Choristers

Andrew

Let It Go – Peter Broderick

So I don’t know about you, but there are tracks – and there’s typically about four or five of them a year – that I just fall head over heels in love with – and it has very little to do with the lyric – initially it’s all about the music – but then I get into the words – and so – this Peter Broderick track comes along.

I was listening to a playlist of Maria’s and there was this track on there and it was like, oh, that’s really good. And then I listened to it again, and then I listened to it again. And suddenly I’m recognizing that, oh, this is one of those tracks I’m gonna fall in love with.

There’s this particular bit in the middle where it is just one of those classic crescendo things. He’s already given you the verse, he’s given you the chorus, but now he’s giving you the bridge and it’s that whole expectation and it comes off the end and it’s like, ah, ha ha.

So what I did was, I started like four or five different playlists with different humans with this track just to see where it went. And everybody went in different directions, which was fucking amazing.

Richard

I Walk on Water – KALEO

With music, lyrics matter to me ‘cos like, I write them. There are few songs I come across where the lyrics are inconsequential. Even if I enjoy the music, bad lyrics can be a turn-off. I’m not saying that has been the case with any of the tracks you played, but I’m just stating it in contrast with your point about the music. So – the mood of the song just drew me in and it fit the lyric with this haunting sort of wistfulness – and I was like, he slowly sort of explored the words – leading up to the amazing crescendo bit at the end right, but it was almost, to me there was a timidness, a timid sort of fear of letting go – because, there’s some about letting go, right?

I had recently purchased Kaleo’s second album when I bought these speakers. There’s a track on it that I used to test speakers, although it’s not in the playlist. I’ve played it too much already. However, I enjoy this song because it represents what comes after letting go. It’s like saying, “I’m free, I can walk on water.” It captures that sense of liberation and euphoria. The song begins quietly but builds up to a crescendo, similar to the one in the previous track. However, in this case, it’s the drums that stand out. It reminds me of the drums in Celtic Song from Stirling Brig. There are unexpected moments in between where you’re like, “Where did that come from?” It occurs around two-thirds or three-quarters of the way into the song. The artist builds up with his singing, and then the drums kick in, creating a monstrous sound.

Walking Away from Love – Steve Mason

Even as he builds up the percussion, his technique on the toms and kick drum is extraordinary, reminiscent of Ringo’s incredible fills on Sgt. Pepper. It’s amusing because, as songwriters, we naturally focus on the lyrics and in this case, it’s like saying, “Follow me, follow me, brother, I walk on water.”

And it just absolutely cracked me up cuz it was, I mean, yes, I’ve been grooving on Kaleo too, and there’s, there’s just a lot of good fucking energy in there. And I’m, the music’s awesome, but lyrically, the track was just, alright, hi Rich!

So yes, musically it’s brilliant and lyrically it was cracking me up – so I was looking for a smooth transition into the next track.  I run my Spotify on a 5 second crossfade – I know some who work with a 12 second crossfade but that seems a bit much – but when you get a good transition you can listen for hours.  So I’m thinking – the energy’s gotta be up but there’s also got to be a groove.  I had made a playlist with Paul – he runs a list called Shake A Hoof and he’s a musical savant, listens to ten times as much music as I do – we made a list called Into The Groove and he hit me with this track and it’s cool and it’s gonna set a groove – so – let’s listen to the transition.

The Wild Kindness – Silver Jews

The kids would sing this as soon as it came on in the car, they knew that one line. Right? So it didn’t matter which, what other ones we did, just the whole car, the three of us singing away and it just, it’s one of those songs that just make them happy going to school!

So yeah, the song has a killer groove. To me lyrically, it also bounced off some of that, that letting go, moving on energy – and it does it in such a swanky way, right? It’s like, okay, I love the killer vocals, the background vocals, just, just the whole thing. It sounds like something a band I would be in would be playing and it would be one of those songs that we’d love to play, you know?

So I went down the rabbit hole thing when I was listening to it and it reminded me a bit of Stirling Brig when we recorded, ‘cos there was a flub note that I play – but everyone made us leave it in. I mean, Walking Away From Love – it’s not tight, right. This is the band doing its thing. And it sort of reminded me of when we made our album, like that whole raw feel and what we’re doing now. And it reminded me of whatever the last song is, there’s a move to “D” & no one else hears it, but I know that mistake is there, right? So I was like, yeah, you know, you leave it – and about a day later or so, I came across the next track and he has a flub in the guitar solo!

And I don’t know if anyone else hears it, but I do – and the song was kinda fun anyway, but every time I hear that, I get the flash of – exactly the same slapped upside the head by life, sort of like, “Oh, you did that!” It’s like – nothing’s perfect. Right?

Kurt Cobain, when he did the MTV Live, he was playing that cover or whatever and he misses the first note – now he pulls it off, but – he never does it again. Right? It wasn’t the right note! So, you know, in those live things, there’s just something about them that says “Human” right? And I was like, oh yeah, just a good indie song with that sort of human looseness.

This Year – The Mountain Goats

Yeah – The Wild Kindness is cool – the song has that, I mean, I think every song on here has that “Groove” – you know? There aren’t any like – terribly over quantized tracks – but here’s where the madness of making a playlist like this is – The Silver Jews – never heard of them – the song’s super cool – but I couldn’t fucking think of any other song but the song that I put up next! 🙂

Which musically didn’t, I mean, yes, it’s groove, it’s a good song, but it, it wasn’t in the same kind of space as the Silver Jews Track, but This Year, The Mountain Goats – this is, this is – I think this is – You.

“Cos this is – you know – this is you, ‘cos isn’t it?

It’s like when you were a kid, like, “Fuck You” – take the car, I’m gonna nip out – you’re like, gonna make out with the girl, gonna drink some Scotch, drive back in – & of course it’s gonna be shit – but – “There will be feasting and dancing in Jerusalem next year. I am gonna make it…” I’m just – Dude! – in some of my darkest spaces, this is the song that I’ve got cranked up in the car just to get to that last fucking bit!

Great Mass of Color – Deafheaven

Fuck Yeah! I’d never heard of the band before – and his lyrics are like, good and pointy and just indie good music. You know?!

So – Deafhaven – it was another like – listening to them while looking for music to listen to through the news speakers – and I’d never heard of this band – I’d been looking through other music and it was a recommendation that came on by accident – right? – and I heard it & it was like – that’s really cool. And then where it ended up and I was like – whoa – wait, wait – because it doesn’t end where you think – where you hear it start – right – and it was just one of those tracks. I heard it and was like, you know what, that’s just a really good piece of music. I don’t care what genre it is, I don’t care what it is. It’s a really good piece of music.

So it was, this to me was a start of a new sentence.

Shinrin-Yoku – Enter Shikari

It’s such a big fat sound and sonically it’s, yeah, the journey through the track is super cool, but it finishes – so big – and I was thinking, okay – the track I put up – Enter Shikari – it’s one of Matt’s favorite bands – and I knew nothing about them, but lyrically they’re pretty super cool. We’ve made a few lists together and he introduced me to this track and I was like, wow – that’s really interesting – in where it starts – but that chant on the back end – “We are the dust on the stained glass windows, trying to comprehend the Cathedral!“

Home – Marc Broussard

I gotta tell you this up front before I forget it ‘cos while the actual lyrics are, “we are the dust on the stained glass windows trying to comprehend cathedral.” – my atheistic brain read it completely different – ‘cos I didn’t look them up, I was just listening & I thought they said, “We are the gods on the stained window trying to comprehend the cathedral” – which is – which is – just as bad right – like a more condensed state of humanity!?! – and then i saw the real lyric and I was – Ok – yeah – it’s all good – I much prefer the real lyrics!

So yeah – that is the kid’s favorite song on the playlist – in fact, for about five, six months, it was Alexander’s favorite song of all time! So they love this – it’s fabulous – the lyrics in the track are amazing, right? Just all of them – there’s not a badly written line – “My brain is like an empty inbox” – right? – it’s like – What?! – I come to the realization that we’ve got no idea what we’re doing here right? it’s just – that, combined with his accent, the whole thing – the kids just love it – absolute immediate – Holy Shit – that’s a great song.

OK – now I’ve gotta find a great song – right? – I gotta like, pull out a peach. So I have seen this guy – took mom actually to see this guy and watched him play live – and to me this was just, um, just an absolutely killer song – also was very – I’ve I’ve been in a microcosm of this – a smaller version of this song, right – where we had guitars and, and we were stuck – so we just sat there & played guitar, right? I’ve been in situations like that, so I can see the picture of him singing it and fuck – it’s just a great song.

There’s a bunch of bits – the percussion in the beginning through, well I think it’s the start of the first and second verse, he puts something in, there’s just, I think the production is adding percussive flavor all the way through the song. So it’s really well produced – and then after – there’s that breakdown of “straight from the water“, whatever – at the end of that he suddenly says “You don’t know nothing about this, take me” – and he just opens up his voice and its squashing and compressing – and you’re just WHAT?!

He just has one of those voices – live he is amazing. If he ever, if he ever passes through California, if you ever get a chance to go see him live – it’s his style of music. He has a small band that he goes and plays his songs with and their production is amazing. Live on stage. Like I’ve watched them and gone – Yeah – if I was ever gonna make it, that’s how, that’s how we would’ve done it. Yeah!

Gallows Pole – Remaster – Led Zeppelin

Yeah – it’s such a Fat song isn’t it! What I love about that is that, I come to it with my ears and, and it’s like, I’m not looking at any visual cuz I’m just, you know, I don’t see the cover and it’s like, well this is fucking cool. And then you’re expecting to see some 75 year old black dude and it’s this young white dude, and it, it just doesn’t match the voice to my – yeah – prejudiced experience. But then you look at it and go, yeah – that’s cool.

It’s huge – and you’re right, the percussion is just lunacy. And I think that was in the back of my head for a track later on, ‘cos I remember listening to this and I couldn’t find the track I wanted. I spent quite a while with it – and I mean now I’m listening and you can think, yeah, lots of things but… And then I’m just coming back to the groove thinking, what was that underlying groove?

And then I’m always filtering you in my head as well ‘cos – you and I are making the list together. Unlike making a playlist with all these new humans in musicto that I’m meeting, who I’ve got no relationship with and yeah, it’s literally the act of making a list that is how I get to know them – whereas making a list with you, like, we’ve got fucking five decades of history – and so that is undoubtedly a filter when I’m choosing the track – and I couldn’t find what I wanted because – I don’t know. And then it was, okay, so you have to go back to the groove, you have to go back to the root – and at that point it was, oh, I know where I’m going and then I A / B’d them and it was like, yeah, this feels, this feels pretty good.

Keep It Between the Lines – Sturgill Simpson

Yeah 🙂 Intimately familiar with that song. When I heard that – the first thing that stuck out, and I haven’t done this – Zeppelin was my band growing up, right? – to me – I mean it was everyone else’s as well but to me, it was my band growing up, I mean, they were my thing. And when I listened to that, my ear hears the production difference between – a piece of music made in the seventies and this pretty massively modern produced – although it’s maybe five years old, 10 years old by now – this amazingly produced new sound made in the digital world, and you’re like, yeah, even if it was recorded with modern technology, it would still be absolutely amazing.

I understand the wish for some people to want to do, re-masters, right? And we take the original recordings, clean them up and try. But I’m not a huge fan of that, ‘cos it was recorded in a time and space on the tape. You take all the noise out, you can do odd things with it.

So I put on, in reference to that, something that to me that was more of a laid back, sort of almost country-ish because Sturgill is country, but there’s something about this that was like so much more than that, right? There was like, at the end where you’ve got, the lyric chant thing they’re doing at the end of it. Like, uh, and I I just kind kinda like some of the lyric there was, some of the lyrics were kind of cool. Uh, you know, it, I wouldn’t agree with a lot of what he said. Like there’s obviously a, to me there’s a – be more cautious than I would normally say, right? But I liked some of this sentiment, but musically this song hit me. I was like, holy shit. Like this is, there’s something again massive about it, but it’s much more laid back. There’s a kind of groove, there’s, I think there’s that part at the end. I can’t remember in the last 30 seconds or something of

The Ballad Of Bodacious – Primus

Sturgill Simpson – he’s a super interesting artist because he, I mean he’s a country artist but like, he’s backing singers and a horn section and that baseline, which is just ridiculous. I had seen, um – he’d done his time and finally got some good PR and I mean he was very visible. It was the cover of Bloom that he did the, you know, that he broke out with. – of course this is just my impression, I’m sure there’s a completely different story – but I caught an Austin City Limits show, and he had this guitar player and he’s you know, a Scandinavian guitar player like Norway or Sweden, whatever. And he was just standing there with a telecaster and just being ridiculous. Like, just playing the most astonishing licks at such speeds and just being a cat – and Sturgill is being – yeah – and the whole band is like – yeah. Yeah – that would be cool to play in that band.

So it was the bass line and for some reason I’d been listening to Primus – don’t know why and it just seemed to make sense – and of course it’s a ridiculous song. But, um, so, yeah…

Wade in the Water – John Butler Trio

So the kids were asking about it cause I started singing the lyrics in the car, right? So the kids are asking about it and they started singing it and we actually looked up Bodacious on Wikipedia and the guy who wrote it – that’s in the lyrics, it’s all actually true. Right? So it’s like, it’s just a nice poetic take on on um, on this thing. It’s, it’s worth looking up. It’s hilarious. So the kids just think it’s the greatest thing – it really appealed to Alexander – the drummer in Alexander – so he had, he had a lot of fun with that. Brilliant.

So with Wade in the Water – I’ve seen this guy live too, and I really like how he actually plays this, this opening riff, not on a guitar or whatever – he’s got this little wooden lap steel that he’s playing. Yeah, but it’s not steel, it’s wood, so it has its – and the way he does, he’s doing this thing – just gives that opening riff the sound it has – right? I just really like that – the rest of it, I mean, it’s a good song, right? But just the sound – and having seen him do it live – maybe 20 feet from his own guitar sound, when he did it, and it’s like – any guitar I play – a guitar I’m playing slide on – it’s never going to sound like that – doesn’t matter – it’s just this thing he’s playing it on has that dark rich tone, and there’s a – yeah, I can’t rip up my guitar – it has to be done that way – and I kinda really liked that distinction. And then it goes on to be a good song – so 🙂

Swing Low – Rocco DeLuca and The Burden

Yeah, it’s interesting – it’s like – half the tracks, more than half the tracks of yours – I hadn’t heard before, which is, you know, it’s the beautiful thing. :-). Mike Lesnik always used to say, “there’s just so much music out there“, I mean there’s just so much. But it was funny ‘cos after listening to the opening lick and getting the song, I knew I had one of those, “oh, I know what song go next.” – at least I knew what artist was going next.

Rocco DeLuca has that – he doesn’t play lap steel – but he’s certainly that kind of guitar thing. And when he took a band on tour, he didn’t take – ‘cos you normally you’d have what – guitar and bass and drums – he took a guitar, drums and a percussionist! – because he knew he could create the sound that he wanted melodically – but he wanted to make it heavier on the back end. So, yeah, it’s weird – I can’t remember how this starts, but it, it should be pretty similar in the space.

Keith Don’t Go (2 Meter Session) – Nils Lofgren

Yeah. It’s, again, it’s a really good energetic – these are all known riffs, right? Like no one’s, no one’s writing the next Mozart or, or painting the next Picasso here, right? These are known riffs. It’s the energy and personality you bring into how you play it that makes people get up or makes people go to sleep, you know? Yeah – both those tracks were a sort of – known riff, sort of riff ideas – just played in a way that made you go, okay, yeah – I do like that!

So after hearing that, it’s like, okay, we’re getting into some guitar work here. So there’s this track that was introduced, shown to me to, to test speakers when you want to listen to speakers. Right? Just the clarity in the piece and the fact that it was a live performance, gave me back some of that feel of the, the percussion and the guitar from the track before – right? – but also it’s like, holy shit – Yes – Okay, here’s a, to me it was pretty new, like this whole song that he wrote is a thank you to Keith Richards – so and, uh, please don’t die of a heroin overdose – get yourself sorted out mate!

We Can’t Make It Here – James McMurtry

And it’s just, it’s cool. It’s super cool – and it takes the transition and for me, it changed the space again beautifully in that – like, so where do you want to go with this? And I’m thinking – there’s that – it’s the guitar and voice accompaniment – where for me, the whole thing is the guitar is, is creating this magical space for the vocal to sit. And I kind of, what if he took the same thing but kind of spun it – so the vocal was, you know, the lead instrument – but then the message has to be like, super cool and then, but then the fucking music has to be super cool too.

And I’ve always loved this track “We can’t make it here” and James McMurtry – ‘cos it’s like, it’s, it’s been true for fucking 20 years, it’ll be true for our kids, you know, it, it’s still fucking true. So, yeah, it made sense in my head to go with it.

Addict – Jesse Mac Cormack

Yeah, it’s another one of those really good story songs, with a really interesting way of singing it – that little hiccup beat that he does sometimes in the round, yeah, I liked the story, it was a good song – you could hear the sort of, mode of despair to it, but he was singing through it, so – I had no choice – but to put the next song on, because it’s like the – end result of this country. If you, if the country keeps adhering to that, this is what happens to the guy in the song – it’s the end result – right?!

That thing when that, that thing I pointed out to you before, there’s a gap, there’s a time gap in the song where you get that – Uuuuuhh – It’s a harsh sound on this song. It’s like, so painful – and then there’s like a, rush that comes in and it hits you. But that is definitely designed to take anyone with any sense of timing into an uncomfortable space – and the guitar – the guitar is so trashed – is so strangled, like, it just makes me – has scrawny needle stuck addicts mentally in my brain.

Righteously – Anna Ash

So at this point it was okay, we, we gotta bring some love back, but we gotta bring some love with a groove back. And this is one of my favorite songs from last year, ‘cos I love the Groove and I love where her voice is and I love the Lyric and the John Coltrane line, but there’s a fucking drum fill that is soooo fucking late – not a fill, but it’s just, it’s so late that it’s – half the time I’m like, “oh fuck you missed that horrendously” – and the other half of the time I’m like, “oooooh, sneaked in.” But the whole groove of it and where her vocal sits is just ah, definitely one of my favorite ones in last year.

The Wayland – Morgan Weidinger

This song to me is all about that high hat, right? It’s brilliant. It has movement. Whoever’s playing it is, I don’t care what else they’ve done – the snare’s just nice and big and there’s that hiccup, whatever. But once you’re seeing this, it’s tight, it’s just tight, it’s just soooo good.

To get a high hat to sound like that – so clearly. There’s just something about the way that it was done that was really cool. I liked it. Whoever was playing it, just really knows how to get joy outta their high hat.

So that was, to me, that was a good song – right? And it was just something I hadn’t heard and it was in a lighter mood and I’d just seen this girl live like a couple a weeks before and, yeah, I’ve been listening to her tracks and this was one of those – “oh, that’s a good song out” – it just sticks out, there’s a good theme to it – there was something about it and I thought, yeah, this is a really good song. I thought it fit, with the song vibe.

So most of it, she’s doing with her mouth, and she sings it into a looper – if you listen back to those percussion bits, you’ll hear her doing those sounds with her mouth.

Forge Your Own Chains – D.R. Hooker

It’s just, it’s funky isn’t it? And it’s modern, but it’s hip, it’s all of that. And the vocal is – Yeah – super fucking cool. And I love that ‘cos in that space, you know, the introduction of what’s making the percussion, the electronics – can sound like plastic and cold and whatever, but that doesn’t feel like that at all. It feels groovy.

It’s amazing what people are doing on their own, isn’t it – and they can fill the room – just on their own – so yeah – more humans together – it’s a good thing! The connection into the D.R. Hooker song had, I think it was purely Groove because the song has, I mean the song’s a weird ass fucking song. And it was made years ago, I think in a, like they, they took a house and they just recorded it in the house and ran out money and whatever. And I think he only did one album. I think it’s somewhere from the sixties or seventies. But the Groove is undeniable – particularly in the chorus and in the preach element. It’s just like one of those songs that went, “no, you are, you’re going to like me” – and I’m like – “I do, I do like You!” – and for me – it’s all about the transition out of The Wayland – I think it works rather well:

Under the Spell of the Handout – Cody Chesnutt

That song gave me the most trouble because of the mix – yeah – it probably sounds great in a boom box or a car or something, whatever – an MP3 player – but I listen to most music downstairs – where I do my own mixing – and I was – “Oh my God – No!” – the cymbals were so harsh that – it really distracted from me from being able to listen to what probably was a good song.

Under the Spell is just a good song, has this great vibe. And its political points are valid in his song – right – Why he says Under the spell of the handout – Yeah – it’s a good song with a good message – and I think it was only response I had to too much cymbals. I gotta back to basics – here’s some blues

House Of Cards – Robert Plant

It’s super cool – I really dug the swing of the track and lyrically – just – yeah!

So by this point we were down to the last two and I don’t know what it was about that track, but it had me thinking of, Plant and it had me thinking, I don’t know – I wanna listen to the transition – ‘cos I knew you’d love it ‘cos you introduced me to it back in the day. And it just seemed a fitting final track from me.

You know, I never go into these things thinking – I know what the track’s gonna be – I always just clear my mind and then listen and the association comes in – and this just seemed to feel that it needed to be there.

5:01AM (The Pros and Cons of Hitch Hiking, Pt. 10) – Roger Waters

Yeah, so I love that song, Band of Joy is one of my favorite like albums – I’ve listened to it a lot, spent a lot of time with that album – and that song in particular. So for me it was, there was a wistful sort of side to it.

And I was like, I realized, cause you said, this is the last one – and I’m like, “oh fuck, I’ve got the book end.” So now what?! – and it wasn’t until after rehearsal or something and I’m thinking about thinking about it – and and it was like, fucking three o’clock – and I was suddenly – I know – I’ve gotta put the pros and cons hitchhiking on – because in the end it’s all about the journey, right? So it was a journey.

Yeah. It’s just, it tells the story, but in the end, to me it’s like, you know what, this is the journey of life – you catch a ride and get the pros and cons hitchhiking. It just, it seemed appropriate. Cause its real name is what, 5:00 AM or something?

It was brilliant. I mean I, I love the track and um, Roger Waters is hysterical, isn’t he? Because yeah – but you know what I remember from that – it came in ’84 and I think you got it – I was 15 and it was like, there’s, there’s a naked Woman on the album cover, and she had a great ass! I mean he’s, he’s not daft. It’s like, oh, sex sells great and a naked woman – although it was a cartoon naked woman – kind of.

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A Conversation Around Making the Playlist

So yeah, that was cool – and you’re right – it’s a hell of a journey. It was bloody fun. What do you think of it now? What was the experience like for you?

That was really cool. It was really cool. I don’t know if we did it in the same way as you’ve done before, but we had quite a gap between each song – which is good cuz you and I both have full time working jobs, right – and I wanted to mull over the songs, not just throw them up but mull over them, see what I got outta them – as we progressed on it got more interesting, sort of interesting twists with songs and different things right?. And it was just, it evolved in its own way – but it was interesting to sit there and throw music back and forth with you.

Me too. Yeah. I’m learning there’s no right or wrong way to do this – it takes as long as it takes. I just finished a playlist that took eight months, you know, you and I took seven months. But I find when I’m making a playlist with somebody who’s really thinking about it, yeah, you can go for weeks before you find the right track and indeed hear from the other person. There’s tracks where I’ve had to message somebody and say, look, I’m just obsessing over the track and I can’t find the next one. And you know, I’m still interested in making the list, I just, I just don’t have it. And they’re like, cool – but that’s the cool thing. I’m listening to the best music of my life again. A hundred percent.

Yeah. Yeah. I think it was a very good and positive experience. It was a lot of fun. I’ll tell you what – it’s given me an interest in playlists now that I’ve never had before because I would either let the AI do it, like TIDAL’s got quite a good brain on it so I can put up two or three songs and then it’ll come up with good stuff. I don’t think Apple Music was very good. Spotify’s great at that – but TIDAL’s also pretty good at it. But I don’t really make playlists. Doing this with you made me go, aah, you can do these musical connections, right. And it was an opportunity for me to interact with them in a way that is not my norm – it became a personal thing that I, I sort of, I walked away going, oh, I like playlists now – so yeah, I thought it was fun.

And I, I got to listen to tracks that I would never have heard of before and really like, and now listen to them and I share them el with other people. So the act of doing it, if you’re a music lover, if you love music, there’s something cool about this process ‘cos it’s not the plug and play. You can’t just, it’s not music to work to, it’s not create a playlist or I’m gonna just have that in the background and whatever. It’s an active act and I think there’s, there’s something in there that’s, that’s good. And I’ve been calling it context, but it’s not, there’s something about doing this that I think is, that’s got something to it.

No, totally agree. I agree – the Shinrin yoku track – both Caroline and Alexander have it on their phones and they shared it with their friends and there’s more people listening to or being aware of the music just cause you gave it to me. We would listen to it and talk about the songs in the car and the kids love it. It’s what they ask for. Whenever I decide to put music on one it takes two or three minutes and one will go, Hey dad, could you put the song on!

Track List

• Let It Go – Peter Broderick
• I Walk on Water – KALEO
• Walking Away from Love – Steve Mason
• The Wild Kindness – Silver Jews
• This Year – The Mountain Goats
• Great Mass of Color – Deafheaven
• Shinrin-Yoku – Enter Shikari
• Home – Marc Broussard
• Gallows Pole – Remaster – Led Zeppelin
• Keep It Between the Lines – Sturgill Simpson
• The Ballad Of Bodacious – Primus
• Wade in the Water – John Butler Trio
• Swing Low – Rocco DeLuca and The Burden
• Keith Don’t Go (2 Meter Session) – Nils Lofgren
• We Can’t Make It Here – James McMurtry
• Addict – Jesse Mac Cormack
• Righteously – Anna Ash
• The Wayland – Morgan Weidinger
• Forge Your Own Chains – D.R. Hooker
• Under the Spell of the Handout – Cody Chesnutt
• House Of Cards – Robert Plant
• 5:01AM (The Pros and Cons of Hitch Hiking, Pt. 10) – Roger Waters

Photo by Jakub Pabis on Unsplash