00:00:01:18 - 00:00:04:04
Unknown
00:00:04:06 - 00:00:25:20
Unknown
Hey, Adam. What's up? Peter. Today we're covering Joni Mitchell's classic record, Blue. Nice. Or is the French say, bleu? Do they? Yes they do. So what I was thinking is we could play, actually, my favorite song. And I'm hoping just kind of the vibe that I'm setting up will be evocative. What does this sound like for you? Maybe this will clue you into.
00:00:25:23 - 00:00:54:02
Unknown
Yeah, like I know it's giving me, like, water. Yeah, yeah. Yeah, exactly. Yeah. You go with that flowing water. Flowing water? Like out in nature faucet. No no no no no. Outside creek. Close like the Mississippi Delta. No. The Nile is a state of mind, but it's not excuse. We should remember. Let me just play it for you, okay?
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Unknown
California? Yeah. No.
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Unknown
I'm Adam Maness. And I'm Peter Martin. And you're listening to the you'll hear it podcast. Music explored. Explored. Brought to you by Open studio. Go to openstudiojazz.com for all your jazz lesson needs. Yes, Peter, the album that we're listening to, the album that we're talking about today, ranks number three on Rolling Stones Greatest list of blues albums of all time.
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Unknown
Well, no. I think you might be confused, my friend. It's not really a blues album, but it is an album called Blue. Oh, Got You by Joni Mitchell. Yes. Number three on Rolling Stones Top 500 albums of All time. Which, of course, Peter means that it means nothing. Let's be let's be clear here. No, I mean, it means something.
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Unknown
I mean something, I guess culturally. But is it really the third greatest album ever made? We'll talk about it. We're going to talk about that. But that's much later. First we're going to explore this masterpiece. It is a man. Many would say it is an incredible document of a very young singer songwriter, in the in the early stages, not super early stages of her career, but definitely like early, early peak of Joni Mitchell's career.
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Unknown
Fourth album, I believe third or fourth album. Yeah, 1971. We're really stretching out from, in terms of time periods, would you say 1970, 71? Yeah, no. We usually focus between 7275. So this is a real departure. That's true. 71 yeah. No, this is an incredible work. This is like they always say, you know, when a genius gets their heartbroken, some of the best art gets made, like I remember someone saying that about that that Beck album, Sea Change.
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Unknown
Like he had his heart broken and he makes this beautiful masterpiece. And this is some similar stuff here. Joni's going through a lot of like, sort of personal relationship things. Yeah, and she is probably more well equipped to write music about it than anybody on the planet at this time. Yeah. And she writes an amazing amount of very personal, very beautiful, very melodic, which we'll talk about.
00:03:58:11 - 00:04:34:23
Unknown
Yes. Songs. Yeah. And they're recorded very simply. Yeah. And it works. Absolutely. Yeah. She's obviously. Yeah, wearing her heart on her sleeve. And we're all to the benefit of it on this record. And a lot of her output over the years, really, I mean, very personal, very, very human, very, interpersonal. Right. You know, she's very she's so eloquent and, but just so artistic in her delivery of the composition and the performances on this album, you know, guitar, piano and obviously vocals.
00:04:35:01 - 00:04:53:06
Unknown
Yeah. She said that all of her albums are concept albums, and the concept for Blue is blue as. And she was feeling very blue at the time that she wrote it. She was very, very sad. It's among, some of her most vulnerable work, and she talks about a dream she had that she was on stage and she was just like, sitting on stage is a bag of organs, essentially.
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Unknown
Like, you could see right through her, which is kind of gross. Hammond. Hammond B3 organ. Yeah. But, there's a whole there's lots of stories behind these songs that we can talk about. She had when she was making this. She had just broken up with Graham Nash. Yeah, she had, a little bit of a relationship going with James Taylor.
00:05:10:18 - 00:05:29:00
Unknown
Yeah. And so their songs about Nash, their songs about James Taylor, she was about to get with Steve Nash from the. No, that's Phoenix not. No. Never happened. Different at different Nash. Anyway, let's get to listening. Yeah, yeah. This is the first track. This is apparently about the relationship that she was having at the time that she recorded this with the great James Taylor.
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Unknown
This is all I want.
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Unknown
To be.
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Unknown
I am on a lonely road. And I am traveling, traveling, traveling, traveling, looking for something. What can it be? Oh, I hate you some I hate you some. Alone because of you. Oh, I love you. When I forget about me I want to be strong, I belong, I want to belong to the list. Alive, alive I want to get up.
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Unknown
And I want to wreck my stockings in some jukebox time. Do you want, do you want, do you want to dance with me? Do you want to take a chance? Oh, maybe finding some sweet romance with me, baby. Well, come on.
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Unknown
I don't usually, I don't usually talk like this, but we don't write melodies like this anymore in popular music. You know what I mean? There's no albums in popular music. Like, I love this young crop of singer songwriters that are around now. Artists making music. But nobody's writing melody. I mean, to be fair to nobody was really writing.
00:07:06:07 - 00:07:30:03
Unknown
I was gonna say, yeah, that's that's the difficulty with this was I mean, yeah, there was some we can we say was that a more fertile period? Did the songwriters have more of a focus, knowing that they were going to go in and record it themselves in the studio without a lot of, I mean, there was definitely technological assistance in terms of being able to cut things together, layer overlap and that kind of thing.
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Unknown
But in terms of like fixing and you could fix vocals, certainly, for sure. But in terms of like really technologically altering it. No. Like the emotion, the, the feel had to come out of the melody, out of the lyrics, out of the harmony. I think in a way that was closer to the artist and to the songwriters heart on their sleeve as they wrote it.
00:07:51:04 - 00:08:07:05
Unknown
Yeah, well, but just also, I mean, she's and this is going to be a theme running through this whole episode, I feel like. But she sings like a horn player. You know what I mean? She she listens. She moves around melodically, like, I know what you're saying. Yeah. Like, it's like she has buttons on her voice, like a saxophone.
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Unknown
Right? And she could just hit the octave button and go up hard on her sleeve. Right. With the button there, I gotcha. Okay, okay. That's right. But it's it's just fantastic to listen to the whole time. And she does things that melodically, the traveling, traveling, traveling that you would hear, I think a horn player. Yeah. Interpret a melody more than even a jazz vocalist or something.
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Unknown
Yeah, yeah. And I think that that's like that. Improvizational like she wasn't necessarily improvising. I think over that, but it has that improvizational flair to it. You know, it's not like when you look at her melodies in sheet music, it's kind of confusing. Like it doesn't. Yeah. It would, it would be very difficult for and I mean, her a lot of her compositions are notoriously hard to sing.
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Unknown
Yeah. You know, I mean in terms of like, you have to be a fantastic technical singer. Forget about even the, you know, kind of emotion and being able to handle the melodies and the lyrics. But just in terms of being able to make the jumps and the leaps, that's all there within that. But for her, I think it didn't.
00:09:08:22 - 00:09:23:07
Unknown
It's the type of thing that it sounds it way easier than it is. Like, like a lot of great artists are able to pull that off. Well, and then like a lot of great jazz vocalist too, she's got all these incredible timbres that you just don't hear in a lot of the other. I think what you might call that Californian.
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Unknown
Yeah, folk rock scene of the late 60s, early 70s. And she's talked about this too. She's she's talked about the most influential album in her life up to this point was Lambert, Hendricks and Ross album, the hottest new group in jazz. So if you don't know Lambert, Hendricks and Ross, they were like a super popular trio of singers.
00:09:43:06 - 00:10:08:00
Unknown
Yeah, in the 60s. This is from that album that Joni says she knows every note of every morning. 66. Right? Yeah, maybe even earlier. I mean, because of all the trouble I've seen Johnny is. But life's a losing gamble to me. Yes. Love cares and woes. I've got no moment. Yes, Lord ever. Evening. Find me my man, John Donne.
00:10:08:02 - 00:10:26:16
Unknown
There's such a direct line with Harry Belafonte to to Hendricks to, you know, I mean, of course, all that jazz. We got to do a Harry episode. Yeah. Harry Belafonte is one of my all time favorites. But yeah, this is a record that influenced a lot of pop singers, folk singers, you know, obviously jazz, but this was such a big crossover.
00:10:26:16 - 00:10:46:21
Unknown
Lambert, Hendricks and yeah, I mean big I mean, well, I mean as big as it could crossover it in, in that mid or early 60s period, super, super influential two vocalists in particular. So that first song was about James Taylor, by the way, James Taylor playing guitar on it. Yeah, kind of awkward. Probably playing the guitar girl with me.
00:10:46:23 - 00:11:03:07
Unknown
Yeah. And was it me? Was it stills? Was it Nash? Was it? Yeah. Well, Nash is coming up okay, but Joni's playing, on this album. She's playing most of the instruments on most of the songs. Yeah. So she's playing the Appalachian dulcimer, which I believe we just heard there on that first track. The guitar, the piano and vocals.
00:11:03:07 - 00:11:21:10
Unknown
Of course, James Taylor plays guitar on that last track and a couple of others. The next song, one of my favorite songs, the, this might make my desert island. I don't know, Peter. My Old Man. My Old Man is apparently about Graham Nash. Joni broke up with Nash around the time she was writing this album. She broke up with him via telegram while she was in Crete.
00:11:21:10 - 00:11:39:17
Unknown
That's gotta hurt. Which we'll talk about later, where she was living in a cave with a group of hippies. It was 1970, you know what I mean? I remember 70, I don't I was born late on this night and this is my album. This is an amazing melody as well. Again, with the leaps. Yeah. I mean, it's oh, it's.
00:11:39:17 - 00:12:16:15
Unknown
Yeah, it's on major sevens. I know, man, he's a singer in the park. I had heard intonation. He's a walker in the rain. He's a dancer and, a minor there. Yeah. We don't need no bees. Are people from the city? Yeah, yeah. Keep a nice, tight and dirty bluesy little bluesy vibe. Oh, man. Keep away, man. Two meters.
00:12:16:17 - 00:12:42:00
Unknown
He's my sunshine in the morning. He's my fireworks at the end of the street. That's a green light. Sunshine one fireworks at this one is called I never heard play that one chord playing stay baby, we don't need no bees. A baby from the should be city hall keep night. And where it sits in a range too. Yeah.
00:12:42:02 - 00:13:03:21
Unknown
What band could you ever be popping it nowadays with? This kind of a vibe is the second two. Oh wait, that wouldn't that wouldn't be me. Couldn't pull that off. I don't know, it would be tough. It would be tough. But again like that melody like somebody. What was that new dude in training. Oh you got the octave down.
00:13:03:23 - 00:13:17:22
Unknown
I'll sing my blues gag. You do better than it. Do do do mumbo jumbo. The other.
00:13:18:00 - 00:13:21:11
Unknown
Right.
00:13:21:12 - 00:13:44:08
Unknown
But yeah. Yeah. That chromaticism there. Yeah. Oh yeah. That's a straight up dominant seventh. Yeah E7 she slides from those major sevens to the dominant sevens effortlessly with the with the melody guiding it you know. Yeah man. Really really special. Yeah. And her intonation I mean is, is obviously spot on. But she has that purity in her voice.
00:13:44:08 - 00:14:03:07
Unknown
That's sweetness. But it's, but there's also a depth to it even as it goes up into the really high ranges. And, you know, her voice like like many, like most singers, I guess, came down over the years, but I think, I don't know if this is a thing that the higher your range is, the more it comes down, but it really change.
00:14:03:07 - 00:14:19:17
Unknown
I mean, like in the 80s, it's like a different I mean, it's the same Joni Mitchell. You hear that? But it really, changed how? Because I think the specific keys in these specific leaps, it was all tailored around her voice. Yeah. You know what I mean? Like, that's what she was such a great personal writer for herself.
00:14:19:17 - 00:14:43:22
Unknown
And then she was like the, you know, she made the stamp, she put it on and she delivered it. Yeah, she delivered the male. Same thing with the harmony. Like catering around her voice, around her melodies. Yeah. And she the harmony follows. The melody always follows the melody. And it it's not it's not stupid. Like it's not. She doesn't do it in a stupid way, where it's just like this egregious thing that can sometimes happen when you put a lot of, like modal interchange, right?
00:14:43:22 - 00:15:06:02
Unknown
When you go wrong between major and minor. Yeah. Looking at myself, she does it incredibly tastefully, and she does it dynamically with the melody. And it doesn't. It just sounds sophisticated. It doesn't sound like it's, it's an intellectual, flex. Right? It sounds like. Yeah, this is where this should go. She also, I love the way that she uses chords on the piano.
00:15:06:02 - 00:15:31:23
Unknown
I don't know if you hear some of these, but she loves, like, these kinds of chords, right? These poly chord. Right. Like a triad that moves over. These kinds of chords. Right? Yeah. She's like an A over a G and F over an E-flat. E-flat over F, right? Yeah. So sus chords or you might call them sharp 11 course, but they're really just like, she loves moving this triad over these roots in these unexpected ways.
00:15:31:23 - 00:15:49:14
Unknown
And we'll see. We'll hear that for the rest. It's not a poly chord. Probably. The word I think is when there's like literally, oh, two chords on top of each other. So it'd be like a D over an E-flat. Yeah. I've been calling that wrong only for 54 years. I think it's a slash chord technique slash chord because there's like a, because the guitar player with, over E-flat.
00:15:49:14 - 00:16:06:22
Unknown
Okay. Oh. From guns N roses. You know, I heard he had a tour bus and it smelled off. Boy. Yeah. So we tell that story that, though. Okay. The next track, the third track is a track called Little Green. Yes. Joni wrote this song, A Little Green, about the daughter she gave up for adoption when she was 20 years old.
00:16:07:00 - 00:16:27:11
Unknown
And she kept that adoption secret for decades. Yeah, until a college friend spilled the story to a newspaper in the 90s, and she began a public search to reunite with her daughter. Thanks, college friend. They were reunited in 1997 and have remained close since. Can you imagine finding Nosy Nancy, the roommate from college? First of all, you find the story.
00:16:27:13 - 00:16:42:10
Unknown
You find out you were adopted because I don't think she knew she was adopted. And then, you know, I think I think she knew she didn't know was Joni Mitchell. Joni Mitchell, I think because I knew I was Joni Mitchell. Yeah, it's a little green.
00:16:42:12 - 00:16:46:15
Unknown
When?
00:16:46:17 - 00:16:48:23
Unknown
I'm.
00:16:49:01 - 00:16:57:13
Unknown
Born with the moon in cancer.
00:16:57:15 - 00:17:23:14
Unknown
Choose her a name. She will answer to that, major. Seven down and the winters cannot fade her. Oh, the grief for the children who've made a little play. Another major seven. Thank you, Gypsy dancer.
00:17:23:16 - 00:17:32:06
Unknown
He went to California.
00:17:32:08 - 00:18:01:11
Unknown
Hearing that everything's warmer this week. So you write him a letter and sing. The eyes are blue. He sent you a poem and she's lost to you. Little green. Beautiful. There's a little nerdy harmonic thing. What key are we in here? I think we're in B, but she's. It's all she. She tuned her guitar very unconventionally. This was Queen.
00:18:01:11 - 00:18:08:04
Unknown
She's probably here. Unless this is off. But it's that.
00:18:08:06 - 00:18:24:19
Unknown
I can't, it's so different than a record. It's killing me. Yeah, maybe B-flat is cool. So there's an interesting thing there, but it wouldn't have been B-flat. She's again, I think I think it's like an F-sharp over B, like it's not a straight up major seven. I believe it's that kind of sound or might even just be f sharp and and a sharp over a B.
00:18:24:21 - 00:18:42:23
Unknown
But that was the D sharp was in there for sure. You think so I heard. Yeah. Anyway the, the cool like harmonic movement she does is she goes from this major seven to, like you said, like one of her moves to the. Yeah with the melody leading it with a melody. And typically from here you would go to the floor, which she goes to later.
00:18:42:23 - 00:19:01:11
Unknown
Later she bends it out. Right. But the first two times she goes up to the two. Yeah it's great. Which is is not the like the obvious choice. Nothing she does is like, no, it's choice. It's what makes it so special. It is the relative minor of the four, right? Right. It's totally related to stop watch. We're gonna stop talking about chords.
00:19:01:12 - 00:19:19:21
Unknown
And also I'll turn this off if you are a fan of, like, the Barry Harris dominant thing, like, that's in the family of dominants that would go to C sharp right is the B7. Yeah, that's the back door dominant to C sharp. So anyway, that's for all of you nerds out there. It's the only people left. Now that the next song is carry this.
00:19:19:21 - 00:19:38:13
Unknown
Is this also my this is and these half these songs are candidates for the desert island track. For me. I love this song so much. This was this is a consistent record, composite essentially front to back. Very much so very, very good. Very strong. Every song is strong. This was named after Kerry Raddatz, an American she met while she was living with a hippie colony in a cave.
00:19:38:13 - 00:20:12:05
Unknown
Was this the one she described as an American redneck? I think so, okay, I don't know what this is. And this is, again, the, Appalachian dulcimer. The wind is in the mouth. Because last night I couldn't sleep. Oh, you know, it sure is hard to find. Kerry, but it's really not my home. My fingernails are filthy. I've got beach tar on my feet, and I miss my clean white linen and my fancy French.
00:20:12:05 - 00:20:30:04
Unknown
This is, Stephen Stills playing bass. Take it out. You can't just cannot do anything good on Russ Kunkel on the drums. And that's Joni. They're all the background ready you but I yeah, yeah.
00:20:30:06 - 00:20:59:10
Unknown
Come on down to the mermaid. Can't wait. And I will buy you a bottle of wine. And we'll laugh and toast to nothing and smash our empty glasses down. Let's head around for these freaks and these soldiers around for these friends of mine. Let's have another round. The bright red devil keeps me in this tourist town. Come on, carry it out to kill you.
00:20:59:12 - 00:21:23:02
Unknown
I go dance until I'm lonesome. Sell your meat already. But I like you I like you I like you, I like you. There's. That's kind of some of that horn playing. Yeah. Type of vocals she was doing there. There's a great interview that that Joni did, just a couple of years ago with Elton John, where she talks about Sir Elton John, Sir Elton John, where she talks about this song.
00:21:23:08 - 00:21:48:17
Unknown
And yeah, basically her and her friend were just like going around Greece. And the locals were basically just saying, like, you're hippies, you need to go to this one place where they have a cave, like go to this one town, the specific town. And so her and her friend, like they go to this town and they there. But their new this restaurant, they hear this loud explosion and this man comes out just like, covered in, like, like a cartoon.
00:21:48:17 - 00:22:10:20
Unknown
Like he's just been an explosion, right where they. Yeah. Like I'm covered in acid. So it's. And it's Carrie, and that's how she meets him. Is he basically like, he, like, blew up a kitchen in a restaurant? He was working. That's awesome. Yeah, yeah. Okay. Next up is the title track, and this is Blue. Reportedly about James Taylor again.
00:22:10:22 - 00:22:18:00
Unknown
Day two.
00:22:18:02 - 00:22:38:06
Unknown
Blue. Who? Songs are like tattoos. You know, I've been to see before.
00:22:38:08 - 00:23:23:15
Unknown
Crown and anchor me. Oh, let me see you. Oh, wait. How good is that? And he blue. There is a song for you. Ink on a pier. Underneath the skin an empty space to see who with. Well, is so many sinking now you gotta keep thinking you can make it through these waves I acid, booze and dance. Needles, guns and gas.
00:23:23:17 - 00:23:29:23
Unknown
Lights, alarms.
00:23:30:01 - 00:23:42:12
Unknown
Lots of lovers. It's got the mind of a noodle. Poodles.
00:23:42:14 - 00:24:12:06
Unknown
Everybody saying that hell's the hippest way to go. Well, I don't think so, but I'm gonna take a deep breath and dope. Yeah! Whoo hoo hoo! I love you. Oh!
00:24:12:07 - 00:24:55:00
Unknown
Blue. Here's a shell for you. Inside you hear a sigh, A foggy lullaby. Minor 11 a.m. I realize. Hey, such a vibe there is your song from me. We.
00:24:55:02 - 00:25:22:05
Unknown
So again, interesting ending on major after being in minor. Yeah. You had a little dominant. Yeah, yeah, there's all the things we were just talking about. About the triad concepts. Right. So she's kind of going between this B minor triad to this A over B. Yeah. To the d over e o slash chords. Yep. There's also there's a chord I wanted to get here because this is like a a super G chord here at the beginning you hear this chord.
00:25:22:06 - 00:25:35:09
Unknown
I think this is the only time I might hear it on this album. It's all over Courtney's part. Yeah, it's her next album. And I find this chord faster because I'm like, oh, she found a chord you like? Yeah. And then the next album, she's like, I want to do more of that. But we all have done that.
00:25:35:09 - 00:26:01:07
Unknown
Yeah, we were like, I'm into this now. Yeah, it becomes a thing. Songs are like, oh, I know what you're talking about. It's on this. Yeah, they're sending you to see before my baby crowning anchor me. Oh, let me see you. Oh, wait.
00:26:01:09 - 00:26:11:00
Unknown
It's that one. Oh that one. Yeah. Oh, wait, wait oh, wait.
00:26:11:02 - 00:26:42:22
Unknown
Oh I think it's a B over a. Yeah. But it happens after. It's the placement of it. Yeah. That there. Yeah that going back to that. Yeah. It's like a B major over A. And then it's going to go back to a B minor. Yeah. And that's all over Courtney Spark. Yeah. And I mean this track this is really the first I know she said this is the concept of this record is I mean the title of it's Blue and it's about, you know, sadness and loss and these things that she's talked about.
00:26:43:00 - 00:27:03:04
Unknown
But and that's been reflected so far. I mean, we're almost halfway through the record now, right? Yeah. We're right in the middle and in the lyrics that's been reflected up until the place we are now. But harmonically and in terms of the vibe of the song as it hasn't been, everything has been actually kind of very major and fun and like groovin and stuff.
00:27:03:04 - 00:27:25:22
Unknown
So this is the place. But even on this track, on on Blue, she's using a lot of like minor to major with the dominant Savage. You're using a lot of sass on here. That gives it kind of an optimistic sound. So like the harmony starting to take over more where everything has been melodically driven. There's beautiful melodies in this, of course, as well on Blue, but the harmony is really, I think, taking center stage now.
00:27:26:00 - 00:27:43:11
Unknown
She mentioned for the control, the Emotion. I heard an interview with her talking about some of the harmonic stuff she was doing at this time. She said, I think she said, Wayne Shorter, I could be wrong about this, but I believe she said, Wayne Shorter told her, don't do two sus chords in a row. Which is weird because Wayne Shorter love to gray.
00:27:43:12 - 00:27:59:07
Unknown
That's great. Don't steal my stuff. But she said, but I was just feeling very. My whole life was suspended at this point, like she was feeling very in the air about things like up in the air about things. And so this has that, this has that sort of A over B is a sus chord to the, to the D over E.
00:27:59:07 - 00:28:15:03
Unknown
And I think that kind of sound is what she was referring to. I mean that's a sus. It's so it seems so commonplace now. But if you think about this 1971, it's like the whole 70s were a series of sus chords next to each other. Yeah. And I think it's it's such a common sound that we have for that decade.
00:28:15:03 - 00:28:31:07
Unknown
But I would imagine at this early stage it was like, no, those have to go somewhere, right? They have to resolve in popular harmony a little bit more than what we're seeing here. Obviously Herbie Hancock's doing it in the 60s, like, yeah, 66, 65. Yeah.
00:28:31:09 - 00:28:53:10
Unknown
I forget if it was Wayne or Herbie who told her that, but someone said, don't do two sets. She was like, no, I'm going to do that. Okay. Next up, this might be my fifth. This. Actually, I know I've said this, but I love this song so much. Oh, yeah.
00:28:53:12 - 00:29:22:14
Unknown
Sitting in a park in Paris, France, reading the news. And it sure looks bad. They don't give peace a chance. There was just a dream. Some of us had still all this to say. But I wouldn't want to stay here. Dance too crazy like a soprano saxophone. Yeah, it's way easier all the California, California and hiring. I'm going to see that, folks.
00:29:22:14 - 00:29:48:04
Unknown
I dig it. I'll even kiss a sunset pink California. I'm coming home. How many melodies have been written around the word California? Yeah. So I mean, just off the top of our heads when you dreamin California dreaming. Kind of boring. Yeah, right. Just down a scale, there's a welcome to the hotel California. Maybe a little bit better, is there?
00:29:48:06 - 00:30:13:16
Unknown
Let's see. There's. Oh, there might be a Rufus Wainwright song where there's a good note. I have to remember that one. Is there a better California melody than this California cow on the phone? Yeah, yeah. Oh, good. Oh, and her, the transition from alto to soprano is like, is stunning every time she does like she has such a she's not the only vocalist that has that.
00:30:13:16 - 00:30:36:10
Unknown
But I think she's the best at being able to craft a melody to take advantage of, of the soul inducing, you know, timbre change of that. That's so thrilling. There's, I wish they all could be California girls. Oh, that's a hell yeah. That's not going down a scale. Yeah, there's, there's going to California by LED Zeppelin.
00:30:36:10 - 00:30:58:19
Unknown
Yeah, going to California. There's surely there's some Tupac we're missing here. California. California girl, that might be good. Okay, that might be. No, no, but this is probably the best California song. Like, the whole thing. I mean, melodically, that's the lyrics. We might have to have a episode about the best. Yeah, this is. Well, and I think it's the for doing the best California, best New York best Florida.
00:30:58:19 - 00:31:22:04
Unknown
Yeah. I mean the Tupac is really great because it was the whole East Coast, West Coast thing. And there was like Roger Troutman was in there too. Yeah, exactly. But I mean, like, this is very like when you listen to this and you think about, like the sun coming up in the West and like everything the California, the coastal lifestyle, you know, like it just it's so fantastic, so great.
00:31:22:06 - 00:31:38:10
Unknown
And Joni Mitchell, a long, long time California resident, I mean, famously Canadian, of course, but that's going to come up later. Yeah. Incredible. All. Yeah. Next up is we might hit all of these. We talk about those crazy that why we won't do it the dominant chords and up to the four. Oh, yeah. Yeah. That's the thing over here.
00:31:38:12 - 00:31:59:17
Unknown
By the way. There's a great video of the actress Amanda Seyfried playing this song on The Tonight Show with an Appalachian dulcimer, and she crushes it. It's got a great voice. Paris, Paris. We are in the news and it sure looks bad. They don't give peace a chance. There was just a dream. That stuff. Yeah. Still alive and to.
00:31:59:17 - 00:32:26:23
Unknown
So for what? I wouldn't want to stay here to dominate. The dulcimer is an open major chord in way with like a all bad string. So you'll hear like it's all major triads. California come in hollering. I'm gonna see that, folks, I dig. I'll even kiss a sunset of California. I'm coming home after this sunset. Sunset. I know that's because they're great.
00:32:26:23 - 00:32:41:06
Unknown
Yeah, that's a great phrase. Yeah. Here's this flight tonight. Next track. Yeah. Underrated. This one. It's a good song. Yeah.
00:32:41:08 - 00:32:58:05
Unknown
Yeah, because there's a lot of skipping for California River. This thing we got right down there, that's where we land. I saw five star burn up by the Las Vegas dance.
00:32:58:06 - 00:33:20:16
Unknown
Wasn't the one. And we got Sneaky Pete Kleinow out on the pedal steel on California. And this long line of Sneaky Pete's going to go back towards it. Still letting that 45 year. We don't call you sneaky because you're not very sneaky. Come in loud and proud of the guy that I like. All right. Turn this crazy better around that ship.
00:33:20:19 - 00:33:32:17
Unknown
The last play tonight.
00:33:32:19 - 00:33:53:15
Unknown
You got the cup. So incredible. Man. These tracks are short, too. I mean, this was the. This was the era of that, right? For sure. I mean, it is like a folk pop album. Yeah. And so every track is a concise five minutes. Yeah. All right, next up, this is, this is in my repertoire. And we're actually, you know, we're playing this for this episode for our intro.
00:33:53:15 - 00:34:12:13
Unknown
Outro. Thanks. I think it's one of the best. It's not specifically a like a. Well, it is kind of about Christmas, but it's turned into one of my favorite Christmas. It's become. Yeah. When did that happen? Because the last three years. Yeah. Yeah yeah it was because it's a great song. There's only like one line about Christmas in it, isn't that.
00:34:12:13 - 00:34:30:10
Unknown
Well it's coming on Christmas. They're cutting down trees. Yeah. They're putting up reindeer and singing songs of joy and peace. It actually. But that's like the second verse or something. Or the first. That's the first verse. Yeah. Oh, okay. But, it sets up the sort of like for those of us who listen, I like Christmas as much as the next guy.
00:34:30:12 - 00:34:49:09
Unknown
And I love this, I love Autumn. Why didn't you call me, at like, 11 a.m. last Christmas? Or like, yo, man, when what the fuck is Christmas going to be done? And this is driving me. I'm sorry. Was that you? I gotta live it. No, no, no, I like Christmas. I'll be on blast, I hear it, I like Christmas, and that's the the next guy.
00:34:49:11 - 00:35:07:12
Unknown
But there are some of us who for like the Christmas season. After a while, it's just like, this is really. This is lovely. And also, I feel like I'm a little bit blue little, a little back on track five. If I wish I had a river that I could skate away on and just. You know what I'm saying?
00:35:07:12 - 00:35:13:07
Unknown
Yeah.
00:35:13:09 - 00:35:36:13
Unknown
I love it because we already know from the end. Yeah. This is not like jingle, jingle bells, happy jingle bells. This is. You know, it took me a long time internalizing that. What? That was staring out the window of your tour bus that smells like it's coming on Christmas. They're cutting down trees. They're putting up reindeer and singing songs of joy and peace.
00:35:36:16 - 00:36:23:06
Unknown
Oh, I wish I had a ring of, I could skate away. Piano playing. Oh, this is so good as well. But it don't snow here. Stays pretty good. Yeah, I'm gonna make a lot of money. Then I'm gonna quit this crazy scene. I wish I had a river. I could skate away on. I wish I had a river so long I would teach my feet to fly up with some amazing soul stirring I could scare away.
00:36:23:08 - 00:36:37:23
Unknown
Yeah. When you sing fly and then you fly up there I made my baby cry. Baby. Never you.
00:36:38:00 - 00:36:42:20
Unknown
Alcor there to.
00:36:42:22 - 00:37:10:07
Unknown
You tried hard to help me. You know he put me at ease. And he love me so not he made me weak in the knees. Oh, I wish I had a really ever I could skate away. It's every Christmas. Love me some money I'm so hard to handle. I'm selfish and I'm sad. Now I gone and lost the best baby that I ever had.
00:37:10:07 - 00:37:24:22
Unknown
Oh I wish I had a probably. I mean, that's one of the great lines of the album. I'm. So we're going to save it because we got our. Yeah, I think we got an apex moment here, but so hard to handle. I'm selfish and I'm sad now I'm gone and lost the best baby that I ever had.
00:37:25:02 - 00:37:48:10
Unknown
I think it's something that resonates with so many people, with this feeling specifically of like, you know, man, am I my own worst enemy sometimes or what? Like, why can't I get my shit together and be whatever it gets in us? And this song like, reflects that so beautifully the whole time. Her storytelling is so great, her lyrics and I think like these lines are so great lyrics.
00:37:48:10 - 00:38:12:07
Unknown
Some of the best, you know, folk, pop, whatever you want to call this ever written, I think. Oh man. But I think what really elevates it is her delivery. Her diction is so clear, right. There's nothing obscure, there's nothing. It's got like a plain Jane. Simple. Just direct right down the middle where you can hear everything. It's not like you're trying.
00:38:12:07 - 00:38:43:06
Unknown
Like. Which is insane, considering how incredibly complicated these melodies are. Right? Well, she floats over them, right? Yeah. Rhythmically. And, like, going in and out of time, like, that's very. But in terms of, like, like you can hear it's the enunciation is great even as she's jumping between ranges and everything. And then that brings the beauty of the, of the lyrics and it, it kind of pulls it all together, the storytelling, you know, and it makes it so that everybody can connect if you if you are willing to connect with that humanity, it's just right there, you know, it's like an incredible meal, but it's not like you have to do homework and all
00:38:43:06 - 00:39:17:23
Unknown
this. If you just take a breath and listen and let yourself be enveloped by it, there's a lot there for you. I really love her. Her subtle Canadian accent too, as she sings on some of the vowels a not that's that's not subtle. You can't say that. But no, there is, there's like the way she especially E's and Oz, yeah, I think are different than how I we hear a lot of it in America, but it actually makes them pop a little bit in this context, it sounds very much like, like, you know, the, the emotion that she's trying to, convey is sort of buried in her accent.
00:39:17:23 - 00:39:39:01
Unknown
I, I honestly, I never, I never in her song. I've never heard anything Canadian and it's not like she sounds like, you know, it looks like she sounds like a stereotypical Canadian accent. Does have. And maybe this is just her, but she does have, like, vowel sounds that I think are different than how people in California speak, or people in here in Missouri speak or in the south of the United States.
00:39:39:01 - 00:39:57:12
Unknown
Yeah. And she just has a cadence to about it, you know, clip to it. That feels very northern, right. Feels like even in like we would hear here in Michigan and Minnesota and Wisconsin, like some things that sound very northern, I think. Well, she's from and she's from Saskatoon, I think like in the interior, in the interior, very particular part of.
00:39:57:12 - 00:40:18:11
Unknown
Yeah. You know Canada I then I've had this theory for years, but I think the accents that we are grown up with, that we grow up with as people, as human beings like affect how we make music. I think they affect like the rhythms that we think in and and the pitches that we think in for sure. I think you can hear that in people's playing, especially improvisers, you can hear what kind of where they're from.
00:40:18:11 - 00:40:37:09
Unknown
Absolutely. I mean, we're all borrowing from each other now, from all over the world. So it's a little weird, but definitely like in the early 20th century, mid 20th century, like you can it wasn't just like the musical accent is like, that's just the music they make. Like when I hear New Orleans musicians play music, I can kind of hear the direct correlation to how they speak.
00:40:37:10 - 00:40:54:18
Unknown
It's you know what I mean? Exactly. And New Yorkers the same thing. Like, yeah, it's an interesting concept. Yeah. For sure. Anyway, that was a fun digression. That was a positive digression. We we're going to come back to River. Next up though, this is I mean, this is one of the iconic songs from this album. This is a case for you.
00:40:54:20 - 00:41:14:12
Unknown
Case of you, a case of 24 packs. You, baker's dozen of you, two dozen cases of you life with a little land. Yeah. So 25.
00:41:14:14 - 00:41:57:01
Unknown
Just before I love got lost, you said I am as constant as an rolling stone. I said constantly in the darkness. Where's that? And if you want me, I'll be in the barn on the back of a carton coaster, in a blue TV screen. Light. I drew a map of Canada. Oh, Canada. Up with you. Up 92 O Canada before next, and so on.
00:41:57:03 - 00:42:18:22
Unknown
But I mean, these lyrics are very pensive. They are a little blue, but the harmony and the melody is so, like uplifting and optimistic. It's a really fertile kind of combination. You know, I this is the common eight. You're exactly right. The combination is what makes it. It's like some of the greatest storytelling of the era, mixed with some of the greatest, like harmony and melody of the era.
00:42:18:22 - 00:42:40:15
Unknown
It's like, how does she I mean, it is very similar to, I think, the number one album on the 500 Greatest Albums of all time was Marvin Gaye's What's Going On? Oh, I believe that's the case. Maybe. But like similar actually similar era. Yeah, but also like a great er, storytelling harmony melody. So everything is at the highest quality and this album is up there.
00:42:40:18 - 00:42:51:06
Unknown
Yeah. And then consistency. See within the album. Yeah. You know pretty incredible. Yeah. The last track on the album is the last time I saw Richard.
00:42:51:07 - 00:43:12:20
Unknown
It's a picture she's referring to. Or is it now that something could be. I was the pianist. Organist. Great player. The last time I saw Richard de, when I.
00:43:12:22 - 00:43:30:00
Unknown
Is this Richard time? It was at the fair. I to a party. Gonna be in the lobby. You got it? It's Nicky. Be you day.
00:43:30:02 - 00:43:45:07
Unknown
There's two true Joni Mitchell fans. They're gone now. Okay, game. They're making a sneak peak. Oh, a doll and stabbing it. They're over on Brandi Carlile podcast. A friend.
00:43:45:09 - 00:44:17:05
Unknown
The last time I saw Richard was Detroit in 68, and he told me I'm. And it's me. The same fate someday. Cynical and drunken. Boring. Someone in some dark cafe slash chords all over it. Yeah. Can play again. Optimistic harmony. You think you're a young girl looking up for a moon. You like roses and kisses and pretty mended I was pretty long.
00:44:17:11 - 00:44:37:19
Unknown
That's why she had the Detroit period when she first came to the States one day. But I found it pretty liars. Ugly, pretty liars. Just a pretty lie.
00:44:37:21 - 00:45:00:18
Unknown
Beautiful. Yeah. Again, just melodically some of the most interesting, melodies and. Yeah. Yeah. Yeah. And strange. Very strange. Strange melodies. Weird. Yeah. I mean she pulls it together in a way that there's like there's such a beauty to it, but like the, this is like, don't just go in and try to really cheat on this bad boy and think you're going to be able to pull this off.
00:45:00:21 - 00:45:22:18
Unknown
I did a show with an orchestra where I did a bunch of arranging of Joni's music, amongst many other singer songwriters from this era. And yeah, trying to score out the melody of the vocals for the conductor to follow along with was, yeah, the worst part. I mean, it truly was a horrible experience to try to, like, transcribe her rhythm.
00:45:22:20 - 00:45:41:19
Unknown
Like you end up just you end up having to just simplify things because it looks like such a mess on the page. Yeah. And yeah, it's, it's but it's just, it's but I love them so much. Like it doesn't matter how it looks on the page. Like it just shows how free she is rhythmically floating over everything. There's a freedom to her melodic approach.
00:45:41:19 - 00:46:00:09
Unknown
That's. Yeah. Uncanny. You ever seen any of the videos from this era of her playing these things live, like with the the guitar or the piano? Yeah, it seems like nothing I can't remember from this period, but a little bit later is the is the stuff I'm more familiar with some good stuff on video. Yeah, she is a like a stone cold killer on this stuff.
00:46:00:09 - 00:46:15:00
Unknown
Life. Like she just crushes. Oh yeah. Yeah. Just like she could do this 100 times out of 100. Yeah, yeah. Incredible. I mean, at least as of that, that show at the Newport a couple of years ago, Newport Folk Festival. All. Peter, let's do some categories here. Desert island tracks. What do you got? Well, I got river.
00:46:15:00 - 00:46:37:12
Unknown
I love river, but there's a bunch. I mean, it could have been a bunch. I just think that's such, Is that one of her most covered songs? It's one of her most popular, most covered songs. This is, of course, Herbie Hancock's version from his album called River of the Joni Mitchell. Yeah, that's going to show up a little later on the categories.
00:46:37:14 - 00:46:58:00
Unknown
This record, I think, is one of the best Herbie piano sounds of any record he's made.
00:46:58:01 - 00:47:07:15
Unknown
One album of the year. Yeah. Not jazz.
00:47:07:17 - 00:47:35:17
Unknown
It's coming on Christmas. They're cutting down trees. Oh, yeah. This is great, Bailey. Racing brings all the joy and weight your sports mini Kelly I wish I had a few of I couldn't skate. There's that version. There's also this version which I know you know very well. Great. This is Diane Reeves. Kenny Garrett, they're on set. Garrett on the sax.
00:47:35:17 - 00:48:05:06
Unknown
Randall. Joe Locke, this is a joke arrangement, actually. Yeah. A lot talked about this arrangement when it came into the mentor session for us here at the studio. Ice machine, Brian Blade on drums, big connector to the jazz world. And Joni Mitchell. Someday not there, Dianne Reeves. Those are very best. I've done this on the gig. Quality time back on I wish I love singing.
00:48:05:08 - 00:48:30:07
Unknown
Hey hey hey, that was my part. Did they put a microphone in front of you? Did. For the microphone. It was where there was no cable was cutting down. It's so good, man. It's really. That's Dianne Reeves just amazing. That's a good version. Apparently Joni Mitchell likes that version a lot. And the Herbie version, I know, I'm sure I'm sure there's some great stuff with Joni and Herbie together to, live playing River together.
00:48:30:07 - 00:48:48:11
Unknown
Yeah, that you can find on YouTube. I had California. I'm so enamored with California. That one. That's number two. I think my Cal set up. And I got in my head now. I mean, the two pipes we're thinking about again, the melodies on the word California, it's got to be in the. I think those two are the best.
00:48:48:12 - 00:49:11:04
Unknown
Well, even less I'm missing. I mean, the Tupac has two melodies over the California, right? You got California, but you also have don't forget, California love like. That's right. That's a good melody, too. Yeah. So I don't know, Joni might be losing out to Tupac. Roger Troutman, this one's good. This one's good to, What about Apex Moments where you got so apex moments?
00:49:11:06 - 00:49:37:06
Unknown
There's I when she goes up on River on the second verse. I think it's around 220. This is also my, This is my. Yeah. And this. We came to this independently. We did, but we didn't. I don't think we've ever had the same apex, this cohesion right here. Yeah. Fly up. I wish I had it so great.
00:49:37:06 - 00:49:57:00
Unknown
It's. I'm in the piano playing, which seems very standard what she's doing, but she's doing everything right. And then the vocals, like, there's no she's pulling back on any vibrato. Yeah, the pitch is perfect. It sounds just like the movie Pitch Perfect. I mean, you if you started that just halfway through the note, you would think it might be a soprano saxophone.
00:49:57:00 - 00:50:11:16
Unknown
Yeah, like it sounds. Yeah. Her timbre sounds just like a whole. And then the way I think the most genius part of it is the way she pulls back and ends it. She doesn't just. And you know, that's great. Genius is a great word for that. Absolutely. Yeah. So we're we're in. That was funny. We had this.
00:50:11:16 - 00:50:34:23
Unknown
Well, I probably like everyone else. It's pretty great for a great movie. Bespoke playlist. What do you got if this, Spotify, Apple Music playlist, part of a playlist, what would it be called? You know, 1979 1972 exclamation point, exclamation point, 1970, 1970. That's a three years, 70, 70, 70, 71 and 72. What did you get a degree in math?
00:50:35:00 - 00:50:45:11
Unknown
I do math, I have, everyone's in LA. Everyone, because I feel like this is like one of these albums I think of. Yeah, I think about.
00:50:45:13 - 00:51:07:06
Unknown
I think about that whole scene. Graham Nash, you know, Crosby, Stills and Nash, right? James Taylor, Steve Nash, of course. It's time with the Lakers. That's fearless Neil Young, you know, the Grateful Dead. Like just all these people, the mamas and the Papas, like all these Neil Young, the late 60s, Steve Young also. Well, he was in Northern California.
00:51:07:08 - 00:51:29:14
Unknown
But, no, everybody's in that LA scene. Yeah. Right. That sort of. Yeah. And like, you know, Stevie Marvin Gaye like like that's right. On the time Motown moved to La Motown's move. Everybody in LA. Yeah, Herbie Herbie's out there for sure. Yeah. Miles was Miles out there, actually, I don't know. I mean, he traveled out there now.
00:51:29:15 - 00:51:47:00
Unknown
I guess he was still in. He always stayed in New York. Couple bits feeder where he got. Oh, you go first is gotta hit the third rail. Well, there's a lot we could talk about. What's your quibble that I don't see anything written here. Yeah. I mean I've been I've been kind of tossing back I don't think with the actual album itself.
00:51:47:00 - 00:52:05:20
Unknown
Yeah, I have a little bit with anything that was recorded. Zero. I think it's damn near perfect. Yeah. For what she's doing. At the time I thought, there's no such thing as a perfect. There's not. That's why I said damn near what's imperfect about it. That should be your quibble bit. Maybe this is a perfect album. It never.
00:52:05:22 - 00:52:23:08
Unknown
There's not as many colors as I wish there were. Well, the record called Blue, so she's kind of boxed herself in with that. That's a good point. That's a good point. No, I think it's perfect in that she. Hey, trout, why are you swimming so much? I think it's a good point. It's a great point, actually. Yeah. I think if we consider it like it doesn't matter if it's perfect or not.
00:52:23:08 - 00:52:40:16
Unknown
But anyway, the album is not the Reading Rainbow. You know what? Maybe it should have been. No, I'm saying like, if we consider perfection to be like, did she did she reach what she was trying to achieve? Yeah. It's perfect. I think she really nailed it. That's. But it's not equivocal. Yeah. Not unequivocally it is, because we're talking about some bullshit parameters you're putting on this.
00:52:40:16 - 00:53:07:14
Unknown
It doesn't matter. It's a piece of art. Now we're just talking about there's an equivalence. Okay, I'll throw one out there. Okay? Okay. I don't think the piano sound from an engineering standpoint is great. Actually, I shouldn't even say from an engineering, although I have a few quibbles with the mics. Because there's kind of like there's either guitar or dulcimer, you know, string, driven tracks and there's piano driven tracks, pretty much the whole, like the whole record is those two dimensions, which I love.
00:53:07:14 - 00:53:26:18
Unknown
I think that works great. Kind of going back and forth sometimes two in a row where that blue and green. Yeah. Yeah. Right, right. But to me, the piano, I love her playing. I love her accompaniment. I love her voicing. Solid. I mean, for what she's doing, especially accompanying herself is damn near perfect, I would say. I mean, like, I would screw that up.
00:53:26:23 - 00:53:46:07
Unknown
Even a Herbie Hancock, my, I know Herbie or Herbie would add more. There's zero overplaying. Yeah, but there's it's not. It's also not boring. Like, she plays these little subtle fills in between her vocal lines. And there's nothing that's off. There's nothing that's like, wait, why? There's nothing here is amazing. Yeah, yeah. She's good. But the I think it's just the piano or the piano is.
00:53:46:07 - 00:54:01:15
Unknown
It's not great. The actual instrument. Yeah, sometimes it's actually a little. There's some, there's some musicians and some. Yeah, there's some, it's a little pitchy, but I think just the sound quality of it, it's a testament to like how she places it musically within the songs that it works great. It's not horrible. I don't know, man. A little bit.
00:54:01:15 - 00:54:19:12
Unknown
I think it's part of the charm of it, honestly, you know? And the mix to the piano was always mixed under the vocals in a way that the like, the guitars are so wide and so and there's the on the guitars and the dulcimer that's there's some pitchy stuff there too. If you think about like 70s cinema, this grainy, gritty.
00:54:19:14 - 00:54:43:05
Unknown
Yeah, these grainy, gritty movies about these in perfect characters and like, it looks kind of weird and sounds kind of weird. This sounds like that to me. It's gotta be it has that similar esthetic of that era which I wasn't around for, but I now love to go back and visit film noir. Oh no. Simply fun blur. But the way that this sounds, I think it sort of is how those 70s movies look to me.
00:54:43:07 - 00:55:05:23
Unknown
And yeah, but the piano, I know what you're saying. Like there's a stylized vert. Yeah, but her vocals, not like the vocal is captured. Some of it like very wide. The last track here, you know, she's like, overdriving this mic sometimes. This is a very Carole King Tapestry piano sound. Actually, now that I'm hearing it, it's a good call, a great call.
00:55:06:01 - 00:55:36:16
Unknown
It's fine. It's just not. It's like a B-plus grand piano to me. It's what it sounds like it is. A little piano itself is a little like that bass. Right on. But listen to her voice. Kind of a little bit rough. Yeah. It's a.
00:55:36:18 - 00:55:50:17
Unknown
Did she inspire the piano? Power ballad of the 80s with this type of play? Kind of. Yeah. I mean, not just her, but.
00:55:50:18 - 00:56:09:10
Unknown
So many cool colors, though. The last time I saw Richard was Detroit in 68, and he told me, I'm man, it's me. This is her voice. You're right. The voice. So something about the piano sounds like it's a little bit under a cloth. Yeah, yeah, it could be the instrument itself, but it's. Yeah, it's like I think it's made.
00:56:09:10 - 00:56:30:07
Unknown
Yeah. I mean, because this is a beautifully engineered record, I got no quibbles with that, but it's anemometer. What do you got? Anemometer. I have this on it as a two very accessible, very accessible. And also because it's number three on the Billboard 500 greatest albums of all time, that's pushes this in the monitor down to me.
00:56:30:07 - 00:56:45:00
Unknown
And you would think I would think it was more snobby or less snobby. What do you got? I got as a five. I got it right. Yes. I'm finally influencing you. I went, I went five for like the last seven records. I'm not sure if that's a good thing or not. I think you just lost the. You've lost the the,
00:56:45:02 - 00:57:04:10
Unknown
I can't figure out what the storm ometer is broken or if I'm broken. The Snapple meter, it's anemometer. Is it better than Kind of Blue? Nope. No, accouterments. I mean, I'll go eight. I'll go eight. Yeah, I'm also going eight, which is a basically a one. It's fine. Yeah. Up next, what should be the next thing that's like auto playing after this?
00:57:04:10 - 00:57:27:06
Unknown
Well, I mean I want to go straight for selfish reasons to Herbie Hancock, the Joni letters, River, the Joni letters. I love that record. Yeah. And normally it'd be like, you wouldn't want to go from the OG record to, like, kind of the inspiration, but I think it's such an imaginative record of Herbie's. I think it's such a, it's not, I think, celebrated enough in the jazz world or just any world.
00:57:27:11 - 00:57:41:03
Unknown
I think because of that, like it was almost curse. You know, some of these actors say, like when they win an Academy Award and they stop getting calls, everyone's like, oh, it's an Academy Award winner. We can't afford him or he's not going to want to work with us. It almost was like that record for Herbie, in a way.
00:57:41:03 - 00:57:55:08
Unknown
I mean, do you hear people talking about that record? We talk about it. We talk about it a lot. I think it's been on are up next at least 3 or 4 times. Oh, we talked about too much that maybe menos. But it's a great album. Yeah, it's a great album. I have James Taylor's sweet Baby James, which came out the year before.
00:57:55:08 - 00:58:08:21
Unknown
She's dating James Taylor. She's making this. Yeah, it feels natural. But I also would like when you mentioned Carole King's Tapestry, I was just thinking that could be we had to do that record. We got to do Task Tapestry. Yeah, that that would be a lot of fun to go right from this. And we just make a lot of sense.
00:58:08:21 - 00:58:31:15
Unknown
It would make a lot of sense. It would be. It would be a very contemplative afternoon. Some rains falling, drinking a late cup of coffee. Yeah. Sitting around, you got decoupage hanging from your ceiling. Peter. Yeah. A couple of things before we head out here and play some river. So, you know, we do have a newsletter.
00:58:31:17 - 00:58:51:03
Unknown
Yes, we got a newsletter. It's called. You'll read it. You can sign up for it here. Get it description. Get it. It's like you'll hear it. Go check that out. There's some behind the scenes stuff. There's some stories from producer Liz, from producer Caleb about making episodes. Even Sam the engineer, Andy the videographer, even you and I get on it a couple times.
00:58:51:05 - 00:59:09:13
Unknown
There's Adam, the podcast host. Peter, the podcast host. I like how you give everyone a title. Well, we're just like Larry the the cable guy, the pump you, the cable guy. Also, Peter, there is something else that I want to talk about it. It's very, very serious. It's very, very urgent.
00:59:09:15 - 00:59:32:22
Unknown
It's called the gala. Have you ever heard of it? I know the gala. Is it? Tell me about the gala. Gala? Yeah, gala. It's the gentlemen. The gala? Which the gentlemen and ladies agreement. Yes. This is something we've had here at this podcast for a long time. This podcast I'm bringing sexy back. I'm bringing gala back. Right. We should do that.
00:59:33:00 - 00:59:51:09
Unknown
This podcast is free. Except that it's not free. It's not free. You can listen to it for free, but. Oh, how terrible. For there is a price. Yeah, we ask that you leave us a rating and review being sexy Ain't Free. If you're listening on Apple Podcasts, leave us a rating and review if you're listening on Spotify or YouTube, leave us a comment and comment.
00:59:51:09 - 01:00:09:16
Unknown
Gala, gala, all caps and then tell us your favorite parts about the show. Tell us your least favorite parts about the show. Yeah, and that's all we require. Just a little bit of of your time to say, gala, I hear you guys. Yeah, I like this. I don't like this. There you go. And we do have some comments that I want to read out here.
01:00:09:16 - 01:00:28:13
Unknown
So this is, a comment that says, and this is a review, I think I hear it. The more I listen, the more I hear it. I love this podcast because I love music and I love being nerdy about it. This show has broadened my love and understanding, specifically of jazz and its history. Consequently, it's got me to actually leave my apartment and check out live jazz in my city.
01:00:28:15 - 01:00:52:05
Unknown
Shout out to Bop Stop in Cleveland, Ohio. Thank you guys. This gala. This. Yeah, I like that. That could be kind of our, our nonsmoker MCR. What? It's a combination of a name and a yamaka. And I know that this could be bop. Stop. No, no. You'll hear it getting guys in Cleveland out of their apartment one day at a time.
01:00:52:06 - 01:01:10:12
Unknown
That is very flattering. We appreciate you. Gothy part of it. I got another one here. Is. That is like, is Cleveland's dangerous? Like Saint Louis. That's why they don't want to leave the apartment. Could be. Could be. We don't know. This is from m door view or no m m do do review. This is the title of the review.
01:01:10:12 - 01:01:32:19
Unknown
Is oh. Which I really appreciate, Gail making this world a better place. Thank you. Yeah. Imda review and then finally doing it. This is from Deadhead. 12 2679 I think I know a your favorite band and b your birthday, you and I are both Elder Malone millennial slash young Gen Xers. Excellent Eagles examples. These guys are great.
01:01:32:19 - 01:01:49:17
Unknown
I play piano and bass semi professionally, and these guys have taught me an insane amount over the past seven years. Great to get such an insight on classic albums, playing with the greats, playing the great venues from the greats. I love the show. Thank you. Deadhead 12 2679 yeah thank you Peter. Yeah thank you man. This was awesome.
01:01:49:17 - 01:02:37:10
Unknown
Super fun. Hit it. Yeah. Until next time you'll hear it.
01:02:37:12 - 01:06:52:17
Unknown
I'm.