The lead singer of Counting Crows, Adam Duritz (@CountingCrows) talked to Bobby about how he discovered he was a good singer and started a band at 13 but didn't write his first song until he was a freshman in college. He shared how songwriting took over his life so much that it affected his schoolwork and when he was one credit away from graduating college and didn't care to get his degree. He also talked about the years he spent struggling to make it in music that led him to go to Europe and quit for a little while. Adam also recalled what inspired their song "Mr. Jones" and how after they performed it on SNL their careers blew up and he started to get mobbed at places. Adam is very passionate about music and shared how he got asked to create a song for the 'Shrek' movie called "Accidentally In Love," and why he was so excited to have a song in an animated movie, and more!
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Episode Transcript
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Speaker 1 (00:06):
I went back to the lounge after class, and I
sort of like, think, think that seems like the note
I'm singing, tried to find a chord that went with it,
you know, it's a really simple song. Took me the
rest of the afternoon. I just cut the rest of
my classes. But then I sort of like, Oh, I
wrote a song. I can play it, I can sing it. Yeah,
I'm a songwriter.
Speaker 2 (00:28):
Episode four hundred. Mike and I've been talking for a
while about the big special number of four hundred.
Speaker 1 (00:34):
Yeah, it's a lot.
Speaker 2 (00:35):
It's a lot, especially because this is a once a
week show. Yeah, there's a lot of episodes. We want
to do something really cool, So it's really cool for me.
I'm a massive Counting Crows fan. Just love him, my
favorite band of all time. I love Counting Crows so much.
Never met him, seeing a concert many many, many times.
Never met Adam Durretz and got to spend roughly an hour.
Speaker 1 (00:56):
How long was this interview? Fifty minutes?
Speaker 2 (00:58):
Dang, I don't even know if he thought he would
say fifty minutes. And I've listened to so many interviews
because I'm such a big fan. I've never heard him
be so generous with his answers and just sit and
be fun and talk. And I was surprised as a
fan not how cool he was, but it is how
open he was, yeah so and generous with his time.
And this was a great, great deal for me because
(01:20):
I'm always worried that people that I love like when
I consume their art, that I won't love him after that.
And I can separate art from artists, but I don't
want to. We had almost got this during COVID. He
was going to come to a bobbycast by somebody in
his band got COVID, so they shut down anything with people.
Speaker 1 (01:37):
It's very disappointing for me, but I understood it.
Speaker 2 (01:40):
And then they were like, Okay, he's doing a tour
because he's playing the Opry House in like fifty days,
Like he's gonna come to the studio.
Speaker 1 (01:47):
And I was like, are you serious?
Speaker 2 (01:48):
And so you'll hear Amy and Eddie and stuff in
this interview briefly because we're all sitting in here, and
we played some of this on the radio show, but
not all fifty minutes, but we want to put this
up before the radio show. It's an hour long without
Him's what are you gonna say, Mike, do.
Speaker 3 (02:01):
You feel like, now after meeting one of your heroes,
you think it's okay to meet your heroes.
Speaker 2 (02:06):
I'm still hesitant and a little scared to do. But
I even did it right?
Speaker 1 (02:10):
Yeah, so.
Speaker 2 (02:12):
Yes, But I have expectations that your heroes are also
just humans too. And there have been people I've met
where I'm like, oh, man, not as cool as I
thought they were, but I still enjoy their music. So,
and I talked to Adam Dirt's about four people that
IVE always wanted to meet. He's one of them. But
when I say always wanted to meet it, there's part
of me that didn't want to meet him because I
(02:33):
loved the feeling and the relationship I already had with
them in the band and all the times that I
listened to them in places that were big in my life.
So I don't know, I think we should just hit
it a few clips in case you don't know.
Speaker 1 (02:45):
Who he is.
Speaker 2 (02:46):
And if you don't know who he is, just stop
listening to music forever, you know. I'm just gonna say it,
mister Jones, here you go, so you can do accidentally
in love the Shrek song I love, I mean I
Love Long December.
Speaker 4 (03:04):
It's we talked a bit about Big Yellow Taxi, which
is a Joni Mitchell song which they had is a
hidden track and they put Vanessa Carlton on it later.
Speaker 1 (03:16):
No se the go.
Speaker 5 (03:19):
You don't know what you got your list, But songs
like the hits are like round here, but like for me,
I love songs that aren't the hits because if you're
that's your favorite band, you can't have a hit as
your favorite song.
Speaker 2 (03:31):
It's kind of the rule. Yeah, you know, okay, episode
four hundred. Very excited. I hope you enjoy it. Here
he is Adam Durretz of the County Crows. You're here
for a couple of reasons. One, I have a mount
rushmore my favorite people in the world who I haven't met,
and it is David Letterman, it is Steve Martin, It's
Howard Stern and Adam Durrettz. So three remain, but you
(03:54):
check it off my list now I've.
Speaker 1 (03:56):
Got all those except for Steve Martin.
Speaker 2 (03:58):
You have at met Steve Martin, no seen him, but
I've seen you on Letterman a bunch of times.
Speaker 1 (04:03):
Did you guys have a close relationship? Uh, he's a
really shy guy. He would come up and talk to
me when we were on the show, and then he
would he would say something like, hey, I'm you know,
I'm really glad you're here. It's really it's really nice
to have you, and then you walk off. And that's
the first time we were on the show he came
up and did that. I was sitting in the audience
watching and he came behind me, and then this crew
(04:26):
guy walks by and goes, wow, man, he's got to
really love you. He won't talk to anybody. Oh that
was a lot. Yeah, and and but he was always
really nice. Just he just seems very shy. And I'm
not great at like the social thing either.
Speaker 2 (04:40):
So yeah, I'm very awkward when I don't have to
be on like I if I'm doing stand up or
doing this show, I'm a lot. But then when I'm not,
I feel very just wallflower type because I feel like,
why would he even want to hang out with me
if I'm not doing what I'm selling? Lebrated at so
(05:01):
at times they're like, man, you're so odd or I
have like social anxiety at times, but same situation, it
sounds like with you as you're like a front man
of this major band that's all millions of millions of records.
Speaker 1 (05:10):
But then are you like that when you're just in
public as well? I mean, I'm still me, but i
mean the thing about being on stage is I'm that's
kind of where I'm supposed to be. I'm I'm most
comfortable there because I know what I'm doing and I
kind of feel like I was born to do that.
So when I'm on stage, I'm really comfortable because I'm
(05:32):
doing the thing I'm best at life at best in
life at whereas you know, hanging out talking to people,
it's not as easy. Yeah, I still wish i'd hung
out with Steve Martin. Howard I've known for thirty years.
Howard I've known forever, Like no, I'm known. Yeah, yeah,
you like him? Oh, Howard's fantastic. He's a great guy.
Is he like that too?
Speaker 2 (05:51):
Seems like he on on airs big and bold, and
then off areas just like normal.
Speaker 1 (05:55):
And yeah, he's a lot shyer in real life too,
but he's also like you know, it's funny, he's still himself.
Speaker 4 (06:01):
You know.
Speaker 1 (06:03):
I met because a friend of mine runs this whole
kind of physical medicine center, kind of a gym thing
in New York, and so I always went there to
work out and Howard did too, so we'd like we
had this eleven am kind of workout group with me
and him, our friend Marco Battaglia, who was playing for
the Bengals then he's a tight end for the Bengals,
(06:26):
and and Matt Schneider who was playing he was a
defenseman for the Rangers, and the four of us would
all work out with our friend Pat, same weights, no
different place.
Speaker 6 (06:37):
Yeah, I mean I had the big ones. Marco couldn't
keep up for the stage. For you, when did that become?
You said you're good at it? Were you naturally drawn
to the stage to be a performer? Were you performing
at seven, eight, nine years old? Yeah, it might have
been showing off at home, but no, not really. We
were just talking about this in there because one of
our managers worked for kiss It for a while, and Uh,
(07:02):
I realized I'd never told my torm manager. He's been
my tormentorer since nineteen ninety four.
Speaker 1 (07:06):
But you know, the when I was a kid, you know,
I had Destroyer the record, the kiss record, and at
one point I sang Beth to some girls behind Hebrew
school and the response was good, it's very good response,
and I thought, oh, yeah, this is this is probably
(07:26):
good for me. And I started a band right after that.
Like I was thirteen, I guess with some friends, uh
and uh yeah, but it was kiss and fat. That's
my first thing. I sang that some girls behind Hebrew
School and I was like, oh shit, yeah, this is
this is really good. You're just back there and you
just start singing to them, like just how does that
(07:50):
come about? Yeah? I don't remember this is it was good.
I was twelve thirteen, but at some point it like
it really Somehow I managed to work my way into
it and the response was overwhelmingly positive and not just
like oh that's good, but oh it's this is a
good thing to do in front of girls and they
like it. Yeah. Y all you really needed in life
(08:12):
is find something really good to do in front of girls,
and then you know life will pay off. Yeah. I'm
still looking for whatever it is that I do.
Speaker 2 (08:21):
So with you and a lot of my friends that
have been successful in music, they kind of went through
different phases musically, Like I have one friend who's massive
and country music now, but he was in like a
metal band for a long time, and so he had
went through all these different seasons we'll call them that.
Did you do that as a teenager, late teens, early twenties?
(08:42):
Did you do music that wasn't really what we know
you for now? Like were you ever in a thrash band?
Speaker 1 (08:48):
No? But I funk bands, and but I don't know
if they were funk bands. We just played a lot
of different music. I mean, I grew up in you know,
growing up in Oakland and Berkeley, we had some really
good FM radio stations, case An especially, and they played
kind of everything. You know, you could be listening to
the Stones and then the Sex Pistols and then Willie
(09:08):
Nelson and then some Miles Davis song. Case Ann seemed
to play everything, and I just thought that's what music was, Like,
I really just thought this is all what it's everything,
and so, you know, I was supposed to be growing
up in Oakland. There's a lot you know, p funk
and earth Wind and Fire is really big. But there's
a punk scene in San Francisco too, And I just
(09:32):
kind of listened to everything and sort of played anything.
Some of the bands that played covers, we played covers
by anybody, but it was never into any particular scene.
I was just kind of liked music, liked playing all
of it, you know, experimented with different kinds of stuff
when I started writing finally, but it was all just
(09:54):
kind of.
Speaker 2 (09:54):
Me at sixteen seventeen years old. Did you know you
wanted to do or you could even do music as
a career.
Speaker 1 (10:02):
No, no, it was I didn't write my first song
until freshman fall term in college. But as soon as
I did that, like, you know, I think a lot
of life is trying to figure out who you are
and what you are. You're very unformed as a kid,
you know, and I mean basically you just do homework
(10:24):
and try to meet girls. It's all that, you know,
it's socialized and homework. But when I wrote a song,
it was like a light switch clicking. I just oh,
I'm a songwriter. And you know, when I was eighteen,
I just oh, I'm a songwriter. That's what I do
in life. And then every day all I did was
write songs. Was that song about your sister? It was? Yeah,
(10:46):
it was a called good Morning, Little Sister. You know.
There was a lounge across the hall from my dorm room,
and uh, there was a piano in it, and I
was in like some class in college. I start my
sister was home. When she's sixteen, it's a tough time
to be a girl. And uh, I just started writing
a song about her, you know, kind of humming it
(11:07):
to myself and writing lyrics on while I was in class.
And I went back to my room and I thought,
you know, I wonder if I could figure out how
to play this, because I could kind of play piano
lessons as a kid. I took piano lessons when I
was a little kid, but I don't think I got
much out of it. It was more that in that
first band I was in when I was like thirteen,
the guitar player taught me how to make a major
and a minor chord, and once you can do something
(11:29):
that sounds good, you can just kind of play sort
of rudimentary. So I went back to the lounge after
class and I sort of like think, think that seemed
like the note I'm singing, tried to find a chord
that went with it. You know, It's a really simple song.
Took me the rest of the afternoon, Like it'll probably
take five minutes to write it now, but it took
(11:50):
the whole day. I just cut the rest of my classes.
But then I sort of like, oh, I wrote a song,
I can play it, I can sing it. Yeah, I'm
a songwriter. I realized it right then, And then all
I did was write songs after that for you know,
all the time.
Speaker 2 (12:05):
So were you naturally pretty good at music at hearing it,
or were you just so driven to be good at
it because you saw what the rewards could be, Like
where do you kind of fall on that scale?
Speaker 1 (12:17):
It's more of the driven thing. I'm not I'm not
a good piano player. I can't play by ear at all.
I got to kind of figure it out or just
fumble it out. But it wasn't even so much the rewards,
except the reward of like, oh this is who I am.
You know, you kind of run around in life feeling
things and not knowing where to put it, feeling like
(12:38):
you have things to say, or like you have all
this stuff to express, but you have no idea how
to do that, you know, because what do you need
to be in school plays unless you write songs. Either
you're in a cover band or you're in school plays
or something. It didn't really seem like there was a
line of expression there. But then when you write a song,
it's like, oh, this is I can take all this
stuff in here and I could put it out here.
(13:00):
You know. It's like you turn your liquid thoughts into
something solid and suddenly it's this place where you can
express yourself. And I just did it all day every
day after that, Like I cut class a lot, and
I just I couldn't get out of that lounge across
the hall from my room. Yeah.
Speaker 2 (13:18):
I was gonna ask if it was a distraction once
you found what seemingly is the most positive thing that
you had ever found, that you loved writing music and
creating music and was at a distraction from school. And
I guess it was because that's all you focused on,
or it felt like you were focusing on.
Speaker 1 (13:32):
Yeah, I mean I did it all day, all the time.
I just wanted to. I don't write nearly that much now,
but back then I wrote like I couldn't stop, I
couldn't get myself away from the piano. I just did
it all day every day, just pumped out songs for
a while. There. I think it's like, you know, you
(13:53):
just suddenly I was defined, like before any of my friends,
I knew what I was all behind again after that,
when they all got jobs and I had no way
to get I didn't know how to turn this thing
into something that could actually support myself. So there's you know,
years of landscaping and construction work and dishwashing. I worked
(14:15):
in a video store, you know, all through my twenties.
I knew what I was before any of my friends.
But I spent ten years after that, you know, just
doing everything I could to keep going while while I
tried to like figure out how to make something to that.
Did you finish school? I didn't turn in my thesis.
(14:36):
I'm missing one paper from Berkeley.
Speaker 2 (14:38):
So does that mean you're like a few hours like
credit short? Yeah, and why haven't you done the thesis? Why
have you read the paper?
Speaker 1 (14:44):
Well, in me, I'll write you on right now. I like,
I'll just get on chat GPT and knock it out.
And that's not going to work at Berkeley. That's the
best things department in the country. They catch that. No,
I you know what, in my mind, I've kind of
written several thess and they've sold briskly.
Speaker 2 (14:59):
They I let you write write the paper though for
that you don't care to have the degree.
Speaker 4 (15:03):
No.
Speaker 1 (15:03):
I mean, look, I really respect my education. I cal
I learned to be I was an English major there.
I learned to be a writer there. It was very
hard and I a lot of what I am as
a songwriter comes from that. Uh So I have a
lot of appreciation for it. But I didn't turn in
my thesis, So I'm not sure I should have a degree.
(15:25):
I mean, I am sure I shouldn't because I didn't.
I didn't finish. You write it out the lunchbox. You
relate to this. Yeah, it feels good, man. I feel
like I've experienced life. So he's short to one credit,
like one class, and so I feel like, you know
what I mean, like we went out, we did we
took what we learned, and we made something out of
our lives, and so we really now we're in this together. Yeah,
(15:48):
I have a problem with it. I feel like, you know,
there are people that did finish all their stuff and
they got the degree. I have a lot of respect
for my school, so you know, they taught me a lot,
but I didn't turn in the paper. So I'm okay
with not having the degree. It worked out for me.
This degree is not that important. The education is. I mean,
(16:09):
I don't think i'd be where I am without that education,
and so yeah, I have a world of appreciation for
what I went through in school. I wish they could
have been I did get into a situation where once
you start writing songs, it's very different the mindset than
writing essays, and the songwriting started to bleed into how
(16:31):
I wrote essays, and I had teachers while I'm writing
these very expressive, almost semi poetic essays, is going on.
I don't know what you're talking about, Like, you need
to write me a second paper. This is I got
several incompletes where they then demanded I have to write
a second paper to explain the first paper, and that
only got me in more trouble because somehow I was
(16:54):
probably fairly obnoxious about the explanatory paper. Did you ever
almost quit music? Though?
Speaker 2 (17:00):
Because you had to grind it out doing all of
these jobs, like again mowing And that's what I had
to do too. I had to do a lot of
the waiting tables. Did you ever almost quit?
Speaker 1 (17:10):
Yeah? After my first real like adult band. Uh, you know,
it's hard, you're you're you play with your friends, but
you got to kind of argue with them. You end
up fighting over a lot of stuff. It's part of
being in a collaborative art forms. It's a lot of
fighting and disagreements. And I felt like I got really
separated from all my best friends, and uh I got
(17:32):
kind of turned off to sort of the reality. Look, look,
when hobby is something you do for fun, like art
is not fun, it's not supposed to be. It's work.
But it's hard for people to realize that at first.
And that's kind of something everyone who wants to be
involved in art has to kind of go through. Is
a moment where you sort of think at first, you think, oh,
this isn't fun anymore, and so you don't either you
(17:53):
and you don't like it, and so if it's hobby,
you stop, but you have to kind of get over
at hump. And I went through that after that first band,
you know, when it broke up and I sort of
didn't like the taste of my mouth on it. I
kind of I went to Europe backpacking, and uh, I
was gonna trying to cut make a break and quit
playing music, and I was gonna come back and get
(18:15):
on with my life. I was about twenty five. I
guess so you quit in your head at least for
a little bit. Yeah. Yeah. And I went backpacking around
Europe with some friends. But the night before we left,
I got together with the bass player from my old band,
Marty Jones, actually mister Jones, and he took me to
another friend of his, who's Dave Bryson, who's I started
(18:36):
counting crows with, and we were Dave had a little
a studio and we worked on some music and came
up with some stuff that was really good and uh,
and then I left for the trip. It was just
kind of a fun night to do it. While I
was over there, Emmer, our guitar player who's been my
best friend for all these years we lived together back
then he had he was he had on Campra van Beethoven. Uh,
(19:02):
and they were on I got a letter from him
that he was on tour with ten thousand Maniacs, who's
huge right then they were getting ready to play the
Greek Theater, and like Natalie Merchant, yeah yeah, and uh,
I just not screw this man, Like I can't believe
he's playing the Greek theater and touring with ten thousands.
I got to get back and start a band and
(19:23):
I started decided to go back.
Speaker 3 (19:26):
Let's take a quick pause for a message from our sponsor, Wow,
and we're back on the Bobby Cast.
Speaker 1 (19:40):
So you mentioned Marty Jones.
Speaker 2 (19:42):
That's mister Jones, You guys kind of imagining what fame
is like or what celebrity is like. How long did
you write that song before that actually happened?
Speaker 1 (19:52):
Oh while, I mean, I'm mister Jones is from sort
of the middle version of Counting Crow. It was probably
about nineteen ninety ninety one, something like that.
Speaker 2 (20:06):
And so did you guys write it like, Man, this
to be awesome or this isn't gonna happen.
Speaker 1 (20:10):
We really can see this happening to us. Oh no,
I mean Marty's dad, David Serva, is one of the
few Americans. He had left America and gone to move
to Madrid, and he's one of the few American guitar
players to ever make it in this flamenco scene in Spain.
He's a brilliant flamenco guitar player and he had a
(20:30):
huge career in Madrid, which is pretty rare. And he
came back to America at one point for a visit
and he played some shows with his old Flamenco troop
in the city in the mission San Francisco, and so
we went to see them one night, and then we
all went out drinking afterwards and got pretty wasted, and
(20:54):
we ended up in this one bar a New Amsterdam
on Columbus Street, and you know, we were sitting at
the bar and it's all these really beautiful Flamenco dancers
and we're not really getting anywhere with them, and in
the corner of the bar, I'm looking over and Chris
Isaac's drummer, Kenny Dale Johnson is in the corner at
(21:16):
this booth with like three girls sitting there with him,
and I'm just thinking, man, you got to get our
shit together, man, because like, if we were rock stars,
it would be a lot easier to talk to women.
Everything would be better, you know, it would be kind
of great. I just thought that was kind of funny,
the thought of it, because you know, you it's not
(21:37):
just because the girls in a corner. You know, you
dream about things like if you're gonna write songs. You
dream about being able to do that with your life
and support yourself, and you know, we're spending this evening
with this Manco troupe and David Serva his dad is
like a famous guitar player over in Spain, and Kenny's
in the corner, and you know, it's just what we
wanted to do with our lives, plus the girl thing.
(21:59):
But it also occurred to me how silly that is.
It's like, nothing like that solves all your problems in life.
It just doesn't work that way. You know. It may
be great for some things, it's not going to fix
who you are. And I got home at night and
I was sort of thinking about, like how the whole
thought process was so funny to me in it and
I wrote the song? Was it one of those that
(22:19):
fell out? Yeah? Pretty much? Really. I mean I don't know,
you know, well anything wrote it all that night, anything
in front of in front of five hours? It was
almost like falling out. Yeah. I think most of my
songs back then were probably less than five hours. I
get really determined and just sit there and do it
until it's done.
Speaker 2 (22:37):
Whenever I think about me in college and those really
formative years for me listening to music, I probably listened
to more than any other body of music the across
the Live Wire You Guys's Live Album, I mean, I
could tell you now my favorite band, uh Counting Crows.
Speaker 1 (22:51):
I can do every even spoken part of that.
Speaker 2 (22:54):
You know, some people have movies some people and for
mine it's that And even at the end, I like
to think Dog's eye view.
Speaker 1 (22:59):
You know you're doing the the river.
Speaker 2 (23:00):
It's so But I listened to that so much that
if you were to say, what's the music you listened
to in those formative years, it made you musically who
you are today. If I ask you that question, what
did you listen to so much at eighteen to twenty
two or twenty three, You're like, yep, that's what reminds
me of those years.
Speaker 1 (23:18):
I listen to a lot of Rim Youtwoe probably the time,
still probably listening to a lot of Jackson five. That's
my first record. I don't think I've really stopped listening
to that Roxy music around then too, Jay Gile's band
p Funk. I don't know, it's hard to remember it right.
At that one time, I was thinking of you two
and Rim because I specifically remember there's a few things
(23:41):
in my mind that are Needledrop records where I literally
remember when you put the needle on the record and
how it started and I have very clear memories of
like being that freshman year in college and listening to
Chronic Town that first rim ep and War putting the
needle down, and hearing Sunday Bloody Sunday. Like I remember
those two really, And I remember going to the Roxy
(24:02):
Music concert right around in that last tour. Do you
ever see Jackson five? Yeah, that's my first concert too.
Do you remember it? Were? You told a lot about
it now vaguely. I was probably about six. It was
a rodeo in Texas and they played at it. I
went one day and saw the Jackson five. My sister
went the next day with my parents and saw Sonny
and Chaer.
Speaker 2 (24:22):
I would have Rodeo was still doing that too, by
the way, same kind of deal where it's somebody different
and awesome every single day.
Speaker 1 (24:27):
Yeah. I mean, I'd have been happy with either one
of those. But the Jackson five that was. I have
vague memories, but I'm sure they're really mixed in with
TV clips of the Jackson five. You know, I'm sure
it's not really a memory because it's a long time ago.
Speaker 6 (24:43):
Now.
Speaker 2 (24:43):
If you get famous, there's all the social media that
comes at you. And I've had different smaller ish type
events where it's just like wow. But when you blow
up in the nineties and two thousands and fame is
not able to get to you through those means. How
does fame get to you if you're allways on the
road moving around?
Speaker 1 (25:00):
Is it just crowds? Is it just people? Well it
you know, it's weird. We'd been on the road for
a while before it happened, really, and it had been building.
You know. We played Saturday Night Live in January of
ninety four and we weren't even in the top two hundred.
I mean, mister Jones was kind of a hit on
the radio, but it wasn't making any impact anywhere the record,
(25:21):
Like I said, it was two fourteen or something. But
we played Saturday Night Live and it jumped forty spots
a week for five weeks, and we ended up in
the top I don't know, thirteen, then six, and then
two for the next two years. So but I didn't
really see, you know. We were on the road on
our own for a while at Christmas, and we seemed
(25:42):
to be a kind of a hot indie band for
a little bit, and then we went back to opening
for Cracker and then in April, we went to Europe
for our first European tour and we were gone for
the month of April, and we flew back from Europe
and landed in New Orleans right before JazzFest. And I'd
been going to jazz Fest for years, so I'd spent
a lot of time in New Orleans as a fan. Yeah, yeah,
(26:04):
because we weren't before the band. Really, this was my
first time at JazzFest after the first record was out,
and I went to the festival the first day after
we got there and got mobbed. I the things that
had been building that spring and winter had happened. It
had kind of all coalesced while we were in Europe,
(26:25):
so I didn't realize it.
Speaker 2 (26:26):
Were you surprised by the mobbing? Yeah, scared the crap
out of me. It's just like when someone waves you
and you wave back when you realize they're somebody behind you.
Speaker 1 (26:34):
They're waving at Yeah, somebody are running to them. Somebody
wanted to pick her and an autographed or something. And
then the crowd just gathered and gathered and gathered and
gathered and didn't stop. And then later that night we
played Tippatinas and you know, fit's about eight hundred one
thousand people in Tipatinas and there were two thousand people
outside on the neutral ground in the street. They kind
of had to close off the street and we went
(26:57):
outside after the show they had to open They opened
like they had the wall doors that slide out, I think,
and they opened them up so the crowd outside could
hear too. We went outside to play a couple of
songs acoustically for them after the show, and there was
just massive And that's when I realized, like it happened
while we were in Europe, and so whatever build up
there was going to be, we missed it, and it
(27:19):
just we just landed in this thing. Isn't that crazy?
Speaker 2 (27:23):
It was.
Speaker 1 (27:24):
Really weird. I mean that the next, you know, a
few months were very strange. I remember being on tour
and being in Birmingham and having a day off and
deciding there was like a movie theater about four blocks
from the hotel and I walked down and I was
watching this movie. There's no one in the theater but me.
It was weird. It's like an afternoon matinee or something,
and this guy comes walking down the aisle and then
(27:48):
walks up the row and sits next to me, and
I was like, hey, a whole empty theater says right now.
He said, hey, I'm a really big fan. I was like, thanks, man.
He said, do you mind if I sit here. I'm like, look,
I'm just trying to watch movie. If you don't mind,
I just I just want to watch a movie, you know.
And he got up and left, and about forty five
minutes later, saw a guy come down the island, come
(28:10):
down the road to me again, and I was like, god,
damn it, and but it wasn't the same guy. It
was the guy that was working the concession stand out there,
and he said, hey, are you in counting crows? And
I said yeah, and he goes listen. I don't know
what's going on, but there was some guy in here
before and for the last half hour he's been on
the payphone in the lobby calling people. And there's a
(28:31):
huge crowd outside. You know. If you want to get
out of here, there's like a door at the bottom,
like a alley exit. And I said yeah, thanks man, and
I snuck out the alley and walk down the street
and then I heard this noise behind me and I
turned around. There's this massive crowd of people out the
front of the theater and they all start running and
I ran, like I just ran down the street, got
(28:53):
to the hotel, like ahead of this crowd. It was
just a little while after jazz Fest.
Speaker 2 (28:58):
You didn't even have the infrastructure to be because it
all happened.
Speaker 1 (29:01):
While you were gone.
Speaker 2 (29:02):
You didn't know you landed, it's here, and you didn't
have security. You didn't have anything to make make sure
you're even safe.
Speaker 1 (29:09):
No, never really got any of that stuff either. We
never really I had a lot of friends in bands
who had security. We never really got security out with
us or any of that stuff. It just seemed like
you could sort of avoid It didn't seem to make
sense to me. Walking around with some huge guy next
to you. It seemed to invite more attention than anything else.
I never really got into that, even now at the
(29:32):
over the Hill Age. Now, I mean, I don't know,
I never really did the security thing, but yeah, I
mean I was just completely unprepared. But there's the truth
is everybody's unprepared. There's no way to be prepared for
that because it's just like everybody start It's not like
you really do anything. Everybody else just starts acting really weird,
and there's no way to prepare for that. It's just
like waking up on Mars. You know you could. You'll
(29:53):
get used to the gravity after a while, but it
takes a bit.
Speaker 2 (29:57):
What's the best Counting Crow song ever? In your opinion?
I don't know your opinion. It's a very vague, open
quite but what comes to mind first?
Speaker 1 (30:05):
Well, I think Palisades Park is probably the thing I'm
proud of st of. But I also think that Long
December is a perfect song. Long December is the only
song I've never not wanted to play like I don't
I'm happy to play that every night. I have been
(30:25):
happy to play that every night. I don't think I
can say that about any other song. There's no other
song we play every night, but I never mind playing
Long December. There's something perfect about it and timeless, and
I'm really proud of. Like the Pallisads Park was really
hard to write, and it's a pretty epic thing. I'm
(30:49):
really proud of. Its complicated, it's a height of my
art form. But Longcember is perfect. Did you feel that
way when you fish Long December? Yeah? It almost more
than any other song. That one kind of wrote itself.
It just felt like I knew where to go with
the chords. I knew exactly what it was supposed to
(31:10):
sound like. The entire song was written and recorded in
under twenty four hours. Just that's like take six. Do
you know overdubs, do you write melody or lyric first?
Speaker 2 (31:27):
Or how does your brain work with music? Because you know,
a lot of my friends have like have this idea,
this is the lyrics. Well some offriends was to go
and they'll just attach the words after they do the melody.
What is your process. I've never written lyrics first for
a song. Always melody first.
Speaker 1 (31:41):
Or music first. It usually starts with either the music's
there first or the music and the words come at
the same time. But yeah, I've never written lyrics first
because I don't think i'd be able to. Like, to me,
there's nothing without the music, so the lyrics kind of
are born at it the music.
Speaker 2 (32:00):
So like when you wrote along December, unless you did
it at the same time, you know, duh, piano's playing
and you don't really have your it's just music, and
then you back listen to it and you're then you
attach n.
Speaker 1 (32:13):
I think I just did that at the same time
I got the I mean, I may have written, once
I had the music down written the rest of the words,
but I'm I think I got that verse right there.
I'm a super fan.
Speaker 2 (32:29):
You probably can't tell, like, I'm so cool right now
and like just chill, and I'm also you know, just cool,
playing it cool, right.
Speaker 1 (32:34):
I guess you ever weirded out by super fans? You
ever weirded out by people that are too fan too
fan of you? Yeah? Cool, That's why I'm playing it cool,
you know, Yeah, I'm playing it cool.
Speaker 3 (32:45):
Well.
Speaker 1 (32:45):
Also, it's like I kind of feel like I always
want to tell people you should listen to some other
stuff because there's I mean, for me, I love music.
It's been my whole life. I've I spent you know,
the first half of my life as a you know,
the first twenty years is just a fan of everything.
(33:06):
I just love music. And then I started making music,
which is great too, And I remain someone who's obsessed,
geekily loves music and I just want to shake people
sometimes and go, now, yeah, this is great. I love
my records, but you should check out these guys. These
guys are great, and these guys and these guys and
these guys, and there's just so much. I don't think
(33:26):
I could spend all that time listening to one thing.
I just I love I think our band is great,
but it's mostly just that I kind of want to
like sit them down and say, you seem really great,
you obviously have great taste, you like us that you
know you should check out these guys.
Speaker 2 (33:40):
You know. I had a real problem with and I
loved Hard Candy your album, but I'd have to skip
to the like you go to the hidden track. I
could hold that the forward button down on the CD
player that finally would get to do it finally come up,
and it would be the Jonny Mitchell song Ohyah they
gellow Taxia is they hidden track? When I first bought
the record, and I was like, I only knows about
this song just because any of my other friends are
lame and they don't spend the time holding that button down.
(34:01):
You gotta hold you can't push it, you gotta hold
it like middle so it skips or you have to
just let it play forever to get to it. And
it was like boom, it starts, and I'm like, you
guys don't even know what You're missing I'm Cooler than
You boom, and then it comes out as a single
and you had a Vanessa Carlton And then I remember
the video she wasn't even with you guys, and I
was hurt which part that she wasn't with you in
(34:22):
the video because they probably recorded it two different times.
Speaker 1 (34:24):
She was probably on tour. We were on tour. Yeah,
I just I don't know how I felt about that.
How did that come about?
Speaker 2 (34:31):
Because I felt, as a hardcore fan that I was
the one that knew the secret that nobody else knew,
and then everybody got letting it on the secret.
Speaker 1 (34:37):
We had kind of this hip hop acoustic version that
we did of Big Yellow Taxi Guy couldn't earn the
name right then, and then we wanted to try and
do like some remixes of it, and so we went
try and find some people like Pharrell, Jimmy Jam and
Terry Lewis. I really wanted to do it with Jimmy Jam,
but they were busy when we were doing it. They
(34:59):
couldn't do it right then. You know, it was like
an acoustic track we recorded. It was just going to
be hidden on the end of the record. And when
we decided to do a remix version of it. It
kind of came sort of late. Ron Fair, who was
an A and R guy at Geffen then but had
also just finished producing Vanessa's first album, and I had
(35:26):
heard some of it because he had mixed it with
Jack Joseph Puig right before we mixed Hard Candy, so
Jack was playing me stuff from it and I thought
it was really good. But we had to leave for
like some tour in Europe right after we were done
with that, and Ron called me and said, hey, I
have an idea for I know you're trying to find
(35:47):
someone to remix this song, so you're actively looking for
someone else to be on the track. Yeah, because we
wanted to do not someone to be on it, but
we wanted to do a remix of it. So we
never got to do that kind of stuff, like working
with hip hop producers to take our music and just
change and do something different with it. And Ron called
and said, I have a really good idea for this.
Would you mind if I sent it to you? Could
I try and do this? And I said sure, go ahead,
(36:08):
and he sent it to me and it was actually
really good, so I said, yeah, let's work on this,
so he started doing it, but I had to leave
to go to Europe about you know, a little while before.
We had a tour in Europe before the record was
coming out, so we were out of the country and
Ron med ICs in London. He'd almost finished it and
we laid down some more tracks. I changed the ending
(36:30):
and sang some stuff on it, and then we wanted
to have some woman sing on it as well, and
we were talking about Norah Jones. We were talking about
some different people. I suggested Vanessa because I knew I
couldn't be there, and I thought it would be pretty
intimidating for someone to sing on one of our tracks,
and I didn't want someone to do some kind of flat,
(36:50):
boring version of it. But Vanessa had just finished doing
a record with Ron, so I thought she'd be really
comfortable in the studio with him, even though she was
a kind of an unknown artist. I said, why don't
you do it with Vanessa? This gro so a thousand
miles I had hit yet. I don't think it had.
The record wasn't out yet because they were mixing the
same time we were, so maybe it had just come out.
I'm not sure, but it wasn't the monster hit. No,
(37:11):
she I don't think anyone knew who she was. I
just thought, I need to find someone who'll be comfortable
without me being there, so they'll let go and really sing.
And I knew she could really sing. I was just
afraid someone will be too shy and they would do
bland stuff, and so I suggested this woman he'd just
worked with. So he went and did that. But then
Geff and got on this. They needed to turn the
(37:33):
record in right away and they didn't have time to
finish that, so we At first it was not supposed
to be a single. It was supposed to be a
single like a year later. So that's why we put
it as a hidden track. So we put it out
on the first pressing and hidden. And the idea was,
after we go through all the other singles on a record,
if we want to put out Big Yellow Taxi, there'll
(37:54):
be another pressing. We'll actually list it on the record,
it won't be hidden anymore. But then two weeks notice
came along the movie and said we want to use
this song in our film and we want to put
it as a single. We'll make a video, we'll do
all this stuff and so the song came out long
before it was supposed to the problem with that is
(38:16):
it was still a hidden track on the record, so
no one knew it was there.
Speaker 2 (38:19):
Except for me, who got mad that my secret was
input out. You're the only one I should have told everybody,
because the problem was.
Speaker 1 (38:25):
How did you How did you know, Bobby that there
was a hidden.
Speaker 2 (38:29):
Track, because it wasn't every freaking second of the whole
album over and over again and it says the time
remaining on it. Yeah, It's like I just held it
down to get to the end of the track and
then it would start.
Speaker 1 (38:37):
I Mean. The idea for me was always that people
forget your CDs on and that it would just like
surprise them, you know. Uh. The problem was the song
came out and it was a massive hit, but it
didn't do anything for the record because it was still hidden.
So people would come to the store and they didn't
buy hard candy because it's not on the record, you know.
So it was actually I get why Geffen was so
(38:59):
excited about having the movie to promote it, and they
were really in a rush to put out another single,
but it sort of backfired on them because backfired on
all of us because it didn't do anything for the record.
It was a massive hit that did nothing for our
record at all because no one knew it was it
was still yeah. I mean, it was supposed to be
out a year later, when it wouldn't have been hidden
on a different pressing, and Vanessa would have been on
it by then and all that stuff, but none of
(39:21):
that happened.
Speaker 2 (39:22):
I got five questions left the Shrek song, which is
how a lot of kids would know you accidentally in love.
Was that written purposefully for that movie or was it
a song that you guys or that you had already
had somewhat and thought this will be right, let's, you know,
turn it into that. How'd that come now? That was
written for the movie? I got a call about doing it.
Speaker 1 (39:40):
I went over to you know, DreamWorks Amblin Spielberg studio
there and I sat with the director and Michael Austin,
I think, and they showed me basically the whole movie,
scene by scene and the ones that weren't finished. They
showed me storyboards for it, and we talked it through,
and they showed me the scene they wanted and kind
(40:00):
of told me the flavor. There was a Weezer song
on there, originally just as a temp track, I think,
so I took home a little DVD of it and
went to work on it and wrote it for the movie.
When you watched it was Chris Farley, the voice of
Shrek before Mike Myers when you saw it, because he
died obviously and they had to change it. No, it
was Mike Myers then. I'm pretty sure. I thought that
(40:21):
was a really great thing. I mean, there are very
few things in our culture that are timeless, you know,
like not much last generation after generation. But like my
grandmother saw snow White, my mom saw snow white. I
saw snow White. If I have kids, they'll see snow White.
I mean, the one thing in our culture that is
multi generational that lasts forever is a really good animated
(40:42):
movie like that. You know that stuff is timeless and
it's a chance to be part of something. I mean,
you have Miles Davis covering Someday My Prince Will Come,
that it spans all cultures. I thought that was. As
soon as I got the offer, my whole thought was,
this is exactly what I want to do. This is
like being a really good Disney film. It was obviously
(41:02):
really good, you know, I saw it. I thought it
was fantastic, you know, and also has a chance to,
you know, get new fans who are younger, and you know,
I was so excited to do that because it'll be
there forever, and I'm really proud of the song, and
I think the movie's fantastic.
Speaker 7 (41:18):
The Bobby cast will be right back. This is the
Bobby cast.
Speaker 2 (41:32):
We talked about before you came in the tour, and
we'll get back to that in just a second. And
I've seen you a bunch, Eddie and I went to
your show when you were here last time.
Speaker 1 (41:39):
We were the ones who were cheering. Where were you
standing up? Going?
Speaker 4 (41:43):
Yeah?
Speaker 1 (41:43):
It was us.
Speaker 2 (41:44):
So for a long time, every show we would go to,
it seemed as you would change melodies of the hits.
Is it because you played them so much and you
were like, I just can't keep singing it over and
over again.
Speaker 1 (41:55):
No, I think I did that from the beginning. I
think it's always seemed like it just seemed like living things,
you know. I feel like the songs are you know,
it's it's a it's like a coffee filter and you
pour your life through it every day, you know, they're
all different, I mean, and my perspective on mister Jones
when I wrote it as something I was like aspirational about,
(42:15):
is certainly different than my perspective now having actually lived
everything in that song for thirty years. Oh that's weird. Yeah,
you're right, you know, I mean, And that's true of
all the songs, because they're just things you felt and feel,
and so you know, you experience them a little differently
every day. I always felt like this stuff was just
I do think it's why I'm not bored, because I've
never really Someone said to me a while ago that
(42:39):
we should re record all of our records like Taylor
Swift did, because then we'd have all the publishing and
we wouldn't have to pay not publishing, we'd have all
the record rights, we wouldn't have to pay the record
company anything on it. But I have no idea how
those records go. I haven't sang them that way since
I recorded them that way. You know, they're kind of
I don't think we'd be very good at that.
Speaker 2 (43:00):
I thought the last show, though it was pretty I
felt like there was an effort to like be right
or maybe I've just heard you sing life so many
times that I just feel like that's normal or natural.
I didn't feel like there was a lot of change,
did you ever, No, I didn't. I feel like it
was awesome.
Speaker 1 (43:13):
Yeah.
Speaker 2 (43:14):
And when you play a song like Isin on the Beach,
which I only had like a bootleg version of it,
is it weird that everybody knows this song?
Speaker 1 (43:19):
I don't know I have. That's a song I played,
we played once in concert. I mean, it's basically a
demo from before we were at BAD. It was never
even attempted for the record. I played it once in
concert at this little club in San Francisco, screwed it
up and never played it again. That's it. I don't
think it's ever been played since that first time. Yeah,
it's I think it's a clever song with great melodies,
(43:40):
but I've never loved it. Doesn't do anything for me
like inside, So I like it a lot as a
fun clever It was me trying to write a pop tune.
It was like an exercise, but I've never I've never
played it again. That's almost your radio head creep. Well
they played Creep way more times than what but forever
we're doing it.
Speaker 2 (44:00):
So Okay, Look I'm gonna mention the tour again, I mean,
and so many of the cities that we're on. I'm
going to read some of these off, but everything from
you know, Syracuse, Boston, there's so many shows, Raleigh obviously,
the Nashville show. You're doing here, and you go to
Countycrows dot com to see all the shows, New Orleans.
Speaker 1 (44:18):
I mean, it's all of these cities that we're in.
Speaker 2 (44:20):
You guys, it's an excellent show, but it just seems
like it's so much on the road. And when if
I tour, When I tour, I get to go do Thursday, Friday, Saturday,
and then I come back home. I get to do
this job. You ever been on the road so much?
You're like, why do I even have a house? Well,
I know why I have a house because I'm on
the road so much. It's really good to have a
place to come home too. I think that the weekend
(44:41):
thing would be fantastic. That's what Taylor Swift is doing.
She's playing weekends. I think that sounds like wonderfully relaxing.
But we're not playing stadiums. You know, we can't do
that because we can't we can't afford to do that,
but I also like I spent a lot of my
life on tour. I love playing shows. I love you know,
the people I know best in my life, my band
(45:04):
and my crew, A lot of the same people have
been there for thirty years, you know, and that's like family,
you know.
Speaker 1 (45:11):
I mean, I'm happy in that life. It's exhausting, for sure,
but it's a job. You know, it's work, but it's
definitely pretty satisfying. I mean, look, I was a kid,
look like I said, singing Beth to some kids behind school.
It's a pipe dream at that point. It is actually
(45:33):
how I've managed to support myself in my life. And
even after the pipe dream, Stilly is after I wrote
my first songs, I spent ten years in the clubs,
you know, like really not knowing if I was going
to be able to take care of myself, and I've
been able to, and not just myself, but a whole
group of people that work with us. I guess I
just I'm very satisfied with it and proud of it.
(45:56):
And yeah, I don't know, uh, there are with anything.
There are just times when I'm exhausted, like when I
just would rather be home, But it's also a life
I'm really used to, you know, and I I still
love playing shows, you know, I really do.
Speaker 2 (46:14):
County Crows Banshee season tour with the Dashboard Professional, which
he's coming in a couple of days. I'm big Chris. Yeah, Yeah,
we were talking. He's he's uh. He told me he's
coming in like a week or something. Yeah, I was
talking with him last night. He's coming up to visit
me in about a week.
Speaker 1 (46:31):
Me and Chris and his wife, my girlfriend Emma, our
guitar player, and somebody else. We're all going to see
Taylor Swift in New York together. They're kind of stay
with us.
Speaker 2 (46:42):
Do you have to pay for those tickets. Yeah, they
didn't give you to those tickets for free. I got tickets.
Speaker 1 (46:47):
I'm fine. I got youpy. You got it to buy.
It's a business too, you know, especially at that level.
It's like you can't be giving out tickets to everybody
because it's just too hard after a while. I get that.
But I'm happy to sport. Although I'd still like to
play weekends and be that successful. We've never gotten to
(47:08):
quite be that successful. It does seem like a good life.
It's fifty six dates. It is kicking off June thirteenth.
You can go to Countingcrows dot com a quick note
whenever you did the last ep the Butter Miracle. I
liked them.
Speaker 2 (47:21):
When it came out all at once, I was like,
this is the longest song I've ever heard, because the
whole thing came out and it was all just connected.
And then later it'll But I remember calling Eddie and goes,
there's a twenty minute song out. You've got to listen
to it, and he's like really, And then I called
him back and I was like, wait, apparently it was all
just tracks one twenty minute song.
Speaker 1 (47:38):
Let's commit to it now. Well it is.
Speaker 2 (47:40):
It's like it's four songs, but they flow together. Yeah,
but all of it was so long. It's felt like
a twenty minute song. It was all supposed to feel
like a twenty minute song. I mean in a good way.
Speaker 1 (47:48):
I was trying to do something like the second side
of Abbey Road or The Wild the Innocent, that first
side of that. I just wanted to write something that
really flowed that way. It's pretty cool in concert too.
It works. I men't even sure it would work. I
wrote it to work. But until you're done recording it
and you get it all together. I didn't know if
it was going to work. That's the most satisfied I've
(48:09):
ever been was that when we put it all together
and it worked, as when The Sweet worked, I was
about as happy as.
Speaker 2 (48:16):
I've ever been about anything creative. Do you ever go
back and hear an old track and go man Sonically?
I wish I would have done it a different way.
Speaker 1 (48:23):
The only things that do that for me A little
bit on the first album, The first album has a
little bit of a sheen to it that I don't
always I love those songs, and I think some of
them got better playing them live. All the other records
and this stuff I like exactly how it sounds. The
first album, which I know is everybody's favorite, but and
(48:44):
I love the songs and the work we did on it.
It's just some of the stuff I didn't know enough
about making records then. Is my first record, and a
little bit of that one I think is better. Those
songs got better live and I learned how to sing
them a little better after that. The rest of the records, know,
I love the way it all sounds. Everything. Are you
(49:04):
a loser if you were an artist's shirt to their concert.
Oh no, I don't think so. I don't either. But
some people think you're a big loser if you do that.
It looks really bad. It looks like an idiot when
you do that. I don't know if you should be
wearing your own shirt at your concert, although my tour
manager is constantly saying to me, know, if you wore
that stuff on stage, we'd sell merch. But no, I
think you know you kind of got it, don't you.
I mean, you're gonna go there, You're gonna buy a
(49:25):
shirt and you put it on. Yes, I don't know.
It's been a while since now, I know. I go
to concerts and wear band shirts. I went to Gang
of Use a little while ago. I was definitely wearing
a Gang of Use shirt for sure. There you go.
It's over. That's over, Eddie.
Speaker 8 (49:39):
Question before we go, Okay, Adam, So I saw you
in Houston. I mean this is probably early two thousands,
and speaking of security, we snuck our way back in
there and we made it to your meet and greet
and so. But on the way to your meet and greet,
I saw.
Speaker 1 (49:53):
We had a meet and greet you did? You were
playing with live it wasn't him, dude somebody before the show?
Before the show, yes, okay.
Speaker 8 (50:00):
And I saw a really big dude, you know, like
this guy's not normal?
Speaker 1 (50:03):
Who is This is Dennis Rodman and he was back there?
What was that like?
Speaker 8 (50:08):
And who, like, has just come to one of your
shows where you're just like, this is graze?
Speaker 1 (50:11):
I never knew as a fan, Dennis, Oh this is
that's like ninety nine, that's a while. Dennis was good
friends with the guys in Live and so I knew
him through them. And he had this thing like robmin
TV back then, and it was like really early internet
kind of thing that he had where he had a
bus and a bunch of strippers and he would drive
(50:31):
around the country filming like internet content and uh, it
was pretty wild. And he he would like he toured
with us for a while, like he came out to
visit Live and then they had their own bus, so
they just traveled around with us for a while, like
coming to shows and hanging out. I mean, Dennis is
a fantastic guy. He's amazing, you know, he's really different.
(50:52):
I kind of love how unique he is, and he
can be kind of like brash but also kind of
sensitive and I always I haven't seen him in a
lot time, but I loved that guy. He was just
wild and fun. You know, we'd go out and do stuff,
go to bars. He loved to go to strip clubs,
so we do that sometimes. Went to one in Atlanta once,
(51:13):
like the Cheetah, and he got an argument with a
car in the parking lot and I said it again,
he got an argument with a well, he got an
argument with a guy, but the guy had a car
and the guy tried to drive the car at Dennis.
So Dennis just punched the car, got it punched out
the car, a moving car. I will say it was
a very impressive moment. I was like, it just doesn't
seem like he's gonna win that confrontation. But I gotta
(51:34):
tell you, he did punch the car and he won,
and you don't you rarely see that. But yeah, I
mean Dennis. I just thought he was a fantastic guy,
like completely unique and out of place in the NBA
in a lot of ways and just didn't care, just
did his own thing. Yeah. I loved that guy. I
haven't seen him in years. He was really a good
(51:55):
friend with the guys in life. But I loved hanging
out with him. He was crazy at Counting Countingcrows dot Com.
The tour, it's almost sixty dates. I will be at
the one here. You're playing at the Opry House, which
is super cool. But basically every city we're in you're
in really been cool to sit with you. I really
appreciate the thank you like this has been you know,
I mean I might appede a little. I'm just saying it.
(52:16):
It's okay. Yeah, the last few drops are for the underwear.
Speaker 2 (52:20):
You know. I had to be put alphabetical and stood
in line next to Fred Durst.
Speaker 1 (52:26):
I don't know if I've stood in line. I mean
I knew Fred back then, but Durret's Durst. Yeah you
think class you guys would be called right after each
right in front of him. Okay, there it is best
question ahead. Its great. It all night for that one.
Speaker 2 (52:37):
All right, you guys go check out the tour Counting
Crows Countingcrows dot Com.
Speaker 1 (52:41):
Adam, thank you very much. I appreciate that.
Speaker 7 (52:43):
Thanks you guys, Thanks for listening to a Bobby Cast
production
I went back to the lounge after class, and I
sort of like, think, think that seems like the note
I'm singing, tried to find a chord that went with it,
you know, it's a really simple song. Took me the
rest of the afternoon. I just cut the rest of
my classes. But then I sort of like, Oh, I
wrote a song. I can play it, I can sing it. Yeah,
I'm a songwriter.
Speaker 2 (00:28):
Episode four hundred. Mike and I've been talking for a
while about the big special number of four hundred.
Speaker 1 (00:34):
Yeah, it's a lot.
Speaker 2 (00:35):
It's a lot, especially because this is a once a
week show. Yeah, there's a lot of episodes. We want
to do something really cool, So it's really cool for me.
I'm a massive Counting Crows fan. Just love him, my
favorite band of all time. I love Counting Crows so much.
Never met him, seeing a concert many many, many times.
Never met Adam Durretz and got to spend roughly an hour.
Speaker 1 (00:56):
How long was this interview? Fifty minutes?
Speaker 2 (00:58):
Dang, I don't even know if he thought he would
say fifty minutes. And I've listened to so many interviews
because I'm such a big fan. I've never heard him
be so generous with his answers and just sit and
be fun and talk. And I was surprised as a
fan not how cool he was, but it is how
open he was, yeah so and generous with his time.
And this was a great, great deal for me because
(01:20):
I'm always worried that people that I love like when
I consume their art, that I won't love him after that.
And I can separate art from artists, but I don't
want to. We had almost got this during COVID. He
was going to come to a bobbycast by somebody in
his band got COVID, so they shut down anything with people.
Speaker 1 (01:37):
It's very disappointing for me, but I understood it.
Speaker 2 (01:40):
And then they were like, Okay, he's doing a tour
because he's playing the Opry House in like fifty days,
Like he's gonna come to the studio.
Speaker 1 (01:47):
And I was like, are you serious?
Speaker 2 (01:48):
And so you'll hear Amy and Eddie and stuff in
this interview briefly because we're all sitting in here, and
we played some of this on the radio show, but
not all fifty minutes, but we want to put this
up before the radio show. It's an hour long without
Him's what are you gonna say, Mike, do.
Speaker 3 (02:01):
You feel like, now after meeting one of your heroes,
you think it's okay to meet your heroes.
Speaker 2 (02:06):
I'm still hesitant and a little scared to do. But
I even did it right?
Speaker 1 (02:10):
Yeah, so.
Speaker 2 (02:12):
Yes, But I have expectations that your heroes are also
just humans too. And there have been people I've met
where I'm like, oh, man, not as cool as I
thought they were, but I still enjoy their music. So,
and I talked to Adam Dirt's about four people that
IVE always wanted to meet. He's one of them. But
when I say always wanted to meet it, there's part
of me that didn't want to meet him because I
(02:33):
loved the feeling and the relationship I already had with
them in the band and all the times that I
listened to them in places that were big in my life.
So I don't know, I think we should just hit
it a few clips in case you don't know.
Speaker 1 (02:45):
Who he is.
Speaker 2 (02:46):
And if you don't know who he is, just stop
listening to music forever, you know. I'm just gonna say it,
mister Jones, here you go, so you can do accidentally
in love the Shrek song I love, I mean I
Love Long December.
Speaker 4 (03:04):
It's we talked a bit about Big Yellow Taxi, which
is a Joni Mitchell song which they had is a
hidden track and they put Vanessa Carlton on it later.
Speaker 1 (03:16):
No se the go.
Speaker 5 (03:19):
You don't know what you got your list, But songs
like the hits are like round here, but like for me,
I love songs that aren't the hits because if you're
that's your favorite band, you can't have a hit as
your favorite song.
Speaker 2 (03:31):
It's kind of the rule. Yeah, you know, okay, episode
four hundred. Very excited. I hope you enjoy it. Here
he is Adam Durretz of the County Crows. You're here
for a couple of reasons. One, I have a mount
rushmore my favorite people in the world who I haven't met,
and it is David Letterman, it is Steve Martin, It's
Howard Stern and Adam Durrettz. So three remain, but you
(03:54):
check it off my list now I've.
Speaker 1 (03:56):
Got all those except for Steve Martin.
Speaker 2 (03:58):
You have at met Steve Martin, no seen him, but
I've seen you on Letterman a bunch of times.
Speaker 1 (04:03):
Did you guys have a close relationship? Uh, he's a
really shy guy. He would come up and talk to
me when we were on the show, and then he
would he would say something like, hey, I'm you know,
I'm really glad you're here. It's really it's really nice
to have you, and then you walk off. And that's
the first time we were on the show he came
up and did that. I was sitting in the audience
watching and he came behind me, and then this crew
(04:26):
guy walks by and goes, wow, man, he's got to
really love you. He won't talk to anybody. Oh that
was a lot. Yeah, and and but he was always
really nice. Just he just seems very shy. And I'm
not great at like the social thing either.
Speaker 2 (04:40):
So yeah, I'm very awkward when I don't have to
be on like I if I'm doing stand up or
doing this show, I'm a lot. But then when I'm not,
I feel very just wallflower type because I feel like,
why would he even want to hang out with me
if I'm not doing what I'm selling? Lebrated at so
(05:01):
at times they're like, man, you're so odd or I
have like social anxiety at times, but same situation, it
sounds like with you as you're like a front man
of this major band that's all millions of millions of records.
Speaker 1 (05:10):
But then are you like that when you're just in
public as well? I mean, I'm still me, but i
mean the thing about being on stage is I'm that's
kind of where I'm supposed to be. I'm I'm most
comfortable there because I know what I'm doing and I
kind of feel like I was born to do that.
So when I'm on stage, I'm really comfortable because I'm
(05:32):
doing the thing I'm best at life at best in
life at whereas you know, hanging out talking to people,
it's not as easy. Yeah, I still wish i'd hung
out with Steve Martin. Howard I've known for thirty years.
Howard I've known forever, Like no, I'm known. Yeah, yeah,
you like him? Oh, Howard's fantastic. He's a great guy.
Is he like that too?
Speaker 2 (05:51):
Seems like he on on airs big and bold, and
then off areas just like normal.
Speaker 1 (05:55):
And yeah, he's a lot shyer in real life too,
but he's also like you know, it's funny, he's still himself.
Speaker 4 (06:01):
You know.
Speaker 1 (06:03):
I met because a friend of mine runs this whole
kind of physical medicine center, kind of a gym thing
in New York, and so I always went there to
work out and Howard did too, so we'd like we
had this eleven am kind of workout group with me
and him, our friend Marco Battaglia, who was playing for
the Bengals then he's a tight end for the Bengals,
(06:26):
and and Matt Schneider who was playing he was a
defenseman for the Rangers, and the four of us would
all work out with our friend Pat, same weights, no
different place.
Speaker 6 (06:37):
Yeah, I mean I had the big ones. Marco couldn't
keep up for the stage. For you, when did that become?
You said you're good at it? Were you naturally drawn
to the stage to be a performer? Were you performing
at seven, eight, nine years old? Yeah, it might have
been showing off at home, but no, not really. We
were just talking about this in there because one of
our managers worked for kiss It for a while, and Uh,
(07:02):
I realized I'd never told my torm manager. He's been
my tormentorer since nineteen ninety four.
Speaker 1 (07:06):
But you know, the when I was a kid, you know,
I had Destroyer the record, the kiss record, and at
one point I sang Beth to some girls behind Hebrew
school and the response was good, it's very good response,
and I thought, oh, yeah, this is this is probably
(07:26):
good for me. And I started a band right after that.
Like I was thirteen, I guess with some friends, uh
and uh yeah, but it was kiss and fat. That's
my first thing. I sang that some girls behind Hebrew
School and I was like, oh shit, yeah, this is
this is really good. You're just back there and you
just start singing to them, like just how does that
(07:50):
come about? Yeah? I don't remember this is it was good.
I was twelve thirteen, but at some point it like
it really Somehow I managed to work my way into
it and the response was overwhelmingly positive and not just
like oh that's good, but oh it's this is a
good thing to do in front of girls and they
like it. Yeah. Y all you really needed in life
(08:12):
is find something really good to do in front of girls,
and then you know life will pay off. Yeah. I'm
still looking for whatever it is that I do.
Speaker 2 (08:21):
So with you and a lot of my friends that
have been successful in music, they kind of went through
different phases musically, Like I have one friend who's massive
and country music now, but he was in like a
metal band for a long time, and so he had
went through all these different seasons we'll call them that.
Did you do that as a teenager, late teens, early twenties?
(08:42):
Did you do music that wasn't really what we know
you for now? Like were you ever in a thrash band?
Speaker 1 (08:48):
No? But I funk bands, and but I don't know
if they were funk bands. We just played a lot
of different music. I mean, I grew up in you know,
growing up in Oakland and Berkeley, we had some really
good FM radio stations, case An especially, and they played
kind of everything. You know, you could be listening to
the Stones and then the Sex Pistols and then Willie
(09:08):
Nelson and then some Miles Davis song. Case Ann seemed
to play everything, and I just thought that's what music was, Like,
I really just thought this is all what it's everything,
and so, you know, I was supposed to be growing
up in Oakland. There's a lot you know, p funk
and earth Wind and Fire is really big. But there's
a punk scene in San Francisco too, And I just
(09:32):
kind of listened to everything and sort of played anything.
Some of the bands that played covers, we played covers
by anybody, but it was never into any particular scene.
I was just kind of liked music, liked playing all
of it, you know, experimented with different kinds of stuff
when I started writing finally, but it was all just
(09:54):
kind of.
Speaker 2 (09:54):
Me at sixteen seventeen years old. Did you know you
wanted to do or you could even do music as
a career.
Speaker 1 (10:02):
No, no, it was I didn't write my first song
until freshman fall term in college. But as soon as
I did that, like, you know, I think a lot
of life is trying to figure out who you are
and what you are. You're very unformed as a kid,
you know, and I mean basically you just do homework
(10:24):
and try to meet girls. It's all that, you know,
it's socialized and homework. But when I wrote a song,
it was like a light switch clicking. I just oh,
I'm a songwriter. And you know, when I was eighteen,
I just oh, I'm a songwriter. That's what I do
in life. And then every day all I did was
write songs. Was that song about your sister? It was? Yeah,
(10:46):
it was a called good Morning, Little Sister. You know.
There was a lounge across the hall from my dorm room,
and uh, there was a piano in it, and I
was in like some class in college. I start my
sister was home. When she's sixteen, it's a tough time
to be a girl. And uh, I just started writing
a song about her, you know, kind of humming it
(11:07):
to myself and writing lyrics on while I was in class.
And I went back to my room and I thought,
you know, I wonder if I could figure out how
to play this, because I could kind of play piano
lessons as a kid. I took piano lessons when I
was a little kid, but I don't think I got
much out of it. It was more that in that
first band I was in when I was like thirteen,
the guitar player taught me how to make a major
and a minor chord, and once you can do something
(11:29):
that sounds good, you can just kind of play sort
of rudimentary. So I went back to the lounge after
class and I sort of like think, think that seemed
like the note I'm singing, tried to find a chord
that went with it. You know, It's a really simple song.
Took me the rest of the afternoon, Like it'll probably
take five minutes to write it now, but it took
(11:50):
the whole day. I just cut the rest of my classes.
But then I sort of like, oh, I wrote a song,
I can play it, I can sing it. Yeah, I'm
a songwriter. I realized it right then, And then all
I did was write songs after that for you know,
all the time.
Speaker 2 (12:05):
So were you naturally pretty good at music at hearing it,
or were you just so driven to be good at
it because you saw what the rewards could be, Like
where do you kind of fall on that scale?
Speaker 1 (12:17):
It's more of the driven thing. I'm not I'm not
a good piano player. I can't play by ear at all.
I got to kind of figure it out or just
fumble it out. But it wasn't even so much the rewards,
except the reward of like, oh this is who I am.
You know, you kind of run around in life feeling
things and not knowing where to put it, feeling like
(12:38):
you have things to say, or like you have all
this stuff to express, but you have no idea how
to do that, you know, because what do you need
to be in school plays unless you write songs. Either
you're in a cover band or you're in school plays
or something. It didn't really seem like there was a
line of expression there. But then when you write a song,
it's like, oh, this is I can take all this
stuff in here and I could put it out here.
(13:00):
You know. It's like you turn your liquid thoughts into
something solid and suddenly it's this place where you can
express yourself. And I just did it all day every
day after that, Like I cut class a lot, and
I just I couldn't get out of that lounge across
the hall from my room. Yeah.
Speaker 2 (13:18):
I was gonna ask if it was a distraction once
you found what seemingly is the most positive thing that
you had ever found, that you loved writing music and
creating music and was at a distraction from school. And
I guess it was because that's all you focused on,
or it felt like you were focusing on.
Speaker 1 (13:32):
Yeah, I mean I did it all day, all the time.
I just wanted to. I don't write nearly that much now,
but back then I wrote like I couldn't stop, I
couldn't get myself away from the piano. I just did
it all day every day, just pumped out songs for
a while. There. I think it's like, you know, you
(13:53):
just suddenly I was defined, like before any of my friends,
I knew what I was all behind again after that,
when they all got jobs and I had no way
to get I didn't know how to turn this thing
into something that could actually support myself. So there's you know,
years of landscaping and construction work and dishwashing. I worked
(14:15):
in a video store, you know, all through my twenties.
I knew what I was before any of my friends.
But I spent ten years after that, you know, just
doing everything I could to keep going while while I
tried to like figure out how to make something to that.
Did you finish school? I didn't turn in my thesis.
(14:36):
I'm missing one paper from Berkeley.
Speaker 2 (14:38):
So does that mean you're like a few hours like
credit short? Yeah, and why haven't you done the thesis? Why
have you read the paper?
Speaker 1 (14:44):
Well, in me, I'll write you on right now. I like,
I'll just get on chat GPT and knock it out.
And that's not going to work at Berkeley. That's the
best things department in the country. They catch that. No,
I you know what, in my mind, I've kind of
written several thess and they've sold briskly.
Speaker 2 (14:59):
They I let you write write the paper though for
that you don't care to have the degree.
Speaker 4 (15:03):
No.
Speaker 1 (15:03):
I mean, look, I really respect my education. I cal
I learned to be I was an English major there.
I learned to be a writer there. It was very
hard and I a lot of what I am as
a songwriter comes from that. Uh So I have a
lot of appreciation for it. But I didn't turn in
my thesis, So I'm not sure I should have a degree.
(15:25):
I mean, I am sure I shouldn't because I didn't.
I didn't finish. You write it out the lunchbox. You
relate to this. Yeah, it feels good, man. I feel
like I've experienced life. So he's short to one credit,
like one class, and so I feel like, you know
what I mean, like we went out, we did we
took what we learned, and we made something out of
our lives, and so we really now we're in this together. Yeah,
(15:48):
I have a problem with it. I feel like, you know,
there are people that did finish all their stuff and
they got the degree. I have a lot of respect
for my school, so you know, they taught me a lot,
but I didn't turn in the paper. So I'm okay
with not having the degree. It worked out for me.
This degree is not that important. The education is. I mean,
(16:09):
I don't think i'd be where I am without that education,
and so yeah, I have a world of appreciation for
what I went through in school. I wish they could
have been I did get into a situation where once
you start writing songs, it's very different the mindset than
writing essays, and the songwriting started to bleed into how
(16:31):
I wrote essays, and I had teachers while I'm writing
these very expressive, almost semi poetic essays, is going on.
I don't know what you're talking about, Like, you need
to write me a second paper. This is I got
several incompletes where they then demanded I have to write
a second paper to explain the first paper, and that
only got me in more trouble because somehow I was
(16:54):
probably fairly obnoxious about the explanatory paper. Did you ever
almost quit music? Though?
Speaker 2 (17:00):
Because you had to grind it out doing all of
these jobs, like again mowing And that's what I had
to do too. I had to do a lot of
the waiting tables. Did you ever almost quit?
Speaker 1 (17:10):
Yeah? After my first real like adult band. Uh, you know,
it's hard, you're you're you play with your friends, but
you got to kind of argue with them. You end
up fighting over a lot of stuff. It's part of
being in a collaborative art forms. It's a lot of
fighting and disagreements. And I felt like I got really
separated from all my best friends, and uh I got
(17:32):
kind of turned off to sort of the reality. Look, look,
when hobby is something you do for fun, like art
is not fun, it's not supposed to be. It's work.
But it's hard for people to realize that at first.
And that's kind of something everyone who wants to be
involved in art has to kind of go through. Is
a moment where you sort of think at first, you think, oh,
this isn't fun anymore, and so you don't either you
(17:53):
and you don't like it, and so if it's hobby,
you stop, but you have to kind of get over
at hump. And I went through that after that first band,
you know, when it broke up and I sort of
didn't like the taste of my mouth on it. I
kind of I went to Europe backpacking, and uh, I
was gonna trying to cut make a break and quit
playing music, and I was gonna come back and get
(18:15):
on with my life. I was about twenty five. I
guess so you quit in your head at least for
a little bit. Yeah. Yeah. And I went backpacking around
Europe with some friends. But the night before we left,
I got together with the bass player from my old band,
Marty Jones, actually mister Jones, and he took me to
another friend of his, who's Dave Bryson, who's I started
(18:36):
counting crows with, and we were Dave had a little
a studio and we worked on some music and came
up with some stuff that was really good and uh,
and then I left for the trip. It was just
kind of a fun night to do it. While I
was over there, Emmer, our guitar player who's been my
best friend for all these years we lived together back
then he had he was he had on Campra van Beethoven. Uh,
(19:02):
and they were on I got a letter from him
that he was on tour with ten thousand Maniacs, who's
huge right then they were getting ready to play the
Greek Theater, and like Natalie Merchant, yeah yeah, and uh,
I just not screw this man, Like I can't believe
he's playing the Greek theater and touring with ten thousands.
I got to get back and start a band and
(19:23):
I started decided to go back.
Speaker 3 (19:26):
Let's take a quick pause for a message from our sponsor, Wow,
and we're back on the Bobby Cast.
Speaker 1 (19:40):
So you mentioned Marty Jones.
Speaker 2 (19:42):
That's mister Jones, You guys kind of imagining what fame
is like or what celebrity is like. How long did
you write that song before that actually happened?
Speaker 1 (19:52):
Oh while, I mean, I'm mister Jones is from sort
of the middle version of Counting Crow. It was probably
about nineteen ninety ninety one, something like that.
Speaker 2 (20:06):
And so did you guys write it like, Man, this
to be awesome or this isn't gonna happen.
Speaker 1 (20:10):
We really can see this happening to us. Oh no,
I mean Marty's dad, David Serva, is one of the
few Americans. He had left America and gone to move
to Madrid, and he's one of the few American guitar
players to ever make it in this flamenco scene in Spain.
He's a brilliant flamenco guitar player and he had a
(20:30):
huge career in Madrid, which is pretty rare. And he
came back to America at one point for a visit
and he played some shows with his old Flamenco troop
in the city in the mission San Francisco, and so
we went to see them one night, and then we
all went out drinking afterwards and got pretty wasted, and
(20:54):
we ended up in this one bar a New Amsterdam
on Columbus Street, and you know, we were sitting at
the bar and it's all these really beautiful Flamenco dancers
and we're not really getting anywhere with them, and in
the corner of the bar, I'm looking over and Chris
Isaac's drummer, Kenny Dale Johnson is in the corner at
(21:16):
this booth with like three girls sitting there with him,
and I'm just thinking, man, you got to get our
shit together, man, because like, if we were rock stars,
it would be a lot easier to talk to women.
Everything would be better, you know, it would be kind
of great. I just thought that was kind of funny,
the thought of it, because you know, you it's not
(21:37):
just because the girls in a corner. You know, you
dream about things like if you're gonna write songs. You
dream about being able to do that with your life
and support yourself, and you know, we're spending this evening
with this Manco troupe and David Serva his dad is
like a famous guitar player over in Spain, and Kenny's
in the corner, and you know, it's just what we
wanted to do with our lives, plus the girl thing.
(21:59):
But it also occurred to me how silly that is.
It's like, nothing like that solves all your problems in life.
It just doesn't work that way. You know. It may
be great for some things, it's not going to fix
who you are. And I got home at night and
I was sort of thinking about, like how the whole
thought process was so funny to me in it and
I wrote the song? Was it one of those that
(22:19):
fell out? Yeah? Pretty much? Really. I mean I don't know,
you know, well anything wrote it all that night, anything
in front of in front of five hours? It was
almost like falling out. Yeah. I think most of my
songs back then were probably less than five hours. I
get really determined and just sit there and do it
until it's done.
Speaker 2 (22:37):
Whenever I think about me in college and those really
formative years for me listening to music, I probably listened
to more than any other body of music the across
the Live Wire You Guys's Live Album, I mean, I
could tell you now my favorite band, uh Counting Crows.
Speaker 1 (22:51):
I can do every even spoken part of that.
Speaker 2 (22:54):
You know, some people have movies some people and for
mine it's that And even at the end, I like
to think Dog's eye view.
Speaker 1 (22:59):
You know you're doing the the river.
Speaker 2 (23:00):
It's so But I listened to that so much that
if you were to say, what's the music you listened
to in those formative years, it made you musically who
you are today. If I ask you that question, what
did you listen to so much at eighteen to twenty
two or twenty three, You're like, yep, that's what reminds
me of those years.
Speaker 1 (23:18):
I listen to a lot of Rim Youtwoe probably the time,
still probably listening to a lot of Jackson five. That's
my first record. I don't think I've really stopped listening
to that Roxy music around then too, Jay Gile's band
p Funk. I don't know, it's hard to remember it right.
At that one time, I was thinking of you two
and Rim because I specifically remember there's a few things
(23:41):
in my mind that are Needledrop records where I literally
remember when you put the needle on the record and
how it started and I have very clear memories of
like being that freshman year in college and listening to
Chronic Town that first rim ep and War putting the
needle down, and hearing Sunday Bloody Sunday. Like I remember
those two really, And I remember going to the Roxy
(24:02):
Music concert right around in that last tour. Do you
ever see Jackson five? Yeah, that's my first concert too.
Do you remember it? Were? You told a lot about
it now vaguely. I was probably about six. It was
a rodeo in Texas and they played at it. I
went one day and saw the Jackson five. My sister
went the next day with my parents and saw Sonny
and Chaer.
Speaker 2 (24:22):
I would have Rodeo was still doing that too, by
the way, same kind of deal where it's somebody different
and awesome every single day.
Speaker 1 (24:27):
Yeah. I mean, I'd have been happy with either one
of those. But the Jackson five that was. I have
vague memories, but I'm sure they're really mixed in with
TV clips of the Jackson five. You know, I'm sure
it's not really a memory because it's a long time ago.
Speaker 6 (24:43):
Now.
Speaker 2 (24:43):
If you get famous, there's all the social media that
comes at you. And I've had different smaller ish type
events where it's just like wow. But when you blow
up in the nineties and two thousands and fame is
not able to get to you through those means. How
does fame get to you if you're allways on the
road moving around?
Speaker 1 (25:00):
Is it just crowds? Is it just people? Well it
you know, it's weird. We'd been on the road for
a while before it happened, really, and it had been building.
You know. We played Saturday Night Live in January of
ninety four and we weren't even in the top two hundred.
I mean, mister Jones was kind of a hit on
the radio, but it wasn't making any impact anywhere the record,
(25:21):
Like I said, it was two fourteen or something. But
we played Saturday Night Live and it jumped forty spots
a week for five weeks, and we ended up in
the top I don't know, thirteen, then six, and then
two for the next two years. So but I didn't
really see, you know. We were on the road on
our own for a while at Christmas, and we seemed
(25:42):
to be a kind of a hot indie band for
a little bit, and then we went back to opening
for Cracker and then in April, we went to Europe
for our first European tour and we were gone for
the month of April, and we flew back from Europe
and landed in New Orleans right before JazzFest. And I'd
been going to jazz Fest for years, so I'd spent
a lot of time in New Orleans as a fan. Yeah, yeah,
(26:04):
because we weren't before the band. Really, this was my
first time at JazzFest after the first record was out,
and I went to the festival the first day after
we got there and got mobbed. I the things that
had been building that spring and winter had happened. It
had kind of all coalesced while we were in Europe,
(26:25):
so I didn't realize it.
Speaker 2 (26:26):
Were you surprised by the mobbing? Yeah, scared the crap
out of me. It's just like when someone waves you
and you wave back when you realize they're somebody behind you.
Speaker 1 (26:34):
They're waving at Yeah, somebody are running to them. Somebody
wanted to pick her and an autographed or something. And
then the crowd just gathered and gathered and gathered and
gathered and didn't stop. And then later that night we
played Tippatinas and you know, fit's about eight hundred one
thousand people in Tipatinas and there were two thousand people
outside on the neutral ground in the street. They kind
of had to close off the street and we went
(26:57):
outside after the show they had to open They opened
like they had the wall doors that slide out, I think,
and they opened them up so the crowd outside could
hear too. We went outside to play a couple of
songs acoustically for them after the show, and there was
just massive And that's when I realized, like it happened
while we were in Europe, and so whatever build up
there was going to be, we missed it, and it
(27:19):
just we just landed in this thing. Isn't that crazy?
Speaker 2 (27:23):
It was.
Speaker 1 (27:24):
Really weird. I mean that the next, you know, a
few months were very strange. I remember being on tour
and being in Birmingham and having a day off and
deciding there was like a movie theater about four blocks
from the hotel and I walked down and I was
watching this movie. There's no one in the theater but me.
It was weird. It's like an afternoon matinee or something,
and this guy comes walking down the aisle and then
(27:48):
walks up the row and sits next to me, and
I was like, hey, a whole empty theater says right now.
He said, hey, I'm a really big fan. I was like, thanks, man.
He said, do you mind if I sit here. I'm like, look,
I'm just trying to watch movie. If you don't mind,
I just I just want to watch a movie, you know.
And he got up and left, and about forty five
minutes later, saw a guy come down the island, come
(28:10):
down the road to me again, and I was like, god,
damn it, and but it wasn't the same guy. It
was the guy that was working the concession stand out there,
and he said, hey, are you in counting crows? And
I said yeah, and he goes listen. I don't know
what's going on, but there was some guy in here
before and for the last half hour he's been on
the payphone in the lobby calling people. And there's a
(28:31):
huge crowd outside. You know. If you want to get
out of here, there's like a door at the bottom,
like a alley exit. And I said yeah, thanks man, and
I snuck out the alley and walk down the street
and then I heard this noise behind me and I
turned around. There's this massive crowd of people out the
front of the theater and they all start running and
I ran, like I just ran down the street, got
(28:53):
to the hotel, like ahead of this crowd. It was
just a little while after jazz Fest.
Speaker 2 (28:58):
You didn't even have the infrastructure to be because it
all happened.
Speaker 1 (29:01):
While you were gone.
Speaker 2 (29:02):
You didn't know you landed, it's here, and you didn't
have security. You didn't have anything to make make sure
you're even safe.
Speaker 1 (29:09):
No, never really got any of that stuff either. We
never really I had a lot of friends in bands
who had security. We never really got security out with
us or any of that stuff. It just seemed like
you could sort of avoid It didn't seem to make
sense to me. Walking around with some huge guy next
to you. It seemed to invite more attention than anything else.
I never really got into that, even now at the
(29:32):
over the Hill Age. Now, I mean, I don't know,
I never really did the security thing, but yeah, I
mean I was just completely unprepared. But there's the truth
is everybody's unprepared. There's no way to be prepared for
that because it's just like everybody start It's not like
you really do anything. Everybody else just starts acting really weird,
and there's no way to prepare for that. It's just
like waking up on Mars. You know you could. You'll
(29:53):
get used to the gravity after a while, but it
takes a bit.
Speaker 2 (29:57):
What's the best Counting Crow song ever? In your opinion?
I don't know your opinion. It's a very vague, open
quite but what comes to mind first?
Speaker 1 (30:05):
Well, I think Palisades Park is probably the thing I'm
proud of st of. But I also think that Long
December is a perfect song. Long December is the only
song I've never not wanted to play like I don't
I'm happy to play that every night. I have been
(30:25):
happy to play that every night. I don't think I
can say that about any other song. There's no other
song we play every night, but I never mind playing
Long December. There's something perfect about it and timeless, and
I'm really proud of. Like the Pallisads Park was really
hard to write, and it's a pretty epic thing. I'm
(30:49):
really proud of. Its complicated, it's a height of my
art form. But Longcember is perfect. Did you feel that
way when you fish Long December? Yeah? It almost more
than any other song. That one kind of wrote itself.
It just felt like I knew where to go with
the chords. I knew exactly what it was supposed to
(31:10):
sound like. The entire song was written and recorded in
under twenty four hours. Just that's like take six. Do
you know overdubs, do you write melody or lyric first?
Speaker 2 (31:27):
Or how does your brain work with music? Because you know,
a lot of my friends have like have this idea,
this is the lyrics. Well some offriends was to go
and they'll just attach the words after they do the melody.
What is your process. I've never written lyrics first for
a song. Always melody first.
Speaker 1 (31:41):
Or music first. It usually starts with either the music's
there first or the music and the words come at
the same time. But yeah, I've never written lyrics first
because I don't think i'd be able to. Like, to me,
there's nothing without the music, so the lyrics kind of
are born at it the music.
Speaker 2 (32:00):
So like when you wrote along December, unless you did
it at the same time, you know, duh, piano's playing
and you don't really have your it's just music, and
then you back listen to it and you're then you
attach n.
Speaker 1 (32:13):
I think I just did that at the same time
I got the I mean, I may have written, once
I had the music down written the rest of the words,
but I'm I think I got that verse right there.
I'm a super fan.
Speaker 2 (32:29):
You probably can't tell, like, I'm so cool right now
and like just chill, and I'm also you know, just cool,
playing it cool, right.
Speaker 1 (32:34):
I guess you ever weirded out by super fans? You
ever weirded out by people that are too fan too
fan of you? Yeah? Cool, That's why I'm playing it cool,
you know, Yeah, I'm playing it cool.
Speaker 3 (32:45):
Well.
Speaker 1 (32:45):
Also, it's like I kind of feel like I always
want to tell people you should listen to some other
stuff because there's I mean, for me, I love music.
It's been my whole life. I've I spent you know,
the first half of my life as a you know,
the first twenty years is just a fan of everything.
(33:06):
I just love music. And then I started making music,
which is great too, And I remain someone who's obsessed,
geekily loves music and I just want to shake people
sometimes and go, now, yeah, this is great. I love
my records, but you should check out these guys. These
guys are great, and these guys and these guys and
these guys, and there's just so much. I don't think
(33:26):
I could spend all that time listening to one thing.
I just I love I think our band is great,
but it's mostly just that I kind of want to
like sit them down and say, you seem really great,
you obviously have great taste, you like us that you
know you should check out these guys.
Speaker 2 (33:40):
You know. I had a real problem with and I
loved Hard Candy your album, but I'd have to skip
to the like you go to the hidden track. I
could hold that the forward button down on the CD
player that finally would get to do it finally come up,
and it would be the Jonny Mitchell song Ohyah they
gellow Taxia is they hidden track? When I first bought
the record, and I was like, I only knows about
this song just because any of my other friends are
lame and they don't spend the time holding that button down.
(34:01):
You gotta hold you can't push it, you gotta hold
it like middle so it skips or you have to
just let it play forever to get to it. And
it was like boom, it starts, and I'm like, you
guys don't even know what You're missing I'm Cooler than
You boom, and then it comes out as a single
and you had a Vanessa Carlton And then I remember
the video she wasn't even with you guys, and I
was hurt which part that she wasn't with you in
(34:22):
the video because they probably recorded it two different times.
Speaker 1 (34:24):
She was probably on tour. We were on tour. Yeah,
I just I don't know how I felt about that.
How did that come about?
Speaker 2 (34:31):
Because I felt, as a hardcore fan that I was
the one that knew the secret that nobody else knew,
and then everybody got letting it on the secret.
Speaker 1 (34:37):
We had kind of this hip hop acoustic version that
we did of Big Yellow Taxi Guy couldn't earn the
name right then, and then we wanted to try and
do like some remixes of it, and so we went
try and find some people like Pharrell, Jimmy Jam and
Terry Lewis. I really wanted to do it with Jimmy Jam,
but they were busy when we were doing it. They
(34:59):
couldn't do it right then. You know, it was like
an acoustic track we recorded. It was just going to
be hidden on the end of the record. And when
we decided to do a remix version of it. It
kind of came sort of late. Ron Fair, who was
an A and R guy at Geffen then but had
also just finished producing Vanessa's first album, and I had
(35:26):
heard some of it because he had mixed it with
Jack Joseph Puig right before we mixed Hard Candy, so
Jack was playing me stuff from it and I thought
it was really good. But we had to leave for
like some tour in Europe right after we were done
with that, and Ron called me and said, hey, I
have an idea for I know you're trying to find
(35:47):
someone to remix this song, so you're actively looking for
someone else to be on the track. Yeah, because we
wanted to do not someone to be on it, but
we wanted to do a remix of it. So we
never got to do that kind of stuff, like working
with hip hop producers to take our music and just
change and do something different with it. And Ron called
and said, I have a really good idea for this.
Would you mind if I sent it to you? Could
I try and do this? And I said sure, go ahead,
(36:08):
and he sent it to me and it was actually
really good, so I said, yeah, let's work on this,
so he started doing it, but I had to leave
to go to Europe about you know, a little while before.
We had a tour in Europe before the record was
coming out, so we were out of the country and
Ron med ICs in London. He'd almost finished it and
we laid down some more tracks. I changed the ending
(36:30):
and sang some stuff on it, and then we wanted
to have some woman sing on it as well, and
we were talking about Norah Jones. We were talking about
some different people. I suggested Vanessa because I knew I
couldn't be there, and I thought it would be pretty
intimidating for someone to sing on one of our tracks,
and I didn't want someone to do some kind of flat,
(36:50):
boring version of it. But Vanessa had just finished doing
a record with Ron, so I thought she'd be really
comfortable in the studio with him, even though she was
a kind of an unknown artist. I said, why don't
you do it with Vanessa? This gro so a thousand
miles I had hit yet. I don't think it had.
The record wasn't out yet because they were mixing the
same time we were, so maybe it had just come out.
I'm not sure, but it wasn't the monster hit. No,
(37:11):
she I don't think anyone knew who she was. I
just thought, I need to find someone who'll be comfortable
without me being there, so they'll let go and really sing.
And I knew she could really sing. I was just
afraid someone will be too shy and they would do
bland stuff, and so I suggested this woman he'd just
worked with. So he went and did that. But then
Geff and got on this. They needed to turn the
(37:33):
record in right away and they didn't have time to
finish that, so we At first it was not supposed
to be a single. It was supposed to be a
single like a year later. So that's why we put
it as a hidden track. So we put it out
on the first pressing and hidden. And the idea was,
after we go through all the other singles on a record,
if we want to put out Big Yellow Taxi, there'll
(37:54):
be another pressing. We'll actually list it on the record,
it won't be hidden anymore. But then two weeks notice
came along the movie and said we want to use
this song in our film and we want to put
it as a single. We'll make a video, we'll do
all this stuff and so the song came out long
before it was supposed to the problem with that is
(38:16):
it was still a hidden track on the record, so
no one knew it was there.
Speaker 2 (38:19):
Except for me, who got mad that my secret was
input out. You're the only one I should have told everybody,
because the problem was.
Speaker 1 (38:25):
How did you How did you know, Bobby that there
was a hidden.
Speaker 2 (38:29):
Track, because it wasn't every freaking second of the whole
album over and over again and it says the time
remaining on it. Yeah, It's like I just held it
down to get to the end of the track and
then it would start.
Speaker 1 (38:37):
I Mean. The idea for me was always that people
forget your CDs on and that it would just like
surprise them, you know. Uh. The problem was the song
came out and it was a massive hit, but it
didn't do anything for the record because it was still hidden.
So people would come to the store and they didn't
buy hard candy because it's not on the record, you know.
So it was actually I get why Geffen was so
(38:59):
excited about having the movie to promote it, and they
were really in a rush to put out another single,
but it sort of backfired on them because backfired on
all of us because it didn't do anything for the record.
It was a massive hit that did nothing for our
record at all because no one knew it was it
was still yeah. I mean, it was supposed to be
out a year later, when it wouldn't have been hidden
on a different pressing, and Vanessa would have been on
it by then and all that stuff, but none of
(39:21):
that happened.
Speaker 2 (39:22):
I got five questions left the Shrek song, which is
how a lot of kids would know you accidentally in love.
Was that written purposefully for that movie or was it
a song that you guys or that you had already
had somewhat and thought this will be right, let's, you know,
turn it into that. How'd that come now? That was
written for the movie? I got a call about doing it.
Speaker 1 (39:40):
I went over to you know, DreamWorks Amblin Spielberg studio
there and I sat with the director and Michael Austin,
I think, and they showed me basically the whole movie,
scene by scene and the ones that weren't finished. They
showed me storyboards for it, and we talked it through,
and they showed me the scene they wanted and kind
(40:00):
of told me the flavor. There was a Weezer song
on there, originally just as a temp track, I think,
so I took home a little DVD of it and
went to work on it and wrote it for the movie.
When you watched it was Chris Farley, the voice of
Shrek before Mike Myers when you saw it, because he
died obviously and they had to change it. No, it
was Mike Myers then. I'm pretty sure. I thought that
(40:21):
was a really great thing. I mean, there are very
few things in our culture that are timeless, you know,
like not much last generation after generation. But like my
grandmother saw snow White, my mom saw snow white. I
saw snow White. If I have kids, they'll see snow White.
I mean, the one thing in our culture that is
multi generational that lasts forever is a really good animated
(40:42):
movie like that. You know that stuff is timeless and
it's a chance to be part of something. I mean,
you have Miles Davis covering Someday My Prince Will Come,
that it spans all cultures. I thought that was. As
soon as I got the offer, my whole thought was,
this is exactly what I want to do. This is
like being a really good Disney film. It was obviously
(41:02):
really good, you know, I saw it. I thought it
was fantastic, you know, and also has a chance to,
you know, get new fans who are younger, and you know,
I was so excited to do that because it'll be
there forever, and I'm really proud of the song, and
I think the movie's fantastic.
Speaker 7 (41:18):
The Bobby cast will be right back. This is the
Bobby cast.
Speaker 2 (41:32):
We talked about before you came in the tour, and
we'll get back to that in just a second. And
I've seen you a bunch, Eddie and I went to
your show when you were here last time.
Speaker 1 (41:39):
We were the ones who were cheering. Where were you
standing up? Going?
Speaker 4 (41:43):
Yeah?
Speaker 1 (41:43):
It was us.
Speaker 2 (41:44):
So for a long time, every show we would go to,
it seemed as you would change melodies of the hits.
Is it because you played them so much and you
were like, I just can't keep singing it over and
over again.
Speaker 1 (41:55):
No, I think I did that from the beginning. I
think it's always seemed like it just seemed like living things,
you know. I feel like the songs are you know,
it's it's a it's like a coffee filter and you
pour your life through it every day, you know, they're
all different, I mean, and my perspective on mister Jones
when I wrote it as something I was like aspirational about,
(42:15):
is certainly different than my perspective now having actually lived
everything in that song for thirty years. Oh that's weird. Yeah,
you're right, you know, I mean, And that's true of
all the songs, because they're just things you felt and feel,
and so you know, you experience them a little differently
every day. I always felt like this stuff was just
I do think it's why I'm not bored, because I've
never really Someone said to me a while ago that
(42:39):
we should re record all of our records like Taylor
Swift did, because then we'd have all the publishing and
we wouldn't have to pay not publishing, we'd have all
the record rights, we wouldn't have to pay the record
company anything on it. But I have no idea how
those records go. I haven't sang them that way since
I recorded them that way. You know, they're kind of
I don't think we'd be very good at that.
Speaker 2 (43:00):
I thought the last show, though it was pretty I
felt like there was an effort to like be right
or maybe I've just heard you sing life so many
times that I just feel like that's normal or natural.
I didn't feel like there was a lot of change,
did you ever, No, I didn't. I feel like it
was awesome.
Speaker 1 (43:13):
Yeah.
Speaker 2 (43:14):
And when you play a song like Isin on the Beach,
which I only had like a bootleg version of it,
is it weird that everybody knows this song?
Speaker 1 (43:19):
I don't know I have. That's a song I played,
we played once in concert. I mean, it's basically a
demo from before we were at BAD. It was never
even attempted for the record. I played it once in
concert at this little club in San Francisco, screwed it
up and never played it again. That's it. I don't
think it's ever been played since that first time. Yeah,
it's I think it's a clever song with great melodies,
(43:40):
but I've never loved it. Doesn't do anything for me
like inside, So I like it a lot as a
fun clever It was me trying to write a pop tune.
It was like an exercise, but I've never I've never
played it again. That's almost your radio head creep. Well
they played Creep way more times than what but forever
we're doing it.
Speaker 2 (44:00):
So Okay, Look I'm gonna mention the tour again, I mean,
and so many of the cities that we're on. I'm
going to read some of these off, but everything from
you know, Syracuse, Boston, there's so many shows, Raleigh obviously,
the Nashville show. You're doing here, and you go to
Countycrows dot com to see all the shows, New Orleans.
Speaker 1 (44:18):
I mean, it's all of these cities that we're in.
Speaker 2 (44:20):
You guys, it's an excellent show, but it just seems
like it's so much on the road. And when if
I tour, When I tour, I get to go do Thursday, Friday, Saturday,
and then I come back home. I get to do
this job. You ever been on the road so much?
You're like, why do I even have a house? Well,
I know why I have a house because I'm on
the road so much. It's really good to have a
place to come home too. I think that the weekend
(44:41):
thing would be fantastic. That's what Taylor Swift is doing.
She's playing weekends. I think that sounds like wonderfully relaxing.
But we're not playing stadiums. You know, we can't do
that because we can't we can't afford to do that,
but I also like I spent a lot of my
life on tour. I love playing shows. I love you know,
the people I know best in my life, my band
(45:04):
and my crew, A lot of the same people have
been there for thirty years, you know, and that's like family,
you know.
Speaker 1 (45:11):
I mean, I'm happy in that life. It's exhausting, for sure,
but it's a job. You know, it's work, but it's
definitely pretty satisfying. I mean, look, I was a kid,
look like I said, singing Beth to some kids behind school.
It's a pipe dream at that point. It is actually
(45:33):
how I've managed to support myself in my life. And
even after the pipe dream, Stilly is after I wrote
my first songs, I spent ten years in the clubs,
you know, like really not knowing if I was going
to be able to take care of myself, and I've
been able to, and not just myself, but a whole
group of people that work with us. I guess I
just I'm very satisfied with it and proud of it.
(45:56):
And yeah, I don't know, uh, there are with anything.
There are just times when I'm exhausted, like when I
just would rather be home, But it's also a life
I'm really used to, you know, and I I still
love playing shows, you know, I really do.
Speaker 2 (46:14):
County Crows Banshee season tour with the Dashboard Professional, which
he's coming in a couple of days. I'm big Chris. Yeah, Yeah,
we were talking. He's he's uh. He told me he's
coming in like a week or something. Yeah, I was
talking with him last night. He's coming up to visit
me in about a week.
Speaker 1 (46:31):
Me and Chris and his wife, my girlfriend Emma, our
guitar player, and somebody else. We're all going to see
Taylor Swift in New York together. They're kind of stay
with us.
Speaker 2 (46:42):
Do you have to pay for those tickets. Yeah, they
didn't give you to those tickets for free. I got tickets.
Speaker 1 (46:47):
I'm fine. I got youpy. You got it to buy.
It's a business too, you know, especially at that level.
It's like you can't be giving out tickets to everybody
because it's just too hard after a while. I get that.
But I'm happy to sport. Although I'd still like to
play weekends and be that successful. We've never gotten to
(47:08):
quite be that successful. It does seem like a good life.
It's fifty six dates. It is kicking off June thirteenth.
You can go to Countingcrows dot com a quick note
whenever you did the last ep the Butter Miracle. I
liked them.
Speaker 2 (47:21):
When it came out all at once, I was like,
this is the longest song I've ever heard, because the
whole thing came out and it was all just connected.
And then later it'll But I remember calling Eddie and goes,
there's a twenty minute song out. You've got to listen
to it, and he's like really, And then I called
him back and I was like, wait, apparently it was all
just tracks one twenty minute song.
Speaker 1 (47:38):
Let's commit to it now. Well it is.
Speaker 2 (47:40):
It's like it's four songs, but they flow together. Yeah,
but all of it was so long. It's felt like
a twenty minute song. It was all supposed to feel
like a twenty minute song. I mean in a good way.
Speaker 1 (47:48):
I was trying to do something like the second side
of Abbey Road or The Wild the Innocent, that first
side of that. I just wanted to write something that
really flowed that way. It's pretty cool in concert too.
It works. I men't even sure it would work. I
wrote it to work. But until you're done recording it
and you get it all together. I didn't know if
it was going to work. That's the most satisfied I've
(48:09):
ever been was that when we put it all together
and it worked, as when The Sweet worked, I was
about as happy as.
Speaker 2 (48:16):
I've ever been about anything creative. Do you ever go
back and hear an old track and go man Sonically?
I wish I would have done it a different way.
Speaker 1 (48:23):
The only things that do that for me A little
bit on the first album, The first album has a
little bit of a sheen to it that I don't
always I love those songs, and I think some of
them got better playing them live. All the other records
and this stuff I like exactly how it sounds. The
first album, which I know is everybody's favorite, but and
(48:44):
I love the songs and the work we did on it.
It's just some of the stuff I didn't know enough
about making records then. Is my first record, and a
little bit of that one I think is better. Those
songs got better live and I learned how to sing
them a little better after that. The rest of the records, know,
I love the way it all sounds. Everything. Are you
(49:04):
a loser if you were an artist's shirt to their concert.
Oh no, I don't think so. I don't either. But
some people think you're a big loser if you do that.
It looks really bad. It looks like an idiot when
you do that. I don't know if you should be
wearing your own shirt at your concert, although my tour
manager is constantly saying to me, know, if you wore
that stuff on stage, we'd sell merch. But no, I
think you know you kind of got it, don't you.
I mean, you're gonna go there, You're gonna buy a
(49:25):
shirt and you put it on. Yes, I don't know.
It's been a while since now, I know. I go
to concerts and wear band shirts. I went to Gang
of Use a little while ago. I was definitely wearing
a Gang of Use shirt for sure. There you go.
It's over. That's over, Eddie.
Speaker 8 (49:39):
Question before we go, Okay, Adam, So I saw you
in Houston. I mean this is probably early two thousands,
and speaking of security, we snuck our way back in
there and we made it to your meet and greet
and so. But on the way to your meet and greet,
I saw.
Speaker 1 (49:53):
We had a meet and greet you did? You were
playing with live it wasn't him, dude somebody before the show?
Before the show, yes, okay.
Speaker 8 (50:00):
And I saw a really big dude, you know, like
this guy's not normal?
Speaker 1 (50:03):
Who is This is Dennis Rodman and he was back there?
What was that like?
Speaker 8 (50:08):
And who, like, has just come to one of your
shows where you're just like, this is graze?
Speaker 1 (50:11):
I never knew as a fan, Dennis, Oh this is
that's like ninety nine, that's a while. Dennis was good
friends with the guys in Live and so I knew
him through them. And he had this thing like robmin
TV back then, and it was like really early internet
kind of thing that he had where he had a
bus and a bunch of strippers and he would drive
(50:31):
around the country filming like internet content and uh, it
was pretty wild. And he he would like he toured
with us for a while, like he came out to
visit Live and then they had their own bus, so
they just traveled around with us for a while, like
coming to shows and hanging out. I mean, Dennis is
a fantastic guy. He's amazing, you know, he's really different.
(50:52):
I kind of love how unique he is, and he
can be kind of like brash but also kind of
sensitive and I always I haven't seen him in a
lot time, but I loved that guy. He was just
wild and fun. You know, we'd go out and do stuff,
go to bars. He loved to go to strip clubs,
so we do that sometimes. Went to one in Atlanta once,
(51:13):
like the Cheetah, and he got an argument with a
car in the parking lot and I said it again,
he got an argument with a well, he got an
argument with a guy, but the guy had a car
and the guy tried to drive the car at Dennis.
So Dennis just punched the car, got it punched out
the car, a moving car. I will say it was
a very impressive moment. I was like, it just doesn't
seem like he's gonna win that confrontation. But I gotta
(51:34):
tell you, he did punch the car and he won,
and you don't you rarely see that. But yeah, I
mean Dennis. I just thought he was a fantastic guy,
like completely unique and out of place in the NBA
in a lot of ways and just didn't care, just
did his own thing. Yeah. I loved that guy. I
haven't seen him in years. He was really a good
(51:55):
friend with the guys in life. But I loved hanging
out with him. He was crazy at Counting Countingcrows dot Com.
The tour, it's almost sixty dates. I will be at
the one here. You're playing at the Opry House, which
is super cool. But basically every city we're in you're
in really been cool to sit with you. I really
appreciate the thank you like this has been you know,
I mean I might appede a little. I'm just saying it.
(52:16):
It's okay. Yeah, the last few drops are for the underwear.
Speaker 2 (52:20):
You know. I had to be put alphabetical and stood
in line next to Fred Durst.
Speaker 1 (52:26):
I don't know if I've stood in line. I mean
I knew Fred back then, but Durret's Durst. Yeah you
think class you guys would be called right after each
right in front of him. Okay, there it is best
question ahead. Its great. It all night for that one.
Speaker 2 (52:37):
All right, you guys go check out the tour Counting
Crows Countingcrows dot Com.
Speaker 1 (52:41):
Adam, thank you very much. I appreciate that.
Speaker 7 (52:43):
Thanks you guys, Thanks for listening to a Bobby Cast
production
Host
Bobby Bones
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