110: Jonathan Terrell
On Episode 110, I am joined by Texas singer-songwriter Jonathan Terrell. Terrell's upcoming album, the American West-influenced Westward (out August 21) dominates the conversation as Terrell and I discuss at length the writing, inspiration, recording, etc of the excellent album. Terrell blends a richness of soft hues and delicate, vibrant pastels of the desert floor and setting sun with the intensity, chill, and darkness of the open night sky. His vignettes are cinematic and come in like fever dreams as they warm themselves up by the campfire or stove. Terrell's rasp draws you in during these intimate stories where he explores rebirth, lonesomeness, heartache, and moving on. Still, he let's loose for open road freedom and bottles up that rush and rhythm of rubber meeting asphalt. Undoubtedly, Westward is one of the cherished gems of 2020.
This episode's presenting partner is Desert Door Texas Sotol and The Blue Light Live.
Interview Transcript
Note: Transcripts aren’t always accurate since they are computer automated and haven’t been edited for spelling, grammar, etc.
Thomas Mooney 0:02
Welcome to Episode 110 of new slang, I music journalist Thomas Mooney. And we cap off the week being joined by singer songwriter Jonathan Terrell. Jonathan has this excellent new album coming out in a few weeks called westward. It's officially out Friday, August 21. And as you do expect, we talked about the writing in the recording of westward heavily during this conversation. And I'm telling you one of my favorite, most interesting and intriguing albums of the year, there's this rich complexity to Jonathan's writing, and Sonic palette. There's nothing paint by numbers or cliche about this album, westward is filled with these incredibly dark fever, Dream esque vignettes and campfire stories. You get that smokiness of the campfire to billows of smoke and piles of ash mixing with those dark tones of the high desert. pastels blending into that darkness. There's an interesting sensation that happens on westward as well. You get these moody rhythms that harken back to dance halls and crowded dive bars. But then also, he makes you feel incredibly alone, where you're just surrounded by nothing but the midnight mood and an endless night sky a purples, blues and blacks with that scattered array of constellations and far off galaxies. It's in these Stark scenes where you're hyper focused on these characters and their intimate stories. I also love how Jonathan mixes in these moments where you feel that rush of the open road. Have you ever stubbed your toe or smashed your finger in a car door or something, you get that intense rush of blood pumping and adrenaline. It's always whenever you've not really been paying attention, or just been on autopilot. It's strange because it's like you're being shaken awake, and you get this like real rush of being alive, your face brightens that that specific building that I'm talking about right there, that's on this record as well. You just feel alive throwing a song like never make a sound on, roll the windows down, turn the radio, you know you have that lead foot on the gas pedal. It's all of that but also that feeling of knowing that you don't have anything to do for the rest of the day. That sense of freedom. Again, I really love westward, it's going to be coming out August 21. Be sure to check it out. Today's presenting sponsor is desert door Texas Soto if you know anything about me, it's probably that I'm from the heart of West Texas and absolutely love everything about West Texas. And that's really why love desert d'Or so much. You may be asking yourself what exactly SoTL is? Well, it's a premium spirit that's similar to a tequila or a Moscow. But for my money. It's a little bit more refined and smooth. There's a sweetness and faint hints of vanilla and citrus and it's also as versatile as your garden variety vodka. At its core desert door is authentically West Texas, they go out and harvest Soto plants from the wild and bring them back to their distillery over in driftwood, Texas. So next time you're at your local liquor store, get a bottle of desert door. For more info, check this episode's show notes. If this is your first time listening to new slang, I strongly suggest hitting that subscribe link. If you just did, I'm giving you a virtual High Five right now. New slang is over on iTunes, Spotify, Google podcasts, Stitcher, radio, and basically any and everywhere you listen to podcasts. Go check out the new slang merch store. Grab the koozies and stickers, buttons and magnets. Any bit helps, I'll throw a link into the show notes. And if you're into playlist, go check out Tom Rooney's cup of coffee and the neon Eon playlist over on Spotify. The neon Eon is for all your nostalgic 90s country needs, which there's going to be more neon Eon related stuff coming your way pretty soon. And then Tom mooneyes cup of coffee is a regularly updated mix of new Americana and country music. It's also a really great Hannah who I have coming up on the podcast. So yeah, go follow those. Okay, that's enough rambling for this intro. Here is Jonathan. I guess we're we can start off is you know, you just mentioned you know, kind of like this. This new album has been in the works for a minute. And I know you you had a bunch of songs that you're you were thinking about for westward, and you know, it got dwindled down to 10 songs.
Yeah, what is that process like of like, you know, having all of the songs that are potential for a record and then kind of, you know, working it down dwindling it down. making it more more of a fun piece collection. What's that process?
Jonathan Terrell 5:06
Look? Well, I think I got about 26 songs written for for this one. And then I kind of started like, looking at, you know, how they like the story that they were all talking, like speaking together, you know, and like, I think it was just kind of like, trying to find out what like the, like, the unifying message was, you know, and like, just kind of an overall vibe. So there's, you know, some stuff that that was like a little bit, like, there's things are a little bit more bluegrass or something like that, like, from the EP low can find you anywhere. You know, stuff like that, that is a cool, like, you know, I wanted a big like windows down kind of desert driver kind of album. And while it fits in that category, like the instrumentation was a little bit different than the rest of the record. So that song was originally recorded for the album. And I was like, well, I'll just save it until the world has a global pandemic. And I'll just put it out them. Yeah. But, uh, yeah, just, I think just like communication between the songs was what I was looking for. And like, you know, I kind of, you know, whenever I was getting a hold of the grasping the idea of the record, I wanted to, like, show this kind of, like this Romance of the American West was what it's about, you know, and when I was touring in Europe, I was hanging out this guy one night, and he was like, This French guy, this French guy, and he was like, and, you know, after enough that, like, 1000s of years of art and culture in your, in Europe, like, the one thing that we can't replicate is the American West. And everybody here is just obsessed with it. Now, I was like, wow, I live there. That's crazy. So, you know, I think I just kind of wanted that, like, desolate romance, and kind of like, like that driving perseverance, but also that kind of empty freedom, and like, you know, like wide open spaces. But there's a lot of like, there's a lot of, you know, less is more on the record, and, you know, kind of, like, we would throw a bunch of shit on the tracks, and then, like, start peeling away layers, like, can it still stand up on its own without this, and that was kind of like, you know, just the vibe for it was like, Look, let's throw everything at it, and then peel it all away and see what see what it can do on its own. You know, because, I mean, if, if, if it's a good song, the song will hold up. You know, it's not like the bones or the bones will be strong enough to support us to do a song. Yeah, right.
Thomas Mooney 8:03
Yeah. Yeah, you definitely get this, that Southwestern American west vibe listening to it. And the, like, what I find really interesting happening here is I think there's moments where you feel like you're in the middle of a, of a bar or a club or something like that. But you also have these moments where you just feel like you're by yourself. And it's like, three morning, and you can just feel the, the chill of like the desert, you know? Yeah. And I don't know, like, there's a few of these songs, you you very much tap into that scene in that mood.
Jonathan Terrell 8:47
Well, I think, you know, a lot of these are born in these clubs, you know, we're doing these dance halls and stuff. And so it's like, you know, like, I already wrote the next two albums, you know, that were like, supposed to come after this, you know, so, and it's odd like this, you know, this album, like, I wanted it. When I when I started writing it. I was like, I'm going to write this dope ass country record. And then I went and saw Kris Kristofferson and Dallas with my buddy Josh, parrot trustee Pearson is a songwriter also and and was having I was having some trouble with a couple of the songs like they will just like i'd recorded them a couple times done like all kinds of demos warm and they just weren't there we're sitting right you know, I can tell you know, after like, playing so many dancehall shows and like honky tonks and stuff, it's like, I knew that they wouldn't. I knew they wouldn't turn a dance floor. You know? And so it was kind of like, Okay, what, what am I what's wrong here? And I went and saw Kris Kristofferson. A lot of like his show, I just kind of have this like, paying a piston II kind of thing of like, Oh, yeah, this guy is like a complete servant of the song, these songs work so well for him because he does exactly what the songs Tell him to do. And you're trying to make these songs into like something else. And not just listening, not just sitting down with the songs and going like, What can I do for you? How do you want to say what you got to say. And that was kind of like a breakthrough moment where I like went back and like, reworked a few of the songs because we had about, we had a lot of the record done, and went back and listen to it after the first month. And I was just like, Man, this shit ain't gonna fly, you know. So we just press pause on it for like, four or five months, and just banged those songs out on the road and got them got them tightened up, you know, about a more that where we can see, we can see like a change in the crowd, you know, we can see a change in expressions on their faces, whenever we play a certain song a certain way and be like, now we're now talking, you know, now we're having a conversation, right? You know, so that's kind of, like we, we all can't, like, in the band was like, really had my back on to that. I was like, Hey, sorry, guys. You know, we're going to scrap, like, you know, a couple of weeks for the work, you know, like, because it's just not right, you know, but you know, and it was a, it was a tough call, you know, it's like, not like, I'm making a lot of money, you know, being a touring musician. So, but I didn't want to, like put a step forward, and it not be like, my, my best, you know, right. And my producer Stuart Sykes, you know, have on back on that he's like, Yeah, man, like, I'm not trying to put out a crummy album neither. And so that, you know, I think a lot of, there's a lot of that, and I'm really glad we did it, you know, right. As soon as it goes, like, really in a great headspace when we started working on, you know, but after that Kristofferson show, like, the songs really started, like, moving me around, and, you know, put me in position to speak for them, you know?
Thomas Mooney 12:22
Yeah, you know, it's really interesting about all that is, I think, sometimes, as, as an artist, you can, you can hold on to something maybe too long, and like before, like showing it to an audience. And it's like, oh, you know, this is for the record, I don't want to be playing all these songs off the record, if the records not out yet. But there is something to playing songs and like working them out, figuring out what they feel like in a live setting, before, like, they get recorded, you know, like you, you can feel you can figure out a whole lot about what works and what doesn't, and just like that, lightness of like the the spontaneity, if you will, of of reading a room and like the room interacting with you and going, Oh, you know what, this actually works a whole lot better. Let's go that way.
Jonathan Terrell 13:16
Yeah. I mean, that that song I just put out never makes a sound that started out as a as a Walter wrote on piano, about this, like, 70s you know, you know, like, art film, and then. And then just kind of like, it just like, came to life. And then when we put the song out, I've had so many messages of people going, yes, man, I've been dancing to this song at the white horse for a year, and I've been waiting for you to put this track out. So I can listen to them my car, you know, and it's like, I think that's really cool to have, like, they, they already know it. And it's like, now they get to hear, you know, the work that they've made in the band put in behind it, you know, to make it like, sound badass in their car, you know? Yeah. So, I mean, I think I think it's a great introduction. I'm not, I don't feel weird about like porting songs and like, you know, I just want to make sure that they're right, when they come out, you know,
Thomas Mooney 14:14
you know, that's really interesting. The, the waltzing aspect because, yeah, like the, the version you put out is such a, it has like that, that, you know, that Springsteen kind of just raw energy, you know, blazing down the highway, windows down. Yeah, kind of thing. And like that. Just it's interesting how a song can change from like, not necessarily polar opposite ends, but, you know, just changing in feel and tone and mood.
Jonathan Terrell 14:45
Yeah, yeah, I think I needed to be in that quiet place to like, sit down at a piano and like figure out the chords. And like, you know, be able to just be still for a little bit to write those. words, you know, because it's like, they're kind of, you know, that cereal and like, you know, they kind of deal a little bit with reincarnation and like kind of, you know, shedding your skin and like kind of this rebirth of, like, who you want to be, instead of like, who they're, you know what everybody else wants you to be, you know, and, and I think I needed to be in that quiet place. And then like, once the message was clear, then I was ready to like, kick down the fucking door with the song. Alright, we got something to say now, you know, right?
Thomas Mooney 15:33
Yeah. How often is it mostly whenever you're writing, you need that quiet space that just let me turn off the world for a while and just like, you know, let me close all the doors, please don't bother me. Let me just try and figure out what that world is. Is that what you typically need? When you're writing?
Jonathan Terrell 15:56
Sometimes, I mean, yeah, like, sometimes I'll, you know, I get, I get a song, like a song will come to me. Like, when I'm in a quiet place. It's just, but I think I think it's just, there's like this antenna that I've kind of figured out how to how to, like, keep on where I'm just, I keep, like, physically and mentally aware when a song is like, like, like approaching me, you know. And so it's when a song is like, you know, I get this little buzz in my, you know, like, in, like, in the top of my chest, and then like, Oh, shit, like, something's happened. And like, there's like a change in the energy, like, a change in the weather. And you're like, oh, some something's stirring. I need to stop everything right now and be present. And I think like, for a long time, I'll you know, you know, just be like, I mean, in my 20s, you're like, well, I got shit to do, or, you know, trying to hang out this person, or I'm doing whatever, you know, I want to go swimming, you know. And I think now I'm just like, way more aware of it. Like, you know, it's kind of lightning in a bottle. And I think I've just been learning how to tap in and tap into the barometer for that, you know?
Thomas Mooney 17:23
Yeah, it's so strange. Because, like, obviously, the art, one inspiration can hit at any moment. And it's very, very mysterious. And it's very, just, it can be spur of the moment, and you can't like, yeah, schedule, like, Hey, I'm wanting to be inspired today at 10 o'clock in the morning. And,
Jonathan Terrell 17:45
yeah,
Thomas Mooney 17:46
but there is something to also like, trying to figure out how to, I guess, like, get all the other parts, right, you know what I mean? Like the practice, it sounds strange, but or boring, or, you know, just kind of like stripping away the magic of it. But, you know, the practice of once that inspiration hits, Oh, I got my tool set. And I can actually catch it. For sure.
Jonathan Terrell 18:14
Yeah. And, and I think like, you know, like, reading reading a lot, and like, you know, me, you know, I do a lot of yoga, and like, you know, just kind of like figuring out how to, like, be quiet for a little bit. But, you know, those really helped me out. But also, you know, I've been in CO writes scenarios where, like, you've got something in the beginning, something's happening, and then you kind of lose it. And it's like, you know, like, I'm not afraid to go, you know, what, I think we missed the moment, let's, and we're and anything that we come that comes in after this, it's gonna feel pushed, or like, just kind of like made up. So why don't we just, why don't we just hang out, and like, call it for the day or take a break? Or, like, you know, stop where we are, and go home and look at it, and revise and then sending your notes on it, and then they will pick it back up later. But like, if it's, you know, it's not, it's not right, you know, it's not right. Like, I feel like a good song as a good song as a good song. And, you know, it just kind of, they feel organic, and they feel connected to something bigger than, than me, you know, and that's, that's what we're trying to get, you know, so it's kind of like, if you don't have that, then it's just a song, you know, then it's just like a middle album, track, you know, filler. You know, that's like, Oh, this could be cool. Or it has a cool groove, but it doesn't really say much, you know? Yeah. So I'm more interested in like, you know, getting getting the dirt on every one of them getting like, the grease on them, you know?
Thomas Mooney 19:55
Yeah, you know, it's what's so. So I'm like, kind of infected. With the CO writing thing, because there's
Jonathan Terrell 20:03
Yeah, it just I just started doing it a couple years ago. And it's like, it's opened up a lot, a lot of new passageways in my brain. Yeah.
Thomas Mooney 20:14
Obviously, like, I think when you bring someone in, who is doing the same thing as you, like they can, they can bring out so much good in you. And you can do the same thing with them. And there's a lot of really great songs written that way. But also, like, you know, everyone has had those rights where, you know, the they both go, this is never gonna get cut, but we have to, we got to finish it. And I wonder, like, if that's ever, you know, it's just kind of unspoken between the two, like, let's just, we got to finish this, but neither of us are really actually interested. Yeah.
Jonathan Terrell 20:51
I mean, there there is sometimes situations like, like, yeah, it's like, Yes, sir. You're like, you're doing it, you're doing a service. I feel like to the other person, and like, third, thirdly, to the song, like, okay, you know, what, we came here to do a song, we're gonna fuckin finish it, it might not be great, but we're gonna do it. You know. And, but also, it's kind of like, you know, when I would go up to Nashville and do co rides and stuff, you know, it kind of took me a long time to like, weed through the people that I didn't want to write with, you know, and the people that I people that were like, first on my list to call me like, Hey, man, I'm in town. Love, do you know, like, let's not went out. And, and, but you know, how to write with a lot of people to figure out like, who, you know, who are really connected with them, who really taught me and, like, you know, who I really wanted to, you know, like, chase down a song with you know, and so, and then I met a lot of awesome guys that were just like, most didn't have that connection, you know, right. But also, pals, you know, we just don't write that much together, you know, but that's why you kind of see those like, songwriting teams, and stuff you get, you know, you get like this one or two, three people that are just your fucking go getters. And, and, like, you don't really, they don't really write too much outside of that group, you know, because they're just like, well, I got the 18 right here, we can do anything, you know, so and so brides great melodies, so and so writes great course. And so and so has the wisdom, you know, and, and it's just kind of like all you guys together, you know, build the super power ranger of songwriting.
Thomas Mooney 22:38
Yeah. You know, what I always think is like, how there's some songwriters. Like, I probably like my, the example that sticks off or sticks out for me, is my buddy William Clark Greene. He will come up with like, he'll have like, these ideas or something. And then he kind of goes, Oh, you know, this is a, an idea. I need to go and write with Ross Cooper, or like, Oh, this idea is more of a Brandon Adams idea. Or this is a Yeah. And I find that interesting, too. Is that kind of how you are like you if you have like, Oh, this is this maybe is in somewhat like a specific person's kind of wheelhouse. You kind of save it.
Jonathan Terrell 23:19
Yeah. Yeah, for sure. I've definitely had some songs that you're like, you know, whose wheelhouse This is in? Just, yes, this person Exactly. would know what to do. You know? It's, I mean, it's like the same thing of like, you know, oh, you know, I need to borrow a ladder. Like, oh, this neighbor has one this neighborhood exactly what to do. You know, it's kind of that deal. But yeah, that's, that's, and also sometimes it's kind of like, you know, like, I've had a lot of buddies that are, you know, I mean, a lot, a lot of buddies, I would say, like, 90% of my friends are musicians. And so it's kind of like, there's a Hey, man, we've never written together before. Like, we should hang out, like, just see what happens, you know? And, yeah, it's, so that's, that's a cool thing, too. You know, just just like expanding your friendship with a with a song and then like, and then once you finish a song, you might be like, you know, I don't even know if this song would fit in my band, but we should show it to so and so. This might be perfect for them. You know, right. Yeah. So I mean, I can't I can't say that I write every single song. No, I mean, I definitely can say I don't write every single song for myself. I've definitely written songs and finish songs that I knew that I'd never play, but I knew that like, like, you know, this would be perfect for so and so. You know.
Thomas Mooney 24:49
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Unknown Speaker 25:44
Alright, that's
Thomas Mooney 25:45
it for Thomas Mooney, his cocktail minute, let's get back to the show. There's something about if you think you can maybe play every song that you've written, especially in since since we do have this artistic cross between consumer ship, right, but it feels like sometimes if you I don't know, like, you could be selfish to say like, Oh, I'm not writing something if I can't play it, you know, I think like, even if you if you don't play it, if you're you know, like, this isn't gonna help me or this isn't going to be a song I do. It still is the pursuit of the song and it still like can mean getting better at something that you're going to do later on.
Jonathan Terrell 26:34
Yeah, I would never like you know, I've definitely finished songs and been like, you know what, I'm never gonna play that song. But as a great exercise. It Like It took me there. I got myself I got my brain in that headspace. Like, was present with what it needed. And like, and like, you might look at it look back at it, man. Like, not the best song. But you know, what is the song? And it was, it was a good exercise, you know? Because like that song, you might have like, one great line in there. That like, you know, you'll you're looking down the road a year later. And you're like, man, I just wish I had a line to this part. And you're like, Oh, yeah, you know what, I've got this kind of, you know, junkyard of songs that we can go salvage stuff out of, you know, like, well, I got this one good line, this one mediocre song that I don't need. So let's just take it, you know, for the better, you know, to make the, the better song even better, you know?
Thomas Mooney 27:37
Yeah, that's interesting. Because I've talked with, I've probably done like, I guess, two or three interviews this past week, and that has come up and each of them, do you like go back and like, you know, scavenge over old songs and find things that work and go, hey, let's plug this in here. And it's been one yes. And like one No, like, like, and they're like, just kind of? Yeah, I don't know. It's, it's interesting how not necessarily, like they these are lines that we all draw, but what side you're going to be on, but it's interesting how, like, some that works for some people. And then the other people like, No, I can't, I don't, that's part of that song. And I just have to move on or something.
Jonathan Terrell 28:22
Sure. I mean, I get that too. It's like, you know, I mean, I have other songs that I'm not not necessarily using, that have lines that could be used. And I'm like, Whoa, that was already there. Like, not ready to go yet. Like, I'm not ready to let that line go yet. You know, because you kind of do forsake that song. When you do you're like, Okay, well, I took a piece of you. And I'm either gonna have to replace it with something better or, like scrap it all together. You know, it's not gonna it's not going to run without the alternator, you know?
Thomas Mooney 28:57
Yeah. You know, I've, I've seen some, I guess, like co writing and writing. And I've been present for some of that kind of stuff just off to the side in a journalist kind of way. One of the things I found probably most interesting is the amount of filler lines that you can, that people will use to get to a place and go, you know, this isn't the best link right here right now. But it's going to get us on to the next thing and then we can like, you know, Polish that up later. How often do
Jonathan Terrell 29:27
you Yeah, well, placeholders for sure. Always, you know, like, I mean, as anybody that I usually write with, it's like, we will start throwing lines on the table. And like, you know, just we'll just rattle them off and then like, we'll get Oh, cool, that one's good. Or even if they're like, I like that but I don't think it's great. And you're like, Okay, cool, beat it. You know, just beat the line. like nobody's mad about getting their line taken out. Like just beat the you don't think it's Good, then, like, beat it, show me something else, or I'll try to beat it, you know, and we'll get there at same time some, you know?
Thomas Mooney 30:08
Yeah, that's a
Jonathan Terrell 30:10
for I think for me is like, when I was younger, and I was trying to write songs It was like, is, it felt a lot like, how I wanted people to see me. And it was it felt like, I'm, I'm in charge of my image and what people think of me by, like, how cool I make myself sound or you know how, like, rugged, I make this song sound or like, people think I'm tough or some cowboy or some shit, if I if I sing about this, or if I talk about this. And that's why I don't know, I think I think like, you know, as a, as you get a little older, I'm kind of, I'll be 40 next month, and I think just kind of like, there's, you know, I think I think you lose them lose your fear of that vulnerability, you know, and you just kind of let it let it happen. And it's like, well, so what if they think this about this one song, like, it's a song, it doesn't necessarily define my entire life? You know, it's like, one line and song, you know, but I think there's a lot of pressure when I was younger, to like, kind of mold, mold my image of, you know, what people thought, you know, or how people you know, should see me, you know, trying to chip away a lot of that. And like, really just, you know, ask a song, what, you know, what it wants for me? And like, what, okay, cool, like, What can I do for you? You know, I'm just here, I wouldn't be here without the song. So, yeah,
Thomas Mooney 31:43
yeah, that's, I think, like, I don't even know, if people have been listening. The last few episodes, or done this last year, though, they are gonna go like, Oh my God, he's gonna bring this back up again. But I think there's something about, the longer you do this, the longer you're around music, or whatever the thing is, you you strip away the romanticism. And it's fine to be like, you know, not, this isn't one of those things where just because some people make it easy, doesn't mean it's easy. And it's, you're okay to like, just, you know, do the throne outlines something you may sound stupid in your mind or something, but like, that may make that person think of, Oh, you know, if we actually twist this around, or, you know, you don't know, what the, on the practical side the tips and tricks of the trade, you know, what that like, that's, it's more than fine to be able to tap in and use all those versus the, you know, I was writing and I got inspired and, you know, like, the, they just all came to me in one burst, you know, whatever. Yeah, cases, you know, you know, what,
Jonathan Terrell 33:00
I mean? I definitely still get romanced by songs. I mean, I get romanced by my songs, you know, that are like, because, I mean, I feel like once you, once you kind of get into a place, it's like, you got to walk around, you got to, you got to pull them on and walk around, and, you know, let them see, you know, see how they fit and, like, get them comfortable. And so it sounds like when you finish the song, you're like, Okay, cool, this, this feels a certain way, and then you and then you kind of like, you take it, take it for a spin around the block, and you're like, listening to what needs to change inside of it. That's like, Okay, this is poking out. This is feeling strange, like, it's just that kind of massage. You know, that comes after the after the song, you know, initially written and I get, I do get romanced in that massage of like, Oh, yeah, this, okay, this feels right, like this, like, you know, kind of really paying attention to where the, where the road humps are, you know?
Thomas Mooney 34:06
Yeah, you know, a lot of the songs on this record, like, for example, like the song like raining in Dallas, or like star child or lemon cigarettes. Sure. I think of those as like, kind of being like, bigger stories, then. Then if you look at what the length of the song is, like, they feel like very much more like short vignettes, more so than even a song like it feels like you you create so much mood and so much of a story in those kind of songs. With without like having so many without having to use, you know, 1000 words, or something like that.
Jonathan Terrell 34:48
Yeah, man. Well, I co wrote, limit cigarettes and pink champagne with David Ramirez. And he came in saying he came saying on there and then Picking sing harmonies and then the girls that sing at the end are the girls the backup singers for the black promos. And you know, so I was living in this like little Airstream trailer down South Austin and I was like, the AC was busted in there. And I was like, sleeping on his couch in there. And I had this kind of like fever dream thing where this is like black hair, like pale skin lady wearing like a red sequined top, like comes out of this, like, below of smoke in my laptop where I was watching, like some weird bollywood bollywood movie. So I kind of thought I was dreaming. And then like, she took this like, gold sparkle pack of cigarettes out of her top. And it had like a black circle with a lemon on there. And she took a she took a figure it out and lit it and like blew it out. And I woke up and I was like, What the fuck was that? So I've just like grabbed my pin. I was like, I was like this chick with smoke and lemon cigarette. And then I was hanging out David a bunch. We're gonna call right the next day, it was our first time direct together. And I was like, I just been thinking about me and David like, going out. And we just been drinking a bunch of a because it's summertime, you know? And so put lemon cigarettes and pink champagne. So I go to his place and it was almost Father's Day. And he was like, let's write a song about our dads or something like that something cool, you know, it's almost Father's Day and be nice. And then he was like, what's this title about? And I was like, dude, I had some like, weird fever dream. I thought my laptop was imploding. And so that was kind of like, we just kind of came up with the story on the spot. That song came out in like 30 minutes, you know, and real organic, you know, but that the life Starchild you're saying like, it seems like a bigger thing. Man, I was really hung up on that tune of like the like the progression of it. And I knew it wanted like a little bit of a left turn in there. And I was really obsessed with this link race song called golden strings. And he's got the demo version of it and a listener from the bazillion times. And then I was trying to find like a 45 of it online. And I found out that it's just a part. It's a part from a Chopin Etude number 13. And it was like, what I just, like blew my mind that he would play this like kind of like Roy Orbison, you know, surfy guitar thing. And it was like a Chopin piece. Yeah, and, and so I pulled up the song. And there's like, there's this part, like, it's got the AB part, you know, and it's like, really, it's got the beautiful, you know, back and forth melody. And then there's like this C part that just goes completely off the rails. And it's just like this, like, avant garde like, what, like the time signatures change, it goes fucking nuts. And then it kind of just, like dissipates, and then loads back into the AV part. And I was like, Oh, that's what I should do, I'll make a wall of sound with, you know, a bunch of petals, and have my friend Christy Hayes, elbow in there, you know, like, so that, you know, that kind of stuff was like, it felt like a movie to me. Because it you know, it was a big, it was a big story. And there's a couple songs on there, you know, I just gotten out of a nine and a half year relationship. You know, and that was the first song I wrote about it. You know, the second song I wrote about was cowboy band. And it felt, you know, it felt like a like a movie, it felt like, you know, trying to, you know, tell a portion of my life like some kind of like documentary, you know, but I wanted it to go there. Like to feel this kind of, like last space, you know, kind of like pause in space and time of like, trying to, like, grab, grab a hold of something real and then, you know, and then that was you know, realness just kind of like leaks back into the chorus you know, but that came from that Chopin thing. Yeah,
Thomas Mooney 39:31
yeah. You know, like there is very much that that cinematic kind of feel and vibe these like you for the fade the black fade in black fade out kind of thing.
Jonathan Terrell 39:44
Yeah, I'm a drama queen, for sure. You
Thomas Mooney 39:45
know, it works so well. And it like obviously with the songs being so. So Southwest, you know, you do feel like that. You know, like obviously out there. You There's so much darkness so much black at night, you know, there's not a lot of light pollution. So it does feel like you can just be zooming in, on these little stories, these little vignettes.
Jonathan Terrell 40:11
Yeah, but I do, I do feel like in. Like, somebody told me one time that they said they listen to my songs, and they're like, You're like an optimistic pessimist. And, and I thought that was I was like, Okay, cool. Haven't heard that one. Yeah, you know, it's pretty cool. But I do, I do find that like, like, unknowingly when I'm writing it, you know, they might, it might be a dark song, or it might be a sad song. But there's just like, there's this, this little pinhole of hope. And a lot of these songs that like, you know, as much as I, you know, tap into, you know, like that, like, you know, a darkness, inside a song there is that glimmer of light that like, kind of, kind of, is the guiding light for, you know, and, and that's, it was feeling a lot with like, a lot of these, like desert scapes and stuff that I wanted to, that I wanted to, like, portray, you know, for the, for the, you know, the theme of westward, was, you know, it's like, you can still be in the blackest of night, but if you have that guiding star, it's, it's just gonna be there, even if you're not looking at, you know,
Thomas Mooney 41:33
yeah. And you know, and that's super, so important for storytelling in general is, you know, you have to have that like the, the redeeming the light. If a song so dark is so important, or vice versa, because if not, like you, you kind of get you can get fatigued by it, like it kind of you can lose some of that dark mystery, meaning without something to, like, counterbalance it in a way.
Jonathan Terrell 42:06
Yeah, I mean, I think, you know, if it's, if it's too, you know, if it's too monotonous, then it's like, you know, I want people removed from the whole record, just like, the first three songs and they're like, okay, they sounded all the same. Let's move on, or, you know, I'm catching the same vibe, you know, like, time to move on, you know?
Thomas Mooney 42:26
Yeah.
Jonathan Terrell 42:26
So that was that, I think a lot of that is intentional of like, you know, just whenever, you know, in the record, like, just kind of whenever you're like, losing hope, and some point and some song, or there's some kind of like, you know, this song, like something I do, you know, which was written about, you know, me waking up on New Year's Day and my truck outside of Justine's his French restaurant and, like, you know, my date was, like, you know, my girlfriend at the time, he was like, you know, where the fuck are we, my throat, my thumb was broken. I was in like, a sequined tuxedo. And I was like, Well, how do we get here? You know, I was like, I was like, I can do better than this, you know. So there's, there's like, songs like that where, you know, when you feel like all kind of hope is lost, and then like, the next song will kick in and it just like, whip your ass, you know? And it's like, like, these days or something like that, that. You know, that just is like that. Pick me up this this going. Alright. I said I can do better. And this is how I'm gonna do it. You know?
Thomas Mooney 43:35
Yeah. Um, I
Jonathan Terrell 43:35
don't want to leave him hanging.
Thomas Mooney 43:37
Yeah, like that the song these days that has a lot of that petty kind of The Beatles Rubber Soul kind of feel like that. Tick, you know, that's what I that's what
Jonathan Terrell 43:50
I haven't heard. I haven't heard that's really I mean, like, I love it. Like, just hearing like other people's take on it. Because it was like, when we went in, I was like, I was like, Alright, this is gonna be like these the top needs Joe Cocker meets T Rex, you know, and it's like, you know what, it's crazy. So, I'm really glad that you're here. My dad would be happy about that. My dad is a huge Beatles fan. I mean, as as well. Yeah,
Thomas Mooney 44:17
yeah. We there is I just feel like there's that maybe it is a little bit that Joe Cocker thing to that. Now, you mentioned that, that just that little bit of like this. I don't know this. Just some of that upbeat some of that, like, psychic, not necessarily like full on psychedelia kind of stuff, but just a touch of it. You know,
Jonathan Terrell 44:38
I just wanted that. Yeah, that it's like, you know, it's like, you know, the chorus, you know, these days, I'm not concerned about all the ways everybody gets burned. It's just like, you know, I you know, it's not when I wrote it, I was just like, you know, I need to worry about myself and stop worrying about what everybody else thinking. And just like, I'm going to do what it takes for me to feel good again. And You know, it was kind of, like so it's, it's sandwiched in with that song good again, you know, from so these days, the second to last track, and then the song good again, is track two, you know, so it's like, that track is like, you know, I just want to, you know, I'm just, I'm craving this, like I need to, I need to be good again, I need to, like rebuild myself and like, you know, shed some of this darkness. And then, you know, that's that's the initial thought of it. And then I feel like these days is like the action of it. You know, it's like, I need to do this, well, I'm gonna fucking do it. So it's got this, it's got a stretch to it, that's like you want to, you want to shake it off, you're like, Alright, I'm gonna listen to the song and go, I'm gonna go downtown, you know,
Thomas Mooney 45:51
you know, like, what listening to this record, is it this is not like the it's not like a full on comparison. But one of the things I kind of really felt listening to this record and like the peas, and like, just like obviously, like the the mazzy star, cover just all that kind of stuff. What I've been kind of thinking about is like, you know, this is a, this is country music. But it's obviously you have all these little other influences and these other textures to, to make these country these cowboy songs into something that's blended with all these other things, right? And what that reminds me of is like Lee Hazlewood, back in the day, kind of having a, a country cowboy kind of thing, but also like not like it being a, you know, like a Merle Haggard song, he was like taking country songs in a different completely different kind of country pop, psychedelic kind of thing. And it's not exactly apples and oranges, or apples and apples here with this comparison. But I feel like there's a little bit of the same thing happening here for you on this.
Jonathan Terrell 47:08
Well, I hope so. I mean, because, like, I feel like, you know, I just, I don't feel like I don't feel like it's fair to me to just go make one. I don't feel like just make one kind of music, you know, it's like, because every song is different, you know, and it's like, and if you're really paying, if you're really like being a servant, to what these songs want from you, like, a lot of the, you know, a lot of these songs changed, you know, that they did sound way more country, when we first started recording the record, because I was like, I'm gonna make a country record, because I'm playing all these dance halls. And I'm like, I'm writing all these country songs. So this is how it's done. This is what it's gonna be, it's gonna be like, a Nick Cave Country Album or something like that. And, you know, then like, you know, when you get into it, and you start, like dissecting the song and like, just, you know, glue, opening yourself up to what it wants, then it's like, everything changes, and I'm not gonna, you know, I don't want to stop that, you know, I didn't want to, like, I don't want to, like, you know, Mazel song just because it needs to fit better with how people think they should imagine me. You know, because if you know me, you know, I mean, I live in Austin, Texas. I've lived here for 15 years is the birthplace of psychedelic music. Do you think that that doesn't seep into the country music scene here? You know, and it's like, you know, I grew up on I grew up on Garth Brooks and Brooks and Dunn, you know, and but also grew up on the Mamas and the Papas, and Aretha Franklin and, you know, stuff my mom, my parents liked and, you know, so it's kind of, you know, I think I think it's just a vibe, you know, it's kind of like, how, you know, I'm not in any way comparing myself to these guys at all. But like, you know, when you think of like, Dylan, or Neil Young, and they're like, Oh, well, they do a country. They do a country record, they do a rock and roll record, they do this and that. They don't you don't ever think of them as like just a country artists, you just think of them as an individual, like making music. Like, I think I think that's where I really want to, like, head towards, it's just going like, Well, to me, it is country music, you know, the same way. It is to Kane Brown is country music to him. You know? It just it just it's just comes from a different place, you know, and this just happens to be my unique little area of the world. So I'm glad I'm glad that people are seeing it and like I think I'm kind of going through out here. But and not taking it just for like, oh, he says he's a country artist. It should be. It should sound like that. Right? You know?
Unknown Speaker 50:11
Yeah. Well, you know, like, Oh, go ahead.
Thomas Mooney 50:14
Oh, well, what I was gonna say is, you obviously know this I think a lot of people know this the, like country music is is very, very very easy to get keep. And I think like records like this are artists like you and like there's a lot of guys and girls making music right now in Texas that they are inspired by a lot of rock and roll and blues. And
Jonathan Terrell 50:40
yeah. Catherine lagenda is one of them. She said to say, Hey, I saw her and her husband yesterday. And I love them. They're great. Yeah, actually, I heard her say hello. Oh, yeah, I
Thomas Mooney 50:49
actually had a texture earlier about something. And then she had said that. I heard you that you're gonna have Jonathan on. That's great. Yeah, blah, blah. You know?
Jonathan Terrell 51:00
Yeah. Sweetie, sweetie. Yeah,
Thomas Mooney 51:03
I had her on a couple, I guess probably a couple months ago. And she's obviously like, the great artists and a great songwriter. And like,
Jonathan Terrell 51:12
this killers killer, like amazing singer great song or, you know, just like, but yeah, what you're saying is like, yeah, people, people. I mean, especially here in Texas, especially like here in Texas people. I mean, think country music's just in the air, it's just in your peripheral. That's just like, it's it, you hear it everywhere you go, you grew up with it, it's just kind of in your blood. And it and like, but that doesn't also mean that everybody that's in a band today wasn't in a fucking rock and roll band in their 20s It doesn't mean that they like that they didn't, you know, listen to psychedelic music or Tejano or rap. Or like, you know, if you grow up with this stuff, and then like he goes, find your own. You know what's like, your like you you'll seek out a bunch of new things. And then I think like when you start becoming like, trying to figure out what kind of artist you want to be. It's like, the things that you grew up on. Like, whatever the camera was with. Dave Chappelle was like he's like, you never stopped listening to the music The guy he played first. You know, so, yeah. So I kind of mazzy star song. Absolutely. You know, it's like, and how does that fit in my world? You know? Yeah, it just does. Yeah,
Thomas Mooney 52:33
that's what like, obviously like, it's in the air like you if you're kind of if you're from Texas, you kind of you it's always around country music. Yeah. And not just like country music in the what's on the radio, but like, just you're surrounded by country. There's something like it's just like,
Jonathan Terrell 52:52
I can't say it better than us just saying it's in the air. It's it's in the ether. It is it's it's in the water. And it's like, You can't escape it and I feel like even like the rock and roll bands, you know, they're coming out of Texas and stuff. It's like, you know, like, I got a my good buddy Aaron Behrens, you know, isn't that band goessling Observatory, and they're like, electro, you know, disco dance band. You go hang out with Aaron. And he his boots and hat and he's, you know, what's up, man? Hell yeah. Come home Brother, you know, like, just country of the day as long and it's like, but that's just kind of how he grew up, you know? And it's, and he's like, now I'm making the music that I'm interested in. You know, it doesn't mean that he's not from Texas. You know, that's a he's pretty, pretty country. Did you know?
Thomas Mooney 53:43
Yeah. You know, side note. Aaron was like one of the, I guess he's probably the first person I interviewed. When I was doing some writing get the Lubbock avalanche journal here in Lubbock. He was one of the first people that I interviewed. They were playing a show here in Lubbock, and yeah, that was like, just side note.
Jonathan Terrell 54:05
He his band. It's like he's in like a techno band. And he's a he's a true Texas gentlemen. You Really?
Thomas Mooney 54:13
Yeah. This episode is in part brought to you by the blue light live here in Lubbock, Texas. While blue light is still close due to the pandemic. There is a way to help a support blue light, and B get a sense of that normalcy. By visiting blue light Lubbock calm, clicking on the merge tab, and getting some koozies a vast array of T shirts and caps, and yes, even a blue light flag. While it is such a bummer, that live music is still on hold right now. I'm telling you by getting some blue light live merge, we're gonna feel better. It just feels better wearing a T shirt and ballcap and helping support your favorite four. Again, that's blue light lubbock.com click on the To get some merge, all right, back to the episode I wasn't asked you about obviously you do some DJ into how is that like expand
Jonathan Terrell 55:09
your,
Thomas Mooney 55:10
your palette of your Sonic
Jonathan Terrell 55:12
palette? Um, well, I. So it kind of started as a side hustle, I went to this gig. And it was a it was like this like really like, hey, like, got you on the list and like the exclusive party kind of thing, you know, and I went, and I was like, astounded how bad the DJ was. And then I was even more astounded when I found out how much they're paying him. And I was like, man, I knew this shit. You know, because I mean, I love you know, all kinds of music. I'm a big big fan, you know, of, you know, 60s psychedelic music. I'm a big fan of disco Bossa Nova. Big fan of like, just like, like African dance music. So like, it's, like I said, a good song as a good song as a good song. You know, and I want to hear them all, you know, and so I kind of like South by Southwest was coming up. And I was, I was hanging on my buddy, David Wrangler from battle ranch. And he and he was like, Hey, man, you know, anywhere we could DJ. And for South by and I was like, Yeah, I got a place, you know? Yeah, you me, we'll DJ it up. He's like, you're a DJ. And I'm like, Yeah, yeah, these of course, you know. And so I lodging him and told him I was a DJ. And then so our DJs that was our first show. And then he kind of got mad at me. And he was, he was like, Are you about to ruin my career? No, but we did the show. And it went great. And, you know, we did a bunch of disco and a bunch of party bangers and stuff, and it was just like, and then they gave me a residency at the venue every Wednesday, so then that kind of put me on this, like, hunt for new music, I'm just going down rabbit holes, and rabbit holes and rabbit holes of like, you know, there's a pool there, that's just it's like a kind of like a, you know, Palm Springs kind of vibe, some like searching out all the music that lives in that world and like trying to create a world that lives in that space, you know, so that, so it, it was honestly, like DJing, to me is almost kind of like, it's like a sit down being a country, whatever, artists songwriter over here, and I picked the DJ, and it's a total different brain space for me, because it's like, you know, if I'm doing something like, in a nightclub, where it's just like, banging disco all night, and people are sweaty and grown or grown across the board, then it's like, it's your job to keep that moving. And I think I learned a lot of that from, you know, stage time of like, how to get a crowd moving. You know, how to be a front man. You know, it's like, you take that kind of energy into a DJ set of like, you know, when to grab them, you know, when you're losing them on what to do if you're losing them, like, gotta keep it up, keep it up, you know, and then, you know, let them have a break when they want. So yeah, it like, it's been a I get really excited about it, because it's, it's been a total, like, journey, and I would have never found a lot of the songs unless I had just taken on that. You know, that little side hustle of just like, yeah, you know what, sometimes they're just gonna want to go dance to a bunch of disco all night. And might as well go spend two weeks listening to, or 1000 disco tracks, you know? Why not? You know, that's so it's fun. Yeah.
Thomas Mooney 58:56
Right. You know, I think it's also so important to sometimes I think like, we we pigeonhole everyone in like, oh, you're just a song. You're a songwriter, you're, you know, you're a drummer, you're a country music star, you're, you know, a song. Singer, you know, you're a singer, you're, and right. So often, like, if you look back at the old people from before this era, you know, they were doing all kinds of stuff I always my example go to is the guys up here from Lubbock like Terry Allen, he thinks of himself as an artist, not a songwriter as an artist. And that means the the visual side, the, the sculpting the songwriting stuff, and like people like Joe ealy, you know, he was he's a poet, and written books and stuff. And, of course, like he had that one record, but he did it all on a Mac. And this is back in the 80s. When that was like, What is this you know? So I can see like, that being very Like DJing being something that is, is very much similar to, to working that other side of the brain. And, and like being able to, you know, really kind of like, you know, you step out into something that you don't necessarily know, as well. And it just like helps you just become more well rounded as an artist.
Jonathan Terrell 1:00:22
Yeah, I think so. And you know, there's a guy, there's a songwriter artist named Butch Hancock, and he's in the flatlanders. And so we did a show in Oklahoma with Turnpike troubadours, and we're talking after, after the show, and as a man, it just took a couple pictures, Jr, show up, send them to you. And, and he was like, oh, cool, like, you're your photographer. And I was like, No, I just hang out, you know? And he's like, cool. What do you know, we ended up saying that we're in the same hotel, it's kind of a little motor Lodge. So we end up sitting out there on the porch, you know, drinking beers and stuff that night with him and his wife and a couple people from the show. And it's like, he was like, what are your hobbies? And as I really sat down thought, and I was like, No, I don't think I have any hobby. I don't, I really don't, I really don't think I haven't. And he grabbed my shoulder and goes, Are you fucking kidding me. He's like our egos. He's like, you're going to sabotage the one thing that you if you don't have another artistic outlet to go to, and build and fill that, well. He's like, if you can't go somewhere else, and get that same artistic energy, and then be able to bring it back to your songs. He's like, you're gonna fuck your songs over every time. He's like, it's your duty to have as many hobbies and stay inspired on a daily basis. He's like, it is your job as a songwriter. And he was like, go home and buy a fucking camera now. And I did. And I went home. And I was like, you know, I just started like, taking pictures. And then I started, so what, when I started, I would bring my camera to my Wednesday night residences. And I would just take portraits, black and white portraits of everybody there that was like party and getting down, and dancing. And like, so it's all these like, kind of sweaty, palm tree poolside, like late night, you know, kind of, you know, bombastic photographs of just cool people and great people that are hanging around and just enjoying the music. And it's like, I'm like, Hey, can I take a portrait of you, and then I'll just send it to you on Instagram, you can do whatever you want with it, you know, and so after like, six or seven months of like, I just took hundreds and hundreds and hundreds of portraits of people. And then, and then I was like, Okay, I think I'm ready to get a better lens. And, you know, when I felt practiced enough, you know, and I was going down to Mexico to stay on a friend's cattle ranch with him for a week, and picked up a good, a good lens, you know, good prime lens before only down there and was like, and it's like, I'll go back and look at these photographs that I did. You know, and they inspire songs they like say, so there's something inside them that it's like, there's a song title in there. There's a moment in there that I didn't see when I took the picture. And I'm just looking at it now. And now I can understand it. You know, and it's just that. So yeah, it's like Butch has was a big part of that of like, you know, I should be like, I should be a DJ, this would be great. I should get a camera. This would be like, why not? Who says, Who says I can't, you know, and I see a lot of bands. You know, I remember seeing the eye. And I'm, and so they're like, okay, we're going to do the show. And then after the show, live guitar player is going to go DJ at this club. And it was like, they, you know, there's, you get to the club, and there's a $10 cover charge. You know, and so it's like, you do a tour, and then you go DJ, the after parties. And now you're paying your band out. Now you're like, now you're paying for hotel, you know, right. And so it's kind of like, it really, really helps out a lot, you know, of just having this like fun little side project. It's like, Okay, wow, like, man, I can make I can I can make my rent. Plus, you know, in a month, just doing like side gigs and just things that are just for fun, you know? Yeah, on like, weird off nights when I'm not on tour, you know, right.
Thomas Mooney 1:04:43
Yeah. The, I guess it was probably, I don't know how long ago maybe like 10 years ago 15 there was this article in Texas music magazine that just was like highlighting Butch as a song or as a as a photographer. And there's some really cool photos that he had in there. I really don't have like any. I got like one Butch Hancock story and that was like, he was doing this talk this lecture talk about Texas Tech. And he was talking about his time at Tech and how he was interested in architecture and he had been like an auction architecture major. And yeah, he was just kind of like going, it was so because I guess like when I went up there to watch I was expecting him to this is this is just gonna be about songwriting, you know, just the songwriter part. And it was it was almost almost all about, like, all the other things like the architecture, the photography,
Jonathan Terrell 1:05:41
yeah, the he did tell me a little bit about art. He showed me some buildings he had worked on. Yeah, and I was like, I was like, that's an expensive hobby, dude. But he, you know, he's like, Well, you know, it pays the bills. And then, you know, whenever I can be an artists, like, when I want to do a tour or want to, like, get together with the Lubbock boys, you know, then that's there, too, you know, but, yeah, but it's just, it's just like, submerging yourselves in our, in like, artistic outlets that, like, be at each other. And it's, you know, like, you think of him as an artist, because he's never, he's not doing anything. That's not artistic. Like, he's isn't there. He's never not doing something that's not he's like, you know, doing lectures playing music, building things. He's like, he's a he's a, what you what you would call an artists, a true artists, you know? And I think that's people like me as like, you know, that's kind of what you what you're hoping to be, you know, yeah, but you set out to be and any, you got to dig a little passer insecurity is, you know, figuring out what you really are. But I think once you once you kind of lose yourself in it, like, look up, and people are like, Hey, man, you're you're an artist, and you're like, holy shit. You think that? Cool? Yeah. Like, wow.
Thomas Mooney 1:07:08
One of the one of the things he did at the end was he played three or four songs, but like, what he did was, he was talking about how he had a super eight, and he would attach it to the front, our guests, the dash of his truck, and then like drive around Lubbock to all these little small towns, and then just like record on the road, and he was talking about how, you know, this was back in the 70s. And he didn't even know what he was gonna do with the film or nothing like that. And then, you know, fast forward 40 years later, he's like, I found what they were kind of meant for, and what do you He's like, I don't even know if this really works. But he fast forward, all the super eight film, and they were all kind of about three, four minutes long him driving, then seeing all these cotton rose, these cotton fields on the side, and, you know, going from Lubbock to these small towns and just the traffic and like, not even their traffic and all that stuff. And then he hit all the lights down. And he stood up on like a desk where he was kind of like, where he was right in the middle of the road. And then he played like four songs. And it was just like one of those like, I'll never forget that. It was like, yeah, we're gonna do that again. No, no, but I'm trying to think he played. I know, he played. If you were a bluebird, and he played a town's cover, but like, yes, whatever. But it was just one of those. I'll just never kind of forget that thing. And doing that.
Jonathan Terrell 1:08:42
He changed a lot. He changed a lot of things in my life, just by that one chance meeting. That like, really, you know, I think I think I was really, you know, when I moved to Austin, I wanted to be Townes. Van Zandt, I wanted to be Kris Kristofferson. You know, and, and it was just like, it just, I don't know, when I, when I got here, they're already those guys. So but it's like, you want to live in this kind of, like, desolate world where you drink a bunch and you're like, I'm going to do everything. It's fucking wild to like, get that experience, and then you get so fucked up that you forget them. You know? And then it's like, what was the point? You know,
Thomas Mooney 1:09:26
right.
Jonathan Terrell 1:09:28
But like, just, I think, I think that one conversation with him, like, encouraged me to kind of like, just just move my insecurities aside and be like, Look, you want to be a songwriter, be a better songwriter. This is how you do it. Here's some, here's some tips from a pro that are like, hey, if you want to be an artist, go be an artist. That means do everything artistic that you can, you know, and like get your hands dirty on every way. You know, learn something about it. read something about You know, just the journey of it, you know, like, just get your hands on as many things as you can. And just create, you know, we're, you know, we have appreciate you move in this call, you know, man, my, my uncle had passed away about an hour before we were supposed to be on the phone the other day. And I mean, it's like, we were very, very short time here, you know, and I think to be able to, like, document some emotions and put as much material out into the world as you can tell like it, you know, let you Yeah, that's I think that's all people want is they want their name to live on in some way. You know, you want to, you want to leave your mark. And for me, like, my songs are my mark my photographs or my mark the nights that people come out to a DJ set and like, have a total blast. That's my mark. You know, it's kind of like, why would you want to just do that all the time? And hopefully, people will pay for it.
Thomas Mooney 1:11:09
Yeah, no, I mean, like, it's, it's one of those things were, you know, you I think a lot of times, like, there's a lot of middle ground with art, right? Yeah, most people are not going to become George Strait. But like, you're going to have like, you have an impact on on the people around you. You know what I mean? And that's just as fulfilling you know, especially like, if you know, those people or those you were ever actually those people come up to you, you know, and you hear those stories back that's it's important.
Jonathan Terrell 1:11:43
It would be cool to be friends George Strait, though. Same. Yeah. I always like I would never pay for dinner. Never. George, you got this right.
Thomas Mooney 1:11:54
I'm gonna go
Jonathan Terrell 1:11:56
to the host, George, take me out for some steak because the time baby.
Thomas Mooney 1:11:59
I know. Hopefully, he's listening. Come on the podcast.
Jonathan Terrell 1:12:03
I'll just, I'll be assuming that what a What a treat. And what a treat. That would be if like, George Strait is listening to your podcast. Alright,
Thomas Mooney 1:12:15
that's it for this week. Be sure to check out Jonathan's forthcoming record westward out August 21. Check out episode sponsors desert door and the blue light live in Lubbock, Texas. Thanks for listening to new slang and we will see you next week.
Transcribed by https://otter.ai