I don't know
, changed to Krogan, which isgoofy.
(19:02):
But somewhere in my garagethere's a cassette.
colleyc (19:07):
Right and like what did it feel?
Like, like, how do you?
How do you, how does it makeyou feel when you know you're
onto something with a song?
Like you know to shelve it orkeep it, like, is it just that
it feels good for you?
Um, like yeah, what are thosefeelings that you could put
words to that, when you know,like yeah, like this is, this is
(19:30):
gonna work?
Scott Garrand (19:32):
yeah, I think the only way to really describe it
is you're going down this pathof creating something.
Um, the lyrics that match upwith the melody that comes up,
like, like, evokes something,resonates with something maybe
that I've observed in the worldor observed in myself, and, of
(19:55):
course, on the songs were very,very like, always emotionally
driven, but like, more likepersonal and selfish kind of
Sure, you know, because I'm like19 or 20.
Sure, yeah, it happens, forsure, yeah, but it just feels
(20:18):
good, and so the process ofmaking the music happen becomes
the most important thing in thatmoment, I think, and so it's
(20:39):
easy to not think about anythingelse except creating that song.
colleyc (20:42):
That's, that's when I know okay, well, this is a good
song to finish, right, yeah, socool, so cool and like I
interview, like many artists andrecently I've interviewed a
couple of just beginning artists, you know, just starting their
careers, young, similar to whatyou're just describing yourself,
(21:04):
as you know.
I mean they tend to be veryinternalized about themselves
and working through stuff, youknow, and they often say I do
songwriting so I can get it outof me.
You know, I got to get thesefeelings out.
You know I got to get thesefeelings out.
What kind of advice do you givethose starting musicians, kind
(21:25):
of like having that experienceof the years that you've been
doing this and kind of takinginto account we're in 2025 right
now.
Things have changed so much inthe music industry over these 30
years.
What are some of those wordsthat you could offer to these
starting up musicians that youknow have a four track or I
guess it's garage band?
now and you know, or, like I, Iwant to do this um.
(21:48):
What insight could you sharewith us?
Scott Garrand (21:51):
well, I think, like making anything these days,
satisfy yourself through theprocess of making music or art,
make it feel good to you, trynot to do any harm with it to
others and just make yourselffeel good, like if you heard a
(22:17):
young songwriter say say, I justgot to get it out of me.
Yeah, get it out of you rightand keep yourself healthy.
Um and I like that and don'tdon't forget why you're doing it
in that moment.
colleyc (22:33):
You know, yeah, yeah and, as you, you know, evolve
and like this record that you'vejust put out, like, are you
going to go through the sameprocess that you go through
every record you know like onceit's kind of done.
So I have this, you know,artifact that I've created.
Has your process for putting itout in the world and shows or
(22:58):
podcasts, interviews, likewhatever it might be?
Has that evolved over time foryou?
Scott Garrand (23:04):
yeah, because because every, every album is a
learning experience and I'm aslow learner, which is maybe why
I have so many albums, likethere's a lot to learn.
So I got more albums to make.
So every album, I mean the gamehas changed.
I mean, when I first started,you know, we were putting up
(23:27):
flyers on telephone poles andgetting the word out to get
people to come out.
There wasn't Instagram, evenwhen Silver Scooter was touring.
We didn't have social media, wehad telephone poles.
We had telephone poles.
colleyc (23:40):
We had telephone poles and newspapers and yeah, we're
like why?
Scott Garrand (23:43):
why is nobody coming to our show?
Oh well, modest mouse was herelast night playing in the same
club, so everybody like came outfor that.
Like, oh, okay, so that's okay.
We learned that we want a tourwhen bands like modest mouse and
death cap for cutie aren't alsoplaying the night before.
Um, you know, every opportunityto learn something is amazing.
(24:06):
And now with this album, I'mkind of like well, I don't have
a record label.
I'm glad I don't have a recordlabel, because I answer only to
myself.
Yep, um, I'm not evencrowdfunding anymore, asking
people to pay for things inadvance.
I'm just like well, nowadaysyou can make 100 LPs.
I work, I have a good job, Ican front the money for that and
(24:34):
I want to just do enough to getthe word out that maybe I get
that investment back.
Other than that, I don't havehuge expectations for it.
This is great.
I'm doing a podcast with youright now.
This is cool.
This is the coolest thinghappening in my life today.
colleyc (24:53):
Me too.
I just I'm loving your storiesand all of these.
I just I'm loving your storiesand all of these.
Before we hopped on here too, Iwas kind of nerding out a bit
on or fanning out on yourproduction and stuff and it's
(25:14):
just been really enjoyable tokind of see the history behind
these songs that have becomeiconic in my life.
Like I told you before, thatJapanese live record that you
would put out where you playedcounting rocks and the the
bangers, the super double xbangers, and just that simple
record that you put outinfluenced me so much in in my
(25:35):
life, in in what I wanted to do,because it touched me so so
much.
And I guess my question to youis you said that you were kind
of, you know, you didn't liketalking and you were kind of
like, you know, in in your space.
How do you go from that tostanding in front of thousands
of people?
(25:57):
or I've never stood in front ofthousands of people or whoever
many doesn't matter, but to totalk about something, to sing
these songs because they are sopersonal and we were talking
about.
Hold on to me a song at the endof this record.
That's come, that's that's out.
Uh, as of may.
Um, how do you, how do you getthat bravery to to open your
(26:21):
heart up to the world and letthem interpret something that
was very close to you andpersonal, um, and kind of have
to let it go a bit?
Scott Garrand (26:31):
well.
I mean, it's a privilege to beable to go play a show and stand
in front of one person, twopeople, a thousand people.
I don't think it's bravery, Ithink it's just I want to.
(26:54):
I want to satisfy this urge todo it.
I there's.
There's nothing like singingand getting the sense that your
voice is out there, like fillingup a room and like when I'm
(27:18):
really singing, and I feel likeI'm like singing, singing well,
and it's resonating in my ownheart.
It's like there's nothing likeit.
So, um, I don't even play showsthat much anymore, but I feel
like what few shows I have linedup for the summer.
(27:38):
I feel like it's a world tour.
I'm really looking forward toit playing.
I heard about your world tour,playing in hannleton, playing in
moscow, idaho, and playing inmy own backyard, and might go
out to lexington, kentucky, um,later on this year.
But it's singing in front ofpeople, it's, it's a total
(28:00):
privilege, it's and it's andit's um, it doesn't matter how
many people there are.
I I'll share a really quickstory.
Silver Scooter was on theirfirst tour.
We were playing in Racine,wisconsin, in the basement of a
Lutheran church and there were,I think, seven people, and a few
(28:20):
of them might have had theirparents with them, and I
remember turning around andtalking to Tom who was sitting
at the drums, and I was tuningmy guitar and I think, honestly,
because it was our first tourand one of our first shows of
the tour, we were just kind oflike, wow, basement of this
(28:42):
Lutheran church and RacineWisconsin, and there's really
nobody here.
And then we're halfway throughthe set and this kid raises his
hand and asks a question Can,can you play cup and string?
And it's like, yeah, and it'slike, from that moment on, I
(29:05):
didn't care if I was playing forthe toilet in the back room, or
seven kids in Racine Wisconsinor 500 people in Japan, it's a
privilege, it right, that'samazing.
It's a privilege, it's great.
It feels.
It feels amazing.
colleyc (29:23):
Yeah, yeah.
And and did it always feel thatway, even at the start, like
even those first shows?
Like?
Did it always like?
Did that feeling always exist?
Every show that you youperformed, you just felt like it
was a privilege to be able tofill the room with your voice,
as you say.
Scott Garrand (29:40):
I think it's only like getting older that I would
look back and call it aprivilege.
When I was doing it earlier, Ididn't recognize it as a
privilege, but the feeling wasthere.
Um, but the feeling was there.
I maybe didn't know what thefeeling was, how to label that,
(30:03):
yet Right, yeah, yeah, it takessome time.
colleyc (30:06):
So, as we come to a wrap here, scott, thanks so much
for this.
I mean, I I talking with you, Iknow why you're a songwriter
because you're such a goodstoryteller and you, you, you
can lace a few sentencestogether that are very powerful
and make sense um, thanks, um,what do you look forward to?
(30:28):
So you're going to do a worldtour.
You have, the record is out.
These songs were assembledthroughout a chunk of time, do
they go way back?
And then some are more modern.
Like, could you kind of age therecord of the songs, the 12
songs that you have on here?
Scott Garrand (30:45):
Well, the songs are all new and that they're not
released.
Most of them were written inthe last two years, with the
exception of three songs on thealbum were from my.
I call it my carnation albumbecause I recorded it while
house sitting for my cousin incarnation, washington.
And two of those songs are onthe album as as I recorded them
(31:08):
10 years ago in my cousin'splace, and one of them is redone
because I've just always lovedthe song and it's just kind of
grown and expanded.
And funny, allie and I recordedit as a duet on the album and
it was like months later, afterthe album was finished.
I'm like that song's missing averse.
(31:31):
How did that happen?
And I'm like, well, okay,whatever, I guess I guess the
song got edited and I didn'teven realize it.
The songs in the live shows thissummer and of course we're
jokingly calling it a world tour, although if you're out there
(31:54):
and you want to hear some superdouble X-Men music, reach out,
I'll find a way to come to yourliving room and do it Cool.
The songs will all be up to 20,25 years old.
So I think we broke the setinto two halves.
(32:14):
Maybe eight or nine songs ineach set, two halves, maybe
eight or nine songs in each setand one set is heavily um
populated by the new album.
So 10 years of music rightthere.
And then the other set is kindof like, uh, classics I'm
holding up my fingers in quotesum classic that go back to at
(32:40):
least volume four Totally.
colleyc (32:43):
Yeah, I mean, I think that some of these songs will
outlive us and they'll belistened to by our grandkids.
You know, like I really thinkthat they have such this timely,
they'll always feel relevant,you know, because what you talk
about is human stuff and humanstend to not change.
(33:03):
Technology changes and ourhouse might change and the
weather changes, but humans feelbasic feelings and I think that
you have this art of tappinginto those and putting words to
them that describe thesefeelings and and through
storytelling or direct, you know, simile and illusion metaphor.
(33:23):
But I really it's been such aprivilege to talk with you,
scott, today.
Scott Garrand (33:30):
Hey, the privilege is mutual.
I really appreciate everythingthat you just said and I don't
want to say too much after thatbecause that was a.
That was a nice compliment.
Appreciate it.
colleyc (33:40):
Well, I appreciate you and thanks for putting this
record out um people go check itout.
Catch scott on his world tourum at a spot near you and get
this record, people.
um, you'll listen to it once andyou'll start it right over
again, and then you'll listen toit once, and you'll start it
right over again, and thenyou'll listen to it again and
again.
So it's it's well worth thelisten.
(34:00):
Um, all the best.
I hope one day our paths crossagain.
Um, if ever you want to comeand just continue in this
conversation, I think we couldjust talk for hours and hours.
It's just been a real treat.
Scott Garrand (34:12):
So, thank you, yeah, yeah, this is stuff I can
talk about music and how itmakes us feel.
colleyc (34:21):
Tell them living in the dirt.
Have a good day and thank Godthat you resurrected Super XX
man.
No more obituaries for maybe alittle bit more time and a
couple more records.
Super XX Man (34:55):
That sounds good.
Thank you very much.
What's wrong?
Why are you doing that to me?
Why you doing that to me?
What's wrong with me?
What's right?
(35:16):
How am I supposed to be?
How the hell am I supposed tobe?
What's right?
I wanna go home, where I wannabe.
I wanna see what's right.
(35:37):
What's right, what's right Withme Hold on.
Hold on to me.
Hold on to me so I can see Allthe parts of me.
(36:04):
You need to see To be believed.
Hold on, hold on.
Speaker 4 (36:12):
Hold on to me.
Ooh, I wanna see to me, ooh, Iwanna see, ooh.
Super XX Man (36:26):
I wanna be.
Ooh, I wanna see, wanna see.
Hold on to me, hold on to me,hold on to me, hold on to me,
(36:48):
hold on to me, hold on to me,hold on to me.
Hold on to me Inside.
Hold on to me Inside.
Protect me from the walls Ibuilt.
Accept me for the things Iwilled, for, the things I need
(37:16):
to be inside this world For meto see, for me to feel, for me
to be.
Accept me for the things I will, for me, the things I need See
the world I need.
Accept me for the things I needto be inside this world for me
(37:41):
to see, for me to feel for me tobe, for me to be, for me to be,
for me to be, for me to be.
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