Ron Sexsmith

0:00I think that was us. No, I'm thinking of TS and MS. That would be sports. Probably you can probably do too. Yeah, no. I think you use some jiggles in there in their music, in their background or whatever. Oh, that's cool. It's great. It's good for guitar too, like for the... Wow. On an amp or something. I don't have a... I'm like Fred Flint, so I don't have a cell phone or anything like that. Well, let's start with that. All right. Why not? You could, if you want to. Oh, I definitely could. It would make your life easier. I'm just on the fist cell phone for 20 minutes trying to sort of straight down my visa thing. They put a hole in my heart, but I don't know. I'm not a gadget person and I've been avoiding... I just got on Twitter like three weeks ago, but on my computer, but I was not interested. I got sort of talked into it. Now I'm on there and it's fine, you know, but I have a home phone, you know, and I just feel... I don't know.

0:47I'm afraid of doing this all the time, you know? I see people like him, right? I'm afraid. Now, you have a job to do that. I'm glad you... My wife has one, and it shouldn't. But I'm just... You know, because I'm at concerts, I'm enjoying the show and I look over and someone's like, you know, I don't want to be that guy, you know? Take the idea of the experience. Yeah. And I don't know. Something about it stresses me out. The whole... I hate that every time you're computer crashed, you see you got to get some new things, you got to forget how to work, and then your old things don't work with it and they're not compatible with it anymore. I guess I'm a low-dyed bass player and some poor... What about when it comes to instruments? I mean, this record is really stripped down, but it's the guitar pedals, are you a gatch guy with some music? Not at all. And even guitars. I'm not even a guitar guy. I have guitars, but I'm not interested in them.

1:35Like, you know, a lot of people love guitars and you know, the model number, you know? I like the way they look at them, but I didn't interview for Guitar Magazine recently, and I feel so useless to them. They're asking me about what mic did you use, and I have no idea, right? And I've been working with a lot of great producers, and obviously they know how to mic things, but I didn't know I'm with Steve Irwin's, and in his studio he had about 400 guitars. And I would just go around, depending on the song, I would just pick a guitar based on how it looked for the song, right? That's interesting. Because you can play it in a guitar, you pick up, if you know how to play, you can make it sound good. I never use my guitars on my records, you know?

2:20You never use your guitars in your records? No. Unless the studio I'm going to doesn't have any guitars, but most studios will have like a stable... Like, Mitchell had maybe six guitars. I went down there, I have a Martin at home. I don't take that on the road, I have a tailor that I've had since 95, and that's been my road guitar. And it's a great... It's just the one. Just the one, yeah. It's a great live guitar because it stays in tune, it sounds good. When I first got it, I was onto a Sarah McLachlan, and I was playing this crappy guitar, I don't want to say which brand it was, but everyone on her crew said, Well, you'd need to get a better guitar, that sounds terrible. We did maybe two shows.

3:09And so my label, they'd asked, what kind of guitar do you want? And I was like, well, I remember playing a tailor once at a record store, and I like... So the next day, they fed X the tailor to my gig, and it arrived literally like 15 minutes before my set. And in a big bar, you know, I had to unwrap it and everything, and then I took out my guitar, and it was in tune even. I walked on stage, and I've been playing it ever since, you know. I just plugged it in, and it doesn't have any graph on it. It's just like you plug it in, and you play it, and it's very beat up. Now it's been around the world so many times, but it's my baby, you know, it's the one I take with my brother. But you don't write on it? That's just the two or so you write on the mark.

3:55No, it's funny, I feel bad because when I'm not touring, it just sits in the case, like sometimes two years. I write a mosey on piano. I'm a terrible piano. It sounds like you're playing on a guitar on the record. Oh, yeah, yeah. But I wrote... I did write some on guitar for this record, but my last three albums were all written on piano. And then, because I'm not a very good keyboardist, I have to jump it on to guitar when I'm in the studio and play it that way. And Mitchell Film is a great keyboardist, so I would never dare play keyboards in front of him. It would just be insulting. And the main reason I write on piano is because you don't have to take it out of the case. It's always, when I'm at home, I just go and sit at the piano.

4:40And my Martin's hanging up, so I play that too. An inspiration usually hits you while you're sitting at the piano, and you have an idea in mind when you sit down. Yeah, usually you have an idea first. You hear something in your head? Yeah. Or your personality, or lyrics? Yeah, both. And I write a lot. Every morning I have a ritual. I do... I call it my coffee walk, but I swim every morning. I didn't today, I could be like this, but I get up and I walk. I do this big walk. You know, the pool is literally two minutes from a house, but I take this half hour walk to get there. But I get a coffee, and usually I do a lot of writing when I'm doing that. Sometimes even in this rooming pool I've written, I have a song idea, or maybe a whole verse or something. And then I come home, and then I'll play the piano or pick up the guitar.

5:27But it's usually when I'm walking around or when I'm doing the dishes or something. That's interesting, especially in the swimming thing, because it's such a peaceful, solitary activity. And it's a brainless thing too, right? So I go back and forth, and I don't stop. And my mind is thinking about stuff. And it's so boring swimming. So it's nice to have... Because I find it makes the time go fast, you know? Because all of a sudden it's a half hour... I just went for half an hour. But then it seems like no time is because I've been occupied in my head the whole time. Yeah. What about the string range with some of this record? How did those come about? I mean, they're lush, they're delicate, they're brandy-o's at times. That's all Mitchell. You didn't give him ideas or thoughts or anything?

6:13No, because that's what he does. He's a producer, a ranger. And what happened was I wrote all the songs. And I went and demoed the songs, which is just guitar and voice, all the demos. And I sent them to Mitchell. And Mitchell just based everything you hear on demos, right? And he just did a record for Susanna Hoffs before me. And with all strings and everything like this. And he was telling me about it in LA before I gave him the songs. And I said, you know, I got all these new songs that, to my ears, sound like they would really benefit from that approach. Because I felt this was a real... The songs I had seemed to me like, a real singer-songwriter, but almost retro singer-songwriter stuff.

7:02It almost felt like stuff that Neil Diamond used to do. And I got excited about the idea of having all this other stuff going on. And so, yeah, I'd send them the demos. And you would send me these mock-ups arrangements. It would basically send my demo back to me, but they would have synth strings and fake things just to give me the idea of what he had in mind. And everything I heard was just great. Because that's how they used to do it. They'd have a song, going in the range or making arrangements for it. And it was... People knew their plays and they had their jobs. I know how to write a song, I know how to do all that other stuff. It's up to producers to know what the bass and drums should be doing.

7:48Or what... Not everything worked. There's some things I had issues with. Maybe they shouldn't come in here. A lot of that stuff we worked out once we got it to the studio. But, yeah, it's definitely a collaboration. We don't want to come to putting other instruments on the record. We'll say something about... The first time the bass and the drum press were actually written. What does that mean? Well, like Mitchell really had the songs mapped out. He knew the songs almost... Because I made the demo, but I didn't listen to the demo. I recorded it and I sent it to him. But he lived with the demo for so long.

8:33So he had everything mapped out in his arrangements. What the bass, where the drums came in, and he wrote it all up. He didn't want someone coming in there. And that's how you typically worked over here? No, in the past what we've done is Mitchell and I would get together and make arrangements. We'd get in the studio with musicians and we'd play them. We'd play them... Yeah, we'd play them using a cassette. Back then it was cassette tapes of how the song was supposed to go. They'd all make their notes what key it was in, what the chord changes were. And then the great musicians normally, Mitchell would always bring in, or whatever producer. So all it would take is, okay, that's how the song goes.

9:20You try it a couple times and then, okay, that sounds great. And sometimes Mitchell might say, or I might say, can you try this instead of this or whatever? And then you start recording. And usually after that point you get it, usually two or three or four tapes. You get a version that you can use. But this album is different because Mitchell was so specific about what he wanted to hear. And he just wanted to sound pretty close to the demos, the mock-ups that he made. Even to a fault because I would be playing the song and he'd stop. He goes, no, you didn't do it that way on the demo.

10:05And I'd have to listen to the demo to hear, oh, maybe I waited a half a bar before I came in or something. And otherwise it wouldn't fit with his arrangement. So it was interesting. And a lot of the songs were recorded, me just singing the song live, with percussionists. Because the studio was small. And so the first week was just me and different drummers. And then the second week the bass player would come in and, yeah, they would have charts and they'd be playing their stuff. But that would change too, because sometimes because they're human beings they would have this cooler way of playing it than Mitchell had written. Or maybe I would say something like, can you do a run into the verse instead of just coming in cold?

10:54So it wasn't totally rigid, but it was nice to have guidelines like a map to follow. And the musicians were good enough too that they were able to, it's one thing to have a synth horn playing a part, but to have a real horn player with breath and it really comes to life. So what were the French horn starts to record? Yeah, I love that. I mean, it's me. It's like I never saw that song going that way. And so when I heard on the demo, even before we had the real French horn player, it reminded me of like, you can't always get what you want or something like this tone. It just sounded kind of classic. So I just thought his arrangements were really appropriate.

11:42He's one of my favorite producers and I think he really outdid himself in this record. How are you going to tour with all the stringing? Oh, I can. I don't know how you can pull it off. Well, just you and the guitar are you? No, and I'm going to have my band. So we haven't even rehearsed yet, so I'm interested to see how it's going to sound. Because I've had strings and stuff on my other album. And I've never been in a position to afford to do that live. But you just adjust, right? Sometimes some of those parts can be played on guitar, like my guitar player with pedals and things or the keyboardist or sometimes the strings are replaced by back vocals, like ooze and ahs and things like that.

12:27You find a way to do it that works. But it's two separate things. I would love to be able to get on stage and have all those instruments and do even just one time. But it's not really realistic, but that would be so expensive. You can do great. Yeah, so we're going to... My band is great though, and we'll just find a way to play it and it'll be fine. Have you played a well over a couple of fours? It'll be my first time headlining it. That's crazy. Yeah, I know. What does that feel like that though? It must be one hell of a trip. It's crazy because I always dreamed to play Massey Hall, and I played it finally.

13:14But I never dreamed to play well over a whole because it just didn't seem possible, right? Like why dream about, it's like dream not going to the moon or something, right? I didn't see it happening. So when my agent told me that they had me penciled into play there, I was like, sure, like if you think I can do it, you know? And I'm still, I don't know, I don't think we're going to sell it out, but I hope we can get a good crowd. I think you get a decent crowd. I hope so. I mean, the last album did really well over there, and we started to play bigger venues. But this is definitely the biggest venue. And, you know, I hope, yeah, I don't even want to even know about it until I walk out. I want to walk out there and see that it's a good crowd.

13:59Let's go through some of the songs in the record. Okay. Because I like a lot of them. Thank you. Where do I start? So nowhere to go, the opening track. You mentioned the French horn, I guess I'll put it in that section. So it's about the almost non-release of the last record. Well, yeah, it was just how I was feeling when we started chopping the last record around in the States, you know? Because there had been a lot of interest for the album while we were making it. My manager kept getting calls from all these labels. They'd heard that I was working with Bob Rock, you know? So I was excited about that. And then when we started playing for people, nobody wanted it. We had all this rejection. People said it was too commercial or something. And I'd never, I know. And I'd never had anyone say that about me before.

14:44And I was like, well, what am I supposed to do? For years they're telling me I'm not commercial. Now they're saying I'm too commercial. So it was just really frustrating. And then finally, you know, we found a home and it did really well. I mean, it didn't do so well in the States, you know? But it did really well in Europe and here it did quite well. But there was this, you know, so nowhere to go. I was, you know, I was sort of all the enthusiasm I had for making the record went out the window. And I remember just writing, I was trying to write a humorous song, you know? There's nowhere to go with down, you know, this sort of common expression. And just so I wrote that song and it made me feel better just writing it. You find it? Songwriting and cathartic therapy. Yeah. Well that song was, especially because it just felt good. I'd be singing my friend Porch for a while.

15:30That was the first song I wrote for the song. And because it was my new song I was playing it all the time. I was playing on the porch and I was working on it in my mind. And then it triggered these other songs, you know? And so yeah, and that's kind of what happens. Certainly there's a song that kicks it off and then you find yourself in the middle of a whole batch of songs. And that's what happened. Going back to what similar chord structures are similar to? Well, it just seems to trigger... It's like creativity going. Yeah, it does. It's like, you know, because you're just living your life. But what happens is, it makes you realize you're going through a phase and maybe you're not even aware of it. And all of a sudden a song will come along and it'll say something which will trigger another idea and then another idea.

16:21Then, before you know, you're in the middle of like 10 or 12 songs, you know? And you could tell that it's an album. That's why it bothers me that people say they don't care about albums anymore because an album, it documents a certain phase in your life. And that's why albums I think are great. You know, you're in a certain mood to hear a record and maybe you'd put on Joni Mitchell Blue or something. Or, you know, or... Everyone goes to the album for separate. I don't know why I said that. No, but I feel that a lot. And that's not even my favorite Joni album, you know? But, you know what I mean? But that's when you think of great albums, you think of an album like that or you think of, you know, blood on the tracks or anything like this. You might start talking about you listening to records. Yeah. So I was going to ask you, like, what are some of those records? You people don't have any nice thoughts on it. Well, it depends on what I'm listening to at the time. Like, you know, there are Phoebe Snowdyed last year or the year before.

17:11And I was like, it's a voice but I never had any of the records, you know? So I found her first album at the nostalgia or whatever the record store is on Queen up there. Oh, yeah. And I was like, oh, that's Phoebe Snow. And then I just listened to that album's over and it just became my favorite album. And I was like, what's the writing for this record? No, not really. But maybe a will down the road. But I just thought, actually it did influence a song, a new song that I wrote. Not so much the sound of the song but just listening to her and how great she was at a singer and she wrote all the songs and great guitarists too. It kind of made me sad, you know, because I was talking with the other journalists but, you know, not to pick on anyone

17:57but, you know, it's like we live in this time where you got people go to big hockey arenas to see someone that maybe can't write a song or can't sing very well or, you know what I mean? You know, and you're wondering, and that sort of frustrates me a bit. I have to talk to them from time to time. Yeah, like why are people paying hundreds of dollars to see someone that maybe isn't even really singing when you go see them? And maybe, you know, I don't get it myself, you know? Obviously maybe it's just this thing in the culture where people want to be where the spectacle is or where it's happening. But they hear someone in Phoebe Snow who's so talented, like, right at the source, you know? Like she can, she's like singing great and it's so free, you know? And so I was listening to that, listening to that album a lot and just being really inspired by it and also being a bit sad and quiet as well, you know?

18:48And so that's an album, I mean, but there were other all, I mean, I was listening to it. It's my favorite thing to do, right? When I have the house to myself to put on records and to have a drink. Any wine recommendations? I'm not a favorable one. Well, I'm not an expert, but I like red wine and I started buying these malbecs because I had, you know, I was in a restaurant once and I had one and I don't even know what a malbec is, but I started buying, I know that from Argentina. So I started buying exclusively malbecs and then recently my band for, at the end of my tour last year, it bought me a crate of wine and it must have had about 20 bottles of wine, but all vintage wines from, like, Italy and different places.

19:34And every bottle we opened was like a new, like, sensations like, oh my God, this is incredible. And all of a sudden my mallebecs didn't taste as good to me anymore. So I really don't know about it. I know when I'm enjoying one and I know when I'm not so much. Does that influence writing? Wine or alcohol? Yeah. Does it change the way you would approach something? Drink or take? Does it make it easier? Yeah, I definitely make it easy to go on stage. You know, we drank an awful lot on the last tour. We drank too much, to be honest. On the way to the gig, before the gig, I found I could do that though.

20:23I found there was a few nights where I stood up to go on stage and I was like, oh, I shouldn't have had too much to drink. But most of the time I get on stage and I feel, it makes me feel less self-conscious. And I've got a lot of problems with that anyway, you know, and it made me feel, you know, what alcohol tends to do is make people feel more charming or something. Even though it's maybe that's not even, maybe it's all in your mind, right? Sure. It also makes you feel more sloppy. I've been actually trying not, like I took all of November off of drinking and that was good. And I've been pretty good ever since. So on this next tour I'm going to see how it feels to not do that before the show, you know. But for writing it, you know, when you've had a few drinks and you're, it can sort of make you feel like,

21:12yeah, just more open or something. So, you know, but I don't really write that much under the influence of anything. It's because I'm usually writing during the day when I'm at the swimming pool or something. Right. So we're just going to smell of a new bottle or something like that. Yeah. Well, it definitely thinks, you know, you know, the idea of sitting at home with wine, you got your guitar, you know, you would think that would be a really inspiring situation to be in the right of song. But then oftentimes, you know, it's why I don't have a dictaphone either because, you know, people have dictaphone's case to get an idea. But my fear is if I had one, it would make the whole process self-conscious and I would never have an idea. So to sit there, like, it's like these people that go on these retreats to write, you know.

21:58I don't think I wouldn't write anything. I'd go somewhere and I would be waiting to write something or probably just play other people's songs or something. You know when a song's not for you and it's for someone else? You know right away or does it make sense? Well, sometimes I get asked to write a song for somebody else and so I set, that's a different part of the brain. You know, you start imagining what their voice is like and what they might want to sing about. And I can do that. It's sort of a fun challenge. Sometimes I write a song for me that I think maybe I'm not the best person to sing it. You know, even on this album, the song I had a song called Snake Road that I... I like Snake Road. No I like it too but I didn't think I had the right voice for it. I felt like I wish I sounded like John Lennon or something.

22:44You know, to have that kind of... The nasally. You know, and I have that edge that I don't have in my voice. And I tried it in different keys because I wanted it to have a little more. And I liked the way it turned out but I just, you know, I had a song called Whatever Takes. A few albums ago that I was trying to write like a Bill Wither song and I didn't feel I had that kind of right voice for it. You know, so... That's interesting. Yeah. That's a nice voice. Let's talk about Snake Road. Yeah. It's got... What did I write down? Rumi percussion, like an Adam and Eve kind of story. Yeah. But the snake. But temptation. Yeah, where did that all you come from? Well, it just came out of... Again, a lot of this on the cell for me looking back with some mixed feelings and regret and all that. You know, because I was a... You know, I had a family before. I was a dad and...

23:29In my 20th, you know? Family before. You still... No, I still have a family. I was a dad. I'd come home and my kids and I had my first wife and dad. And then all of a sudden I got signed in my 30s and then I was never home. So I had this one life before and then all of a sudden I'm on the road all the time. And I got sucked into that whole life of doing all the stupid things you do on the road. And that was... And that ended badly. And so Snake Road was a bit about me like looking back on that. Some humor, right? But also feeling like, you know, not hoping not to have to put anybody through that again or just trying to be a better person, you know?

24:16But it's one of those... It's a theme, right? That's as old as Adam and Eve, right? The whole theme, right? Like, temptation and all that is really strong. And then you mix alcohol and then low self-esteem and all that stuff into it. And it's a weird way to live, right? And one hand it was my dream to make records in two around the world and also I'm doing that. And all the stuff that I've always read about is happening and I just see... One hand I felt lucky and then on the other hand I felt, wow, I'm just being a big cliche here. I'm just doing all the stupid things and I didn't feel good about myself. So... I don't know, as the industry is about people, it's not the same kind of tours that you see. It's kind of like some month, John here, it's three weeks off, three weeks on.

25:02I think. Yeah, well we still tour pretty full on. Yeah, like last... We pretty much toured... When my last summer, we started touring in March, I think. And we kept... we didn't stop really until... We had a few little stops, but we didn't really stop until about April of the following year. Yeah, I mean we took November and December off, but that's when I made this record. Yeah, this record is fairly... I waited all year for it to come out. Yeah. But like I was in the middle of the tour, and Mitchell said he had all November off if I wanted to make the record then. And so I just took that opportunity and went to Arizona LA for most of November of December. And then right after Christmas we went back on the road again to the spring.

25:49So... We generally, when we have an old tour, like this album, it's just coming out, we'll be touring all year pretty much on and off. So you're in Toronto in March? Yeah. And the location dates in March, and I guess on the next time I'll fall. Yeah, in the summer, I think summer festivals, and we start in February 19th. I've worked 14th in Kirkland Lake, and then we go to Ireland, and then we start the European tour. It's our first show, but it's like a winter carnival. It's probably not supposed to light the torch or something of the winter carnival. Yeah. So that'll be a good warm-up gig, because before that we have two rehearsals, and that's it.

26:34And then we're on the road. So I hope in the two rehearsals we can get it together. I did it before, I let you go. I did want to mention in Blind Eyes the tunnel at the end of the light. Yeah. And the reversal of that later I pointed out to you how to do the outside of that. It was a happy accident when I was writing the song. I liked that idea too. Originally I thought about calling the album, tunnel at the end of the light. But then anyway, but... I like the sort of director's dance around. Yeah, me too. I don't even know it. It's a play on words too. Yeah, but it is. It's like Forever and Ever, but Endeavor. I was just thinking like the Ever Ever. Yeah. Forever and Ever. So songwriting is like a Forever and Ever because you're hoping to write songs that will be around

27:20when you're not, right? But no, I don't remember exactly the tunnel. I just remember writing the bridge of that song and really happy that it turned out like that. Because the line before talking about the people who struggle in the night. Because I guess it went back to the feeling a bit dejected or rejected from not being able to find a home for my record. And I was feeling like, you know, I was feeling there was a light at the end of the tunnel and then we got all this rejection. And then I thought maybe that was the light, making the record and now there's this tunnel now. You know I have to go through. So you know when that good word of play comes to you and you do feel a sense of pride? Like you know immediately like a light like that. You know other writers who look at me like that and he was like that.

28:06Yeah, well I did like that line when I came up with it. Not every line, but yeah. We'll send those strokes immediately. Oh yeah, well yeah. You kind of get a good sense. Yeah, you just feel relieved, you know. I mean I really worked hard on the lyrics. That's always been the hardest part for me. And with every album you get a little more. Like I'm a big fan of like the old lyrics. It's like Johnny Mercer and people like that. Those are the people I really admire because the word play is really clever and it's also like cool porter. It's like unbelievable. You know that the way just the kind of like the innuendo. You know I find with a lot of music a lot of pop music these days it's either a really stream of consciousness. You don't understand what anyone's going on about.

28:52Or it's so it's the opposite where it's just bashing the stuff that's not subtle. It's not graceful. And I like music when it doesn't insult lyrics when they don't insult intelligence. When they're you know I don't have to scratch your head wondering what they're going on about. So yeah I mean I worked really hard on the lyrics. And yeah when you get a line like that or you know every one of these songs has a line or two in it that I'm really proud of. And also you want to say something that is true. You want to say something that okay I'm not like I've climbed the tallest mountain. I've like you know like the bottle would sing about all the stuff. I never really like those kind of lyrics you know because I'm listening to it going no you haven't you haven't done that.

29:40But because I like to keep things down on the ground level and be really you know what I mean. Like just conversational and real. Even my favorite Dylan songs were the ones where he's like really straight and direct you know. Well that is a lot of the tracks. Yeah or New Morning is one of my favorite Dylan albums. And Shot of Love is one of those underrated albums where every line in that record is like no nonsense you know. And it's really tough. I love that. I don't know if I'm going to shot a lot more. Yeah it's from 80. I don't know if it is too well. Yeah it's really one of it's probably my second favorite Dylan record but it's like almost like something Lou Reed would have done. Like it's really it's just very tough sounding to me you know. I just like yeah it was during this sort of religious phase you know but it's a really good album.

30:29But anyway I like lyrics like that and so. But it is the hardest part for me and I just even when I'm in the studio at the last minute I'm crossing out words and putting in one that seems better and putting in. How do you know what songs are done? Well after a while you kind of have to let go of it. You know you kind of like sometimes I'll realize that maybe I could have sang it better or said it better but the record is already out. So maybe you change it when you're singing it live or something. But you know you get a sense that with a song that you said everything you wanted to say. And I don't like to write long songs so you know this is feeling okay.

31:14You know it's complete it's concise. You kind of you get a you just get a feeling that it's done right. You know sometimes work with a producer the producer might say oh I think you should repeat the chorus here or I think or maybe it'll say it's too long or something. And that's what I look up to producers for to help me with the structure of tunes. I do a lot of that myself now but in the beginning Mitchell Frum helped me out with that a lot. You know sometimes I'd have a slow song and even say I think this will be better if it was sped up. Or in a different key or something. And that kind of advice is really important. I think Twitter questions are going to interrupt. Yeah I'm new on Twitter.

32:00Can we talk about the recording? What do you say? Artists you wish you could have written a song for someone you still want to write for. Well obviously a lot of those old writers I like a lot of old music so I would love to have written a song that's being Crosby recorded. Or Dusty Springfield or the carpenters you know. I would love to have something you know George Jones or Snatch really been. Right now there's a song I've been writing. On this album there's a couple bonus tracks that I wrote with Don Black. And if you don't know Don Black he's a legendary lyricist, English lyricist. He wrote to Sir With Love, Goldfinger, you know the song Ben by Michael Jackson.

32:48And he wrote that, Born Free, you know all these big songs. And so my publisher hooked us up and we've written three tunes. But we were talking on the phone in England the other day and this one song Autumn Light he goes man we've got to get this song with Tony Bennett you know. And I was like yeah but how do we get it Tony Bennett? Because Tony Bennett is probably one of those guys that thinks nobody writes any good songs anymore you know. And so I asked my manager can you get this song with Tony Bennett you know. And because I think he would like it you know. But he's someone that would be great or Katie, Katie Lang did do one of my songs. But she's someone that her voice is so great I would love to write a whole album for her you know. Anyway you know there's so many people.

33:35Five quick questions, one more answer. So we had every interview. Rode or studio? Rode. Leninger McCurkney. Oh this is hard Leninger. When you hear a song what usually hits you first lyrics melody or rhythm? Melody. Song you've written your most proudest. Is there one that's next song? No. Seem to a call. And one word. Rock Sex. One word. One word. One word. One word. Oh man. Awkward. That's a good one. Thank you so much. That was a good time as you just sat down. Hey Carrie. Yeah. That was good. That was great man. Thank you very much. Really? Yeah you too. Thank you. A lot of advice on songwriting for, well, I did all around on instruments.

34:27That is good as well. Thank you very much. Appreciate it. Alright. Thank you very much. It was good as well. Great. Thank you very much. Appreciate it. Thank you very much. Alright. Thank you very much. It was good timing. It's a good time to get everything. Yeah, go there. You got the roll here. It's a diner.