April 27, 2023 • 29 mins
On this episode of the St. Andrews Jezebel podcast, host Ashley Feller sits down with Scott Rockwood and Matt Miller from the Cosmic Rascals. They discuss the origins of their band name, the unique environment that helped shape their sound while recording their album Arcadia at Sawhorse Studios in St. Louis, and the decision to release a full album in a world dominated by singles. Here are three main highlights from the episode:Sonic Stardust: Unveiling Arcadia with the Cosmic Rascals
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Credits
- The Cosmic Rascals describe their music as a blend of spirituality and mischievousness, and explain how their name reflects this philosophy.
- Sawhorse Studios, hidden away in South City, helped create a cozy and creative environment for the band to record in, with lots of eclectic decor and great sound treatments.
- Despite the industry's focus on singles, The Cosmic Rascals decided to release a full album because it allowed them to provide their own context and framework around the music, and harkened back to the days of listening to an album start to finish.
Follow them on Instagram and Facebook
Want to support The St. Andrews Jezebel Podcast? Visit our KOFI page to make a donation https://ko-fi.com/standrewsjezebel
Credits
- Hosted by:Ashley Feller
- Guests: Scott Rockwood and Matt Miller of The Cosmic Rascals
- Recording Location: Little Village
- Theme song “The St. Andrews Jezebel” was written and reformed at Boundless Sounds on the Campus of Gulf Coast State College by Dave Schwartz
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
She's a Jesubem Saint Andrew of Jezebelbecause she's a Jezebel, Saint Andrew and
Jezebel. Hello and welcome to theSaint Andrew's Jezebel Podcast. This is Ashley
and I'll be exploring the stories behindthe people and the places that make this
community so special. I grew upin Saint Andrew's. In fact, I
(00:23):
used to catch the school bus downat Dan's Pond. I'm blessed because being
from this community has given me adeep appreciation for the local talent and the
musicians that now call this area home, which makes the conversation with the Cosmic
Rascals even more exciting because, forthe most part, besides Matt, they
are folks from other areas that havemoved to Florida and have truly made it
(00:44):
their home and care about it.We've recorded this interview at Little Village,
and last week we featured one ofthe new owners, just in Buxton,
so if you haven't heard that one, make sure you put that episode in
your podcast Q as well. Todaywe'll explore the origins of the band's name
their Experience. It's recording their albumArcadia at Sawhorse Studios in Saint Louis and
their decision to release a full albumin a world dominated by singles. Join
(01:07):
me as we dive into the worldof The Cosmic Rascals and explore what makes
them such a unique and captivating musicalexperience. Sit back, relax, grab
your favorite drink, and enjoy theshow you're listening but the sant Andrews Jezebel
Podcast. If we are here todaywith Scott Rockwood and also Matt Miller from
(01:30):
The Cosmic Rascals over there, etcetera as a beach, but they also
play over here too a bit.Can you tell me a little bit about
your band's name, The Divine CosmicRascals and how it reflects your musical philosophy
and approach to creating music. Waitstraight away with a hard hitting questions.
Yeah, I was actually watching adocumentary. It was about Miles Davis and
they were interviewing Carlos Santana because seethey were friends, and they were basically
(01:53):
asking Carlos about Miles having a reputationas being kind of a jerk as well
as a musical genius. And thenCarlos the way he navigated that was to
say that Miles Davis was the divinecosmic rascal. I think anyone that knows
Scotty will describe you as a musicaldus and definitely not a jerk though,
But yeah, but I like itas a creative way to just call ourselves
(02:15):
jerks musically speaking. It's nice toyou because I think it doesn't pigeonhole you
into any one genre. It's easyaround here to probably try to name yourself
something beechy or something along those lines, and that's not really that's not a
m that's not really what we wantto do. So, yeah, we
want to try and explore the cosmosmusically, and if we can do that
(02:35):
in a rascally way, I thinkthat's irrascally Rabbits, that's the rascally kind
of The idea of like something spiritualand cosmic was something that's a little mischievous,
and so I think music definitely kindof goes that direction, like it's
something that's spiritual about it that movesyou and hits you emotionally, but at
(02:57):
the same time it's fun and deceivingand plays with your moods. So let's
talk more about the band. Who'sin the band, and what role do
they play Scott Rockwood, that's me. I play guitar and ukulele and a
little bit of mandolin, although Idon't think I've played any of the album.
And then songwriter. And then myfiance is Sean who will. We've
been playing music together for twenty fiveyears, twenty six years in different bands,
(03:21):
different outfits over the years, butwe've been playing music together the whole
time. And she's also a songwriter, singer. She plays bass on this
record, and we tried to talkher into putting some keyboards on it,
but I think we're out of tonI think yeah, and maybe on the
next one, yeah, for sure. And then I'm Matt Miller. I
play it siddled and then contribute wisecracks, I guess on occasion, but
(03:44):
mostly siddle. And then on drumswe have Josh Fox, yeah, the
local favorite plays with a few differentprojects, but yeah, drums and percussion
and a symbol tree that he playsat our gig. Said that he grew
and fell up himself. Yeah,yeah, yeah, see it to understand.
Yeah, I think I think you'rethe only the true, the tried
and true at local like you're bornand raised right here in the Gulf Coast.
You get the sand in your blood, we get Sean. Sean's born
(04:08):
and raised in Saint Louis, Missouri, and I was born Ohio, grew
up in Colorado, but I livedin Saint Louis for about fifteen years.
That's where I met Sean, andthen she got a job down here,
which is why we came down inhere like twelve thirteen years ago, and
we've been living to an Rosa beachsince then. Josh, I don't know
how love. I think Josh Burnmixed seven years and he moved down from
like Springfield, Chicago area. Yeah, yeah, with the knee immediately got
(04:30):
picked up with some bands and we'vebeen playing music, but we've been trying
to put it. We've been tryingto put a project together for almost six
seven years and just knale starting stopping, and this is the first time we've
actually gotten something together where we're keepingit. We've got an album now and
we're finally kind of realizing that dreamplaying some music together, right, and
some music together? Yeah, yeahsto be of the thing. I was
the one to call you out onthe fiddle thing. It was funny you
got a little kid, how aholding. A little kid was came up
(04:51):
to you maybe a couple days ago, and I was like, are you
playing a violin or a fiddle?Is that a violin of fiddle? Oh?
Probably here or nine? And Ithink you told him that it was
a fiddle that day, which Ithink is great because you just left the
question completely opened to him for thestill be a mystery as to what the
instrument of violet is. The commentit's a calm disconception. There's a difference
between a fiddle and the violet.And I absolutely could have corrected him on
it. But you know what,you got at least a mystery. Yeah,
(05:13):
you got at least some magic outthere. He's still some day gonna
be like, I don't know thedifference, but apparently there is one,
because that guy was playing the fiddle. He's like, yeah, I saw
h Matt Miller and I asked himif that was a fiddler of violin.
He didn't tell me. He saidit was a fiddle, and that was
only had true. There goes mystory, cred. Yeah, at the
next weekly fiddle player meeting and it'sgonna get brought up at the minutes.
I think the peddle player is anonymous. That's it. Yeah, it doesn't
(05:36):
really help you. It's just ata judge. Yeah, let's talk about
your album. The album's called Arcadia, right, where's that name coming from.
It's a it's a tunnel, it'sa one of the tracks on the
song, and the on the thatsong first started out was at a hotel
(05:56):
room in Wimberley, Texas, Seanand she was leaving to go get food
or something and told me by thetime she got back, I had to
have a song written. All Igot was like the first two lines of
that song and the melody and thecore progression with the verse, and then
I set on it for years beforeI finally went back to it and finished
it. But I was also justkind of reading a little bit of like
mythology and then the idea of Arcadiabeing kind of but the land of the
(06:18):
gods but unattainable kind of perfection.But also people weren't supposed to be there,
people weren't allowed into that area,So there was the idea that this
person just gets pulled into that worldand then and then kind of an expiritual
awakening that they have and just kindof a way to look at gods in
that setting and on our buddy DanHall, who did the cover for it,
when we were talking to him aboutit, he kind of went with
(06:39):
the theme of it being a placewhere humans aren't allowed to go, but
somebody could trespasses. So it's likethis guy in a space suit, then
this forest and just that idea thatyou can be there, but you can't
really be there, like's not hekind of it's a I guess kind of
like going underwater a thing in someplace you can explore, but you're not
really like meant to be there,so you'd have to have extra apparatus.
(07:00):
I've always known Arcadia as a smalltown and small agricultural town of central Florida,
so it's great for the reimagining.So how do you see Arcadia fitting
into your overall body at work?And what do you hope your listeners take
away from that album? Kind ofa collection of songs that have been working
on. Some of them are newer, and some of them, like I
said, Arcadia ever, I hada couple of years and then with this
group, it was really it justfelt like the right group of people to
(07:23):
be able to develop those songs.And there's there's something that I like songs
that are kind of just sceptibly musical, which is like, there's a ballad
in there that's in was it eleven? Yeah, it's kind of an alternating
five and six phrasing, and thenthere's in the chorus business six. So
there's like which I'd like just tohide the on type of time Singe shures,
but make it in a way wherethere's a melody that goes across that
(07:44):
and it's not meant to feel likeprogressive. And I feel like the Mats
approach to melody and Josh's approach torhythm is to leave a lot of space
and just kind of come in findthose little accents in the music where it's
it feels very natural and comfortable.And yeah, yeah, I think Arcadia
being our first album and where ifit's in our overall sort of vision is
(08:05):
for one thing. I think itdoes a really good job of establishing just
sort of how unique our tastes are. I think I can speak for Scottie
here whenever I say that I havea revitalized creativity by being in this band,
working on that album and hearing allof Scott's originals on it and everything
that went into Arcadia. I thinkwhat it does really for us mostly is
it kind of sets the tone asort of establishes that we're not just another
(08:26):
cover band and whether or not youare really necessarily into the music that we're
making, the music that we reallylike and music that inspires us and what
we're hoping and so far, whatwe've seen is that we've seen people really
gravitate towards it. It's weird tosay that about yourself that, but I
think Scott will agree that, Yeah, it's what has sung for us is
kind of established that we're not justtrying to make music that necessarily makes people
(08:50):
having want to make music that makesus happy and maybe makes people happy.
And also think, well, Ithink that like kind of my iPod playlist,
I don't I wouldn't push it onanybody to kind of like, I
think it's fairly a musical potpourin.Yeah. Yeah, I like a lot
of music. I like a lotof just like text rol and like sometimes
abrasive, not in a heavyway,but just in tonal way. And but
(09:13):
I really like a lot of spaceand a lot of colors. And I
kind of feel like this is likewe're get to incorporate that into this and
and everybody in the band is justreally good at doing that. I think
for you, like it's it's fun. Yet I don't know how many projects
you get to really express yourself throughcrystals. Yeah, yeah, we both
like the sound crystals as you likefound a delay, not like a real
(09:35):
not like a Yeah, Scott andI both are kind of gear nerds,
and we're both we're both really willingto sort of give each other the space
to explore what the technology out therecan be far as you must beyond just
the simple pie sick guitar, violinor electric And I've really enjoyed in the
last couple of years, like I'llpull something out in a live show and
(09:56):
I'll flip the pedal my bable boardover and this something that's I've never really
tried before. And Scot, Seawanand Josh both usually are pretty pretty okay
with it, even if it's somethingthat's kind of a weird animal noise or
soon that wasn't unplanning. I thinknone of us are really trying to constrict
each other creativity, and we wantto foster environment and really make a garden
where our musical ideas can grow.I really love that and that's really a
(10:18):
privilege that y'all are able to dothat. That's fantastic. I'm happy for
y'all. Yeah, and so y'allrecorded Arcadia's Software studios in Saint Louis.
How did the environment of the studioshape your sound and the field of the
album and what was your experience likeworking with the team there? Saw Ursus
is so cool? Then what agreat studio? Yeah sorry, Scott,
Yeah, no, go ahead,Yeah, we're going with the Jason McIntyre.
(10:41):
It was just to him and it'sit's his studio and it's it's just
it's crazy because it's hidden in thislittle part of South City where there's nothing
else around it. It's really nota script building, just kind of like
wood over the windows, like youwould never know of the studio until you
go in there. And then he'sjust got the vibe blooming, the low
lights and the cool atmosphere, andhe's just so quick at what he does
that he feels he makes everything effortlessbecause he's like in there in the computer
(11:05):
the studio just like doing stuff soquick that you're it's just as fast as
you can think and feel like tryingsomething, are doing something like he's already
there and so it's just he justallows you a lot of freedom to make
it very quick and effortless comfortable.Yeah, yeah, I think it was
a cozy. It is a wordthat I feel a lot while we were
in there, because it's there's allsorts of fun kind of it like it
stuff on the walls and the spaceinspiers creativity, but also there's a good
(11:28):
job. There's rugs and the soundtreatments are great, and yeah, he
even did a great job of makingeveryone feel wall golf. He introduced you
to a Japanese barbecue sosh, yeah, tell us, I might be I'm
so sorry if KL was listening andthey knew that. I think it's Bashan's
or Baccha And yeah it's we foundit in the fridge. There's a studio
of some other band before us hadloved it and we were making cheese sandwiches.
(11:50):
I was like, well we trya little dab of this on there,
and oh boy, game changer toa game changer, Jason was like,
you have to try this. Yeah, it's uh yeah, thanks for
that too. We got an albumand some good nons out of it.
So and you found the new barbecuesauce, that's your lives exactly. You
know what, at the end ofthe day, I think that's what real
artistry is all about, finding newbarbecue sauces. The South City emost pizza
(12:13):
was questionable, but the barbecue wasbarbecue sauce was great. Yeah, all
point. And so is this astudio that you were already familiar with from
your days back in Saint Louis orwasn't a new finding. Yeah, it's
been around a long time. Ihad never been there when I lived in
Saint Louis. But I have aband that's still the band of Seawan.
I first started together playing together inwhich like Mattahuci, which started in nineteen
(12:35):
ninety six, when we moved here, we did the band was kind of
like we didn't really break up.It was just the every like several members
were having kids and needed some morespace and time. So we still go
back a couple of times a yearand play shows with them. And we
just went back and recorded an EPof new music with that band. We're
actually older songs we'd never recorded withthat band, and a couple of new
songs but our drummer knew that stilllives in Saint Louis, knew Jason in
(12:56):
that studio, he'd recorded there,and he wanted us to do that,
and we found with it instantly,like we were just like, we can't
wait to come back here and ofcourse something else, so we convince these
guys they had to do it too. Yeah, yeah, I think and
spoiler alert, I think we're kindof we're I and maybe another trip up
there, hopefully in the future todo another alt out there. Yeah.
Yeah, so for sure, Yeah, that's exciting. And so I've asked
(13:18):
other musicians on the podcast this questionbecause I think it's a depends question and
a lot of people are sort oftorn. Do you do a full album,
do your release a bunch of singles, or do you do an EP
or a combination of any of thosethings? So why an album this time?
Just because the industry is so strangeright now that everything kind of works
better almost still around us, singlesreleased thing where you can, it can
(13:39):
be picked up on playlists, andyou're not because I feel like an issue
maybe that having a full album releasehappens, is that there's such a different
style between an upbeat song, andone that songs kind of leans a little
country, and one's on the stransallinstrumental and ethereal, and that in itself
like it's somebody couldn't just take thatand put it into like this style and
then have something randomly draw all tracksfrom that and have it be a good
(14:03):
representation in that style of music.So I think if you release singles then
something can actually do that. Wecan say, well, this song feels
like this, and we can putit into this playlist so it gets heard
in this way and in this lightand it feeds. Yeah, everything nowadays
is algorithm driven, and yeah,releasing singles definitely caters to that cut.
We releasing an album means that wecan provide our own context and framework around.
(14:24):
Releasing an album means that we wereable to provide the context around it.
And it's not really because it's notgoing to make us popular with any
algorithm. I think what it doesdo is it kind of harkens back to
the day whenever you used to geta record and used to put it on
the turntable and you would sit down, maybe crack open a beer or put
your feed up and try to devoteyour attention to something for more than all
(14:46):
a thirty second tick talk or whatever. Sorry I'm sounding all I could boom
for and I don't then too,But yeah, I think for us,
there was no way that we couldreally make sense if we tried to do
it any other way than and out. My favorite records are still like Tuck
Side of the Moon and even likeYoshimi and the Pink Robots and things.
It just started one place and takeyou to another place and you kind of
go on that journey. And Istill much prefer like, instead of the
(15:07):
thought of trying to get a singlethat gets picked up on a playlist or
something, I'd rather just make itas a piece of art, that it's
its own thing. It's just likeit's there from start to finish the way
we kind of intended you to hearit, and however you want to divide
it after that school, but it'slike we want it to be experienced that
way. I really love that becauseI'm a big fan of concept albums,
and I feel like that's not somethingyou see too much now unless you go
(15:30):
looking for Is it fair to saythat this album is conceptual, that there
might be an underlying theme throughout thewhole thing. Isn't a storyline that carries
through it. Definitely themes that arein the songs that will probably play off
each other and build on each oneof the themes, but it's not a
storyline, so each track could standon its own, I think conceptually,
and Scott can feel free to disagreewith you once. But what kind of
(15:54):
emerged out of the album being titledArcadia? The first track on the redecided
to call a trailhead. I thinkwe went back and forth on the name
for it a little bit, butwhat it does sort of it invites you
into this sort of mythical land thatwe're making this album in, and that's
the really kind of ethereal, spaceytrack, and that is a musical palate
(16:14):
cleanser that gets you ready for alot of the other stuff that happens after
that. And I think it wasa good call calling the album Arcadia and
sort of naming it after this placewhere it's mythical and it's not like anything
else maybe that you've ever been.To think that if you picture it as
a linear journey through this place wheremaybe if you're seeing all these different destinations
(16:37):
happen, I think that's kind ofthe overar being all the item artistic.
Feel free to disagree, I says, no, it's that I I like
to die like the description, butI trailer had too. Also was because
the first track with the singing onit, so track two is called Bigger
Letter Faster, and that's that onewas written for basically where we live just
south of the Bay and Santa RosaBeach with through just kind of where there's
still a bunch of pine forest allaround our house is bying forest and just
(17:03):
and what's funny is we actually,I mean we're not funny, I guess
kind of sad, but we knewthat they were going to start coming in
and tearing down all these trees justten acres by twenty acres by forty acres,
and we just we were standing onthe back porch one night and just
like looking at the tree line inthe moonlight, and how much that's gonna
kind of tear our heart out whensomebody finally like tears that down. And
(17:25):
so that song is basically about kindof having to say goodbye to that.
It's kind of a protest song tooin a way. I mean, I
don't know, it's there's definitely there'sa lot of emotion. There's some judgment
in it, Yeah, judgment there, Okay, it's a judgment of song,
Yeah, a judgment of the ideaof progress and what and how backwards
that can be sometimes. But butso the idea of Trailhead too is kind
(17:45):
of like going into just the forestof that song like that. So it
was originally intended just I mean,in my mind is like an intro into
like we're going in the forest thatis bigger, the bigger, fascional out
the one that we're yeah singing aboutwishing we could protect on that song.
But I do like it, butalso it works as kind of an overture
for the whole album as far asjust like the feel of the music and
the theme of the sounds that arein it. Very cool. So your
(18:10):
cover art for Arcadia was created byDan Hall. What drew you to his
style and how do you feel thathis artwork is reflected how it reflects the
music on the album? So wedid. I played in a band with
Dan when he when he still livedhere in town, and he had done
posters for some of those shows,and I just always really loved his style.
I mean, obviously he's a brilliantartist. He's a art professor now
(18:30):
in a college and he's been doingart being the art teacher for a while,
so I mean he's already just extremelytalented and creative. But I really
liked the look of the posters thathe had done, and there was one
in particular that I had sent tohim, and I was like, I
really like this when it was thiskind of like it was just an innocent
picture of just a beach shino somehouses and the beach and then the color
(18:51):
of the water and the color ofthe sand, but it was this black
and white and it was done onthis way that made it very ominous.
So even though it was just abeautiful day at the beach, the way
the picture yeah made it look itwas like kind of scary and eerie and
and so to me that was kindof like that idea of like a like
this beautiful place but you're not reallysupposed to be a part of it kind
of thing. And so that waskind of what I sent to him and
was like this is Originally they evenasked to hy can we just use this
pictures the cover? And then hecame and he had but he had some
(19:15):
different ideas and we talked about it, and so he came back with the
cover that's on there. And Ireally liked that in the two and it
helps the dance A really nice guylesYeah, it's brilliant, super nice,
drawing a student like they're the factthat yeah, yeah, good dude,
yeah exactly, and telling the musicianwho kind of understands things from the music
side too, like I'm an amazingguitar player and musician exactly. Dan is
just brilliant all the way around,whether he's doing something visually or with music.
(19:37):
He's a great guy and he's Imissed. I would see him in
a while. I love how makinghim listen to this now will make him
so uncomfortable. Oh he would,yes. So, since this is a
podcast about historic Saint Andrews, whatdo each of you love about Saint Andrews
and or performing in Saint Andrews.I think my favorite part about seeing Andrews
(19:59):
there's a lot of there's a lotof room. There's a lot more room
for artistic creativity here. I thinkbeing adjacent to Panama City Beach and all
of the tours of revenue that bringsin and all the draw that it has.
Corner Racier song. I was herewhenever the whole MTV thing was happening,
and Adalla City Beach was the meccathat it was for college case and
(20:19):
all the money they brought in.What I think that money did to the
area in all the ways that itdid, was it helped developed it,
but also some that went into justthe local arts seat. I think Saint
Andrew's one of my favorite part aboutSanders is that it managed to kind of
stay true to itself, but itdidn't do the whole spring break thing.
And anytime I play here, I'malways amazed by how few times I hear
(20:44):
a request for like a Jimmy Buffetsong. I think that's really that That's
kind of my litmus test for howcool an area is around here. It's
like, if I could play somewhereand not in a request for Wagging Wheel,
then I'm like, all right,you guys are all right, but
you're pretty cool. And yeah,there's so much support in the artistic unity
here. I see a lot ofartists that really collaborate a lot and really
support one another. And I'm onlya little jealous that I don't live a
(21:07):
little bit closer. I think that'sthe only thing. It takes forty five
minutes to get over here. That'sjust too long. Yeah. The first
time I came to Saint Andrew's itwas because the Lawrence Eugene. He had
a band called the Ruckus and heinvited me out to sitting with him and
he was playing here at Little Villageand so then that was my first experience
of this area. And just steppinginto this place just kind of blew me
away. I was like, Oh, I didn't know that this kind of
(21:30):
culture was down here, like Iwas very used to, Like, I
mean this area is it's culture.I feel like because of tourism, Like
it's very get some high end restaurants, you get some of there's a lot
of beach setting. There's a cultureto it, but it's it seems very
oriented in one thing and like atouristy way. And then you come here
and you're like, this is aplace that feels like very lived in,
very loved the expression that it's inall parts of the little village and just
(21:51):
the people that were there that day. I was like, Wow, Lawrence
is playing stuff that's not your mainstream, not your normal cover band stuff and
people are loving it and actually appreciatemore because of that. And then after
so after I came here, Seanand I started just like coming down here
to hang out. And unfortunately,I'd say we didn't. I didn't discover
it till after Michael, so Ididn't discover it upter tap room and a
bunch of other places we had kindof all the Slice House and things that
(22:14):
were coming in after that. ButI love we fell in love with it,
like we started coming this was wherewe had a night off. We
would actually drive all the way overhere to hang out and start of hanging
out back by our house, justbecause we like the culture and the people
and it was and then the pandemichappens, so right after we discovered it,
then the quarantine happened and we didn'tcome back for a little while.
But I'm happy that it's all hereagain. And yeah, I especially loved
(22:34):
little Village, but Saint Andrew's Iwas singing praises anytime I talk to people,
and even people were visiting over athirty eight like Washoms you, I'm
like, well, if you havea chance, you should go over to
like Saint Andrews and check it outbecause it's got that more kind of what
I guess what I would think itwas like old four to vibe, more
community based, less tourism based,kind of what you would feel if you
go to appleach Kolis and it's alittle mini taste of like what it was
(22:55):
when it was just a community ofpeople. And absolutely I hope we keep
that. And so your album Arcadia, how can folks listen to it?
Is that already out? Is it? Are there hard copies available? How
can folks consume it? Yeah?Yeah, we have. We have CDs
that we have with us at theshows, and we didn't get very many
because we figured the technology is maybea little outdated. So we do.
I know there's a few people stilldraw cards with CD players and we've actually
(23:17):
sold more than I thought we would. And I've actually meant to bring you
one and I forgot I will,but I will get one to you.
But yeah, you can get Youcan stream it from our website, which
is Cosmo Brascos dot com. Youcan also buy digitally from there. It's
kind of done where we I thinkwe're asking like it's a seven track album.
I think we're sol it for nine, which is like a dollar or
twenty sixth song or something like that. But the joy you feel you can't
(23:37):
put a price. Yeah, butit's also pay what you want. And
actually a lot of people, Imean the respect that you're like, you're
in the artists generally represented, soI mean there are people who pay more
than that, which is cool thatit's one of the cool things the internet
does. Yeah. Then we alsoit's also on all the streaming network so
you can get it. You canhear it on Spotify, you can hear
it on the Apple. It's everywhere. Fantastic. I can't wait to hear
(23:59):
it because I also write reviews forthe jam Litch, which is a music
couplication, so I could consider itif I have time. Yeah, absolutely,
if you honored, Yeah, apps, Yeah, let us know what
you think. Well, thank youboth so much for being here today.
And so the season is going torun from say March fifteenth or May fifteenth,
So if you have any gigs orevents or anything that you're doing within
(24:21):
that window, if you'd like toshare them, we'd love to hear it.
Yeah, I'll go ahead and saywe are at Idle Hounds. The
second and fourth Saturday of every month. Cool. So I don't know if
y'all are open to play in privateevents or if a business owner is listening.
If someone has either a private eventthey're having or they have a business
and they wanted to book y'all,who would they talk to and how would
they go about that? You cancontact me info at Scott Rockwood dot com
(24:47):
or just hit me up through likeFacebook Messenger. It's we have the Cosmic
Rass Schools as a Facebook page,Scott Rockwood Music as a Facebook page.
So either way on that, lotsof avenues, all roads lead to Scott.
Yeah, yeah, okay, what'sthe read that leads to Matt?
Oh, you can find me.I'm on Facebook as well, and yeah
having Instagram that we're at Fiddler,Matt, you can find me there if
you want to reach out and youcan see you. I try and be
(25:11):
present on social media, even thoughI don't really enjoy it. I try
and make an effort. So yeah, post clips from gigs and and share
all sorts of fun content and peoplecan see you all over YouTube, that's
true. Yeah, I am onYouTube by my nine to five is I
work with drift Field guitars, soain't much by dishonest work. And yeah,
so they must just just building someof the most beautiful acoustic guitars,
(25:32):
coolest guitars. Yeah, a smalltangent, but shout out to drifting guitars.
If you guys are stood at alland building guitars, or if you're
curious about any part of that process, he can look at stuff on YouTube.
I guess we like you were askingif any business owners that we're listening
to it like we do. Well, I mean, we do our original
stuff. That's what we try tofocus. But we also, I mean
we're a working band, so wehave what we do covers that are like
Claywood Mac and we do some likeTom Mish cool from some weird sources.
(25:56):
We try to do stuff that's alittle up the beaten path but still on
and funky and enjoyable and things thatpeople would probably recognize. And yeah,
so on the booking side of it, and I can rasp you look as
LP. Yeah, folks look themup. All right. Well, we
are here with the cosmic rascals ScottRockwood and Matt Miller, and there's more
the art present right now, butyou'll see them when you go see them
(26:18):
live. Thank I'll sim much forbeing here today at little Village, on
this beautiful day, and until nexttime, keep Saint Andrew's Salty. Thank
you Ashley, Thanks Asley, appreciateit. I'm walking down Bayview Avenue.
The sounds in Saint Andrew's Bay fillsthe air. It's a community that's always
buzzing with excitement, and I lovebeing part of it. But there's one
(26:38):
place that holds a special place inmy heart. It's the gazebo on bay
View. It's the perfect spot tosit back, relax and take in the
beauty of this town. And it'seven where were the very first bands that
I played with playing music growing uprehearsed. We used to rehearse right there
in the gazebo and fred the BaybewCafe. As I make my way over,
(27:00):
I hear the gentle creaking of thewooden boardwalk beneath my feet. The
sun is just starting to set,casting a warm glow across the sky.
Sitting here, I'm surrounded by thesounds of nature. A gentle breeze rustles
through the trees, and birds chirpin the distance. And of course,
no trip to the gazebo is completewithout a warm cup of coffee from Alma
(27:22):
Vida. As I take a sip, I'm reminded of all the amazing things
this community has to offer. Speakingof which, the live music scene in
Saint Andrew's truly something special. Fromjazz to rock to country, there are
so many singer songwriters and there's alwayssomething incredible to hear. And for those
of you who love to shop,the market at Saint Andrew's is not to
(27:45):
be missed. From fresh produce tohandmade crafts, there's really something for everyone.
Let's not forget about the rich historyof our coastal town. The Panama
City Publishing Museum offers tours that takeyou on a journey through time. Sure
you visit the Panama City Publishing Museum'swebsite to find out information on how you
can take a tour. As thesun sets on Saint Andrew's, I can't
(28:07):
help but feel grateful for this communityand all the experiences it has to offer.
It's a town that truly has itall. Thanks for tuning in to
this episode of the Saint Andrew's Jezebelpodcast. I hope you enjoyed hearing from
Scott Rockwood and Matt Miller from TheCosmic Rascals about the band's origins, their
recording process, and their choice torelease an album when most folks are putting
(28:29):
out singles. From describing their blendof spirituality and mischievousness to sharing their experience
recording at Sawhorse Studios, there wereplenty of highlights from our conversation, and
despite the music industry's emphasis on singles, the Cosmic Rascals believe in the power
of an album to provide context anda full musical journey for its listeners and
folks I've been listening and they dojust that, so make sure you check
(28:52):
out their album on all streaming networksand if you really like it, buy
it from their website. Y'all besure to check out The Cosmic Rascals and
their album for a unique and captivatingmusical experience. Thank you for listening,
and until next time, Keep SaintAndrew Salty.
She's a Jesubem Saint Andrew of Jezebelbecause she's a Jezebel, Saint Andrew and
Jezebel. Hello and welcome to theSaint Andrew's Jezebel Podcast. This is Ashley
and I'll be exploring the stories behindthe people and the places that make this
community so special. I grew upin Saint Andrew's. In fact, I
(00:23):
used to catch the school bus downat Dan's Pond. I'm blessed because being
from this community has given me adeep appreciation for the local talent and the
musicians that now call this area home, which makes the conversation with the Cosmic
Rascals even more exciting because, forthe most part, besides Matt, they
are folks from other areas that havemoved to Florida and have truly made it
(00:44):
their home and care about it.We've recorded this interview at Little Village,
and last week we featured one ofthe new owners, just in Buxton,
so if you haven't heard that one, make sure you put that episode in
your podcast Q as well. Todaywe'll explore the origins of the band's name
their Experience. It's recording their albumArcadia at Sawhorse Studios in Saint Louis and
their decision to release a full albumin a world dominated by singles. Join
(01:07):
me as we dive into the worldof The Cosmic Rascals and explore what makes
them such a unique and captivating musicalexperience. Sit back, relax, grab
your favorite drink, and enjoy theshow you're listening but the sant Andrews Jezebel
Podcast. If we are here todaywith Scott Rockwood and also Matt Miller from
(01:30):
The Cosmic Rascals over there, etcetera as a beach, but they also
play over here too a bit.Can you tell me a little bit about
your band's name, The Divine CosmicRascals and how it reflects your musical philosophy
and approach to creating music. Waitstraight away with a hard hitting questions.
Yeah, I was actually watching adocumentary. It was about Miles Davis and
they were interviewing Carlos Santana because seethey were friends, and they were basically
(01:53):
asking Carlos about Miles having a reputationas being kind of a jerk as well
as a musical genius. And thenCarlos the way he navigated that was to
say that Miles Davis was the divinecosmic rascal. I think anyone that knows
Scotty will describe you as a musicaldus and definitely not a jerk though,
But yeah, but I like itas a creative way to just call ourselves
(02:15):
jerks musically speaking. It's nice toyou because I think it doesn't pigeonhole you
into any one genre. It's easyaround here to probably try to name yourself
something beechy or something along those lines, and that's not really that's not a
m that's not really what we wantto do. So, yeah, we
want to try and explore the cosmosmusically, and if we can do that
(02:35):
in a rascally way, I thinkthat's irrascally Rabbits, that's the rascally kind
of The idea of like something spiritualand cosmic was something that's a little mischievous,
and so I think music definitely kindof goes that direction, like it's
something that's spiritual about it that movesyou and hits you emotionally, but at
(02:57):
the same time it's fun and deceivingand plays with your moods. So let's
talk more about the band. Who'sin the band, and what role do
they play Scott Rockwood, that's me. I play guitar and ukulele and a
little bit of mandolin, although Idon't think I've played any of the album.
And then songwriter. And then myfiance is Sean who will. We've
been playing music together for twenty fiveyears, twenty six years in different bands,
(03:21):
different outfits over the years, butwe've been playing music together the whole
time. And she's also a songwriter, singer. She plays bass on this
record, and we tried to talkher into putting some keyboards on it,
but I think we're out of tonI think yeah, and maybe on the
next one, yeah, for sure. And then I'm Matt Miller. I
play it siddled and then contribute wisecracks, I guess on occasion, but
(03:44):
mostly siddle. And then on drumswe have Josh Fox, yeah, the
local favorite plays with a few differentprojects, but yeah, drums and percussion
and a symbol tree that he playsat our gig. Said that he grew
and fell up himself. Yeah,yeah, yeah, see it to understand.
Yeah, I think I think you'rethe only the true, the tried
and true at local like you're bornand raised right here in the Gulf Coast.
You get the sand in your blood, we get Sean. Sean's born
(04:08):
and raised in Saint Louis, Missouri, and I was born Ohio, grew
up in Colorado, but I livedin Saint Louis for about fifteen years.
That's where I met Sean, andthen she got a job down here,
which is why we came down inhere like twelve thirteen years ago, and
we've been living to an Rosa beachsince then. Josh, I don't know
how love. I think Josh Burnmixed seven years and he moved down from
like Springfield, Chicago area. Yeah, yeah, with the knee immediately got
(04:30):
picked up with some bands and we'vebeen playing music, but we've been trying
to put it. We've been tryingto put a project together for almost six
seven years and just knale starting stopping, and this is the first time we've
actually gotten something together where we're keepingit. We've got an album now and
we're finally kind of realizing that dreamplaying some music together, right, and
some music together? Yeah, yeahsto be of the thing. I was
the one to call you out onthe fiddle thing. It was funny you
got a little kid, how aholding. A little kid was came up
(04:51):
to you maybe a couple days ago, and I was like, are you
playing a violin or a fiddle?Is that a violin of fiddle? Oh?
Probably here or nine? And Ithink you told him that it was
a fiddle that day, which Ithink is great because you just left the
question completely opened to him for thestill be a mystery as to what the
instrument of violet is. The commentit's a calm disconception. There's a difference
between a fiddle and the violet.And I absolutely could have corrected him on
it. But you know what,you got at least a mystery. Yeah,
(05:13):
you got at least some magic outthere. He's still some day gonna
be like, I don't know thedifference, but apparently there is one,
because that guy was playing the fiddle. He's like, yeah, I saw
h Matt Miller and I asked himif that was a fiddler of violin.
He didn't tell me. He saidit was a fiddle, and that was
only had true. There goes mystory, cred. Yeah, at the
next weekly fiddle player meeting and it'sgonna get brought up at the minutes.
I think the peddle player is anonymous. That's it. Yeah, it doesn't
(05:36):
really help you. It's just ata judge. Yeah, let's talk about
your album. The album's called Arcadia, right, where's that name coming from.
It's a it's a tunnel, it'sa one of the tracks on the
song, and the on the thatsong first started out was at a hotel
(05:56):
room in Wimberley, Texas, Seanand she was leaving to go get food
or something and told me by thetime she got back, I had to
have a song written. All Igot was like the first two lines of
that song and the melody and thecore progression with the verse, and then
I set on it for years beforeI finally went back to it and finished
it. But I was also justkind of reading a little bit of like
mythology and then the idea of Arcadiabeing kind of but the land of the
(06:18):
gods but unattainable kind of perfection.But also people weren't supposed to be there,
people weren't allowed into that area,So there was the idea that this
person just gets pulled into that worldand then and then kind of an expiritual
awakening that they have and just kindof a way to look at gods in
that setting and on our buddy DanHall, who did the cover for it,
when we were talking to him aboutit, he kind of went with
(06:39):
the theme of it being a placewhere humans aren't allowed to go, but
somebody could trespasses. So it's likethis guy in a space suit, then
this forest and just that idea thatyou can be there, but you can't
really be there, like's not hekind of it's a I guess kind of
like going underwater a thing in someplace you can explore, but you're not
really like meant to be there,so you'd have to have extra apparatus.
(07:00):
I've always known Arcadia as a smalltown and small agricultural town of central Florida,
so it's great for the reimagining.So how do you see Arcadia fitting
into your overall body at work?And what do you hope your listeners take
away from that album? Kind ofa collection of songs that have been working
on. Some of them are newer, and some of them, like I
said, Arcadia ever, I hada couple of years and then with this
group, it was really it justfelt like the right group of people to
(07:23):
be able to develop those songs.And there's there's something that I like songs
that are kind of just sceptibly musical, which is like, there's a ballad
in there that's in was it eleven? Yeah, it's kind of an alternating
five and six phrasing, and thenthere's in the chorus business six. So
there's like which I'd like just tohide the on type of time Singe shures,
but make it in a way wherethere's a melody that goes across that
(07:44):
and it's not meant to feel likeprogressive. And I feel like the Mats
approach to melody and Josh's approach torhythm is to leave a lot of space
and just kind of come in findthose little accents in the music where it's
it feels very natural and comfortable.And yeah, yeah, I think Arcadia
being our first album and where ifit's in our overall sort of vision is
(08:05):
for one thing. I think itdoes a really good job of establishing just
sort of how unique our tastes are. I think I can speak for Scottie
here whenever I say that I havea revitalized creativity by being in this band,
working on that album and hearing allof Scott's originals on it and everything
that went into Arcadia. I thinkwhat it does really for us mostly is
it kind of sets the tone asort of establishes that we're not just another
(08:26):
cover band and whether or not youare really necessarily into the music that we're
making, the music that we reallylike and music that inspires us and what
we're hoping and so far, whatwe've seen is that we've seen people really
gravitate towards it. It's weird tosay that about yourself that, but I
think Scott will agree that, Yeah, it's what has sung for us is
kind of established that we're not justtrying to make music that necessarily makes people
(08:50):
having want to make music that makesus happy and maybe makes people happy.
And also think, well, Ithink that like kind of my iPod playlist,
I don't I wouldn't push it onanybody to kind of like, I
think it's fairly a musical potpourin.Yeah. Yeah, I like a lot
of music. I like a lotof just like text rol and like sometimes
abrasive, not in a heavyway,but just in tonal way. And but
(09:13):
I really like a lot of spaceand a lot of colors. And I
kind of feel like this is likewe're get to incorporate that into this and
and everybody in the band is justreally good at doing that. I think
for you, like it's it's fun. Yet I don't know how many projects
you get to really express yourself throughcrystals. Yeah, yeah, we both
like the sound crystals as you likefound a delay, not like a real
(09:35):
not like a Yeah, Scott andI both are kind of gear nerds,
and we're both we're both really willingto sort of give each other the space
to explore what the technology out therecan be far as you must beyond just
the simple pie sick guitar, violinor electric And I've really enjoyed in the
last couple of years, like I'llpull something out in a live show and
(09:56):
I'll flip the pedal my bable boardover and this something that's I've never really
tried before. And Scot, Seawanand Josh both usually are pretty pretty okay
with it, even if it's somethingthat's kind of a weird animal noise or
soon that wasn't unplanning. I thinknone of us are really trying to constrict
each other creativity, and we wantto foster environment and really make a garden
where our musical ideas can grow.I really love that and that's really a
(10:18):
privilege that y'all are able to dothat. That's fantastic. I'm happy for
y'all. Yeah, and so y'allrecorded Arcadia's Software studios in Saint Louis.
How did the environment of the studioshape your sound and the field of the
album and what was your experience likeworking with the team there? Saw Ursus
is so cool? Then what agreat studio? Yeah sorry, Scott,
Yeah, no, go ahead,Yeah, we're going with the Jason McIntyre.
(10:41):
It was just to him and it'sit's his studio and it's it's just
it's crazy because it's hidden in thislittle part of South City where there's nothing
else around it. It's really nota script building, just kind of like
wood over the windows, like youwould never know of the studio until you
go in there. And then he'sjust got the vibe blooming, the low
lights and the cool atmosphere, andhe's just so quick at what he does
that he feels he makes everything effortlessbecause he's like in there in the computer
(11:05):
the studio just like doing stuff soquick that you're it's just as fast as
you can think and feel like tryingsomething, are doing something like he's already
there and so it's just he justallows you a lot of freedom to make
it very quick and effortless comfortable.Yeah, yeah, I think it was
a cozy. It is a wordthat I feel a lot while we were
in there, because it's there's allsorts of fun kind of it like it
stuff on the walls and the spaceinspiers creativity, but also there's a good
(11:28):
job. There's rugs and the soundtreatments are great, and yeah, he
even did a great job of makingeveryone feel wall golf. He introduced you
to a Japanese barbecue sosh, yeah, tell us, I might be I'm
so sorry if KL was listening andthey knew that. I think it's Bashan's
or Baccha And yeah it's we foundit in the fridge. There's a studio
of some other band before us hadloved it and we were making cheese sandwiches.
(11:50):
I was like, well we trya little dab of this on there,
and oh boy, game changer toa game changer, Jason was like,
you have to try this. Yeah, it's uh yeah, thanks for
that too. We got an albumand some good nons out of it.
So and you found the new barbecuesauce, that's your lives exactly. You
know what, at the end ofthe day, I think that's what real
artistry is all about, finding newbarbecue sauces. The South City emost pizza
(12:13):
was questionable, but the barbecue wasbarbecue sauce was great. Yeah, all
point. And so is this astudio that you were already familiar with from
your days back in Saint Louis orwasn't a new finding. Yeah, it's
been around a long time. Ihad never been there when I lived in
Saint Louis. But I have aband that's still the band of Seawan.
I first started together playing together inwhich like Mattahuci, which started in nineteen
(12:35):
ninety six, when we moved here, we did the band was kind of
like we didn't really break up.It was just the every like several members
were having kids and needed some morespace and time. So we still go
back a couple of times a yearand play shows with them. And we
just went back and recorded an EPof new music with that band. We're
actually older songs we'd never recorded withthat band, and a couple of new
songs but our drummer knew that stilllives in Saint Louis, knew Jason in
(12:56):
that studio, he'd recorded there,and he wanted us to do that,
and we found with it instantly,like we were just like, we can't
wait to come back here and ofcourse something else, so we convince these
guys they had to do it too. Yeah, yeah, I think and
spoiler alert, I think we're kindof we're I and maybe another trip up
there, hopefully in the future todo another alt out there. Yeah.
Yeah, so for sure, Yeah, that's exciting. And so I've asked
(13:18):
other musicians on the podcast this questionbecause I think it's a depends question and
a lot of people are sort oftorn. Do you do a full album,
do your release a bunch of singles, or do you do an EP
or a combination of any of thosethings? So why an album this time?
Just because the industry is so strangeright now that everything kind of works
better almost still around us, singlesreleased thing where you can, it can
(13:39):
be picked up on playlists, andyou're not because I feel like an issue
maybe that having a full album releasehappens, is that there's such a different
style between an upbeat song, andone that songs kind of leans a little
country, and one's on the stransallinstrumental and ethereal, and that in itself
like it's somebody couldn't just take thatand put it into like this style and
then have something randomly draw all tracksfrom that and have it be a good
(14:03):
representation in that style of music.So I think if you release singles then
something can actually do that. Wecan say, well, this song feels
like this, and we can putit into this playlist so it gets heard
in this way and in this lightand it feeds. Yeah, everything nowadays
is algorithm driven, and yeah,releasing singles definitely caters to that cut.
We releasing an album means that wecan provide our own context and framework around.
(14:24):
Releasing an album means that we wereable to provide the context around it.
And it's not really because it's notgoing to make us popular with any
algorithm. I think what it doesdo is it kind of harkens back to
the day whenever you used to geta record and used to put it on
the turntable and you would sit down, maybe crack open a beer or put
your feed up and try to devoteyour attention to something for more than all
(14:46):
a thirty second tick talk or whatever. Sorry I'm sounding all I could boom
for and I don't then too,But yeah, I think for us,
there was no way that we couldreally make sense if we tried to do
it any other way than and out. My favorite records are still like Tuck
Side of the Moon and even likeYoshimi and the Pink Robots and things.
It just started one place and takeyou to another place and you kind of
go on that journey. And Istill much prefer like, instead of the
(15:07):
thought of trying to get a singlethat gets picked up on a playlist or
something, I'd rather just make itas a piece of art, that it's
its own thing. It's just likeit's there from start to finish the way
we kind of intended you to hearit, and however you want to divide
it after that school, but it'slike we want it to be experienced that
way. I really love that becauseI'm a big fan of concept albums,
and I feel like that's not somethingyou see too much now unless you go
(15:30):
looking for Is it fair to saythat this album is conceptual, that there
might be an underlying theme throughout thewhole thing. Isn't a storyline that carries
through it. Definitely themes that arein the songs that will probably play off
each other and build on each oneof the themes, but it's not a
storyline, so each track could standon its own, I think conceptually,
and Scott can feel free to disagreewith you once. But what kind of
(15:54):
emerged out of the album being titledArcadia? The first track on the redecided
to call a trailhead. I thinkwe went back and forth on the name
for it a little bit, butwhat it does sort of it invites you
into this sort of mythical land thatwe're making this album in, and that's
the really kind of ethereal, spaceytrack, and that is a musical palate
(16:14):
cleanser that gets you ready for alot of the other stuff that happens after
that. And I think it wasa good call calling the album Arcadia and
sort of naming it after this placewhere it's mythical and it's not like anything
else maybe that you've ever been.To think that if you picture it as
a linear journey through this place wheremaybe if you're seeing all these different destinations
(16:37):
happen, I think that's kind ofthe overar being all the item artistic.
Feel free to disagree, I says, no, it's that I I like
to die like the description, butI trailer had too. Also was because
the first track with the singing onit, so track two is called Bigger
Letter Faster, and that's that onewas written for basically where we live just
south of the Bay and Santa RosaBeach with through just kind of where there's
still a bunch of pine forest allaround our house is bying forest and just
(17:03):
and what's funny is we actually,I mean we're not funny, I guess
kind of sad, but we knewthat they were going to start coming in
and tearing down all these trees justten acres by twenty acres by forty acres,
and we just we were standing onthe back porch one night and just
like looking at the tree line inthe moonlight, and how much that's gonna
kind of tear our heart out whensomebody finally like tears that down. And
(17:25):
so that song is basically about kindof having to say goodbye to that.
It's kind of a protest song tooin a way. I mean, I
don't know, it's there's definitely there'sa lot of emotion. There's some judgment
in it, Yeah, judgment there, Okay, it's a judgment of song,
Yeah, a judgment of the ideaof progress and what and how backwards
that can be sometimes. But butso the idea of Trailhead too is kind
(17:45):
of like going into just the forestof that song like that. So it
was originally intended just I mean,in my mind is like an intro into
like we're going in the forest thatis bigger, the bigger, fascional out
the one that we're yeah singing aboutwishing we could protect on that song.
But I do like it, butalso it works as kind of an overture
for the whole album as far asjust like the feel of the music and
the theme of the sounds that arein it. Very cool. So your
(18:10):
cover art for Arcadia was created byDan Hall. What drew you to his
style and how do you feel thathis artwork is reflected how it reflects the
music on the album? So wedid. I played in a band with
Dan when he when he still livedhere in town, and he had done
posters for some of those shows,and I just always really loved his style.
I mean, obviously he's a brilliantartist. He's a art professor now
(18:30):
in a college and he's been doingart being the art teacher for a while,
so I mean he's already just extremelytalented and creative. But I really
liked the look of the posters thathe had done, and there was one
in particular that I had sent tohim, and I was like, I
really like this when it was thiskind of like it was just an innocent
picture of just a beach shino somehouses and the beach and then the color
(18:51):
of the water and the color ofthe sand, but it was this black
and white and it was done onthis way that made it very ominous.
So even though it was just abeautiful day at the beach, the way
the picture yeah made it look itwas like kind of scary and eerie and
and so to me that was kindof like that idea of like a like
this beautiful place but you're not reallysupposed to be a part of it kind
of thing. And so that waskind of what I sent to him and
was like this is Originally they evenasked to hy can we just use this
pictures the cover? And then hecame and he had but he had some
(19:15):
different ideas and we talked about it, and so he came back with the
cover that's on there. And Ireally liked that in the two and it
helps the dance A really nice guylesYeah, it's brilliant, super nice,
drawing a student like they're the factthat yeah, yeah, good dude,
yeah exactly, and telling the musicianwho kind of understands things from the music
side too, like I'm an amazingguitar player and musician exactly. Dan is
just brilliant all the way around,whether he's doing something visually or with music.
(19:37):
He's a great guy and he's Imissed. I would see him in
a while. I love how makinghim listen to this now will make him
so uncomfortable. Oh he would,yes. So, since this is a
podcast about historic Saint Andrews, whatdo each of you love about Saint Andrews
and or performing in Saint Andrews.I think my favorite part about seeing Andrews
(19:59):
there's a lot of there's a lotof room. There's a lot more room
for artistic creativity here. I thinkbeing adjacent to Panama City Beach and all
of the tours of revenue that bringsin and all the draw that it has.
Corner Racier song. I was herewhenever the whole MTV thing was happening,
and Adalla City Beach was the meccathat it was for college case and
(20:19):
all the money they brought in.What I think that money did to the
area in all the ways that itdid, was it helped developed it,
but also some that went into justthe local arts seat. I think Saint
Andrew's one of my favorite part aboutSanders is that it managed to kind of
stay true to itself, but itdidn't do the whole spring break thing.
And anytime I play here, I'malways amazed by how few times I hear
(20:44):
a request for like a Jimmy Buffetsong. I think that's really that That's
kind of my litmus test for howcool an area is around here. It's
like, if I could play somewhereand not in a request for Wagging Wheel,
then I'm like, all right,you guys are all right, but
you're pretty cool. And yeah,there's so much support in the artistic unity
here. I see a lot ofartists that really collaborate a lot and really
support one another. And I'm onlya little jealous that I don't live a
(21:07):
little bit closer. I think that'sthe only thing. It takes forty five
minutes to get over here. That'sjust too long. Yeah. The first
time I came to Saint Andrew's itwas because the Lawrence Eugene. He had
a band called the Ruckus and heinvited me out to sitting with him and
he was playing here at Little Villageand so then that was my first experience
of this area. And just steppinginto this place just kind of blew me
away. I was like, Oh, I didn't know that this kind of
(21:30):
culture was down here, like Iwas very used to, Like, I
mean this area is it's culture.I feel like because of tourism, Like
it's very get some high end restaurants, you get some of there's a lot
of beach setting. There's a cultureto it, but it's it seems very
oriented in one thing and like atouristy way. And then you come here
and you're like, this is aplace that feels like very lived in,
very loved the expression that it's inall parts of the little village and just
(21:51):
the people that were there that day. I was like, Wow, Lawrence
is playing stuff that's not your mainstream, not your normal cover band stuff and
people are loving it and actually appreciatemore because of that. And then after
so after I came here, Seanand I started just like coming down here
to hang out. And unfortunately,I'd say we didn't. I didn't discover
it till after Michael, so Ididn't discover it upter tap room and a
bunch of other places we had kindof all the Slice House and things that
(22:14):
were coming in after that. ButI love we fell in love with it,
like we started coming this was wherewe had a night off. We
would actually drive all the way overhere to hang out and start of hanging
out back by our house, justbecause we like the culture and the people
and it was and then the pandemichappens, so right after we discovered it,
then the quarantine happened and we didn'tcome back for a little while.
But I'm happy that it's all hereagain. And yeah, I especially loved
(22:34):
little Village, but Saint Andrew's Iwas singing praises anytime I talk to people,
and even people were visiting over athirty eight like Washoms you, I'm
like, well, if you havea chance, you should go over to
like Saint Andrews and check it outbecause it's got that more kind of what
I guess what I would think itwas like old four to vibe, more
community based, less tourism based,kind of what you would feel if you
go to appleach Kolis and it's alittle mini taste of like what it was
(22:55):
when it was just a community ofpeople. And absolutely I hope we keep
that. And so your album Arcadia, how can folks listen to it?
Is that already out? Is it? Are there hard copies available? How
can folks consume it? Yeah?Yeah, we have. We have CDs
that we have with us at theshows, and we didn't get very many
because we figured the technology is maybea little outdated. So we do.
I know there's a few people stilldraw cards with CD players and we've actually
(23:17):
sold more than I thought we would. And I've actually meant to bring you
one and I forgot I will,but I will get one to you.
But yeah, you can get Youcan stream it from our website, which
is Cosmo Brascos dot com. Youcan also buy digitally from there. It's
kind of done where we I thinkwe're asking like it's a seven track album.
I think we're sol it for nine, which is like a dollar or
twenty sixth song or something like that. But the joy you feel you can't
(23:37):
put a price. Yeah, butit's also pay what you want. And
actually a lot of people, Imean the respect that you're like, you're
in the artists generally represented, soI mean there are people who pay more
than that, which is cool thatit's one of the cool things the internet
does. Yeah. Then we alsoit's also on all the streaming network so
you can get it. You canhear it on Spotify, you can hear
it on the Apple. It's everywhere. Fantastic. I can't wait to hear
(23:59):
it because I also write reviews forthe jam Litch, which is a music
couplication, so I could consider itif I have time. Yeah, absolutely,
if you honored, Yeah, apps, Yeah, let us know what
you think. Well, thank youboth so much for being here today.
And so the season is going torun from say March fifteenth or May fifteenth,
So if you have any gigs orevents or anything that you're doing within
(24:21):
that window, if you'd like toshare them, we'd love to hear it.
Yeah, I'll go ahead and saywe are at Idle Hounds. The
second and fourth Saturday of every month. Cool. So I don't know if
y'all are open to play in privateevents or if a business owner is listening.
If someone has either a private eventthey're having or they have a business
and they wanted to book y'all,who would they talk to and how would
they go about that? You cancontact me info at Scott Rockwood dot com
(24:47):
or just hit me up through likeFacebook Messenger. It's we have the Cosmic
Rass Schools as a Facebook page,Scott Rockwood Music as a Facebook page.
So either way on that, lotsof avenues, all roads lead to Scott.
Yeah, yeah, okay, what'sthe read that leads to Matt?
Oh, you can find me.I'm on Facebook as well, and yeah
having Instagram that we're at Fiddler,Matt, you can find me there if
you want to reach out and youcan see you. I try and be
(25:11):
present on social media, even thoughI don't really enjoy it. I try
and make an effort. So yeah, post clips from gigs and and share
all sorts of fun content and peoplecan see you all over YouTube, that's
true. Yeah, I am onYouTube by my nine to five is I
work with drift Field guitars, soain't much by dishonest work. And yeah,
so they must just just building someof the most beautiful acoustic guitars,
(25:32):
coolest guitars. Yeah, a smalltangent, but shout out to drifting guitars.
If you guys are stood at alland building guitars, or if you're
curious about any part of that process, he can look at stuff on YouTube.
I guess we like you were askingif any business owners that we're listening
to it like we do. Well, I mean, we do our original
stuff. That's what we try tofocus. But we also, I mean
we're a working band, so wehave what we do covers that are like
Claywood Mac and we do some likeTom Mish cool from some weird sources.
(25:56):
We try to do stuff that's alittle up the beaten path but still on
and funky and enjoyable and things thatpeople would probably recognize. And yeah,
so on the booking side of it, and I can rasp you look as
LP. Yeah, folks look themup. All right. Well, we
are here with the cosmic rascals ScottRockwood and Matt Miller, and there's more
the art present right now, butyou'll see them when you go see them
(26:18):
live. Thank I'll sim much forbeing here today at little Village, on
this beautiful day, and until nexttime, keep Saint Andrew's Salty. Thank
you Ashley, Thanks Asley, appreciateit. I'm walking down Bayview Avenue.
The sounds in Saint Andrew's Bay fillsthe air. It's a community that's always
buzzing with excitement, and I lovebeing part of it. But there's one
(26:38):
place that holds a special place inmy heart. It's the gazebo on bay
View. It's the perfect spot tosit back, relax and take in the
beauty of this town. And it'seven where were the very first bands that
I played with playing music growing uprehearsed. We used to rehearse right there
in the gazebo and fred the BaybewCafe. As I make my way over,
(27:00):
I hear the gentle creaking of thewooden boardwalk beneath my feet. The
sun is just starting to set,casting a warm glow across the sky.
Sitting here, I'm surrounded by thesounds of nature. A gentle breeze rustles
through the trees, and birds chirpin the distance. And of course,
no trip to the gazebo is completewithout a warm cup of coffee from Alma
(27:22):
Vida. As I take a sip, I'm reminded of all the amazing things
this community has to offer. Speakingof which, the live music scene in
Saint Andrew's truly something special. Fromjazz to rock to country, there are
so many singer songwriters and there's alwayssomething incredible to hear. And for those
of you who love to shop,the market at Saint Andrew's is not to
(27:45):
be missed. From fresh produce tohandmade crafts, there's really something for everyone.
Let's not forget about the rich historyof our coastal town. The Panama
City Publishing Museum offers tours that takeyou on a journey through time. Sure
you visit the Panama City Publishing Museum'swebsite to find out information on how you
can take a tour. As thesun sets on Saint Andrew's, I can't
(28:07):
help but feel grateful for this communityand all the experiences it has to offer.
It's a town that truly has itall. Thanks for tuning in to
this episode of the Saint Andrew's Jezebelpodcast. I hope you enjoyed hearing from
Scott Rockwood and Matt Miller from TheCosmic Rascals about the band's origins, their
recording process, and their choice torelease an album when most folks are putting
(28:29):
out singles. From describing their blendof spirituality and mischievousness to sharing their experience
recording at Sawhorse Studios, there wereplenty of highlights from our conversation, and
despite the music industry's emphasis on singles, the Cosmic Rascals believe in the power
of an album to provide context anda full musical journey for its listeners and
folks I've been listening and they dojust that, so make sure you check
(28:52):
out their album on all streaming networksand if you really like it, buy
it from their website. Y'all besure to check out The Cosmic Rascals and
their album for a unique and captivatingmusical experience. Thank you for listening,
and until next time, Keep SaintAndrew Salty.
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