Inside The Album: Sonny Gullage - Go Be Free (feat. Kevin "Sonny" Gullage)

WEBVTT
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Hey everybody, this is Kevin Sonny Gullich from
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Sonny and the Blues Grooves, and y 'all are listening
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to My Weekly Mixtape with Brian Colbert. And
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you know what? It's gonna be a whole lot of fun.
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Welcome to My Weekly Mixtape, a podcast that
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takes the classic mixtape approach to building
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a modern playlist. I'm your host, Brian Colburn.
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On tonight's special album dive edition of the
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show, I'm joined by Kenny Sonny Gulledge, whose
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debut album, Go Be Free, drops next week via
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Blind Pig Records. Sonny, thank you so much for
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joining me on my weekly mixtape. Man, thank you
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so much for having me, Brian. It really means
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a lot. Well, I'd like to start by asking you
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the same question I ask all my first -time guests,
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and that is, what does the word mixtape mean
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to you? Oh, man. Great question. You know, coming
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from a backdrop of many, many genres of music,
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that word is really packed, you know, like whether
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we're talking about that classic, hey, I made
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a mixtape for you when you meet somebody and
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you make a little playlist of songs that you
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want to express your feelings to and you have
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a little bit of everything in it, a little country,
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a little, you know, check yes or no mixed with.
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A little bit of love, Kishko. There you go. You
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have a whole bunch of everything. Or even if
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you say it from a hip -hop aspect where you have
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the word mixtape and that meant, hey, this is
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my new stuff. This is what I'm putting into the
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world and I want you to check it out. Back then
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when it was actually a tape. It was everybody's
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just raw demo. When I hear mixtape, I think this
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is your raw emotion like the demos. where you're
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expressing what you want to express to people.
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Like the meaning of, I made you a mixtape. Love
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it. Well, before we dive into the album, Go Be
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Free, I'd like to talk about how you got here.
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And I think a good place to start would be the
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fact that your family surname was originally
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Ledbetter, as in blues folk legend and Rock and
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Roll Hall of Fame inductee, Ledbelly Ledbetter.
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I guess it's safe to say that blues runs in the
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family genes. Man. So let's break it down all
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the way back. You know, let's get back there.
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Let's do it. I have a big family of musicians.
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I mean, really big. And most of our history as
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a family is passed out through the oral tradition.
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We tell each other, hey, you had a cousin who
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did this once. You had an uncle who was king.
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You had a, that's what most people get. We on
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the other hand, we're like, yeah. You had a great
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uncle, a great, great, great uncle. Before there
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was any gullage, you had a great, great uncle
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who was a musician. That's what I always grew
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up knowing. I had a great, great, great, great,
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great uncle who was a musician. I had a lot of
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music in the family. Music been our thing for
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generations on generations. And, you know, church
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and music went hand in hand for so long. So always
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I was like, oh, another gospel musician in the
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family. There's another gospel musician or a
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bunch of gospel musicians. Another one. And then.
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And about 2017, I want to say, my uncle goes,
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oh, I'm playing at BB King's Blues Club. And
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he goes, oh, see that face on the wall right
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there? Yeah, you know where you related to him,
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right? I look, and right there, it says Ledbetter.
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And they're like, there's no way that this just
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went over my head for that long. I said, yeah,
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Gulledge, before there was Gulledge, the last
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name was Ledbetter. Yeah, that's what we've done
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for a long time. Yeah, that's it. That's how
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I did it. Yeah. And then, you know, the more,
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and I mean, it comes from a huge tradition of
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music. My father's a bass player. He's actually
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my bass player. But my father has 11 siblings.
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Now, in gospel for a long time, when you said
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the word quartet, that meant four or more performers.
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So boys, six boys, six girls, boys had their
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own gospel quartet. The girls had their own gospel
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quartet. And before that, there was my grandmother.
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who was a recording artist. And in 1965, she
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recorded an album. And it was always known, yeah,
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she used to record. And one day we found the
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album. And in the liner notes, you saw Sister
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Alberta Gulledge. And I go, I know who that is.
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Right under it, Sammy Burfecht. So it was always
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having a run of like, hey, musicians, not just
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gospel, but blues musicians were always around
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this family. And I never understood how it went
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so hand in hand all the time. And then we find
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out, hey, you go all the way back. There's a
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name that you probably know named Leadbelly.
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And I was like, Leadbelly Leadbetter? Yeah, you
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know, his last name was Leadbetter. Yeah, that
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used to be our last name. So it's just going
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back and knowing that that's your tradition in
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your family. And it goes all the way down and
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all the way back. And now you're looking at me,
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I guess, trying to carry on that side of the
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tradition. Without knowing I was carrying on
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that side of the tradition. How did growing up
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with music throughout your family and in your
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family lineage strengthen your love of all kinds
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of music growing up? We weren't encouraged to
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just listen to just anything in my house. We
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were encouraged to listen to everything. There's
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a big difference. Yes, there is. You know, anything
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is saying, hey. Whatever comes on the radio is
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just as important as listening to something that
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might be detrimental to you becoming a musician.
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So I was growing up listening to so much gospel
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music and so many gospel artists. And at the
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same time, my dad was playing for blues musicians
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like Vashti Jackson, Henry Butler. I was around
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him as a kid. So we'd be encouraged to say, hey,
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check this out. Hey, check this out. And you
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might hear it, especially in New Orleans, you
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know, where New Orleans is a big melting pot
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of all humans. You'd hear a little bit of everything.
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I'd hear my dad up at 12 a .m. practicing Henry
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Butler's Henry's Boogie. And then I'd hear my
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dad up at 7 in the morning practicing some blues
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for Vashti Jackson. And then I'd wake up and
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I'd hear my brother was in the next room over.
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blasting at some hip hop song that he found.
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And he was like, yeah, this is really cool. And
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then I'd hear country music all growing up in
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South Louisiana. And I come from a small town
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on the outskirts of New Orleans called Luling.
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And in Luling, I call it the perfect center because
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on one side, 45 minutes to the east, you'll find
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New Orleans, Louisiana. And when you find New
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Orleans, you know what you're getting. You're
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getting that hip hop. You're getting that army.
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You're getting that gospel. You're getting that
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all that. But 45 minutes in the opposite direction,
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you find the swamp pop, as I'll call it. You
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get swamp pop. You get Zydeco. You get traditional
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Cajun music. Yes. And having that with a family
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full of musicians, you were always pulled in
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so many different directions to check out this,
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check out this, check out this, check out this.
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And even sometimes in the silence. Between all
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of these things, you heard new things that were
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just important to check out. You know, a lot
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of the way I even write comes from just sitting
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back and listening to absolutely nothing. So
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you were encouraged to listen to everything,
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not anything. Because anybody can hear anything,
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but not everyone can hear everything. Amazing.
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Now, we're going to fast forward a little bit
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here. You're out. You're on the road. You're
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doing your thing. I'm going to fast forward to
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2020 because you're out and about. You and the
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Blues Groovers have an artist residency at BB
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King's in New Orleans, and then the pandemic
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hits. Now, a lot of people went in different
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directions with the pandemic, but you went in
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the direction of American Idol season 20 of all
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places. As the first person who has been on my
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weekly mixtape that has had experience in the
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AI machine, and by AI, I mean American Idol,
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I'd love to know what that experience was like
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for you from the inside looking out. You learn
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a lot. That's the first thing I can say. You
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learn a whole new world of, not to be corny,
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but a whole new world of... musicians and a whole
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new world of music. And the world as you grow
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up being a musician from the time of your child,
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a lot of us. But that level of professionalism
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is not commonly expected or experienced. So when
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I got to American Idol, I looked around and saw,
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see in the audition, one audition I saw over
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a hundred other people who were just great and
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did what I did with the same passion that I did.
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Past my audition, I saw 74 other people who were
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doing it to the level that I was trying to do
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as well. People who had that drive and passion
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that all the other people who didn't make it
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didn't quite have established yet. And then you
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were expected things. You were expected to wake
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up at 6 in the morning to be downstairs in the
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lobby for 7 in the morning to be at the Orpheum
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Theater for 7 .30. You were expected to have
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your clothes pressed, and you might end up wearing
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the same outfit three days in a row because of
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selling. But the truth is, you were expected
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to have that outfit looking the same every single
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one of those days. And you were running on schedule.
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You were always go, go, go, go, go. And you needed
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to know what you said you were going to know.
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There's so many levels of professionalism that
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a lot of people never get to see, and they're
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never expected to even know. So seeing the other
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side of that, I always thought of myself as professional
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as like, you know, all those top level. I'm a
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high functioning professional. You know, I always
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thought that when I realized I was like, wow,
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there's a level of professionalism that I'm trying
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to get used to at this point. And even having
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the chance to sing in front of Lionel Richie,
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Luke Bryan and Katy Perry, that was a whole experience
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in itself. Sing in front of them. You got to
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perform with them. Man, they were just, oh my
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gosh. I saw Katy Perry sing without any effects
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for the first time ever. And I tell everyone,
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she is like a female Steven Tyler with how free
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she is in her voice. And Lionel Richie. I'm not
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sure how old he is, and I'm not going to even
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disrespect him to try to guess it. But he is
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an older fellow who still sings with that push
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that most young people are trying to reach still.
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And Luke Bryan, I was thoroughly surprised just
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how talented he is, not just in singing, but
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he also plays piano. He plays guitar. And, you
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know, you learn these things about people. And
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these are the things you think, hey. Why isn't
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this what is selling? Why isn't this what people
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are putting out there for others to see? And
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you're just like, wow, that means that there's
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another level of professionalism that I still
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don't. And funny enough, I learned about that
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level of professionalism while trying to work
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on the album Go Be Free. Well, did your experience
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on American Idol? lead you to the folks at Blind
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Pig for this album? How did that connection come
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together? Actually, it came from touring. Well,
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after American Idol, a lot happened. I accidentally
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got a Hammond endorsement, which was hilarious.
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That's a good endorsement to have. I'm a Hammond
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artist, and I set my Melodion on top of the piano
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during my audition, and in big, bold red letters,
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you see, Hammond Melodian HP -2. And on the Monday
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after my audition, they called me and said, hey,
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we want you to be a Hammond artist. We want you
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to be part of our family. And then they looked
00:12:44.490 --> 00:12:46.429
at clips of me and saw my organ player, Brandon
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Adams from Blues Groovers. And they go, hey,
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we want him too. Nice. Two in one. So, so much
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had happened. I got a Hammond endorsement. I
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released my first independent album entitled
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Something Old, Something New, Something Borrowed
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Blues, which led to my first distribution deal
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with Basin Street Records out of New Orleans,
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Louisiana. And after that, I'd gotten some pretty
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good reviews from that. And I ended up touring.
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I went to Austria. I went to Brazil. I went to
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Austria again. And next, you know, someone calls
00:13:18.299 --> 00:13:21.399
and says, hey, we want you to do a summer tour
00:13:21.399 --> 00:13:25.720
next year. At this point, it's 2020. I want to
00:13:25.720 --> 00:13:28.440
say 2023. And they say, hey, we want you to do
00:13:28.440 --> 00:13:32.139
a summer tour this year. OK, we'll do it. We
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did 13 cities in 15 days. Wow. And most of the
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time of the tour was spent in the van, of course,
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because we were driving all over. And I think
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we did Croatia, Slovenia, Italy, Germany, Austria,
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and Belgium. And they, but we were, we were like,
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we'd get off the stage, pack up and we'd be gone.
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Try to make a 13 hour drive into a seven hour
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drive. So one of these shows that I think. If
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I'm not mistaken, it was the Grosche Blues Festival
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in Skopje, Germany. And a man named Bernard saw
00:14:07.470 --> 00:14:13.009
our show. And he calls his friend, the Eleanor
00:14:13.009 --> 00:14:16.429
of Blind Pig, Jeff. He calls Jeff Schrader and
00:14:16.429 --> 00:14:19.149
goes, hey, there's this young guy that you got
00:14:19.149 --> 00:14:21.029
to see. There's this young guy you got to check
00:14:21.029 --> 00:14:24.169
out. And I know you're bringing Blind Pig back.
00:14:24.850 --> 00:14:28.009
Why don't you check him out? He might be a great
00:14:28.009 --> 00:14:32.149
artist. So after we did a 13 city tour, I get
00:14:32.149 --> 00:14:34.070
another phone call and I think this speaks to
00:14:34.070 --> 00:14:37.309
how random life can be. I get another phone call
00:14:37.309 --> 00:14:40.990
and they go, hey, we're revamping Blind Pig and
00:14:40.990 --> 00:14:44.570
we want you to be one of our first artists back.
00:14:45.429 --> 00:14:51.129
Now that call was such an honor because when
00:14:51.129 --> 00:14:52.730
we were first releasing Something Old, Something
00:14:52.730 --> 00:14:54.690
New, Something Borrowed Blues, we were looking
00:14:54.690 --> 00:14:58.259
for a label to partner with. Blind Pig, at the
00:14:58.259 --> 00:15:00.980
time, Blind Pig was like, hey, we're not up and
00:15:00.980 --> 00:15:03.100
running right now. And I understood, you know,
00:15:03.179 --> 00:15:05.360
that happens sometimes, especially in the economy
00:15:05.360 --> 00:15:11.139
of music. That happened. So to hear years later,
00:15:11.379 --> 00:15:15.379
hey, this is Blind Pig. My name is Jeff Schradel
00:15:15.379 --> 00:15:18.139
with Blind Pig. And we want you to be one of
00:15:18.139 --> 00:15:20.860
our first artists back. That hit me like a truck.
00:15:21.500 --> 00:15:25.139
I couldn't describe how not ready for that I
00:15:25.139 --> 00:15:29.690
was. Because I was just taken aback. So that's
00:15:29.690 --> 00:15:32.629
how I got connected with Blind Pig Records, actually.
00:15:33.190 --> 00:15:37.710
Well, Go Be Free drops August 23rd on Blind Pig
00:15:37.710 --> 00:15:40.909
Records. So let's dive into the album. And because
00:15:40.909 --> 00:15:44.710
I'm a sucker for album opening tracks, we're
00:15:44.710 --> 00:15:47.389
going to kick things off tonight with the album
00:15:47.389 --> 00:16:01.279
opener, Just Kiss Me, Baby. Shakin' bacon down
00:16:01.279 --> 00:16:09.580
the street It's good to feel you next to me Music
00:16:09.580 --> 00:16:15.220
blastin' down on the bill And later on when things
00:16:15.220 --> 00:16:20.059
get real I want you to come on over here and
00:16:20.059 --> 00:16:24.919
sue me, baby When you smile like that it drives
00:16:24.919 --> 00:16:40.200
me crazy Just kiss me, baby This song is funky,
00:16:40.399 --> 00:16:44.320
soulful, and just an all -around fun way to kick
00:16:44.320 --> 00:16:47.980
things off. The band sounds absolutely locked
00:16:47.980 --> 00:16:51.039
in. Is this the Blues Groovers playing on the
00:16:51.039 --> 00:16:54.200
album? I'm going to be honest. No, it's not.
00:16:54.360 --> 00:16:59.620
Really? And I'll explain that, actually. let's
00:16:59.620 --> 00:17:01.500
talk about just kiss me baby i love i love it
00:17:01.500 --> 00:17:05.119
love it love it so this song came to be this
00:17:05.119 --> 00:17:07.460
is the one song i think that was written completely
00:17:07.460 --> 00:17:09.500
from scratch as in here's a blank piece of paper
00:17:09.500 --> 00:17:13.339
let's come up at first it was hey kevin for this
00:17:13.339 --> 00:17:15.720
album bring in some ideas i'll bring it and let's
00:17:15.720 --> 00:17:18.119
see what we get this is the one that was a blank
00:17:18.119 --> 00:17:20.920
piece of paper in the middle of the writing and
00:17:20.920 --> 00:17:23.680
tom hambridge who co -wrote with me on this album
00:17:23.680 --> 00:17:26.599
and produced on this album as well as played
00:17:26.599 --> 00:17:30.289
drums on this album he She said simple words
00:17:30.289 --> 00:17:33.329
that every young musician, especially from New
00:17:33.329 --> 00:17:36.190
Orleans, loves to hear. Hey, Kevin, could you
00:17:36.190 --> 00:17:40.329
play something funky for me? And I go, sure.
00:17:41.069 --> 00:17:44.970
He has this whirly. He goes, here, just play
00:17:44.970 --> 00:17:50.869
it on this. And I just go, all right. And he
00:17:50.869 --> 00:17:52.710
goes, yeah, yeah. And I'm thinking like something
00:17:52.710 --> 00:17:56.890
like shaking bacon down the street. Riding, but
00:17:56.890 --> 00:18:00.380
we were riding. It's such synchrony that like
00:18:00.380 --> 00:18:02.819
everything was just bouncing off the walls. The
00:18:02.819 --> 00:18:05.119
energy was just everywhere. So it was always
00:18:05.119 --> 00:18:06.960
it was about saying, hey, let's write something
00:18:06.960 --> 00:18:09.720
that feels good. Let's talk about it. And it
00:18:09.720 --> 00:18:13.359
went shaking, breaking down the street. Good
00:18:13.359 --> 00:18:16.940
to be next to me. Music blushing down on me.
00:18:17.039 --> 00:18:20.240
It laid on when things get real. And it was just
00:18:20.240 --> 00:18:23.220
so natural that we were just like almost joking
00:18:23.220 --> 00:18:26.079
with how we were writing it. Just like, hey,
00:18:26.220 --> 00:18:29.470
what would you say? Come on over here and soothe
00:18:29.470 --> 00:18:32.210
me, baby. And when you smile like that, it drives
00:18:32.210 --> 00:18:36.470
me crazy. Just kiss me, baby. It became such,
00:18:36.650 --> 00:18:39.529
it was just like a fun time writing. So we tried
00:18:39.529 --> 00:18:41.890
to capture all the energy we had writing that
00:18:41.890 --> 00:18:45.809
song and put it into recording it. And when we
00:18:45.809 --> 00:18:48.509
got there into the session, it wasn't the Blues
00:18:48.509 --> 00:18:52.549
Groovers. The Blues Groovers are, well, it's
00:18:52.549 --> 00:18:53.970
a group of some of the baddest musicians you'll
00:18:53.970 --> 00:18:57.009
find in my opinion. But if you're recording an
00:18:57.009 --> 00:19:02.089
album in Nashville, you have access to guys who
00:19:02.089 --> 00:19:05.089
make albums, guys who do Nashville sessions,
00:19:05.289 --> 00:19:08.910
you know. So I walk in a room full of Nashville
00:19:08.910 --> 00:19:13.009
musicians. And all of these guys, they hear the
00:19:13.009 --> 00:19:15.390
track, just the sample track and go, oh, OK.
00:19:15.950 --> 00:19:19.269
And they make it come to life. Now, that's something
00:19:19.269 --> 00:19:22.490
that you can't always do with with guys who even
00:19:22.490 --> 00:19:24.930
perform as much as the Blues Groovers and I.
00:19:25.529 --> 00:19:28.029
When we perform together, every single time,
00:19:28.069 --> 00:19:30.509
it's always just right on it, right into it.
00:19:30.630 --> 00:19:33.730
But in a studio session, you want things to be
00:19:33.730 --> 00:19:37.369
as crisp, as real as you can get it. Raw, but
00:19:37.369 --> 00:19:43.690
real. And these guys, Rob Churitone, Tommy Mac,
00:19:43.990 --> 00:19:49.890
Kenny Greenberg, Kevin McKendry, and Tom Hambridge.
00:19:50.589 --> 00:19:54.630
They came in and they made this track sound.
00:19:54.730 --> 00:19:58.309
They helped it come alive. Because writing it
00:19:58.309 --> 00:20:00.670
and playing it, we can do that all day. Making
00:20:00.670 --> 00:20:02.869
it say, hey, this is a real living, breathing
00:20:02.869 --> 00:20:06.109
thing. Listen to it. That's something that, yeah,
00:20:06.349 --> 00:20:09.990
it does take more guys to do sometimes. So that
00:20:09.990 --> 00:20:12.990
was a whole nother experience that just was new
00:20:12.990 --> 00:20:17.059
to me. And what I love about. this song is it
00:20:17.059 --> 00:20:21.220
truly feels like you're sitting in a room in
00:20:21.220 --> 00:20:25.359
a circle, jamming it out and playing it and having
00:20:25.359 --> 00:20:28.059
fun live. Even during the breaks where you blow
00:20:28.059 --> 00:20:31.460
the kiss, it feels like it's being done very
00:20:31.460 --> 00:20:35.099
improv and on the fly. And it really gives that
00:20:35.099 --> 00:20:38.500
song this, Hey, this is happening as you're listening.
00:20:38.599 --> 00:20:42.579
It's a very live environment on this track. A
00:20:42.579 --> 00:20:46.659
lot of that actually was very, what is it? We
00:20:46.659 --> 00:20:49.460
recorded live. It was like, it was, most of these
00:20:49.460 --> 00:20:53.960
songs were done in, in max two tapes. Wow. And
00:20:53.960 --> 00:20:56.980
it was like, we'd be singing or I'd be singing.
00:20:57.079 --> 00:21:04.779
And then I'd do something like. And we'd look
00:21:04.779 --> 00:21:06.660
at each other and crank up and then crank right
00:21:06.660 --> 00:21:09.980
back into it. So, so yeah, that was, it was very
00:21:09.980 --> 00:21:12.500
much a, Hey, let's jam on this, but make it,
00:21:12.519 --> 00:21:16.839
make it, you know. A studio quality jam. A record
00:21:16.839 --> 00:21:19.940
jam, you know? And that it certainly is. And
00:21:19.940 --> 00:21:22.759
the next song I want to highlight on the album
00:21:22.759 --> 00:21:25.640
is the title track and lead single from the album,
00:21:25.819 --> 00:21:51.990
Go Be Free. My daddy said, go be free. I remember
00:21:51.990 --> 00:21:57.690
back in school, was no fan of the schoolhouse
00:21:57.690 --> 00:22:01.730
rules. Teacher asked me, what do I want to be?
00:22:01.890 --> 00:22:06.009
I said, well, at 3 .30, honey, I'll be free.
00:22:06.049 --> 00:22:28.019
He said, go be free. Now you talked about your
00:22:28.019 --> 00:22:32.019
grandmother's roots in gospel music. And I feel
00:22:32.019 --> 00:22:36.099
that shining through on this track. I mean, lyrically,
00:22:36.200 --> 00:22:40.299
the last verse really struck me. I heard a band
00:22:40.299 --> 00:22:44.079
marching down the street. Carrying a casket and
00:22:44.079 --> 00:22:47.799
a green pine wreath. They weren't crying, saying
00:22:47.799 --> 00:22:51.799
rest in peace. Just heard a choir singing, go
00:22:51.799 --> 00:22:54.900
be free. I'm getting the hair on my arm standing
00:22:54.900 --> 00:22:58.079
up just saying it. There's a musical concoction
00:22:58.079 --> 00:23:01.240
in this track that to me is a perfect mix of
00:23:01.240 --> 00:23:06.279
soul, gospel, and blues. And it's so delicately
00:23:06.279 --> 00:23:10.319
balanced in this song. Is that something that...
00:23:10.519 --> 00:23:13.319
you're thinking about when you're writing or
00:23:13.319 --> 00:23:16.940
is that just all of the music that you grew up
00:23:16.940 --> 00:23:21.359
with kind of coming through as who you are musically
00:23:21.359 --> 00:23:24.279
that's exactly honestly that's the best way you
00:23:24.279 --> 00:23:26.759
can put it it's all of the music that i grew
00:23:26.759 --> 00:23:32.559
up coming into this this symphony of how can
00:23:32.559 --> 00:23:36.740
i put this the symphony of reaching a point that's
00:23:36.740 --> 00:23:40.190
the best way i can say this symphony of reaching
00:23:40.190 --> 00:23:42.250
accomplishment, reaching where you want to go.
00:23:43.009 --> 00:23:45.789
Not saying that you've made it there, but saying
00:23:45.789 --> 00:23:48.730
reaching as in like, hey, I'm walking in the
00:23:48.730 --> 00:23:51.369
right direction. Because it started off with,
00:23:51.450 --> 00:23:54.250
when I first started writing it, it started off
00:23:54.250 --> 00:23:56.710
with just guitar. And I thought, I want to play
00:23:56.710 --> 00:23:59.630
something real gospel, which is where the main
00:23:59.630 --> 00:24:06.269
line that just straight, just that almost shout
00:24:06.269 --> 00:24:08.359
chorus. And when you got a shout, You want to
00:24:08.359 --> 00:24:09.880
put your hands together. You want to go like
00:24:09.880 --> 00:24:14.759
this all the time. And then it went into, now
00:24:14.759 --> 00:24:17.880
this is gospel, but the way I'll sing it, I want
00:24:17.880 --> 00:24:19.859
it to sound real bluesy. I want it to have that
00:24:19.859 --> 00:24:25.059
blues edge. So I remember back when that sound,
00:24:25.119 --> 00:24:29.859
that real pinch, but it's sticking at you. And
00:24:29.859 --> 00:24:32.839
then I had to put that rock influence that I
00:24:32.839 --> 00:24:38.589
grew up with. Don't go. And have that choir in
00:24:38.589 --> 00:24:40.970
the background at the same time. So when all
00:24:40.970 --> 00:24:43.549
those together, you end up with something that's
00:24:43.549 --> 00:24:47.970
a mixture of all the little elements that create
00:24:47.970 --> 00:24:50.309
who you are. And that's how I do go into a lot
00:24:50.309 --> 00:24:52.970
of writing. I go into it with just like, hey,
00:24:53.109 --> 00:24:55.710
who am I? Where do I come from? What am I doing?
00:24:55.809 --> 00:24:57.329
And that's actually the purpose of Go Be Free.
00:24:57.410 --> 00:24:59.849
It's to show people, hey, this is who I am. This
00:24:59.849 --> 00:25:02.460
is where I come from. So it's giving a sneak
00:25:02.460 --> 00:25:05.140
peek for a lot of people into not just who Sonny
00:25:05.140 --> 00:25:08.000
is, but also who's Kevin, you know, who's Kevin
00:25:08.000 --> 00:25:10.160
Sonny Gullich, not just who's Sonny Gullich.
00:25:11.000 --> 00:25:13.700
Well, as I'm listening to the album, I'm hearing
00:25:13.700 --> 00:25:15.640
that story because there's moments where I'm
00:25:15.640 --> 00:25:18.619
sitting there going, wow, I'm feeling some dirty
00:25:18.619 --> 00:25:20.920
swamp rock here. And then a few minutes later,
00:25:21.019 --> 00:25:23.849
I'm going. Ooh, this is getting bluesy. We're
00:25:23.849 --> 00:25:26.430
getting dirty here. And then a few minutes later,
00:25:26.509 --> 00:25:30.150
it's soulful and it's got that gospel touch and
00:25:30.150 --> 00:25:32.970
all these different genres coming together in
00:25:32.970 --> 00:25:36.710
this melting pot, if you will. But then you like
00:25:36.710 --> 00:25:39.230
to throw in a little bit of the funk things.
00:25:39.349 --> 00:26:01.279
I can't control. to this life Red, brown, black
00:26:01.279 --> 00:26:54.200
and white As someone who personally struggles
00:26:54.200 --> 00:26:57.500
on and off with anxiety, I feel like this is
00:26:57.500 --> 00:27:01.460
the kind of song that I need to hear every now
00:27:01.460 --> 00:27:04.180
and then, because the message in the lyrics,
00:27:04.220 --> 00:27:08.380
such as the world outside could be so cold, but
00:27:08.380 --> 00:27:11.299
I got music in my soul. I don't think there's
00:27:11.299 --> 00:27:13.920
a lyric on this album that I identified personally
00:27:13.920 --> 00:27:19.299
more with than that one. Lyrically, I have to
00:27:19.299 --> 00:27:22.940
say, on songs like Go Be Free and Things I Can't
00:27:22.940 --> 00:27:26.819
Control, these are very positive, uplifting,
00:27:26.819 --> 00:27:30.880
and affirming lyrics, which are usually not the
00:27:30.880 --> 00:27:34.359
three words someone would use to describe a blues
00:27:34.359 --> 00:27:38.680
album lyrically. Can you talk about the message
00:27:38.680 --> 00:27:42.099
in your lyrics overall and what you'd like listeners
00:27:42.099 --> 00:27:47.410
to maybe take away from them? Yeah. You know,
00:27:47.430 --> 00:27:50.269
I grew up listening to a lot of blues, like a
00:27:50.269 --> 00:27:53.910
lot of blues. And one of those people that I
00:27:53.910 --> 00:27:55.609
listened to, and I feel like everyone at some
00:27:55.609 --> 00:27:59.170
point listened to, was B .B. Chang. Yeah. B .B.
00:27:59.410 --> 00:28:02.789
had so many different styles when he was writing.
00:28:03.650 --> 00:28:06.049
And when you look at certain songs, you're like,
00:28:06.130 --> 00:28:10.220
man, this is real sad. This is the blues. How
00:28:10.220 --> 00:28:14.799
blue can you get? Yeah. Yeah. I bought you a
00:28:14.799 --> 00:28:16.500
three -course dinner. You said, thanks for the
00:28:16.500 --> 00:28:19.019
snack. You know, that kind of, that's what a
00:28:19.019 --> 00:28:20.880
lot of people think of when they hear blue, the
00:28:20.880 --> 00:28:23.299
word blues. They think of the emotion of blue.
00:28:23.480 --> 00:28:27.000
Blues is sad. Blues is, but then you also look
00:28:27.000 --> 00:28:30.039
at other B .B. King tracks. Like, I'm so excited.
00:28:30.799 --> 00:28:34.700
I got fire in my, you know, that, that real happy.
00:28:35.420 --> 00:28:38.240
take it home way down south there's a cool stream
00:28:38.240 --> 00:28:41.240
running in the night i can feel my heart turning
00:28:41.240 --> 00:28:43.680
feel someday i like to come back to the place
00:28:43.680 --> 00:28:47.619
i started from take it home that's happy for
00:28:47.619 --> 00:28:50.279
upflips that's inspiring and you know everyone
00:28:50.279 --> 00:28:53.339
identifies with the blues different a lot of
00:28:53.339 --> 00:28:56.200
people identify with the blues into that that
00:28:56.200 --> 00:28:59.460
you're talking about how how your car got stolen
00:28:59.460 --> 00:29:02.559
on monday and and wednesday things just didn't
00:29:02.559 --> 00:29:05.230
go right neither And that's all well and good,
00:29:05.349 --> 00:29:10.109
but the blues isn't about one feeling. The blues
00:29:10.109 --> 00:29:12.589
is about all feelings. The blues is about all
00:29:12.589 --> 00:29:15.130
you like. All the, you know, a blues song could
00:29:15.130 --> 00:29:17.109
be a love song. A blues song can be a sad song.
00:29:17.210 --> 00:29:19.470
A blues song can be a mad song. A blues song
00:29:19.470 --> 00:29:22.369
could be a happy song. But the blues is just
00:29:22.369 --> 00:29:26.369
the expression of feeling. So when I was writing
00:29:26.369 --> 00:29:30.650
what I write, it's just, let's express it. Let's
00:29:30.650 --> 00:29:33.490
put it out there. And, you know, even when you
00:29:33.490 --> 00:29:36.150
look at Just Kiss Me Baby, that's one thing.
00:29:36.210 --> 00:29:38.230
But when you look at Worried About the Young
00:29:38.230 --> 00:29:44.049
or Tattooed Wings, it's like, whoa, these are
00:29:44.049 --> 00:29:47.329
that blues that you think, oh, the blues. But
00:29:47.329 --> 00:29:52.500
it's all blues. It's all the feeling. Well, I
00:29:52.500 --> 00:29:54.539
first want to ask if you're looking at my notes,
00:29:54.539 --> 00:29:56.559
because you actually just rattled off the next
00:29:56.559 --> 00:29:58.440
two songs we're going to talk about. But I'm
00:29:58.440 --> 00:30:00.839
going to put a pin in that for a second. Because
00:30:00.839 --> 00:30:02.960
you mentioned B .B. King, I've actually told
00:30:02.960 --> 00:30:06.059
this story one other time on the show. When I
00:30:06.059 --> 00:30:09.640
started in radio back in 2000, I was talking
00:30:09.640 --> 00:30:12.200
with my boss, and I'm carrying a large stack
00:30:12.200 --> 00:30:15.140
of reel -to -reel tapes to one of the studios.
00:30:15.400 --> 00:30:18.019
And it's stacked right up to the tip of my nose,
00:30:18.160 --> 00:30:20.740
and she's telling me what she needs me to do
00:30:20.740 --> 00:30:22.880
with them, and I'm walking backwards listening
00:30:22.880 --> 00:30:25.700
to her. And next thing I hear is, whoa, whoa,
00:30:25.700 --> 00:30:29.160
whoa, and I get a hand on my shoulder. And I
00:30:29.160 --> 00:30:31.640
turn around, and B .B. King is standing there
00:30:31.640 --> 00:30:36.049
holding Lucille in his hand. And he's going to
00:30:36.049 --> 00:30:38.710
one of the other studios. And I'm like. Mr. King
00:30:38.710 --> 00:30:41.309
is literally the tapes are covering my face.
00:30:41.589 --> 00:30:44.589
So you can't see my jaw on the ground. And I'm
00:30:44.589 --> 00:30:47.170
like, Mr. King, I am so, so sorry, sir. And I
00:30:47.170 --> 00:30:50.130
turned, I said, Lucille, my sincerest apologies.
00:30:50.630 --> 00:30:53.430
And BB King looked at me and he said, you could
00:30:53.430 --> 00:30:55.990
knock me down and I'll get right back up. But
00:30:55.990 --> 00:30:58.950
Lucille doesn't know how to take a fall. And
00:30:58.950 --> 00:31:01.910
I literally said, I backed up and I said, after
00:31:01.910 --> 00:31:05.480
you, sir. And I let him walk by and. That 15
00:31:05.480 --> 00:31:08.259
seconds was my brush with the great one. So I
00:31:08.259 --> 00:31:10.599
had to talk about that when you brought up B
00:31:10.599 --> 00:31:13.279
.B. King. I'm not going to lie to you. Those
00:31:13.279 --> 00:31:18.460
15 seconds mean so much. And I think people don't
00:31:18.460 --> 00:31:21.220
get that because it's such a little peek into
00:31:21.220 --> 00:31:22.900
what you're going to do one day. It's such a
00:31:22.900 --> 00:31:25.680
those little moments matter. I was behind Eric
00:31:25.680 --> 00:31:28.759
Gales at the opening B .B. King's New Orleans.
00:31:29.359 --> 00:31:31.940
And back then I was in high school playing jazz
00:31:31.940 --> 00:31:35.309
music. And I'm standing next to Eric Gales, didn't
00:31:35.309 --> 00:31:39.089
even know. Just saw some guy wearing a nice red
00:31:39.089 --> 00:31:41.650
tracksuit, wearing some chains, wearing a goatee.
00:31:41.769 --> 00:31:43.529
And he looked all nice enough, you know. And
00:31:43.529 --> 00:31:46.529
I was like, oh, wow, just another guy. And then
00:31:46.529 --> 00:31:49.869
I get home and my dad's watching it because it
00:31:49.869 --> 00:31:52.269
went all night long. He goes, man, and they even
00:31:52.269 --> 00:31:53.750
got Eric out there. I was like, what? He's like,
00:31:53.809 --> 00:31:56.089
yeah, Eric Gales. Pulls me over. I was like,
00:31:56.170 --> 00:32:01.140
oh, I was standing behind him. You know, it's
00:32:01.140 --> 00:32:04.480
those little 15 -second moments mean so much
00:32:04.480 --> 00:32:06.559
in life. It's great to hold on to those things.
00:32:07.039 --> 00:32:09.519
Those little brushes with greatness are just
00:32:09.519 --> 00:32:11.500
peeks into what the next thing might be sometimes.
00:32:12.059 --> 00:32:13.819
Because I didn't know I was going to be playing
00:32:13.819 --> 00:32:16.079
blues. I was at the opening of BB King's Blues
00:32:16.079 --> 00:32:18.839
Club in New Orleans and standing next to Eric
00:32:18.839 --> 00:32:20.539
Gales and didn't even know I was going to play
00:32:20.539 --> 00:32:23.500
blues one day. So those matters. And here you
00:32:23.500 --> 00:32:26.900
are doing it. And I want to remind people now,
00:32:27.079 --> 00:32:30.880
listeners that don't know. Kevin or Sonny is
00:32:30.880 --> 00:32:34.779
25 years old. Am I correct? Yes, sir. Okay. So
00:32:34.779 --> 00:32:37.700
the maturity that you're hearing on these songs,
00:32:37.779 --> 00:32:42.259
both musically and lyrically, give me hope for
00:32:42.259 --> 00:32:46.119
the future of music, especially when a 25 year
00:32:46.119 --> 00:32:49.220
old is writing a song like worried about the
00:32:49.220 --> 00:33:07.680
young. Kids are starting out already deep in
00:33:07.680 --> 00:33:15.119
debt. Can't find a decent job. They take what
00:33:15.119 --> 00:33:21.720
they can get. I'm worried about the young when
00:33:21.720 --> 00:33:27.819
I see what's going on. The way this world is
00:33:27.819 --> 00:33:35.170
turning might not be alone. This track features
00:33:35.170 --> 00:33:39.589
Kristone Kingfish Ingram, who brings his amazing
00:33:39.589 --> 00:33:43.789
guitar style and tone to this track. Can you
00:33:43.789 --> 00:33:46.309
talk about how this collaboration came together
00:33:46.309 --> 00:33:49.309
and what it was like working with him? It was
00:33:49.309 --> 00:33:54.329
said while we were writing it. Four people were
00:33:54.329 --> 00:33:56.910
in the room while we were writing it. I was in
00:33:56.910 --> 00:33:59.589
the room. My father was in the room. Tom Hambridge
00:33:59.589 --> 00:34:02.910
was in the room. And Rich Fleming was in the
00:34:02.910 --> 00:34:06.630
room. And we were writing this song and it was
00:34:06.630 --> 00:34:08.969
just speaking, you know, it was speaking even
00:34:08.969 --> 00:34:12.190
from the page, it was speaking. And the question
00:34:12.190 --> 00:34:16.309
you get is, you know, with an album like this
00:34:16.309 --> 00:34:18.550
or a label like this, they're looking for features.
00:34:18.630 --> 00:34:20.309
They're trying to figure out who's going to be
00:34:20.309 --> 00:34:24.070
a feature. And the whole time thought was with
00:34:24.070 --> 00:34:27.449
a song like this, there are a few names in young
00:34:27.449 --> 00:34:29.789
blues right now that are really doing stuff.
00:34:30.369 --> 00:34:33.349
There's Ally Venable. There's Dylan Triplett.
00:34:33.809 --> 00:34:37.329
There's DK Harrell. And we can keep going because,
00:34:37.409 --> 00:34:39.230
I mean, I have lots and lots of favorites. Marcus
00:34:39.230 --> 00:34:43.090
King. Oh, that guy. We actually have an entire
00:34:43.090 --> 00:34:47.050
episode of My Weekly Mixtape dedicated to blues
00:34:47.050 --> 00:34:50.989
rock with Jax Hollow, who's another amazing player.
00:34:51.289 --> 00:34:53.690
Highly recommend checking that episode out if
00:34:53.690 --> 00:34:56.570
you're a blues fan listening. And if you're listening,
00:34:56.630 --> 00:34:58.550
I'm going to check it out. So I think everyone
00:34:58.550 --> 00:35:03.250
should. When you're thinking, okay, we're trying
00:35:03.250 --> 00:35:05.690
to see where our future is going to sit. And
00:35:05.690 --> 00:35:08.349
then you have a song about young people. Well,
00:35:08.409 --> 00:35:10.710
you think, okay, we have a great deal of young
00:35:10.710 --> 00:35:14.210
names in blues right now. And one of the biggest
00:35:14.210 --> 00:35:18.809
is Kingfish. And when you hear Kingfish's voice,
00:35:18.889 --> 00:35:22.130
when you hear Kingfish's playing, you hear all
00:35:22.130 --> 00:35:25.230
the emotion that's in it. You hear all the emphasis.
00:35:26.030 --> 00:35:29.070
And when I was playing it, I was just like, man.
00:35:29.739 --> 00:35:33.500
Know who would have a burning solo in a song
00:35:33.500 --> 00:35:36.099
like this where you're expressing your concern,
00:35:36.320 --> 00:35:38.559
you're expressing your emotion. Chris Stone,
00:35:38.699 --> 00:35:43.960
Kingfish Ingram. Now, Tom Hambridge works with
00:35:43.960 --> 00:35:46.900
Chris Stone, Kingfish Ingram, a good deal. And
00:35:46.900 --> 00:35:50.239
Rich Fleming as well. And I'm sitting there thinking,
00:35:50.400 --> 00:35:53.159
wow, they work with Kingfish. Possibly, maybe
00:35:53.159 --> 00:35:56.019
Kingfish could be on the album on Word About
00:35:56.019 --> 00:35:59.320
the Young. And that moment, it became just like
00:35:59.320 --> 00:36:01.820
the dream. This is the dream. For me, it was
00:36:01.820 --> 00:36:04.179
like, this is the dream. Good scenario. This
00:36:04.179 --> 00:36:06.380
is the great case scenario. Kingfish gets all
00:36:06.380 --> 00:36:09.300
worried about the young. And we started throwing
00:36:09.300 --> 00:36:11.840
little hints. And by little hints, I mean, we
00:36:11.840 --> 00:36:13.699
start blatantly saying, hey, you know who will
00:36:13.699 --> 00:36:17.059
be breaking off this song? But you don't want
00:36:17.059 --> 00:36:19.639
to seem very, you know, hey, put Kingfish on.
00:36:19.679 --> 00:36:22.360
No. So Kingfish would be great for this song
00:36:22.360 --> 00:36:25.559
because it's about being young and it's about
00:36:25.559 --> 00:36:30.679
voicing. the issues we see as young people. The
00:36:30.679 --> 00:36:33.300
thing that a lot of older people, and where we're
00:36:33.300 --> 00:36:35.300
from, we say grown people, don't necessarily
00:36:35.300 --> 00:36:38.739
think we think about. We have that live free
00:36:38.739 --> 00:36:41.199
thing, but hey, it's hard to have a live free
00:36:41.199 --> 00:36:43.480
thing and a worry free thing and have that immortal,
00:36:43.719 --> 00:36:47.480
the idea that we're all immortal. And it's hard
00:36:47.480 --> 00:36:49.820
to have that when you know what's going on, when
00:36:49.820 --> 00:36:52.900
you're aware of what's going. So to communicate
00:36:52.900 --> 00:36:55.780
that by myself, would be one thing. But to communicate
00:36:55.780 --> 00:36:59.739
that with someone who's just as in touch with
00:36:59.739 --> 00:37:03.139
what that means, that's where Kingfish came in.
00:37:03.519 --> 00:37:06.300
To be able to say, hey, if you don't take it
00:37:06.300 --> 00:37:08.460
from me, take it from this guy. Take it from
00:37:08.460 --> 00:37:13.119
this guy as well. For him to even come and be
00:37:13.119 --> 00:37:17.420
on my debut album like that meant so much to
00:37:17.420 --> 00:37:22.139
me. Because we couldn't link up in the studio.
00:37:22.860 --> 00:37:25.710
His schedule, was so busy. We were recording
00:37:25.710 --> 00:37:28.849
this around the same time as Fender's Strat Month
00:37:28.849 --> 00:37:32.909
series, the Strat series month. And all those
00:37:32.909 --> 00:37:34.869
festivals were also happening, jazz festivals
00:37:34.869 --> 00:37:36.929
happening. Just everything was happening all
00:37:36.929 --> 00:37:39.989
at once. Buddy Guy, his farewell tour has also
00:37:39.989 --> 00:37:43.309
been happening. So it was hard to link a schedule
00:37:43.309 --> 00:37:46.469
of, hey, we're going to be recording in Nashville
00:37:46.469 --> 00:37:49.829
at this time while Kingfish is in Chicago or
00:37:49.829 --> 00:37:52.369
Milwaukee or something like that playing somewhere
00:37:52.369 --> 00:37:55.630
else. But back in Mississippi, it was hard to
00:37:55.630 --> 00:37:57.849
like that. So what ended up happening, saying,
00:37:58.090 --> 00:38:00.869
hey, we're just going to put trust in this. We're
00:38:00.869 --> 00:38:03.909
going to trust that Crystal King Fishing Room
00:38:03.909 --> 00:38:08.329
is going to record this. And sure enough, there
00:38:08.329 --> 00:38:10.130
were times where it was getting sort of scary
00:38:10.130 --> 00:38:13.250
and like, oh, no, are we waiting too long? Are
00:38:13.250 --> 00:38:16.610
we? But then it went back to saying, hey, trust
00:38:16.610 --> 00:38:18.750
that this is going to happen. Leave it in God's
00:38:18.750 --> 00:38:22.050
hands. Just hope and pray for the best. And next
00:38:22.050 --> 00:38:24.369
thing you know, we get an email that says, yeah,
00:38:24.510 --> 00:38:26.210
Kingfish is going to record on it. He's going
00:38:26.210 --> 00:38:31.010
to do it. And we're like, yes, perfect. And one
00:38:31.010 --> 00:38:36.409
night I'm in bed and trusting still. Okay, nice,
00:38:36.489 --> 00:38:39.750
nice. And I go on Tom Hambridge's Instagram and
00:38:39.750 --> 00:38:43.909
I see sitting with Kingfish just recorded in
00:38:43.909 --> 00:38:47.309
New Orleans. Can't wait for this. And I'm going
00:38:47.309 --> 00:38:51.400
to go. My face is just, my mind's blown. My face
00:38:51.400 --> 00:38:55.960
is, like you said, jaw floor. So I'm just, whoa,
00:38:56.239 --> 00:38:59.239
this just happened. I run to my dad, I'm down.
00:39:00.139 --> 00:39:02.599
Kingfish just recorded. And he just recorded
00:39:02.599 --> 00:39:04.760
the, I think he just recorded Word About The
00:39:04.760 --> 00:39:07.880
Young. And next thing you know, we get another
00:39:07.880 --> 00:39:09.900
email that says, here's Kingfish's cut of Word
00:39:09.900 --> 00:39:44.030
About The Young. Tell me how you like it. It
00:39:44.030 --> 00:39:47.670
was amazing. And I'll say this anytime I get
00:39:47.670 --> 00:39:50.670
a chance to. Chris Stone, Kingfisher, man, thank
00:39:50.670 --> 00:39:52.650
you so much for even recording on this album.
00:39:52.750 --> 00:39:54.230
It really means a lot to me. And thank you for
00:39:54.230 --> 00:39:56.809
recording on a song that means so much to me.
00:39:56.869 --> 00:39:58.570
And I hope it means so much to everyone else.
00:39:59.050 --> 00:40:02.650
It certainly does. It's an amazing track, a great
00:40:02.650 --> 00:40:06.650
collaboration. And he killed it. He slayed the
00:40:06.650 --> 00:40:10.329
song. so to pivot from that i want to talk about
00:40:10.329 --> 00:40:13.769
a song that you personally slayed on my friend
00:40:13.769 --> 00:40:18.849
and that track is tattooed wings i thought you
00:40:18.849 --> 00:40:26.090
were an angel looks like i was wrong about that
00:40:26.090 --> 00:40:41.550
i thought you were an angel I was wrong about
00:40:41.550 --> 00:40:56.190
that And I should have seen it coming With the
00:40:56.190 --> 00:41:07.570
tattooed wings on your back We've talked a lot
00:41:07.570 --> 00:41:11.110
about your vocals and your lyrics. throughout
00:41:11.110 --> 00:41:14.269
this episode. But I want to talk about the piano
00:41:14.269 --> 00:41:17.769
for a moment because between the nuanced fills
00:41:17.769 --> 00:41:20.949
that you were playing throughout the verse as
00:41:20.949 --> 00:41:24.429
you're singing and then transitioning into the
00:41:24.429 --> 00:41:29.349
song's piano solo, I was absolutely hypnotized
00:41:29.349 --> 00:42:26.199
by this track. Play it now. Good God. Can you
00:42:26.199 --> 00:42:28.579
talk about your piano background? Because while
00:42:28.579 --> 00:42:32.639
this is a blues number, I hear hints of jazz
00:42:32.639 --> 00:42:35.900
in some of the runs and fills you're incorporating
00:42:35.900 --> 00:42:38.579
in the song. And to me, it's, again, all part
00:42:38.579 --> 00:42:42.760
of that musical stew of genres coming together
00:42:42.760 --> 00:42:47.119
in your music. Well, you got to accept your help
00:42:47.119 --> 00:42:50.940
from everyone. That's the truth. I mean, I'm
00:42:50.940 --> 00:42:55.539
from New Orleans. And I grew up around great
00:42:55.539 --> 00:42:58.420
pianists. Henry Butler, DeVille Crawford. My
00:42:58.420 --> 00:43:01.300
dad played for Dr. John. My dad's like, I grew
00:43:01.300 --> 00:43:05.340
up around great pianists. And then I went to
00:43:05.340 --> 00:43:07.840
Noken. I had the same exact teacher as John Batista.
00:43:07.860 --> 00:43:11.280
I had Michael Pallera teach me. And I had so
00:43:11.280 --> 00:43:13.519
many others, Matt Lindler and so many more. And
00:43:13.519 --> 00:43:15.579
then you get to Nashville, you think you're all
00:43:15.579 --> 00:43:17.320
ready to move forward. And then someone says,
00:43:17.500 --> 00:43:20.619
hey, check this out. That's where Kevin McKendrick
00:43:20.619 --> 00:43:23.409
comes in. with just saying hey check this out
00:43:23.409 --> 00:43:27.309
just sometimes you just gotta learn you gotta
00:43:27.309 --> 00:43:29.250
learn even more when you get there you gotta
00:43:29.250 --> 00:43:31.730
you gotta check out somebody and see exactly
00:43:31.730 --> 00:43:34.670
how great they are so that they can teach you
00:43:34.670 --> 00:43:38.150
how to do so i can't i can't even take i can't
00:43:38.150 --> 00:43:41.389
take that kind of credit for it and kevin mckendry
00:43:41.389 --> 00:43:44.349
is the is the man and really put some work behind
00:43:44.349 --> 00:43:48.809
you know i'm because my natural sound i'm a heavy
00:43:48.809 --> 00:43:51.869
-handed blues pianist from the south man And
00:43:51.869 --> 00:43:56.110
to see and learn how to be that airy and how
00:43:56.110 --> 00:43:58.809
to how to put spills like that in there. Man,
00:43:58.889 --> 00:44:01.269
that's that's where you really got to you got
00:44:01.269 --> 00:44:02.869
to give it credit. You know, that's where you
00:44:02.869 --> 00:44:05.409
got to say, man, sometimes you think you got
00:44:05.409 --> 00:44:06.989
it. You just don't got it yet. Now you got to
00:44:06.989 --> 00:44:09.070
check it out and learn so that you can get it.
00:44:09.329 --> 00:44:14.110
So, yeah, I mean, it's an accumulation. I think
00:44:14.110 --> 00:44:17.269
the word is this an accumulation of all of the
00:44:17.269 --> 00:44:21.489
pieces and then some even. Well, I also want
00:44:21.489 --> 00:44:25.389
to give a personal hat tip to Tom Hambridge's
00:44:25.389 --> 00:44:28.989
production on the album, because the mix on the
00:44:28.989 --> 00:44:32.050
album is so immersive. There's moments where
00:44:32.050 --> 00:44:36.909
I hear your. organ in my left ear and the guitarist
00:44:36.909 --> 00:44:38.969
in my right ear when you're listening on a good
00:44:38.969 --> 00:44:43.070
set of headphones the band is truly encircling
00:44:43.070 --> 00:44:46.849
you musically and i think that is a very unique
00:44:46.849 --> 00:44:50.750
production style for blues music because blues
00:44:50.750 --> 00:44:54.510
is very much kind of meant like older blues albums
00:44:54.510 --> 00:44:57.510
if you think about all the way back it was always
00:44:57.510 --> 00:45:00.210
kind of front center in your face everybody playing
00:45:00.210 --> 00:45:03.639
at once This opens up a soundscape that I think
00:45:03.639 --> 00:45:08.059
is just very encapsulating as a listen. When
00:45:08.059 --> 00:45:11.380
I, and I'll say, I'll be very clear about it.
00:45:11.440 --> 00:45:14.159
When I first heard it, that was the very thing
00:45:14.159 --> 00:45:17.059
that sort of put me in a place where I was like,
00:45:17.099 --> 00:45:20.480
man, this is a new sound to me. When it comes
00:45:20.480 --> 00:45:23.119
to blues, like you said, you're so used to, all
00:45:23.119 --> 00:45:26.840
right, here's the blues, everything. Everything's
00:45:26.840 --> 00:45:29.039
just there. And then it was Gobi Free that sort
00:45:29.039 --> 00:45:31.530
of spelled it out to me. go be free and uh hot
00:45:31.530 --> 00:45:37.489
house those songs were i knew i wrote them but
00:45:37.489 --> 00:45:40.809
at the same time i started hearing hearing the
00:45:40.809 --> 00:45:43.730
placement of my story those songs that are very
00:45:43.730 --> 00:45:46.670
descriptive and they're writing it and very then
00:45:46.670 --> 00:45:49.849
i started hearing each part of it where it's
00:45:49.849 --> 00:45:52.989
like i hear one side of the story then another
00:45:52.989 --> 00:45:55.010
side of the story and then another aspect and
00:45:55.010 --> 00:45:56.590
a little aspect here and a little aspect there
00:45:56.590 --> 00:45:59.289
and that I thought that was just amazing. And
00:45:59.289 --> 00:46:03.230
I mean, Tom Hambridge, I don't know how he thought
00:46:03.230 --> 00:46:06.170
to do it or how he just said, OK, this is how
00:46:06.170 --> 00:46:08.010
it's going to sound. But he made the album like
00:46:08.010 --> 00:46:12.289
and I keep emphasizing he made it alive. And
00:46:12.289 --> 00:46:15.090
that's the I think that's the hardest thing.
00:46:15.449 --> 00:46:17.909
A lot of people put out music to put out music
00:46:17.909 --> 00:46:20.369
and it's not alive. It's just, hey, here's something
00:46:20.369 --> 00:46:24.050
I can put on tape. But Tom Hambridge did a special,
00:46:24.190 --> 00:46:26.869
a special. And like you said, tip that. He did
00:46:26.869 --> 00:46:30.610
a special tip and say, I want this to be somewhere
00:46:30.610 --> 00:46:33.690
that you're stepping into. And that's the magic
00:46:33.690 --> 00:46:36.449
of it, if I'm going to be honest. Absolutely
00:46:36.449 --> 00:46:39.030
succeeded at that. And being you mentioned Hot
00:46:39.030 --> 00:46:41.250
House, let's take a moment to hear a sneak peek
00:46:41.250 --> 00:47:15.000
of that. By judgment day, tell the hot house
00:47:15.000 --> 00:47:20.260
that I'm on my way. Burn down, burn down, burn
00:47:20.260 --> 00:47:24.920
down, burn down to burn it. Burn down, burn down,
00:47:24.920 --> 00:47:29.500
burn down the hot house. South of New Orleans
00:47:29.500 --> 00:47:32.300
where the blues runs free. The sky's on fire,
00:47:32.380 --> 00:47:35.239
you can barely breathe. When nightfall comes,
00:47:35.400 --> 00:47:54.750
the daylight fades. The hot house. Now, from
00:47:54.750 --> 00:47:58.690
the first moment of inspiration to the finished
00:47:58.690 --> 00:48:03.190
album, Go Be Free, was there a lesson you learned
00:48:03.190 --> 00:48:07.369
making this album that you'll take with you throughout
00:48:07.369 --> 00:48:13.349
your continuing career? Yes. And it was something
00:48:13.349 --> 00:48:15.429
that I already knew and I already told a lot
00:48:15.429 --> 00:48:20.150
of people. But seeing it play out, even for me,
00:48:20.210 --> 00:48:26.860
was gigantic. There is a world of musicians between
00:48:26.860 --> 00:48:29.219
where you currently are and the place you say
00:48:29.219 --> 00:48:32.780
you want to be. That was the big, big takeaway.
00:48:34.099 --> 00:48:36.300
It's not that you're not close to going where
00:48:36.300 --> 00:48:39.440
you want to go, but there are so many more people
00:48:39.440 --> 00:48:42.780
who are going to help you and help you learn
00:48:42.780 --> 00:48:45.320
along the way. And you might not know their names,
00:48:45.460 --> 00:48:47.300
but you might have heard them a billion and one
00:48:47.300 --> 00:48:54.239
times, never even knew. Bigger names. I mean,
00:48:54.300 --> 00:48:57.260
bigger names than me. They've played for people
00:48:57.260 --> 00:49:01.519
like Hank and Anthony Hamilton and Chris Stapleton
00:49:01.519 --> 00:49:06.019
and Buddy Guy. But where you might not have thought,
00:49:06.179 --> 00:49:09.820
okay, there are these people between me and where
00:49:09.820 --> 00:49:12.460
I say I want to be. There are. And for every
00:49:12.460 --> 00:49:14.800
one of them that you meet, there's about 20 more
00:49:14.800 --> 00:49:16.559
that you don't know. You don't even know they
00:49:16.559 --> 00:49:20.139
exist. But they might be the very ones who help
00:49:20.139 --> 00:49:23.460
you create. your first album that's on a major
00:49:23.460 --> 00:49:25.900
record label. They might be the ones that get
00:49:25.900 --> 00:49:28.440
you to say, okay, I need to lock in even harder
00:49:28.440 --> 00:49:32.119
in piano. I need to train harder as a guitarist
00:49:32.119 --> 00:49:37.119
as well. And I mean, that was a humbling experience.
00:49:37.280 --> 00:49:41.579
And if you don't go into experiences with humility,
00:49:41.920 --> 00:49:46.280
that's going to be a big shocker. There was a
00:49:46.280 --> 00:49:50.710
moment in one of the songs where I thought, I
00:49:50.710 --> 00:49:54.190
was ready to tackle another solo. You know, I
00:49:54.190 --> 00:49:56.170
was like, all right, I feel good about this.
00:49:56.269 --> 00:50:01.809
Let me try this now. And I got in there and played
00:50:01.809 --> 00:50:05.389
very heavy hit and very, very New Orleans live
00:50:05.389 --> 00:50:10.010
style. Live is great. Live, that's exactly what
00:50:10.010 --> 00:50:13.469
people want to hear on a record. That can make
00:50:13.469 --> 00:50:15.090
the difference between a record sounding real
00:50:15.090 --> 00:50:20.809
and a record sounding too perfect. You know,
00:50:20.809 --> 00:50:27.170
now that's where I came back in the booth and
00:50:27.170 --> 00:50:30.389
I looked at my dad and said, that was humiliating.
00:50:30.949 --> 00:50:33.610
And I told him, I said, my dad understood what
00:50:33.610 --> 00:50:35.269
I meant, but everyone else in the room was sort
00:50:35.269 --> 00:50:37.429
of taken aback by what I said because they were
00:50:37.429 --> 00:50:39.809
like, no, that was great. I'm like, no, that
00:50:39.809 --> 00:50:42.650
was humiliating. And my dad knew it. I believe
00:50:42.650 --> 00:50:44.989
there are three words that describe the same
00:50:44.989 --> 00:50:51.619
thing. Humiliation. Embarrassment. And being
00:50:51.619 --> 00:50:56.579
humble are three that are all synonyms. But the
00:50:56.579 --> 00:51:00.400
truth is, in embarrassment, you didn't learn
00:51:00.400 --> 00:51:03.840
any lessons from what you just did. If you say,
00:51:03.840 --> 00:51:05.519
this embarrassed me, you didn't learn anything.
00:51:06.739 --> 00:51:10.579
But when you're humiliated, that's showing, hey,
00:51:10.679 --> 00:51:13.500
not that you're not good. It's showing, hey,
00:51:13.579 --> 00:51:16.920
there's still more you have to go through to
00:51:16.920 --> 00:51:19.360
be there, to be there. You're not. Just because
00:51:19.360 --> 00:51:23.300
you're in the room with five to six great artists
00:51:23.300 --> 00:51:26.480
and great engineers and everything, that doesn't
00:51:26.480 --> 00:51:29.860
mean that you're there yet. And then mix that
00:51:29.860 --> 00:51:33.519
with saying, okay, I understand that these guys
00:51:33.519 --> 00:51:35.940
are just, they've been doing it for years and
00:51:35.940 --> 00:51:37.800
years and years. They're better at this right
00:51:37.800 --> 00:51:40.539
now. One day I'll be there. Well, that's called
00:51:40.539 --> 00:51:44.539
being humble. And that's saying, okay, the lesson
00:51:44.539 --> 00:51:46.639
I learned from being humiliated, I'm holding.
00:51:47.199 --> 00:51:49.239
And I'm taking that with me everywhere I go,
00:51:49.360 --> 00:51:54.420
you know, and that's I think any time I can tell
00:51:54.420 --> 00:51:58.579
people about an experience that humbled me, you
00:51:58.579 --> 00:52:00.920
know, anytime I can do that, that's saying, hey,
00:52:01.059 --> 00:52:05.900
that's the lesson I took away. So, yep, if I
00:52:05.900 --> 00:52:08.579
can say if there's any lesson I took away, it
00:52:08.579 --> 00:52:10.599
was, hey, just because you're in the room with
00:52:10.599 --> 00:52:12.500
these greats doesn't mean that you're there.
00:52:13.219 --> 00:52:15.360
Don't stop. Don't even get close to the thing
00:52:15.360 --> 00:52:19.150
that you are. Because you have a million miles
00:52:19.150 --> 00:52:23.289
to go before you get there. And a million people
00:52:23.289 --> 00:52:26.389
to meet all the way. So yeah, that's what I learned.
00:52:27.309 --> 00:52:31.039
Absolutely profound. Go Be Free is available
00:52:31.039 --> 00:52:34.659
via Blind Pig Records, which I'll make sure is
00:52:34.659 --> 00:52:38.719
also linked up on the episode page at myweeklymixtape
00:52:38.719 --> 00:52:42.659
.com. So you could pick up a copy on CD or vinyl.
00:52:42.739 --> 00:52:45.599
You can also stream it wherever you're streaming
00:52:45.599 --> 00:52:48.460
music. Sonny, it has been an absolute pleasure
00:52:48.460 --> 00:52:51.199
talking music with you tonight. And I can't wait
00:52:51.199 --> 00:52:54.019
to catch the band next time you run through New
00:52:54.019 --> 00:52:57.650
Jersey on one of your tours. Amen. Thank you
00:52:57.650 --> 00:53:00.309
so much, Mr. Bryan. And also, thank you all the
00:53:00.309 --> 00:53:02.510
listeners for listening to My Weekly Mixtape.
00:53:02.650 --> 00:53:05.110
Yeah, you're right. And remember, you can find
00:53:05.110 --> 00:53:07.570
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00:53:38.500 --> 00:53:40.400
week. Thanks again for listening, and until next
00:53:40.400 --> 00:53:42.139
time, enjoy the tunes.