Episode Transcript
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Speaker 1 (00:00):
Hey, I'm Nora Jones and today I'm playing along with
Rufus Wainwright.
Speaker 2 (00:04):
I'm just playing long wey, I'm just playing lone with you.
Speaker 1 (00:17):
Hey there, I'm Norah with me as usual is Sarah Oda.
Speaker 3 (00:24):
Hi.
Speaker 4 (00:25):
Welcome to the show, everybody.
Speaker 1 (00:28):
Oh, welcome to Actually I'm going to tell you guys
a little secret. This is my first time seeing Sarah
and she's on a FaceTime because she just had a baby.
Speaker 4 (00:38):
Did I have become two people?
Speaker 1 (00:42):
Congratulations?
Speaker 4 (00:43):
Thank you so much.
Speaker 1 (00:44):
She's got her little baby right there next to her.
Speaker 4 (00:47):
This could go terribly wrong at any moment, but for
right now, okay, so.
Speaker 1 (00:51):
We should get to the intros to the dro.
Speaker 4 (00:55):
For right now, she's snoozing awesome. But I did just
want to say we've been doing this podcast for over
a year now and we are just so thankful to
our listeners for tuning in every time, subscribing and liking us.
Thank you, thank you, thank.
Speaker 1 (01:10):
You, yes, thank you so much. It's been so nice
to feel like people are listening.
Speaker 4 (01:16):
And we also have gotten so many great guest ideas
from all of you, so thank you for that as well,
and we are working on it, so stay tuned. Follow
us on socials so you never miss a new episode
and grass Yes, adigatto.
Speaker 1 (01:29):
Do it for the baby Gratzi Okay.
Speaker 4 (01:34):
Our guest today is the wonderfully poignant and evocative vocalist, songwriter,
piano and guitar player, composer and just incredibly charismatic person
to be around, Ruthus Wainwright.
Speaker 1 (01:47):
Yes, he's one of a kind, it really is. I've
known him a long time and it was such a
pleasure to get together and sing sing some songs.
Speaker 4 (01:56):
His career spans over several studio albums, soundtracks to film
and TV, classical operas, a musical, and not to mention
the annual holiday concerts which he produces with his sister
Martha Wainwright, called A Not So Silent Night, which you
Nora are joining in on this year in New York.
Speaker 1 (02:14):
Yeap pi am, It's gonna be fun.
Speaker 4 (02:16):
And he's also celebrating the twentieth anniversaries of his two
thousand and three and two thousand and four albums Want
One and Want Two with Symphonic shows. Also released his
latest studio album earlier this year, called Fokocracy. He stays
very busy and is an extraordinarily creative human.
Speaker 1 (02:36):
Yes, his new album Phococracy is so cool. He's got
a lot of special guests on it, and we get
to talk about that a little. And it's just so
fun to sing with someone like Rufus. And also he
plays piano. I play only on one song on this
episode because he is such an incredible pianist, so we're
going to get to hear his piano playing coming up
(02:57):
top at the tip toppy.
Speaker 4 (02:58):
I'm excited you're in all of it.
Speaker 1 (03:01):
Hope you enjoy our new episode with Rufus Wainwright. I
would love to do poses first because it's sort of
my introduction to.
Speaker 5 (03:11):
Your music, Okay.
Speaker 1 (03:13):
And I felt the song my gosh, I mean, I
feel like this is one of those songs that gets
the emotion. The harmonies you use are so beautiful. You're
piano playing everything.
Speaker 5 (03:25):
So yeah, I know, I mean this one is I
wrote it. Yeah, it was for my second album, and
I wrote it partially in London and partially in New York, Okay,
And it was I think the first half was in
London and the second half was in New York. And
it was sort of right at that moment where you know,
(03:46):
the high end of decadence, was was gleaming in all
of its glory everywhere or for get yeah, in the world.
I mean it was just like I was on top
of the world in so many ways. But I at
once getting there, I could then sort of see the drop,
you know, And I think in London it was I
sort of arrived and it was very you know, poetic
(04:09):
and seductive and but also sad. I mean, you know,
it's like, but then once I got to New York,
you started to get a little more you know, treacherous.
Speaker 1 (04:18):
And I love that line. I can, I can picture it,
you know, it's such a great line. What's that chord?
Is that a diminished cord?
Speaker 5 (04:30):
In which which part do you mind if I just
sprinkle a little bit? Yeah, yeah, yeah.
Speaker 6 (04:47):
Theoland with portraits and them my new red fetch the
jacket all is pos So it's beautiful pose as mag
SETI Boys, Philac picking up roses.
Speaker 3 (05:10):
There's never been such.
Speaker 6 (05:13):
Grave mad As go very it on brand name and
black suns ass all these poses.
Speaker 3 (05:24):
So that's beautiful poses.
Speaker 6 (05:27):
Mags SETI Boys feel less pretty ass. Princess the Green
tom Not Sparks, Go Dog Tama City Streets.
Speaker 3 (05:42):
Mdreus scored single.
Speaker 7 (05:44):
All these poses.
Speaker 6 (05:47):
Oh, I'm gonna blame me. Life is a game and
true love is a.
Speaker 3 (05:55):
Trophy, you.
Speaker 7 (05:59):
Sir?
Speaker 8 (06:02):
Which my head about.
Speaker 7 (06:09):
Baby small?
Speaker 8 (06:17):
My head about it? My head about it?
Speaker 7 (06:26):
No one, no one, no one, no one, no.
Speaker 6 (06:35):
Kiden reclined amongst these packs of reasons for the smoke,
the days away to the evenings, all these poses of
(07:01):
classical torture, uin my mind like a snake in the orchard.
Speaker 9 (07:08):
I didn't go from mort to based someone now one
drunken wearing flip flops on Fifth Avenue?
Speaker 6 (07:20):
What's your falling from classical virtue? Episode for the wig
up bed on you in the green tom Spark.
Speaker 3 (07:36):
Or Tato City streets.
Speaker 6 (07:39):
Adresscor seal the poses now no longer?
Speaker 3 (07:47):
Boys, man me a man of it? Who cares what
that is?
Speaker 5 (07:55):
You wor.
Speaker 8 (08:02):
Smart about baby? Sma sma about smad about on the.
Speaker 3 (08:26):
One, no.
Speaker 7 (08:30):
One, no spa slaby.
Speaker 8 (08:47):
Small sad about.
Speaker 5 (09:16):
No h.
Speaker 1 (09:34):
Oh my god, you're so good, honey.
Speaker 5 (09:39):
It's good. We did that one first.
Speaker 3 (09:43):
You just did it?
Speaker 5 (09:45):
Yeah, yeah, well that one, that one. It's good we
did it first because I can also psych myself out
with that one, like if we've done a few and
then we're like, and now we do pose it because
it's so and I'll just like forget, like I'll space
out or I'll forget.
Speaker 1 (10:00):
Note it is so grand that song without being any
any pretension or precious, you know what I mean, Like
it's just.
Speaker 5 (10:09):
From was it was effected.
Speaker 8 (10:11):
You know.
Speaker 5 (10:11):
One of the main influences of that song was actually
you know um Karsum.
Speaker 8 (10:16):
No.
Speaker 5 (10:17):
She's like an Egyptian. She's probably the most renowned and
beloved Egyptian classical singer you know, around the early twentieth century,
mid mid twentieth century. But she she only sang in
the Middle East. I think she sang once in Paris.
But she just has her voice. She had the greatest
voice of all. And it's that Egyptian style Middle Eastern
(10:38):
but that on Noah, it's more of like an Eastern
kind of Egyptian thing.
Speaker 1 (10:46):
That's cool, you know, that's cool. And what's that is that?
Speaker 3 (10:51):
A diminished court is.
Speaker 5 (10:52):
Like oh god, I don't know.
Speaker 3 (10:55):
I mean the on that part when poses.
Speaker 5 (11:07):
Yeah, yeah, yeah, that's what that yeah yea yeah yeah
yeah yeah.
Speaker 1 (11:10):
But the way the way you voice, the way you
like do like a drop too things, yeah.
Speaker 7 (11:15):
I mean.
Speaker 5 (11:17):
No, no, no, no, no, no, yeah, yeah, you do
the there's a second in there.
Speaker 1 (11:27):
So cool. I couldn't figure it out. I think I
cannot figure it out.
Speaker 5 (11:32):
I mean, I I will say that it's a bit
it's both my superpower and also my a bit like
Superman actually, where like Kryptonite gives him his power, but
it's also like where you're the most vulnerable because I'm
just I'm really unlike Kate, who you knew well, my mom,
who could jam with anything, and I just would really
(11:55):
loved playing instruments probably more than anything, and just would
get into the song and like any style, any kind
of mood. And I'm the polar opposite that of every
note is completely really composedly composed and it's always the
same arrangement.
Speaker 1 (12:11):
Okay, I didn't realize it.
Speaker 5 (12:13):
Yeah yeah, so and I have. And it's a bit
of my Achilles heel, like to actually sit down and
I've tried. I should do it more. You know. It's
actually great is that I did it sort of recently.
And what happened is that we did these Christmas shows.
We do these family Christmas shows, which I hope you
will join us.
Speaker 1 (12:29):
Yeah, in k I feel like I did maybe yeah,
the first version, yeah, yeah, or it wasn't the first,
but it was one of them.
Speaker 5 (12:38):
But you got to do it again. But we did,
you know that Kate's past and also I have I
have an aunt Jane, who's a great piano too, but
her health is you know, delicate, so she can't always
be around. So we were just up in Saint sever
in the countryside in Canada and we had all the
kids around and I was the only and I had
to go play the piano for all the carols. And
(13:00):
it was actually a great way to get in.
Speaker 1 (13:03):
It was good for you.
Speaker 5 (13:03):
Yeah. Yeah, you know the song the people you know
that it's like and you can kind of bang them out.
That's all people need is to bang out the chorus.
You don't have to do anything. You don't have to
like do an amazing rendition pianistically. No, no, so I
think with the Christmas show I need to or not
even the Christmas Show. Just like sing around playing Christmas.
Speaker 1 (13:26):
It's fun. Yeah, yeah, the thing everybody gathers around.
Speaker 5 (13:29):
Yea.
Speaker 1 (13:30):
So are you like that because you studied classical piano.
Speaker 5 (13:32):
Yeah, I studied classical piano. When you start, I started
very I started at six or so. I was never
great great, like I didn't practice enough though. I did
go to McGill and piano and then yeah, piano, but
I didn't stay very long. But wait where micguil in Montreal?
Speaker 1 (13:50):
Okay for college?
Speaker 5 (13:52):
For college? Okay, sorry, I'm conservatory.
Speaker 1 (13:54):
Like oh, like it's like a big conservatory.
Speaker 3 (13:55):
Well it was.
Speaker 5 (13:56):
Yeah, it's a good it's a good school.
Speaker 1 (13:58):
Okay.
Speaker 5 (13:59):
I kind of went straight into composition in the sense
that I would just start writing music. I started writing
music when I was about six or seven.
Speaker 1 (14:07):
Songs, yeah, yeah.
Speaker 5 (14:10):
And I would even gravitate towards the piano at an
earlier age, just kind of bang on it. I was
sort of I think I thought it was my mother
or whatever I related to.
Speaker 1 (14:19):
Her well, because she was always playing.
Speaker 5 (14:21):
Yeah. So I just was like always at the piano,
but it was always writing songs and creating my own
thing and not really jamming or like trying to figure
out other stuff. I did do that at certain points,
but yeah, so I don't know, I just ended up
not knowing how to jam so much. I will say
though that it was also due to my voice. I mean,
(14:41):
because my singing was so kind of like they're very
They're like two animals that I had that when they
come together. I mean, and that's a little bit like
when I played poses a little bit. It's a bit
sort of that's the phenomenon that I go for. It's
like the piano, they're not they're kind of playing against
each other. The arrangements.
Speaker 1 (15:00):
Yeah, the counterpoint.
Speaker 5 (15:02):
Yeah, there's a lot of counterpoint between the voids I'm
not supporting. You know. That's kind of where it gets
really interesting with what I do, because I do play
them against each other. So it's it's a bit of
that tension that I was, you know, drawn to to create.
Speaker 1 (15:16):
It's what's special about you.
Speaker 5 (15:17):
To create the tension you draw.
Speaker 1 (15:23):
Is that drama? No, it's okay, it's it's what's special. Well,
what about singing when you were little? I mean you
just the family would sing, right, Yes.
Speaker 5 (15:34):
Always sang all the time. No, there was always music
around always. It was it was almost I'm not going
to say abusive, but it was it was definitely like
full on, uh, taking advantage of the child kind of
things like we would just sing, like at parties, go
sing because especially and it was great and you were
(15:56):
probably and it was the seventies and the eighties, and
I was into it. But but it was there were
there wasn't that there were. There were much the boundaries
were much less drawn back in that era.
Speaker 3 (16:05):
Yeah.
Speaker 5 (16:05):
So and there was. And it was a pretty rowdy crowd.
Not a lot of drugs or anything. There's a lot
of drinking and pot and stuff. It wasn't like this
like crazy like when I came to La like in
my first for my first record, I ended up hanging
with a lot of other kids of famous musicians and
like Crystill's and they told me stories of like growing
(16:26):
up in LA and that whole and that folks scene
different like ten times more freaky. But so it was.
It was Canada.
Speaker 1 (16:35):
You guys were in Montreal.
Speaker 5 (16:36):
Yeah, were in Montreal, which was which I think was
our saving grace and run of ways. But there was
music all the time.
Speaker 1 (16:42):
But and so you and Martha Mom, Yeah, Mom.
Speaker 5 (16:47):
What it was is that my mother, my mother, Kate
was essentially it was a bit of a condition that
she had in the sense that she just thought of
everything musically. Yeah, Like if she heard a song, she
would try to figure it out, if she if somebody
came in, she wanted to see if they could sing
like that's how she would communicate with them. Wow, if
(17:08):
she heard something on the radio that was beautiful, she
would always stop the car and listen to the end
of the piece like it was just music was such
a powerful force in her life for good, but also
it was a little intense like it was. It also
tortured her somewhat, you know, because she was so in
touch with you know, whatever that the power of that,
which can be difficult, I think. And so she was
(17:29):
just always doing music. And then my grandmother, her mother, Gabby,
I think she was She had been one of you know,
twelve children, grew up in the Depression and lived in
the Yeah, grew up in the Depression, had a really
tough life, had to work to support her family until
she was in her thirties, right, like her brothers and sisters,
(17:49):
couldn't do anything that she wanted to do. So I
think she had a lot of untapped ambition and a
lot of you know, maybe she she would have been
great on stage, but it just was now her an option.
So she would then sort of demand these floor shows, yeah,
where of course she at the end would be the star.
You know, she would do her like Music Hall number
(18:10):
from nineteen eleven.
Speaker 3 (18:11):
That's amazing.
Speaker 5 (18:12):
And my mother would learn all the pieces and and
and of course was also very good in Jane as well.
Speaker 1 (18:16):
But yeah, your mother's sister Anna mc garrigol.
Speaker 5 (18:19):
Yeah, yeah, yeah, So it was just it was like
a kind of perfect storm. And then I was sitting
there lapping it up and willing. Martha hated it, she did, Oh,
she hated that.
Speaker 1 (18:27):
Dynamic is so interesting to me between you two because
you're older by how many years?
Speaker 5 (18:31):
By three years?
Speaker 1 (18:32):
Also I have I have a boy who's two and
a half years older, yeah, and a girl.
Speaker 5 (18:36):
Yeah.
Speaker 1 (18:37):
He's very very dominant.
Speaker 5 (18:38):
Yeah yeah, yeah, and Martha, what's fascinating my Martha, she
despised it at the time, would always be up in
her room. We'd have to kind of drag her down.
She would come down, yeah, but it was always this
push and pull. But she was doing her whole other thing, okay,
in her room, like she was, she had her she
was listening. Yeah, she was paying attention.
Speaker 1 (18:55):
Well, she's so so good. Yeah, no, I mean she's incredible.
Speaker 5 (18:58):
I know, she's she's her own and I think she
had to define herself from that as well.
Speaker 1 (19:03):
You know, yeah, but I even feel like you also.
I mean the way you're saying is so unique to you.
I mean, where does that operatic quality coming from?
Speaker 7 (19:14):
Opera?
Speaker 1 (19:14):
Okay?
Speaker 3 (19:14):
Yeah? Yeah.
Speaker 5 (19:16):
When I was thirteen, I had a mad sort of
operatic okay conversion, Yeah, because I heard Verdie's Requiem and
and by the end of that two hour slot, I
was a complete opera queen. Amazing And I was young.
I was thirteen, and that's all I wanted to listen
to and here and it was kind of my salvation
(19:38):
on many levels, both musically. The gay thing AIDS was
decimating the war, yeah, so like it dealt with death
and you know, yeah, you know, not all that thing.
So it was sort of opera kind of stepped in
and wow, did a number on me.
Speaker 1 (19:55):
I kind of went through an opera phase at the
same age.
Speaker 5 (19:57):
Oh really, Yeah, my mom got.
Speaker 1 (19:59):
Tickets to the Alice Opera, right, I mean our first
one was Puccini. I was sold.
Speaker 5 (20:05):
Yeah, yeah, which one? Did you remember which one it was? Yeah?
Speaker 1 (20:08):
It was probably Madam Butterfah yeah.
Speaker 3 (20:10):
Yeah.
Speaker 1 (20:11):
And for a minute I thought I wanted to be
an opera singer. Yeah, and then I was like, no,
I'm way too lazy for that. Did you ever consider study?
Speaker 5 (20:21):
Well, I mean, my my hilarious study opera story is
that I went, as I said, I went to McGill
Conservatory and and I was I'd been singing for years
and loving opera for a while, and and I could
I could have been a great opera singer. I mean,
I think that's pretty definitely. Yeah, yeah, I I with
the training and stuff, so I I kind of I
(20:41):
was curious about, you know, what that would take. And
at the time I was wearing it was it was,
you know, the nineties, and I was had this kind
of weird, funky outfit with like a fear Roucci jacket
and clogs. I was wearing clogs. I can picture it
ripped and like you know, women's sunglass whatever. I was
just this look. And I went in and sang for
the professor and he was like, oh, that's very good.
(21:03):
You have a very beautiful voice. But I have to say,
the clogs have to go. And I was like, you
know what, the clogs are staying. And I walked out.
That was and that was why I didn't.
Speaker 1 (21:17):
That's incredible, that was it, you know what, not for me?
I wish I had that moment recorded on video.
Speaker 5 (21:31):
Your loss.
Speaker 1 (21:32):
Did you ever hear from that guy?
Speaker 5 (21:34):
No, no, I heard. He was a great singer. He was,
he was. He was like one of the Straussian tenors.
He would do King Herrod from Salomi, which is one
of the most insane roles. So he would ask for like,
you know, he would have to cut off John the
Baptist head.
Speaker 10 (21:50):
Yeah.
Speaker 5 (21:50):
Maybe I made the wrong decisionally.
Speaker 1 (21:53):
Not let's do another song?
Speaker 3 (21:58):
Yeah, do you want to?
Speaker 1 (22:00):
Let's try. I really wanted to do go into a town.
Since you're at the piano, so that my gosh, this
is another epic one.
Speaker 5 (22:10):
Now, this one, as I said, the piano arrangement is
much simpler, it's less composed, So please play a lot.
Speaker 1 (22:19):
I'll play more, honestly.
Speaker 11 (22:21):
Yeah.
Speaker 3 (22:21):
Yeah, you know what to do with you got it?
Speaker 7 (22:24):
You know what to do.
Speaker 1 (22:25):
And then I was like, I can't do it.
Speaker 5 (22:26):
Yeah, yeah, yeah, yeah, yeah, I know it has its thing,
but this one is meant to be, yeah, to be
tossed around.
Speaker 1 (22:32):
I do I like that about this one? And I also,
what year did you write this one?
Speaker 5 (22:36):
Well? I wrote this, Uh, I wrote this right after
the United States invaded Iraq. This is a response. That's
what I thought to that situation. So what was that
like ninety two thousand and three, something like yeah, yeah,
something like that.
Speaker 1 (22:55):
Yeah, yeah, I.
Speaker 5 (22:56):
Remember the Iraqi invasion.
Speaker 1 (22:59):
So well, let's play it then we'll talk about it.
Speaker 5 (23:03):
Yeah yeah.
Speaker 7 (23:13):
I'm going to a town that is already been but.
Speaker 6 (23:21):
I'm going to a place that is arenyvent displays. I'm
going to see some folks who have already been let down.
I'm so tired of America. I'm going to make it
(23:49):
out for all the Sunday time. I'm going to make
it up for all the most shim rather that never
really seemed.
Speaker 7 (24:07):
To want to tell the truth.
Speaker 12 (24:11):
I'm so tired of you, Mamica making my own well,
ain't gonna be.
Speaker 3 (24:27):
I got a lot to leave in America. I got
a lot to tell me.
Speaker 8 (24:49):
Do you anythink it go to hell forving love?
Speaker 6 (24:56):
Tell me lot of thinking everything that you've done is good.
Speaker 3 (25:04):
I really need to know.
Speaker 6 (25:07):
After soaking the body of Jesus Christ and blood, I'm
so tired of a man.
Speaker 7 (25:22):
I really need to know where I may just let
me see you again.
Speaker 8 (25:28):
Mind, Well, you talk advantage of the world that loved you. Well,
I'm going to a town and is already been bod down.
Speaker 7 (25:48):
I'm so tired of you mad mak him all and
way call. I gotta loved.
Speaker 3 (26:07):
To Loman, I got love, I got so.
Speaker 7 (26:32):
Just say, I got train.
Speaker 3 (26:45):
That song speaking stickle, Oh.
Speaker 5 (27:49):
My god, the opera there, that's the opera.
Speaker 1 (27:55):
Holy crap, that's.
Speaker 3 (27:57):
Hard, is deep.
Speaker 5 (27:59):
Sadly it's become right now a perennial. It used to
be every four years. Yeah, every year, sadly that that
song comes up again as a you know, meaningful comments
on what's going on right now?
Speaker 1 (28:16):
Isn't that weird? It just you know, it's it's it
goes in cycles. It doesn't.
Speaker 5 (28:22):
Yeah, well it seems like it used to be more
longer cycles.
Speaker 7 (28:25):
Yeah.
Speaker 5 (28:25):
Now, you know, because even after Biden won and I'm
a big Biden fan and I think he's doing a
great job, but it doesn't whatever I.
Speaker 1 (28:33):
Mean, there's still all the stuff falling down. Yeah, yeah,
it's crazy. I had a song kind of similar timing
that was about it was my version of whatever comment,
and I remember being worried at the time that it
wouldn't be relevant by the time the album came out,
and it would and then it just like always is real,
(28:56):
and it was kind of more about the election and
all this stuff. But I remember whenever Obama was elected,
I still sing it because it was around election day,
but the meaning of it flipped. Yeah, and it was
like the other side related to it.
Speaker 5 (29:14):
Yes, yes, I had the exact thing. I had the
exact same thing.
Speaker 1 (29:19):
So even though my intent writing it meant one thing
to me, it flipped I totally whoever, whichever side.
Speaker 5 (29:25):
When I first wrote it, people would boo. Certain people
would boo and even leave. You know, I had one
experience where I was I was doing it with an
orchestra and the first trumpet player got up and walked off.
Oh my gosh during the song.
Speaker 1 (29:40):
You know, did he not go to rehearsal.
Speaker 5 (29:46):
Anyways, but he was a big Trump person anyways. But yes,
but then I had this weird thing where I would
play it during Trump years and certain things and they, yeah,
the conservatives would relate to it more.
Speaker 1 (29:58):
I'll just hold hands talk about it. But I feel
like it feels really good to write this kind of
song when you're frustrated. It's like, for me, it feels
better than trying to say my feelings on social media
or something. I feel so much better channeling into whatever
I'm doing and having it take that over.
Speaker 5 (30:20):
Yeah, And I will say, you know, there's another song
of mine which I wrote more on the Trump era,
which I which it's called the sort of Days and
you should check it out.
Speaker 4 (30:28):
It was it was, it was.
Speaker 5 (30:29):
It was produced by Thomas Bartlett produced it. Oh yeah,
I did it at his studio and it was written
about more about the Trump stuff. But it's a great well,
first it was. It was mixed by Tom Elmhurst, such
an amazing mixer and uh and it's a really special
track and sort of sort of and it's around. There's
(30:53):
something also about writing around those times and trying to
do something, you know, to counter artistically musically, and it actually,
I don't know, I think it does rub off on
the recording.
Speaker 1 (31:04):
Even like yeah, yeah, there's a r yeah, and there's
a kind of spirits, yeah, that you should take advantage
of when you when you've written these songs that are
more you know, commenting political, do you find that you
go in trying to do that or they just inspire,
they just like inform what you're doing as you're going along.
Speaker 5 (31:25):
I think it gets pretty bad and it just has
to it.
Speaker 1 (31:28):
Just comes out. You're not going, I'm going to write
a protest, so it gets pretty bad. Yeah, that's the thing.
Speaker 5 (31:35):
And the first time was with this song when when
when you know, when we invaded a rack, And then
the second time was sort of domically is when the
Trump years was just yeah, unbelievable.
Speaker 1 (31:45):
Yeah that people always ask me about, like how do
you write a I'm like, I don't think you've got.
Speaker 5 (31:52):
Because I yeah, you don't, but I have been you know,
I have this folk record coming out, Pholcocracy, and I'm
singing it Peggy Seeger song on there, and it's not
a political song, but I'm a big fan of hers
and of Pete Seeger and the whole Seeger thing. But
she's she's still with us and still performs and she's amazing.
(32:13):
But really going back into her catalog and the work
that they did that was part of my mother's world,
ye dads world in the seventies and sixties and stuff,
and they're you know, they would have at least, you know,
a good fifty percent or even more were political songs.
Yeah you did that.
Speaker 1 (32:31):
That's what you Yeah, that's less.
Speaker 5 (32:33):
That's what you were there for. Yeah, you were there
to make the world a better place. You were there
to sing for them, for the underprivileged and the oppressed. Yeah,
and I think that's missing a little bit now people.
Speaker 1 (32:45):
Are scared, yeah, or they're not inspired for some reason.
Yeah no, or they put that energy into like a
social media post instead of a song maybe I know which. Yeah,
I prefer the personally like, like, I know how you
feel by hearing this song, and I'm deeply.
Speaker 5 (33:07):
I will say though that I that I think that
I have hope. I have hope that the pendulum will swing.
I think with what's I think actually considering what I
mentioned before with you know, Biden won the presidency, Democrats
kept the Senate, and but it's still a ship show
and horrible things are happening. It is, and it's really
up to the people to get out there and do
(33:28):
their thing. It is.
Speaker 1 (33:29):
But the political game is so Yeah, it's so hard
to get in there.
Speaker 5 (33:35):
But I think it's all hands on deck at the moment. Yeah,
it has to be so get we should. There should
be a.
Speaker 1 (33:41):
Resurgence, resurgence political. Do you play this song at every show?
Speaker 5 (33:47):
I played a Yeah, it's actually it's on the Folcocracy record.
Oh you put this on the one the one song
of mine that I I'm so glad that I put
on as a folk song.
Speaker 1 (33:57):
Did you have a person writing on it?
Speaker 5 (33:59):
Yeah, I have.
Speaker 1 (34:00):
I sing with amazing and I love. Yeah, you did
duets on this whole album pretty much.
Speaker 5 (34:08):
Except for Maybe. No, it's it's not only duets. Okay,
it's it's it's a it's a range of offerings, but
but it is. There's it's due at heavy.
Speaker 1 (34:16):
Yeah, it's great.
Speaker 3 (34:17):
I love that.
Speaker 1 (34:19):
The John Legend song. I didn't know that song.
Speaker 5 (34:21):
That's beautiful.
Speaker 1 (34:23):
That's the Peggy Seer song.
Speaker 5 (34:24):
Okay, So there's that one, and then of course there's
also amazing singing Cotton Eye Joe with Ka Khan.
Speaker 1 (34:32):
It's incredible, and and also.
Speaker 5 (34:35):
Uh David Byrne and we're doing the moon Dog songs.
Speaker 7 (34:39):
You know moon Dog.
Speaker 5 (34:40):
Yeah, checkout moon Dog.
Speaker 1 (34:41):
Okay, it's amazing. That's incredible. And you did down in
the Willow the Willow Brandy Carry.
Speaker 5 (34:47):
Yes, she's perfect. Yeah, yeah, no, she is.
Speaker 1 (34:50):
She's an incredible singer.
Speaker 5 (34:52):
Yeah, And I love to sing with you.
Speaker 1 (34:53):
I would love to, you know, I actually recorded this
song with Billy Joe Armstrong. We did we did this
Everly Brothers record right, right, right, and actually it was incredible.
Speaker 5 (35:04):
It was so fun Well, in my opinion, the Everly
Brothers are kind of they're kind of like if you
were going to think of like the American Stars as
actual stars. Yeah, in the firmament, they're like these two
they're like the twins or something, you know, like this,
these two kind of cast or Castor and Pollux or whatever.
Speaker 1 (35:25):
They're like this, like the Seven Sisters.
Speaker 5 (35:29):
Yeah, yeah, they're yeah, they're a group of stars stars
kind of.
Speaker 1 (35:33):
You're right, Yeah, it's beautiful. They're incredible. And they had
that sibling thing which even Martha had, yes, and which
you know you also had with your mom, that the
familial singing together thing.
Speaker 5 (35:48):
Yeah, there's another kind of vibration that it really is genetics.
Speaker 1 (35:52):
It's so funny because you do all have your own
distinct voices, but when you sing together, it's just it comes.
Speaker 5 (35:58):
I don't know what that word is or thing, A
group of stars.
Speaker 3 (36:02):
Know what it is?
Speaker 11 (36:03):
Oh?
Speaker 7 (36:03):
God?
Speaker 1 (36:04):
Well, consolation, a constellation, a two person constellation. Gotcha, I
know what you're saying. All right, I'm gonna I'm gonna
try to play guitar on this, just to break it
up a little do you do it? I'll do it
in the key you did it on the record, okay,
which is something.
Speaker 5 (36:24):
Lyrics a little.
Speaker 1 (36:24):
Bit just okay, Yeah, I think Sarah can prinham.
Speaker 5 (36:30):
Right, this is so much fun.
Speaker 1 (36:33):
This is so fun. Usually I feel like I play more,
but you sound so great. There's nothing for me.
Speaker 5 (36:39):
You're playing. Well. I want I want to I want
to get you the real pianos.
Speaker 3 (36:43):
Way.
Speaker 7 (36:45):
Well, it'll be fun.
Speaker 1 (36:45):
We'll switch it up. Are these lyrics?
Speaker 3 (36:59):
Right?
Speaker 1 (37:00):
Okay?
Speaker 11 (37:02):
All right, I'm gonna play guitar for us, down in.
Speaker 5 (37:18):
With long.
Speaker 3 (37:23):
With me and my love did be.
Speaker 8 (37:31):
As we said, look cold my love fall love to see.
I had a bad love bird.
Speaker 7 (37:51):
On my love.
Speaker 3 (37:54):
She did not.
Speaker 7 (38:00):
So I poison, that is little.
Speaker 3 (38:08):
On the bad speed.
Speaker 12 (38:19):
Had you.
Speaker 7 (38:21):
Say b through?
Speaker 13 (38:27):
It was a blood through orry, which was a dreaded fui.
Speaker 7 (38:49):
My father often joy.
Speaker 3 (38:57):
Then mine would.
Speaker 7 (38:59):
Say, had me free, I would murder that.
Speaker 10 (39:09):
The little girl whose name was Rosco I found the
sit and is.
Speaker 14 (39:28):
Scre wapps teed forzonly so soon shall walk to yer
(39:50):
scy food mars mind be.
Speaker 3 (40:01):
The scary wait for let little whose name was.
Speaker 5 (40:29):
M wonderful. That's funny it's funny though always these simple
ones are the most are the most challenging because it's
so but and I also always keep thinking about.
Speaker 1 (40:48):
Brothers and how yeah, and we're trying to not be them,
but you want to be there but know that they're
just so smooth.
Speaker 12 (40:56):
Yeah.
Speaker 5 (40:56):
Yeah, and they have this kind of strange thing of
like singing out but not singing out at the same yeah,
you know.
Speaker 1 (41:03):
Yeah, it was a funny balance.
Speaker 5 (41:07):
Did you ever meet any of them or No?
Speaker 3 (41:09):
I didn't know.
Speaker 5 (41:10):
My mom did, did she? Well, she met She had
this amazing night once where they were on tour. I
guess they were probably doing some sort of festival and
they ended up hanging out at a bar with with
with the two of them and and they like played
music all night and and it was and it was,
you know, one of the great It was something that
(41:31):
my mother, you know, there's a few experiences in her
life that happened. That was one of them where it's like, Okay,
you know, I've done it.
Speaker 1 (41:41):
She probably grew up on she grew up on them, and.
Speaker 5 (41:43):
There were her idols and but she but it was
funny is that she They had this song called Colin,
which is a French song that was kind of a
hit in parts of Europe and in Canada and stuff.
And it's a really brilliant song anyways. But and I
guess they were training off songs and and and they
(42:04):
sang that song and they went completely crazy for this
French song. And they made my mother and my mother
and my aunt sing it like three times, like, sing
that song. I love that song. And it was this
French Canadian folk thing that they didn't understand a word
of it. Yeah, but they just thought it was so amazing.
Speaker 8 (42:23):
You know.
Speaker 1 (42:24):
And they had the sisters and the brothers things yeah together.
Speaker 5 (42:27):
Yeah. Yeah, it was a night that I mean, I
wasn't there, but I just, you know, I just imagine that.
Speaker 1 (42:33):
Pretty special. I can imagine that too. I'm gonna just
put this down. You were happy with that?
Speaker 5 (42:38):
Yes?
Speaker 3 (42:38):
Great?
Speaker 5 (42:39):
It was beautiful, beautiful, a little a little you know, disturbing.
Speaker 1 (42:45):
Slightly depressing.
Speaker 3 (42:47):
Yeah.
Speaker 1 (42:48):
Do we have an upper one?
Speaker 4 (42:50):
Yeah?
Speaker 1 (42:50):
I mean this is an old traditional.
Speaker 5 (42:52):
Right, Yeah, it's a murder ballad.
Speaker 1 (42:54):
Who wrote it? Yeah one of those yeah.
Speaker 5 (43:00):
Yeah. Well I want to hear you at the piano.
Speaker 1 (43:02):
Yeah, I want to play for you. Okay, Yeah, we
have a couple week could try. Yeah, okay, I'll trade
your places.
Speaker 5 (43:10):
Okay, yeah, because I have to say you know your
your piano playing is I've always been jealous of No, all.
Speaker 2 (43:17):
Right, say it on the micro.
Speaker 1 (43:19):
I want to ask you about the Judy Garlands.
Speaker 5 (43:22):
Yeah, we can get into that.
Speaker 7 (43:24):
Let's get in.
Speaker 1 (43:26):
So you you did Judy Garland Live at Carnegie Hall.
You did the entire show at Carnegie Hall. So you
grew up on that record.
Speaker 5 (43:38):
Well, you know, it's bizarre. This is what's okay, this
is what happened. Okay, I was born. Well, actually it
starts before that. Okay, my dad was born and he
for a period lived in Hollywood because my grandfather was
a writer for Life magazine. Okay, so do you want
(44:01):
to hear the.
Speaker 3 (44:02):
Whole story here?
Speaker 5 (44:03):
Okay?
Speaker 3 (44:03):
Interesting?
Speaker 5 (44:04):
Yeah, yeah, so so and my grand my grandfather Loud
and Wayne right. This junior the second was a fairly
well known columnist for the Life magazine. He had a
thing called the View from Here, which was one of
the only columns regular columns in Life magazine. Life Magazine
is usually photographs, but he would have this sort of
(44:24):
column about his life and the way the world was
around him and stuff and people really and he was
a very well known figure in journalist. I mean he
also he worked with Joan Didion. He he also was
he was in you know, he went to China with
Reagan and stuff like he did. He was a great
writer and for a while, I guess he was covering
Hollywood in the fifties. And and they lived in Beverly
(44:47):
Hills and uh, and they lived very close to Judy Garland,
and I guess somehow they befriended each other. My grandfather
and Judy or you know, they met each other. And
my dad I don't think he did it a lot,
but he would, Yeah, he would hang out with Liza
Minelli when they were when they were ten, around ten
years old, and Laura I think was there and also
(45:09):
my aunt Teddy, and so they would all hang out
at Judy's house. And there's some hilarious memory that my
aunt has where, you know, I think Judy Garland was
babysitting them, and all she remembers was they were kind
of like they were kind of sitting on the shag
carpet and Judy Garland was on a couch with a
(45:31):
broken leg and a scotch you know, we just sort
of like, I'm sure there was help, you know, I
mean yeah, yeah, yeah, yeah, yeah, I don't think she was. Yeah,
but it was sort of like she just remembers that vision.
So and and but but but Liza and Louden were, Yeah,
they were. They were the same age. And and and
(45:52):
Liza and your dad. Yeah, Liza and my dad were
the same age. And she ended up being the first
girl that he was ever in love with. His first
love was e Liza Manelli, like he really fell head
over heels in love. Then they had to leave La
or they were sent back to New York, and my
dad wrote his very first love letter to Eliza Manella
(46:15):
and I must have been eleven or twelve or something,
and and the opening line, it's great. It was dear Liza,
what do you think of this guy Elvis, which is
kind of.
Speaker 4 (46:28):
A great yeah.
Speaker 5 (46:30):
Yeah, And she never replied, never, and it totally broke
his heart. And so yeah, yeah, so she never replied.
And then years later there was a thing where, you know,
he wrote this little song about her, and she was,
you know, doing really well with cabaret, and somebody in
an interview who said, oh, do you know a loud
Waynwright because he had written this little ditty about her,
(46:52):
and she said quite bitterly, she was like, oh, yeah, no,
that's Loudy. I remember Loudie. And then she said, oh,
and judging by that song, you know I have a
good voice coach for him if he needs one. In
an interview, yeah yeah, yeah yeah yeah, like she totally
like cut him, which is ironic. My dad sings incredibly well. Still, yeah,
(47:16):
the same can't be said. Just watch out what you say.
Oh yeah, yeah, yeah, yeah, yeah, watch out what you
say on the way up, you know, crazy whatever not.
But I look and I and I will. Actually it
gets deeper because really that had happened. But she I
don't know if there's any bad blood or anything. But
then the new years later, I met Liza and she
(47:38):
knew who loud One was and she's like, oh, rufus,
you know, and we kind of hung out for about
five seconds, not a lot, but but but at that
point I was discovering. What happened is that I'd always
loved Judy Garland. I'd always had mostly with the Wizard
of Oz and like her movies. And I didn't know
the Carnegie Hall record. I heard of it. Yeah, but
(48:00):
I'd never listened to it, and I have a strange
feeling that I was waiting like something something was was
not something some what other things had to happen, you know,
like and I but I always knew it was there
that interesting and so so I kind of but I
but I was and and this and the Judy Garland
session was was really pretty profound in the sense that
(48:22):
as a child there was the whole you know, Dorothy thing,
which was very powerful, and the Andy Hardy and all
of that. And then when I moved to La and
I was you know, partying a lot and hanging out
in very you know, decadent areas, I then related a
lot to her, you know, more looche side of the
recordings of her later in life, you know, where she's
(48:45):
hilarious but it's also pretty horrifying as well. So I
got into that end of her and then, you know,
so so I sort of I was a full blown.
Speaker 3 (48:54):
And I really was.
Speaker 11 (48:55):
This.
Speaker 5 (48:55):
It was the situation where I would go to a
record and I remember I would go to Tower Records.
It was used to be on you know, Sunset and
right around here, and with every intention of buying you know,
the latest radiohead album, and I would leave with like
five jar like what happens? How did that? It's like blackout?
(49:16):
And so I kind of went on and on and
on and and at a certain point, actually I thought
I realized that I kind of had to like almost
exercise her for me, like hav an exorcism of sorts,
because she was sort of haunting me a lot. And
then I met Liza. It was around a time when
I when I first got sober, and that was you know,
I won't get too much into that, but but but
(49:40):
but I it suddenly it don't and I and I
said like, oh she Liiza knew you know, Louden And
it was sort of this. It was kind of chumming
for five seconds, and then I realized that I wanted
to do. Then I was like, now's the time to
listen to the Judygland record. And so I listened to it.
And it was right after I'd quit drinking, and also
(50:01):
and also America had invaded a wrack. It was around that.
Speaker 1 (50:04):
It was an emotional time.
Speaker 5 (50:06):
It was just an intense time, and that record kind
of instilled or it didn't instill, but but it became
a thread of of of my love for America, like
through all the crap. I was like, whenever I put
that record on, I was reminded that the US can
be great. Em you know, it's just like with the
(50:27):
songwriting and they and the glory of her and just
you know, more a better time and that maybe a
better time will come again and all that. So I
kind I kind of like held on to that record.
Speaker 1 (50:39):
Wow, that's crazy, crazy story.
Speaker 5 (50:43):
For dear life. And then so I said, well, you know,
I want to do it again. I like to like
to sing it. And of course then I told Liza,
and she was horrified.
Speaker 1 (50:53):
She was not a good idea.
Speaker 5 (50:54):
Oh she was like, why would you ever want to
do that? Like she took it as an affront. Oh wow,
and and never talk to me again and very much
even tried at one point to to not make me,
you know, to like stop it. I have a sense
it might have been something she wanted to do.
Speaker 7 (51:11):
I don't know.
Speaker 5 (51:12):
I don't know, but it was, but it hit this
nerve with her where she just I was like out
of her life and every and I'd see her at
parties and she would like walk by me as if
I didn't exist. And it was very it was very
interesting because I think I just look, I get it.
I think anything close with her mother and her is
like something different, something something that you just don't trespass.
(51:34):
And I did, and but but but so anyway, so
we did the show and Lorna was in the show,
her sister, and.
Speaker 1 (51:42):
She supported it.
Speaker 5 (51:42):
She supported it.
Speaker 1 (51:43):
I mean the show was a tribute.
Speaker 5 (51:46):
Yeah, it was a great album, and I no way
feel that I, you know, eclipsed to her at all.
I think, if anything, I made it my own, you know,
you know, I kind of. I mean it was an event, Yes,
it was huge events.
Speaker 1 (52:01):
And the original show was an event because it was her.
It was like her comeback show. Yeah, it was, And
it was the most I grew up listening to that record.
My mom had it on vinyl and I used to
listen to it, and I used to get so emotional
at the encore when they keep yelling for her, and
(52:21):
you can just tell how emotional I'm getting, like emotional
thinking about this. I used to cry and it was
just like a joyful moment. But it was like so
emotional for me when they would call her back and
back and she's like, well, we'll just sing them all
and you could tell how emotional it was for her. Yeah,
it's crazy because I grew up listening to it. And
(52:42):
so when you did that, my mom, who was living
in the city at the time, she bought tickets and
she made an event out of it. So we came
and I don't know if I knew you then, but
I could have easily gotten backstage passes at that time.
Speaker 5 (53:00):
What year was that, Yeah, yeah, that was like two
thousand and six or something.
Speaker 1 (53:05):
But my mom got like nosebleed seats at Cardie and
we just went as fans. Yeah, yeah, and we watched
it and it made her life.
Speaker 5 (53:13):
Yeah, she was so happy. No, I think I think
a lot of I think people understood. Look, I got
through the show. There's some amazing moments that I that
I did. It's not Judy Garland, it's not that. But
there was this sort of sense that everybody wanted to celebrate,
everybody want, everybody needed to get together, everybody needs well, yeah,
(53:35):
it was like and I tapped into that, that zeitgeist
and the other thing. And you know, and it's interesting
because my grandparents went to the original show, you know,
the original one, and and the lies of the thing.
You know, it's it's it kind of saddens me because whatever,
(53:56):
whatever it's, it doesn't really matter.
Speaker 3 (53:58):
But but but but it is.
Speaker 5 (54:00):
That was the only kind of strange part of it.
But but other than that, other than that, you know,
it was great fun. And on a more technical level,
there's really rufous before lives before list.
Speaker 1 (54:14):
She's here with us, I have a special guest. She's
waiting in the wings.
Speaker 5 (54:20):
I wish that would be amazing. No, there's pre judy
and post judy rufus. Yeah it changed you, Yeah, it
changed me very much most And I just mean as
a singer, you know, because I because I knew, for
one thing that you know, before I think before I
did that show, I was fairly well. I was drinking
a lot, so I was just very kind of happy, happy,
(54:42):
go lucky. Like I just sort of went with the flow,
and I sort of every night was this kind of
tornado and I and there were certain evenings where I
was but I didn't think about my breathing. I didn't
think about like pronouncing things like. I just was very loose,
which is which there's brilliant moments when I was young
and that was happening. But there's also a lot that
I look back and I'm like, oh god, it's kind
(55:03):
of embarrassing. And then but then once I did the
Judy Show, like I was like, I gotta people have
to understand the lyrics. Yeah, I have to breathe, I
have to anonymize, you know, my energy. I have to yeah,
create this kind of intremendous arc both in each song
and also in the concert itself. And yeah, I had
to have a certain amount of discipline, and that was
(55:24):
very whatever. I think I became a much better singer.
Speaker 3 (55:27):
Yeah.
Speaker 5 (55:27):
Afterwards, it that way, yeah wow, which which I think
for me in a strange way, that's probably why I
did it.
Speaker 4 (55:35):
Well.
Speaker 1 (55:35):
It was like a masterclass.
Speaker 5 (55:36):
Yeah yeah, yeah, so throw yeah yeah so. And it's
funny because it's also like, even to this day, there
are certain you know, hardcore Judy fans who were like,
why it's terrible, I can't believe you did that, Like
they just not into it. But they don't understand those
songs belong to everybody, and it's really about the songs.
I mean the songs also as a songwriter, I wanted
(55:57):
to get into that, you know, those are all I
mean there, Yeah, it's Judy's show, but that's not you know,
the songs are eternal and they belong to everybody.
Speaker 1 (56:05):
I hate, well, I don't hate. I actually kind of
love when people get like that. It's like, you know what,
you don't have to listen to this? Why does it
make you so mad?
Speaker 5 (56:16):
Insane? But anyways, so yeah, but I don't know what
we're going to do. Tryum, how long has this.
Speaker 7 (56:25):
Been going on?
Speaker 1 (56:25):
Yeah, it's my favorite song from that album.
Speaker 5 (56:28):
And I just want to make sure I switch off.
Speaker 3 (56:31):
Some Yeah I do.
Speaker 1 (56:32):
I think that would be nice, which but I also
I feel like your version switches the verses a little
differently than hers. So I just want to make sure
I have the correct lyric.
Speaker 5 (56:41):
Ye, give me, give me whichever you want. Yeah, why
don't we we can map it out a tiny bit.
I have to say I've before we start this, I
read the greatest musical poetic quote about singing recently, which
you ever heard of? Pasoa is this poet from Portugal
(57:03):
from like the thirties or whatever. But he uh. I
was reading this poem and then the poem said the
first line was sing like you're listening.
Speaker 3 (57:16):
That he's so good.
Speaker 1 (57:17):
Yeah, but it's also so true.
Speaker 5 (57:20):
Yeah yeah, yeah, yeah, Yeah, that's been Yeah. I've been
thinking about that line a lot. Sing like you're listening.
Speaker 1 (57:27):
It's hard to remember when you're when you're young, right,
and you're just you're only listening to your book. I
had a teacher in college that said, don't fall in
love with the sound of your own voice too much. Yeah,
and I always was.
Speaker 3 (57:41):
Like, what do you mean?
Speaker 7 (57:42):
Oh I get it now.
Speaker 1 (57:45):
It was good advice.
Speaker 5 (57:48):
Okay, ready, okay, archer, cross.
Speaker 3 (58:05):
To teas. Where have I.
Speaker 7 (58:10):
Been all these years?
Speaker 3 (58:15):
Listen? You tell me.
Speaker 7 (58:20):
How long has this been going?
Speaker 3 (58:29):
There were che.
Speaker 7 (58:32):
Down my spine.
Speaker 1 (58:36):
And some thrills I can't define little wow, Tell me
now how long has this been?
Speaker 8 (58:51):
Go?
Speaker 3 (58:58):
When in meon like cream.
Speaker 15 (59:04):
That divine rounded? Don't wake me if I speaking love me,
dream that it's true?
Speaker 7 (59:26):
Kiss me wise then once small?
Speaker 3 (59:34):
What a time child.
Speaker 7 (59:37):
Was before?
Speaker 3 (59:43):
What a breakfall heaven? How long has this been?
Speaker 1 (59:49):
Go?
Speaker 7 (01:00:23):
Oh? I wish that I conmute.
Speaker 3 (01:00:30):
And heaven.
Speaker 7 (01:00:36):
Did know where? No?
Speaker 8 (01:00:39):
How long the spells finding another world?
Speaker 1 (01:00:52):
Kiss me.
Speaker 7 (01:00:56):
Once more? What did that side was before?
Speaker 3 (01:01:06):
What a break for heaven?
Speaker 7 (01:01:12):
How long has this been?
Speaker 3 (01:01:23):
Has this been?
Speaker 7 (01:01:33):
Oh?
Speaker 5 (01:01:52):
Something in there?
Speaker 1 (01:01:53):
We stuck the end?
Speaker 3 (01:01:54):
Yeah, we got it.
Speaker 8 (01:01:56):
Yeah.
Speaker 5 (01:01:57):
Yeah, that piano break was gorgeous. Okay, yeah, it was
really beautiful.
Speaker 3 (01:02:01):
Oh honey, oh that was great.
Speaker 5 (01:02:03):
Thank you, thank you for doing this, Thank you for
having it.
Speaker 1 (01:02:06):
Was so fun to see you. Oh that was so fun.
Thank you so much for listening.
Speaker 4 (01:02:13):
An amazing performer. He's he's really a masterful storyteller through
his music. It gives me like goosebumps every.
Speaker 7 (01:02:21):
Song I know.
Speaker 1 (01:02:22):
He also, I don't feel like he sings. He's never
phoning it in when he says it's always like right there.
Speaker 4 (01:02:29):
And I love hearing all the stories from when he
was growing up and like in that house full of
so much talent, he really painted that picture so well.
Speaker 1 (01:02:37):
Yeah, he told some juicy stories there.
Speaker 4 (01:02:41):
He's got some tour dates coming up, so check out
if he's performing live near you follow him to stay
up to date with all his various projects.
Speaker 1 (01:02:48):
If you want to know what we played in this episode,
we played Poses, which is the title track from Rufus's
two thousand and one album. We played Going to a
Town from his album released The Stars in two thousand
and seven. We played down in the Willow Garden, which
is a traditional Appalachian murder ballad Murder, originating in the
nineteenth century, probably from Ireland, and it's been recorded by
(01:03:11):
dozens of people, including a beautiful version by The Everly Brothers.
It's also featured on his latest album, Phogocracy. We also
did the classic Gershwin standard how Long Has This Been
Going On, which was famously recorded by Judy Garland. Today's
episode was recorded at Night Bird Recording Studios in Los Angeles, California.
(01:03:33):
Recorded by Colton Lakey, assisted by Louis Sanchez Navarro, mixed
by Jamie Landry, edited by pregnant Sarah Oda. Additional editing
and mixing by Matthew Vasquez. Additional engineering by Matt Marinelli.
Artwork by Eliza Frye. Photography by Shervin Lenz. Coordinating producer
Rachel Ward. Produced by Me and Sarah Oda.